Zadzooks reviews Frank Miller's Batman - "Batman becomes too brutal," by Joseph Szadkowski, Washington Times Thursday, July 3, 2008.
Online only, the Express rails against animated bears selling toilet paper - "Tissue Issue: The Charmin Bears Have Got to Go," by Greg Barber, ReadExpress.com July 2, 2008.
Also online only is an interview with Robert Grossman - "Grossman Land," By Steven Heller, New York Times' Campaign Stops blog July 2, 2008.
Thursday, July 03, 2008
July 27: Babymouse at ALADDIN’S LAMP
MEET AUTHOR JENNIFER HOLM: Sunday, July 27 at 1:30 p.m. Author Jennifer Holm will discuss her graphic novel series about a sassy mouse with attitude to spare ... BABYMOUSE! In addition to the eight Babymouse books, Ms. Holm is the author of the Newbery Honor novels A Penny From Heaven and Our Only May Amelia. The ninth Babymouse book, Monster Mash, will be coming out in August. Grades 2-6. Please call to register.
ALADDIN’S LAMP
Children’s Books & Other Treasures
703-241-8281
aladlamp@speakeasy.org
In the Lee Harrison Shopping Center
Lower Level Shops
2499 N. Harrison St, Suite 10, Arlington, VA 22207
STORE HOURS: Monday, Wednesday, Friday & Saturday 10 am to 6 pm, Tuesday & Thursday 10 am to 8 pm, Sunday 11 am to 5 pm
ALADDIN’S LAMP
Children’s Books & Other Treasures
703-241-8281
aladlamp@speakeasy.org
In the Lee Harrison Shopping Center
Lower Level Shops
2499 N. Harrison St, Suite 10, Arlington, VA 22207
STORE HOURS: Monday, Wednesday, Friday & Saturday 10 am to 6 pm, Tuesday & Thursday 10 am to 8 pm, Sunday 11 am to 5 pm
Payne, Bat-Senator and Wall-E complaint today in the Post
Caricaturist CF Payne has a large drawing of Tiger Woods on the front of a special AT&T National Section in today's paper. It's not online.
To read about the Bat-Senator, see "Leahy's Hat Trick as a Batman Cameo," By Mary Ann Akers And Paul Kane, Washington Post Thursday, July 3, 2008; Page A15...
...and a Letter writer to the Editor missed an e-bay opportunity:
Why a Movie Has Disney in the Dumps
Washington Post Thursday, July 3, 2008; Page A16
In his review of Pixar's new movie "Wall-E" ["From Pixar, a Droid Piece of Filmmaking," Style, June 27], John Anderson pointed out that the movie's dark messages are making co-producer and distributor Disney nervous.
Should I therefore assume that it was the Walt Disney Co.'s marketing machine that had the great idea to hand out useless, trashy plastic watches (complete with excessive packaging) to every child attending the movie? This movie is about the impact of trashing our planet -- literally.
My family came home from the movie with four of these watches. They are all in the garbage today, heading out to the dump to meet the tons of other silly, free plastic "toys" generated by Disney and distributed every day through McDonald's and Burger King.
If Disney is nervous about the movie, it is because the movie challenges the core of Disney's moneymaking strategy: insatiable consumerism.
ALLISON SCURIATTI
Washington
To read about the Bat-Senator, see "Leahy's Hat Trick as a Batman Cameo," By Mary Ann Akers And Paul Kane, Washington Post Thursday, July 3, 2008; Page A15...
...and a Letter writer to the Editor missed an e-bay opportunity:
Why a Movie Has Disney in the Dumps
Washington Post Thursday, July 3, 2008; Page A16
In his review of Pixar's new movie "Wall-E" ["From Pixar, a Droid Piece of Filmmaking," Style, June 27], John Anderson pointed out that the movie's dark messages are making co-producer and distributor Disney nervous.
Should I therefore assume that it was the Walt Disney Co.'s marketing machine that had the great idea to hand out useless, trashy plastic watches (complete with excessive packaging) to every child attending the movie? This movie is about the impact of trashing our planet -- literally.
My family came home from the movie with four of these watches. They are all in the garbage today, heading out to the dump to meet the tons of other silly, free plastic "toys" generated by Disney and distributed every day through McDonald's and Burger King.
If Disney is nervous about the movie, it is because the movie challenges the core of Disney's moneymaking strategy: insatiable consumerism.
ALLISON SCURIATTI
Washington
Wednesday, July 02, 2008
Reviews for three local exhibits
Here are reviews for the fall issue of the International Journal of Comic Art that I just turned in tonight. I'm posting them here first because I usually say that I'll be doing a more complete review, but don't get around to it until the last minute. 2 of these shows are gone, but the Herblock exhibit is still up and well worth seeing.
Scrooged! Arnold Blumberg, Andy Herschberger, and John K. Snyder Jr. Baltimore, MD: Geppi’s Entertainment Museum, February 29-May 31, 2008. http://www.geppismuseum.com/
Thanks to the generosity of curator Arnold Blumberg, I saw this exhibit almost a month before it officially opened. All the artwork had been hung, but its final form was different with more labeling and information. Carl Barks was the focus of the exhibit – the title derives from Uncle Scrooge, Barks’ most enduring creation for Disney. The exhibit was rather diffuse, not focusing on any particular aspect of either Scrooge or Barks. It included the complete original artwork for the Scrooge story “North of the Yukon,” oil paintings of the Disney Ducks, oil paintings of landscapes from the 1960s, prints of “Famous Characters In Fictions As Waterfowl,” i.e. Robin Hood as a anthropometric duck, from when Disney was not permitting Barks to paint their ducks, pencil sketches of Disney work, and Another Rainbow objects such as a Faberge egg with Scrooge inside. All the items exhibited are apparently owned by museum founder and Diamond Distributors owner Steve Geppi.
