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Posted in NewsTagged little dot, pix 2018, sally ingraham, sara lautman, sarah nicole prickett, Trina Robbins, ulli lust, ursula k. le guin, vanessa davis

Sally Ingraham

Posted on February 1, 2018February 2, 2018

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01/15/2018

Caleb OrecchioJanuary 15, 2018NewsCaleb Orecchio here with thoughts on Dash Shaw’s Spider-Man story from Strange Tales II, and more news.————————————————————————————————— Last week I talked a bit about Dash Shaw’s Doctor Strange comic from the first volume of the indie-cartoonist-superhero-anthology, Strange Tales. This week I was thinking about his Spider-Man comic for Strange Tales II. A meta, meditation on the Sam Rami movies, with a quote from Toby Maguire about his famous upside-down kissing scene with Kirsten Dunst at the end. This idea runs parallel with a Spider-Man v Mysterio fight with the latter using his “vapors of deception! Deceit!” I enjoy this comic as much as I enjoy all Dash Shaw comics. Shaw is usually not without something to say in his work: Spider-Man is on “some kind of elaborate film stage,” trapped by Mysterios deceitful fog until he finds his way out and falls into “Garbage! That’s where the spiders thrive!” Out of the theater and into the trash where he belongs. Where Spider-Man is best. I like this comic because Shaw is “selling out” (one could argue by working with Marvel) whilst simultaneously calling a childhood obsession (from Marvel) “garbage,” yet, lovingly. There is an irony that resides in this story and its circumstances that I relish. It’s an earnest love letter to trash. I always enjoy rereading this one. ————————————————————————————————— if you don’t know now you know Alex Wong talks to Jason Shiga at TCJ.com. I somehow missed that Chris Ware was a guest on RiYL. Conan the Barbarian is returning to Marvel in 2019. The latest guest on Inkstuds is Zach Hazard Vaupen. Have you checked out our own Sally Ingraham’s birding blog? Check out William Cardini’s Skew on Study Group if you’ve been snoozing. ————————————————————————————————— Suzy and Cecil – 1-15-2018 – by Sally Ingraham Share this page: [...]

05/08/2018

Aaron CockleMay 8, 2018NewsChitra Ganesh; Matthew Thurber; Frank Santoro: The Eulogy of Drawing ————————————————————————————————— Chitra Ganesh has work in Beyond Transnationalism : The Legacy of Post-Independence Art from India. Bau Daji Lad Museum, Mumbai, curated by Dr. Arshiya Lokhandwala, through June 19, 2018. The exhibition ‘Beyond Transnationalism: The Legacy of Post Independent Art from South Asia’ undertaken at the cusp of India’s 70 years of independence seeks to understand the many positions of artists of South Asian descent living in the United States. The artists in this show assert new and complex aesthetic and geopolitical propositions that question, complicate and travel far beyond conventional notions of home, nations, and belonging. This exhibition seeks to question the relevance of the terms diaspora and transnationalism and their attendant significations. The term diaspora – derived from a Greek word meaning ‘to disperse’ or ‘to scatter’ its geography, or its complex geopolitics – has been a default frame used to understand and signify the mass migrations, and exoduses. At Hyperallergic, Sharmistha Ray looks at animation work by Ganesh currently on view at the Rubin Museum. Although the postcolonial debate has changed, Ganesh is among the few artists to retain its original strategies to embody brown, feminist politics and critique systems of power. Her earliest, and still one of her boldest, innovations was her appropriation of the immensely popular Indian comic book series Amar Chitra Katha (which literally translates to Immortal Picture Stories). Initiated in 1967 by Anant Pai, the series was intended as a pedagogical tool to educate children on their cultural heritage through the retelling of stories from Indian epics, mythology, history, folklore and fables. Not surprisingly, the stories reflect the racial, religious, socio-economic and gender prejudices of India’s predominantly patriarchal and religious orthodoxy, which privileges fair-skinned, upper-caste Hindu males (caste is a toxic, hereditary class system particular to the Hindu religion). The comic books were visual and narrative minefields for Ganesh’s subjective interpretations. ————————————————————————————————— The 218th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday, May 8, 2018 at 7pm at Parsons School of Design, Kellen Auditorium (Room N101, off the lobby), Sheila C. Johnson Design Center. 66 Fifth Avenue. Free and open to the public. Matthew Thurber on “The Hallucination of the Art World” Matthew Thurber will speak about his forthcoming book from Drawn and Quarterly, Art Comic. This graphic novel is a paranoiac-critical examination of the art world seen through the eyes of four graduates of The Cooper Union. As each student attempts to reconcile their ideals with the realities of capitalism, love, alien invasion, anarchist pigs, and sex robots, they find themselves careening toward madness, extremism, death, or becoming Matthew Barney’s stunt double. Matthew Thurber’s unpredictable practice has included: Mining the Moon, full length musical play; A novel posing as an interactive handwriting analysis project; A week of movies made in one day each; an olfactory performance, dressed as a giant nose; a mosaic labyrinth installed in an elementary school; Terpinwoe, choreographed noise dance about a carrot-based economy; innumerable illustrations and drawings; a longstanding engagement with the narrative scroll, as well as other pre-cinematic devices. In collaboration with Brian Belott he has performed at the Serpentine Gallery in London, Abrons Art Center, and in an eyeglass store. He co-founded Tomato House, an art gallery in operation from 2012-2015, with Rebecca Bird. Finally he is the author of 1-800-MICE, INFOMANIACS, and Art Comic. ————————————————————————————————— “Pompei” di Frank Santoro: l’elogio del disegno The Italian edition of Frank Santoro’s Pompei is reviewed by Daniele Barbieri at Fumettologica. It’s in Italian, but, you know, it can be translated: There is a famous historical case in the history of art. Look at the statues of Antonio Canova: their extraordinary elegance and expressiveness is offset by a classicist rigidity, which is the price that Canova pays to the trends of his time – when it was important to build a visual art that opposed the frivolities of the rococo. It is true that the immobility of his figures is compensated by a dynamic tension that often makes them extraordinary; but they are not less immobile for this, they are not less icily, neoclassically statuesque, monumental. Now look at the Canova sketches. Small objects with very rough modeling, definitely at the antipodes of marble statues. They are made of clay or chalk; let us see the tracing of the hand or instrument that shaped the matter; we understand the afterthoughts. They are certainly private objects, tests carried out on the wave of inspiration – which then gave life only occasionally to a definitive work that may appear very different from its sketch. ————————————————————————————————— Vision Box – 5-8-2018 – by Cameron Arthur ————————————————————————————————— Joanie and Jordie – 5-8-2018 – by Caleb Orecchio Share this page: [...]

