Wednesday, November 21, 2018
Tuesday, November 20, 2018
Animator Pablo Ferro's obituary in The Post
Pablo Ferro, evocative title designer of 'Dr. Strangelove' and 'Bullitt,' dies at 83 [in print as Pablo Ferro, 83; Animator and evocative title designer of 'Dr. Strangelove' and 'Bullitt']
Monday, November 19, 2018
Comics writer Mike Carey's new novel reviewed in The Post
'Lucifer' writer Mike Carey continues to cement his status as a novelist [in print as Latest from Carey puts a fresh spin on spooky].
PR: Inaugural Issue of Stan Lee's The Incredible Hulk Sells for $167,280
A Silver Spring auction house sold a Hulk #1 last week.
For Immediate Release
Contact: Sam Heller
Huggins & Scott Auctions, Silver Spring, MD
+1 310 927 6273 |
sam@samhellercommunications.com
Inaugural Issue of The Incredible Hulk Sells for $167,280
LOS ANGELES, November 19, 2018 –A high-grade issue of The Incredible Hulk #1 from May 1962 sold for $167,280 on Friday.
This first issue is considered one of the most valuable and prestigious comics of the Silver Age. Marvel Comics published the inaugural issue of the Incredible Hulk in May 1962, which was part of an enormous resurgence of super-hero comics in the early 1960's. This comic book earned a Universal Grade of 8.5 from the leading comic book grader CGC.
The consignor read this 56-year old Hulk Comic once as a youth and kept it in storage since 1962. Well known to be a super tough comic to find in upper grades, this high-demand pivotal issue continues to show astonishing sale price increases, reaching a Fair Market Value of $175,000 in recent years for the few known examples that have been graded at the 8.5 level.
The popularity of the Incredible Hulk comic series led to Marvel Studio producing a superhero film The Incredible Hulk in 2008. The film starred Edward Norton as Bruce Banner/Hulk. Mark Ruffalo replaced Norton as the Hulk in the 2012 film The Avengers. Ruffalo reprised the Hulk role in Avengers: Age of Ultron and Avengers: Infinity War.
The comic book was estimated to sell between $125,000 to $175,000.
Additional information on the comic book can be found at https://hugginsandscott.com/cgi-bin/showitem.pl?itemid=32004
About Huggins & Scott Auctions
Huggins and Scott, based in Silver Spring MD and founded in 2002, is a leading catalog auction company specializing in sports and Americana collectibles. The company was founded by current president Bill Huggins, who has been in the collectibles business since 1976 when he opened his baseball card store. Specializing in vintage sports and non-sports cards, autographs, memorabilia, and a wide range of collectibles for every level of collector, Huggins and Scott runs four online Masterpiece Auctions per year.
TCJ reprints a Stan Lee interview by Falls Church's Ted White
A Stan Lee Interview (1968)
BY Ted White Nov 19, 2018
This interview ran in The Comics Journal #181 (October 1995)
New Kickstarter from Roye Okupe
E.X.O. Returns in Rise of AVON!
A sci-fi superhero story set in a futuristic Africa where an Android with the mind & ambition of a conqueror, plans to "reset" humanity
The E.X.O. Part 3 graphic novel is COMPLETE! The plan is to ship the books & rewards two weeks after the Kickstarter is successfully funded(fingers crossed).
This Kickstarter is for three weeks ONLY. After that, the book will not officially release till late February 2019. The only way to get it months before (and cheaper) anyone is by pre-ordering via this Kickstarter ;) Haven't read part 1 or part 2 yet? No worries. This Kickstarter has a bundle that saves you 40% of the cost.
Sunday, November 18, 2018
Review: Black and White / Thoughts in Cartoon by Mohammad Sabaaneh
by Mike Rhode
Black and White / Thoughts in Cartoon by Mohammad Sabaaneh, Washington, DC: Jerusalem Fund Gallery Al-Quds. November 17 – December 15, 2018. https://www.thejerusalemfund.org/21159/november-cartoons
Mohammad Sabaaneh is a self-taught Palestinian cartoonist, who, like all good editorial cartoonists, often finds himself in trouble with both the Israeli and the Palestinian governments. Notwithstanding the need to teach art, and the regular seizure of his artwork when he returns from travelling (and thus he says he only carries reproductions personally), Sabaaneh has been able to compile a book, White and Black: Political Cartoons from Palestine (JustWorldBooks, 2017; $20). While touring the East Coast for this publication, he stopped in Washington to introduce a small exhibit of his linocut art.
