Thursday, March 28, 2019
Wednesday, March 27, 2019
April 9: Emergence of the Comic Strip in the 19th Century talk at Library of Congress
| NEWS from the LIBRARY of CONGRESS |
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March 27, 2019
Public contact: Martha Kennedy (202) 707-9115, mkenn@loc.gov Request ADA accommodations five business days in advance at (202) 707-6362 or ADA@loc.gov
Swann Foundation Fellow to Discuss Emergence of the Comic Strip in the 19th Century, April 9
Swann Foundation Fellow Joshua Abraham Kopin will give an illustrated lecture at the Library of Congress discussing the cultural and technological contexts surrounding the rise of the comic strip in late nineteenth century America. Kopin will present "Comics in Nineteenth Century Time and Space" at noon on Tuesday, April 9, West Dining Room on the sixth floor of the Library's James Madison Building, 101 Independence Avenue S.E., Washington, D.C. The lecture is free and open to the public. Tickets are not needed. To better understand comics of the present, it is necessary to better understand its nineteenth-century form. As it split off from caricature and cartoon, the late nineteenth-century comic strip joined many new technologies of time and space. These changes included advances in printing, early attempts to capture motion in film, and early sound recording, all developments that were rapidly accelerating society and culture. As part of this cultural environment, the comic strip thus represents an insight into the period's changing temporal and spatial theories of knowledge. By reframing the comic strip in terms of the cultural and technological history of the nineteenth-century United States, Kopin contends that the art form is a uniquely nineteenth-century object that has retained many of the artifacts of its development as it has evolved. The talk will focus on one particular example from R.F. Outcault's Hogan's Alley,placing this 19th century comic strip in a technological lineage, aligned with caricature, cinema, color printing and the gramophone, among others. Joshua Kopin is a PhD candidate in American Studies at the University of Texas at Austin. He has works published or forthcoming in American Literature and Inks, as well as an entry in the upcoming Keywords for Comics Studies volume. He is a member at large on the board of the International Comic Arts Forum and the president of the Graduate Student Caucus of the Comic Studies Society. This presentation, sponsored by the Swann Foundation and the Library's Prints and Photographs Division, is part of the foundation's continuing activities to support the study, interpretation, preservation and appreciation of original works of humorous and satiric art by graphic artists from around the world. The Swann Foundation's advisory board includes scholars, collectors, cartoonists and Library of Congress staff members. The foundation seeks to award one fellowship annually (or biennially) to assist scholarly research and writing projects in the field of caricature and cartoon. Applications for the 2019-2020 academic year will be due Friday, Feb. 14, 2020. For more information, visit loc.gov/rr/print/swann/swannhome or e-mail swann@loc.gov. 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.
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PR 19-035 03/27/2019 ISSN 0731-3527
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Washington Post's Nationals section illustration quotes Amazing Spider-Man 50
Bryce Harper is leaving the Nationals for the Phillys and "Butcher Billy," a Brazilian penciller for Dynamite, drew an homage to him and the Stan Lee / John Romita splash page showing Peter Parker quitting being Spider-Man.
As far as I can tell, the image is only in the newspaper today and not online.
Additionally the Spider-Man comic strip, carried by the Post, will go into re-runs after this week.
Bloom reviewed at PW blog
Making Mistakes and Falling in Love
Meghan Dietsche Goel -- March 22nd, 2019
Tuesday, March 26, 2019
Art & Object reviews Library of Congress exhibit
The Art of the Political Cartoon: A Vital, Vanishing Form
March 25, 2019
Monday, March 25, 2019
PR: Tomorrow Night is our Detective Comics #1000 Midnight Release
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DC Art Book Fair registration opens
DC Art Book Fair registration opens
APPLY FOR THE 2019 DC ART BOOK FAIR !
Applications for DC Art Book Fair 2019 are now open! https://goo.gl/forms/HUm4exHxhx0mUPMI3
The event takes place at the National Museum of Women in the Arts in Washington, D.C. on Sunday, July 7, from 12 to 5 p.m.
The fee to table at the event is $50, though there will be a very limited amount of fee waivers for worthy applicants.
This application closes on April 1. We will notify the selected vendors soon after with more details.
We are looking for beautifully made, thoughtfully created art books to include in the fair. Examples of printed materials include: journals, magazines, comics, zines, non-narrative, non-fiction, poetry, fiction and wordless books. Students are welcome.