05/04/2017

Sally IngrahamMay 4, 2017NewsSam Ombiri shares thoughts on Sammy Harkham’s Crickets #6 – plus other comics-related news! ————————————————————————————————— Sam Ombiri here: What a fantastic issue of Sammy Harkham’s Crickets we got (#6)! I have to begin with how we got wonderful drawings from Harkham. Of course there are many comics drawn this way and many not, and I really don’t think about these differences so much, unless I’ve heard the author specifically bringing up the motivations for drawing the way they do. With Harkham’s drawings feeling somewhat rigid, it then becomes hard to penetrate the abstractions being offered – more so because they seem unlikely with this type of drawing. Actually it is really great that they aren’t so obvious to discern, even after “being discovered”, which is a testament to their strength. Harkham says (in Comic Book Decalogue Episode #5, 2015), “The kind of storytelling I’m interested in is making things really stacked and dense so that one thing is going on with dialogue, one thing’s going on visually, and one thing’s going on in the background.” He adds, laughing, “Just to push the anxiety level.” Abstractions are being offered to you. I think this is what is referred to by Harkham as dematerialization of drama; which I believe was first said by William Oldham in conjunction to Harkham’s work. Harkham says, regarding Somersaulting (which appears in his collected stories Everything Together, PictureBox 2012), “Any sort of plops is sort of the creative counterweight for the more quiet, calmer, open, sort of more contemplative sequences to still make it a comic.” – Comic Book Decalogue Episode #5 I think Harkham is still applying that principle to Blood of the Virgin (Crickets #6), but in a different way, thankfully. He’s advancing this new trick he found. What I really like is that Harkham didn’t just want to deal with another medium by making comics. He looks at comics like it’s the best medium, and the things that excite him about other mediums only furthers his enthusiasm for the comics medium. If I may make a contrived comparison, and this comparison isn’t completely parallel to Harkham, Leos Carax is a director who maybe wants to be a musician, so as a result his movies have scenes like this: https://www.youtube.com/watch?v=80xOJ2I2oVc Leos Carax says his first movie was called Boy Meets Girl, but all his of movies can be called “boy meets girl” and it’s often the same movie, featuring one guy in love with two women, with the exception of Holy Motors. Likewise, Sammy says his stories are all about denial (a similar denial is exemplified by Burt Lancaster in The Swimmer!) Harkham said in the past that he doesn’t want things to be expressive and moments to hold value over others. I think Harkham must see something similar in Brian Chippendale’s Ninja, where every panel has the same intensity. Or it’s like how Robert Bresson says he wants his actors to be like a virtuoso in portraying their afflictions. Of course other directors do this too – I only bring up Bresson because for me he has exhibited the most success with this mode of approaching expressiveness – in the way that I think Harkham is talking about. Harkham once said that he has a distaste for when sadness is conveyed just by showing a character crying. Harkham’s connection between comics and film has more to do with Emir Kusturica, but I’m going to speak more about intention and methods. Recently, someone brought up the duck motif – they told me they’re excited to see what Harkham will do with it. Personally I think we already saw. It has happened, it’s already an active force in the story. The ambient quality of the duck is what we’ll get. I hesitate to call it a symbol. I feel personally that if I attempt to say what it is, I’ll sully it. I was thinking a lot about how Andrei Tarkovsky said, “Bresson attempts in his films not to be symbolic; he tries to create a form as inexhaustible as nature, life itself. Of course this doesn’t always work. In fact, there are episodes in his films that are extremely symbolic and, therefore, limited – symbolic and not poetic.” (from an interview with Tarkovsky on A Bittersweet Life.) Tarkovsky then continues to say, “An obvious but banal example of this is the rabbit hunt in Mouchette.” I feel like if I rewatch Mouchette, Tarkovsky has officially ruined the scene for me, but you know, I’m only saying that as a joke, as Tarkovsky and Bresson kind of have this whole detached philosophy to the perception of their work. Harkham’s primary concern seems to be to entertain – it’s just the way that symbol works that’s similar. When the duck motif was brought to my attention it felt somewhat ruined. Now, with what Tarkovsky said in relation to Bresson’s rabbit scene, Bresson’s intentions were rather different for this scene – but there’s still something of a consensus. Tarkovsky refers to this as a moral influence between artists, without which art cannot exist. Harkham said, regarding Somersaulting and I’d imagine his work even now, “I realize that when you are directly influenced by someone, it’s not that you want to see something and copy it, it’s that you see someone, it’s a shortcut for a place you wanna go, so I knew the tone for that story and seeing Hopper’s work, in the flesh, just got me that much closer as a way to get there. Realizing that composition and a certain kind of composed quality, really measured quality, could go a long way towards that. So I think the story if I had never seen that show, the story would’ve probably resembled that in a lot of ways, but I probably would’ve taken more of a windy path to get there.“ Tarkovsky also said this one thing which is very similar to what Harkham said: “Just like everybody else who strives for simplicity and depth, I can’t help but identify with what he has achieved in this field. But on the other hand, even if Bresson would never have existed, we would have eventually come across this notion of a lapidary style, simplicity and depth.” It’s a very similar idea in my mind, that these artists with different goals, who operate on different principles, can end up at the same place with the same goals. Or it can even be like Krzysztof Kieslowski says – “People in different places and for different reasons think of the same thing I tried to talk about – things that connect people. I think this feeling, this music, all these notes already exist, scattered somewhere, waiting for the person who’ll put them in order. The fact that two different people at different times, in different places, from different social strata, can put these notes together in the same way seems to be a sign of what connects people.” (from Cinema Lesson in Blue) In The Blood of the Virgin, the