Thursday, April 27, 2017
Tuesday, April 25, 2017
CIA archives apparently hold some cartoons
Funny papers, please: a sampling of comic strips in the CIA's archives
From Soviet satire to psychic Dilbert, the strangest strips hidden in CREST
Edited by Michael Morisyhttps://www.muckrock.com/news/archives/2017/apr/24/comics-cias-archives/
Great Big Stories mentions Library of Congress' comic book collection
There's Something for Everyone at the World's Largest Library
http://www.greatbigstory.com/stories/the-largest-library-in-the-world
The comics appear at about 3:00, but the whole video is worth watching.http://www.greatbigstory.com/stories/the-largest-library-in-the-world
Monday, April 24, 2017
April 30: Max Fleischer film screening in Rockville
Stone Branch School of Art at 2 pm, with a lecture by his grand-daughter, Virginia Mahoney.
April 27: Courtroom art exhibit opens at Library of Congress, with curator presentation
March 7, 2017 (REVISED April 19, 2017) "Drawing Justice: The Art of Courtroom Illustrations" Opens April 27
Public Contact: Sara W. Duke (202) 707-3630
Website: Registration for downloadable images in online press kit
A new exhibition at the Library of Congress, "Drawing Justice: The Art of Courtroom Illustrations," will feature original art that captures the drama of high-profile court cases in the last 50 years.
The exhibition will open on Thursday, April 27, 2017, and close on Saturday, Oct. 28, 2017, in the South Gallery on the second floor of the Library's Thomas Jefferson Building, 10 First St. S.E., Washington, D.C. It is free and open to the public from 8:30 a.m. to 4:30 p.m., Monday through Saturday. Tickets are not needed.
"Drawing Justice" is made possible by Thomas V. Girardi and the Swann Foundation for Caricature and Cartoon. In addition, Girardi—the founding partner of Girardi Keese, a Los Angeles law firm—funded the acquisition of 95 high-profile trial drawings by Aggie Kenny, Bill Robles and Elizabeth Williams for the Library's collection. As a result of this benefaction, the Library's courtroom illustrations are the most comprehensive in any American institution.
The exhibition's illustrations—part of the Library's extensive collection of more than 10,000 courtroom drawings—are the work of talented artists hired by both newspapers and broadcast outlets to capture the personal dynamics of legal trials, which for many decades were off-limits to photographers and television cameras. The artwork brings the theater of the courtroom to life, capturing gestures, appearances and relationships in a way that humanizes the defendants and plaintiffs, lawyers, judges and witnesses.
The 98 illustrations on display will represent court cases dating from 1964 to the present day, including trials for murder, crime and corruption, terrorism, political activism and landmark legal issues. Among those depicted will be Jack Ruby, James Earl Ray, Charles Manson, David Berkowitz, John Gotti, the Chicago Seven and Bernie Madoff. Artifacts from the Library's Manuscript Division and the Law Library will supplement the drawings from a legal perspective.
Also on view will be an introductory video and an interactive video station that show the actual drawings from the exhibition being featured on television nightly news broadcasts. This footage demonstrates the important contribution courtroom illustrators make in bringing the drama of the court, and an understanding of the day's events, into the homes of millions of Americans.
The exhibition begins with the work of Howard Brodie, who popularized reportage-style courtroom illustrations with his documentation of the Jack Ruby trial in 1964 for CBS Evening News. Ruby had been charged with killing Lee Harvey Oswald, who allegedly assassinated President John F. Kennedy in 1963. Brodie supported and encouraged the first generation of artists who created the artwork for television and print media. Brodie donated his trial drawings to the Library of Congress, which spurred the development of the courtroom-illustration collections.
In addition to Brodie, the artists represented in the exhibition include Marilyn Church, Aggie Kenny, Pat Lopez, Arnold Mesches, Gary Myrick, Joseph Papin, David Rose, Freda Reiter, Bill Robles, Jane Rosenberg and Elizabeth Williams.
The exhibition is curated by Sara W. Duke, curator of applied and graphic art in the Library's Prints and Photographs Division. Assistant curator is Margaret M. Wood, a senior legal reference librarian in the Library of Congress Law Library. Betsy Nahum-Miller and Carroll Johnson, from the Library's Interpretative Programs Office, are the exhibition directors.