Certainly displaying the entire original “North of the Yukon” artwork is justification enough for a small exhibit on Barks, and I enjoyed this show even though it did not really hold together. See Barks’ small landscapes which were obviously done for his own pleasure, scenes as so many cartoonists do in their retirement, was satisfying. Seeing him draw rather sexy dancing female ducks was odd, but interesting. Blumberg said to me, “I found it most fascinating looking at the paintings. There’s something really luminescent in the way the characters leap off the painting. It’s so much more than a casual viewer expects from a cartoonist.” Blumberg may be selling many cartoonists a bit short, but there is a peculiar fascination in seeing Donald Duck rendered using Old Master techniques, and the exhibit was worth visiting to see examples of Barks’ art beyond the pages of the comic book.
The museum’s current exhibit is “Out of the Box” – a playroom for the type of toys that will eventually make it into the Museum.
Heroes of the Negro League. Mark Chiarello, Michael Barry and Leslie Combemale. Reston, VA: ArtInsights, March 29-May 30, 2008. http://www.artinsights.com/
This exhibit is reviewed by virtue of Chiarello’s position as art editor for DC Comics. In 1990, Chiarello, in collaboration with his best friend Jack Morelli, created baseball cards for forgotten baseball players from the Negro Leagues, who had never had cards in America before. These paintings were watercolors over pencil that were based on photographs. The exhibit came about as the paintings were collected in a book, Heroes of the Negro Leagues (Abrams, 2007; $19.95, ISBN-10: 0810994348). Chiarello and Morelli did research at Cooperstown and the Schomburg Center in Harlem, and Chiarello painted the images from photographs and, surprisingly baseball cards – which had been issued in Cuba and Venezuela for some of the players.
Gallery co-owner Leslie Combemale interviewed Chiarello for a March 10th press release that is no longer on the gallery’s website. An exchange on Chiarello’s techniques is worthy of reprinting here:
LC- The Negro Leagues players portraits have a depth that goes beyond just (an image) How do you find the perfect picture to use?
MM- I can look through 200 or more pictures and only one is just right. With my portraits, I try to let the viewer know who that person is, just by looking in their eyes. I think the Cool Papa Bell is the most successful at that...it's why I chose it for the cover. I know the moment I find the right picture for reference, and I'll keep looking as long as it takes...
LC- Once you find that picture, how do you proceed from there?
MC- I pencil it out as tightly as I can. It’s my roadmap, so there's not much guesswork. After that I just try to get out of the way.
LC- I see your two styles of painting as so different from each other. One being the watercolor you used for the Negro League illustrations and the other the style you paint in oil, used for the Star Wars Celebration "Enlist Now" propaganda limited edition. I think of watercolors as unforgiving, hard to do, and hard to control.
MC- A lot of people say that and I disagree. Maybe it can't be controlled, but that's what's so great about it. After I pencil the image in, painting in watercolor is all about feel, control is beside the point. Your brain has to stay out of it and you have to stay out of the way of the paint. It becomes itself.
LC- What do you mean by that?
MC- For me it becomes about the emotional connection between the artist, the subject, and the wetness of the paint. The watercolor helps you-
LC- If you know what you're doing...
MC- Watercolor is in the moment. It flows into weird shapes and if you corral these shapes, they form the person's face. But you'll never see it if you have expectations or try to control the outcome too much from the beginning. With watercolor, once you have the roadmap a drawing creates, you've done most the work. After that you just have to enjoy the ride...Really my two styles are diametrically opposed. When I paint in oil it's very cerebral, I have to map the entire piece out from start to finish. It’s very precise work. Watercolor is all about flow.
Chiarello was also featured in the April issue of Juxtapose magazine for anyone who would like more details on this project; the paintings were technically excellent and appealing and the exhibit was worth seeing.
The gallery, which sells artwork (including the Negro League paintings) had other items of interest to IJOCA readers. There was an original story book artwork page from Snow White as well as an original movie cel with a background. Other cels from Lady and the Tramp, The Fox and the Hound, Aristocats, Fantasia and Peanuts lined the walls. Combemale told me that for fourteen years the focus of the gallery had been on animation, but recently they were widening their scope. "Tim Rogerson's World of Disney Color," their next exhibit, opens on July 12th.
Herblock’s Presidents: ‘Puncturing Pomposity’. Sidney Hart. Washington, DC: National Portrait Gallery, May 2-November 30, 2008.
Herbert ‘Herblock’ Block died in 2001, but his images linger on in Washington, at least partly because his estate donated over 10,000 of his cartoons to the Library of Congress with the proviso that they be displayed regularly. Curator Sidney Hart, a historian by trade, undertook the current exhibition and did a very credible job. Hart made two key decisions to define the show – it would be on presidents and the cartoon had to be negative. Hoover was not included because he “didn’t fit the theme of our show.” The two decisions had three points backing them up – 1.) Herblock’s presidential cartoons were among his most powerful, 2.) a negative cartoon was a more constructive force and, 3.) the exhibit went into the Presidential Gallery space.
The show was arranged by president beginning with Roosevelt. Herblock’s line was visibly smoother and he used the texture of the paper for shading. On the gallery tour, Hart pointed out some of his favorite cartoons. In one on McArthur and Truman, Truman is on a treadmill that McArthur is pulling in a different direction. For Eisenhower, Herblock drew him in a boat, blowing on a paper sale, while not running the motor on the boat. Another Eisenhower cartoon featured Herblock’s hated foe, Senator McCarthy, who is shown mugging the State Department and the Army, while Eisenhower is told, “Relax – he hasn’t gotten to you yet.” Hart noted the curious omission of no Kennedy cartoon for the Bay of Pigs; the JFK cartoons were usually positive so it was harder to find ones for the exhibit. Herblock’s best cartoon of Lyndon Johnson, from January 6, 1967 read “That’s a little better, but couldn’t you do it in luminous paint.” It showed Johnson looking at a painting of himself and referred to his official White House portrait -- which showed a heroic Johnson, but since LBJ did not like it, it rests in the next gallery over in the Portrait Gallery. Herblock’s Nixon cartoons were among his most famous – the exhibit included ones of Vice President Spiro Agnew in a sewer and the Saturday Night Massacre when Justice Department investigators of the Watergate break-in were fired on Nixon’s orders.