story’s progression isn’t hindered by this other unnamed will to cause Seymour more afflictions slowly revealing itself. Seymour’s running out of places to go. We know he’ll end up face down just like it shows in the cover – the way it all turns out is worse than what I imagined. Especially for how believable it is. Harkham says, “I don’t really strive for realism, but more for specificity.” The order of the tragedy isn’t what’s being relied on really, and it’s not the order that makes it compelling, but it does leave everything grounded. Harkham says that the way he sees it is, “Plot is just a coat hanger to hang ideas and jokes and emotions on to.” The moment where Joy just up and says movies are cheesy – in this moment when Seymour is trying really hard to reach the destination of this major quest he’s been on – has to join the ranks of that which he greatly reveres as important. As a reader at that point, I hadn’t really realized how much of his vision is being denied to him – it had already started. All I could think was “Uh-oh”. It’s these small micro losses that tell you clearly that everything’s coming apart. For some reason I thought that Seymour’s life would maybe get better, despite his struggles. Harkham says, “I realized that what he (Edward Hopper) was doing with his paintings was something that I was really interested in – with a lot of the architectural drawings, and the interior a certain tone that you get out of the everyday objects and everyday spaces, trying to find the divine or the ambiguous – and he kind of does that so well, so it’s a visual touch point for that story I was working on, and I saw the show and there are a couple of exact echoes of the paintings in that story.“ Leos Carax compares cinema unfavorably to dreams, as in dreams you need to invent the way the way people move. Harkham says, “Cartooning is knowing how to use the sickeningly stupid blunt emotion of each panel and build something emotionally complex of it.“ Like designing someone’s car to signify what kind of person it is that drives it, or how Harkham says he likes how in The Swimmer, “It makes sense that the whole time the main character is in his swimsuit.” That the imagery is in complete conjunction with what’s going on with the story, and for one reason or another that’s what he’s aiming for. That the work dictates what’s gonna be in it. “What I liked about comics as a teenager is the same thing I liked about punk rock and what I liked about gory horror movies: It just felt completely trashy and disgusting and stupid. You’d be embarrassed to read a comic on the bus – you still would. But I like that. It’s embracing that surface quality, not trying to make your work look smart at all, and then surprising the reader that this is a little bit richer, more layered, that there’s a lot more going on.” I think what Harkham is saying is similar to how Funny Games lingers on people’s radar as just some fun horror movie to watch – but there’s really a ton of things to unpack there, so then he likes that spot. I’m not so fond of this idea of creating this spectacle of finding a dense story in an underestimated medium. I’m glad that Harkham doesn’t count on this spectacle, as it feels like a cheap trick. I feel similarly about something that Austin English said about how The Disgusting Room was made – he has in his mind come up with this idea that people who’ll read The Disgusting Room will think it’s a newspaper or something, but then be surprised with this imaginative comic (which it is). After hearing that, however, whatever enjoyment I got out of The Disgusting Room went up in flames, because what about the rest of us, where we already know how great comics can be? Or even to an extent I hear Patrick Kyle say he wants to make comics that can only be made as a comic – does that enhance the work being made though? There’s a great essay by Connor Willumsen at the end of this issue of Crickets that talks about these things better than I can, about how what the soundtrack of a movie would be, or the sound design, or a prop, is something you think differently, but not too differently from comics. What the soundtrack is, is similar to the way an author can linger on, let’s say, the gestures of a character, and really slowing things down, to the most minuscule degree. It’s more acceptable, as a medium, to do that, so in turn that might be what a recurring element in a movie might otherwise do. I’m thinking of how it may all be about lingering elements within a work. In Holy Motors a segment of this song plays before the character Mr. Oscar assumes a new identity. In some movies the soundtrack is something else entirely though. The best version of this coming to fruition that I can think of is in Blue from the Three Colors Trilogy – both movies kind of end with a musical number, though I have to insist that the song at the end of Blue is more appropriate than Holy Motors‘ within the story. Connor doesn’t hone in on a cut and paste principle – that’s just easily applied – but the way I remember it, if memory serves (it often doesn’t serve me well), he just says that this is a principle that a maker or a reader can think of in conjunction with what the author might be doing that might otherwise remain obscure. – Sam Ombiri (Additional quotes by Sammy Harkham sourced from the article Sammy Harkham: Naturalism and Specificity, and a Los Angeles Times article – Sammy Harkham, a City’s Comics Crusader.) 5-4-2017 – Sam Ombiri ————————————————————————————————— Sally here – check out this incredible compilation of stock footage from Marvel and DC studios in the 1970’s – you can watch it below. There are lots of wow-inducing moments, but I especially enjoyed a brief glimpse into the beginning of Trevor Von Eeden‘s career – see him at 17 years of age showing some newly drawn pages to an editor at DC Comics – watch for him at minute 8:44! (via The Comics Journal) ————————————————————————————————— Keep an eye out for The Encyclopedia of Black Comics, coming this September from Fulcrum Publishing and Professor Sheena C. Howard (Eisner-award winning author of Black Comics: Politics of Race and Representation). According to her call for writers (which went out last August) she expects the book to include entries on at least “150 Black people in the comics industry who have published significant work in the United States or done notable work in the comics field, being included in the volume (including editors, publishers, illustrators, artists, creators, etc).” You can pre-order the book on Amazon. ————————————————————————————————— Suzy and Cecil – 5-4-2017 – by Gabriella Tito ————————————————————————————————— Joanie and Jordie – 5-4-2017 – by Caleb Orecchio Share this page: [...]