Please share widely! Here's a Tweet and IG post to get started:
Let me know if you have any questions or wanna volunteer or just have good ideas!
April 12: Roz Chast at Politics and Prose
Roz Chast and Patricia Marx - Why Don't You Write My Eulogy Now So I Can Correct It?: A Mother's Suggestions — in conversation with Melissa Block
Friday, April 12, 2019 - 7 p.m. to 8 p.m.
Finding she couldn't get her mother's words of wisdom out of her mind, Marx, a long-time writer for The New Yorker, decided to put them in a book. Not just any book—one illustrated by her colleague, the legendary Roz Chast. No stranger to parental idiosyncrasies, Chast—author of the best-selling graphic memoir, Can't We Talk about Something More Pleasant?—has come up with just the right images for declarations such as, "If you run out of food at your dinner party, the world will end." Given free rein of the "rules, guidelines, principles, precepts, decrees, no-nos, yes-yes's, and arbitrary judgments of Patty's mother," Chast unleashes the full range of her witty, full-color art. Marx and Chast will be conversation with Melissa Block, special correspondent for NPR and former co-host of All Things Considered.
Click here for more information.
5015 Connecticut Ave NW Washington DC 20008
Saturday, March 23, 2019
The Post on a new Marx Brothers comic book
The movie Salvador Dali wanted to make with the Marx Brothers didn't happen – until now (sort of) [in print as Dali's would-be Marx Bros. movie made into a book]
Friday, March 22, 2019
Rarely-seen Richard Thompson cartoon in upcoming Billy Ireland exhibit
by Mike Rhode
A never-before-seen piece of Richard Thompson's original artwork, rarely seen even in publication, is about to go on display in Columbus, Ohio.
Upcoming exhibitions at The Billy Ireland Cartoon Library &Museum
I received the above notice the other day and have already pointed out that the second exhibit is co-curated by Ann Telnaes. I also reached out to ask my friendly acquaintance Dr. Gardner what piece of Richard Thompson artwork he was including in the show. Curator Caitlin McGurk and the Billy Ireland did a very nice show of Richard's artwork a few years ago, and he donated material to them before he passed away, so I was curious what Jared had chosen.
The press release says you have a piece by Richard Thompson in it. Can you tell me what it is?
The piece by Richard is a loan from Kevin Wolf— it a small cartoon he did for an actuarial magazine he regularly did spot-illustration and cover work for over the years.
What spoke to you about the art? Were you previously a fan of Richard's?
I’ve long been a fan of Richard’s work, and getting to meet him briefly during his visit to the exhibition of his work at the Billy Ireland Cartoon Library & Museum was an incredible honor.
How did you select it for the exhibit, especially since it wasn't in the pieces he donated to the Billy Ireland?
Kevin Wolf, the owner of this particular piece, shares my interest in comics and medicine and is a regular attendee at the Graphic Medicine conference. He shared the cartoon with me, a really fun gag cartoon of a knight trying to figure out insurance policy options, and he generously offered to lend it for the show. It will be featured in a section dedicated to medicine and humor, a section that will also include an early doctor’s visit by Bill Watterson’s Calvin and an page from Mad Magazine poking fun at doctors.
I know the piece. As you note, it was done for Contingencies Magazine, art-directed by Richard's old friend Bono Mitchell. We considered it for The Art of Richard Thompson book but it didn't make the final cut. There was too much to choose from. Below is a scan we made for the book.
Anything else you'd like to add about the exhibit?
I guess the only other thing to add is that the exhibit begins in the 18th century with Hogarth and co. and ends with the modern “graphic medicine” movement that was kicked off with Justin Green’s Binky Brown and which is today a veritable flood of remarkable graphic memoirs and other comics about illness and healing.
published simultaneously on ComicsDC and Cul de Sac blogs)
A never-before-seen piece of Richard Thompson's original artwork, rarely seen even in publication, is about to go on display in Columbus, Ohio.