The Library has amassed the largest publicly accessible collection of courtroom illustrations through a series of gifts from artists, their families and heirs. Howard Brodie, with his donation of 1,400 drawings—for such seminal trials as those of Jack Ruby, Sirhan Sirhan, the Chicago Seven, and the My Lai Massacre court martial of William Calley and Ernest Medina—established the collection at the Library between 1965 and 1980. In addition, Los Angeles illustrator David Rose gave more than 100 drawings from the 1971 and 1973 Pentagon Papers trials of Daniel Ellsberg & Anthony Russo. In 2009, the family of New York-based artist Marilyn Church generously donated more than 4,200 drawings for trials from 1974 to 2008. In 2015, the family of New York Daily News artist Joseph Papin gave more than 4,700 drawings. Through purchase-gift arrangements in 2014, the Library was able to acquire the work of two mid-western artists, Gary Myrick and Pat Lopez.
The Library of Congress Prints and Photographs Division preserves and provides access to nearly 16 million photographs, drawings and prints from the 15th century to the present day. International in scope, these visual collections represent a uniquely rich array of human experience, knowledge, creativity and achievement, touching on almost every realm of endeavor: science, art, invention, government and political struggle, and the recording of history. For more information, visit loc.gov/rr/print/.
The Library of Congress is the world's largest library, offering access to the creative record of the United States—and extensive materials from around the world—both on-site and online. It is the main research arm of the U.S. Congress and the home of the U.S. Copyright Office. Explore collections, reference services and other programs and plan a visit at loc.gov; access the official site for U.S. federal legislative information at congress.gov; and register creative works of authorship at copyright.gov.
PR 17-022
2017-03-07
ISSN 0731-3527
April 29: Cartooning the Landscape with Chip Sullivan
Cartooning the Landscape with Chip Sullivan
Saturday at 6:30 PM - 8:30 PM |
Fantom Comics
2010 P Street NW, Washington, District of Columbia 20036
Cartozia Tales profiled
Exploring The World of Cartozia Tales
by Rob Clough
High-Low blog April 10, 2017
http://highlowcomics.blogspot.com/2017/04/exploring-world-of-cartozia-tales.htmlMay 4: Palestinian cartoonist Mohammad Sabaaneh at Busboys and Poets
WHITE AND BLACK: Political Cartoons from Palestine by Mohammed Sabaaneh - author event
14th & V | Langston Room | May 4, 2017 | 6:30 pm - 8:30 pm
Busboys and Poets 14th & V welcomes Mohammad Sabaaneh to present his new book "White and Black: Political Cartoons from Palestine."
Mohammad Sabaaneh, a talented political cartoonist from Palestine, has gained worldwide renown for his stark black-and-white sketches, which draw attention to brutalities of the Israeli occupation and celebrate the Palestinians' popular resistance. These provocative drawings do not flinch from tackling the tough subjects that confront Palestinians, from Israel's everyday injustices in the West Bank to their frequent military operations on Gaza. This collection includes 180 of Sabaaneh's best cartoons, some of them depicting the experience of Palestinian political prisoners being held in Israel.
In his Foreword, titled "Sabaaneh's Social Surrealism", veteran American political cartoonist Seth Tobocman notes the influence of Picasso and Braque on Sabaaneh's work, and asks: "Can there be an accurate depiction of an insane situation? Why should we draw in perspective when the world has lost its perspective? When reality becomes bizarre social realism gives way to social surrealism."
Friday, April 21, 2017
Kathleen Brenowitz - An Artomatic update interview
by Mike Rhode
A few years back we interviewed Kathleen Brenowitz about her cartooning. She's currently exhibiting her work at Artomatic, and we checked back in with her.
How did you decide to exhibit at Artomatic?
Oddly enough, through LARPing! (Live Action Role Playing). Wyrd Armories (https://wyrdarmouries.com) - the duo who make up the rest of the room I'm displaying in - are friends of mine I met while LARPing with my significant other. When talking shop, Cynthia mentioned Artomatic, and that we all should try to get a room together - and once I'd seen some pictures of previous shows, I was hooked!