The Ford cartoon that Hart focused on showed both the President and the economy going to hell in a hand basket. Reflecting Block’s fondness for Alice in Wonderland, Jimmy Carter was depicted as the Cheshire Cat. One of the Carter cartoons showed an amazing detail from Block’s working methods – the paste-up corrections were done on mailing labels! Reagan and Nixon got the most cartoons with five each. Reagan was the president that Block disliked the most and his cartoons showed it. Clinton disappointed Herblock and his cartoons frequently showed Clinton with mud from scandals on him.
There was one major flaw in this exhibit for viewers. Some cartoons were matted badly and had their titles covered, or had no titles on them. The June 28, 1990 cartoon of George H.W. Bush crossing a bridge labeled “no new taxes” makes little sense without its caption “Anyhow, it got us across.” Frequently the individual cartoon labels, while full of historical information, were no where near the piece they were describing.
Also on display were Block’s Pulitzer Prize from 1941, a Reuben Award from 1956 and his Presidential Medal of Freedom from 1994 as well as some of his art supplies. A kiosk in the corner had hundreds more cartoons on it. The exhibit had only forty cartoons in it, but they were well selected. The exhibit was of the artwork, not necessarily the content, and seeing the cartoons on a screen detracted from the ideal of the museum in this reviewer’s opinion. As a museum curator myself, I would have stuck the kiosk in the exhibit as well since one always feels that more information is better, but it was not really needed in the show. I believe it became technically possible this year as the Herblock Foundation is planning on issuing a book with an accompanying DVD of 16,000 cartoons for Block’s 100th birthday next year.
Herblock: Drawn from Memory was an accompanying program by Hart who moderated with Pulitzer prize-winning Washington Post reporter Haynes Johnson, Washington Post editorial writer Roger Wilkins and Pulitzer prize-winning cartoonist Tony Auth. The three men mainly talked about Herblock’s mid-career at the Post, especially the Nixon and Johnson years. Block’s internationalist, and thus interventionalist, approach to foreign policy and the display of this in his cartoons was a particularly interesting part of the evening. Auth also made an extremely interesting observation. While Block was a good enough caricaturist to avoid labeling everyone, he still used labels on characters regularly. Auth said, “I was struck going through the exhibit here today – I always thought of cartoons as having kind of a half-life. They being to lose their power – and sometimes it’s a very long half-life and sometimes it’s eternal because it’s beyond the moment – but many cartoons have a relatively short half-life. I realized his use of labels extends that so that coming to a cartoon of his that was done forty years ago, you really can figure out what it’s about whereas a lot of cartoonists expend a lot of energy trying to get away from labels and they end up with cartoons that maybe a week, or two weeks later, you can’t figure out because you don’t know exactly what stimulated this drawing.” For those interested in the program, a recording of it can be found at http://www.archive.org/details/Herblock-drawnFromMemory
Overall Hart did an excellent job boiling down a massive amount of material to a coherent exhibit which, while not large, was well-done and informative.
Scrooged! Arnold Blumberg, Andy Herschberger, and John K. Snyder Jr. Baltimore, MD: Geppi’s Entertainment Museum, February 29-May 31, 2008. http://www.geppismuseum.com/
Thanks to the generosity of curator Arnold Blumberg, I saw this exhibit almost a month before it officially opened. All the artwork had been hung, but its final form was different with more labeling and information. Carl Barks was the focus of the exhibit – the title derives from Uncle Scrooge, Barks’ most enduring creation for Disney. The exhibit was rather diffuse, not focusing on any particular aspect of either Scrooge or Barks. It included the complete original artwork for the Scrooge story “North of the Yukon,” oil paintings of the Disney Ducks, oil paintings of landscapes from the 1960s, prints of “Famous Characters In Fictions As Waterfowl,” i.e. Robin Hood as a anthropometric duck, from when Disney was not permitting Barks to paint their ducks, pencil sketches of Disney work, and Another Rainbow objects such as a Faberge egg with Scrooge inside. All the items exhibited are apparently owned by museum founder and Diamond Distributors owner Steve Geppi.
Certainly displaying the entire original “North of the Yukon” artwork is justification enough for a small exhibit on Barks, and I enjoyed this show even though it did not really hold together. See Barks’ small landscapes which were obviously done for his own pleasure, scenes as so many cartoonists do in their retirement, was satisfying. Seeing him draw rather sexy dancing female ducks was odd, but interesting. Blumberg said to me, “I found it most fascinating looking at the paintings. There’s something really luminescent in the way the characters leap off the painting. It’s so much more than a casual viewer expects from a cartoonist.” Blumberg may be selling many cartoonists a bit short, but there is a peculiar fascination in seeing Donald Duck rendered using Old Master techniques, and the exhibit was worth visiting to see examples of Barks’ art beyond the pages of the comic book.
The museum’s current exhibit is “Out of the Box” – a playroom for the type of toys that will eventually make it into the Museum.
Heroes of the Negro League. Mark Chiarello, Michael Barry and Leslie Combemale. Reston, VA: ArtInsights, March 29-May 30, 2008. http://www.artinsights.com/
This exhibit is reviewed by virtue of Chiarello’s position as art editor for DC Comics. In 1990, Chiarello, in collaboration with his best friend Jack Morelli, created baseball cards for forgotten baseball players from the Negro Leagues, who had never had cards in America before. These paintings were watercolors over pencil that were based on photographs. The exhibit came about as the paintings were collected in a book, Heroes of the Negro Leagues (Abrams, 2007; $19.95, ISBN-10: 0810994348). Chiarello and Morelli did research at Cooperstown and the Schomburg Center in Harlem, and Chiarello painted the images from photographs and, surprisingly baseball cards – which had been issued in Cuba and Venezuela for some of the players.
Gallery co-owner Leslie Combemale interviewed Chiarello for a March 10th press release that is no longer on the gallery’s website. An exchange on Chiarello’s techniques is worthy of reprinting here:
LC- The Negro Leagues players portraits have a depth that goes beyond just (an image) How do you find the perfect picture to use?
MM- I can look through 200 or more pictures and only one is just right. With my portraits, I try to let the viewer know who that person is, just by looking in their eyes. I think the Cool Papa Bell is the most successful at that...it's why I chose it for the cover. I know the moment I find the right picture for reference, and I'll keep looking as long as it takes...
