Tag Archives: Museums

Interview: Kim A. Munson and COMIC ART IN MUSEUMS

Women in Comics: Looking Forward and Back at the Society of Illustrators, March 11, 2020 to October 24, 2020. Photo by Steve Compton.

Comics on a gallery wall are no longer a novelty as in years past. In fact, comics are now seen by more people, from all walks of life, as a legitimate art form. In Comic Art in Museums, Kim A. Munson explores the role of comics in the greater world of art. I had the distinct honor of interviewing Munson last week. We begin our conversation with a classic work on the study of comics, an essay by the noted scholar, Albert Boime, that is included in Munson’s anthology. It is from Boime’s 1972 essay that we get such a clear and in depth definition of the comics medium. I place a number of images here from the new show, Women in Comics: Looking Forward and Back, at the Society of Illustrators (128 East 63rd Street in NYC), March 11 – October 24, 2020. See the Women in Comics page for contextual information and artist bios. Exhibition curated by Kim Munson and Trina Robbins with special thanks to Karen Green and John Lind.

HENRY CHAMBERLAIN: I think there’s one essay that might do the best job of explaining how comics fit in the greater world of art. And that’s the 1972 essay by noted UCLA professor Albert Boime. I love how he lines up so many facts and examples and really connects the dots from the early days of graphic journalism to the American Civil War reportage, the Ash Can School and so on. Could you speak to what’s going on in that essay?

KIM A. MUNSON: One of the things that really inspired me was this essay that I originally found in grad school. As an art historian, I’ve always recognized the value of theory but that’s never really been my thing. It’s like another tool in the toolbox. I’m very much a social art history person who wants to write about movements and art, and everything, in the context of its era–how everything interconnects. Albert Boime does a masterful job of that talking about how all of the artists moved in and out of commercial illustration and fine art. He didn’t box the artists in. He also speaks well to all of the artists in relation to all of the art movements. And he even ties in all in with the Vietnam War which was a hot topic when he wrote the essay. When Boime wrote this essay, it was during all the Pop Art survey shows, and shows presenting comics as art. Boime passed away some years back. His son specializes in Pop Art and teaches in San Diego. We were to speak on a panel but that’s had to be postponed until next year.

Bande Dessinee et Figuration Narrative show from 1967.

In my review of the book, I focused on the American contribution and connection to comics. Would you like to talk about comics on a global stage from the material in the book?

For myself, as an American and a Californian, my emphasis is on the U.S., that’s true. Seeing things from a U.S. lens. But I really did try to incorporate other viewpoints. And give people credit for breakthroughs they had in other countries. John Lent wrote this incredible article on the Cartoon Art Gallery in Dubai, the challenges they had and the community they built there. Jaqueline Berndt is a manga scholar who has been teaching all over Europe, who just completed a fellowship at the Tokyo Manga Museum. She wrote an incredible piece on manga exhibitions in Japan evolving from being very library-like to more of an appreciation of the actual artwork. And there are longer pieces, like an essay on the 1967 show, Bande Dessinee et Figuration Narrative. It kick started comics getting back into museums again. It was a real reply to Pop Art. There’s an essay on the first international comic art show and conference in Brazil in 1951 put together by this group of radical intellectuals.

That Paris show in 1967 was pivotal, of course. Some of these shows went on to be extended and toured for years. This same thing happened in the United States.

The Paris show from 1967 was at the Musée des Arts Décoratifs, which is part of a wing at the Louvre. That show’s original run was a month and then it extended and toured to six other cities in Europe. The National Cartoonist Society, in the U.S., had extended runs that toured that actually went on for a couple of decades. It’s pretty incredible.

From Women in Comics show: Ethel Hays

There are arguments to be made about comics as an art form, the purpose and mechanics of comics, and then there’s specific arguments about content, like the portrayal of race and gender. Could you speak to that from the essays in the book?