As a sequential artist, how did you decide what to include in the show?
While I'm most known for my comics, I'm also known for my prints - most of them being of characters or worlds I plan to develop as part of my stories. Also I'd been working on stand-alone pieces for a pal's choose your own adventure - the finished "From Out of a Dream" and the current "Back Alive or Maybe Dead". So all the pieces may have been more illustrative than my usual, there is a theme and a story up on the Artomatic wall.
Has exhibiting at an art show been different than a comic con?
It has been wonderful to get out from behind the table, hands down. At the last meet the artist night, it was a delight to wander from small group to small group, answer questions, and generally move around. Cons have you standing in one place for hours, and it's hard to not get ansty. I also felt like less of a carnival barker - I waved to some people who passed by the room, but I never felt the need to shout to slow down a hurried seeker. At a con, you end up with people walking past a row of booths simply because it's more of a market - and you're not the booth they're trying to find; as a seller, you need to catch attention, usually with a loud greeting. I may have nearly lost my voice at the artist night, but it was from chatting, not hailing.
The crowd is also a little different - most of my experience of larger cons has been one of younger crowds and a great deal of shopping. Artomatic has the shopping element (in fact, my pieces are available for sale!) but with the motion of going in and out of each little room, there's a urge to linger that comes from passing a threshold. The Artomatic crowd is also very diverse in terms of ages - teenagers stopped by due to the free admission and curiosity, young couples on date nights, middle-aged artists who wanted to see what new stuff had been made, older folks who had great commentary on ink lines. In depends on the con, but I'm used to seeing fewer families and the age range as tilting towards younger - it was nice to have it flip for a change!
Has it been successful for you in reaching an audience?
Well, half of the art scene in DC knows my day job (art store minion) now, and I ran out of business cards. Time will tell if this brings in more sales/views/general eyeballs-on-my-work overall, but it's been a nice stretch of my boundaries. I'd love to do more long-term shows like this!
A few years back we interviewed Kathleen Brenowitz about her cartooning. She's currently exhibiting her work at Artomatic, and we checked back in with her.
How did you decide to exhibit at Artomatic?
Oddly enough, through LARPing! (Live Action Role Playing). Wyrd Armories (https://wyrdarmouries.com) - the duo who make up the rest of the room I'm displaying in - are friends of mine I met while LARPing with my significant other. When talking shop, Cynthia mentioned Artomatic, and that we all should try to get a room together - and once I'd seen some pictures of previous shows, I was hooked!
As a sequential artist, how did you decide what to include in the show?
While I'm most known for my comics, I'm also known for my prints - most of them being of characters or worlds I plan to develop as part of my stories. Also I'd been working on stand-alone pieces for a pal's choose your own adventure - the finished "From Out of a Dream" and the current "Back Alive or Maybe Dead". So all the pieces may have been more illustrative than my usual, there is a theme and a story up on the Artomatic wall.
Has exhibiting at an art show been different than a comic con?
It has been wonderful to get out from behind the table, hands down. At the last meet the artist night, it was a delight to wander from small group to small group, answer questions, and generally move around. Cons have you standing in one place for hours, and it's hard to not get ansty. I also felt like less of a carnival barker - I waved to some people who passed by the room, but I never felt the need to shout to slow down a hurried seeker. At a con, you end up with people walking past a row of booths simply because it's more of a market - and you're not the booth they're trying to find; as a seller, you need to catch attention, usually with a loud greeting. I may have nearly lost my voice at the artist night, but it was from chatting, not hailing.
The crowd is also a little different - most of my experience of larger cons has been one of younger crowds and a great deal of shopping. Artomatic has the shopping element (in fact, my pieces are available for sale!) but with the motion of going in and out of each little room, there's a urge to linger that comes from passing a threshold. The Artomatic crowd is also very diverse in terms of ages - teenagers stopped by due to the free admission and curiosity, young couples on date nights, middle-aged artists who wanted to see what new stuff had been made, older folks who had great commentary on ink lines. In depends on the con, but I'm used to seeing fewer families and the age range as tilting towards younger - it was nice to have it flip for a change!