LC- Once you find that picture, how do you proceed from there?
MC- I pencil it out as tightly as I can. It’s my roadmap, so there's not much guesswork. After that I just try to get out of the way.
LC- I see your two styles of painting as so different from each other. One being the watercolor you used for the Negro League illustrations and the other the style you paint in oil, used for the Star Wars Celebration "Enlist Now" propaganda limited edition. I think of watercolors as unforgiving, hard to do, and hard to control.
MC- A lot of people say that and I disagree. Maybe it can't be controlled, but that's what's so great about it. After I pencil the image in, painting in watercolor is all about feel, control is beside the point. Your brain has to stay out of it and you have to stay out of the way of the paint. It becomes itself.
LC- What do you mean by that?
MC- For me it becomes about the emotional connection between the artist, the subject, and the wetness of the paint. The watercolor helps you-
LC- If you know what you're doing...
MC- Watercolor is in the moment. It flows into weird shapes and if you corral these shapes, they form the person's face. But you'll never see it if you have expectations or try to control the outcome too much from the beginning. With watercolor, once you have the roadmap a drawing creates, you've done most the work. After that you just have to enjoy the ride...Really my two styles are diametrically opposed. When I paint in oil it's very cerebral, I have to map the entire piece out from start to finish. It’s very precise work. Watercolor is all about flow.
Chiarello was also featured in the April issue of Juxtapose magazine for anyone who would like more details on this project; the paintings were technically excellent and appealing and the exhibit was worth seeing.
The gallery, which sells artwork (including the Negro League paintings) had other items of interest to IJOCA readers. There was an original story book artwork page from Snow White as well as an original movie cel with a background. Other cels from Lady and the Tramp, The Fox and the Hound, Aristocats, Fantasia and Peanuts lined the walls. Combemale told me that for fourteen years the focus of the gallery had been on animation, but recently they were widening their scope. "Tim Rogerson's World of Disney Color," their next exhibit, opens on July 12th.
Herblock’s Presidents: ‘Puncturing Pomposity’. Sidney Hart. Washington, DC: National Portrait Gallery, May 2-November 30, 2008.
Herbert ‘Herblock’ Block died in 2001, but his images linger on in Washington, at least partly because his estate donated over 10,000 of his cartoons to the Library of Congress with the proviso that they be displayed regularly. Curator Sidney Hart, a historian by trade, undertook the current exhibition and did a very credible job. Hart made two key decisions to define the show – it would be on presidents and the cartoon had to be negative. Hoover was not included because he “didn’t fit the theme of our show.” The two decisions had three points backing them up – 1.) Herblock’s presidential cartoons were among his most powerful, 2.) a negative cartoon was a more constructive force and, 3.) the exhibit went into the Presidential Gallery space.
The show was arranged by president beginning with Roosevelt. Herblock’s line was visibly smoother and he used the texture of the paper for shading. On the gallery tour, Hart pointed out some of his favorite cartoons. In one on McArthur and Truman, Truman is on a treadmill that McArthur is pulling in a different direction. For Eisenhower, Herblock drew him in a boat, blowing on a paper sale, while not running the motor on the boat. Another Eisenhower cartoon featured Herblock’s hated foe, Senator McCarthy, who is shown mugging the State Department and the Army, while Eisenhower is told, “Relax – he hasn’t gotten to you yet.” Hart noted the curious omission of no Kennedy cartoon for the Bay of Pigs; the JFK cartoons were usually positive so it was harder to find ones for the exhibit. Herblock’s best cartoon of Lyndon Johnson, from January 6, 1967 read “That’s a little better, but couldn’t you do it in luminous paint.” It showed Johnson looking at a painting of himself and referred to his official White House portrait -- which showed a heroic Johnson, but since LBJ did not like it, it rests in the next gallery over in the Portrait Gallery. Herblock’s Nixon cartoons were among his most famous – the exhibit included ones of Vice President Spiro Agnew in a sewer and the Saturday Night Massacre when Justice Department investigators of the Watergate break-in were fired on Nixon’s orders.
The Ford cartoon that Hart focused on showed both the President and the economy going to hell in a hand basket. Reflecting Block’s fondness for Alice in Wonderland, Jimmy Carter was depicted as the Cheshire Cat. One of the Carter cartoons showed an amazing detail from Block’s working methods – the paste-up corrections were done on mailing labels! Reagan and Nixon got the most cartoons with five each. Reagan was the president that Block disliked the most and his cartoons showed it. Clinton disappointed Herblock and his cartoons frequently showed Clinton with mud from scandals on him.
There was one major flaw in this exhibit for viewers. Some cartoons were matted badly and had their titles covered, or had no titles on them. The June 28, 1990 cartoon of George H.W. Bush crossing a bridge labeled “no new taxes” makes little sense without its caption “Anyhow, it got us across.” Frequently the individual cartoon labels, while full of historical information, were no where near the piece they were describing.
Also on display were Block’s Pulitzer Prize from 1941, a Reuben Award from 1956 and his Presidential Medal of Freedom from 1994 as well as some of his art supplies. A kiosk in the corner had hundreds more cartoons on it. The exhibit had only forty cartoons in it, but they were well selected. The exhibit was of the artwork, not necessarily the content, and seeing the cartoons on a screen detracted from the ideal of the museum in this reviewer’s opinion. As a museum curator myself, I would have stuck the kiosk in the exhibit as well since one always feels that more information is better, but it was not really needed in the show. I believe it became technically possible this year as the Herblock Foundation is planning on issuing a book with an accompanying DVD of 16,000 cartoons for Block’s 100th birthday next year.
