Yeah, it’s true. Nobody cares about your band. Check out other pithy greeting cards from Greenwich Letterpress here. They know style, with the discerning eye of a true New Yorker.
Tag Archives: Illustration
Design: NOBODY CARES ABOUT YOUR BAND by Greenwich Letterpress
Filed under Cards, Design, Greeting Cards, Illustration, New York City, Style
Seattle Tattoo Expo 2013: A Weekend of Ink, Mystery, and the Unspoken Energy that Emerges
A tattoo artist deals with people’s desires and dreams. So do bartenders and cab drivers and let’s not forget therapists, agents, and attorneys and all manner of other good souls servicing a wide spectrum of humanity. People have needs, wishes, and frustrations. People seek answers, release, and resolution. Often they seek out the tattoo artist for more than any form of body art could ever fully satisfy. The seeker and the tattoo artist, in unspoken agreement, realize this and still they meet and arrange together a new portal toward that most elusive of goals, pure happiness. It’s at an event like the Seattle Tattoo Expo, held this last weekend at the Seattle Center, where all that unspoken energy comes to the fore and gains finer articulation by the very fact there is so much of it gathered in one spot.
If I were to compare a tattoo convention with a comics convention, I’d say there is a certain amount of a fish-out-of-water sensation that both vendors must contend with. You’re not at your home base anymore whether it’s a tattoo parlor or a comics shop. And both of those environments have their own special vibes that are not going to be totally recreated on a convention floor. What you get instead is the next best thing. That is what you get from this tattoo expo, the next best thing to actually being at the parlor. The Seattle Tattoo Expo was created by world famous tattoo artist Damon Conklin. His shop, Super Genius, leads the way in hospitality at the expo. Tattoos are a very personal thing but Damon Conklin and his crew of talented tattoo artists will break the ice. I got to chat a bit with Colin, who is an apprentice at Super Genius, and he was very friendly and in the moment which is great since, truth be told, tattoos are a personal thing.
What’s great about being at the expo is the opportunity to immerse yourself in the tattoo culture. You can walk in with your whole body tatted up or with no tattoo and it’s all good. But you can feel that special bond that is shared by those that are fully into tats. It can’t be made up. Either you’re really into tattoos and show them off proudly or you’re not–or you fall somewhere in between. If you’ve long admired tattoos but only from a distance, then actually coming down to the expo could be very rewarding. There’s a benefit for everyone, for those who are new to the scene as well as for all the attendees who have years of experience.
Many people aren’t going to ponder over the mysterious world of tattoos. A fair amount of people are just going to dive in and get one. That would be a mistake. That’s where bad tattoos come from. It’s a fevered form of thinking when all those impulses suddenly rise to the surface and you act way before you’ve fully thought it through. Did you really mean to get a star tattoo? Well, nothing wrong with that but is that really what you meant to do? That particular star, on that particular place, instead of stepping back, maybe concluding that this could wait? All is not lost. These days, tattoo removal is within reach. In fact, there was a tattoo removal booth at the expo. It’s not a perfect process. Mistakes will be made along the way but it’s sure nice when you can avoid them. But mistakes are human and there are plenty of humans. It just makes those who get it right look that much better.
What does it take to get it right? You get to see a lot of that at the expo. Whatever it is you are seeking, it doesn’t matter if it’s a tattoo or going to college or whatever your goal, you will find that you need to take the time to get it right.
Movie Review: ‘Far Out Isn’t Far Enough: The Tomi Ungerer Story’
Tomi Ungerer was a household name. He was the most popular children’s book illustrator in America. He is also a masterful artist of subversive and erotic art. That’s what got him into trouble within the children’s book community. His career was derailed. But he wasn’t. “Far Out Isn’t Far Enough” is a powerful documentary about a most remarkable man and artist. Tomi Ungerer’s life and career spans World War II, at the hands of the Nazis, into the high flying life of New York City in the “Mad Men” era of the ’50s and ’60s, and into the heart of the counterculture movement. It’s a life, not unlike Robert Crumb’s, full of explosive expression and heroic turns.
