04/25/2017

Aaron here today with Annie Mok/Gabrielle Bell; Mohammad Sabaaneh; Sophie Calle; Anthony Cudahy; Paul Laffoley.

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Gabrielle Bell, from Everything is Flammable

“Can I put that in a comic?”
Sally linked to this last Friday, but here’s another look at the Annie Mok/Gabrielle Bell talk, in support of Bell’s new book, Everything is Flammable.

MOK: At least one of your minis for Uncivilized consists of roughly drawn diary comics. What’s the difference between the diaries and the finished product for you?

BELL: Mostly I keep a diary every day. Then I’ll take one of those entries and turn it into a more refined story. I’ll stop keeping a diary while working on a story. And I would sort of lose the connection to the source of the story. I always have to break it down and go back to the roughest version, which is the diary. I go through cycles. Sometimes I don’t keep diaries at all because I get so absorbed in the one part of it. Or I’ll get this standard in my head where I think the diary has to be a refined story, to look like a the finished product. I always get to some point where it doesn’t have any spontaneity anymore, [laughs] so I have to let myself be bad at it again. Let it be boring and awkward and have no point again, to get back to the raw data of it.

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A special meeting of the NY Comics & Picture-story Symposium will be held on Wednesday,  April 26, 2017 at 7pm at Parsons School of Design, 2 West 13th Street, in the Bark Room (off the lobby). Free and open to the public. Please note: This is a Wednesday night event.

The Art of Political Cartooning in Palestine
Mohammad will discuss his craft, including his production methods and artistic choices, and his artistic influences and how he navigates the challenges of editorial cartooning in Palestine. He will discuss, accompanied by slides of his work, his own development as an artist and cartoonist – from how he started out, to how his techniques and style evolved over time.

Mohammad Sabaaneh is a Palestinian graphic artist based in Ramallah in the West Bank. He is the principal political cartoonist for Al-Hayat al-Jadida, the Palestinian Authority’s daily newspaper, and has published his work in many other newspapers around the Arab World. He is a member of the International Cartoon Movement, as well as the VJ Movement connecting visual journalists across the globe. Sabaaneh’s work has been displayed in numerous collections and fairs in Europe, the United States, and the Middle East. He won third place in the Arab Caricature Contest in 2013.

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Sophie Calle, from The Sleepers

Sophie Calle gets the full-on, super-slick, NY Times Magazine treatment over at the NY Times Magazine:

Though Calle works in a variety of media, she favors photographs with text, written or edited in her precise, detached style, with its poker-faced humor. Some projects live only in books, small works of art unto themselves. Her writing has long been acclaimed, her pictures not as much. That began to change in 2010, when she won the Hasselblad Award for her photography. And she is currently shortlisted for the Deutsche Börse Photography Foundation Prize (the winner will be announced on May 18) for 2016’s “My All,” a petite portfolio of postcards covering her entire oeuvre. Several of her most recent projects, with arguably her best pictures — including “Take Care of Yourself” and 2011’s “Voir la mer” — will be part of “Sophie Calle: Missing,” a major show in June, when Calle takes over four buildings at San Francisco’s Fort Mason Center for Arts & Culture, with parallel programs throughout the Bay Area curated by Ars Citizen.

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‘But the things I make paintings about, I don’t want to make zines about. And the things I make zines about, I don’t want to make films about. ‘
Justin Alvarez paid a studio visit to Anthony Cudahy a couple of years back:

You should be able to see a conflict in every painting. A lot of times, I’ll think I’m done with a work, but when I stand back, it looks so rendered and tight. If I realize that I didn’t learn anything from it, I’ll wipe the whole thing.

I don’t keep a sketchbook. I always thought there was something wrong, that I wasn’t a real artist because I didn’t like sketching. But the idea behind sketching is to experiment, and I like to experiment on the canvas itself. I also try to limit the color palette. I hate yellow as a color, but that’s not a good reason not to use it. Limiting color expands what you can do with the colors you’re using.

Anthony Cudahy, Patti, 2013, oil on canvas, 16″ x 20″.

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Paul Laffoley, The City Can Change Your Life, 1962

I think what happened to me on the night before I headed for New York City was a precognitive dream brought on by extreme anxiety of being “grand juried” out of the “Harvard Graduate School of Design” for “conceptual deviance.”

Kent Fine Art has a PDF available with work by Paul Laffoley from the 2015 exhibition, THE FORCE STRUCTURE OF THE MYSTICAL EXPERIENCE.

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A Cosmic Journey – 4-25-2017 – Cameron Arthur

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Suzy and Cecil – 4-25-2017 – by Sally Ingraham

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Joanie and Jordie – 4-25-2017 – by Caleb Orecchio

04/18/2017

Aaron here today with the Submission Deadline Reminder for RESIST! 2!; Video Steganography; Doig/Walcott; Met Slides at MFTA; Some X-men Stuff

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RESIST! Volume 2

“Women’s Voices Will be Heard!” is and remains our central slogan. So many of our values are being challenged, every recent news headline can be a starting point for resistance.
​Here are topics to spark your creativity: My Body, My Choice / If you think I’m a nasty woman, wait till I raise my daughter / Gay and Trans Rights / Build the Wall / Black Lives Matter /  Russia / It’s the Economy, Stupid / Lock him up! / The War on Science / Education and Democracy / Climate Change / Everyone is Welcome Here

RESIST! Volume 2 will still be short-run web on newsprint, but that issue will be digest/comic book size, 7.25″ x 10.5″.

​Anyone can submit comics or illustrated graphics to RESIST! though women and minorities are especially encouraged.

Images should be uploaded through the form to the left. They must be under 10mb, JPEG preferred (please no PDFs). We will contact you if we need a high-res. We cannot accept images sent via email.

If you have any questions, you can reach us at resistsubmission@gmail.com. We will not be able to respond individually to submissions. We thank you for your patience as we put Vol. 2 together.

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Keywords: Video steganography, Information hiding, Spatial domain, Transform domain, Adaptive steganography

Mennatallah M. Sadek, Amal S. Khalifa, and Mostafa G. M. Mostafa posted this PDF about communication concealment. Here is the abstract:
Steganography is the art and science of secret communication, concealing the very existence of a communication. Modern cover types can take many forms such as text documents, audio tracks, digital images, and video streams. Extensive research has been done on image steganography in the previous decade due to their popularity on the internet. Nowadays, video files are drawing much more attention. They are transmitted more and more frequent on internet websites such as Facebook and YouTube imposing a larger practical significance on video steganography. Information hiding in video has a variety of techniques, each of which has its strengths and weaknesses. This paper intends to provide an up-to-date comprehensive review on the various video steganographic methods found in the literature in the last 5 years. Furthermore, since security and robustness are very important issues in designing a good steganographic algorithm, some relevant attacks and steganalysis techniques are also surveyed. The paper concludes with recommendations and good practices drawn from the reviewed techniques.

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Two crafts converge in Morning, Paramin
At the New York Review of Books blog, Julian Lucas looks at the recent collaboration between painter Peter Doig and the poet Derek Walcott:

The stunning result is less a dialogue than a shared dream, Doig’s paintings a pilgrimage along which Walcott lights votive candles for all that he has loved. The unreal atmosphere resembles Italo Calvino’s Invisible Cities, Marco Polo narrating the oneiric empire of Kublai Khan. Walcott drifts between ekphrasis and personal reflection, often working in near sonnets that, like those of Midsummer (1984), demarcate a season in his life. It is old age, palpable in a disencumbered style (“My disenchantment with all adjectives/is deepening, a certain sign of age”), and discovering its footprints across a landscape where two lives, and two Caribbeans, blend. The poems are suffused with twilight, but the dominant register is celebration, delight in the fresh eyes of a painter whom Walcott addresses much as Shakespeare does the young man of the sonnets: with an injunction to preserve beauty in the world, to produce and reproduce, perhaps even to inherit.