Upcoming exhibitions at The Billy Ireland Cartoon Library &Museum
DRAWING BLOOD: COMICS AND MEDICINE
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FRONT LINE: EDITORIAL CARTOONISTS AND THE FIRST AMENDMENT
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FRONT LINE: EDITORIAL CARTOONISTS AND THE FIRST AMENDMENT
On display April 20, 2019 – October 20, 2019
DRAWING BLOOD: COMICS AND MEDICINE: This exhibit traces the history of comics’ obsession with medicine from the 18th century to today. The earliest cartoonists frequently satirized a medical practice dominated by bloodletting, purging, and other largely ineffective treatments. Over the next two centuries, modern medicine would go through remarkable transformations. Comics were there for the good and the bad, helping to rebrand the doctor from quack to hero, but also critiquing a medical system that often privileged profits over patients. Drawing Blood highlights the sometimes caustic eye of cartoonists as they consider doctors, patients, illness, and treatment in the rapidly changing world of medicine—one which continues to present new possibilities and new challenges. The exhibit features work by a wide array of creators, from pioneers of cartooning like James Gillray, William Hogarth, Thomas Nast, and Frederick Opper to contemporary greats like Richard Thompson, Carol Tyler, John Porcellino, Alison Bechdel, and Julia Wertz.
Curated by Professor Jared Gardner, OSU Department of English
I received the above notice the other day and have already pointed out that the second exhibit is co-curated by Ann Telnaes. I also reached out to ask my friendly acquaintance Dr. Gardner what piece of Richard Thompson artwork he was including in the show. Curator Caitlin McGurk and the Billy Ireland did a very nice show of Richard's artwork a few years ago, and he donated material to them before he passed away, so I was curious what Jared had chosen.
The press release says you have a piece by Richard Thompson in it. Can you tell me what it is?
The piece by Richard is a loan from Kevin Wolf— it a small cartoon he did for an actuarial magazine he regularly did spot-illustration and cover work for over the years.
I’ve long been a fan of Richard’s work, and getting to meet him briefly during his visit to the exhibition of his work at the Billy Ireland Cartoon Library & Museum was an incredible honor.
How did you select it for the exhibit, especially since it wasn't in the pieces he donated to the Billy Ireland?
Kevin Wolf, the owner of this particular piece, shares my interest in comics and medicine and is a regular attendee at the Graphic Medicine conference. He shared the cartoon with me, a really fun gag cartoon of a knight trying to figure out insurance policy options, and he generously offered to lend it for the show. It will be featured in a section dedicated to medicine and humor, a section that will also include an early doctor’s visit by Bill Watterson’s Calvin and an page from Mad Magazine poking fun at doctors.
I know the piece. As you note, it was done for Contingencies Magazine, art-directed by Richard's old friend Bono Mitchell. We considered it for The Art of Richard Thompson book but it didn't make the final cut. There was too much to choose from. Below is a scan we made for the book.
I guess the only other thing to add is that the exhibit begins in the 18th century with Hogarth and co. and ends with the modern “graphic medicine” movement that was kicked off with Justin Green’s Binky Brown and which is today a veritable flood of remarkable graphic memoirs and other comics about illness and healing.
published simultaneously on ComicsDC and Cul de Sac blogs)
Thursday, March 21, 2019
Meet a Local Cartoonist: A Chat with Deandra "Nika" Tan (updated)
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| from her Instagram feed |
Deandra "Nika" Tan's work is being exhibited in Arlington's Aurora Hills Library for two months, ending next week. Her artist's statement for the small exhibit reads:
Deandra "Nika" Tan is a Virginia-based writer and artist who primarily leverages the medium of comics to tell her stories. Her visual art style combines elements of Japanese manga and vintage art illustrations, which she then further adapts to fit the tone of whatever project she's working on. Initial concept work is done traditionally with a pen and paper, whereupon the comic is drafted and completed on a tablet computer. Recurring themes in her stories explore the tensions between romantic and familial relationships and the desire for societal recognition.
I stopped in to see the exhibit, and upon seeing that she was doing minicomics, I reached out with our usual questions.
What type of comic work or cartooning do you do?
I primarily do long-form digital comics. My stories range from slice-of-life to sci-fi/fantasy to mystery and suspense. Right now, I’m engaged with digital publisher Tapas Media to produce “Signals,” a crime comic with a telepathic detective as the heroine, for their mobile app. The eventual goal with most of my stories is to get them into print, however.
How do you do it? Traditional pen and ink, computer or a combination?
All computer! I have a Wacom tablet computer that I bring with me wherever I go. Sometimes traditional pen and ink are good for combating writer’s block, or sketching out thumbnails for an upcoming chapter, but it’s all finished digitally.