04/05/2018

Sally IngrahamApril 5, 2018NewsSally here with “Martin Luther King and the Montgomery Story”, plus comics by Morrie Turner, Brumsic Brandon Jr., and Ted Shearer! ————————————————————————————————— Yesterday we marked the 50th anniversary of the assassination of Martin Luther King Jr., and PREVIEWSworld took the opportunity to share a particularly important comic – Martin Luther King and the Montgomery Story(above). “In the late 1950s, as the Civil Rights Movement was gaining strength throughout the country, the peace organization The Fellowship of Reconciliation saw the need to promote their philosophy of nonviolent resistance to as many people as possible. To accomplish this, they used one of the most accessible formats of the day – the comic book – to tell the story of the successful bus boycotts by African Americans in Montgomery, Alabama, and the man who helped inspire them.“ Originally handed out in churches and nonviolence workshops, this comic was a powerful inspiration to many. You can read the whole thing HERE. The creation of the comic is a pretty interesting story in itself. Originally conceived by a man who didn’t allow his own kids to read comics – Alfred Hassler – it was meant to help convey the ideas of the Civil Rights Movement to the semiliterate. The comic soon became something much greater than anyone would have guessed. You can read a very thorough examination of it’s history and influence HERE. It is interesting to note that the identity of the artist who drew the comic has been entirely lost. Martin Luther King and the Montgomery Story helped inspire John Lewis to write the award winning March trilogy, with Andrew Aydin and Nate Powell. Check out that comic HERE. ————————————————————————————————— There were a couple of cartoonists who found their work in much greater demand immediately following the death of Martin Luther King Jr. – a bittersweet turn of events, for sure. Morrie Turner had a strip called Wee Pals (above), which was syndicated an 4-5 papers in the mid-60’s. It was considered “subversive” because it featured a diverse cast of childhood playmates. He had in fact been encouraged by his friend Charles Schulz to create the strip, after Turner had complained about the lack of black characters in newspaper comics. When Martin Luther King Jr. died, in short order nearly 100 papers picked up his strip. Morrie Turner continued to draw the strip well into his 80’s. You can read more about him HERE. Brumsic Brandon Jr.‘s strip Luther was also picked up by numerous papers in the late 60’s, remaining in syndication for two decades. It’s cast of characters were from a poor neighborhood and were a bit more “streetwise” than Morrie Turner’s. Read more about Brumsic Brandon Jr. HERE. I’ve encountered Wee Pals and Luther before, but another comic by a black creator that was in newspapers at the time was new to me. Ted Shearer‘s Quincy appeared in 1970. He had made a variety of strips over the years, aimed at an adult audience, and they had appeared in numerous publications. Before Quincy took off, Shearer was working in an ad agency, but with the success of the strip – which, like Turner’s and Brandon’s comics, featured black kids commenting on life as they experienced it – he was able to focus on Quincy exclusively. He enjoyed syndication for 16 years. I’d really like to find the collection that was published in 1972, but for now you can see a selection of strips that kind souls have scanned and shared on the web HERE. Read more about Ted Shearer HERE. ————————————————————————————————— Announcing the Spring Semester of thee Santoro Correspondence Course for Comic Book Makers 8 weeks! $500 bux! 10 spots available! Rolling start date because of spring break – start NOW! Deadline to apply is April 12th. Read all about the course HERE and email santoroschool@gmail.com for more details or to apply. ————————————————————————————————— Joanie and Jordie – 4-5-2018 – by Caleb Orecchio Share this page: [...]

07/11/2018

Juan FernándezJuly 11, 2018los Cómics / NewsHartley Lin at Comix Experience; Drawing A Dialogue Episode 13; CARTOON DIALECTICS #3 by Tom Kaczynski and Clara Jetsmark; Shortbox U.S.Distribution – – – – – – – – – – – – – – – – – – – – Hartley Lin Talk with Brian Hibbs at Comix Experience Here on the site, Chris Anthony Diaz offers us some great documentation of Hartley Lin‘s talk at Comix Experience from this past June. After his Young Frances (published by Adhouse Books) book signing, Brian Hibbs interviewed Hartley Lin for the Comix Experience Graphic Novel Club, San Francisco, Wednesday evening, June 13, 2018 You can watch the interview HERE. – – – – – – – – – – – – – – – – – – – – Review – CARTOON DIALECTICS #3 by Tom Kaczynski and Clara Jetsmark Nick Hanover, Your Chicken Enemy Inside the pages of Cartoon Dialectics #3, Tom Kaczynski and Clara Jetsmarkforce you to consider the cheerful yet ominous reach of the nostalgic blob, that cultural motivator that compels us to look backward even as we’re moving forward. Connecting nostalgia to Trump’s Make America Great Again movement as well as the styles and tastes of progressives and, in its potent final section, Kaczynski’s own relationship with his past, the central question of Cartoon Dialectics’ third installment isn’t “How did we get here?” but “Why do we keep returning here?” When I spoke to Kaczynski in 2013, that question weighed heavily on both our minds, running through our discussions of gentrification, global warming, the mystification of technology and beyond. Kaczynski told me that the frequently bleak stories collected in his impressive work Beta Testing the Apocalypse were inspired not by dystopian works but his interest in utopian fiction and his time growing up under communism, a system that was itself utopian in design but nonetheless broke down in execution. Responding to a point I made about the negative outcomes of his stories, Kaczynski said: “If my stories seem really negative, it’s only because I’m examining the negative to see if a positive can be teased out eventually.” – – – – – – – – – – – – – – – – – – – – U.K. Based ShortBox Rolling out US distribution Zainab Akhtar: I’m happy to share some good news today: ShortBox is partnering with White Squirrel to offer domestic fulfilment to our US-based customers. What this means is if you’re based in the US and want to buy ShortBox, you will no longer be charged international shipping rates, but a domestic rate, with packages shipping through the US postal system. (Read More) – – – – – – – – – – – – – – – – – – – – Vivir para Contarla – Jesus Cossio Entrevistado Pablo Turnes, Revista Kamandi Jesús Cossio (Lima, 1974) es uno de los autores contemporáneos de historieta más notables de Perú. Su trayectoria como historietista comenzó en el circuito limeño de los fanzines pero fue sin dudas con Rupay – coproducido junto a Alfredo Villar y Luis Rossell – que su obra comenzó a generar interés y a ser conocida por fuera de las fronteras nacionales. Su trabajo sobre la memoria del pasado inmediato siguió con Barbarie (Lima: Contracultura, 2010). Además de dar talleres, ha organizado exposiciones y presentado su obra en otros países como Argentina – al que estuvo invitado para el festival Viñetas Sueltas en 2009 y 2010 – Brasil, Colombia, Venezuela y más recientemente los Estados Unidos. Tuve la oportunidad de ver su presentación en el ICAF en 2017, y fue francamente estremecedor su relato tranquilo pero sin concesiones, como quien habla con la certeza del que ha comprobado e indagado en lo más terrible de su sociedad. Cossio no es verborrágico: va al grano y es exacto como un bisturí. A partir de ciertas inquietudes sobre la dimensión ética de su trabajo, sus propias posiciones y compromiso, se generó este diálogo a la distancia. – – – – – – – – – – – – – – – – – – – – Drawing A Dialogue – Episode 13 New episode of Cathy G. Johnson and e jackson’s, Drawing A Dialogue is up! They are building off of the stereotypes in cartooning we discussed in Ep 12, specifically how fat bodies are depicted in the media. It’s a great listen. Listen here. – – – – – – – – – – – – – – – – – – – – Suzy and Cecil – 07-11-2018 – by Gabriella Tito Share this page: [...]

02/02/2018

Posted on February 1, 2018February 2, 2018 by Sally Ingraham

Sally here with the myth of the Wonder Woman, plus Vanessa Davis, Little Dot, Ulli Lust, and more!

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Cover of June Tarpé Mills’s Miss Fury Comics, no. 2 (Timely Comics, Summer 1943).