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| Malcolm |
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| The Weight of Occupation |
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| The Dictator’s Melody |
I found the strongest pieces in the show to be two pieces, “Resisting settler colonialism everywhere” and “She carries remembered worlds,” each depicting generic Palestinian people, a man and a woman, with their bodies fading into buildings. Both evoke a strong sense of place and purpose, more so than “Can you chain a heart?”, an image of a heart wrapped in chain. The exhibit also contains a long “History of Palestine Frieze” which is about five feet long and shows a history of the occupation via cartoon figures. Sabaaneh says he plans to do more large-scale works like this, and has recently completed one on the subject of women.
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| She carries remembered worlds |
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| Resisting settler colonialism everywhere |
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| Can you chain a heart? |
At the exhibit opening, Cartoonist Rights Network International’s Bro Russell interviewed Sabaaneh, who then also took questions. (The Fund has said that a transcript will be soon made available on their website). The audience was made up of students and people already familiar with the Palestinian cause, which Sabaaneh says actually works against him, because most of the people who come to see him at a talk or an exhibit are already convinced and do not need to argue with him or his work. For those not familiar with his work, the exhibit and the book are a good introduction to a world where political cartoonists still matter enough to be regularly threatened with more than job loss.
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| History of Palestine Frieze segment |
(This review was written for the International Journal of Comic Art 20:2, but this version appears on both the IJOCA and ComicsDC websites on November 18, 2018, while the exhibit is still open for viewing.)
That darn Beetle Bailey
Bad combo, even if it's a chocolate Lab
T.H. Otwell, Silver Spring
Washington Post November 17 2018, p. A17
Regarding the Nov. 5 "Beetle Bailey" comic strip:
Flashback to Nikahang Kowsar's 2003 cartoons
I ran into Nik Kowsar yesterday. Nik was a cartoonist in Iran who eventually had to seek asylum in Canada and then the US. He lives around DC now, and doesn't do as much cartooning as he did, but he still helps other cartoonists via the CRNI. He sent along a few cartoons he'd done for sharing here.
The Bush ones were drawn for Iranian media right after the invasion
of Iraq in March and April of 2003. I was still working as a
cartoonist in Tehran. I fled Iran on June 25th, 2003 for Canada.
I
strongly believed that the whole campaign for finding Weapons of Mass
Destruction was a scam and Cheney and his gang wouldn't be able to pin
point even one rocket.
The 2 Saddam
cartoons were drawn after his arrest near a village, north of Baghdad in
December 2003. I was living in Toronto at the time.
Saturday, November 17, 2018
Mohammad Sabaaneh, a Palestinian cartoonist, is about to start speaking at The Jerusalem Fund
Mohammad Sabaaneh, a Palestinian cartoonist, is about to start speaking at The Jerusalem Fund in DC. Bro Russell of CRNI is interviewing him.
Friday, November 16, 2018
Flugennock's Latest'n'Greatest: "Social Media Sh*t-Take Quote Template Art"
DC's anarchist cartoonist Mike Flugennock gives you a social media cartoon template:
"Social Media Shit-Take Quote Template Art"
http://sinkers.org/stage/?p=2639
Back again, in the fine new tradition of the Smashed Old TV (http://sinkers.org/stage/?p=2620) comes this new Social Media Shit-Take Quote template art. Hold up your favorite social media star's queefage in style. Shown here is a "serving suggestion" on the letter-size screen-resolution template. The typeface here is Gotham family Book and Medium, but any clean, modern sans-serif face will work.
Back again, in the fine new tradition of the Smashed Old TV (http://sinkers.org/stage/?p=2620) comes this new Social Media Shit-Take Quote template art. Hold up your favorite social media star's queefage in style. Shown here is a "serving suggestion" on the letter-size screen-resolution template. The typeface here is Gotham family Book and Medium, but any clean, modern sans-serif face will work.
Jim Toomey's latest educational animation
Professor, comic strip artist produce film series for kids
RFK Journalism Awards open for editorial cartoon submissions
Submissions are open
All submissions must be received by February 1. 2019. For more information, please visit our Book Award Guidelines for Entry or Journalism Award Guidelines for Entry.
For questions or more information, please contact us!
Review: Sense of Humor exhibit at National Gallery of Art
by Mike Rhode
Sense of Humor: Caricature, Satire, and the Comical from Leonardo to the Present. Jonathan Bober, Andrew W. Mellon senior curator of prints and drawings; Judith Brodie, curator and head of the department of American and modern prints and drawings; and Stacey Sell, associate curator, department of old master drawings. Washington, DC: National Gallery of Art. July 15, 2018 – January 6, 2019. https://www.nga.gov/exhibitions/2018/sense-of-humor.html
Humor may be fundamental to human experience, but its expression in painting and sculpture has been limited. Instead, prints, as the most widely distributed medium, and drawings, as the most private, have been the natural vehicles for comic content. Drawn from the National Gallery of Art's collection, Sense of Humor celebrates this incredibly rich though easily overlooked tradition through works including Renaissance caricatures, biting English satires, and20th-century comics. The exhibition includes major works by Pieter Brueghel the Elder, Jacques Callot, William Hogarth, James Gillray, Francisco de Goya, and Honoré Daumier, as well as later examples by Alexander Calder, Red Grooms, Saul Steinberg, Art Spiegelman, and the Guerrilla Girls.
