Paris/London: A First Look is an art book by Henry Chamberlain and Jennifer Daydreamer, published by Comics Grinder Productions. It is a tour of Paris and London through the eyes of two cartoonists. There are 24 drawings featured in this full color hardcover. You can buy it here.
Art by Henry Chamberlain
Henry and Jennifer set out to explore Europe together for the first time equipped with sketchbooks and eager to create art. This is their carnet de voyage to share with all those with a similar wanderlust.
Art by Jennifer Daydreamer
The idea for this book is simple: share one’s joie de vivre on a trip abroad. In this collection of drawings you’ll find a nice variety of subjects covered: culture, food, sightseeing, and the personal observations that you find in journal entries.
The Montparnasse neighborhood where we stayed for most of our visit to Paris.
What is it that compels someone to draw what they see? Well, that can be anyone for all sorts of reasons. One ideal scenario is when you’re completely out of your element. Say goodbye to the familiar routine. Set aside your regular obligations. Your only goal, really, is to be good to yourself. Of course, we can all do that right this minute right within our everyday life. But it never hurts to set out and explore something new, right? So, why not Paris? Why not London? Indeed!
Henry Chamberlain: “Sometimes, drawing in the rain is your best medicine.”
Let me give you a perfect example of how being out of the norm gives you that added boost. While Jennifer and I were visiting the Rodin Museum, it began to pour down rain like we hadn’t seen in a long time. It was nonstop and torrential. But we didn’t let that get in our way. In fact, I drew my portrait of Rodin’s Thinker while being pelted by rain. Would I have been so nonchalant about rain if I was trying to draw something in Seattle? Heck no, I would have just packed it up and walked away! But you draw from a special reserve inside you that is saved for moments like this. I told myself that I’d better concentrate and keep drawing since I didn’t know when I’d get this chance again! Sometimes, drawing in the rain is your best medicine. As it turned out, it all worked out rather well. The drawing I did was sealed with raindrops when I closed my sketchbook. The next time I opened it, I discovered that the ink had run onto the opposite page creating a perfect mirror image! Now, that sort of thing would not normally happen to me back in Seattle but I’m eager to be patient and see if it just might all the same. These trips abroad have a way of re-energizing you and giving you the added perspective you need once you’re back home.
Rules drawing by Jennifer Daydreamer
I’ll add a bit more here. I know that our trip did wonders for us. And we can’t wait to go back. This is our first book together. We have drawn mini-comics together but this is our first art book. I look forward to more collaborations and all sorts of other creative projects. And I look forward to visiting that venerable landmark in London, now one of our favorite places for a meal and a drink, Rules! Let me tell you about it. Established in 1798, Rules serves classic British food (especially game) in what we came to appreciate as, “Edwardian surrounds.” The restaurant is decorated primarily with an array of vintage artwork, especially old cartoons, which we really loved. For the more adventurous, after dinner, you can sneak up to the bar up two narrow flights of stairs. This is exactly where King Edward went to rendezvous with entertainer Lillie Langtry during the time of their affair. So, the place is a little dark, intimate, and filled with a sense of intrigue. It was perfect inspiration of Jennifer and she created one of her best drawings there. She gave it to the two bartenders that night. But I was quick to act and took a photo before it was on its way and added essential digital color once back in Seattle. Pretty cool, huh?
Around the Champs-Élysées
Alright, now that we’re quite settled in and I’m in a more chatty mood, I’ll continue along for some more. The photo above is another of many photos I took on the sly as we were briskly walking from one place to another. You wouldn’t know it but there’s a story here. We began our trip in London, then took the train to Paris, and ultimately took the train back to London. We found going through Heathtrow to be rather comforting. I recall Charles De Gaulle airport being very hectic from a trip many years ago. Anyway, the plan had been to have a spectacular view of the Eiffel Tower from the table we’d reserved at Chez Francis. But, for some reason, we were having great difficulty finding Chez Francis! We just didn’t have it all together yet. Subsequently, on our way from some other event, we stumbled upon Chez Francis and finally had our dinner with a view. This is a goal of many a tourist and even the Chez Francis menu is dominated by the Eiffel Tower. Later on, the next day I think, Jennifer wanted to know how it was that we missed the Arc de Triomphe if we were already on the Champs-Élysées. Well, it was already getting late and pretty dark and it just wasn’t meant to be! But I managed to get the above photo which I still like very much. I’m looking forward to finding the movie that is advertised on that column. Looks like it’s probably a moody action thriller, doesn’t it? Yeah, leave it to the French to make great moody action thrillers.