Herblock: Drawn from Memory was an accompanying program by Hart who moderated with Pulitzer prize-winning Washington Post reporter Haynes Johnson, Washington Post editorial writer Roger Wilkins and Pulitzer prize-winning cartoonist Tony Auth. The three men mainly talked about Herblock’s mid-career at the Post, especially the Nixon and Johnson years. Block’s internationalist, and thus interventionalist, approach to foreign policy and the display of this in his cartoons was a particularly interesting part of the evening. Auth also made an extremely interesting observation. While Block was a good enough caricaturist to avoid labeling everyone, he still used labels on characters regularly. Auth said, “I was struck going through the exhibit here today – I always thought of cartoons as having kind of a half-life. They being to lose their power – and sometimes it’s a very long half-life and sometimes it’s eternal because it’s beyond the moment – but many cartoons have a relatively short half-life. I realized his use of labels extends that so that coming to a cartoon of his that was done forty years ago, you really can figure out what it’s about whereas a lot of cartoonists expend a lot of energy trying to get away from labels and they end up with cartoons that maybe a week, or two weeks later, you can’t figure out because you don’t know exactly what stimulated this drawing.” For those interested in the program, a recording of it can be found at http://www.archive.org/details/Herblock-drawnFromMemory
Overall Hart did an excellent job boiling down a massive amount of material to a coherent exhibit which, while not large, was well-done and informative.
July 12: "Tim Rogerson's World of Disney Color" at ArtInsights gallery in Reston
Co-owner Leslie Combemale posted on their website:
Also, we have Disney interpretive and 2006 official olympic poster artist Tim Rogerson coming to the opening weekend of his show "Tim Rogerson's World of Disney Color". Not sure honestly how many originals we'll be getting for the show as he just had a baby, but what we are getting is wonderful, and there'll be color concepts for his newest works which my clients get first dibs on, and the originals they are sending are really cool! He has a website of his Disney and non-Disney art, www.timrogerson.com. Let us know if you are interested in some of the art you see, and remember you can commission him when he's here!
The show starts on July 12th, and he'll be here 2-6 pm, along with Merrie Lasky, who has worked for Disney for many years and is now with Collectors Editions, who represents all Disney interpretive art. She will not only be helping out with orders for Tim, but will be onhand to explain the new Disney Fine Art Glass we just started carrying, that is gorgeous and very intricately designed and created.
Also, we have Disney interpretive and 2006 official olympic poster artist Tim Rogerson coming to the opening weekend of his show "Tim Rogerson's World of Disney Color". Not sure honestly how many originals we'll be getting for the show as he just had a baby, but what we are getting is wonderful, and there'll be color concepts for his newest works which my clients get first dibs on, and the originals they are sending are really cool! He has a website of his Disney and non-Disney art, www.timrogerson.com. Let us know if you are interested in some of the art you see, and remember you can commission him when he's here!
The show starts on July 12th, and he'll be here 2-6 pm, along with Merrie Lasky, who has worked for Disney for many years and is now with Collectors Editions, who represents all Disney interpretive art. She will not only be helping out with orders for Tim, but will be onhand to explain the new Disney Fine Art Glass we just started carrying, that is gorgeous and very intricately designed and created.
Hancock reviews in today's papers
Both the Post and the NY Times gave so-so reviews to it.
"Man of Bent Steel: 'Hancock' Runs Into a Kryptonite Plot Twist and Loses Its Superpowers," By Stephen Hunter, Washington Post Staff Writer, Wednesday, July 2, 2008; C01.
"Able to Leap Tall Buildings, Even if Hung Over," By MANOHLA DARGIS, New York Times July 2, 2008.
I'm going out on a limb here and guess the twist that's referred to in both reviews:
Hunter: ...and then the movie takes the strangest turn in quite possibly movie history, which I will not disclose. It's as if the screenwriters were working in their bungalow one day, stuck on a plot point, and one said to the other, "What if --" and the other said, "No way," and the first said, "Okay, genius, you come up with something better!" and genius never did.
Dargis: The extent of that complexity doesn’t emerge until the big reveal, which involves Ms. Theron’s character and is so surprising that I heard several grown men loudly gasp. (“No way!”)
My guess, without anything beyond those two sentences, is that Theron's character is actually a superhero, just one who does things right and keeps a secret identity secret. Feel free to write in and let me know if I got it.
"Man of Bent Steel: 'Hancock' Runs Into a Kryptonite Plot Twist and Loses Its Superpowers," By Stephen Hunter, Washington Post Staff Writer, Wednesday, July 2, 2008; C01.
"Able to Leap Tall Buildings, Even if Hung Over," By MANOHLA DARGIS, New York Times July 2, 2008.
I'm going out on a limb here and guess the twist that's referred to in both reviews:
Hunter: ...and then the movie takes the strangest turn in quite possibly movie history, which I will not disclose. It's as if the screenwriters were working in their bungalow one day, stuck on a plot point, and one said to the other, "What if --" and the other said, "No way," and the first said, "Okay, genius, you come up with something better!" and genius never did.
Dargis: The extent of that complexity doesn’t emerge until the big reveal, which involves Ms. Theron’s character and is so surprising that I heard several grown men loudly gasp. (“No way!”)
My guess, without anything beyond those two sentences, is that Theron's character is actually a superhero, just one who does things right and keeps a secret identity secret. Feel free to write in and let me know if I got it.
Tuesday, July 01, 2008
Kal is back, back, back in the USA
He reports on his trip on his blog at "Kal talks Cartoons in Azerbaijan" from June 29 2008.
Post likes local Lion King
See "The Circle Is Unbroken: 'Lion King' Still Roars," By Peter Marks, Washington Post Staff Writer, Tuesday, July 1, 2008; C01. Unfortunately for anyone who was waiting for a review, the story says it's sold out.
Monday, June 30, 2008
Monday's papers
The NY Times continues to be the paper of comic art, with at least four new articles:
"From Trash to Auction, Faster Than a Speeding ...Well, You Know," By GEORGE GENE GUSTINES, New York Times June 30, 2008 is on collecting original comic book art.
"In China, Jeers and Cheers for ‘Kung Fu Panda’," By DAVID BARBOZA, New York Times June 30, 2008.
"Free to Follow His Heart Right Back to 'Star Wars'," By DAVE ITZKOFF, New York Times June 29, 2008 on the coming Clone Wars cartoon movie.
