Tag Archives: Interviews

Matthew Richter: A Funny Thing Happened on the Way to Creating Art Space

Matthew Richter is one of the great champions of the arts in Seattle. When I first moved to Seattle, back in 1993, I quickly went about getting a foothold, any kind of foothold, into the art scene. Over time, I ran a gallery space in the coveted arts district of Capitol Hill. It was, in fact, nothing more than a diner–but it had walls to showcase art upon. I did this for a number of years. Some of the artists, who I provided with their very first art show, went on to bigger and better things. I did a number of other things too, including my ongoing freelance journalism and getting picked up by a publisher. I have a book out next year which you’ll hear more about soon enough. There were plenty of ups and downs over the years. I never ever stopped creating art of one kind or another. I never expected anyone to step in and advance my efforts. In fact, I preferred to develop on my own, as I saw fit. But I did crave community. And I did value walls upon which to present one’s work.

Consolidated Works ( 500 Boren Avenue North location, 2002 – 2006)

I kept up with various art people and Matthew was one of them. I’d read his work in our local alt-weekly, The Stranger. Later, I’d attend shows at his outrageously wonderful multi-disciplinary art center, Consolidated Works, where it seemed that anything could happen. Con Works was a veritable convention space/circus arena collecting various spaces that focused on one art form or another. It began as a brash semi-temporary entity, one of the original pop-ups but on a grand scale; established itself in the South Lake Union area, home to a bubbling stew of creative activity; and then, one day, it was gone, it was no more. Fast forward to the present, Matthew has been developing this concept of art spaces into “cultural spaces,” a means of supporting emerging artists, particularly BIPOC individuals who may not find an opportunity to gather and show art in a real estate market that has priced out the traditional art spaces of yesteryear.

Cultural Space Agency

The Cultural Space Agency is born. Matthew Richter developed his concept of cultural spaces during his time working for the City of Seattle’s arts department. This activity led to the city chartering Cultural Space Agency as a real estate development company, its goal being to seek out, purchase, and establish “cultural spaces.” Will cultural spaces help Seattle to flourish and withstand the headwinds of out-of-control growth? Ah, now all this seemed to me to add up to an interesting conversation. That is my goal with this interview: to explore the urban landscape. That requires looking at things from as many angles as possible, the good and the bad; asking tough questions, and allowing room for fumbling about for answers.

The main thing here is to support the goodwill out there to make any community a better place. That is what Cultural Space Agency is all about and it appears to be off to a good start with Matthew Richter having laid out the foundation. As he has made clear, he is only interim Executive Director for a little bit longer and then he will pass on the baton. There are also other positions to fill and numerous opportunities within this new organization. If you would like to help in any way or get involved, be sure to visit them.

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☀️ NOAH VAN SCIVER | Cartoonist Interview 💬

Noah Van Sciver is one of our great cartoonists. He’s been at his drawing table for as long as he can remember–and that has resulted in some very impressive work. It takes a lot to gain any traction in the world of comics and illustration. Van Sciver is one of the brave and persistent souls.

It is my pleasure to share this interview with Noah Van Sciver. We chat about his two new books, Joseph Smith and the Mormons (see Comics Grinder review here) and As a Cartoonist (see Comics Grinder review here). I think some applause and cheers are in order every chance we can get. Along the way, we end up talking about a great deal of Van Sciver’s career as a cartoonist. A lot of dots get connected. So, I hope you’ll tune in and feel free to leave a comment or like over at ye ole YouTubes.

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Interview: Comics Artist Brandon Lehmann

Comics artist Brandon Lehmann

First off, I invite you to read the review I wrote for The Comics Journal to the book in question, G-G-G Ghost Stories. That will add to the enjoyment of the following interview with the creator.