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Reduce, Reuse, Recycle
James Barron at the NY Times covers the recent donation by the Metropolitan Museum of Art of its slide library to Materials for the Arts, and what MFTA was able to do with the slides:

Materials also commissioned five artists for an exhibition, and, unexpectedly, the two curators assigned to the project bridged the digital divide. One was Omar Olivera, 37, who remembers submitting a Kodak Carousel tray filled with slides of his work to get into Brooklyn College. The other, Hallie Bahn, 25, said she never had to use slides. By the time she arrived at Kenyon College in Ohio in 2009, slides were obsolete.

“These to me are archaic remnants of predigital life,” she said, sounding almost as if she were talking about remnants of prehistoric life. The Paleolithic types in France had their caves. Mid-20th-century photographers had their slides — and their Kodak Carousel projectors, to show them. (The exhibition will be on display at Materials for the Arts, on the third floor of 33-00 Northern Boulevard in Long Island City, Queens, until June 2.)


“Open Slides (TTMM),” by Jean Shin in collaboration with student participants in the exhibition, hanging in the video room. Credit Emon Hassan for The New York Times.

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Why Marvel Fired an Artist for Inserting Religious and Political Messages into an X-Men Comic
Over at the Hyperallergic blog, R. Orion Martin gives a rundown of the recent controversy involving the Indonesian artist Ardian Syaf and some coded religious references he put in an X-men super-hero comic:

The references themselves are so subtle that editors and audiences in the US failed to notice them. For instance, in a scene where the X-Men are playing baseball (perhaps the most wholesome category of standby X-Men scenes), the character Colossus is wearing a T-shirt that reads “QS 5:51.” Later in the comic, Kitty Pryde partially obscures a street sign that says “Jewelry” (in the comics, Pryde is Jewish), while a nearby sign reads “212.”

QS 5:51 refers to Surah 5, verse 51, a controversial passage of the Quran that, like certain Bible passages such as Leviticus 18:22, has special weight in a contemporary political context. The passage is interpreted in some contemporary translations to mean: “Take not the Jews and the Christians as leaders/advisors.” The verse’s meaning is a particularly sensitive issue in Indonesia, which has the largest Muslim population in the world.

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Dash Shaw wrote a piece for the Metrograph theater program book about watching Speed Racer on magic mushrooms. See what he has to say abut Speed Racer HERE!

The Metropraph theaters are playing Dash’s new movie My Entire High School Sinking Into the Sea across the country this week and for the next few weeks – go here for a complete list of showings and go see the movie!

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A Cosmic Journey – 4-18-2017 – by Cameron Arthur

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Suzy and Cecil – 4-18-2017 – by Gabriella Tito

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Joanie and Jordie – 4-18-2017 – by Caleb Orecchio

04/11/2017

Aaron here today with the INK BRICK Submission Deadline Reminder; Public Health Comics; EMISSARIES; How the petroleum and natural gas industries are reshaping the Colorado landscape; TEACHING STAFF FOR A SCHOOL OF MURDERERS

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Ink Brick logo by Paul K. Tunis

Submissions Deadline for Ink Brick no. 7

Hey friends! Submissions for INK BRICK no. 7 are due Sunday, April 16, 2017.

More details at inkbrick.com/submission

An interview with editors Alexander Rothman and Alexey Sokolin was conducted back in February by Alex Dueben over at the Beat blog:

Dueben: Alex, you wrote a manifesto of sorts in 2015 and there was a line in it that really jumped out at me: “art is an empathy engine.” I wonder if you could talk a little about that.

Sokolin:  I’ll jump in on the concept. Famously, the filmmaker Chris Milk has called virtual reality “an empathy engine” as well. I think it boils down to the fact that humans are a tribal, social animal. One of the things that separates from the apes is technology, and in particular the technology of language. Scientists think that the invention of language helped humans build mental models that they could then share with others, and then record those models on different media for connection more broadly. Today, we have many languages — from analytical ones (Excel), to engineering ones (Python), to informal spoken ones (English), to emotional languages (Art). Art, whether in music, virtual reality, or poetry, helps us transfer emotional content to others, to infect them with feeling. Comics poetry is special in this regard because it can focus on this space in between, the space of not looking at something directly, but feeling its hum and mystery. How else can you describe nostalgia, or memory, or regret. Comics poetry allows us to see from the corner of our eye something that may be too embarrassing or crude to put into any other language. Elsewhere, it would shatter and break. But here, it can be universally translated.

Rothman:  I mentioned above that I use broad definitions of “comics” and “poetry”—there are of course plenty of others. And one of my favorite ones is that a poem serves as a map to the poet’s thinking. It doesn’t just impart information to the reader; the act of reading actually recreates or walks one through another person’s thought process.

There’s obviously a lot of distance between individuals. We naturally have little sense of what other people are thinking, how they experience the world. And expressing ourselves is one of the few opportunities we have to try bridging that. For me, art’s most important function is helping us to inhabit other subjectivities—or really to translate them into our own.

Not to agree with or like others, necessarily, but to try to understand them. A lot of people hear a word like “empathy” and they think it means capitulation or weakness. That’s not the case at all. I think the election throws this into stark relief: our political system requires contestation of ideas, and it requires certain approaches to win out over others. But for argument to even be possible, we need some shared context, some agreement to basic terms. And we can see how things like cultural divides and confirmation bias are severely eroding that. Now, false equivalency is a real problem, too, and I’m not saying “both sides are wrong!” here. Just that when people inhabit fundamentally different realities, they have no productive options to resolve their differences.

Alyssa Berg, INK BRICK contributor

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Outbreak Responders
has a strip about epidemiology and immunization over at the Public Health Insider blog.

Meredith Li-Vollmer

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Ian Cheng at PS1

EMISSARIES is presented as a large-scale installation that transforms the gallery into a portal-like environment for Cheng’s simulations to build, generate, regress, and progress. The 10-foot-tall projections allow each simulation to unfold at life-size, positioning viewers as observers who can follow the lives of specific characters as they interact within the simulated worlds and each other in an ever-changing environment.

The exhibition is extended into the digital space through a collaboration with Twitch, a social video platform and community for gamers. Over the course of the exhibition, all three works in the Emissary trilogy will be available for viewing on Twitch in unique versions that exist online only. The Twitch live stream of these works will also be on view in the gallery space, highlighting the iterative nature of these works across platforms both physical and virtual. Available for viewing continuously at www.twitch.tv/moma, Emissary In the Squat of Gods will stream from April 9 to May 22, Emissary Forks At Perfection from June 6 to July 24, and Emissary Sunsets the Self from August 8 to September 25.

Ian Cheng

Alex Greenberger reviewed Cheng’s work last year at ARTNEWS:

Describing Cheng’s simulations can be a challenge. The characters in them look like computerized versions of real-life animals and humans, but, because Cheng is working with a video-game engine that keeps creating new combinations, the figures can smash into each other and break into overlapping geometric planes. Though what the work will do is left up to chance, Cheng has a narrative in mind before he starts working, and his works loosely follow it.