I was born in New York City in the early 1990s. I spent most of my life in the city, moving down to the Washington area only in 2016 when my partner relocated for work.
What neighborhood or area do you live in?
I lived in Arlington for 3 years and just recently moved to Vienna. Still got a whole bunch of boxes left to unpack!
What is your training and/or education in cartooning?
This is a tough one, haha. I’ve taken art classes all my life in school, but they don’t really prepare you for the specific skills that comics require. Studying film in college helped me a lot with the conventions of setting up scenes. Pacing and frame layouts are something that I’m still actively working on.
How did you get your work exhibited in Arlington's Aurora Hills library?So the Aurora Hills Library was just a few blocks from my first apartment in the Washington DC area. I actually volunteered there for three years, helping them pull books off shelves for circulation. One of the librarians who worked there, Tom, asked me recently if I’d be interested in exhibiting any of my work, and I said yes! It’s really cool bringing that full circle and being able to share my art in a space that I’m familiar with. The final exhibition date is March 28th (next week!). After that, there will be a second run in the Columbia Pike branch from the beginning of June until the end of June.
What would you like to do or work on in the future?
I’ve got a couple ideas for graphic novels I’d like to pitch at some point, but I think in the immediate future, once my current project is complete, I’d like to work on a variety of short stories. I feel like I’m still in the middle of developing my style and voice as a creator, and short stories are a great low-commitment way of doing that. I’ve participated in a few anthologies (1001 Knights, Gothic Tales of Haunted Love, Pros and (Comic) Cons), and I’m toying with the idea of organizing my short stories in a similar thematic way. Or maybe I’ll just indulge whatever inspiration strikes. Who knows!
What do you do when you're in a rut or have writer's block?
So I’m fortunate in a sense that I’ve never dealt with writer’s block while in the middle of a webcomic. I just don’t have the luxury. I did, however, have a terrible time committing to a storyline for “Signals” ahead of its launch. Every time I came up with an outline, either a new idea would strike, or something would fall out of place. I found myself in a position where I was just reorganizing the story into different iterations for the sake of it. Finally, I just gave Tapas Media a date to start publication to light a fire under my tail. If not for that, “Signals” would probably still be in development hell.
What do you think will be the future of your field?
I think it’s very positive! More and more people are discovering independent and creator-owned comics, and I feel that recognition of their literary value is growing in schools and libraries. That said, the comics community can still be quite insulated from the mainstream. We haven’t yet gotten to the point where picking up a bestselling comic is as common as reading a bestselling book or going to watch a blockbuster in theaters.
What local cons do you attend? The Small Press Expo, Awesome Con or others? Any comments about attending them?I regularly go to SPX since a lot of my comic friends use that as an excuse to get together and hang out, even if we’re not planning to sell anything. I’ve also gone to Awesome Con and Otakon, but strictly for business. I’d love to attend one year just for fun and actually attend some events. When you’re there as an artist to sell, you pretty much never leave your table except to eat.
What monument or museum do you like to take visitors to?Actually, rather than go to any one monument or museum, I just like to walk around the Mall. Nighttime is a great time to go; it’s less crowded, and they do a killer job with the lights. Then afterward maybe grab some unusual ice cream flavors at Pitango Gelato.
Do you have a website or blog?
Yep! You can check out my work at nikacomics.com.
I forgot to ask - why the penname "Nika"?
I first started publishing the webcomic that would become "Love Debut!" without any clear idea of what I was doing or how long I'd keep it up. At the time, many other creators publishing manga-inspired webcomics had Japanese-derived pseudonyms, so I just went along with that and adapted the name "Nika" from an character I had come up with as a kid. Later, when I returned to comics after graduating college, it made sense to use the name to keep my comics and my "professional" life separate. I might consider retiring it once "Signals" is complete, but hard to say. At this point, the name feels pretty comfortable and familiar.