There are details in Brandon Lehmann‘s comics that will come back and reveal themselves upon another reading. Look closely and you’ll see, tucked away amid the backdrop of a mega-bookstore, copies of Brandon Lehmann’s new book, the recently released, G-G-G Ghost Storiesin the panels to his story, “The Werewolf Expert.” Another reading will reveal a copy of Henry Miller’s Tropic of Capicorn, in the hand of a child, a secondary player in this finely-crafted farce. The key idea here is the subject of creating such a thing as a “finely-crafted farce,” and why quality will win out in the end. Lehmann’s sense of humor is an absurdist and existential sensibility. Lehmann has been making comics for about fifteen years featuring observational and satirical work. In this new book, he focuses in on playful use of horror tropes. For this interview, we met at Seattle’s Smith Tower, a favorite haunt of erudite cartoonists and, of course, ghosts. We begin this conversation just as I sit down to join Brandon. I notice pot stickers have already been ordered. (We staged a bit of a humorous intro. You’ll see what I mean if you view the video.)

Hey, Brandon, well, I see you’ve started without me, as usual. Nice to run into you this way.

I just hang out up here in Smith Tower and read my own comics.

G-G-G Ghost Stories by Brandon Lehmann

So, what have we here (picking up a copy of Brandon’s book). Is the proper pronunciation just as it reads, G-G-G Ghost Stories?

When I named it, I was hoping for some awkward interactions at the sales counter. “I’ll take, G-G-G Ghost Stories, please.”

That would be a Scooby-Doo influence, right?

Yeah.

Interesting that we’d find ourselves in Smith Tower since, as everyone knows, this place is haunted.

Yeah, we saw a couple of ghosts on the way in. I was like, “Ahhh, it’s a g-g-g ghost.”

Page excerpt from “The Lfyt”

I think of a lot of your work, like the “The Lfyt,” as being mini-masterpieces. Do you sometimes think in those terms, “I’m going to create something that’s so spot on that everything works perfectly.” Does that make sense to say that?

Yeah, I always feel that when you’re working on a book, especially, you can get into this mode where everything you do just works. And then, when you finish a book, I have this period where I just struggle and I can’t seem to draw anything. But when I’m making a book, I can set a schedule, everything works on the first try for some reason. If that makes sense.

Page excerpt from “The Werewolf Expert” story from G-G-G Ghost Stories

It does make sense. I’m a certified cartoonist myself, as you know. Now, tell us about “The Werewolf Expert,” the longest work in the book.

There’s a trope in horror movies and TV shows where someone needs to seek an expert on the occult and it’s always someone who it doesn’t make sense would be an expert. Like, you’ll have this guy who works at the bowling alley as a mechanic and, for some reason, he’s a vampire expert. In “The Werewolf Expert,” someone consults a Barnes & Noble bookstore employee, and it’s the employee’s first day. And they shouldn’t know anything about werewolf lore but part of the B&N orientation training is that they teach all about werewolf lore. That employee knows a lot but eventually he consults his supervisor and she knows even more about werewolves to a ridiculous degree. So, it just keeps building on that premise.

Desperately seeking werewolf advice.

How would you describe your humor?

It’s absurdist and existentialist. There’s a lot of gags in the book that you can repeat with a similar premise. For the story we’re discussing, there’s a gag that I use a lot. The story is progressing from one point to another and then I’ll throw a wrench into it. And it will spin off in an insane degree. For instance, the bookstore customer seeking advice has a daughter named, Shawnda. He begins yelling at her, she’s off camera. Later, we see her and there’s more of this yelling. That sort of silly exchange is something I like to do in my work.

Panel excerpt from Brandon Lehmann’s Instagram.

There’s a beauty to your work. The humor is consistent. The art is consistent. You must go through a slew of experimentation before you hit upon what works, what’s on point.

The whole concept of the book is classic ghost stories. So, that’s the anchor. We’re dealing here with stories everyone is familiar with in one form or another. The story, “The Lfyt,” we were just talking about, is based upon a popular ghost story about picking up a hitchhiker who turns out to be a ghost. Another good example is “The Viper,” another popular children’s ghost story. The tension builds as he keeps calling and announcing when he’ll arrive. In my story, it turns out that “The Viper” is a guy with a thick German accent, who is just an innocent window wiper.

I didn’t know about that children’s ghost story. The actual one, not your satire!