When I met him, Cheng had just returned from Zurich, where he had opened a solo show at the Migros Museum für Gegenwartskunst, and he was still jetlagged. Cheng had also recently overseen the installation of his simulation at the Hirshhorn, and another work of his had just gone on display in MOCA Cleveland’s “Stranger,” which surveys artists who depict humans in odd, new ways. All three shows opened in the past three months, and all speak to the way Cheng creates scenarios in which humans have to rethink their relationship to technology. What if software updates and new models aren’t the only way technology is evolving? What if technology is evolving us, rather than the other way around?

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T. Edward Bak

There’s Never Enough Oil
Over at the Nib, T. Edward Bak takes a long look at oil production in Colorado over time.

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Max Ernst at Paul Kasmin Gallery

The dadaist conceived the pieces (price on request) in 1967, a time in his life when he became fully
committed to sculpture, having dabbled in it throughout his career. Typically Ernst
ian
he was always
a
master of provocation
there’s a biting sense of humour here, from the wordplay to the overturning of
artistic convention. There is also an unsettling, anxious comment
ary on postwar European society,
embodying fears about authority and corrupt political surveillance that are perhaps as relevant now as
they were then.

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A Cosmic Journey – 4-11-2017 – by Cameron Arthur

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Suzy and Cecil – 4-11-2017 – by Gabriella Tito

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Joanie and Jordie – 4-11-2017 – by Caleb Orecchio

04/04/2017

Aaron here today with the Agony of Ben Katchor; NET ART; The Disappointment of Katie Fricas; BLUTCH; Thurber/Wegman, Wegman/Thurber; The Careful Massacre of the Bourgeoisie.

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Ben Katchor, from The Brazen Bull Corporation

‘a voice emanating from a Lower East Side automat.’
Ben Katchor in conversation with his Metropolis editor, Belinda Lanks:

I know people like to ask about what kind of pen I use, what kind of paper, like there’s a secret to this. I tell them, “You can sit at my table with the same pen and paper, and it’s not going to help you, because you didn’t work at figure drawing and storytelling for years.” You build up these skills. Just like somebody who makes chairs is more likely to make a great chair. When you do anything in a serial production, there are just these micro seconds of creativity, then the rest of it is just the craft of making the thing. There’s the workmanlike approach where you just say, “Here’s this thing I want to demonstrate.” I’ve practiced drawing for decades and know how to use language in some limited way, and I can put these together and make this plausible story or demonstration.

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NET ART
Rhizome.org has posted an anthology of internet art from the past 30-odd years:

This two-year online exhibition will present 100 artworks from net art history, restaging and contextualizing one project each week.

Devised in concert with Rhizome‘s acclaimed digital preservation department, Net Art Anthology also aims to address the shortage of historical perspectives on a field in which even the most prominent artworks are often inaccessible. The series takes on the complex task of identifying, preserving, and presenting exemplary works in a field characterized by broad participation, diverse practices, promiscuous collaboration, and rapidly shifting formal and aesthetic standards, sketching a possible net art canon.

From ‘A Cyberfeminist Manifesto for the 21st Century’, VNS Matrix (Josephine Starrs, Julianne Pierce, Francesca da Rimini, and Virginia Barratt), 1991

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The Casual Disappointment of Bjarne Melgaard
At the Hyperallergic blog, Katie Fricas voices/draws her reaction to the Bjarne Melgaard show at Red Bull Arts New York (220 W 18th Street, Chelsea, Manhattan) through April 9.

Katie Fricas, from The Casual Disappointment of Bjarne Melgaard

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Blutch

Blutch in NYC

The 183rd meeting of the NY Comics & Picture-story Symposium will be held on Tuesday,  April 4, 2017 at 7pm at Parsons School of Design, 2 West 13th Street, in the Bark Room (off the lobby). Free and open to the public.

Blutch on “A European Education.”

I am currently working on a book called Variations (Dargaud, September 2017), where I recreate a series of famous graphic novel sequences by great masters of European comics. This work forces me to ask myself questions regarding the ambiguous nature of sequential art.

Neither literary nor plastic, it is what Harold Rosenberg, referring to painting, once defined as an anxious object. How do we decode it? Where does it stand in our society? A graphic novel can receive a Pulitzer, cartoonists’ work is exhibited in great museums while the art establishment is still indecisive on weather to consider it a minor or a major art. Personally, I call my work ‘paradoxal literature.’

The pages that compose Variations follow each other with no beginning or end. Just fragments of stories that allow me to reach what I feel is hidden somewhere beyond the boundaries of my storytelling: sequential art as a brand new form of poetry. That is, a form of literature ‘to observe.’ Sculpted literature.

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No Maine is an Island

William Wegman & Matthew Thurber
Opening April 1, 7 to 10pm

William Wegman and James Thurber, together at last. What’s that? A filing clerk sent the invitation to the wrong Thurber. Too late to retract the invitation now. But when Wegman met Thurber he was crestfallen. That is, he dropped a tube of toothpaste into the toilet. I don’t know why they decided to meet in the bathroom. Maybe it seemed like gender-neutral territory. Foolish Thurber left some Wegmans too close to a scented candle and…whoops.

It seems they’ve started to copy each other’s drawings. To become the other’s ‘evil twin’…but let’s not be naive here!…a ‘good’ drawing? an ‘evil drawing’? No such thing exists…we all know that. We…did you close the chimney flue? You fool, don’t you know bad drawings can crawl down the chimney like bats, like leopards, like Wegmans and Thurbers???? There is however, possibly at this moment in your unattended studio washroom a witch, laughing at you in the mirror. Come on now…enough is enough. Are you being serious? Or are you just halving Fun?

“No Maine Is An Island” includes new call-and-response drawings by William Wegman (b.1943) and Matthew Thurber (b.1977), as well as a selection of Wegman drawings from the ’70s and ’80s. The exhibition remains on view, by appointment, through May 7.
 
Teen Party is located at 874 Greene Avenue, Apt 2A, in Brooklyn. 

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Stories-within-stories are the best kind of stories
Not ‘comics-related’ specifically, but Mr. Robot strikes me as a particularly ‘comic book-y’ show; this is the movie-within-the-show from the second season, The Careful Massacre of the Bourgeoisie. A reminder to us that these massacres of the bourgeoisie should be, above all else, careful.

Screenshot from The Careful Massacre of the Bourgeoisie

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Check out Portraits by Connor Willumsen. This magazine sized 16-page beautifully printed booklet (by WestCan – who also printed thee Santoro School Handbook) of portraits by the great Connor Willumsen is now available. Edition of 500.

Connor will be a special guest at the Pittsburgh Indy Comix Expo this coming weekend. If you’re in the region come meet him and other great cartoonists!

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A Cosmic Journey – 4-4-2017 – by Cameron Arthur

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Suzy and Cecil – 4-4-2017 – by Sally Ingraham

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Joanie and Jordie –4-4-2017 – by Caleb Orecchio

03/28/2017

Aaron here today with Samplerman; Alice Neel; Raymond Pettibon (in Conversation); MOCCAFEST 2017 Looms

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I have always chosen the DIY way to make my fanzines and minicomics: it is affordable and it mostly requires commitment and time.
Frank Young interviews Yves ‘Samplerman’ Guillo over on The Comics Journal:

[Frank Young] I would imagine you use Adobe Photoshop, or a similar computer program, to assemble your images. Does your creative process occur within those programs? Or do you make sketches or do other pre-planning before each image is assembled? Some “Samplerman” images seem extremely composed, while others have a feeling of spontaneity. The blending of these two opposites is a compelling factor in your work.