Director Brad Bernstein has brought into focus the life of Tomi Ungerer in a variety of ways. First and foremost, is Tomi Ungerer, who eloquently speaks his mind and is the guiding force throughout this film. It is his expressions, like “Don’t Hope, Cope” and “Expect The Unexpected,” that are used as chapter headings and repeated in various ways to draw out their meaning. Tomi’s life story is so compelling by itself too but, with the help of an impressive group of individuals, we hear his story told from many vantage points. This is a wonderfully structured documentary that alternates with grace between interview subjects and vivid use of animation (thanks to Brandon Dumlao, Alain Lores, and Rick Cikowski) that makes Tomi’s already powerful images jump out at you all the more.
We quickly take in Tomi Ungerer in the opening scenes. We see an older gentleman, with sad eyes and a mischievous smile, who has seen more of the world than has been good for him. He is also full of life and happy to joke around. But his comments can be cryptic: “I always have nightmares. I’m always being arrested in my dreams!” There is sadness and gaiety as he says this. He was once the most celebrated artist of children’s books in America. He was a rock star among illustrators. And then he disappeared.
Born in 1931 in Strasbourg, France, Ungerer and his family would come to know their Nazi neighbors all too well. Alsace, Strasbourg had only been French for about 300 years so its identity was split evenly Franco-German. This fractured identity would inform Ungerer’s life and his work. While under German occupation, it was forbidden to speak French and German culture prevailed. However, after the Allied victory, Ungerer’s German upbringing was a severe liability. The French, he found, treated him just as poorly as the Germans. And there was no regret by the French to burn German literature. It was very absurd, Ungerer concluded. Life was absurd.
At age 25, with only sixty dollars, Ungerer moved to America. He had always managed to cope and to prosper as an artist and so he would try to make a living from it in New York City. As luck would have it, Ungerer’s arrival in 1956 was a perfect time to break into the wildly lucrative world of illustration. Not only did he manage a foothold, he brought with him a whole new style that peeled away at conformity. The problem for Ungerer would be that, as he reacted to the times, he would just keep peeling away to the point that he crossed a line.
The musical score, by Nick Dei Rossi, dips into an ominous tone once Ungerer has come into his own and matured as an artist. He always loved the children’s book illustration he was known for but now he was reacting to the Civil Rights movement, the Vietnam War, and the Sexual Revolution. His peers, artists like Maurice Sendak and Jules Fieffer, admired what he was doing. Both are interviewed extensively in this film and provide great insight. They both loved Ungerer. But there was nothing they could do when Ungerer met his Waterloo.
Ungerer’s life, post-America, is not a sad story. He did give up children’s book illustration for 25 years but he discovered a whole new life, a life with new challenges and old fears that needed to be overcome. We come to realize that there will always be a touch of fear in this man’s life but it’s a good kind of fear, the sort he can use as a challenge. He seems to already have come to terms with the fear of death. Even if it should turn out to be vast nothingness, he is encouraged that this will be an opportunity to fill the nothingness with something from his mind. In the end, he remains encouraged and eager to continue crossing a line, pushing the envelope. The Tomi Ungerer expression used for the film’s title, “Far Out Isn’t Far Enough,” proves to be his way of life.
“Far Out Isn’t Far Enough: The Tomi Ungerer Story” is currently in theaters. Be sure to visit the site here for details. If you’re in Seattle or Minneapolis, you can catch it this weekend at one of your Landmark Theatres. Check it out here.
And you can listen to my podcast interview with the director/writer and lead editor/animator of this dazzling documentary here.
Filed under Design, Illustration, New York City, politics, pop culture, Tomi Ungerer
Review: THE GRAPHIC CANON, VOLUME 3, Edited by Russ Kick
Not all the work here is by cartoonists, per se, but most of it is and everyone here is part of the larger world of the graphic arts. We still live, may always live, in a world that, for the most part, thinks of cartoonists as only one thing. However, “The Graphic Canon,” edited by Russ Kick, and published by Seven Stories Press, gives you a taste of what is possible. You are certainly in capable hands with Russ Kick, bestselling author of “You a Are Being Lied To” and “Everything You Know Is Wrong.”