Paris/London: A First Look is available at the Comics Grinder store.
Francis Bacon was certainly on my radar during my time in art school. Just as I was completing my formal training at the University of Houston, I was aware of Bacon’s continued presence and activity. And then he died. I earned my BFA the year he passed away, 1992. Yes, Francis Bacon (1909-1992) was acknowledged as a heroic figure, a painter in the great tradition of towering romantic and angst-ridden artists. But what were we as art students doing with that information? What were our professors sharing with us about him? I mostly recall the awful jokes that he was Bacon the contemporary artist and not Bacon the great philosopher. So, in a nutshell, we didn’t do much of anything with Bacon looming in the background. Maybe I did more than most. I know a lot of students were lost in their own uneducated and overindulgent worlds or absorbed with the hotshots of the recent era as we understood it, people like Francisco Clemente, David Salle, even Julian Schnabel, especially Schnabel since he’d gone to UH for a short time. And, of course, there was no internet as we know it today and, in hindsight, I damn well could have used it back then!
Second Version of Painting from 1946, Museum of Modern Art, 1971.
After 1992, life’s circumstances gave me a bit of a bum’s rush from school and out the door. I’ve been cartwheeling ever since. Not to digress too much, but I’ve come out on top in a number of ways such as having the opportunity to gaze upon this dazzling show of Francis Bacon paintings at the Pompidou Centre! From the little I could glean from glossy art magazines, art history books and a few lectures, I was aware of Bacon’s raw and tortured energy. He was a rough cut fellow, is how I would casually put it if I was attempting to introduce him to someone unfamiliar with him and his work. Bacon’s career began in the 1940s and blossomed in the next two pivotal decades. Many an art student was familiar with Bacon’s landmark painting of the screaming pope, Study after Velázquez’s Portrait of Pope Innocent X, 1953. What did it mean? Where did it come from? We mostly chalked it up as subversive. That much we knew for sure and we loved it.
Gathering among Bacon.
That brings us to this current show at the Pompidou Centre. Jennifer and I had managed to arrive just in time to settle into it with little else than an introductory pamphlet. So, there was some adjusting to do as we both gorged upon Bacon. We were certainly not alone. There was a nervy energy running throughout the crowd of people. The show had recently opened for its run of 11 September 2019 to 20 January 2020. They had all come to see Bacon! But what did it mean to them? They knew his name and they knew about the famous work and the raw energy. There was that and there was a theme attached to the show–but gathering up so many Bacons in one space was more than enough, theme or no theme. It wasn’t until I’d made the turn into another room that I sniffed out the curator’s ardor for organizing, labeling, categorizing and zealous need to impose their ownership upon another’s work. After all, Francis Bacon was first and foremost a painter. He was self-taught. He, unlike countless academics and so-called scholars, got dirty and actually did things. This is not to say that a finely-articulated analysis is not welcome from time to time but it is often best to be taken with a grain of salt. Anyway, the idea for the show is to tie Bacon’s choice of reading with his painting. That’s why this show has rooms where all you have is a book on display and an audio of someone reading.
Oedipus and the Sphinx, after Ingres, 1983.
It does make sense to link Bacon to his reading habits given the fact he was such an avid reader. He loved books. They came naturally to him as they did for many a young rebel of his time. There are a number of choices on display in this show that would have been catnip for many a young artist back then and even today. At least, one hopes young artists haven’t changed so much now that they are, on the whole, bypassing gorging upon the works of Aeschylus, Shakespeare, Jean Racine, Balzac, Nietzsche, Georges Bataille, Freud, T.S. Eliot, Joseph Conrad, Proust and many others. Well, that is the formal tent under which all these Bacons have been arranged. Process that however you like.
Walking towards Bacon.
One thing that struck me about this show is how it feels like it is stretching past its own time, as if it is still pulsating, still preening upon the gallery wall space and not ready to succumb to a timeless role as a museum artifact. I mean, the work still feels “contemporary” to me. While I was an art student, we had to suffer through all the prattle from critics and tastemakers over whether or not figurative painting was dead or not. To think we were getting this kind of talk even as we’d been experiencing a bunch of interesting “new” approaches to figurative work by the likes of Eric Fischl and Jonathan Borofsky. Finally, fast forward to today, the big secret is that figurative painting will never die. It’s just too vital, too primal, too essential. I guess, seeing this show takes me back to sometime before Bacon’s death, a world where there was a Francis Bacon still making new paintings and even making definitive versions of previous work. That is what this show is about: Bacon’s last two decades of his career (from 1971 to 1992). I can feel that artist raging and creating, knowing time was running out. So, ultimately, this show is more than about books and painting. This show is about an artist taking what he’s learned about painting and setting forth with his final explorations.