[Samplerman] The creative moment occurs mostly when I face the computer screen. I only make sketches when the computer is not on—when I take a walk with a paper and pen in my pocket, or when I have an idea related to structure or geometry for potential compositions. I am always thinking about some elementary geometrical manipulations, combined and applied to the samples. Squares, triangles and circles are everywhere. And I fear this is where my work could start being boring and repetitive—I could apply this to anything.

I try to keep a sense of movement in my work. Sometimes I feel the urge to break my composition, to destabilize the eye-scan and push it toward the next panel. I tend to use symmetry a lot when I start putting together a background and the elements. It’s somewhat satisfying but at the same time it paralyzes any feeling of movement. I usually end up distorting the symmetry I rely on. I try to give it a shake and extend the life of these unearthed objects in any way, like a mad scientist.

Samplerman

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Alice Neel, Uptown
Hilton Als has curated an exhibit of work by Alice Neel, at David Zwirner through 22 April:

…the first comprehensive look at Neel’s portraits of people of color, is an attempt to honor not only what Neel saw, but the generosity behind her seeing.

Alice Neel, Building in Harlem, c. 1945

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Raymond Pettibon in Conversation with Massimiliano Gioni
Thursday, March 30, 7pm at the New Museum

Join us for a special conversation between artist Raymond Pettibon and Massimiliano Gioni, Edlis Neeson Artistic Director of the New Museum, on the occasion of the survey “Raymond Pettibon: A Pen of All Work.” Gioni and Pettibon will discuss the artist’s storied trajectory over the last four decades, during which Pettibon has gained a reputation as one of the most influential and visionary living American artists. The conversation will take its cues from “Raymond Pettibon: A Pen of All Work,” which occupies the three main floors of the Museum and includes more than eight hundred drawings from the 1960s to the present, as well as a number of his early self-produced zines and artist’s books and several videos made in collaboration with fellow artists and his musician friends. Although Pettibon has been an unquestionably pivotal figure of American art since the 1990s, he has never before had a major museum survey exhibition in New York.

Raymond Pettibon, No Title (As he enlarged), 2009. Pen, ink, gouache, acrylic, and collage on paper, 38 1:4 × 38 3:4 in (97.2 × 98.4 cm). Private collection, London. Courtesy Sadie Coles HQ, London

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MoCCA 2017
The Society of Illustrators-sponsored, Museum of Cartooning and Comic Arts (MoCCA) Festival will be taking place this weekend, April 1-2,  at Metropolitan West, 639 West 46th Street, NYC. As with previous years, there will be some great panel discussions, organized by CW favorite Bill Kartalopoulos as well as satellite programming of events and activities.

Here are a few highlights from the Sunday programming schedule:

12:30PM / Helvetica Room
Teaching Comics Internationally
For much of their history, comics have been a self-taught discipline. Now students are learning how to make comics in a variety of academic environments, from dedicated schools to majors to minors to electives. This panel will bring together a group of international comics educators to discuss the programs they teach in and the different ways in which they approach teaching comics. Bill Kartalopoulos will lead a conversation with Jessica Abel (Pennsylvania Academy of the Fine Arts, US), Guillaume Dégé (Haute école des arts du Rhin, France), Ben Katchor (Parsons The New School for Design, US), and Merav Solomon (Bezalel Academy of Arts and Design, Israel).

2:00PM / Garamond Room
Rutu Modan and David Polonsky in Conversation
Israeli artists Rutu Modan and David Polonsky are both known for the excellence of their artwork and for their provocative approach to blending historical and current events into their imaginative works. Modan is best known in North America for her graphic novels Exit Wounds and The Property and for her short story collection Jamilti. Polonsky is best known in North America as the art director for the animated film Waltz With Bashir, directed by Ari Folman. He is also the illustrator of the graphic novel based upon the film. Modan and Polonsky will discuss their work with comics scholar and writer Tahneer Oksman (How Come Boys Get to Keep Their Noses?).

2:00PM / Helvetica Room
RESIST!
In the weeks between the 2016 Presidential election and the 2017 inauguration, Françoise Mouly and Nadja Spiegelman edited RESIST!, a newsprint anthology of comics and cartoons, mostly by women. 58,000 copies of the newspaper were distributed for free by a grassroots network of volunteers during the Women’s Marches in Washington and across the country. RESIST! used online networks to solicit contributions and in the process became a new kind of hybrid platform: both an ongoing online forum for urgent expression by diverse voices and a print publication that has its roots in the Sixties underground press. In this special session, Mouly and Spiegelman will discuss the development — and the future — of RESIST!

3:30PM / Garamond Room
Anthologies as Art: Kramers Ergot and Lagon
The great anthologies of comics history — Zap, Weirdo, RAW, and others — have both made an assertion of comics’ aesthetic ambition at a certain time and place while functioning as a personal expression by each series’ editors. Sammy Harkham is the editor of Kramers Ergot, the anthology which, since 2003, has generated excitement with each volume as a strong statement about contemporary art comics in North America. Alexis Beauclair is the co-editor of Lagon, which debuted in 2014 as a risographed encapsulation of French avant-garde comics, and has metamorphosed with each volume leading to the latest, Gouffre. They will discuss their work as artists and editors with Bill Kartalopoulos.

There will (presumably) be comics for sale at this show, along with the requisite prints, stickers and tote bags. Maybe there will be some more t-shirts for sale this year as well? Come on out to the far west side this weekend and take a look!

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A Cosmic Journey – 3-28-2017 – by Cameron Arthur

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Suzy and Cecil – 3-28-2017 – by Gabriella Tito

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Joanie and Jordie – 3-28-2017 – by Caleb Orecchio

03/21/2017

Aaron here today with Sikoryak; Feiffer/Eisner; Drawing Lessons with Victoria Lomasko; Intensive Publication Intensive; Till Doomsday; Fit to Print.

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R. Sikoryak

‘Other than that, there’s very little in the book that has any connection, visually, to the text.’
Rachel Davies interviewed R. Sikoryak on the occasion of the release of Sikoryak’s Terms and Conditions collection:

RD: Both of your most recent projects—Terms and Conditions, and the Unquotable Trump—were first realized online. How does your attitude toward a work change when transitioning it from the internet to something tangible?

RS: It’s funny, they were first seen online, but the iTunes project started as a mini comic. I published the first two parts of the iTunes book in April 2015, and I published the second two parts, the finale of the iTunes book, in September 2015. I had been selling them at conventions, and I’d been distributing them a little bit online through a mini comics distributor called Birdcage Bottom, I had gotten them out a little bit and I showed the mini comics to Françoise Mouly, and she said, Oh, you should put these on Tumblr!  I did that, and then I sent out an email to everyone I knew in the world, and said, Im doing this thing! The minute I sent out that email, this was like 20 or 30 days after putting it on Tumblr, the day I sent that email, Boing Boing had done a story, NPR called me to do an interview, The Guardian, all these other places came in, and started writing about it. I tip my hat to Françoise for knowing enough about the internet to tell me to use it. I kind of like to know what my work is before I release it to the world, like the iTunes book, I put out the first mini comic after I’d finished the first half of it—I wanted to stake my claim to it, but I’d already done like 35 pages.