This is a remarkable project that takes on the world of literature on a grand scale with Volume 3 dedicated to the 20th Century. Ah, the 20th Century, it was a time dominated by the most heroic and romantic of rebels. You are sure to find your favorite rabble rouser in this colossal book, heroic in its own right. It weighs in at 564 pages, literally a phone book worth of literary artistic expression, so the odds are in your favor.
Like a classroom full of gifted children, each artist here has taken their chosen work of literature, immersed themselves in it, and turned in their best effort. Not all the contributions here are exclusive to this book but most are. And, like thoughtful and caring students, these artists don’t let ego get in the way or stray too far from the goal. They fall into two lines of attack: illustration and adaptation. Within these two camps, we get just about everything under the sun, an exciting array of talent, over 80 artists, that will please hardcore lit fans and newbies alike. Among previously published work, there is Robert Crumb’s rarely-seen adaptation of Sartre’s “Nausea.” Another gem is David Lasky‘s unique take on “Ulysses.” Reproduced here, you get the original 1993 mini-comic version.
“Ulysses,” adapted by David Lasky
Check out the first pages of this book to find a homage to “Heart of Darkness.” Matt Kish is known for creating illustrations for each page of “Moby Dick.” Here you see him bring that same level of obsession to Joseph Conrad’s masterpiece. Reproduced are some selected illustrations with the promise from Kish will go on to fully illustrate “Darkness” page per page.
“Heart of Darkness” illustration by Matt Kish
Ellen Lindner‘s illustration for “The Bell Jar” sums up in great measure the internal struggle that Sylvia Path attempted to endure.
“The Bell Jar” illustration by Ellen Lindner
Tara Seibel provides some fanciful illustrations for “The Great Gatsby” that evoke the jazz age.
“The Great Gatsby” illustration by Tara Seibel
Among the adaptations, Julia Gfrörer gives us some very intriguing images inspired by Umberto Eco’s “Foucault’s Pendulum.” In the introduction, Russ Kick helps the casual reader to relate by jokingly suggesting that Umberto Eco’s masterwork is a much more complex version of Dan Brown’s “The Da Vinci Code.” Full of metaphysical and philosophical observation, it centers on three characters who work at a vanity press who concoct elaborate conspiracy theories and then discover that maybe they’re true. Julia Gfrörer is clearly up to the task.
“Foucault’s Pendulum” adaptation by Julia Gfrörer
I think this unusual adaptation by Julia Gfrörer is a good place to linger since it goes a long way in representing the best you will find in this book. Gfrörer has taken on a wildly complex novel, found an opening, what she entitles, “The Chymical Wedding,” that explores the alchemical wedding in “Foucault’s Pendulum” and runs with it. This certainly doesn’t come across as Lit 101 filtered through comics. No, it does what you’d hope for: Gfrörer wears Umberto Eco like a well-worn pair of pajamas. Is that appropriate? If you don’t feel comfortable with what you’re doing, how will your reader? Gfrörer lets herself go and, without trying too hard, turns in her assignment. It’s just what editor Russ Kick would have expected.
This is the thing, there are any number of ways to go about your adaptation. “The Mowers,” by D.H. Lawrence, for example, is pretty straightforward and has a deft and gentle touch by Bishakh Som.
“The Mowers,” adapted by Bishakh Som
Another ethereal and arresting approach comes from Caroline Picard with her adaptation of Virginia Woolf’s “The Voyage Out.”
“The Voyage Out,” adapted by Caroline Picard
Emelie Östergren provides her heart-felt interpretation of “Naked Lunch” by William S. Burroughs.
“Naked Lunch,” adapted by Emelie Östergren
“The Graphic Canon, Volume 3” is such a mighty undertaking that you just can’t go wrong. I come back to the idea of a powerful vehicle that demonstrates what’s possible. We’d be fools to think we’ve got literature and fiction all figured out. And we’d be fools to think we have the comics medium all figured out. It’s a post-postmodern world, but that’s no excuse. There is something very traditional about writing stories and creating comics and that’s quite alright.
Issues of storytelling will not be resolved in the 21st Century and never will be. If Russ Kick is around (gee, anything is possible), or maybe a descendent or disciple, we will find that Volume 4’s tribute to the 21st Century (available only digitally?) will continue the good fight for a good story. And we will find that all three volumes of “The Graphic Canon” have held up considerably well.
