COVID COP. Art & script by Dean Haspiel. Dean Haspiel Deep Cuts. 28 pp. $15.
Dean Haspiel is in fine form with this short work in comics that transforms the Covid pandemic into a surreal parody of a sci-fi/horror story. In this scenario, the virus has completely taken over to the point that the government has clamped down hard on anyone disobeying protocol. It’s a take-no-prisoners battle plan and one police officer, Lincoln Bio, is doing his best to follow orders. If you’re a fan of Dean Haspiel, then you can expect that kooky sense of humor, bathed in pathos, made famous in the Billy Dogma comics series.
Our anti-hero Lincoln Bio is aware that he’s living in very strange times making very strange demands on him. How he comes to terms with his marching orders and how he confronts an insurgent group out to kill everyone makes up a good part of this dark comedy. Drawn in the mock heroic style that Haspiel is known for, this comic book will deliver a weird and entertaining jolt right to the jugular and then some. You probably won’t have nightmares from reading this but I can’t guarantee it. And, if there’s a sequel, all bets are off. This comic, by the way, is the first in the developing line of indie comics, Dean Haspiel Deep Cuts.
This comic will defy your expectations, especially if you don’t really know what to expect, and offers up the most recent example of a cartoonist at the top of his game. The winner of a recent Kickstarter campaign, this comic book is making its way to its backers and will make its way to you. Keep up with Dean Haspiel for more details.
Camilla d’Errico has something for you: graphic novels, how-to creative books, coloring books, paintings, prints, and so much more. Welcome to the world of Camilla d’Errico! If you’re into manga, Pop Surrealism, or even classic Italian painting, this artist is for you! You can call her a commercial artist or a fine artist. She’s definitely both. In this interview, we explore as much as possible in a brief video format. I offer up a new buzzword in Pop Surrealism, the idea that we’re living in the era of the Anthropocene, a time when us humans are dominating over the climate and the environment. Hope you like this short and sweet interview. Just click above.
Camilla d’Errico at ECCC 2019
If you’re heading out to Emerald City Comic Con, March 14-17, be sure to visit Camilla d’Errico on the main Exhibitor Floor at Booth 108!
In the Studio.
As I say, there is so much to love from the world of Camilla d’Errico, which includes melting rainbows, fuzzbutts, and albino rhinos! Be sure to keep with her in 2019. She has a new book out and new gallery art show!
POP MANGA DRAWING
POP MANGA DRAWING is a new how-to book detailing how to draw in the d’Errico style with pencils, available July 2nd from Watson-Guptill.
ZODIAC
ZODIAC is a new art show at Haven Gallery in New York that will run from May 11 thru June 16, 2019.
Femina & Fauna, by Camilla d’Errico, published by Dark Horse Comics
Camilla d’Errico has been making waves in the fine art and comic industries with her manga-influenced style. Ever the prolific artist, d’Errico is an urban contemporary painter, illustrator, designer, character creator, and comic artist residing in Vancouver, Canada. Nominated for both Eisner and Joe Shuster Awards, she has worked with Random House, Dark Horse Comics, Image Comics, and Tokyopop. Her creator-owned properties include the graphic novel BURN and SKY PIRATES OF NEO TERRA. TANPOPO, d’Errico’s passion project, has been embraced by fans and independent comics collectors for its highly original combination of classic poetry and literature blended with her unique “West Meets East” drawing style. She has collaborated with Neil Gaiman, Sanrio, Disney and Mattel. d’Errico has distinguished herself through her ability to seamlessly weave manga and western comic art, creating a unique style that bridges cultural and geographical boundaries, while remaining totally relevant to today’s varied audience.
“Pop Painting,” published by Watson-Guptill, is an essential guide for artists and anyone interested in contemporary art. The art world can seem like a murky and mysterious place depending upon where you look. However, some things about art are pretty straightforward: successful art requires a focus on theme coupled with a dedication to craft. I know this as an artist and art lover. As a working artist, I juggle a number of tasks. And, at those times when I could use some inspiration, I’m always pleased to find great art books from Watson-Guptill that demystify and enlighten.
Camilla d’Errico is a professional artist who follows a certain routine and way of seeing the world. She presents a highly engaging collection of work that falls within the category of Pop Surrealism. This is an art movement that, in a nutshell, takes various elements in pop culture and places them in a dream-like environment. The results can be quite stunning. In her new 248-page full color book, “Pop Painting,” d’Errico shares with the reader her views and her methods. She takes an honest step-by-step approach providing real examples with real solutions.
In the world of art and art-making, there are many things that remain constant and always will be: art training still involves life drawing, perspective, and actual hands-on work. As we bring in other disciplines, we still respect, and need, traditional methods. In the last twenty years, right alongside digital art, we have seen an explosion in interest in art-making stemming from the basic sources of drawing and painting. This had led to the comics medium being acknowledged as an art form in its own right. And this is something that Watson-Guptill has whole-heartedly embraced with books specifically on all aspects of comics from drawing to writing. So, it is no surprise to see this latest book, “Pop Painting,” with its unique focus on Pop Surrealism. It will be of interest to anyone, from the generalist to the specific fan. For more details, visit our friends at Watson-Guptill right here.