"Google and Creator of 'Family Guy' Strike a Deal," By BROOKS BARNES, New York Times June 30, 2008.
and a local article, "DVD Review: 'Futurama: Beast With a Billion Backs'," by Rudi Greenberg, Express June 30 2008
"From Trash to Auction, Faster Than a Speeding ...Well, You Know," By GEORGE GENE GUSTINES, New York Times June 30, 2008 is on collecting original comic book art.
"In China, Jeers and Cheers for ‘Kung Fu Panda’," By DAVID BARBOZA, New York Times June 30, 2008.
"Free to Follow His Heart Right Back to 'Star Wars'," By DAVE ITZKOFF, New York Times June 29, 2008 on the coming Clone Wars cartoon movie.
"Google and Creator of 'Family Guy' Strike a Deal," By BROOKS BARNES, New York Times June 30, 2008.
and a local article, "DVD Review: 'Futurama: Beast With a Billion Backs'," by Rudi Greenberg, Express June 30 2008
Richmond comic book store profiled
See "Patrick Godfrey: We get 20 answers from the co-owner of Velocity Comics," by Ryan Brosmer, Richmond.com Monday, June 30, 2008.
SWANN FOUNDATION ANNOUNCES AWARDS FOR 2008‑2009
LIBRARY OF CONGRESS
June 30, 2008
Press contact: Donna Urschel (202) 707-1639, durschel@loc.gov
Public contact: Martha Kennedy (202) 707-9115, mkenn@loc.gov
SWANN FOUNDATION ANNOUNCES AWARDS FOR 2008‑2009
The Caroline and Erwin Swann Foundation for Caricature and Cartoon, administered by the Library of Congress, announces the awarding of academic grants to five applicants for the 2008-2009 Swann Fellowship: Marie-Stéphanie Delamaire, Mazie Harris, Jared Richman, Christina Smylitopoulos and Veronica White.
Because of an unusually large number of strong applications, the foundation’s advisory board chose to support five applicants with smaller awards instead of selecting a single recipient of the fellowship.
Delamaire, a doctoral candidate in art history and archaeology at Columbia University, will receive an award of $3,000 to support her research on the influence of French academic painting traditions on the work of Thomas Nast, a predominant American political cartoonist in the second half of the 19th century. In her dissertation, titled “Transatlantic Encounters: Franco-American Exchanges in the Civil War and Reconstruction Era,” she will contend that Nast, who collected prints of paintings by such artists as Paul Delaroche and Jean Léon Gérôme, used pictorial and technical conventions that characterize these and other French artists’ work in his compositions.
Harris, a doctoral candidate in the history of art at Brown University, will receive $3,500 for research for her dissertation titled, “A Colorful Union: Patriotic Caricature and Characterization in Henry Louis Stephens’ Civil War Chromolithographs.” In her study of this underappreciated graphic artist, she will analyze the vacillation between caricature and characterization in Stephens’ two chromolithographic series, published in 1863, and clarify his struggle to portray race relations as a motivation for the Union cause.
Richman will receive $2,000 for research into political caricature as part of the visual culture that shaped popular attitudes toward America during the Romantic Era. He plans to study prints in the Library’s collection of British satires to illuminate the conceptual treatment of America during the period before, during and after the Revolutionary War. Analysis of this material will inform a key part of his dissertation titled “Transatlantic Realms: The Idea of America in the British Literary Imagination.” Richman is a doctoral candidate in the Department of English at the University of Pennsylvania.
Smylitopoulos, a doctoral candidate in art history and communication studies at McGill University, will receive $3,000 to support her research for her dissertation titled “A Nabob’s Progress: Graphic Satire, The Grand Master and British Excess, 1770-1830.” She intends to strengthen the broad art historical context for the figure of the nabob (a provincial governor in the Mogul empire in India, also often a person of great wealth or prominence) by conducting research in the Library’s outstanding holdings of British satires in the Prints and Photographs Division.
White, who will soon complete her doctorate in art history at Columbia University, will receive $2,000 to help underwrite work on postdoctoral research. Embarking on a new project titled, “Dangerous Domestics: Satirical Depiction of Wives in English Prints from 1745 to 1821,” she intends to identify and analyze the varied artistic treatments of married women during the Golden Age of British Satire through exploring the Library’s collection.
New York advertising executive Erwin Swann (1906‑1973) established the Swann Foundation for Caricature and Cartoon in 1967. An avid collector, Swann assembled a large group of original drawings by more than 500 artists, spanning two centuries, which his estate bequeathed to the Library of Congress in the 1970s. Swann’ s original purpose was to build a collection of original drawings by significant creators of humorous and satiric art and to encourage the study of original cartoon and caricature drawings as works of art.
# # #
PR08-122
6/30/08
ISSN: 0731-3527
June 30, 2008
Press contact: Donna Urschel (202) 707-1639, durschel@loc.gov
Public contact: Martha Kennedy (202) 707-9115, mkenn@loc.gov
SWANN FOUNDATION ANNOUNCES AWARDS FOR 2008‑2009
The Caroline and Erwin Swann Foundation for Caricature and Cartoon, administered by the Library of Congress, announces the awarding of academic grants to five applicants for the 2008-2009 Swann Fellowship: Marie-Stéphanie Delamaire, Mazie Harris, Jared Richman, Christina Smylitopoulos and Veronica White.
Because of an unusually large number of strong applications, the foundation’s advisory board chose to support five applicants with smaller awards instead of selecting a single recipient of the fellowship.
Delamaire, a doctoral candidate in art history and archaeology at Columbia University, will receive an award of $3,000 to support her research on the influence of French academic painting traditions on the work of Thomas Nast, a predominant American political cartoonist in the second half of the 19th century. In her dissertation, titled “Transatlantic Encounters: Franco-American Exchanges in the Civil War and Reconstruction Era,” she will contend that Nast, who collected prints of paintings by such artists as Paul Delaroche and Jean Léon Gérôme, used pictorial and technical conventions that characterize these and other French artists’ work in his compositions.
Harris, a doctoral candidate in the history of art at Brown University, will receive $3,500 for research for her dissertation titled, “A Colorful Union: Patriotic Caricature and Characterization in Henry Louis Stephens’ Civil War Chromolithographs.” In her study of this underappreciated graphic artist, she will analyze the vacillation between caricature and characterization in Stephens’ two chromolithographic series, published in 1863, and clarify his struggle to portray race relations as a motivation for the Union cause.