First, I have to say, this is such a rich topic. I have at least another book in me about this. Once the canon was re-established in the 1970s, people were able to open up and focus on specific topics, whether it was race or gender, whatever the topic. I was going over essays related to the Cartoon Art Museum in San Francisco. There’s this one essay, which is in the book, from 1992, by Dwayne McDuffie, on one of the first shows of African American art in the U.S. He was writing about his discovery of the comic book character, Black Panther; the representation of the world of Wakanda, where anything is possible; and how that affected him as a kid.

She Draws Comics: 100 Years of America’s Women Cartoonists, May 20-November 2006.

Regarding women in comics, I have Trina Robbins. I just co-curated a show with her in New York, which no one can see at the moment. When the Masters of Comics show came out in 2005, it was controversial for only having male artists. Trina immediately called their bluff and started doing counter-programming about it. She spoke at the Hammer and the Jewish Museum. And she curated a show of her own, an all-women show (She Draws Comics), at the Museum of Comic and Cartoon Art in New York at the same time as Masters of Comics. I include the text of her presentation in the book that demonstrates that women cartoonists did exist and were popular.

The Museum of Comic and Cartoon Art in New York had a nice run on its own.

I think it was in 2012 that they were absorbed by the Society of Illustrators.

Society of Illustrators 128 East 63rd St, NY

There’s plenty of stories of museums that run out of funds or something happens and they move on and maybe become something else.

The Museum of Comic and Cartoon Art was on Lower Broadway for a number of years. It was a third floor walk-up. It put on great shows but, without a lot of money coming in, it finally cratered. The Society of Illustrators absorbed their collection. They have a five-story building in New York City. They have a second floor gallery dedicated to comic art. And, a couple times of year, they usually have other big comic art shows aside from that.

From Women in Comics show: Trina Robbins

I’ve been to the Society of Illustrators and, I’ve got to say, that is a place anyone will enjoy, whether you’re big into comics or not. It’s a beautiful space and the top floor is just gorgeous, a great place for lunch.

The restaurant is wonderful. I’ll take the opportunity to mention to everyone that the current show at Society of Illustrators in the main gallery, which is two floors, is Women in Comics. The first floor is from the collection of Trina Robbins, about 90 pieces covering everything from Nell Brinkley in the Flapper era all the way to the underground comics in the 1970s. And then, on the lower floor, I have 20 contemporary women artists, including five Eisner winners. It’s a great show. Just this morning, I saw that New York is going to allow the Met, and some other museums, to re-open on August 24. I’m hoping that will include Society of Illustrators. The show is scheduled up to October 24.

From METAMAUS

Then there is the whole process of one artist establishing their position within the context of an art movement. Mainly, that ties in with comics establishing its own position. Could you speak on that from the material in the book? I know that’s a lot to talk about. What comes to mind when you think of  Art Spiegelman?

Art Spiegelman is a very interesting case. He’s a person who is interested in exhibitions and someone who was interested in cultural legitimization for comics really early on. I remember that he was in early shows, going back to 1969. He had a very real passion about being included in shows. I interviewed him about Masters of Comics when I was working on my thesis. And he was the one who told me about the 1951 comic art show at the Met. He’s been sort of on the forefront of trying to figure out how comics are best seen: how to show them and still have narrative. You’re showing them as artwork without dumbing them down or something. I have a piece in the book about his touring show that originated in France. And there’s another piece on Art Spiegelman’s own private comic art museum. It was about his collection and his mentors and inspirations, the artist as curator.

Carol Tyler: Pages and Progress, January-March 2016, University of Cincinnati.

So, we come back to the whole idea of comics displayed upon a gallery wall. Boy, if I were to write a book on this: discussing the purpose of comics on display, comparing comics in book format and on the wall. Comics certainly function in more than one format. Would you speak on that? 