Visit Seven Stories Press here. You can also find “The Graphic Canon” by visiting Amazon here.
Filed under Comics, Fiction, Graphic Novel Reviews, Illustration, Literature, Novels, Russ Kick, The Graphic Canon
INTERVIEW: Filmmaker Steven-Charles Jaffe and ‘Gahan Wilson: Born Dead, Still Weird’
“If Crumb can have a documentary, then so can Gahan Wilson!” The decision had been made.
Gahan Wilson is a force of nature. And so is filmmaker Steven-Charles Jaffe. Wilson found in Jaffe someone who would do justice to his legendary career that spans over 50 years of cartoons for The New Yorker, Playboy, and National Lampoon. Who else even comes close to such an output? That’s why a documentary had to be made. It is called, “Gahan Wilson: Born Dead, Still Weird.” Yes, you read that right, “Born Dead, Still Weird,” and it is currently the subject of a Kickstarter campaign that you can join here.
It was upon seeing “Crumb,” Terry Zwigoff’s landmark 1995 documentary on underground cartoonist Robert Crumb, that Jaffe resolved he needed to create a similarly worthy documentary of his friend and idol, Gahan Wilson. The idea of Jaffe and Wilson working together had already been kicking around for a few years. One plan that continues to interest them is a feature length animated movie based on Wilson’s illustrated book, “Eddy Deco’s Last Caper.” Jaffe and director Nicholas Meyer have approached IMAX about the project so we shall see. A Gahan Wilson animated movie in 3-D would be worth the wait.
For a taste of what it’s like for Wilson and Jaffe to work together, you can view the 2008 animated short, “It Was a Dark and Silly Night.” A story about children determined to have a jello war, even if it’s in a cemetery, this animated short is based on a collaboration between Neil Gaiman and Gathan Wilson for an illustrated anthology, compiled and edited by Art Spiegelman and Françoise Mouly, “Little Lit: It Was a Dark and Silly Night.”
There is so much to a Gahan Wilson cartoon: it is entertaining, memorable, scary, and above all else, it won’t let go. “I can’t tell you how many times I have seen a Gahan Wilson cartoon that relates right back to his own life.” Jaffe makes the observation with awe and admiration. An artist of the caliber of Wilson has both a keen sense of whimsy and a backbone made of steel. He was a child of two out of control alcoholic parents. For him, he had to grow up fast while holding on ever tighter to his dreams.
The dream behind “Born Dead, Still Weird” is to give it as wide an audience as possible. Much in the same way that “Crumb” was transcendent, so too this documentary aims to show you the real man and artist. “That’s what struck such a chord with people, to see Robert Crumb on a human level,” says Jaffe. Both Crumb and Wilson climbed their ways out of adversity to unprecedented success. If Jaffe can accomplish his goal of stirring up the pot and getting his documentary considered for an Academy Award nomination, it will go a long way in securing a high profile for “Born Dead, Still Weird.” The essential stage, getting the documentary made is done. But the last stage, marketing and distribution, and just making sure the documentary is known about, is still ahead.
Jaffe recalls the kind words from Robert Redford in support of “Born Dead, Still Weird.” After viewing it, Redford wrote back to Jaffe, “I’m a huge proponent of art not only getting into the educational system but for its ability to save some lives and enhance some lives. It is a fine piece of work and I thank you.” Saving lives. What a joy to be able to make such a difference. This is something that has genuinely stuck with Jaffe. He’s the first to say that he did not set out to make an inspirational film and yet Gahan’s life attracts just that.
From Jaffe’s first encounter with a Gahan Wilson cartoon in Playboy at the tender age of 10, up to today, Jaffe’s felt his own life enriched by Wilson. “He is a total nonconformist,” Jaffe says with delight. In a world where being different can have harsh consequences, as with bullies in school, Gahan Wilson is a shining example of someone who is going to live his life his way.
I hope you enjoy the podcast below that includes the entire interview with Steven-Charles Jaffe. Just click below:
Be sure to stop by and visit the Kickstarter campaign for “Gahan Wilson: Born Dead, Still Weird” right here.