Richman will receive $2,000 for research into political caricature as part of the visual culture that shaped popular attitudes toward America during the Romantic Era. He plans to study prints in the Library’s collection of British satires to illuminate the conceptual treatment of America during the period before, during and after the Revolutionary War. Analysis of this material will inform a key part of his dissertation titled “Transatlantic Realms: The Idea of America in the British Literary Imagination.” Richman is a doctoral candidate in the Department of English at the University of Pennsylvania.
Smylitopoulos, a doctoral candidate in art history and communication studies at McGill University, will receive $3,000 to support her research for her dissertation titled “A Nabob’s Progress: Graphic Satire, The Grand Master and British Excess, 1770-1830.” She intends to strengthen the broad art historical context for the figure of the nabob (a provincial governor in the Mogul empire in India, also often a person of great wealth or prominence) by conducting research in the Library’s outstanding holdings of British satires in the Prints and Photographs Division.
White, who will soon complete her doctorate in art history at Columbia University, will receive $2,000 to help underwrite work on postdoctoral research. Embarking on a new project titled, “Dangerous Domestics: Satirical Depiction of Wives in English Prints from 1745 to 1821,” she intends to identify and analyze the varied artistic treatments of married women during the Golden Age of British Satire through exploring the Library’s collection.
New York advertising executive Erwin Swann (1906‑1973) established the Swann Foundation for Caricature and Cartoon in 1967. An avid collector, Swann assembled a large group of original drawings by more than 500 artists, spanning two centuries, which his estate bequeathed to the Library of Congress in the 1970s. Swann’ s original purpose was to build a collection of original drawings by significant creators of humorous and satiric art and to encourage the study of original cartoon and caricature drawings as works of art.
# # #
PR08-122
6/30/08
ISSN: 0731-3527
QUICK REVIEWS FOR COMICS DUE 07-02-08
QUICK REVIEWS FOR COMICS DUE 07-02-08
By John Judy
(Good news! They’re all better than “Hancock!”)
ASTONISHING X-MEN #25 by Warren Ellis and Simone Bianchi. If anyone can follow the imprisonment of Kitty Pryde in an asteroid-sized metal phallus it’s Warren “Internet Jesus” Ellis. Brace yourselves. Recommended.
ASTOUNDING WOLF-MAN #7 by Robert Kirkman and Jason Howard. Wolfie gets outed as a murderer! And he seemed like such a nice werewolf…
AVENGERS/INVADERS #3 of 12 by Alex Ross, Jim Kreuger and Steve Sadowski. Only nine more to go til it stops.
BATMAN #678 by Grant Morrison and Tony Daniel. Bruce is having a bad day and only has three more issues to get it together. Or 17 if you want to count all those crossover issues of other series you don’t otherwise read. Yeah, me neither. Nice try, DC.
BILLY BATSON AND THE MAGIC OF SHAZAM #1 written and drawn by Mike Kunkel. The creator of HEROBEAR takes the reins in this out-of-continuity tale of the original Captain Marvel, picking up where Jeff Smith left off at the end of “Monster Society of Evil.” Appropriate for all ages. Recommended.
BOYS #20 by Garth Ennis and Darick Robertson. The true origins of the supers continue. Recommended. Not for the faint of gorge. Or kids. Ever.
BUFFY THE VAMPIRE SLAYER #16 by Joss Whedon and Jo Chen. Buffy meets Fray and giant Dawn appears to be having giant cramps! Nuff said!
HELLBLAZER PRESENTS: CHAS - THE KNOWLEDGE #1 of 5 by Simon Oliver and Goran Sudzuka. Chas Chandler is a London cabbie and John Constantine’s oldest surviving friend. Can he use his knowledge of London’s streets and landmarks to defeat a Big Bad without the aid of his trench-coated pal? Gotta look.
HELLBOY: THE CROOKED MAN #1 of 3 by Mike Mignola and Richard Corben. Hellboy tries to save a man who sold his soul to a demon from West Virginia. Don’t laugh! That demon got the truck started real good!
NORTHLANDERS #7 by Brian Wood and Davide Gianfelice. It’s Go-Time for Sven the Viking as wicked Uncle Gorm decides to stop screwing around. Like “Hamlet” with less talk, more rock. Recommended.
PATSY WALKER: HELLCAT #1 of 5 by Kathryn Immonen and David Lafuente Garcia. The resurrected super-heroine has been tasked with defending Alaska from… whatever Alaska needs protecting from? Exxon-Mobil, maybe?
SQUADRON SUPREME 2 #1 written by someone who is not J. Michael Straczynski and drawn by someone who is not the guy who drew the cover. Okay, maybe they’re not all better than “Hancock.”
STEPHEN COLBERT’S TEK JANSEN #2 of 5 by People who are not Stephen Colbert. Why? Why? Why? (See above.)
TRINITY #5 by Kurt Busiek and Everyone. Okay, last issue was a big fight and a forgettable back-up story. Much as I like Busiek’s work elsewhere this is starting to smell like COUNTDOWN and it’s only issue five.
WALKING DEAD #50 by Robert Kirkman and Charles Adlard. Did Rick really kill himself? Will his son have to put him down for good? A stand-alone tale that no doubt will mess with whatever uneaten brains you have left. Recommended. NOT for kids.
www.johnjudy.net
By John Judy
(Good news! They’re all better than “Hancock!”)
ASTONISHING X-MEN #25 by Warren Ellis and Simone Bianchi. If anyone can follow the imprisonment of Kitty Pryde in an asteroid-sized metal phallus it’s Warren “Internet Jesus” Ellis. Brace yourselves. Recommended.
ASTOUNDING WOLF-MAN #7 by Robert Kirkman and Jason Howard. Wolfie gets outed as a murderer! And he seemed like such a nice werewolf…
AVENGERS/INVADERS #3 of 12 by Alex Ross, Jim Kreuger and Steve Sadowski. Only nine more to go til it stops.