Narrative is such an important topic. And exhibitions. It’s kind of a conflict in a way. People can only read so much standing there in the gallery. Obviously, comics is a narrative format. So, you want to give enough of the story so that people get the gist of what the artist is saying. Obviously, you’re taking pages out of context. The book presents essays that look at this from different ways. Andrei Molotiu, the art historian, asks whether it’s an act of violence or an act of contextualization when taking work out of its context. Molotiu talks about how your eye is led to different parts of the drawing if you’re seeing the work on the wall or reading it in a book. And there’s a sequence of articles that mention Crumb’s Genesis, which toured all over the place, presenting all 200 pages from the book–and how overwhelming that is. Even Spiegelman said that his Maus has been shown in its entirety and that’s not the way to go.

It’s interesting how curators decide how to show the work. Carol Tyler presented much of the work in one of her books on a clothesline because she’s a Midwestern girl and that spoke to her. Denis Kitchen gets around this by showing short story arcs of just a couple of pages or focusing on cover art. It’s an important thing for curators to deal with since narrative is such an important part of comic art.

We’re an excerpt culture, a sound-bite culture. I don’t believe people would have difficulty seeing something out of context or more concise. People simply read so much faster, process information so much faster.

You can do a lot with wall labels too. You can show a couple of pages of something and contextualize what the rest of the story is. It’s also important that some of the places that have the space will have some kind of reading area. One thing that Spiegelman and I discussed was showing every page of Maus for a show on this huge lightbox. I saw the show in Toronto and it had the lightbox display with a long bench with a print copy of Maus at both ends. So, you could go back and forth between the lightbox display and the actual book.

One reason that I included Charles Hatfield’s essay on Crumb’s Genesis was his talking about the exhaustion of trying to look at the whole thing.

The Bible Illustrated: R. Crumb’s Book of Genesis at the Hammer Museum, Los Angeles. October 24, 2009-February 7, 2010.

I did get to see that show when it was at SAM (Seattle Art Museum) and I recall enjoying it, getting to study one page at a time and then briskly walking by many pages only to come back later. Maybe, as a cartoonist myself, I was processing it a little differently from a casual viewer.

Actually, I wish I had caught that show. Robert Salkowitz provides a great essay in the book about the show. That show (Graphic Masters: Dürer, Rembrandt, Hogarth, Goya, Picasso, R. Crumb) not only displayed Crumb’s Genesis but it also included work from Goya and Albrecht Dürer, placing them as ancestors to Crumb’s work.

There’s a special edition that Art Spiegelman put together for Maus. It’s called, MetaMaus. So, there’s an example of a multi-media presentation to compliment the original work. It’s on a CD-ROM so it’s a bit dated now but still very useful. I guess it just depends on what might work to give things a little oomph. A lot times, you just want to read the book or see the originals on the wall and that’s it. Not everything needs that oomph.

There’s a place for that. Charles Hatfield’s essay talks about the Jack Kirby show (California State University) and how it included iPads. There’s one gallery that has one whole issue of Kamandi. So, on an iPad, you could see sketches right along with the finished pages in the gallery.

Comic Book Apocalypse: The Graphic World of Jack Kirby, August 24 – October 10, 2015, California State University.

The original idea for Masters of Comics was to create some sort of hub and spoke display where you would show a key creator and then have all the spokes of the creators who were influenced by that key person. That would make for a great interactive display where you could pick an artist and see the branches that grew out from that key person. I think that would make for an incredible multi-media show.

Lynda Barry comes to mind. She’s a born cartoonist and born instructor. She seems always be on. She makes me think of what can be done beyond the page. She loves to draw on glass, in the spirit of Picasso.

Oh, yeah. I’m happy to say she is one of the artists in Women in Comics right now at Society of Illustrators. When Masters of Comics first came out, I remember so many people asking why Lynda Barry wasn’t included. So, when Women in Comics came around, Lynda Barry was the first person I needed to get for the show!