Filed under Art, Cartoons, Comics, Documentaries, Gahan Wilson, Humor, Illustration, Kickstarter, National Lampoon, Playboy, Steven-Charles Jaffe, The New Yorker
Gahan Wilson Doc, ‘Born Dead, Still Weird’ Seeks Your Help For Academy Award Nomination
The New Yorker gag cartoon is quite a unique creature. It comes in many flavors, the best being “strange.” The master of strange is Gahan Wilson. It’s quite a blend that has been published for the last 50 years in The New Yorker, Playboy, and National Lampoon. His work takes you to a dark place while putting a smile on your face. It’s not an easy thing to do. I remember, as a kid in the ’70s, attracted to all kinds of comics that unveiled a mysterious world, one often made up of hapless adults. God help anyone seeking answers from a Gahan Wilson cartoon–but it helped me! I’m not sure how but it did. In order to celebrate and better understand Gahan Wilson, and his amazing work, Filmmaker Steven-Charles Jaffe created a documentary, “Born Dead, Still Weird,” which is currently part of a Kickstarter campaign (runs thru August 17) that you can view here.
A funny thing happened on the way to somewhere else. I literally stepped into the “Born Dead, Still Weird” documentary some years back. I happened to be in town and I dropped by The New Yorker offices to show a batch of my cartoon gags. Little did I know that Gahan Wilson was in the green room, along with all the regular contributors, awaiting an audience with Bob Mankoff, cartoon editor for The New Yorker. Now, I’m from Seattle, so it wasn’t like a usual thing. I kept putting off my visit to the editor’s office because I was so enthralled and wanted to make the moment last. I remember signing a waiver, just in case my interview with Bob Mankoff was used in the film. I was invited back to continue to submit work. I left, had lunch, and continued with my life. And I always wondered about this documentary!
Now, we come to the good part. We fans of comics and art and wonderful things love Gahan Wilson and his work. We want this documentary to succeed in a very big way. If it can fulfill the requirements necessary to be considered for an Academy Award nomination, then that will be a big leap forward to getting everyone to know about this documentary. The current Kickstarter campaign is all about meeting the criteria for nomination and that primarily involves renting movie theaters for special screenings. You can read all about it at the Kickstarter campaign here.
An Academy Award nomination alone is a huge deal and “Born Dead, Still Weird” is a perfect candidate for Best Documentary. Let’s all do what we can to see this campaign get funded.
Filed under Cartoons, Comics, Documentaries, Gahan Wilson, Humor, Illustration, Kickstarter, National Lampoon, Playboy, The New Yorker
Howard Chaykin, An American Original
Howard Chaykin is an American original. It was his groundbreaking “American Flagg,” a 50-issue series created in 1983, that paved the way for Frank Miller’s “Dark Knight” and Alan Moore and Dave Gibbons’s “Watchmen” three years later. You can buy it at Amazon here.
Howard Chaykin has taken the American comics medium in new directions, including erotic adventures, and comics is the better for it. Micahel Dooley caught up with Chaykin for Print Magazine’s Imprint blog about the recent problems with his “Black Kiss II” being considered too lewd for distribution. You can buy it at ComiXology here.
Much lies ahead for this master cartoonist, including his new series for Image Comics, with Matt Fraction, “Satelite Sam.” The first issue is on sale July 3, 2013 and you can check it out here.
You can read Michael Dooley’s interview with Howard Chaykin here.
Review: PEPITA: TAKEHIKO INOUE MEETS GAUDI
I was introduced to the work of Gaudí in a very Woody Allen way. This was many years ago and I was on a date. We were very young and full of energy and dropping various names and titles to all the art we had consumed thus far in our little lives. “Oh, Gaudí!” It was the biggest name drop of them all for her since she had just returned from Spain. At the time, the best I could find was a book in the library. I put two and two togehter pretty quickly after that. And I have admired the work of Gaudí ever since.
If you go to Barcelona, you can’t help but find the enormous cathedral of Sagrada Família, the iconic Roman Catholic catheral which is regarded as one of the great wonders of the modern world even if, one hundred years since it was begun, it continues to grow. The legendary Spanish Modernist architect Antoni Gaudí continues, in spirit, to oversee construction.