BATMAN #678 by Grant Morrison and Tony Daniel. Bruce is having a bad day and only has three more issues to get it together. Or 17 if you want to count all those crossover issues of other series you don’t otherwise read. Yeah, me neither. Nice try, DC.
BILLY BATSON AND THE MAGIC OF SHAZAM #1 written and drawn by Mike Kunkel. The creator of HEROBEAR takes the reins in this out-of-continuity tale of the original Captain Marvel, picking up where Jeff Smith left off at the end of “Monster Society of Evil.” Appropriate for all ages. Recommended.
BOYS #20 by Garth Ennis and Darick Robertson. The true origins of the supers continue. Recommended. Not for the faint of gorge. Or kids. Ever.
BUFFY THE VAMPIRE SLAYER #16 by Joss Whedon and Jo Chen. Buffy meets Fray and giant Dawn appears to be having giant cramps! Nuff said!
HELLBLAZER PRESENTS: CHAS - THE KNOWLEDGE #1 of 5 by Simon Oliver and Goran Sudzuka. Chas Chandler is a London cabbie and John Constantine’s oldest surviving friend. Can he use his knowledge of London’s streets and landmarks to defeat a Big Bad without the aid of his trench-coated pal? Gotta look.
HELLBOY: THE CROOKED MAN #1 of 3 by Mike Mignola and Richard Corben. Hellboy tries to save a man who sold his soul to a demon from West Virginia. Don’t laugh! That demon got the truck started real good!
NORTHLANDERS #7 by Brian Wood and Davide Gianfelice. It’s Go-Time for Sven the Viking as wicked Uncle Gorm decides to stop screwing around. Like “Hamlet” with less talk, more rock. Recommended.
PATSY WALKER: HELLCAT #1 of 5 by Kathryn Immonen and David Lafuente Garcia. The resurrected super-heroine has been tasked with defending Alaska from… whatever Alaska needs protecting from? Exxon-Mobil, maybe?
SQUADRON SUPREME 2 #1 written by someone who is not J. Michael Straczynski and drawn by someone who is not the guy who drew the cover. Okay, maybe they’re not all better than “Hancock.”
STEPHEN COLBERT’S TEK JANSEN #2 of 5 by People who are not Stephen Colbert. Why? Why? Why? (See above.)
TRINITY #5 by Kurt Busiek and Everyone. Okay, last issue was a big fight and a forgettable back-up story. Much as I like Busiek’s work elsewhere this is starting to smell like COUNTDOWN and it’s only issue five.
WALKING DEAD #50 by Robert Kirkman and Charles Adlard. Did Rick really kill himself? Will his son have to put him down for good? A stand-alone tale that no doubt will mess with whatever uneaten brains you have left. Recommended. NOT for kids.
www.johnjudy.net
Sunday, June 29, 2008
"What were they thinking?" department
Here's an American Express ad that's been running in the New York Times.
What are they trying to say here? "I own a comic book company so I can pay my Amex bill?" or "I collect comics, so I need an Amex card because they're expensive?"
What are they trying to say here? "I own a comic book company so I can pay my Amex bill?" or "I collect comics, so I need an Amex card because they're expensive?"
Sketches from Heroes Con
Chris Grine's Chickenhare sketch from Heroes Con.
Aaron Renier's Spiral-Bound sketch from Heroes Con.
Aaron Renier's King Arthur sketch from Heroes Con.
Claire loved her Soup-erman doll handmade by Maris Wicks.
Kevin Rechin's DC Lottery cartoons
I went to a Nationals game today (they lost in extra innings) and was the first to come up with pictures of Kevin Rechin's DC Lottery art that's used in ads in the subway. Here's some and the rest are on Flickr.
Hellboy manhole covers!
Last night in Chinatown, or whatever they're calling that neighborhood now, I saw manhole covers that had Hellboy crawling out of them! Cool! It's actually a photograph stuck onto the real sewer cover of course. Didn't get a snap, but if anyone does, send it along.
Post on theater's animation adaptations
"A Roaring Success and Its Effects on Broadway: 'Lion King' Changed Everything, and the Stampede Isn't Over," By Nelson Pressley, Washington Post Sunday, June 29, 2008; M03.
To be honest, when these adaptations started they seemed like a really, really dumb idea. Why try to bring something to an earthbound stage when you've got unlimited imagination in animation? Not having seen one yet, I'm still unsure. But comic strips have been adapted to the stage and screen since forever (or the 1890s) so why should animation be any different?
To be honest, when these adaptations started they seemed like a really, really dumb idea. Why try to bring something to an earthbound stage when you've got unlimited imagination in animation? Not having seen one yet, I'm still unsure. But comic strips have been adapted to the stage and screen since forever (or the 1890s) so why should animation be any different?
Olsson's slides into bankruptcy (fixed to add link)
"Olsson's Braces For Chapter 11 Filing," By Anita Huslin, Washington Post Staff Writer, Saturday, June 28, 2008; Page D01. I was very sorry to see this. I've bought a lot of books at Olsson's, saw some great cartoonists including Joann Sfar (did I record that? I'll check and upload it if so), and like it as a local chain.
Heroes Con hangover
Richard had a table next to Stuart and Kathryn Immonen so I talked to them briefly. Ms. Immomen had some copies of her Hellcat comics at the table and it sounded interesting. Here's an interview about the new miniseries: "Hell's Belle," Lowdown by Tony Ingram, June 26, 2008.
Post reviews Pixar book
"Incredibles, Inc.: The story of how computer programmers transformed the art of movie animation." by Rob Pegoraro, Washington Post Book World Sunday, June 29, 2008; Page BW08
The book is:
THE PIXAR TOUCH
The Making of a Company
By David A. Price
Knopf. 308 pp. $27.95
Politics and Prose had the author last weekend, and probably still has signed copies. Also they sell a cd recording of the talks. Since I was at Heroes Con I bought the cd .
The book is:
THE PIXAR TOUCH
The Making of a Company
By David A. Price
Knopf. 308 pp. $27.95
Politics and Prose had the author last weekend, and probably still has signed copies. Also they sell a cd recording of the talks. Since I was at Heroes Con I bought the cd .
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