Bacon was always raging and rebelling, seeking a way to be the next Picasso. He was being himself when it was against the law in England to engage in homosexual acts. It wasn’t until 1967 that sex between two adult men (21 years-old) was decriminalized in the UK. What’s a “British artist” like Bacon to do? Well, that’s easy enough, go where you are welcome: Paris, the city that is open and fluid, revels in bohemian excess, and welcomes sex in all its many flavors. It was at the Grand Palais show at the Pompidou Centre in 1971 that Bacon delivered a landmark show that earned him critical praise, and raised him to the rank of a Picasso. And the show was more about love and sex than books. You can add a variety of erudite references but, at some point, you need to acknowledge the human being writhing upon a toilet! The Grand Palais show revolved around Bacon’s lover, George Dyer, who killed himself the day before the opening. As Jonathan Jones describes in a wonderful piece in The Guardian, it was Bacon’s muse, in the form of Dyer, who made the show what it was and, with his suicide, nearly brought it all tumbling down. The new show at the Pompidou Centre, interestingly enough, covers the time after the celebrated Grand Palais show of 1971. Again, this has nothing to do with the connection of books to paintings, but it’s a nice theme to wrap around a body of work that defies the curator’s nimble touch.
If you enjoy experimental art, then do check out the new graphic novel by Frank Santoro. This is a work that will transport you to an immersive mindscape where Mr. Santoro tracks memories and explores family history. It is a refreshing approach to the comics medium that plays with elements like text and panels, shifts them, redirects them, and presents them in unexpected ways within a finely-tuned structure. Pittsburgh, a New York Review Comic published by New York Review of Books, brings together a lifetime of storytelling. This is one of the notable titles debuting at this year’s Small Press Expo this weekend, September 14-15, in Bethesda, Maryland.
One card taped to another card and then another.
Frank Santoro is a well-respected and celebrated independent cartoonist and trailblazer. If you are looking for a new way of looking at the comics medium, then consider taking his comics course. Frank Santoro’s work has been exhibited at the American Academy of Arts and Letters in New York and the Fumetto comics festival in Switzerland. He is the author of Storeyville and Pompeii. He has collaborated with Ben Jones, Dash Shaw, Frank Kozik, and others. Santoro lives in Pittsburgh, Pennsylvania, which brings us to his latest work. In Pittsburgh, the reader is introduced to life in the Rust Belt, that region of the country known as the manufacturing hub, the area famously known as the demographic which Hillary Clinton neglected to win over enough votes. It’s a tough working class landscape. Santoro shares that region with you: his growing up, his family, and especially the doomed relationship between his father and mother.
It’s all about the process.
How do you best convey your observations and feelings about your family? In a documentary? In a novel? In an art installation? The possibilities are endless. What Frank Santoro has done is find a different path that combines aspects of various disciplines within one. This is a comic but not a comic that you are typically familiar with. This could be called a graphic novel or memoir but it also manages to be something more. At times, I felt as if some of the actions, dialogue, characters and settings in this book were shifting from one medium to the next. Very easily, I could imagine the whole book being turned into an art installation. Santoro’s method basically breaks down barriers and pares down to essentials. He likes to play with geometry and create backbones for his pages. The goal is for each element on the page to play off each other, each opposing page, and the entire work. He wants the process to show through so, if he makes a mistake, he’ll sort of leave it in and lightly cover it up so that you can still see it. In a sense, each page becomes animated with unexpected movement.
Every element falls into place and plays off each other.
The quotidian of life, the everyday moments that can blur into each other, that is what Santoro aims to capture and evoke. This is one of the things that the comics medium does best! It is akin to a tour de force cinema vertie experience with the camera being replaced by a sketchbook. Santoro is hardly alone in attempting this but what he does is distinctive. And he makes it look easy and, in a weird sense that actually takes years of experience to appreciate, it is. Whatever the case, it can’t look forced. It comes natural to Santoro as he edits, rearranges, and composes. He make various choices which include various ways of telling the story most efficiently while allowing things to breathe. He wants ambiguity but he also demands clarity. He keeps to a basic palette that, in the end, brings out all the color he could ever want. In the end, he presents something new and compelling. In this case, it is his coming to terms with having grown up in a dysfunctional family that ultimately breaks apart. Like any good documentarian and artist, Santoro picks up the pieces, examines them, and with heart and soul makes something out of them.
Comics, elevated to the art form that it is.