Has it been successful for you in reaching an audience?
Well, half of the art scene in DC knows my day job (art store minion) now, and I ran out of business cards. Time will tell if this brings in more sales/views/general eyeballs-on-my-work overall, but it's been a nice stretch of my boundaries. I'd love to do more long-term shows like this!
Shawn Martinbrough's marriage covered by NY Times
Still in Love With Comic Books, and Now With Her, Too
https://www.nytimes.com/2017/04/21/fashion/weddings/still-in-love-with-comic-books-and-now-with-her-too.html
Juana Medina featured in GW Magazine
A Line by Line Perspective
Sometimes things don't work out. Colombian-born Corcoran professor Juana Medina knows this as well as anyone. But the children's book illustrator and author also knows that sometimes they do, and that's enough to keep her cheery in the face of gloom
By Matthew Stoss
May 24: Archie writer Alex Segura at East City Bookshop
Authors Alex Segura and Neely Tucker
Event date:
Wednesday, May 24, 2017 - 6:30pm to 8:00pm
Event address:
East City Bookshop
645 Pennsylvania Avenue SE
Washington, DC 20003
Join us for a discussion and signing by thriller/mystery authors Alex Segura (DANGEROUS ENDS, ARCHIE) and Neely Tucker (ONLY THE HUNTED RUN).
RSVP on Facebook or email rsvp@eastcitybookshop.com. RSVPs are appreciated but not required. This event is free and open to the public.Thursday, April 20, 2017
June 21: Tyrus Screening + Q & A with director Pamela Tom
Wednesday, June 21 at 7:20 PM - 9 PM- pAFI Silver Theatre and Cultural Center8633 Colesville Rd, Silver Spring, Maryland 20910
- Find TicketsTickets Availablesilver.afi.com
- IN MEMORIAM: Tyrus Wong (1910–2016)
When former Disney animator and painter Tyrus Wong died in December 2016 at 106, obituaries told of a man whose life reads like an epic of the 20th century. From his birth in China in 1910 to a difficult immigration experience as a small boy and penurious upbringing in Los Angeles' Chinatown, Wong worked his way through art school and eventually found work in Disney's animation studio. When pre-production on BAMBI bogged down due to problems with overcrowding in the background of the early artwork, it was Wong's new landscape sketches — modeled on Song Dynasty- style landscape painting — that took the film in a bold new direction.
TYRUS - A Documentary Film
April 25: THE GREAT WAR: ANIMATED MEMORIES
THE GREAT WAR: ANIMATED MEMORIES/GRANDE GUERRE: MEMOIRES ANIMEES
Multiple directors - 75 min
Silent, in English or with English subtitles
As part of the celebrations of the Centennial of American involvement into World War I, the Cultural Services of the French Embassy present the screening of nine short films.
Set on the front, in the trenches and under fire, or behind the front line, through women's letters and through the memories of the elders or the collective memory, discover fascinating, sensitive and touching films by experienced directors, who revisit that catastrophe with a contemporary perspective.
With different techniques such as 3D animation, drawing, paper cut-outs, painting or plasticine, the directors invite us in their imaginary world and show once again the richness and the energy of the animated creations of today.
La Détente, Pierre Ducos, Bertrand Bey (France, 2011, 8min30)
1916, Fabien Bedouel (France, 2003, 7min40)
Poppy, James Cunnigham (New-Zealand, 2009, 10min54)
Fire Waltz/Toile de Front, Marc Ménager (France, 2011, 5min46)
The Trenches/La Tranchée, Claude Cloutier (Canada, 2010, 6min55)
Lettres de femmes, Augusto Zanovello (France, 2013, 11min25)
Le jour de gloire, Bruno Collet (France, 2007, 6min30)
So close/De si après, Rémi Durin (France/Belgique, 2009, 12min25)
Trois petits points, Rémy Schaepman, Lucrèce Andreae, Alice Dieudonné, Florian Parrot, Tracy Nowocien, Ornélie Prioul (France, 2010, 3min32)
https://www.eventbrite.com/e/
TUESDAY, APRIL 25 AT 7:00 PM
at La Maison Française - Embassy of France
4101 Reservoir Road, NW - Washington, DC
FREE ADMISSION
Parking available on Reservoir Road and across the street at Georgetown University Hospital's pay lot.
SECURITY RULES: A reservation on Eventbrite is mandatory, attendees must have a Government issued photo ID in order to enter the Embassy. Large backpacks and bikes will not be allowed inside the embassy.
NO ONE WILL BE ADMITTED WITHOUT RESERVATION OR PROPER ID
Name on reservation must match ID.
Due to strict security measures, please allow extra time for security screening; doors will be closed at 7 p.m. sharp.
Not recommended for children under 12.
Online registration is required for this free admission event.
Sign up online on http://frenchculture.org/newsletter to never miss an event by the Cultural Services of the French Embassy in Washington, DC.
Presented by the Cultural Services of the French Embassy with support from The French Mission du centenaire de la Première Guerre mondiale, in charge of the World War One Centenary in France; TV5 Monde and the French-American Cultural Foundation.
April 24: William Joyce at Politics and Prose and Takoma Park Library
Joyce is mainly a children's book author, but much of his work has been adapted to animation.
This event is free to attend with no reservation required. Seating is available on a first come, first served basis. Click here for more information.
Online pre-orders for school events may be placed up until 48 hours before the event takes place.5015 Connecticut Ave NW Washington DC 20008 Takoma Park Library (MD) 101 Philadelphia Ave Takoma Park MD 20912
Monday, April 24, 2017 at 10:30 a.m.
Meet William Joyce and celebrate the reissue of three of his classic picture books. You'll be able to spend A Day With Wilbur Robinson in his house of wacky relatives, marvelous creatures, and strange contraptions. Or perhaps you'll want to accompany the Lazardo family as they travel the world with their friendly pet, Dinosaur Bob. You can even join Bently Hopperton the musical frog in a lively song by the bank of a pond in Bently & Egg. All of these original, thrill-seeking characters come to life with Joyce's detailed illustrations and adventurous storytelling style. Ages 4 to 8.
Online pre-orders for school events may be placed up until 48 hours before the event takes place.
Monday, April 24, 2017 at 7 p.m.
Meet William Joyce and celebrate the reissue of three of his classic picture books. You'll be able to spend A Day With Wilbur Robinson in his house of wacky relatives, marvelous creatures, and strange contraptions. Or perhaps you'll want to accompany the Lazardo family as they travel the world with their friendly pet, Dinosaur Bob. You can even join Bently Hopperton the musical frog in a lively song by the bank of a pond in Bently & Egg. All of these original, thrill-seeking characters come to life with Joyce's detailed illustrations and adventurous storytelling style. Ages 4 to 8.
E. Simms Campbell featured on National Geographic blog
During Prohibition, Harlem Night Clubs Kept the Party Going
A witty 1932 cartoon map shows where to find famous musicians, gambling policemen, and a guy selling marijuana.
Wednesday, April 19, 2017
June 16-18: Awesome Con (note the Batman comic team)
6/16 – 6/18: AWESOME CON 2017
Washington, D.C. (April 18, 2017) – Awesome Con, the mid-Atlantic's premier pop culture convention, brings a three-day celebration of television, movies, comic books, science, technology and more back to the Walter E. Washington Convention Center from Friday, June 16 through Sunday, June 18. Fans will be able to explore hundreds of hours' worth of programming including: celebrity and expert-driven panel discussions; iconic film memorabilia exhibits; cosplay fashion shows; video game showdowns; and more. Exciting additions to Awesome Con 2017 include an even more playful and educational kids zone in the form of Awesome Con Junior, Pride Alley showcasing LGBTQ artists and pop culture intersections in partnership with Geeks OUT, and a more stimulating science and technology pavilion sure to delight curious minds. Now in its fourth year, Awesome Con is setting a new standard as an ever-more inclusive and dynamic destination for fans of all ages across the spectrum of 'geeky.'
When: Friday, June 16; exhibit hall hours 12pm – 8pm, programming until 10pm
Saturday, June 17; exhibit hall hours 10am – 7pm, programming until 10pm
Sunday, June 18; exhibit hall hours 10am – 5pm
Where: Walter E. Washington Convention Center
801 Mt. Vernon Pl NW
Washington, DC 20001
Special Guest:
· Stan Lee (Creator of Spider-Man, Daredevil, Doctor Strange, Fantastic Four, Hulk, Iron Man, Thor, X-Men)
From Doctor Who:
· David Tennant (Doctor Who, Jessica Jones, DuckTales, Broadchurch, Gracepoint)
· Billie Piper (Doctor Who, Penny Dreadful, Secret Diary of a Call Girl)
· Catherine Tate (Doctor Who, The Catherine Tate Show, The Office)
· John Barrowman (Arrow, Legends of Tomorrow, Torchwood, Doctor Who)
Screen Stars:
· Wil Wheaton (Star Trek: The Next Generation, The Big Bang Theory, The Guild, Eureka, NUMB3RS)
· Khary Payton (AMC's The Walking Dead, Teen Titans GO, Transformers: Robots in Disguise, Big Hero 6: The Series)
· Eliza Dushku (Buffy the Vampire Slayer, Angel, Tru Calling, Dollhouse)
· Kel Mitchell (All That, Game Shakers, Good Burger, Keenan and Kel)
· Jason David Frank (Mighty Morphin' Power Rangers)
· Felicia Day (The Guild, Dr. Horrible's Sing-Along Blog, Eureka, Supernatural)
Comics Stars:
· Greg Capullo (Batman, Reborn, X-Force, Quasar, The Creech)
· Scott Snyder (American Vampire, Batman, Swamp Thing, Voodoo Heart)
Cost: Daily and full weekend passes available
· Friday or Sunday Only Admission: $35
· Saturday Only Admission: $45
· 3-Day 'Geekend' Pass: $75
· Kids 10 and under: free with coupon code AWESOMEJR
VIP passes & experiences range from $150 to $379 and offer access to various celebrity appearances and special events.
Website: www.awesomecon.com is updated regularly with new guests, exciting exhibitors, and special programming.
Social Media:
· Facebook: facebook.com/AwesomeConDc
· Twitter: @AwesomeCon
· Instagram: @awesomecons
· Tumblr: awesomecons.tumblr.com
About Awesome Con
Awesome Con is the biggest annual comic and pop culture convention in Washington, D.C., having welcomed over 50,000 attendees in 2016. Awesome Con celebrates all aspects of geekdom and pop culture, with a wide assortment of engaging events, comic books, collectibles, toys, games, original art, cosplay and more. Awesome Con is presented in partnership with LeftField Media, an event organization company developed by the founder of New York Comic Con.
About LeftField Media
LeftField Media, LLC is an events company focused on developing face-to-face events in a range of communities rooted in contemporary culture and shared passion. LeftField was formed in 2014 by Greg Topalian (President, LeftField Media) and is now owned by Topalian and Clarion Events Ltd. With a keen sense of the evolving needs of businesses and their consumers, as well as new opportunities created by change, LeftField takes a clean slate approach to its work. LeftField's portfolio includes Play Fair (playfairny.com), a family-focused celebration of toys and play built with the Toy Industry Association; Awesome Con (awesomecon.com), Washington D.C.'s Comic Con; Rose City Comic Con (rosecitycomiccon.com), in Portland, O.R.; Anime NYC (animenyc.com), a Japanese pop culture festival presented by Crunchyroll; the Five Points Festival (fivepointsfest.com), a designer toy and comic art convention curated by Clutter; and the Classic Auto Show (theclassicautoshow.com), a vintage auto show launched in Los Angeles. LeftField Media is headquartered in historic Trumbull, C.T. (leftfieldmedia.com).New ReDistricted comic online - Billy the Hippo
Billy the hippo
Story and art by Cuddles & Rage
https://www.redistrictedcomics.com/billythehippo
U.S. presidents have had their share of pets, mostly dogs. But there have been a few odd ones, too. Benjamin Harrison had a pair of opossums, while Thomas Jefferson had two grizzly bear cubs gifted to him (he soon gave them to a museum in Philadelphia). And two presidents — John Qunicy Adams and Herbert Hoover — had alligators in the White House. But perhaps no other pet was as unusual and had such a history after his White House days like Billy.
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