By the time I put it on Tumblr I was done, and I was really astounded by the response. I don’t know if it would have been more paralyzing to have seen all those people be very excited about it. It was a little startling to see how fast it clicked in with people. With the Trump book, again I made a mini comic, but this time I already knew I was going to start putting it on Tumblr. But I did make all of it, 16 pages, and I published the comic—published, I photocopied it, and then I put it on Tumblr. The response to that was so great that I was encouraged to make more. In this case, for Trump now [The Unquotable Trump], I’m making images, and posting them on Tumblr, and in some ways I’m certainly open to suggestions, people have [messaged me], Oh, you should do this or that! But most people don’t have it all thoroughly worked out, so you end up just having to do what you’re doing. I’m certainly keeping my ear open if anyone has any ideas. In the Trump case, I kind of have my approach, and I’ve mapped out where I’m going, but who knows what he’ll say tomorrow! He’s a different case because the iTunes thing is a living document, they do update it, but he’s a living human, and a volatile one, so I don’t know what he’s going to do next. I’m happy if he stops giving me material! I don’t need anymore, but we’ll see what happens. I have to admit, I’m really glad that Françoise suggested Tumblr to me, it’s definitely increased my visibility. I don’t know what I’ll do next online, but I might post my next project there. It is part of what comics are now, and I hadn’t embraced it before. I feel like the iTunes thing in a lot of ways has just made me think about how comics work, and how I can make comics in a new way. I also think that’s what I’m all about is thinking about comics, so it’s definitely achieved way more than I expected it would! – via The Comics Journal

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Will Eisner, The Plot: The Secret Story of The Protocols of the Elders of Zion

Jules Feiffer Honors Will Eisner at 100: A Will Eisner Week Event
The 182nd meeting of the NY Comics & Picture-story Symposium will be held on Tuesday,  March 28, 2017 at 8 pm at Parsons School of Design, 2 West 13th Street, in the Bark Room (off the lobby). Free and open to the public. Please note 8 pm starting time! 

Will Eisner (1917-2005) innovated and pioneered comics in two different eras. Eisner helped invent the comics industry in the 1930s and created The Spirit in the 1940s as a heroic crime-fighting figure who appeared in a Sunday newspaper comics insert. The Spirit walked through a world of noir-inflected, urban drama, one suffused with humor and insight into the human condition, a world not afraid to essay the occasional Yiddish in-joke or Bronx social drama vignette.  Then after producing comics for training and education, Eisner, in 1978, re-invented himself―and the medium of comics―with his first graphic novel, A Contract With God, followed, until his 2005 passing, with many additional graphic novels and textbooks.

From 1946 until The Spirit’s end in 1952, Eisner counted as part of his close-knit, talented staff, a precocious teenager named Jules Feiffer, who worked on The Spirit and Clifford for Eisner, and also took on the self-appointed role of Eisner’s social conscience and resident smart-ass. In the years since, Feiffer’s own multifaceted career as satirical cartoonist, screenwriter (Carnal Knowledge), playwright (Little Murders) and children’s book author (The Man in the Ceiling)―and most recently, creator of his own trilogy of graphic novels (so far Kill My Mother and Cousin Joseph have been released, with the third volume in the works)―has blossomed in a unique and spectacular manner. But he did get his start with Will Eisner, with whom he was friend and colleague―and admirer―through the rest of Eisner’s life.

Tonight, Jules will speak about his experience working for Eisner, what he learned from him and how Eisner influenced his own work, and why Eisner, a century after his birth, is still an important figure in the past, present and future of comics and graphic novels and in our culture as a whole. Jules will speak and present via Skype, and will be joined by in-person panelists, including Paul Levitz (author of Will Eisner: Champion of the Graphic Novel) and Danny Fingeroth (co-editor of The Stan Lee Universe and Chair of Will Eisner Week).

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On the outside, I drew cartoon characters.’
Other Russians, by Victoria Lomasko, excerpted at n+1:

In August 2010, I visited the Mozhaysk Juvenile Prison for the first time, as a volunteer for the Center for Prison Reform, and gave a drawing lesson to some of the inmates. I taught drawing classes at the girls’ penitentiaries in Novy Oskol and Ryazan and the boys’ penitentiary in Aleksin, but Mozhaysk is the only place I visited more or less regularly. I was originally trained as an educator, and before I came to Mozhaysk I prepared an experimental syllabus with ten lesson plans.

There was almost no funding for the trips. We traveled by commuter train, carrying everything we needed for classes in our backpacks, so, with rare exceptions, we used the simplest materials during the lessons: paper and black pens. The Center organized the trips once a month. If you missed a trip, you had to wait for the next time around.

There is a constant turnover of inmates at the juvenile prison. Some are released on parole, others are transferred to adult prisons, and new inmates show up all the time. Over a six-month period, the roster of my drawing groups changed completely.

Some of the teens were well educated, while others were hearing everything for the first time. Many of them had psychological problems. In short, teaching classes at a penitentiary was tricky: you had to experiment and develop your own lesson plans.

“We’re fighting a plague! We’re fighting the entire Russian narco-mafia.” by Victoria Lomasko

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Publication Intensive at Triple Canopy: July 19-30, 2017

Triple Canopy is pleased to announce its fourth Publication Intensive, a two-week program in the history and contemporary practice of publication. During the Publication Intensive, Triple Canopy editors and invited artists, writers, and technologists will lead discussions and workshops with twelve participating students, who will research, analyze, and enact an approach to publication that hinges on today’s networked forms of production and circulation but also mines the history of print culture and artistic practice. The program will take place at Triple Canopy’s venue in Manhattan, and will include visits to studios of artists and designers, archives, and cultural institutions.

Apply online through 11:59pm on Monday, April 17 2017. Participants will be notified no later than Friday, April 21. If you have further questions, please write edu@canopycanopycanopy.com. Read a conversation between participants in 2014’s program here.

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TILL DOOMSDAY

Coming up on March 30th: John Malta & Siobhan Gallagher launch new doomsday anthology zine and Desert Island window installation, and Ezequiel García visits from Buenos Aries to sign his Fantagraphics book “Growing Up In a Public”. One big event Thurs the 30th at 7 pm! Come hang and meet the artists.

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FIT TO PRINT

Fit to Print brings together a selection of art and editorial illustration created by 17 graduates of the Haute école des arts du Rhin (H.E.A.R.) in Strasbourg, one of the preeminent art schools in France. First presented at the Tomi Ungerer Museum in Strasbourg from January–April 2016, the exhibition debuts in New York in two parts — one at the Society of Illustrators, and another at The New York Times.

Since 2012, The New York Times’s Opinion section has commissioned more than 100 illustrations from H.E.A.R.-educated artists to accompany a wide range of articles, or “All the News That’s Fit to Print,” in the words of the famous Times slogan. These artists caught the art directors’ attention with their excellent drawing and printmaking skills, strong sense of visual storytelling, and an often surreal, poetic approach to composition and concept.

On view here is a selection of the artists’ personal and collaborative projects, primarily created for galleries or self-initiated publications. The exhibition continues at The New York Times with a collection of the artists’ commissioned illustrations. My hope is that these two shows demonstrate the power of editorial illustration, not only in its functional role as visual communication, but also as a unique form of fine art.

– Alexandra Zsigmond, curator and art director at The New York Times

Fanny Blanc

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Among many interesting offerings on the CW School Store is this set of comics (above) by Jake Terrell and GG – check it out here and explore the rest of the site while you’re there!