Pittsburgh is a 216-page full color hardcover, available as of September 17, 2019, published by New York Review of Books.
Over the years, I’ve done a number of process posts where either I just show you my work, or show you how I created it, whether visual or literary or whatever. Being an artist is not just one thing, right? Seems to me a good time to do a bit of a reintroduction here. I’m going to be looking over things I’ve done in the past, sharing new things, and gearing up for a number of new process posts going into the end of this year and into the next. We’re looking at everything. And this is while I’m still working my way to completing some current projects!
This leads me to a quick Top Ten list.
WHAT DOES IT TAKE TO MOTIVATE YOU TO CREATE ART–or ANYTHING?
A deadline. If there is some kind of deadline, that always gets my attention.
Curiosity that develops into an obsession. You develop a passion! Who knew?
Feeling competitive. Okay, maybe not the best reason but, hey, a bit of gusto never hurt.
Breakthrough. You have figured something out. An epiphany. You are compelled to create!
Drop your inhibitions. You stop putting yourself down and clear away any doubts!
Need to impress. So, you’ve fallen in love and want to impress that someone special. Why not?
Others are looking up to you. What about that special someone in your life who already believes in you?
Courage. Maybe there’s nobody special at the moment to cheer you on but you find courage on your own!
Making up for lost time. Where did the time go? Seriously, where did it go? So, you hop into action.
You discover this feels good! The very act of creating is intoxicating. Now, you’re on your way!
Here I am drawing Grand Central Terminal.
What I’m getting at, for the purposes of this post, is that I want to do my best to get some good solid process features out soon. You know, “How-to” sort of stuff. I am constantly learning new things from various sources. I see a lot of fun and interesting “how-to” books and gurus out there. My conclusion: there’s always room for another person to share their work, tips and insights! I’m just that kind of person. I won’t promise what happens next here but I’ve got a nice track record of following through. Heck, I’ve done more posts right here on this blog than most people I know. So, yeah, I’m good for it. I just gave you a top ten list. Not bad, huh? We’ll do more. That I can promise.
New York Public Library
Anyway, with all that said, I’m thinking a lot of my activity here on this blog and elsewhere could add up to some sort of book that I could share with you that speaks to what I’m doing. It would be an initial step towards what I’m envisioning. It would be the first in a series of books that explores the passion of creating art and storytelling, a nice mix of work, tips, and insights. I’m always learning, always thinking. Also, I should add here that I’m gearing up for a big trip. It is something that has involved a bunch of behind-the-scenes planning with a little help from sponsors and friends. That will be revealed as we progress down this journey. Basically, what I hope will happen is that, at least, a number of successful travel and art blog posts will result. That’s the first step.
The artist Jean-Michel Basquiat is a monumental figure in contemporary art for a number of reasons. To say that Basquiat was at the right place at the right time is a great understatement. In his case, he seems to have been born to conquer the art world despite the drawbacks of starting out with zero connections and zero money. Personally, for me, I had filed away Basquiat in my mind many years ago and hadn’t looked back. I look back fondly, and return regularly, to a number of artists ranging from Edward Manet to R.B. Kitaj but not Basquiat…not until recently. I happen to have been in New York and got to see a spectacular Basquiat show. It then dawned on me that, the further away one is from New York, the less is known or understood about Basquiat. Like it or not, Basquiat is an obscure household name! Some people love him and some hate him and probably for all the wrong reasons. I wasn’t sure if one graphic novel could help shed sufficient light on the subject but I decided to find out by reading Basquiat: A Graphic Novel by Paolo Parisi, published by Laurence King Publishing. This new English translation by Edward Fortes will be a welcome addition to anyone interested in better understanding one of the most celebrated and enigmatic of artists.
Basquiat: A Graphic Novel by Paolo Parisi
Paolo Parisi is in many ways an ideal artist to create a graphic novel about Basquiat. Parisi has proven himself to have the right temperament for the job. His previous graphic novels include a book on John Coltrane and one on Billie Holiday. As he puts it, his graphic novels all follow a common thread that includes “jazz, art, painting and process, rhythm, rigor, improvisation, and spontaneity.” Well, you can find all of that with Basquiat, an artist that jumped feet first into his art at an early age and never looked back, as if guided mostly by instinct and sheer will. His was an original and singular vision.