There is a lengthy, intense essay on Artforum by Sarah Nicole Prickett titled Serious Sex Battle – it is about the myth of the “wonder woman”. She digs into comics, literature, and film and discusses the ways that pop culture has tried and repeatedly failed to make women “super” – often by stripping them of all the real things that in fact make them super. For example:

“The scholar Michele Wallace argues in Black Macho and the Myth of the Superwoman (1978) that the black woman doesn’t need a costume. She is already held to be a “woman of inordinate strength.” She “does not have the same fears, weaknesses, and insecurities as other women, but believes herself to be and is, in fact, stronger emotionally than most men. Less of a woman in that she is less ‘feminine’ and helpless, she is really more of a woman in that she is the embodiment of Mother Earth.” Ergo, says Wallace, she is a superwoman, burdened by the source of her powers.“

Prickett talks about Wonder Woman quite a bit, of course, both the strengths and weaknesses of the character and what she represents. She also brings up Miss Fury, Scarlett O’Hara, Tim Burton’s take on Cat Woman, and a whole lot more. Devote an hour at least to sifting through this piece (one that Prickett spent a few years writing!)

Read the whole essay HERE.

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There is a nice interview with Vanessa Davis on Pocko, which digs into her career as a whole so far, her influences, and the choices she’s made along the way.

“Pocko: Your father was a commercial artist and photo-journalist. Can you see any of his work in your own? How did your childhood affect your career?

Davis: It feels natural (if not always easy) for me to live and work within an uncertain freelance lifestyle. The humility of struggle and uncertainty mixed with the rush of work and money… that’s always been sort of central to my experience, but both my mom and dad worked doing what they loved, so that’s just paramount, by any means necessary, to me. It is a high-maintenance lifestyle, but it feels almost just cultural or religious or something–I can’t get away from it. My dad definitely had an eye for the absurd and could criticize his subjects by merely portraying them. But he also maintained a sort of joy for the chaos of this world. That’s definitely something I aspire to in my work and in my own viewpoint.“

Read the whole interview HERE.

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Michael Dooley has another great article on Print, this time tying a famous comic book character of the 1950s/60s – Little Dot – to today’s art scene and specifically the work of Yayoi Kusama (who is, if it’s possible, even more dot-happy than Dot).

The article includes multiple scans of old Little Dot comics, and this excellent reminder of what made them interesting:

“If you’ve never heard of this one-time comic book celebrity, it’s because Little Dot hasn’t been getting around much anymore. She started out in 1949 as a back-up feature in kids’ comics like Richie Rich but soon earned her own title. As originally conceived by cartoonist Vic Herman, she was designed with a distinctive flair and personality. But in 1953 her appearance melded into Harvey’s house style. She was softened and rounded out, which rendered her barely distinguishable from Little Audrey and Wendy the Good Little Witch. But from a marketing angle, it was a huge success.

Like the gluttonous Little Lotta, Dot fits neatly into Harvey’s formula of one-dimensional, obsessive-compulsive personalities. The less said about the actual stories, the better, because what’s truly fascinating is that this kid is completely dot-crazy, hooked on circles. She’s constantly compelled to reconstitute her surroundings to conform to her own private fetish. And why not? She may simply be an instinctual Design Modernist, sensing the dot as infinite, supremely iconic, the purest, most perfect single form in the universe. Not to mention that her very existence is totally dependent on the CMYK/benday process. Insert a shout-out to Pop Art’s Roy Lichtenstein here.”

Check out the rest of this enjoyable read HERE.

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France Culture asked ten authors to make a comic about their relationship to Chris Ware, in the event that he won a big prize at Angouleme. Ulli Lust made the little scene pictured above. As it turns out, neither Chris Ware or Ulli Lust won prizes this year at Angouleme, so when she shared the strip Ulli said it could have an alternate title: In the same boat again with Chris Ware.

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An announcement went out this week from the organizers of the Pittsburgh Indy Comix Exposition:

Dear Friends of PIX —

We know some of you have been wondering about the status of PIX 2018. To make a long story short: there will NOT be a PIX 2018. We apologize for the late announcement of this fact. We are, however, already working on PIX 2019 and plan to return to the August Wilson Center in April 2019. We will make a formal announcement in the summer of this year.

Thank you for your past support.

Stay tuned…

—Team PIX

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Sticky Notes

Apply for the Lucy Shelton Caswell Research Award, offered by the Billy Ireland Cartoon Library and Museum – applications due by March 1st – more details HERE!
The Daily Beast has a lengthy profile on Trina Robbins – read it HERE.
Sara Lautman writes a comic for the New Yorker about Cow Tools and a new tattoo – HERE.

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Collected from the thousands of pages of material that Frank has left scattered all over the digital landscape, these 4 PDF collections contain Frank’s best writing on comics and comics making from the past decade. Theory and process, reviews and discoveries, journeys both physical and spiritual.

Check out the “Best of Frank Santoro” PDF collections, available HERE!

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Suzy and Cecil – 2-2-2018 – by Sally Ingraham

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Joanie and Jordie – 2-2-2018 – by Caleb Orecchio

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Comics Workbook

An online magazine for comics makers

Posted in NewsTagged little dot, pix 2018, sally ingraham, sara lautman, sarah nicole prickett, Trina Robbins, ulli lust, ursula k. le guin, vanessa davis