Yeah, it’s real. There’s also one entitled, “Okiku,” based on a popular Japanese ghost story about a woman who was murdered because she refused to become a samurai’s mistress. She had been thrown down a well and, each night, she appears to seek her revenge. That was actually the basis for the Ringu movies. There’s the books. It was also on stage, as kabuki theater. So, yeah, I gather up all these ghost stories and given them my own spin.

Well, I’m sure this will intrigue readers. Thanks so much for sharing this with us. Where is a good place to find your work?

One good place is my own site for Bad Publisher Books. You can also find me on my Instagram: @brandon.lehmann. And you can find it at various bookstores. In Seattle, there’s Fantagraphics Bookstore, Elliot Bay Bookstore and Push/Pull. Lots of places on the net, like Birdcage Bottom Books.

Thanks, Brandon!

Thank you, Henry!

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Interview: Greg Cipes and NFTV – the Blockchain and People Power

Greg Cipes, a winning smile and good heart.

Greg Cipes snagged the role of Beast Boy on the Teen Titans franchise on Cartoon Network on his first-ever audition. That was twenty years ago. It’s one of the highlights to a wonderful career which also includes playing Michelangelo on Teenage Mutant Ninja Turtles. It could not have happened to a nicer guy. Cipes is a mellow and spiritual person with a deep respect for animals. He also happens to know a lot about blockchain technology. This led to him becoming a founder of Bright Moments DAO, an arts organization focusing on NFTs. And that has led to him founding NFTV, a new form of entertainment showcasing the work of NFT creators.

NFTV, boldly heading to Web3!

Imagine a mellow day on Venice Beach. That’s where you’ll find Greg Cipes taking it easy with his dog, Wingman G. Greg is just the right person to be leading a venture that taps into the people power spirit of blockchain technology. His connection to the public and entertainment has led him on this journey. As someone with a keen interest in pop culture, spiritual matters, and the next big thing, I couldn’t help but be interested in the opportunity to chat with Greg. My impression is that he’s very sincere about his efforts to create a space where people can go to get educated about NFTs, build a community and support NFT creators.

NFT art on NFTV!

Greg is in a very good place to be part of the early adapter phase to Web3. He is a co-founder of Bright Moments DAO, an NFT arts organization. And now he is leading the way with NFTV. His advice is to learn all you can before buying anything. Greg believes that NFTV can be an oasis during this time of change when most people, of all ages, are still very new to anything having to do with Web3 innovations.

In the not so distant future, NFTs will become more and more common and the path to becoming involved will be smoother. Of course, there is plenty of buzz on the net about the metaverse, avatars, tokens, and the blockchain. If you’re patient and willing to take the time to focus on the details, in no time, you too could have a digital wallet and participate in the brave new world of disruption and decentralized autonomous organizations. The biggest stumbling block of all is lack of money. You need money to make money. Greg says his main reason for starting NFTV is to help level the playing field and make the price of admission affordable to all. He stresses the need for NFT education and community. And he says that NFTs featured on NFTV will be within reach for everyone at an average starting price equivalent to a hundred dollars.

Much like NFTs are new, Greg Cipes is riding a new wave with NFTV. I can see that progress is steady and the network will continue to grow and develop. It will be very interesting to see where it’s at in the coming years. The NFTV segment below is just a taste. Keep in mind that this is all blowing up and expanding before our eyes. These are early field notes from the pop culture frontlines.

Greg Cipes is very much a guy on a mission. Before we ended our talk, he wanted to bring out one last very important fact and it demonstrated where his head is at. Greg wants to share with you a special NFT connected to Dog Blessed, a charitable group that helps connect people with dogs. The idea is to provide the means to connect people with dogs and that includes paying for dog adoption, dog food, and paying the “Dogblessed” certified and trained human to take care of the dog. This is a project that is under development and will be featured on NFTV. You can keep up with the progress of NFTV here, here and here.

Dogblessed #50

Go to OpenSea to find the DogBlessed NFTs!

Helping those in need that love dogs! The first series of “Dogblessed” pays for dog adoption fees, dog food and pays the “Dogblessed” certified and trained human to take care of the dog. A Greg Cipes social impact project around meaningful intellectual property and an extraordinary community of Dog lovers.