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A Cosmic Journey – 3-21-2017 – by Cameron Arthur

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Suzy and Cecil – 3-21-2017 – by  Gabriella Tito

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Joanie and Jordie – 3-21-2017 – by Caleb Orecchio

03/14/2017

Aaron here today with Gloeckner/Gfrörer; Mirror Mirror 2; Thi Bui; Felat Delibalto; Anti-fiction, Anti-story; RIP Gustav Metzger

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Theodicy, Julia Gfrörer

Why are we talking about me, anyway? Let’s talk about you!
Phoebe Gloeckner interviewed Julia Gfrörer at the TCJ blog, lots of good stuff to read and think about:

GLOECKNER: The general neutrality of their appearance makes it seem all the more normal. You could project anything onto those people.
GFRÖRER: This gets back to what to what we were talking about earlier, about how you don’t have a perception of yourself as a unique individual. To you, you’re the default, and everyone else is some weird variation on that.

Right, and interesting, therefore.
The idea that the neutral body is a thin, white body. That’s very political.

It is.
There is no neutral default body.

There is none.
That’s culturally constructed as the default.

But it feels like, in your work, like you’re neutralizing those bodies, somehow.
Yeah. Because that’s my relationship to it. That’s the body that I have. It feels neutral to me. It’s not something that I have moved outside of, because I feel so consumed by the puzzle of my own body.

If it feels neutral to you because you’re housed in the same sort of casing as your characters, then does that subtract the political meaning from it? That’s what artists do. They project themselves —
I think the political action in my work is that I want to show women as actors, rather than a receptive or decorative object.

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horror / pornography / the Gothic / the abject
Additionally, Gfrörer has co-edited (with Sean T. Collins) the 2nd issue of 2dcloud’s Mirror Mirror anthology:

featuring new comics and drawings by

Lala Albert / Clive Barker / Heather Benjamin / Sean Christensen / Nicole Claveloux / Sean T. Collins / Al Columbia / Dame Darcy / Noel Freibert / Renee French / Meaghan Garvey / Julia Gfrörer / Simon Hanselmann / Hellen Jo / Hadrianus Junius / Aidan Koch / Laura Lannes / Céline Loup / Uno Moralez / Mou / Chloe Piene / Josh Simmons / Carol Swain

Clive Barker

Available via 2dcloud’s Kickstarter for its Spring Collection.

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Thi Bui, from The Best We Could Do

‘I learned about America mostly through books and TV.’
Robert Kirby reviews Thi Bui’s illustrated memoir, The Best We Could Do:

With the issue of immigration currently hitting full boil stateside, the 2017 publication of The Best We Could Do couldn’t be more timely, or more welcome. Bui’s story movingly puts a human face to new arrivals to our country, illuminating the background of their lives and struggles. Contrary to the rhetoric of the most reactionary U.S. right-wing factions, immigrants are people, not statistics–more than the sum of their homelands, more than the color of their skin. Bui depicts, with unsparing candor, the multiple traumas associated with being forced out of one’s country into the unknown.

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Turkey Has Imprisoned a Political Cartoonist for Over 120 Days
Felat Delibalta via the Nib.

Felat Delibalti

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‘…to create a concentrated emotional impact’
Ethan Joella has some thoughts (37 of them!) on short fiction:

9 One way to flout the rules of the traditional short story has to do with length. As Philip Stevick puts it, “how short can a story be?”10 Pieces that are less than the usual length, usually referred to as “flash fiction” or “short shorts,” were originally viewed as inferior, inadequate. Critics seemed to feel as if length were a prerequisite for quality. In Stevick’s words, those stories were “likely to strike discriminating readers as gimmicky, tricksy pieces of commercial fluff whose shortness is possible only because of the slickness of their construction. How short can a serious fiction be? As short as one likes? That’s too easy an answer. A fiction must be long enough to display the art and craft of its writer, his own vision, his voice, his power. The minimal story, in fact, is an experiment no less audacious than the others.”11

10 The short but powerful story “Taboo” by Enrique Anderson Imbert is a mere snippet of a story. Only five sentences and four paragraphs long, it must have appeared to critics as a fraction of something real, an evasion of seriousness. The central character, Fabian, is warned by his guardian angel not to say the word doyen. Fabian repeats the word as a question, and the last sentence of the story reads: “And he dies,”12 a poignant climax. The value of this story actually lies in its simplicity, its directness and sharp detail.

11 Jamaica Kincaid is a groundbreaking writer. Her story “Girl,” for example, transfigures traditional fiction by toying with form. This particular story, less than three pages long, is written in only one long sentence. The piece is a series of phrases and exclamations separated by semicolons and linked by dashes: “… this is how you set a table for lunch; this is how you set a table for breakfast; this is how to behave in the presence of men who don’t know you very well, and this way they won’t recognize immediately the slut I have warned you against becoming; be sure to wash every day, even if it is with your own spit….”13

12 Resembling a process-analysis instructional essay, “Girl” pithily conveys the lukewarm, peremptory sentiments of a cynical mother barking orders to her daughter so she will, in some way, succeed in life. Each word seems to be chosen vigilantly for maximum effect; each exclamation is pieced together like an intricate quilt.

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Keystone/Hulton Archive/Getty Images

‘a desperate last-minute subversive political weapon … an attack on the capitalist system … an attack also on art dealers and collectors who manipulate modern art for profit’
Artist Gustav Metzger has passed away at age 90.

Mr. Metzger discovered his ideal medium for auto-destructive art with a form of action painting. Wearing a gas mask and protective goggles, he gave a dramatic demonstration of his work in the 1960s, spraying hydrochloric acid on nylon, which melted, curled and shredded into tatters. He executed the work at an outdoor site in London, revealing St. Paul’s Cathedral in the distance through acid-burned holes.

“Auto-destructive art was never merely destructive,” he said in 2012. “Destroy a canvas, and you create shapes.”

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We are diving into a busy 2nd year of the Comics Workbook Rowhouse Residency!

Interested in joining us for a week or more? Email santoroschool@gmail.com to learn how to apply. There are still openings in May, with a wait list available for the summer months. After a break for show season we will be picking up scheduling once again in late October. 500 bux for a week and a life-changing experience.

Read some of our Residency Reports HERE. Email santoroschool@gmail.com for more info.

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A Cosmic Journey – 3-14-2017 – by Cameron Arthur

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Suzy and Cecil – 3-14-2017 – by  Sally Ingraham

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Joanie and Jordie – 3-14-2017 – by Caleb Orecchio

Cozytown – 3-14-2017 – by Juan Fernandez

03/07/2017

Aaron here today with CHOICES; Squid Maps; Stuck in the Middle; Terms & Conditions; Shaw Screening at SVA.

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Over at try harder, Carrie Jones takes another look at the 1990 anthology, CHOICES: A Pro-Choice Benefit Comic:

White supremacism, economic injustice, incest, suicide, and religious persecution all make appearances in CHOICES. Re-reading this book has been an unpleasantly surreal experience. 27 years have gone by since its publication and women are still fighting to be seen as human beings. It’s frightening to see how fragile the gains made are.  As a personal touchstone, the book reminds me of the special power of comics to convey complicated stories in an accessible way. As an artifact, CHOICES is a stark reminder to take nothing for granted.