Basquiat: A Graphic Novel by Paolo Parisi
Within this biography, the reader will come away with a good sense of the trajectory of Basquiat’s art career, from his early forays into street art to his mugging for the camera on cable access to his navigating the highest levels of the New York art world. Parisi does a great service to Basquiat by generously quoting directly from him and from the people who knew him best. Much of this book is made up of quotes, transcriptions from letters, and just the right amount of carefully composed dramatization. The bold use of color in this graphic novel is supposed to evoke the same bold use of color that Basquiat used in his own paintings. Alas, we somehow don’t explore any of Basquiat’s actual paintings! Diego Cortez, the curator of the famous Times Square Show that helped to launch Basquiat is quoted: “Jean had something different. He reminded me of Cy Twombly and Franz Kline. He didn’t even know who Kline and Twombly were, but he had instinct, charm, and energy on his side.” There is plenty of instinct, charm, and energy on display in this book. And you can take it any way you like: for beginners, it’s a wonderful first step; for those familiar with Basquiat, it’s a great New York fable.
Basquiat: A Graphic Novel is a 128-page hardcover, in full color, published by Laurence King Publishing, English translation edition (May 14, 2019).
With Jordan Peele’s Us still swimming in my head, I went to see the first museum survey in New York of Jamaican-born, Harlem-based artist Nari Ward at the New Museum. You don’t have to know a thing about contemporary art for his work to resonate with you just like you don’t have to know a thing about the finer points of public policy and history to get it when a good comedian brings up subjects like disenfranchisement and slavery. You just get it. What you get with Nari Ward is an artist tapping and ticking at our collective conscious. This is a powerful show that will remain with you.
Things aren’t quite right, are they? Let’s take what’s around us, various found objects on the great landscape of humanity, and say something with them. How about bricks? They’re easy enough to find and don’t cost much at all. They’re practically giving those away. Let the bricks represent whatever feels right to you in this context: a struggle being evoked, brick by brick; a recovery, a rebuilding, brick by brick. Then take it further, add some copper on top of each brick; and then further still and add a design, some kind of pattern that all the copper-topped bricks put together add up to when displayed upon the gallery floor. That is what I first saw of Nari Ward’s work when the elevator doors opened upon the main show.
And then I saw the eerie elegance of all those bottles (with messages inside of them!) while I also tuned into the ironic and hypnotic sounds made up of bits and pieces of vintage banter from classic Warner Bros. and Disney animation. “Hey, come over here.” Some creepy whistling. Then, “So pretty!” It was emanating from some contraption made up of a menagerie of discarded parts and emblazoned with an all-American eagle. And there’s so much more to experience: all meticulous collecting forgotten relics and recontextualizing them. Some of the most striking work is a series of large circles sitting inside squares. Maybe 80×80″. They could be globes. And they seem to be tracking somethings with a multitude of nails holding up a vast network of wire. Are they tracking hope, or despair? Maybe both. They come in various shades and colors.
Much more. There’s a whole room dedicated to work constructed from old fire hoses. There are a bunch of small constructs that resemble battered luggage all leading up to a massive circular piece looking down on them. There’s also a room that displays a house made up of some many pages of the Madonna and Child and that encloses what looks like fish scales and dried bananas. And, just before you leave, make sure to view the stately grandfather clock, a tried a true fixture in countless wealthy homes. Take a good look at it. You’ll see an eerie burst of protest has replaced the clock’s face. There’s an odd-looking centerpiece to this burst that refers back to the big circular pieces. And inside, down below where the weights reside, there are two African figures trapped inside forlornly looking out.
Nari Ward: We the People is on view at the New Museum, 235 Bowery, New York City, February 13–May 26, 2019. For more details go right here.
It Occurs to Me That I Am America: New Stories and Art
What does it mean to be American in these strange times we live in? We have someone in power who behaves like a self-serving gremlin, determined to dismantle and foment unrest, boasting a horribly inarticulate screed. Here is a collection from some of the most respected names in the arts that acts as an answer to what it is to be American. It is entitled, It Occurs to Me That I Am America: New Stories and Art, published by Touchstone, an imprint of Simon & Schuster. This title came out in 2018 and it deserves to be on everyone’s radar in 2019 and for years to come.
Vote Hillary by Deborah Kass
Sometimes, perhaps too often, we get such a gem of a book that deserves a whole new shout out. Let me run through for you what makes this one special. Gathered within 375 pages are works by talented artists and writers all tackling a common theme in refreshingly unexpected ways. The book is edited by celebrated artist and novelist Jonathan Santlofer, with an introduction by Pulitzer Prize winning novelist Viet Thanh Nguyen. The roster of creators runs the gamut from exciting new talent to established legends. Each piece is a highly original voice. You’ll find, for instance, Hate for Sale, by Neil Gaiman, a poem tailor-made for today and yet unnervingly timeless. Or how about Joyce Carol Oates, “Good News!”a cautionary tale that nicely channels Ray Bradbury.