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Sarah Firth interview – Eventually Everything Connects

EVENTUALLY EVERYTHING CONNECTS by Sarah Firth

Sarah Firth is one of my favorite creatives. She is a Melbourne based artist who studied visual arts at the Australian National University. In the last decade or so she has earned numerous awards, commissions, residencies and a fellowship. Firth is a creative entrepreneur running a creative services and consultation business offering graphic recording, illustration, animation, film and creative workshops. Her first graphic novel, Eventually Everything Connects, has a publisher, JOAN (Nakkiah Lui with Allen & Unwin), and will launch within a year. More details on that as we get closer to that date. In her new book, Firth explores, as she states, “personal narratives woven together with philosophy, psychology, theory, and criticism. It’s a humorous and idiosyncratic exploration of multiplicity, fragmentation and intertextual play that fits into the autotheory genre.” In this interview, Firth shares a little bit about that upcoming book, the world of graphic recording, and thoughts on the whole creative process, particularly the creation of comics. For one thing, we discuss the amazing Comic Art Workshop residency program. We also discuss the awesome Graphic Storytellers at Work research project. Firth says, “It’s really worth downloading and reading their report. If you want a printed poster contact Gabriel Clarke.”

Sarah Firth, the artist, the person.

So, now I’ve set up for you a little bit about who Sarah Firth is but let me go further in sharing with you about this remarkable talent. I find Firth to be a vibrant artist, unafraid to be silly and to experiment with various media. She mentions in our interview that she began as a sculptor and I’m not surprised. If you take a look at her videos, you get a strong tactile vibe. Firth uses her hands a lot: to mold shapes, to present, to sew, to draw, to perform. And I’m not surprised that such a lively and curious artist gravitated to graphic recording. That is a special discipline that, on the face of it, is essentially documenting some meeting, whether a conference or a workshop, and distilling the essentials from it in concise words and picture. Of course, it’s more than that–as if that wasn’t enough!
Graphic recording can be a vehicle for deep exploration. You can’t just be an artist to do it professionally. And you really can’t just be a writer either. You need both skill sets along with a strong analytical mind, and even sheer guts, to do this at an exceptional level! That said, anyone can do some form of sketchnoting and Firth offers up a free mini-course to help you discover the world of graphic recording.

Graphic recording is just like any other skill, you can do it at your own pace to meet your own needs. You’ll discover that, if you can take notes of any kind and even if you think you can’t, sketchnoting is useful at work and to help you problem-solve just about anything.

Sarah Firth books.

You get good at graphic recording over time as you develop your own style, your own way of problem-solving. I’ve reached a certain level with my own graphic recording and I know I’ll keep getting better at it. Everyone keeps getting better as long as they’re curious.

THINK ON THE PAGE by Sarah Firth

Finally, I’m not surprised that, after years of doing graphic recording, of getting down into the weeds of processing raw information, that Firth has found her way to creating a graphic novel, one that, in a sense, attempts to make sense of it all. Autotheory, as I understand, is using the self in order to understand the world. That’s a lot of what graphic novels are about and I know Sarah Firth is a natural at synthesizing data and explaining the world around her in whatever medium she chooses to use.

I hope you enjoy this video podcast. And, if you get chance, I’d really appreciate a like and even a comment on my YouTube channel. It’s totally free and it helps to keep this whole enterprise moving along. I will continue to provide more of this kind of content, as I juggle various other projects and assignments in the background. I reached a point some time ago where I can only post the content that engages me the most. As always, your support means a lot and is actually part of this whole process, whether you know it or not. It’s so true. Eventually, everything connects!

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Filed under Comics, Graphic Recording, Illustration, Interviews

Interview: Susan MacLeod and ‘Dying for Attention’

Susan MacLeod has developed a crisp and smart cartooning style that puts her shoulder to shoulder with today’s cartoonists. In this interview, we chat about MacLeod’s new graphic memoir, Dying for Attention, a focus on the nursing home care industry. MacLeod also talks about the creative process: growing as an artist, cartoonist and graphic recorder.