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| James Gillray, Wierd-Sisters; Ministers of Darkness; Minions of the Moon, 1791 |
Any exhibit on humor that covers 500 years (from 1470 through 1997), two continents and at least five countries is going to have to deal with the vagaries of what humor actually is. Even within my lifetime, what is considered permissible humor in America has changed, sometimes drastically. The exhibit was divided into three galleries – according to their press release (available at the website) the first "focuses on the emergence of humorous images in prints and drawings from the 15th to 17th centuries. Satires and caricatures gained popularity during this era, poking fun at the human condition using archetypal figures from mythology and folklore. While not yet intended as caricatures of individuals, Italian works reflected the Renaissance interest in the human figure and emotion." To modern eyes, drawings of dwarves or grotesques do not really appear to be either humorous or a cartoon, but the curators make the arguments that the foundations of caricature and satirical cartooning are laid in this period.
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| William Hogarth, Strolling Actresses Dressing in a Barn, 1738 |
The second gallery begins featuring artists that most of us would consider cartoonists as it "continues with works from the 18th and 19th centuries, when certain artists dedicated themselves exclusively to comical subjects." In this room one found a good selection of the British masters Hogarth, Rowlandson, Gillray and Cruikshank, as well as Goya and Daumier (and oddly enough the painter Fragonard who drew an errant lover hiding from parents in an etching, The Armoire). This is the most interesting part of the exhibit for historians of comics, and the strong selection of etchings and drawings is worth studying since one rarely gets to see the contemporary prints, or even the original drawings such as Cruickshank's pencil and ink drawing Taking the Air in Hyde Park (1865). The release also notes, "Included in the exhibition is Daumier's Le Ventre Législatif (The Legislative Belly) (1834), a famous image that mocks the conservative members of France's Chamber of Deputies," but the exhibit does not note that the sculptures Daumier also made of the Deputies is on permanent display in another gallery of the museum -- a lost opportunity.
The final gallery "focuses on the 20th century and encompasses both the gentle fun of works by George Bellows, Alexander Calder, and Mabel Dwight and the biting satire of Hans Haacke and Rupert GarcÃa. Works by professional cartoonists such as R. Crumb, George Herriman, Winsor McCay, and Art Spiegelman are presented alongside mainstream artists like Calder, Roy Lichtenstein, Jim Nutt, and Andy Warhol." Of most interest were the McCay (Little Nemo in Slumberland: Climbing the Great North Pole) and Herriman (Ah-h, She Sails Like an Angel, 1921) originals, both of which are worth examining in detail. This section also showed the paucity of the NGA's collections in modern comic art. These are joined by a print by Art Spiegelman, and several Zap Comic books, recently collected and described in standard art historical terms:
Robert Crumb (artist, author), Apex Novelties (publisher)
Zap #1, 1968
28-page paperback bound volume with half-tone and offset lithograph illustrations in black and
cover in full color
sheet: 24.13 x 17.15 cm (9 1/2 x 6 3/4 in.)
open: 24.13 x 34.29 cm (9 1/2 x 13 1/2 in.)
National Gallery of Art, Washington, Gift of William and Abigail Gerdts
The fact that the Gallery still can not bring itself to use the word 'comic book,' the standard term as opposed to paperback bound volume, unfortunately shows that it has far to go in dealing with the twentieth century's popular culture rather than fine art. Still, the exhibit is interesting, and well-worth repeated viewings which are almost necessary to understand the material from the first four centuries of the show.
(This review was written for the International Journal of Comic Art 20:2, but this version appears on both the IJOCA and ComicsDC websites on November 16, 2018, while the exhibit is still open for viewing. For those not in DC, Bruce Guthrie has photographs of the entire exhibit at http://www.bguthriephotos.com/graphlib.nsf/keys/2018_07_29B2_NGA_Humor)
Thursday, November 15, 2018
Editorial Cartoon by artleytoons
My cartoon, "Effect and Cause," uses metaphor and hyperbole to explain the mechanics on how some movements maintain momentum.
—Steven G. Artley, artleytoons |
| ©2018 Steven G. Artley • artleytoons • ALL RIGHTS RESERVED |
Wednesday, November 14, 2018
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