From Women in Comics: Illustration from Sex is a Funny Word (Fiona Smyth)

It’s a case by case situation on comic art as to questions of narrative and exhibition. Some comic art work could originate as an installation. I can certainly see Lynda Barry doing this–work that is first, maybe only, seen as a mural.

Actually, Gary Panter does a lot of work like this. There’s a experimental form of work known as “gallery comics,” and I include an essay by Paul Gravett, a UK curator who has experiments a lot with this. The idea is that you have a series of alternative narratives as you walk through the gallery space. There’s a lot of multi-media involved with some of these. It’s very interesting to take the sequential nature of comics and play with it.

The youngest cartoonists coming on board I guess may still need to wait a bit to be fully represented at this point. Maybe for another book. I think of someone like Dash Shaw and I believe he could do very well with a gallery comics format.

I was just on a panel at San Diego Comics Fest with Bill Sienkiewicz and Liam Sharp. The two of them are good examples. Their work has so much detail. It looks great on the printed page and displayed on the gallery wall. Liam’s original work is drawn over-sized to begin with. And, of course, Bill’s work is just amazing.

For Women in Comics, I was careful to show a wide range of talent going all the way up to the younger artists like Tillie Walden and Summer Pierre. It’s interesting to see younger artists working in a lot of media. It’s interesting to see how they pull it together through their process.

Things have evened out between traditional and digital. It can be anyone’s guess as to how some work is created. And then you have some younger artists who prefer to keep to the most traditional hand-made methods.

From Snow, Glass, Apples

Yes, or it’s a mix. Like Colleen Doran, who is in Women in Comics. She won the Eisner for Snow, Glass, Apples, the Neil Gaiman adaptation of the Snow White story. (2020 Eisner for Best Adaptation from Another Medium, Dark Horse Comics) It’s this incredible style evoking Art Deco and Art Nouveau. Her process involves scanning her art, drawing on it, then continues to scan and draw again. The final version is pen and ink. Some artists are totally digital. It’s fascinating to see how artists use technology and make it fit with their style.

Is there anything that I haven’t brought into our conversation that you’d like to talk about. Any essay that we may have missed?

One thing to mention from your review of the book. You talk about Alexi Worth. The article that I close with is Alexi Worth on the Charles Hatfield show of Jack Kirby. Worth is writing about Kirby in the context of Pop Art and other art movements. I think he did a good job of contextualizing Kirby’s artwork within the art of the time and also took into account the limitations of comics. Kirby was cranking stuff out. And you had the limitations of printing comics back then. My own essay on the interest of comic art in the ’30s and ’40s allowed me to create a sort of chronology of how comics have been represented since 1930. I had no idea that Milton Caniff was such a pioneer of comics exhibitions! That was a big revelation for me. I spent two weeks at the Billy Ireland library and came away with hundreds of photos of letters and files. It’s just incredible the stuff that they have.

Comics at Columbia University!

The Billy Ireland Cartoon Library & Museum is on my list of places to go. I did, by being in the good graces of Karen Green, get to spend a significant amount of time with the comics and graphic novel collection at Columbia University.

Columbia is pretty amazing. Karen is a close friend of mine. I was very happy to collaborate with Karen Green on an essay on the artist Jonah Kinigstein and his sort of  “comics as art” criticism. That’s a very interesting area: artists that are criticizing art movements and artwork. In Jonah’s case, he was a traditional artist who was really pissed off with the Abstract Expressionist movement and their sort of dismissal of representational art. His cartoons are just absolutely caustic. They’re very satirical. So, Karen interviewed him. He’s 96. I’m glad we got his story in the book because he’s a fascinating character.

I hope to meet up with you at some point, within comics circles.

Yes. I’d love to go to the Museum of Pop Culture and we might meet up then.

Thank you, Kim.

Thank you.

COMIC ART IN MUSEUMS is a fascinating treasure trove of in depth information on the comics medium. You can find it here.

