Aaron here today with Annie Mok/Gabrielle Bell; Mohammad Sabaaneh; Sophie Calle; Anthony Cudahy; Paul Laffoley.
“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.
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.
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.
‘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.
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.
A Cosmic Journey – 4-25-2017 – Cameron Arthur
Suzy and Cecil – 4-25-2017 – by Sally Ingraham
Joanie and Jordie – 4-25-2017 – by Caleb Orecchio
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There’s a theme with the comic strips today