Little House on the Prairie Holding Company LLC by David Storey
Among visual art, one that immediately strikes just the right defiant tone is Vote Hillary, by Deborah Kass, a screen print channeling Andy Warhol with Trump replacing Nixon as the subject. Another compelling piece is The Ugliest American Alphabet, by Eric Orner, where he recounts all that is dismaying about Trump using every letter of the alphabet. Some other thoughtful work in comics comes from Roz Chast with Politics; and from Mimi Pond with Your Sacred American Rights Bingo. And one of the most beguiling works in comics in this book is a tryptic by Art Spiegelman. To be sure, all the work here is not espousing one particular point of view. You’ll find a bit of everything when it comes to articulating all things American. It’s not as easy as simply pointing fingers. It’s complicated, right? All in all, you have 52 distinctive voices here sharing with you just how complicated it all is in the best spirit of vigorous critical inquiry.
Your Sacred American Rights Bingo by Mimi Pond
I will finish up here by taking a closer look at the piece by Alice Walker, Don’t Despair. It is one of the shortest works and comes towards the end of this collection. She recounts how growing up in rural Georgia, all white men seemed to be like Donald Trump, petty and hateful. She looks back and wonders how she survived those times. Part of the answer is that Walker comes from a long line of ancestors who chose to live or die on their feet. Her family would survive, even proper, in the tiniest of spaces allowed to them by white people. Fast forward to today, Walker asks Is living under a dictatorship all that of a surprise? Her solution: Study hard! Study who you’re really voting for! And don’t rely on just voting for someone! “It is our ignorance that keeps us hoping somebody we elect will do all the work while we drive off to the mall.” Walker isn’t just offering hope. As she puts it, she’s offering counsel. Real change is personal and involves relating with each other. It is a time for an awakening and the choice is ours.
The Ugliest American Alphabet, by Eric Orner
It Occurs to Me That I Am America: New Stories and Art is a 375-page hardcover, with black & white and color images, published by Touchstone, an imprint of Simon & Schuster.
Meet Boris and Cupcake. They’re your typical art students which means they’re far from typical just about anywhere else. These guys are definitely living inside a bubble that is inside a number of other bubbles. This is a fact that doesn’t get them very far in the real world–or the art world, for that matter. What it all adds up to is the hilarious new graphic novel, Art Comic, by Matthew Thurber, published by Drawn & Quarterly.
Satire runs amok in this send-up of contemporary art with Mr. Thurber’s surreal sense of humor taking things to a high level. It’s an important distinction to make. Thurber is not simply foisting upon his readers a series of rants. He’s actually worked out his narrative to such a precise degree that it reaches a peak of whimsical perfection.
You don’t need to know a thing about art to enjoy this book and, in some ways, you may be better off not knowing a thing. In fact, let this graphic novel teach you all you’ll ever need to know about the art world. Humor, at its best, is capable of being quite educational. Just go along for the ride and you can’t help but pick up a little on the theory of art, the business of art, and even the art of art. You’ll also learn a few things on how to best tell a story simply by not taking anything too seriously. This is a wacky yet savvy book. Thurber does an admirable job of giving it all, the drawing style, the narrative, the jokes, all the way down to the coloring, just the right light touch. I reach out to my friends and loyal readers to assure you that, even if you don’t usually read comics or follow art, you will enjoy this if you have a healthy sense of humor.
One of the first pages from Joe Kessler’s Windowpane, published by Breakdown Press, shows a wandering dog searching for food and finally finding a baked pie sitting out on a windowsill. There are splotches of color overlay on some of the blue line art. Welcome to a most experimental work in comics. Kessler covers various themes: childhood trauma, alienation, sexual dysfunction, and religion. Everything is a bit off kilter and on edge. What could be better for this kind of work, right? Well, this kind of work can often fall short and not measure up. But, in this case, there’s a lot to like even if it seems that things don’t always add up as the general reader might expect from the comics medium.
Like any artist, Kessler wants to challenge the reader. For instance, he enjoys the harsh use of basic colors. He also likes tossing his characters from one situation into another. He has them suddenly running away from things. He has them hurting each other. Then, in a fit of petulant bravado, he will take a gob of primary colors and fling them like a bolt of lightning. A blast of these harsh basic colors will blow up some characters to bits. Others will be saved for a proper decapitation. All in a day’s work.
There goes that iguana.
Quieter moments will serve for such scenes as an iguana forcing its way into a sleeping woman’s mouth.