WOMEN IN COMICS is currently showing at Society of Illustrators. Keep checking for updates on when the exhibit will open to the public (possibly as soon as August 24th).

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Filed under Comics, Interviews, Museums

Portland Focus: Portland Art Museum

South Park Block: Theodore Roosevelt guards the Portland Art Museum

South Park Block: Theodore Roosevelt guards the Portland Art Museum

One of my favorite strolls is walking down the South Park Blocks in downtown Portland and then making it over to the Portland Art Museum. I was recently in Portland and enjoyed such an outing. This was just prior to the new Andy Warhol show. So, I need to make another trip from Seattle in the near future. That said, I had a wonderful time spending most of my time taking in the permanent collections. Just for fun, here are some observations.

PAM 2016: Cymatic Modular Triangle

I was in a contemplative mood. I found myself focusing on the various juxtapositions of art I came across. There were so many pleasing combinations on view that I could not help documenting some of the most striking ones. So much to see and process. This is just a quick sampling. I also include one of the temporary exhibits that intrigued me, “Sound Beyond the Auditory,” on view until the first of the new year. I’ll say a few words and you can go to the video that showcases a really cool pulsating triangle. This exhibit is made up of experiments in cymatics, the process of making sound visible and tactile. People enjoyed each work on view and were compelled to linger over the Cymatic Modular Triangle. They would stomp, tap, click, whatever sound they could think of, to influence the colorful patterns it responded with. This exhibition was developed in partnership with CymaSpace. For more information on their programs or how to volunteer visit cymaspace.org.

Bourdelle and Monet

Bourdelle and Monet

Getting back to my study in coupling of art works. In no specific order: we begin with Bourdelle and Monet. The massive yet pensive bust, “Head of a Figure Called Eloquence,” 1917, by Emilie-Antoine Bourdelle, takes in the scene and is a perfect counterbalance to a water lily painting by Monet.

Caro and Oldenberg

Caro and Oldenberg

Anthony Caro’s quirky “Table Piece XXX,” 1967, fits right in with what looks like a study for a large scale Oldenberg, “Profile Airflow,” 1969.

Rauchenberg and Stella

Rauchenberg and Stella

Rauchenberg shares space with Stella.

Rodin and Monet

Rodin and Monet

Rodin’s exuberance gives way to Monet’s calm.

Smith and Berman

Smith and Berman

David Smith’s spiky sculpture, “Portrait of Don Quixote,” 1952, wages a battle with Eugene Berman’s expansive “Time and the Monuments,” 1941.

Smith and Berman

Smith and Berman

Olin Levi Warner’s sculpture rides the ebb and flow of time with the paintings of Edward Lincoln Espey.

"Charrette de boeuf (The Ox Cart)," July, 1884

“Charrette de boeuf (The Ox Cart),” July, 1884

"The Thatched-Roof Cottages of Jorgus, Auvers-sur-Oise," June 1890

“The Thatched-Roof Cottages of Jorgus, Auvers-sur-Oise,” June 1890

By far, the most moving combination is of a painting early in Vincent van Gogh’s life coupled with a painting from the month of his suicide. The space between the paintings seems to stand for such a troubled life as Van Gogh’s. One painting seems perhaps serene and studios. The other painting we might read into it resignation. We can sense a mastery, a certainty within uncertainty.

Portland Art Museum

Portland Art Museum

Portland Art Museum is located at 1219 SW Park Avenue. “Andy Warhol: Prints from the Collections of Jordan D. Schnitzer and His Family Foundation” runs from October 8, 2016 to January 1, 2017. For more details, visit the PAM website right here.

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Tacoma Focus: Washington State History Museum

On the Wagon Train! Illustration by Henry Chamberlain.

On the Wagon Train! Illustration by Henry Chamberlain.

Wandering through Tacoma can be like time travelling with so many finely restored historic landmarks. Add to that all the classic cars driving down the avenues. And add to all that the Washington State History Museum. It is a massive fortress filled to the brim with all sorts of pathways and portals into the past.