Sally Ingraham

Posted on February 1, 2018February 2, 2018

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10/26/2016

Juan FernándezOctober 26, 2016los Cómics / NewsJuan con un poquito sobre: Daniel Jiménez y Jesús Cossio entrevistan ha Joe Sacco; GRAF Madrid; Alienation 2 por Inés Estrada; “el fracaso de la narrativa gráfica” en Mexico; Publisher’s Weekly on Spanish language comics; Fanzinología Mexicana 1985-2015. ————————————————————————————————— ⚡Joe Sacco habla sobre el periodismo,el hecho de narrar conflictos, y la violencia que el capitalismo permite. Es genial ver esta entrevista. Esta entrevista fue realizada por Jesús Cossio y por Daniel Jiménez en el Hay Festival 2014 de Cartagena. Mi trabajo es sobre la realidad de los conflictos, pero éstos se basan en la naturaleza humana. Yo no podría haber dicho esto hace diez años pero es de lo que tratan mis cómics, en realidad. Algunos de mis libros son acerca de un grupo específico de seres humanos. Por ejemplo, en mi libro sobre la Primera Guerra Mundial veo a los seres humanos convertidos en una masa y cómo la naturaleza humana responde a ese tipo de situaciones. Si existe un interés en el autoritarismo y la xenofobia yace, por decirlo de alguna manera, bajo la sombrilla de mi interés en la naturaleza humana. ————————————————————————————————— ⚡GRAF – Madrid se acerca! Ya puede consultarse la programación y el listado de expositores de #GRAFMadrid2016 que tendrá lugar del 11 al 13 de noviembre de 2016 en Madrid. talleres, musica, encuentros, feria de libros… es obvio que el equipo Mireia Pérez, Iñaki Sanz, Borja Crespo, Gerardo Vilches y Pedro Toro estan montando un monstruo de comics y fanzine fest… ————————————————————————————————— ⚡Alienation 2 por Inés Estrada esta disponible para la venta! Es el segundo volu su segundo volumen de su serie sobre la realidad virtual en el ártico. ————————————————————————————————— ⚡Publisher’s Weekly has a piece on the comics that are making a large impact on the American comics market from Spain and Latin America. (Thanks Heidi!) Paco Roca, Liniers, Power Paola… Heidi McDonald touches on the heavy hitters in comics. The ones have changed how many approach the art form. It’s a nice, concise recapitulation of all the on the ground work that cartoonists and comics publishers have been doing in the past decase. Of course, McDonald’s emphasis here is on what is making it to the states, and at the moment that is primarily Spanish work. If you’ve been following this blog, I think you can imagine that this is soon to change… ————————————————————————————————— ⚡Francisco Haghenbeck nos da un contraste a esta atitud tan optimista. Haghenbeck se enfoca en “el fracaso de la narrativa gráfica” en Mexico. Por supuesto quizás Haghenbeck no no ha buscado bien bajo la superficie? Como, no es una criticá de “la novela grafíca “, osea que conviene proceder con cuidado 😉 A los últimos años, se ha tratado de recuperar la cultura de la narrativa gráfica en México, siguiendo la moda de otros países con una robusta lista de obras de calidad como Francia, Argentina, Japón o Estados Unidos. Cuando yo hice la recopilación e investigación para la exhibición “La vida en cuadritos: 120 años de historieta” (Museo Pape en Monclova; Gran museo de la Cultura Maya, Mérida; y Museo Guanal, Cd. Del Carmen) me di a la tarea de buscar las obras que representaran a nuestro país. Con tristeza, me enfrenté a que en los últimos 25 años hay una gran ausencia de historias de calidad literaria. Desde la muerte del colectivo Taller del Perro de la ciudad de México, y en especial, la novela gráfica Operación Bolívar de Edgar Clement, es notable el vacío. El único maravilloso asomo, apenas el año pasado, es la versión personal de William Burroghs de Bef, Uncle Bill (Sexto Piso, 2015) que, como señal de crisis, fue realizada con el apoyo del Sistema Nacional de Creadores de Literatura y no de narrativa gráfica. ————————————————————————————————— ⚡Y para darle contraste a ese articulo, les quiero decir que la antología de fanzines que Inés Estrada recopilo hace un año, Fanzinología Mexicana 1985-2015 (editada por Enrique Arriaga y Inés Estrada), ahora se puede descargar gratis en Gatosaurio. The underground is alive and kicking. Compilation featuring a selection from the graphic and visual narrative of three decades of mexican fanzines. The work collected was originally self-published in limited runs by and for underground niches formed by punks, queer activists, artists and amateurs among others. This book intends to collect and highlight these obscure publications and also to be a reference for contextualizing mexican zines. This is the first effort of its kind in Mexico. Edited by Enrique Arriaga and Inés Estrada, with material they both collected for la Fanzinoteca del Museo Universitario del Chopo in Mexico City. Arriaga started la Fanzinoteca in 2014 as a zine archive and a cycle of exhibitions at the museum. Book design by Inés Estrada, with a cover illustration by Edwin Sandoval. ————————————————————————————————— ⚡Echale un vistazo a este medallón estilo Pompeii! “Le encargué a la gran Airi Maeno que hiciera unos medallones de plata con sede fuera de mis dibujos. Este dibujo viende de mi libro Pompeii. Es algo que puedo imaginar que alguien se pondría hace dos mil años. Un simple medallón de un ser querido. Un retrato. Algo permanente para desafiar a la desaparición”. – Frank Santoro Puedes comprar uno aquí! ————————————————————————————————— hasta la próxima! juan Share this page: [...]

Frank Santoro in Naples Italy 2018

Frank SantoroApril 18, 2018NewsThere are over 30 pages from Pompeii by Frank Santoro on display at the National Archeology Museum of Naples, in an exhibition which is being held in conjunction with Frank’s appearance as a special guest at the Naples Comicon (April 28-May 1 2018). The show opened yesterday (April 18th) at MANN and will continue until May 31st 2018. More details on the show can be found HERE. During Comicon Frank will be participating in a panel with Blutch, whose graphic novel Peplum also takes a look at Ancient Rome. Details on the panel are HERE. If you’re in the area, be sure to attend Comicon and meet Frank, and don’t miss the exhibition at MANN! … The Naples Comicon Instagram account was buzzing on May 18th, as famed Italian paleontologist Alberto Angela was caught at the National Archeological Museum of Naples looking at original artwork from Frank Santoro’s Pompeii (above). Alberto Angela is a popular TV presenter and commentator for science-based programs. He is the author of A Day in the Life of Ancient Rome, among other texts, and has lectured on the tragedy of Pompeii. He seemed taken by Frank’s depictions, or as the Naples Comicon put it, he “could not resist the charm of the show“. … There were two Italian news stories upon the opening of the show, with the director of MANN talking about Frank’s work and the exhibition. … There is a review and preview of Pompeii in Italian HERE. … Share this page: [...]

