Aaron here today with the post-SPX malaise/norovirus update; Some upcoming shows of note; ‘We are Pepe/Pepe is us’; T. Edward Bak; Storyboarding for the movies; Seymour Chwast; ‘This amusing textile’
The Small Press Exposition was held this past weekend in scenic and sprawling Bethesda, MD. This is a big show, and each year it provides an overview of some of the best comics being made in North America, in Europe, and other parts of the world. There really is something for everyone at this show, some works seen this weekend of specific interest to readers of this news-blog include:
- Powdered Milk vol. 15, Keiler Roberts
Roberts was handing out freebies in promotion of her Ignatz nomination for Outstanding Series, which she ended up winning on Saturday night. Congrats, Keiler!
- The Black Hood: An Anthology of Depression and Anxiety, edited/published by Josh Bayer, co-edited/designed by Mike Freiheit
Including work by CW favorites E.A. Bethea, John Porcellino, Katie Fricas, Mike Taylor, Bayer, and a very remarkable list of fellow contributors.
- BLAMMO #9, Noah Van Sciver
The time jumps in the White River Junction story were used really well, and reminded me of how Chester Brown’s Louis Riel jumped around in random places. Van Sciver is consistently doing high level comics, and this issue is a really nice chronicle of work.
- The Shirley Jackson Project, edited by Robert Kirby
Another terrific lineup of contributors here: Colleen Frakes, Robert Triptow, Jennifer Camper, Eric Orner, Josh Simmons,Annie Murphy, Pinc Roq, Dan Mazur, Gabrielle Gamboa, Ivan Velez Jr.,Hannah Blumenreich, Maggie Umber, Asher & Lillie Craw, Jon Macy, W. Woods, Rob Kirby.
Rob Clough was in attendance this weekend. He gave CW a quick peek of his heavily annotated map of who he wanted to see at which table, but we were unable to get a picture of it for the record. One of these years.
Rhode Island Independent Publishing Expo
Saturday-Sunday, September 24-25, Providence, RI
Paper Jam Small Press Festival 6
Saturday, October 1, Bushwick, NY
Indigenous Comic Con
Friday-Sunday, November 18-20, Albuquerque, NM
Abraham Riesman talks with Matt Furie about the Pepe meme phenomenon:
Furie says people email him Pepes “[p]retty much everyday.” “Someone just sent one that was based on a quote I said at a comic convention panel,” he adds. “Something about a new frog in town and it had ‘Dat Boi’” (referring, of course, to the year’s best meme so far). That said, he doesn’t seek Pepes out. “I don’t sit there and trip out on Pepe all day like you seem to think,” he says. “I’m just a normal guy trying to connect with people and have a good time.” He doesn’t seem that interested in discussing the other characters and comics, either. “They are what they are: just weird comics about a bunch of weird fraggles hanging out in mysterious nothingness,” he says. I ask him if he sees any sadness in the quartet’s gross lives and his reply is blunt: “No, they are just dumb cartoons.”
In a dream that follows my grandfather’s death, everyone is familiar but I recognize no one. Passengers drift on and off the train as it wends through the prairie. The dream unfolds as a temporally distorted vignette, like a comic strip. My grandfather’s death seems a strange plotline, half-remembered.
…photographer Grant Delin created a video that compares scenes from the film to their original storyboards. Featuring commentary by the Coens, Sonnenfeld, and actor Frances McDormand, this fascinating glimpse at their creative process highlights the careful planning that went into the film’s construction.
The 160th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday, Sept. 20, 2016 at 7pm at Parsons The New School for Design, 2 West 13th Street, in the Bark Room (off the lobby). Free and open to the public.
P.W. Herman at Brooklyn Museum
This amusing textile was clearly manufactured as a commercial tie-in for Paul Reubens’ enormously successful TV show Pee-Wee’s Playhouse that aired from 1986-1990. The show was designed by Wayne White, Gary Panter, Craig Bartlett, and others, and this brightly printed textile faithfully depicts the characters and props of this wildly inventive program. Manufactured commercial product tie-ins to motion pictures and television programs are almost as old as the media. The acquisition of this textile helps to explain the myriad impetuses for the production of textiles and to elucidate the taste and preoccupations of a specific historical moment. The actual printer of this textile is not known, but the company was formulated specifically to manufacture promotional souvenirs. Posted by Barry R. Harwood, Lark Morgenstern, and Caitlin Crews.