Today, the works of Gaudí hold their own very well with contemporary giants like Rem Koolhaus and Frank Gehry. Experimental and expressive architecture are more acceptable these days, even if you may still find an old guard of resistance. Artist Takehiko Inoue makes for a wonderful tour guide, with an open and animated spirit, in his recent book about his pilgrimage to the world and art of Gaudí, “Pepita: Takehiko Inoue Meets Gaudí,” published by VIZ Media and offered under the VIZ Signature imprint, priced at $24.99 U.S/ $28.99 CAN.
Takehiko Inoue is in a unique position to share his views on master architect Antoni Gaudí (1852 – 1926), the famous Spanish architect and leader of Catalan Modernism. An accomplished artist in his own right, Inoue is known for landmark manga titles, SLAM DUNK, REAL, and VAGABOND, all published by VIZ Media. Inoue approaches his subject with great enthusiasm and the insights of a fellow artist.
What readers will find striking about this book is the various ways that Inoue comes to his subject: sketchbook drawings, notes, journal entries, more formal prose, photographs, and his own inimitable hyper-realistic artwork.
Above all, this is a refreshingly honest and open book. Inoue makes no claims to a lifelong affinity to Gaudí. In fact, he admits that the first time he saw the work of Gaudí, in 1992, it was as part of a rushed tour and he did not have a chance to develop any significant impressions. However, it was in 2011, that Inoue was determined to learn about the great master.
What you’ll find in this book is such a variety of information from someone you quickly connect with. I’ve always been attracted to these type of books that present you with more than just the facts. You get the facts, to be sure. There is full documentation on Gaudí’s career, family, and where he lived and worked. What’s great is when you have a unique guide that will bring in a variety of unexpected facts. For instance, just consider the title of this book. Pepita? Who are what is that? Well, buried within the book is the answer. Not to spoil anything, I think it helps a lot to go ahead and know what that means. The definition of “pepita” is “fruit seed” and that is meant to describe Inoue’s journey, to find the fruit seed to Gaudí’s creativity. It is also the nickname of Gaudí’s one and only sweetheart! Now, try finding that in your typical book on Gaudí.
“Pepita: Takehiko Inoue Meets Gaudí” is a 108-page hardcover, priced at $24.99. You can find it here.
For more information on other Takehiko Inoue titles available from VIZ Media, please visit www.viz.com.
Filed under Antoni Gaudí, Architecture, Art, Manga, Takehiko Inoue, Travel, VIZ Media
Review: ‘When David Lost His Voice’ by Judith Vanistendael
Currently on the shelves is a book with a bright orange cover and a powerful story about coping and understanding death and loss. Our lives can become so routine: work, eat, sleep, rinse, repeat. Ironically, the closer we come to death, the more we appreciate life. Just like they say, our lives flash before our eyes at a time of crisis. It can unnerve us. Americans, for example, have been thought to not deal too well with death. However, given the popularity of zombies, that overall outlook seems to be improving. And there are some cultures who appear to be more in touch with death. “When David Lost His Voice,” the new graphic novel by Judith Vanistendael, published by SelfMadeHero, gives us a story that shows how life and death can come to terms. It’s a story not without a healthy dose of good cheer.
I recently viewed Julie Delpy’s “2 Days in New York,” a comedy about what happens when relatives from France descend upon a couple’s New York apartment for the weekend. In the movie, you see just how crude, or earthy, depending on your taste, these French folks can be. The humor itself felt French too, embracing the absurdity in life more than your typical American comedy. It seems to be a matter of dropping any inhibitions and yet done with a certain style. In that regard, I find a similar sensibility running throughout this graphic novel. It is the story of David, who discovers he has developed a cancer in his throat. He is an older gent who has a full-grown daughter, Miriam, as well as a 9-year-old daughter, Tamar, from a recent marriage to Paula. And Miriam has recently given birth herself to Louise. It is quite a premise: all these women are a vital part of David’s life and the prospects for his future don’t look so good.
David is a special man who is well loved. He’s a man of few words. He prefers to let his actions speak for him. He owns a bookshop so he deals in words every day but, for seeking deeper meaning, he can make good use of silence. It is these qualities that are on display as he does his part to console Tamar, about the possibility he may not be around for much longer. He’s there for her. He’s attentive to her child’s viewpoint.