It’s pretty wild stuff. Not for kids. Mature content abounds. All in all, this collection of sordid tales is quite fun, original, and worthwhile.
Windowpane is a 272-page full color soft cover. It collects new and previous work by artist Joe Kessler. You will find here reprints of Windowpane issues 3 and 4. This collection is published by Breakdown Press, based out of London. Visit Breakdown Press right here. And be sure to visit Mr. Kessler right here.
Here is a discussion of what makes for the best comics within the United States with Bill Kartalopoulos, the series editor of the prestigious annual collection, TheBest American Comics, published by Houghton Mifflin Harcourt. What does it take to be considered the best? Well, mind you, everyone has their own set of ideas but, essentially, it boils down to compelling work. One way or another, things add up. The work commands your attention and it checks off a number of boxes like being original, structurally sound, and maybe even groundbreaking.
One thing that makes this particular interview special is very good timing. I happen to have been in New York for a combination of business and pleasure. The latest collection of Best American Comics had just come out. In fact, I’d recently reviewed it here. So, one thing led to another. I asked Bill what he thought about getting together in person for an interview and so we did. For me, meeting Bill at Parsons The New School for Design was a nice treat. He teaches there on the subject of comics. Currently in his class, he’s covering Art Spiegelman’s landmark work, Maus. Bill was Associate Editor and Production Assistant on MetaMaus, Spiegelman’s 2011 book and multimedia DVD set examining the production of Maus.
Parsons The New School for Design
My goal in this interview was simply to have a pleasant, perhaps even lively, conversation. I am a fan of Best American Comics but I was setting that aside, so to speak, in order to go through a relatively objective set of questions. I wanted to dig around and see what we might uncover and Bill was certainly up for it. What I come away with is the fact that this annual best-of collection has gone through a rigorous process. First, we have Mr. Kartalopoulos dutifully gathering up around 120 or so works that he deems worthy. Then, he hands them off to the guest editor. This year, that honor goes to cartoonist Phoebe Gloeckner. Finally, a shaking and mixing and final rinse. The editor, after paring down the final cut of titles, may end up adding some of her own, and will ultimately preside over a presentation all her own. Okay, lots going on. So, here we discuss all that and more.
“Yazar and Arkadaş” by Lale Westvind
HENRY CHAMBERLAIN: Bill, I thought we could take as our jumping off point the last work in this year’s Best American Comics. This is by Lale Westvind. It is quite a surreal sci-fi tale entitled, “Yazar and Arkadaş.” I think it would be good fun to linger over this loopy and wonderful work, an ideal example of what comics are all about. It kicks off with an urgent search for a book and, along the way, the main characters are compelled to continue their journey naked. What can you tell us?
BILL KARTALOPOULOS: Lale Westvind did the cover for this year’s Best American Comics. This piece was one that she published during the twelve month cycle that we cover for each volume. Our excerpt doesn’t contain the story in full but it gives the reader a good sense of it. The original work was published on a risograph. We attempted to evoke that same look and feel, including the pink paper used in the original.
CHAMBERLAIN: That unique look that you get from a risograph is part of what defines independent comics.
KARTALOPOULOS: I think a lot of Lale’s work speaks to science fiction. Although a lot of her work is very different, it does bring to mind Jack Kirby and how he played with mythology with his New Gods. Something else that I think is really nice and speaks to the selection process is what happened when it came time for Phoebe to pick what to excerpt from Emil Ferris’s My Favorite Thing is Monsters. She chose a conversation that refers to Medusa. That moment would end up resonating at the end of the book, with the last work by Lale Westvind and her disembodied head of Medusa with the tendrils of hair acting as arms grabbing at things.
CHAMBERLAIN: It happens every year. I recall us talking about interconnections between the selected works during our phone interview a few years back.
KARTALOPOULOS: It’s not a heavy-handed thing.
CHAMBERLAIN: Oh, of course not.
KARTALOPOULOS: It’s something you can’t force. It’s natural and organic.
CHAMBERLAIN: I think of how iconic My Favorite Things is Monsters is for readers. To present it in this collection, the challenge was to find an interesting way to revisit. Maybe you could give us another look behind the scenes. What is the significance of having Gabrielle Bell’s piece as the opener?
KARTALOPOULOS: That’s an interesting question particularly with how it relates to the creation of this collection. Each new guest editor handles the job a bit differently. For example, Scott McCloud created categories and wrote short introductions for each. Jonatahn Lethem, the next year, aware of what McCloud had done, followed suit in his own idiosyncratic way.This year, with Phoebe Gloeckner, she decided to see what it might look like with alphabetizing the titles–which is exactly what she ended up doing for the book!