03/02/2017

Sally IngrahamMarch 2, 2017NewsSam Ombiri is here today with thoughts on influences and his recent adventures in comics post-production – plus all the Comics Workbook Daily Strips! ————————————————————————————————— Sam Ombiri here – David O’Reilly said something like “it’s real cool for people to hide their influences and to not admit them“, and that “people who refrain from admitting their influences tend to have the most obvious ones“. I think he’s saying that it’s not so important how well one can hide their influence or not be obvious – it’s just a reflection of a certain attitude prominent in certain people. There is something to be said to not wanting to list influences. I recall both Claire Denis and Stefan Burnett saying “listing them seems boring/contrived” after mentioning 2 or 3 things when asked something akin to what other work has shaped their work? I remember reading about the guy who created Mr. Robot – he was listing all his influences in this way that kind of drove me nuts for some reason. He said something like “Taxi Driver for the narration, Breaking Bad for it’s character arc, Blade Runner for its introspection” and such and such. It makes me understand why Matthew Thurber said “All of these shows make me want to vomit in the face of the indoctrinated fool who invariably speaks of them in rapturous tones. I’d rather spend my time cleaning out a ten-year-old Rapidograph, or picking a scab!” (Maybe I don’t understand why but for a moment I can share his sentiment!) Sammy Harkham was saying something akin to “An influence is a thing that if a solution to a problem wasn’t found, it would be a longer winding road in order to find it.” The problem being, trying to figure out how to execute something that’s not entirely clear. It sounded like a really optimistic thing – that art is made with what is already in someone, and is not exactly dependent on what art a person encounters. It seemed a bit of a mystical idea. Sort of “the man at the end of the search” type of deal. It reminded me of the time in The Dance of Reality where Jodorowsky says “Everything you are is already inside you.” Something like that. I remember it more from the trailer than the movie. I don’t remember the movie too well as I haven’t seen it in a couple years, or at least it feels that way. I remember Jodorowsky’s Dad fighting a bunch of Nazis – and this one anarchist not wanting to live in world where dogs wore clothes. I remember other things. I must disagree with what Nicolas Winding Refn said about Jodorowsky’s movies being about what we don’t see. (What Refn actually said was that Jodorowsky’s movies remind him that all movies aren’t about what you see but what you don’t see. Trailers are to a huge extent how he executes this idea, I think. The movies our minds see when we see his trailers and the movies that we see on screen, and all the ideas floating around in the movie that aren’t fully uttered… I think Sammy Harkham said something like “Plot is like a coat room for one to hang ideas in.“ I think really often Sammy’s ideas of cartooning are almost similar to Robert Bresson. Not that his work is like Bresson’s, or completely like Bresson’s – they at times share similar traits. Or at least traits in what Bresson says. I think what Sammy was saying was about what fascinates him in horror films, which sounded very much like stuff that Bresson would talk about. Or this whole thing he says of demilitarized drama, and everything having the same weight, similar to how in Brian Chippendale’s Ninja things aren’t brought so much attention to. How Sammy was talking about cartooning was similar to how Bresson was talking about a virtuoso playing music and how their faces and composure are completely controlled. Or how Sammy was saying he’d rather people’s sadness not be on display for everyone to see – it echoes how Bresson said, “The sadness on people’s faces when you pass them on the street isn’t readily apparent.” They also share similarly mysterious triumphs strictly in themselves. That’s not to say that their work is, I don’t know, too too similar. Maybe Sammy is hiding Bresson’s influence to be cool, ha ha. I know that’s not the case. I think in a way that’s why I link Michael Haneke with Sammy a lot. I’m very certain Bresson had a ton of influence on Haneke. I always in my mind link Harkham with Haneke, for what are highly shallow reasons – not thinking that there are major connections, but a certain extremely specific similarity I see. – Sam Ombiri ————————————————————————————————— The Comics Workbook Rowhouse Residency is a space where cartoonists from out of town can come for a week or more of comics-making intensive – but it is also a space for Pittsburgh’s local cartoonists to “spar” and train. Sam Ombiri stopped by recently for an afternoon tutorial on final production – layout and printing. Over cups of tea and The Lounge Lizards spinning on the record player, he completed his comic Haunted VHS – debuting at the Pittsburgh Indy Comix Expo this April 9th! There’s always something interesting happening around the Rowhouse – comics to read and make and share. Learn more about the Residency program HERE or email santoroschool@gmail.com. ————————————————————————————————— The Spring Semester of the Santoro Correspondence Course for Comic Book Makers is about to start! Although we have a rolling start date this semester, the course 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. Check out the comic Connor Willumsen made when he took the course – Calgary: Death Milks a Cow! More details can be found HERE or email santoroschool@gmail.com to apply. ————————————————————————————————— Blinkers – 3-2-2017 – by Jack Brougham ————————————————————————————————— Suzy and Cecil – 3-2-2017 – by Sally Ingraham ————————————————————————————————— Joanie and Jordie – 3-2-2017 – by Caleb Orecchio ————————————————————————————————— Cozytown – 3-2-2017 – by Juan Fernandez Share this page: [...]