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Serio-Comic War Map For The Year 1877
Donna Seger at streetsofsalem posted a few years back about octopus propaganda maps from the 19th-20th centuries:

1870 marks a turning point in European and world history with the unification of Germany (as well as Italy):  Europe was now “filled out” and further territorial ambitions could only be satisfied by global imperialism and/or war.  The maps from this time forward reflect this jingoism and fear, but anthropomorphic satire dulls the edge. One of the first major octopus maps, Fred Rose’s “Serio-Comic War Map For The Year 1877” shows Russia as the octopus-aggressor rather than Germany, even though the Crimean War had revealed the severe weaknesses of the Russian Empire (this is reflected on the map below by a wound on one of the octopus’ tentacles–that which is located in the proximity of the Crimea). From the British perspective that this map represents, it’s a bit early to portray Germany as the aggressor, and so Russia becomes either the ferocious bear or the reaching octopus.

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CBLDF Interviews Ariel Schrag
Betsy Gomez at the Comic Book Legal Defense Fund spoke with Ariel Schrag about the anthology she edited, Stuck in the Middle, being challenged for removal from a school library in Oklahoma City, Oklahoma, U.S.A.

[CBLDF]: What would you say to parents who consider some of the subject matter of Stuck in the Middle inappropriate for their middle school-aged kids to read?
Ariel Schrag: Every parent has the right to monitor his or her child’s reading (or TV watching, or movie watching, etc.), and if you don’t want your child reading Stuck in the Middle, I completely respect that choice. However, there’s a big difference between making that choice for your child and making it for every child, which is what banning the book does.

My intent in editing this book was to help children who might be experiencing some of the things the characters in the book experience — bullying, rejection, acne, depression, etc. — feel less alone. These ‘messages’ are expressed through art and humor to make them more accessible and fun. In terms of foul language, sexual content, and teen smoking in the book, all the authors strove to present the teens and pre-teens in a realistic light. We may not like all of the decisions teenagers make, but if we sanitize their speech and behavior in our stories, our characters won’t be authentic. Real teens and pre-teens sometimes use these words and say and do these things. A book like this can present a good opportunity for dialogue between children and parents. Banning the book isn’t going to change children’s behavior or somehow save them from the hard truths of teenage life — I find it very hard to believe that a child would hear a swear word for the very first time in the book or that he or she would be made aware that teenagers sometimes have sexual relationships or smoke cigarettes. The only thing that can make an impact in the way children act is communication, and this book provides a platform for that.

What would you say to students in Mid-Del School District who want to read your book?
Thankfully, it is available in public libraries and for purchase at stores or online.

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Terms and Conditions: the bloviating cruft of the iTunes EULA combined with extraordinary comic book mashups
Cory Doctorow reviews R.Sikoryak’s iTunes Terms & Conditions collection:
In his end-notes, Sikoryak notes that he didn’t try to match the language to the action in the panels, drawing his pages first then shuffling them and flowing the text into them. What’s interesting (and revealing) is how often there is some weird confluence between the text and the pictures, and this says something important about the Terms and Conditions Sikoryak is lampooning.

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“My Entire High School Sinking Into the Sea” Screening with Director Dash Shaw
Thursday, March 16, 7-10pm
SVA Amphitheater, 209 East 23rd Street, 3rd floor, NYC
Free and open to the public.

Dash Shaw will introduce the film and Cartooning Coordinator Jason Little will interview him following the screening.

Poster image courtesy of gkids.com.

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The Spring Semester of the Santoro Correspondence Course for Comic Book Makers starts today! There is a rolling start date for this semester of the course, so we will continue taking applications beyond this date. There are a few spots left – just apply!

The course is 8 weeks long – 500 bux – payment plans are available.

More details can be found HERE – or email santoroschoolATgmail to apply.

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A Cosmic Journey – 3-7-2017 – by Cameron Arthur

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Suzy and Cecil – 3-7-2017 – by  Gabriella Tito

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Joanie and Jordie – 3-7-2017 – by Caleb Orecchio

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Cozytown – 3-7-2017 – by Juan Fernandez

02/28/2017

Aaron here today with Whit Taylor Comics; PaperJazz; LA Times Book Prize Finalists (Comics Category); Pete Toms Gets Reviewed; Another Look at Matthew Thurber; Horvitz/Provan in Conversation; Congrats to INK BRICK

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What is Race? Just the Facts.
Whit Taylor has a comic about race and its perception throughout history posted at the Nib.

Whitney Taylor, from What is Race?

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Poster by @adactivity; Typography help by @1990-present

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Graphic Novel/Comics of Note (in Los Angeles, California)
The Los Angeles Times has released its list of finalists for their annual book prize awards, with a strong list of contenders for the ‘GRAPHIC NOVEL/COMICS’ category:

“Beverly” by  Nick Drnaso
“The Artist” by Anna Haifisch
“Don’t Come in Here” by Patrick Kyle
“What Is Obscenity” by Rokudenashiko (translated by Anne Ishii)
“Demon: Volume 1” by Jason Shiga

From Anna Haifisch’s ‘The Artist’

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Pete Toms, from Dad’s Weekend

A Comic Whose Characters Swim in Apathy and Cynicism
At Hyperallergic, R. Orion Martin digs in to Pete Toms’s Dad’s Weekend, published by Hic and Hoc:

Every middle-aged character in the book except for Manny seems to be in a state of resigned existential crisis. One middle-aged woman interrupts Manny to tell him about a realization she’s had,

          Once you unpack, you’re left with an empty suitcase. What’s at the foundation of who you are? Animal instincts? Some shit your parents               said to you when you were a toddler? It’s all so simple and unimportant. I had this dream where I hung myself with my own DNA strand.

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‘The pre-production of Cremaster 3 is kind of just rolling along without me.’
Sally and Juan linked to this Max Morris/Matthew Thurber interview last week, but I wanted to take another look at it, especially this part from the start of the Q&A:

Max Morris: Back in 2014, you wrote this article for The Comics Journal Website , “Letter to a Young Cartoonist”, that stirred some controversy at the time. A bulk of the article dealt with the ramifications of posting comics work on Tumblr and Social Media, among other issues of challengers to the new generation of comics artists. This was in a time when that felt like the primary way to see new work being made by current creators. A little under 3 years after you posted that article, a lot has changed.  Looking back at this article, what words do you have to say to the young cartoonist today?

Matthew Thurber: I feel more than ever that printed media contains autonomous power that is almost magical. All internet publication is embedded in and framed by another corporation. With print, as soon as it flies off the press it belongs, like the land, to “you and me”. The disturbing thing about social media is they change the terms of publication from one of total freedom, to one where you are being allowed to express yourself. Because they grant it… they can take it away. Social media echo chambers are destructive: look at what they have helped to do in terms of ripping our country in half, replacing everything with a simulation of reality. Is that what you mean by “a lot is changed”? We’re opting into 1984 because it feels good. It’s so seductive to feel like you’ve done something in pseudo-reality.  We need to learn to live without the internet, to distribute artifacts in physical space, to know how to talk to each other again. It is so much more meaningful and beautiful.  And guess what??? I’m part of the problem because I’m on INSTAGRAM (@mtshelves)! What a miserable hypocritical worm!!!! And the worst part is….I LOVE it! I love the ego pampering attention and the immediacy despite my complete conviction that it sucks!

Matthew Thurber, from Art Comic

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David Horvitz, Somewhere in Between the Jurisdiction of Time (detail), 2014, document sent to the United States Secretary of Transportation to indicate how and to where the time-zone line had been moved.

