Greenie Josephenie. Argle Bargle Books. 2021. 94pp, $21.95
Comics, just like any other media, are often recontextualized and there’s no stopping it, maybe especially for misbegotten comics, in the public domain, that have fallen into a vortex of utter obscurity. There are a lot of these misfits and misfires just gathering dust. But one’s man trash can be another man’s treasure, as the ole saying goes. And so it is in this case. Artist Christopher Sperandio saw an opportunity to create new and fun narratives from old washed-up comics trash–and the trashier, the better! Who knew what art might someday be created from such mediocre and exploitative work like women-in-prison comics! Inserting new text into old comics is not exactly new. You see it all the time on social media. But Sperandio is in it for an extended and robust thematic exploration. His latest book is out this month and it follows the adventures of a renegade activist-superhero, Greenie Josephinie, a continuation of the Pinko Joe saga. It also invites the reader to follow along upon a most offbeat path dotted with landmines of subversive humor.
It’s the droll humor of Christopher Sperandio that seems to guide readers as they navigate through the murky world of the realpolitik. Sorry, sonny, this ain’t no place for children or cry babies! Morality has gone out the window and corporate profits are king! It’s a clever concept of injecting new and funny text into tired old comics and I give Sperandio a lot of credit for seeing it through. I think a process like this can be taken for granted after the reader becomes familiar with it. I think what keeps it interesting is all the neatly inserted provocation. You are almost dared to keep reading. You don’t read this like a typical comic book but more as you would view a series of work in a gallery. This is not a comic book. This is culture jamming. You see that the joke is only part of the work. The act itself, the successful reworking of the “found art,” taking it from its original genre and transforming it into protest art is the aim. If the jokes are really all that funny, that is beside the point–and yet, the humor remains part of the glue that holds it all together. Funny how art can get so complicated!
In a world where capitalism has run amok, what else can one do but turn to superhero types who are true blue real patriots? Yeah, and so a hyper-convoluted story ensues. It is far more cerebral while, at the same time, far more silly than many genre comics out there. Although, mainstream comics publishers today can often prove to be quite artful and do a good job of keeping at bay any easy satirizing of their product.
Sperandio goes to the trouble of attempting to show respect for the creators of the public domain comics he has used as found art fodder by including their names. That’s a totally reasonable and honorable gesture. Real human beings did create the artwork in these shaggy dog comics of yesteryear. But I wonder how many of these creators who are still around are losing any sleep over the fate of these particular creations. Honestly, this is C-level journeyman work, just work-for-hire grunt work, not any better nor worse than typical clip art. Honest work to be sure but no one is trying to win any prestigious award from it.
Found pop art, and the noble work of recontextualizing it, brings to mind the Pop Art masters, specifically Roy Lichtenstein, who carved out a very significant place for himself with his use of comic book motifs. What Lichtenstein did was hardly new and dates as far back as the first artist who chose to incorporate other art into his own. One prominent figure, and my favorite, perhaps the first to really succeed with it was Edouard Manet. A more recent example is Shepard Fairey. Both Lichtenstein and Fairey have wrongheadedly been slammed by critics for appropriating the work of others. Manet not so much, or not at all, since Manet is no longer as commonly known; most people don’t care, nor would it make any sense for them to care. The bottom line is that reworking art into another work of art is sound and legitimate. It all comes down to what the results are and knowing how to avoid the trap of “garbage in; garbage out,” which is certainly not the case with Sperandio.
I applaud Sperandio’s efforts and sincerely would love to chat art with him over a coffee or beer. Christopher Sperandio is doing essential work out on the front lines of higher education. Be sure to check out Comics Making, also published by Argle Bargle, a little book that covers quite a lot including a short history of comics and notes on production. Also in the book, Sperandio provides a guided tour to all the fascinating activity related to his CATS program at Rice University. I wish that had been around when I was working on my own college paper comic strip. The fact is that “comics making” is essentially a solitary process–but the right level of support can prove to be invaluable. Sperandio is a very interesting artist who has pushed himself throughout his career resulting in such creative achievements as Cargo Space, his artist residency project on a bus that he started in 2012. Other notable recent projects include working with fellow Rice professor Brian Huberman to see through the completion of a documentary on cartoonist Jaxon, which premiered at the 2020 Angoulême comics festival.
So, Speranio’s process is one worth perpetuating: mining for gold, or diamonds, for as long as it makes sense to do so. Depending upon the right chemistry between “found image” and wry joke, all sorts of magic is possible. Sometimes the results may fall flat. But, ah, sometimes you end up with a real gem. It’s all in how you handle your found art!