Yes, I gravitated to the pop culture!

Yes, I gravitated to the pop culture!

I know that I love novel uses of words and pictures. It’s not just because I create comics and graphic novels. As both a writer and artist, and as a lifelong learner, I have always cherished the unique place that museums of all kinds have in our lives.

Washington State History Museum

Washington State History Museum

I am especially grateful for the Washington State History Museum as an essential resource for state history. It serves as the state’s attic, a very special venue for all manner of items, large and small, a place for careful study.

Watercolor painting of Chief Leschi

Watercolor painting of Chief Leschi

Museums are for all ages. It could not be any other way. Mentors and cubs alike make great use of museums. But it is no secret that museums hold a special place for the kids. The great push forward from one generation to the next must always include quiet contemplation amongst the artifacts of bygone eras.

A small drama plays out at the train set.

A small drama plays out at the train set.

And when you come right down to it, I love good visuals, which this museum has plenty. And, among them all, I love that massive train set! Like any elaborate train set worth its weight, this one has some unexpected dramatic scenes peppered about, even an accident site complete with ambulance and accident victim. We can only hope it was a minor accident!

Train Set at the Washington State History Museum

Train Set at the Washington State History Museum

The train set exhibit brings to mind a fellow who has dedicated a big portion of his life to creating what is probably the world’s longest and most complex train set display encompassing football fields of space. That’s Northlandz in New Jersey. But this is not a competition. He has his train set and this wonderful museum has its train set, which is pretty massive!

Brass Lantern Clock, circa 1630

Brass Lantern Clock, circa 1630

Vintage Women's Suffrage Placard

Vintage Women’s Suffrage Placard

Washington State History Museum is located at 1911 Pacific Avenue in the heart of Tacoma’s Museum District, adjacent to Union Station. For more details, visit the website right here.

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Tacoma Focus: LeMay – America’s Car Museum

"Route 66: Dream of The Mother Road," currently on view at America's Car Museum

“Route 66: Dream of The Mother Road,” currently on view at America’s Car Museum

America’s Car Museum has the proud distinction of being the largest car collection in North America with 165,000 square feet of exhibit space for a 350 car gallery. For anyone who loves the open road and has a sense of adventure, you will definitely want to see “Route 66: Dream of The Mother Road,” currently on view. Take your time to wander and enjoy all the exhibits. This is the place to celebrate automobiles of all kinds dating back to the earliest vehicles all the way up to the present and beyond.

Next to a Plymouth Barracuda

Next to a Plymouth Barracuda

To get a sense of the spirit behind this dazzling collection, you’ll want to see “Lucky’s Garage,” a tribute to the LeMay family that has made this collection possible. Here you can imagine Harold LeMay leisurely toiling away as he works on his latest car project. “Lucky” was Harold’s nickname. As he saw it, a lot of hard work finally led to being “lucky.” That said, Mr.LeMay was hard working indeed amassing a collection of over 3,000 vehicles and thousands of artifacts, earning him a place in the 1997 Guinness Book of World Records.

"Lucky's Garage," a tribute to Harold E. LeMay

“Lucky’s Garage,” a tribute to Harold E. LeMay

America’s Car Museum is certainly a testament to Harold E. LeMay’s dedication to his community and his passion for cars. Walk through the four stories of display space and you can’t help but get caught up in the heady mix of vivid history and a sense of excitement. Just letting my imagination run wild and thinking about all the heart and humanity behind all these classic cars made my head spin.

Wow, a 1931 Auburn Boattail Speedster!

Wow, a 1931 Auburn Boattail Speedster!

What a beauty, a 1960 Chevrolet Corvette!

What a beauty, a 1960 Chevrolet Corvette!

You get lost in them, decade by decade. Do you want to know how to instantly gain some insight into American history? Just go back to our love affair with cars.