David and his wife, Paula, tirelessly work together to keep their daughter calm, even if it requires adhering to an elaborate scheme to make it look like it’s possible to send mail back and forth attached to balloons. It’s almost easier for David to attend to little Tamar’s needs than it is to attend to the needs of anyone else. Miriam keeps seeing him as a ghost. Paula, an artist, reconstructs him from x-rays.
Interestingly enough, it’s Paula who becomes very vocal and loses control a bit over all the quiet surrounding David. It’s bad enough that David won’t talk about it. But no one else is capable of articulating what’s happening either. Or does it just seem that way? Balance is gained when a child’s perspective, that sense of lightness, can be brought into play. Maybe mermaids, magic, and notes sent on balloons can help make things better.
As long as everyone believes in hope and compassion, then the end need not be harsh and bitter. In a story that floats with such delicate ease, Judith Vanistendael does a beautiful job of evoking what is involved when all parties manage to transcend a crisis and create something new.
“When David Lost His Voice” is a remarkable graphic novel by Judith Vanistendael. She is a Belgian author of graphic novels and an illustrator. She is known for “Dance by the Light of the Moon,” two volume work also published by SelfMadeHero. You can find out more about purchasing your own copy of this book here.
Filed under Comics, Death, Graphic Novel Reviews, graphic novels, Judith Vanistendael, SelfMadeHero
Interview: FAR OUT ISN’T FAR ENOUGH: THE TOMI UNGERER STORY: Brad Bernstein, director and writer; Rick Cikowski, lead editor and lead animator
“Doctor Strangelove” Movie Poster. Artwork by Tomi Ungerer.
FAR OUT ISN’T FAR ENOUGH: THE TOMI UNGERER STORY is a masterfully created documentary that will hit you on many levels. It is eligible for an Academy Award nomination for Best Documentary and deserves that level of recognition for being so careful to detail with its subject, artist Tomi Ungerer.
I had the honor of speaking with both Brad Bernstein, the film’s director and writer, and Rick Cikowski, the film’s lead editor and lead animator. Both men expressed their love for Tomi Ungerer and provide insight into the making of this impressive documentary, distributed by First Run Features.
For me, I can appreciate what happened to Tomi Ungerer when I look at the iconic poster he created for “Doctor Strangelove.” That poster, much like his “Black Power, White Power” poster are forever part of one’s psyche. And yet, in America, Ungerer’s work in children’s books is not widely known today. That work is just as powerful and was just as well known in its day, as anything else he has created. Thanks to Phaidon, we have many of his great works being reprinted in the United States. But, for decades, it was as if he’d been wiped out of memory in America. How could that be? That is a big part of the fascinating story that unfolds in this documentary.
Tomi Ungerer is a great talent and, for a man who has had a lifelong battle with fear, he is a most courageous man. For someone who grew up under the horror of the Nazis, and went on to conquer the world of illustration in its heydey in New York City, that alone is remarkable. But going that far out, wasn’t far enough for Ungerer.
“Far Out Isn’t Far Enough” brings together a seamless narrative boiling down numerous hours of interviews with Tomi Ungerer, Jules Feiffer, the late great Maurice Sendak, as well as other notable figures like art director and critic Steven Heller. Throughout the film you are treated to very deftly purposed animation that strikes the right cord, whether humorous or somber.
As Brad Bernstein explains, the initial attraction to Tomi Ungerer was his spirited expressions like, “Far Out Isn’t Far Enough.” That really says it all. Ungerer is a man who speaks his mind and does it quite well. His life and work are a testament to a strong will and this documentary honors that spirit very well.
You can listen to the interview with Brad Bernstein and Rick Cikowski by clicking the link below:
And, as the say, tell your friends and spread the word about this documentary. You can visit the official site here and also follow on Facebook and Twitter.
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Filed under Art, Art books, Children's Books, Design, Documentaries, Erotica, Illustration, movies, pop culture, Protest, Social Commentary, Tomi Ungerer
Tagged as 1960s, academy award nominations, Art, arts, Children's Books, Design, Documentaries, Entertainment, Erotica, Illustration, Movies, nazi germany, New York City, Pop Culture, Posters, Protest, Publishing, Tomi Ungerer