Ask the Stone to Say
Via Triple Canopy, David Horvitz and Alexander Provan discoursing on time, space, discourse, discoursing:

Horvitz’s work as an artist often suggests how to live outside the bounds of time, how to recover forms of experience that are rooted in natural rhythms and not the dictates of international bureaucracies. “A lot of people are into yoga and meditation, but I see those as ways of relaxing your mind and body so that you can continue to work efficiently and productively, at absurdly accelerated rates,” he says. “I’m interested in forms of meditation that cultivate the enjoyment of time, that oppose efficiency, that make you miss every deadline.”

Horvitz and Provan cover ancient Egyptian astrology and atomic clocks, the auditory landscapes of nineteenth-century villages and the contemporary landscapes offered by geostationary satellites. They find the origins of Brexit in the imposition of the Gregorian calendar (“European-elite time”) on the British in 1752, which vanquished eleven days and gave rise to a protest slogan after Boris Johnson’s heart: “Give Us Our Eleven Days.”

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INK BRICK’s crowd-funding goal for it’s 8th issue was met with some time to spare, so congratulations to them. The new book has a great list of contributors, and frequent readers of this news-blog will see some of their favorite cartoonists/people involved:

 Vidhu Aggarwal | Alyssa Berg | Warren Craghead | Erin Curry | John Hankiewicz | Keren Katz | Mark Laliberte | Matt Madden | Paul Madonna (cover) | Alexander Rothman | Alexey Sokolin | Bishakh Som | Deshan Tennekoon | Andrea Tsurumi | Paul K. Tunis | Andrew White | Sophia Wiedeman | Shahar Sarig

More info, as well as details about their ‘Stretch Goals’, are noted on their Kickstarter page.

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The Spring Semester of the Santoro Correspondence Course for Comic Book Makers is starting soon!

The semester has a rolling start date, but it will officially kick off on March 7th. We will continue taking applications past that date – Frank is always willing to make it work for your schedule. Just apply!

The course is 8 weeks long – 500 bux – payment plans are available.

More details can be found HERE.

Email santoroschoolATgmail to apply

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A Cosmic Journey – 2-28-2017 – by Cameron Arthur

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Suzy and Cecil – 2-28-2017 – by Sally Ingraham

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Joanie and Jordie – 2-28-2017 – by Caleb Orecchio

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Cozytown –2-28-2017- by Juan Fernandez 

02/21/2017

Aaron here today with Ana Galvañ, Ethnographic Cartooning (in VT), New Dirty Diamonds, Trailer Park Comics, Martz/Orwell, PaperJazz Poster Showcase Extravaganza, Raymond Pettibon, Dan Archer on 3 Years After ‘The Maidan War’

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Ana Galvañ, from Hoodo Voodoo

“I’m interested in the uncertain human behaviours, in fear, in loneliness, and in strange beauty”
The AIGA Eye on Design blog profiles
Spanish cartoonist Ana Galvañ, and the webcomics platform she created, TIK TOK:

Tik Tok publishes each comic series by episodes to keep readers coming back, to cultivate a relationship between its writers and readers, and to encourage illustrators to continue penning personal work. “Our philosophy is about taking risks,” the founder emphasises. “We publish stories that look past the limits of the representational.” It’s on this site where I first discovered Galvañ’s mesmerising and quietly disconcerting comics—in her panels, a riot girl sensibility seems to meet the perspective-bending world of Borges.

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El viaje más caro/The Most Costly Journey

The Most Costly Journey (in Spanish, El viaje más caro) is an ethnographic cartooning project that employs collaborative storytelling as a tool to mitigate loneliness, isolation, and despair among Latin American migrant farm workers on Vermont dairy farms.

The Most Costly Journey is a collaboration between the Open Door Clinic, Vermont Folklife Center, UVM Extension Bridges to Health, UVM Anthropology, and Marek Bennett’s Comics Workshop.

The project is supported by the Vermont Community Foundation Innovations and Collaborations grant and other generous supporters.

Featuring work (translated into English and Spanish) by Marek Bennett, John Carvajal, Iona Fox, Kevin Kite, Michelle Sayles, Michael Tonn, Rick Veitch, Tillie Walden.

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Dirty Diamonds: An All-Girl Comics Anthology Open Call for Submissions

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Short Run Trailer Blaze Residency Application Information

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John Martz’s George Orwell’s Twenty Seventeen

John Martz, from George Orwell’s Twenty Seventeen

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PAPERJAZZ: A POSTER SHOWCASE
At Pioneer Works, 159 Pioneer Street, Red Hook, Brooklyn

Featuring work by:
1) Chris Simon
2) Mike Taylor
3) Matt Thurber
4) Jack Reese/Andrew Alexander
5) Katbus Brawl
6) Slow Youth
7) Jenny Zych
8) Nuts! Fanzine
9) KJ Martinet
10) Ben Urkowitz
11) Sarah Crowe
12) JinHee Kwak
13) Aniahs Gnay
14) Sessa Englund
15) Lala Albert
16) Metropolarity
17) Ø.K.Fox
18) Blind Arch
19) Lale Westvind
20) Caroline Paquita
21) Ilana Blady
22) Sakura Maku
23) Randon Rosenbohm
24) Matthew Van Asselt
25) &
26) Hazel Newlevant
27) Annie Mok
28) Holly Simple
29) Gonzalo Guerrero
30) Meghan Turbitt
31) Nick Amara
32) Robert Richburg
33) Kayley Berezney & Cait Davis
34) Marcela Szwarc

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Rayond Pettibon: A Pen of All Work at New Museum, February 8-April 9, 2017

Raymond Pettibon, “No Title (James Joyce Ulysses),” 1995.

From the beginning of his career, Pettibon has employed drawing and writing in tandem to connect radically distinctive cultural forms—from movies and literature to comics and TV—and pieces of narratives from throughout history and culture. His visual universe is populated by the ghosts of the last century of American history, including such disparate characters as Charles Manson, Gumby, Superman, and Ronald Reagan. Pettibon hints at familiar and forgotten narratives in his work, while using an expressive approach to color, line, and gesture in order to provoke complex emotional states. Whether his work is addressing surfing, baseball, war, or family, or channeling the voices of John Ruskin, Henry James, or Allen Ginsberg, it manages to suggest both personal and universal perspectives on our shared cultural experience.

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Dan Archer, from Ukraine’s Revolution, Three Years On

‘Or overshadowed completely by the war that soon followed.’
At the Nib, Dan Archer takes an expansive look at Ukraine 3 years after its revolution, and where things stand now, geopolitically.

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Announcing the Spring Semester of the Santoro Correspondence Course for Comic Book Makers!

Frank here: This semester has a rolling start date – it will officially start March 7th but I will continue taking applications past that date. I will make it work for your schedule. Just apply!

Applications received by February 26th will get 100 bux off!

The course is 8 weeks long – payment plans are available.

Many more details can be found HERE.

Email santoroschoolATgmail to apply

 

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A Cosmic Journey – 2-21-2017 – by Cameron Arthur

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Suzy and Cecil – 2/18, 2/19, and 2/21/2017 – by Sally Ingraham and Gabriella Tito

Suzy and Cecil is published every day, including weekends. We decided to share the two weekend strips along with today’s as they have an overarching storyline. Keep up with the strip on the weekends via Instagram – @suzy_and_cecil! (Click on the image above to see the strips larger.)

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Joanie and Jordie – 2-21-2017 – by Caleb Orecchio

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Cozytown – 2-21-2017 – by Juan Fernandez