You don’t have to know anything about cars to understand how so many have fallen under the automotive spell. You will find favorites among so many wonderful dream cars. Hey, here’s one you can’t help but love, an undisputed classic, the DeLorean DMC-12, which gained immortality when one of them appeared in “Back to the Future.”

LeMay – America’s Car Museum is located at 2702 East D. St. in Tacoma. It is adjacent to the Tacoma Dome. You can find easy access to it via the link rail. Be sure to visit the website right here.

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Filed under Cars, Classic Cars, History, Museums, Route 66, Tacoma, Travel, Washington state

Interview: Don Wildman and ‘Mysteries at the Museum’ (8th Season Begins on Travel Channel, April 3, 9/8 central)

Mysteries-at-the-Museum-2015

Don Wildman, host of Travel Channel's "Mysteries at the Museum

Don Wildman, host of Travel Channel’s “Mysteries at the Museum”

Don Wildman leads an active life. Among his many adventures in documentary television, he’s explored hundreds of mysterious tunnels, catacombs, crypts and bunker systems for HISTORY’s hit adventure series, “Cities of the Underworld.” As the host of Travel Channel’s “Mysteries at the Museum,” he brings that same spirited determination. Don was gracious enough to chat for an interview where we talk about the show’s own history and what you can expect as it enters its 8th season with its premiere episode this Friday, April 3, 9/8 central. You can find details at Travel Channel right here.

The Mystery of the King in the Parking Lot

The Mystery of the King in the Parking Lot

Each episode of “Mysteries at the Museum” presents six stories coming to you from a wide variety of places. Each is a mystery of one kind or another. And each has an unexpected twist. It is the sort of program that you can relax and enjoy and come away with intriguing facts. It may very well inspire you to read further, explore further, or create your own adventure. If you’re a fan of Ripley’s Believe It Or Not, this will appeal to you. One interesting aspect to the show is how you can connect the dots with the past and the current scene. Do you think the Tea Party movement is something entirely new? Well, for example, you’ll want to see what the State of Jefferson movement was all about.

The Mysterious State of Jefferson

The Mysterious State of Jefferson

In this interview, Don gives us an exclusive as he describes the early days of the show with a very funny story involving the best use of props. And we talk about history and museums in general and, of course, about the show’s unique take on creating exciting content. As I’m in Seattle, we talk a bit on the vibrant Seattle museum scene which includes the new Museum of History & Industry and Living Computer Museum. Don clearly has a love for history and adventure. It’s a fun interview and I know it will add to your enjoyment of the show. Just click the link below to listen to the podcast interview:

You can watch “Mysteries at the Museum” on Fridays on Travel Channel, starting this Friday, April 3, 9/8 central. For more details, and clips to the show, be sure to visit Travel Channel right here.

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Filed under Documentaries, Don Wildman, Mysteries at the Museum, Television, Travel, Travel Channel

KING OF THE COMICS: WILLIAM RANDOLPH HEARST AND 100 YEARS OF KING FEATURES

King-of-Comics-Ohio-State-University

A lot of us out there have one indelible image come to mind when we hear the name, “William Randolph Hearst.” We see a close-up of Orson Welles‘s lips as he sighs, “Rosebud,” and lets drop out of his hand a little snow globe. But surely there was more to the man and the best part of his legacy has got to be his contribution to the birth of newspaper comic strips. Why, to this day, King Features is both admired and respected, the company he founded to develop and distribute comics, columns, editorial cartoons, puzzles, and games around the world. Ohio State University’s Billy Ireland Cartoon Library & Museum will celebrate the centennial of King Features Syndicate with “King of the Comics: William Randolph Hearst and 100 Years of King Features.” The exhibition runs December 13, 2014 – March 15, 2015. For more details, visit right here.

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SEA/PDX: Field Notes From SAM’s ‘Pop Departures’

Seattle-Art-Museum-Pop-Departures

Seattle Art Museum is a veritable Popland for its show, POP DEPARTURES, OCT 9 2014 – JAN 11 2015. For more details, visit our friends at SAM right here.