MacLeod got an in-depth look at the Canadian nursing home care system through the years that she oversaw the care of her mother and she could see it was wrong. Her conclusion, borne out by research, is that for-profit nursing home care is too invested in the bottom line to ever provide adequate care. It’s the value of human life versus capitalism. An ideal resolution is not likely anytime soon. But being aware of the realities is a first step.

MacLeod is someone with a drive to do good. She finds it highly rewarding when she does a graphic recording session with residents at a nursing home. She always leaves enough room for everyone to have a chance to come up on stage, grab a marker, and add their own contributions to the mural-in-progress. It’s during this process of putting words and pictures together that people try to solve problems and make connections. MacLeod knows this better than many folks. She’s modest but quite insightful too. She knows that what she does matters. And maybe she prefers to let her book speak for itself. In that case, she’s got the best calling card any cartoonist could hope for.

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Interview: Filipe Melo and Juan Cavia and BALLAD FOR SOPHIE

Ballad for Sophie

Ballad for Sophie is one of most accomplished works in comics of the year. You can read my review here. The following is an interview I had with the writer, Filipe Melo,  and the artist, Juan Cavia via email. Many thanks to both men. I hope to meet each of you in person in the future! You can pick up your copy at Top Shelf Productions. We begin with Filipe Melo.

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Interview: Artist Matt MacFarland and ‘More Seasons of Gary’

A Comics Chat with Matt MacFarland

Matt MacFarland is a talented artist who makes some very intriguing comics. In this conversation, we discuss Matt’s latest work, a book focusing on his father, More Seasons of Gary, published by Zines and Things. You can read my review of it here. And we also discuss his series, Dark Pants, and get a sneak peek at the next, and perhaps final, issue to that series.

MORE SEASONS OF GARY

There is quite a lot going on in Matt’s work with its explorations of relationships and social commentary. More Seasons of Gary is a great jumping off point if you’re new to Matt’s work. It is a little master course in how to tell family stories. With a light and balanced approach, MacFarland addresses the issue of alcohol addiction that his father struggled with. Bittersweet remembrances provide a complex and fair portrait.

SCENES FROM A MARRIAGE

Scenes from a Marriage is another of Matt’s projects and this one is just as offbeat and subversive as the best of MacFarland’s humor although it might look more like a conventional family comic strip at first glance. There’s definitely an elegant air of mischief. You can find some samples of it on Matt’s Instagram.

DARK PANTS

Dark Pants is where it all began. You can read one of my reviews covering the first two issues here. This is a series of cautionary tales about a supernatural pair of skinny black jeans that take over whoever ends up wearing the pair. Whoever wears the jeans is empowered to seek out their darkest desires. It is an excellent example of the artist-cartoonist aspiring to the highest levels of his craft. I look forward to more of this kind of this quirky and engaging work.

This is a really fun interview and I’m so glad I got a chance to catch up with Matt, a dedicated artist without a doubt. We even discuss the legacy of R. Crumb! Be sure to visit Matt here. And seek out More Seasons of Gary, published by Zines and Things.

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Glenn Head on Chartwell Manor and Being a Voice for Survivors of Sexual Abuse

Chartwell Manor by Glenn Head

EDITOR’S NOTE: The New York Post headline says it all, Sex Abuse Rituals at NJ Boarding School Exposed — in Cartoons by Survivor. The newspaper does an admirable job of describing the nuances of graphic novels and Glenn Head’s new book, Chartwell Manor. And The New York Post has no qualms about laying it out as it is: “Don’t let that whimsical cover art throw you: Head’s unflinching book recounts his two years at the now-defunct Mendham, NJ, boarding school run by headmaster “Sir” Terence Michael Lynch — a serial sexual abuser who manipulated young boys into “cuddling sessions” after fondling and beating their nude bodies.” The New York Post also provides an outstanding public service by underscoring the fact that survivors of Chartwell Manor still have time to file a suit against the Chartwell administration of aiding and abetting Lynch, and others, in the abuse of children. Time is running out for Chartwell Manor victims to join those who’ve already filed claims against surviving Chartwell administrators accused of letting Lynch — and other accused faculty — cultivate a culture of abuse. The deadline to file is November 30, 2021. Contact Jeff Anderson & Advocates law firm today.