Panetta's Bloom reviewed at BookPage
New YA graphic novels explore queer coming-of-age tales
Web Exclusive – March 13, 2019
https://bookpage.com/features/23802-new-ya-graphic-novels-explore-queer-coming-age-tales-ya
Wednesday, March 20, 2019
Ann Telnaes co-curates Billy Ireland exhibit on political cartoons
From their press release:
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FRONT LINE: EDITORIAL CARTOONISTS AND THE FIRST AMENDMENT: What do current debates about social media, trigger warnings, fake news, and libel have to do with the First Amendment and editorial cartoonists? Editorial cartoonists both benefit from and defend First Amendment speech and press protections. Their graphic commentary about current events is a catalyst for political engagement. Cartoonists invite readers to consider the impact of trigger warnings, Wikileaks, libel suits that result in silencing critics, and allegations of fake news. Front Line: Editorial Cartoonists and the First Amendment documents editorial cartooning commentary about free expression in the twentieth century and highlights contemporary work by members of the Association of American Editorial Cartoonists, alongside historical works from the Billy Ireland Cartoon Library & Museum's collections. The exhibit includes work by Pat Oliphant, Art Young, Jen Sorensen, Garry Trudeau, Kate Salley Palmer, Rob Rogers, and more.
Ann Telnaes, Pulitzer-Prize winning political cartoonist, and Lucy Shelton Caswell, Professor Emerita and Founding Curator of the Billy Ireland Cartoon Library & Museum, co-curated this exhibition.
Also, the other exhibit on graphic medicine apparently features a piece by Richard Thompson. I've reached out to the curator for details.
cartoons.osu.edu
cartoons@osu.edu
(614) 292-0538
The Ohio State University
Billy Ireland Cartoon Library & Museum
Sullivant Hall
1813 N. High St.
Columbus, OH 43210
March 23: Service for Ellen Vartanoff
There will be a memorial service for Ellen Vartanoff on Saturday, March
23rd at 11:30 a.m. at St. Mary Magdalene Episcopal Church, 3820 Aspen
Hill Road, Silver Spring, Maryland 20906. Reception to follow in church
hall. Please RSVP via scott@scottedelman.com.
Tuesday, March 19, 2019
Liz Suburbia book reviewed at TCJ
She used to be local, probably when she did most of this book.
Thee Collected Cyanide Milkshake
Bruce Guthrie's photos of Ellen Vartanoff
Bruce put a link to his photos in the comments of Stu McIntire's post, but perhaps it'll be more visible this way.
Monday, March 18, 2019
A Remembrance of Ellen Vartanoff
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Walt Whitman High School
Bethesda, MD
1969
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I don't remember exactly when or where I met Ellen Vartanoff, but there's a good chance it was October 4th or 5th, 1975 at a small comic convention (my first) at the Howard John's Motor Lodge in Wheaton, Maryland. Gene Carpenter made the introductions as I recall. That makes Ellen my third oldest acquaintance in the local comic community.
Of course, I got to see my new friend on a regular basis at convention after convention. It was sometime around 1978 when I, with one of her former art students, discussed an idea to publish a portfolio of comic art by Ellen's then-current art students, but that never came to fruition. It would be nearly four years until I again ran into Ellen at local comic shows, but that came to an end when I stopped attending comic conventions altogether by 1984. I did see her at a tiny show in Gaithersburg, Maryland (date unknown, possibly early 1990s). I missed her at an exhibit at Montgomery College in Rockville, Maryland that featured comic art in her and her sister's personal collection - as well as a small show in Rockville where Jerry Robinson appeared - and several of the SPXs. Finally, by 2012 or 2013 I started going to the Baltimore Comic Con every year and ran into Ellen a couple of times.
The last time I saw Ellen Vartanoff was Friday September 22, 2017 at approximately 5:00pm, at the (18th Annual) Baltimore Comic Con. We were standing at booth #813.
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Ellen & Irene Vartanoff at SPX 2007, photographer unknown |
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Ellen Vartanoff at Comic Art Convention Luncheon, July 5, 1969
at the Statler Hilton Hotel in New York City
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| Star Trek fan art |
The thing is, I have this false idea that I'm still young and have all the time in the world to refresh old friendships, even when faced with evidence to the contrary.
Ellen Vartanoff was a fan, a collector, creator, artist, teacher, mentor and so much more to countless friends and admirers. Condolences to Irene, Scott, and all of Ellen's family. I will always carry with me the last time I saw Ellen.
Farewell, Ellen. You are missed already but always with us.
Stu McIntire
March 18, 2019
[editor's note: A 1997 Washington Post review of one of Ellen's exhibits, but not the one Stu refers to above.]
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