What follows are field notes from the current show. Consider it a review, a guide, a friendly tour. When it comes to reviewing a show like SAM’s exploration of Pop Art, it’s a brave new world. Today, a handful of local art critics no longer command public opinion as much as make a noble contribution. No sooner have they done that, in a poetic, or quirky, or straightforward fashion, than a babble of reactions shoot out from below in the comment section. And that’s exactly what Andy Warhol would have wholeheartedly approved of!

As much as can be said for Pop Art shedding a light on a dead end, Pop Art is full of life. It’s our world, made up of mass media galore and celebrity worship. Let’s do something about it. Since it’s not going away, engage it. Make art. The babble in the comment section can rage on and on and on. Some of us learned how to love the bomb, so to speak. That is the overriding sensibility to be found here. There’s social commentary, critique, and satire, of course. But, ultimately, when Warhol suggested that everyone would get their fifteen minutes of fame, it wasn’t a barb but a realization.

SAM provides a refreshing look at Pop Art byway of where it came from and how it continues to reverberate to this very day. You may even see such familiar figures as Warhol and Lichtenstein in a new light. What this exhibit does so well is demonstrate how, as time progressed, and consumer culture became more complex, so did contemporary art. Layer upon layer, extended the bright and bold message of consumerism. As the landscape of pop culture evolved, and devolved, art responded and collaborated.

Art and its subject end up doing a dance together. And the most subversive work will find its way into the mainstream. Consider the cacophonous video on display by Ryan Trecartin. You may find that you got the joke and want to walk out as soon as you walked in. But stay a while. Wait a minute, something about these vacuous characters spouting gibberish and thinking themselves profound is very familiar. Compare this to the mainstream co-opting (or is it stealing?) by Saturday Night Live with their popular ongoing skit, “The Girl You Wish You Hadn’t Started a Conversation With at a Party.”

As we view the Warhols and Lichtensteins, we don’t need to see them as only a part of art history. They continue to breathe life. They continue to provide a road map (sorry, no GPS) for making sense of the landscape.

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“Pop Departures” is on view from October 9, 2014 thru January 11, 2015. Visit our friends at SAM right here.

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Filed under Andy Warhol, Max at Hotel Max Comics, Pop Art, Raymond Pettibon, Roy Lichtenstein, SAM, SEA/PDX, Seattle, Seattle Art Museum

SEA/PDX: Welcome to Popland

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Filed under 24 Hour Comics, Comics, Henry Chamberlain, Hotel Max, Max at Hotel Max Comics, SAM, SEA/PDX, Seattle, Seattle Art Museum, Webcomics

Review: ‘An Enchantment’ (Louvre Collection)

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Christian Durieux states that he sought to create comic book poetry with his graphic novel, “An Enchantment.” He definitely succeeds in doing just that. The collaboration between the Louvre and NBM ComicsLit to co-edit books inspired by the Louvre results in such wonderful works of comics. This one is pure magic. It’s like watching a dance sequence with Fred Astaire and Ginger Rogers. The comic flows so well that it glides. It could easily have been wordless but the dialogue is so charming.

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Filed under Bande Dessinée, Comics, ComicsLit, France, French Comics, Graphic Novel Reviews, graphic novels, NBM

Review: ‘On the Odd Hours’ (Louvre Collection)

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“On the Odd Hours” is part of the NBM ComicsLit collection of Louvre-inspired comics. Eric Liberge not only gives us a behind-the-scenes look at the grand museum from the perspective of museum guards. He’s created quite a fanciful story. What if the Louvre was haunted by all its great works and it’s up to one particular guard, in the odd hours of the night, to pacify the spirits?

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Filed under Bande Dessinée, Comics, ComicsLit, Graphic Novel Reviews, graphic novels, NBM, Paris, The Louvre