CHAMBERLAIN: You can’t be any more fair than having the book alphabetized! That’s a good tip for aspiring cartoonists. Get a pseudonym that places you towards the front. I’m looking at Tara Booth’s work now. It’s a very raw and powerful style. And then you’ve got, after that, the very lean and clean work of J. D. Bryant. Some of the elements in Tara’s work are very challenging for the viewer. While, with Bryant, it’s very cool and detached. Maybe we can do a bit of comparing and contrasting with these two.
D. J. Bryant
KARTALOPOULOS: Sure, these are two very different ways of working. I certainly hope that it demonstrates the wide variety of work on display in these pages. Tara Booth shares with the reader the more private aspects of life, things you wouldn’t typically share, like popping a zit. She works mostly, if not exclusively, in gouache for this piece. Bryant works in the tradition of alt-comics from the ’80s and ’90s. It’s a naturalistic style with pop appeal, very dense, with a surreal narrative that loops back on itself. The types of brushes and pens and inks he uses go back further to the ’30s and ’40s. Booth has a very different approach, wordless little moments. Both are extremely effective styles.
CHAMBERLAIN: It does take a lot for a major comic book publisher to appear in Best American Comics, doesn’t it? It happens from time to time. This year we have a piece by Geof Darrow that appeared in Dark Horse Comics. I understand why that is. A lot of the work is market-driven and would seem out of context in Best American Comics. That said, I see a lot of interesting work coming out of Image Comics, for example. Is it a case of stepping back from the major comic book publishers in order to secure room for the independent cartoonists?
KARTALOPOULOS: We don’t really think about the scale of the publisher necessarily. We’re just looking for good work, something that is unique that expresses a personal vision, not necessarily an autobiographical vision. Dark Horse does publish a good amount of creator-owned work. This piece by Geof Darrow is very much an auteurial work: it is his vision; he is doing the work just the way he sees it. This is a personal vision regardless of the means of production. It is a personal vision as much as the work just before it, a self-published piece by Max Clotfelter.
CHAMBERLAIN: I agree. This brings us back to our theme of different approaches. One piece is technically crisp and another is stripped down. I want to ask you to share with us something about your intimate connection with comics. I know you spend quite a lot time on comics in various ways. Would you give us a window into your day or whatever you might like to share.
KARTALOPOULOS: I teach at Parsons about comics so at least once a week I’m teaching. Then I’m either preparing for a class or grading papers. I just finished reading for Best American Comics 2019. Each book has a time lag. For example, the current volume covers work created from September 2016 to August 2017. It goes from Autumn to Autumn. Then it takes a full year to create a volume. I’m at a place right now where I’m about to hand off work to our next guest editor. At the same time, I’m working on a book on North American comics for Princeton University Press. It’s pretty far along but I still have a number of chapters to complete.
CHAMBERLAIN: How do you gauge the reception that the book gets. With each year, do you sense that you’ve got a locked-in audience?
KARTALOPOULOS: The print run is somewhere around 20,000 copies so that’s a lot of copies out in the world. One thing that I think is very helpful is that the series tends to fairly automatically enter libraries. I think this series has a pretty useful life as an entry point into comics for many readers. We put as much information as we can about the sources of each title. We have bios and websites. So, for example, if there’s a self-contained work among the selections, maybe readers will seek out that creator and read more. In this way, we can make a quite impact well beyond the initial release of a volume.
CHAMBERLAIN: You’re talking about a quiet impact. You’re not exactly thinking in terms of setting a standard–or maybe you are, to some degree?
KARTALOPOULOS: I think we’re seeking out good comics. I’m putting together a larger pool of material, over a hundred pieces, for the guest editor. I select work worth considering…really give the guest editor a lot of options. Really select pieces that are meaningful to them. I try to give them a broad palette. The guest editor is applying their own sense of critical judgement of what they consider a good comic. If you look at the series from multiple volumes, you’ll see a consistency, a pretty high level of quality.
A mark of success for the series is how each guest editor leaves their personal mark. This year’s volume, edited by Phoebe Gloeckner, feels different to me to the volume edited by Ben Katchor, which feels different to me to the volume edited by Roz Chast, and so on. There’s consistency, a high level of quality, and each guest editor brings in their own point of view.
CHAMBERLAIN: That’s a wonderful place to end. Thanks for your time, Bill.
KARTALOPOULOS: Thank you.
We had a really good, insightful, and fun conversation. You can listen to the interview by just clicking the video link below: