Tuesday, January 24, 2017

Privacy on Display exhibit at Goethe-Institut Washington

Privacy on Display

Wed, 01/25/2017 -
Tue, 03/07/2017

Goethe-Institut Washington

1990 K Street NW, Suite 03
(Entrance on 20th Street NW, lower level)
Washington, DC

Privacy today is not what it used to be. Digitalization is rapidly transforming our world – ranging from individual to governmental relationships - and this provides fertile ground for artists to probe questions such as "What does privacy mean in the digital age?," "Is privacy a right or a privilege?" and "Which takes precedence – privacy or security?"

Cartoons concisely capture different and new ways of thinking, thereby serving as an ideal medium for conveying various interpretations of a topic and stimulating crucial conversations. Inviting us to reflect upon what seems to be the normal order of things, they enlarge our worldview.

These cartoons by American and European artists Ann Telnaes, Farley Katz, Jim Borgman and Jerry Scott, KAL, LECTRR, Matt Wuerker, Mawil and Tom Meyer express a range of ideas and perspectives on privacy.

Ann Telnaes is editorial cartoonist for the Washington Post. She previously worked for Walt Disney Imagineering and other studios in Los Angeles, New York, London, and Taiwan. Her print work was shown in exhibitions in the Library of Congress in 2004 and also in Paris, Jerusalem, and Lisbon. Her first book, Humor's Edge, was published in 2004. She received a Pulitzer Prize in 2001.

Farley Katz has been a writer and staff cartoonist for The New Yorker since 2007. His cartoons and short comedy pieces have also appeared in Mad Magazine, on Saturday Night Live, and in the online literary magazine Narrative. Katz has published several books, including his latest, The Married Kama Sutra: The World's Least Erotic Sex Manual.

Pulitzer Prize winner Jim Borgman and Reuben Award-winning cartoonist Jerry Scott co-created Zits, a comic strip about sixteen-year-old Jeremy's adolescent dilemmas. Debuting in 1997, it now appears in more than 1,600 newspapers worldwide and has won several prizes. In addition, Borgman has four political-cartoon anthologies to his credit and Scott is well-known for Baby Blues, the popular comic strip he co-produces with Rick Kirkman.

KAL (Kevin Kallaugher) is the editorial cartoonist for The Economist and The Baltimore Sun. Over the past 37 years, he has created over 8,000 cartoons and 140 magazine covers. His resumé includes six collections of his published work including Daggers Drawn (2013). In 2015, KAL was awarded the Grand Prix for Cartoon of the Year in Europe and the Herblock Prize for Cartoonist of the Year in the US, and was a finalist for the Pulitzer Prize in Editorial Cartooning.

LECTRR (Steven Degryse) is a Belgian cartoonist best known for his daily political cartoons in De Standaard. Over the past decade he has been published all over Europe, both as an editorial cartoonist and a syndicated single panel cartoonist, in magazines such as Helsingsborgs Dagblad (Sweden), Prospect Magazine (UK), Nieuwe Revu (The Netherlands), Veronica Magazine (The Netherlands), Kretèn (Hungary) and others.

Matt Wuerker is the staff cartoonist for POLITICO. Over the past 36 years, his cartoons have been used widely in dailies like the Los Angeles Times, The Washington Post and The Christian Science Monitor, and in magazines including Newsweek and The Nation. In 2010, Wuerker was awarded the Herblock Prize at the Library of Congress and the National Press Foundation's Berryman Award; he received a Pulitzer Prize in 2012.

Mawil (Markus Witzel) is a Berlin-based comic artist. His books have been published nationally and internationally. He works as an illustrator for magazines and newspapers including Der Tagesspiegel, teaches at art schools and gives workshops. Mawil has received the ICOM Independent Comic Prize several times.

Tom Meyer's cartoons have appeared in The New York Times and The Washington Post, and in magazines such as The New Republic and the Smithsonian. He is a regular contributor to Capitol Weekly, a website devoted to California politics. Meyer was editorial cartoonist at the San Francisco Chronicle from 1981 until 2009. He has received a Fischetti Award and a James Madison Freedom of Information Award.

Organized in conjunction with the Plurality of Privacy Project in Five-Minute Plays. An accompanying book launch and film premiere evening, "Power and Privacy," takes place on January 25.

Monday, January 23, 2017

A cartoonist on the Inaugural protests

The First Day of the Resistance

Dispatches from the front lines at the inauguration

by Sophie Yanow

The Nib January 23 2017

https://thenib.com/welp-people-came-out-to-protest

Another cartoon diary of the Women's March

Cartoonist Katie Fricas draws the march on Washington – in pictures

Katie Fricas interviewed women at the anti-Trump march in DC on Saturday – here's what they had to say

Katie Fricas

Sunday 22 January 2017 11.51 EST Last modified on Monday 23 January 2017 05.05 EST

https://www.theguardian.com/us-news/gallery/2017/jan/22/cartoonist-katie-fricas-draws-the-march-on-washington-in-pictures

A cartoon diary of the Women's March

My Cartoon Diary of the Women's March on Washington

Migraines, bad signs, and heartbreak.

By Liana Finck

January 22 2017
http://www.slate.com/articles/news_and_politics/politics/2017/01/liana_finck_s_cartoon_diary_of_the_women_s_march_on_washington.html

Former DC resident Robert Aguirre-Sacasa on his Archie fandom

Archie and Betty and Veronica and Zombies

How a 76-year-old gang of teenagers wound up fighting the undead, meeting the Ramones, and starring in a sex-infused murder-mystery show on the CW.

By Abraham Riesman

*A version of this story appears in the January 28, 2017 issue of New York Magazine.

http://www.vulture.com/2017/01/archie-riverdale-cw-c-v-r.html

Big Planet Comics January Hardcover SALE!

Big Planet Comics January Hardcover SALE!

Local cartoonist Chip Beck interviewed

but as a military artist.

Our Man in Arlington

By Charlie Clark

Falls Church News-Press January 19, 2017

https://fcnp.com/2017/01/17/our-man-in-arlington-203/

Covering Donald Trump as an editorial cartoonist

CBC News January 22, 2017

http://www.cbc.ca/player/play/860179011996/

06:13

Host John Northcott speaks with Ann Telnaes, editorial cartoonist for the Washington Post about the role of an editorial cartoonist today.

Sunday, January 22, 2017

'Magic Bullet' on the streets

The DC Conspiracy on Friday and Saturday fanned out across the city to distribute its new issue of the Magic Bullet comics newspaper during the inauguration and Women's March. Below MB Editor Andrew Cohen provide a brief account of the days' distort via Facebook:

"David Ross and I took Magic Bullet 14 to the Inauguration protests this weekend. At the Capitol, a guy from CSPAN ran up to us because he recognized the newspaper from picking it up at the comic stores. Later, near the security check in Chinatown, someone else flagged us down because his mother, an art teacher, would read it. Further west, around Franklin Square, we had a pleasant conversation with an anarchist, while the police set off concussion bombs and tear gas, beside us. We gave our last issues to a guy in McPherson Square, who told us that when he was in high school, his bedroom walls were decorated with show posters, and Magic Bullet pages."

Photos from Andrew Cohen

MB contributor Jason Rodriguez heads to the inauguration with bundles of MB14.

MB contributor Jason Axtell reports he flew through his bundles at the Women's March.

Saturday, January 21, 2017

Comic Riffs talks to editorial cartoonists about Joe Biden

It's at the end - Rob Rogers and Michael Ramirez.

As Joe Biden exits, comedy bids farewell to a one-man gold mine

By Michael Cavna
Washington Post Comic Riffs blog January 19 2017
https://www.washingtonpost.com/news/comic-riffs/wp/2017/01/19/as-joe-biden-exits-comedy-bids-farewell-to-a-one-man-gold-mine/

Comic Riffs talks to women creators before the March

Women's March: 8 great creative thinkers offer this advice for the sisters who follow in their footsteps

By Michael Cavna
Washington Post Comic Riffs blog January 21 2017
https://www.washingtonpost.com/news/comic-riffs/wp/2017/01/21/womens-march-great-creative-thinkers-offer-this-advice-for-the-sisters-who-follow-in-their-footsteps/

Today: Mocomcon at the Silver Spring library.

Beginning at noon is Mocomcon at the Silver Spring library.
January 21, 2017

12–4 pm

Doors open for registration at 11 am.

Silver Spring Library

900 Wayne Ave
Silver Spring, MD 20910

We are very excited to be holding our very first comic convention, MoComCon. This event is open and accessible to all. We want to attract seasoned comic conventioneers, novices, and the curious of all ages. The event will include a variety of panels, workshops, programs, displays, exhibits and cosplay — all free of charge.

Friday, January 20, 2017

Glen Weldon on superhero fashion

Jacket Required: With The Return Of 'The Ray,' Superhero Fashion Gets Layered

NPR's Monkey See blog January 18, 2017
http://www.npr.org/sections/monkeysee/2017/01/18/510264892/jacket-required-with-the-return-of-the-ray-superhero-fashion-gets-layered

Thursday, January 19, 2017

Tom Toles revisits Herblock's clean shave for new presidents

A Washington Post editorial cartooning tradition continues, sort of

Fantom Comics is safe haven during protests

Comic book store provides safe space for DC inauguration protesters

by Edie Nugent

The Beat 01/19/2017
http://www.comicsbeat.com/comic-book-store-provides-safe-space-for-dc-inauguration-protesters/

'Pigheaded' at DC Indie Film Fest next month

Local comics creator/filmmaker John Kinhart will have his film Pigheaded — a documentary about underground cartoonist Skip Williamson — shown at the DC Independent Film Festival Feb. 15-20.

"The idea was always to go up to the Revolution": Jason Rodriguez speaks about his second Colonial Comics book

by Mike Rhode

The second book in the historical non-fiction short story anthology Colonial Comics was released this week. I met with editor Jason Rodriguez at Lost Dog Café in South Arlington and we chatted a bit about putting both books together. I hadn't gotten a copy yet, so the discussion is a bit abstract regarding the second volume, but hopefully our talk and some pictures from the book will hold your interest, dear reader. You can also check out this 2015 interview on book one from the Washington City Paper.

JR: It’s funny that the second book in the Colonial Comics series is actually thicker than the first one. They changed the paper stock, and the second actually has more pages. The covers are supposed to be continuous. [The first book] has the Massachusetts coastline, the Mayflower coming in, a bunch of Pilgrims parked on the shore, and one Native American overlooking it. The second continues with the same shoreline, but now built up to Boston and more ominously, with the British fleet coming in. When we do a mid-Atlantic version, the drawing is going to continue South (i.e. lower in the cover).

MR: Are there any more books in the New England series?

JR: No more. We’re going to cut it off at the Revolution, partly because a lot of people know about the American Revolution. They learned about it in school.

MR: There’s always more, smaller stories…

JR: Absolutely. There’s plenty we could do, but as far as Colonial Comics, the idea was always to go up to the Revolution. Otherwise, it would be Revolutionary Comics. We wanted to focus on the origins of the country.

MR: Are you planning on working your way to the South now?

JR: The third book is supposed to be mid-Atlantic history. We don’t have any plans to start it immediately. With the first book, we put it out there and started working on the second book. We got feedback on the first that we incorporated into the second, but we want get new feedback before we start thinking about the third book. I wouldn’t expect us to start working on a third book for six months or so.

MR: Fulcrum is enthusiastic about the line?

JR: Yes, although the first book didn’t sell quite as well as either of us wanted it to. When we go to a new printing of the book, we’ll make some changes. The second book is strong and addressed feedback we got from the first book, and should take off quicker. The first one sold fine; it just didn’t sell fantastically.

MR: I think part of the problem with the first book to a certain degree might be the amount of religion that’s a part of the early American colonies – it’s hard to get away from, it’s hard to understand, and it’s far removed from our culture.

JR: Yes, that led to a structural problem with the stories themselves, because from 1620-1750, people know the landing at Plymouth and the witch trials, and when we try to fill in the spaces, a lot of it is based on religion and is dark stuff, like wiping out populations. And for a lot of it, we have to use primary sources because it’s not covered in a book that we can turn to. Because of that we ended up getting a lot of text-heavy stories that was aimed at an adult audience, but marketed to middle-graders and young adults. With the new book, I was much better at keeping people doing things that feel like comics with actual actions and not just captions everywhere. I think we took a lot of issues with the first book to heart and came up with something much more fantastic.

MR: Did you use mostly the same contributors?

JR: No. There are some repeats. I have my people that I love working with. John Bell and David Lewis are back as assistant editors. They both also wrote a story. There’s a lot of our DC-area folks – Jason Axtell colored a story in the first book, but he illustrated a story this time. Matt Dembicki’s back. Scott White did the cover again, and this time he also did a comic story. Chris Piers, even though he’s out in Seattle now. [Being interviewed in a bar, Jason overlooked Arsia Rozegar, Mal Jones, Matt Rawson, Rafer Roberts, and Carla Speed McNeil who also contributed]. I always use Charles Fetherolf, Josh O’Neill and James Comey. I loved working with E.J. Barnes and Sara Winifred Searle in the first volume so I invited them back. Jason Hanley has always been my letterer but for the most part I brought a lot of new people on board.

MR: How do you find people?

JR: We had a general call for submissions that several people responded to, including some great finds. That’s probably where Jackie Roche came from and she is phenomenal. She does these fantastic watercolors. Just like with the first book, I wanted to focus on under-represented narratives, unknown stories, things like that, but I still wanted to touch on some of the big stories that we know.

I wanted to include the Boston Tea Party in some way, and Jackie came to me with a pitch about actually tracing the tea trade – starting in China, following it through India, and then into Massachusetts and tracing the tea as it went into the harbor.

A lot of the stories are ones I just found. Ashley Victoria Robinson wrote “Mercy Otis Warren” about the playwright, and one by nature I guess, because there were no plays in Boston. It was against Puritanical rules to produce plays. Warren wrote revolutionary plays, originally anonymously, but later took credit for them. Ashley wrote me saying she wanted to do a story about nurses in the Revolutionary War, which we weren’t covering, but since Ashley also had some playwriting experience, I suggested Warren.

Some people I paired with a topic, and some people came in with great things. Kevin Cooney came through the submission process with a story about the Stamp Act obelisk which I think is one of the greatest things I learned. Matt Dembicki illustrated it. When the Stamp Act was repealed, Paul Revere designed this obelisk which was supposed to be a permanent fixture under the Liberty Tree. The problem was that it was made out of oiled paper and wood, and it was lit from the inside with candles and they put fireworks on top of it, so it burned down the first night they celebrated it. Paul Revere’s plates still survive and I actually made an origami version of it for promotion purposes so you could print it out and fold it.

MR: Do you have an editor at Fulcrum?

JR: Yes, Fulcrum assigns me a chain of editors. Rebecca McEwen edits for content and what’s allowed and what’s not in these books. It’s not just sex and violence but language. There are two stories where I had to put a disclaimer noting that “negro” and “mulatto” were common terms. We had to cut out “damns.” There was a little pushback at times from the artists, but we managed to sustain most of it. The copy editor was Alison Auch and she was great to work with. She was very responsive and helped put the book together. She worked really hard in the last month, because I was late in delivering everything. But I do all the design work including the cover and literally deliver them an entire book, so they could just publish it as-is, but they don’t. They fine-tooth-comb it, and have third party people read it, and put a lot of effort into it.

MR: A few years ago, you did an Amazon-only Kindle children’s book and you’re about to launch a Kickstarter campaign for that?

JR: “The Little Particle that Could” is a story about particle physics and general relativity for kids. The original version followed a graviton who was perfectly happy just spinning and pulling things down to earth until a photon catches her eye and she decides to chase it, off the Earth and into a black hole. We wanted to do a print edition that was a bit more special so now we have a new colorist, and Jason Hanley is re-lettering it. We’re hoping to do a hardcover with nice glossy stock, and then stretch goal to a board book because I love them. We just need to raise $5000, and then $10,000 for the board book. I think it’s achievable.

Another Resist! article

The Women Drawing Against President Trump, One Comic Strip at a Time

The comic RESIST! is a reaffirmation of the liberal principles—free speech, a free press, racial and gender equality—that its creators see as threatened by a Trump presidency.