I’ve been writing about comics and creating comics for many years now–and loving it. In the very near future, I hope to have some news about a book of my own. For now, I want to keep my nose to the grindstone and this is one very special reason to do so. This is an interview with master cartoonist Glenn Head. For those of you familiar with comix, especially those chock full of underground comix DNA as I just talked about in my last post, then this will be a welcome treat. Maybe you’ve gotten a chance to check out Head’s new book, Chartwell Manor, about the abuse that Head experienced at the boarding school, but just as important, the aftermath. Well, this interview helps to put things into further context from the standpoint of Glenn’s previous graphic novel, Chicago, as well as his career as a whole.

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Interview: Charles Johnson on Creativity, Prose and Chicago Comics

Dr. Charles Johnson, UW professor emeritus of English, is a distinguished novelist, as well as a professional cartoonist. It is a pleasure to get to chat with him and consider a thing or two about the somewhat  enigmatic comics medium and the creative process in general. In our conversation, we talk about the interconnections between comics, journalism, and creative writing. It is a subject I keep coming back to as it speaks to who I am, someone compelled to create with words and pictures. What is it that compels others to pursue both the comics medium and prose writing? It has to do with a desire to express one’s self. It is inextricably linked to journalism, an in depth reporting of one’s observations. And where does this all lead? It all depends upon the person, their temperament, and a number of other factors of luck and opportunity. In other words, it’s a fascinating topic for a good talk.

IT’S LIFE AS I SEE IT, cover designed by Kerry James Marshall

We spent a good amount of the interview discussing humor. We go over some samples from Johnson’s 1970 cartoon collection, Black Humor. This is a set of nearly 90 single panel gag cartoons. They are the kind you still find in a few magazines today, notably The New Yorker. But, back then, The New Yorker was not seeking to publish Black cartoonists. It was on one rainy night, after listening to a fiery talk given by Black activist poet Amiri Baraka, that Johnson set out on a mission to draw a whole book’s worth of gag panels, about and for the Black community. Johnson conjured up one joke after another. Over fifty years later, the gags retain a certain bite, perhaps more earthy than for today’s tastes. Some seem downright surreal. But Johnson dropped a key word into our conversation, a word that hinted at a far more expansive view. He spoke of the cartoon’s incongruity.

From the pages of Black Humor by Charles Johnson

This interview is in connection with Dr. Johnson’s work included in the show at the Museum of Contemporary Art Chicago and the book published by New York Review Comics. In partnership with the Museum of Contemporary Art Chicago, New York Review Comics presents IT’S LIFE AS I SEE IT: Black Cartoonists in Chicago, 1940-1980, edited by Dan Nadel. Read my review here. This book focuses on nine Black cartoonists from the show at MCA: Chicago Comics: 1960s to Now, Jun 19–Oct 3, 2021, which includes over 40 artists.

Excerpt from Black Humor

A special note: Washington University in St. Louis recently acquired the Charles Johnson Papers, an archival collection of materials related to Johnson’s work as an author and illustrator. “Spanning nearly six decades, the collection brings together manuscripts, drafts, correspondence, artwork and ephemera, and serves as a testament to Johnson’s wide-ranging career as a public intellectual.”

Middle Passage by Charles Johnson

Also, of note is Johnson’s recent role as guest-editor and contributor to a special edition of Chicago Quarterly Review, “An Anthology of Black American Literature.” Johnson wrote the introduction and contributed a story to the anthology — the journal’s volume #33 — called “Night Shift,” which he penned for the 2020 Bedtime Story fundraiser for Humanities Washington. The volume contains work by more than two dozen Black writers. An earlier special edition of the journal was dedicated to South Asian American writers, and an upcoming issue will focus on Native American literature.

Be sure to visit the Museum of Contemporary Art Chicago and view the Chicago Comics show!

MCA Chicago Comics: Lynda Barry

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