04/06/2016

Juan FernándezApril 6, 2016NewsJuan here with your mid-week comics news fix. A pair of interesting comics events in the United States, MoCCA Awards of Excellence, Mari Naomi, Gabrielle Bell, Leslie Stein, Retrofit Comics Kickstarter in the final stretch, Rosarium Publishing launches its Indiegogo, the Picturebox Inc. bibliography. Let’s do this. ————————————————————————————————— Small Press events this weekend PMF 7 Building on six consecutive years of growing print celebrations, Baltimore’s Open Space gallery will present PMF VII, the Seventh Annual Publications & Multiples Fair, taking place April 9th and 10th, 2016, from 12 pm – 6 pm each day, at the Baltimore Design School, 1500 Barclay St. This annual exposition provides the opportunity to peruse, purchase, and discuss artist publications, prints, and objects produced in multiple. There’ll be over 130 local and national artists, and on-site programming all weekend. The fair is free and open to the public. There’s a killer line up of really raw work. Meghan Turbitt, Lala Albert, Lale Westving and Aidan Koch will be there among the throngs 😉 Learn more here. SPACE 2016 Now coming up on it’s 17th year, S.P.A.C.E. (Small Press & Alternative Comics Expo) is the midwest’s longest running exhibition of small press,creator owned and art comics. And Columbus’ longest locally owned and operated COMICS show of any kind. Long live the Rustbelt. Read more here. ————————————————————————————————— Gabrielle Bell Instagram In the age of fractured social media, it’s important to know who posts where or you’ll miss out on the beautiful writing or drawing they might do. Now you’ve got no excuse to be missing Bell’s off the cuff drawings. You can follow her here. ————————————————————————————————— Cheerleader by Mari Naomi Mari Naomi’s got a new one for you via Buzz Feed. Lot’s of eyes sure to get on this one. Smart use of the scroll and subtle visual punctuation makes this a satisfying look back on an unexpected friendship. Take a trip down memory lane and read it here! ————————————————————————————————— Retrofit Kickstarter – Last 2 Rounds Retrofit Comics is in its last TWO days of their Kickstarter campaign! They’re in the last rounds of their bout. You can help them win this fight. Support them to make it happen. The crop of books they’re currently publishing is really special. It includes titles by the likes of James Kochalka (Elf Cat in Love), the first Cartoonist Laureate of Vermont, Eleanor Davis with her an offering (Libby’s Dad), and Kaeleigh Forsyth and Alabaster Pizzo with a team up on Hellbound (here’s a process post from them about the “raw material” the book was sourced from). Also among the comics that may get loosed on the world, should the Kickstarter make it to the stretch goals, are works by Anya Davidson and Tyler Landry. Please support Retrofit Comics by pitching some funds their way, or helping to spread the word.Less than $2,000 left to go. Check out the Kickstarter and make it happen HERE! ————————————————————————————————— Time Clock Leslie Stein is back with the newest installment of The Eye of the Majestic Creature is back! Here’s a link to see some of the pages Stein has posted on tumblr, there’ll be more soon until Time Clock is out. You can snag a copy by preordering from Fantagraphics Books. The book will be out in June. ————————————————————————————————— Rosarium Publishing launches an Indiegogo As Retrofit wraps up it’s big push, ROSARIUM PUBLISHING begins to rev their engines. Rosarium Publishing is a publishing house founded by Bill Campbell that is a space of resistance to the erasure of diverse voices by a saturated public sphere of massive hegemonic media giants pushing the authors they want to the forefront of the market place.f …Rosarium Publishing was started with an idea; it was not, however, started with a lot of money. This has all been funded by the publisher’s day job. So, with the rapid growth we’ve been experiencing, it is now time for us to move away from print-on-demand, which, in the long run, is too expensive for any publisher to rely on, and have to move to offset printing. – Bill Campbell Read more about their campaign here. ————————————————————————————————— Awards of Excellence at MoCCA Fest Chosen by a jury of professional peers including Senior Editor at First Seond Books Calista Brill, artist Cliff Chiang, Editorial Director Charles Kochman, artist Mark Newgarden, and cartoonist, illustrator, and painter Lauren Weinstein. Awards of Excellence are given out to recognize the most outstanding work on view at the festival created by an independent artist. This Award of Excellence year’s winners include: Glynnis Fawkes, “Alle Ego” Pat Dorian, “Lon Chaney Talks Part 2” Shreyas R. Krishnan, “Becoming Rosie” Kate Lacour, “Vivisectionary II” R. Sikoryak, “iTunes Terms and Conditions” The SOI will host this year’s MoCCA Arts Festival Awards of Excellence winners in an exhibit featuring original art from their award-winning books. The exhibit will run from May 06-June 11th. More information here. For a full list of the works awarded recognition by the Society of Illustrators at MoCCA Fest 2016 hop on over to Comics Beat. ————————————————————————————————— The Classics The closing up of Picturebox Inc. isn’t news to anyone but it should never go forgotten. Nadel and company created an incredible publishing legacy and it is of vital importance that comics makers young and old understand the scope of what Picturebox accomplished with comics. Here’s a list of their bibliography so you can dig into the raw material yourself: Study up on the classics. If you can’t find what you want at Copacetic Comics, check your local library. You can thank Bill Boichel and your librarian in advance. Share this page: [...]

03/08/2017

Juan FernándezMarch 7, 2017los Cómics / NewsEmpezamos el dia con Sol Diaz; Miguel A. Giner y Cristina Durán; Vanesa R. Del Rey; Chicks on Comics;#GRAFBCN2017; Alvaro Ortiz; Fran Meneses and the ugly side; Billar de letras new comics club y los tebeos del dia! ————————————————————————————————— Cómics y noticias que me han llamado la atención esta semana: Sol Diaz – spotlighted over on Es Mi Fiesta y lanza un nuevo libro: La historia ilustrada de un embarazo. Miguel A. Giner and Cristina Durán tell the story of the adoption of their daughter in their latest comic, Una Posibilidad Entre Mil. They talk shop over on RTVE3’s La Hora Del Bocadillo + there’s a fresh interview with Miguel A. Giner and Cristina Durán on their new book over at Bilbao24Horas. Constantine #3-4 original art by the great Vanesa R. Del Rey available NOW over on Cadence Comics Art Gallery. Don’t miss your chance to own some of the action. CHICAS DE COMICS/CHICKS ON COMICS Siete mujeres historietistas de distintas partes del mundo expusieron sus trabajos en la Fundación Proa de la ciudad de Buenos Aires. Nice interviews and video documentation of the exhibition over on Argentina’s TV Publica. (Start at 34:00) #GRAFBCN2017 took place this weekend and it was a whirlwind in Barcelona. From the ground + el #GRAFBCN2017 en pocas palabras según Pepo Pérez + the fine folks at @underbrain just published a juicy video recap of the fest! You can watch it HERE. @Kikeinfame picks back up with his tradition of interview comics makers – this time around, take a tour of Alvaro Ortiz’ tebeoteca y mas! ————————————————————————————————— Billar de Letras esta poniendo en marcha un club de novela gráfica y cómic donde, de la mano de Gerardo Vilches, codirector de CuCo y una de las personas que mejor conoce el mundo del cómic en España, una vez al mes se analizará de manera exhaustiva una obra para descubrir sus mecanismos narrativos y desentrañar los recursos gráficos empleados por su autor. Nuestra intención es mostrar la gran riqueza del lenguaje del cómic y sus posibilidades narrativas, a través de la lectura crítica de obras que ya forman parte del canon de la novela gráfica. En las últimas décadas, el cómic ha experimentado un gran crecimiento como medio artístico, de forma que sus posbilidades narrativas y estéticas se están desarrollando en obras de extraordinaria calidad. En la web de Billar de letras tenéis toda la información para inscribiros. ————————————————————————————————— Fran Meneses, Chilean comics maker and illustrator in England, gets real with the ugly side of freelance life. Really nice, honest lens that invites us to dispel the glorification of work-a-holism in the freelance life. It gets unhealthy fast, if unchecked and the glamour that gets associated with it winds up being destructive and causes a lot of silence and erasure of the honest struggle. ————————————————————————————————— The Spring Semester of the Santoro Correspondence Course for Comic Book Makers started March 7th! There is a rolling start date for this semester of the course, so we will continue taking applications beyond that date. The course is 8 weeks long – 500 bux – payment plans are available. More details can be found HERE – or email santoroschoolATgmail to apply. ————————————————————————————————— Blinkers – 3-8-2017 – by Jack Brougham ————————————————————————————————— Suzy and Cecil – 3-8-2017 – by Sally Ingraham ————————————————————————————————— Joanie and Jordie – 3-8-2017 – by Caleb Orecchio ————————————————————————————————— Cozytown – 3-8-2017 – by Juan Fernandez Share this page: [...]

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