“In the Land of Retinal Delights,” oil on canvas, 1968, by Robert Williams
ROBERT WILLIAMS MR. BITCHIN’ is now available on DVD and VOD. It is a unique documentary, distributed by Cinema Libre Studio, on Robert Williams, a significant artist that has done a lot to usher in the zeitgeist as the leader of the Lowbrow art, or Pop Surrealism, movement.
We take for granted today the mash-up of high and low culture. It is considered common knowledge that we do this mashing up. Everything is oh so “mashable.” Media empires rely upon it. How cute and comforting it all may sound now but there was a time when the lines between the art world establishment and the outsider were far more clearly drawn. Never mind the myth of such bad boy artists as Jackson Pollock or even Andy Warhol. It was the art world, taking its orders from a closely knit New York elite made up of a handful of blue chip galleries and high end art magazines that decided which bad boys, with the occasional bad girl thrown in, would go on to be crowned art royalty. It was something that artist Robert Williams could hardly not notice since, during his early career, his art was on the wrong side of the established line. As the years progressed, Mr. Williams would find the whole line not only switching in his favor but becoming blurred. This, in no small part, was due to him.
A new documentary, “Robert Williams Mr. Bitchin,” provides us insight into this process of becoming acknowledged as a professional fine artist as well as what it takes to make groundbreaking art, to really make art history. This is the highest achievement an artist can seek and that is what we see Mr. Williams set out to do and ultimately achieve. It is truly an inspiring story that clearly shows you how the mysterious art world climate can change despite itself. It is an argument that lead director Mary C. Reese and co-director/writer Nancye Ferguson are more than happy to make a case for with Mr. Williams as their prime example. And Mr. Williams, an amiable person, is quite adept at helping connect the dots to his own career.
The whole style of this documentary seems to suit its subject’s nonconformity well. It’s not a high end production, per se, and is ready to practice what it preaches as it presents a more casual shaggy dog presentation as opposed to your typical “art” documentary that can be restrained and clinical. There are no polished dramatic pauses, for instance. Design is pretty basic. But, at the same time, that is not really a problem at all. There is more of an honest blue collar approach that undercuts any need for too much in the way of heightened experience. The interviews, archival footage, and art speak for themselves quite nicely. And, where the budget allowed, you see some nice additional touches as in the multi-layered observation of the actual artwork.
You can tell that the filmmakers were going for a more familiar feel in many of the exchanges between Mr. Williams and the camera. At one point, he jokes that, as far as he understands from Werner Herzog, cinéma vérité is passé, implying he’s not so sure he wants to be followed too closely. The response behind the camera is a good-natured shrug and, “It’s Okay.” Mr. Williams shrugs back with a wink, “Okay.” In another scene, he sort of mocks concern over his interviewer’s lack of knowledge in anthropology. He is also quick to say he is more than happy to defer to his wife, Suzanne, and her expertise. This all adds up to showing Mr. Williams in a relaxed and trusting mood. We even see the couple riding unicycles.
Back to art history, the documentary does well with its facts and there are inspired moments as when we are swept away to the greener pastures of post-war Los Angeles. Everything cool, from Betty Page to hot rods, is happening out there. It was some pretty heady stuff decades ahead of its time, particularly for the East Coast establishment. This was the culture that Mr. Williams knew and loved. This is what Mr. Williams drew and painted. Along the way, he created iconic work, including naked women lounging on top of giant tacos, and inspired a new generation of artists.
We follow his career from his work with Big Daddy Roth through to his falling onto the general public’s radar with his painting, “Appetite for Destruction,” becoming the album art for the legendary rock band Guns N’ Roses. And onward to Mr. Williams’s answer to Art News and the like, his creation of the influential art magazine, Juxtapoz, and his own work being recognized by today’s art world establishment. “Robert Williams Mr. Bitchin'” proves to be the right mix of respectful tribute and irreverent fun.
Tuesday, July 30 – Screening at 7:30pm at The American Cinematheque (Egyptian Theatre, 6712 Hollywood Boulevard, Hollywood, CA 90028). Q&A to follow with Robert Williams, Suzanne Williams and filmmakers Nancye Ferguson, Stephen Nemeth, Mary C. Reese, Doug Blake, Michael LaFetra and special guests! Details: http://www.americancinemathequecalendar.com/content/robert-williams-mr-bitchin%E2%80%99-0
DVD and VOD street date – July 30th available at major retail outlets and digital platforms (Hulu, Amazon Instant and more!)
ABOUT CINEMA LIBRE: Cinema Libre Studio is a leader in distributing social-issue documentaries and features by passionate filmmakers. Headquartered in Los Angeles, the Cinema Libre team has released over one hundred films including the Sundance Audience Award‐Winning FUEL, THE END OF POVERTY?, Rachid Bouchareb’s LONDON RIVER and Oliver Stone’s SOUTH OF THE BORDER. The studio is developing John Perkins’ best‐selling memoirs, CONFESSIONS OF AN ECONOMIC HIT MAN, into a major motion picture. For more information and updates, please visit: http://www.cinemalibrestudio.com and follow on Facebook and Twitter.
In “Gary Baseman: The Door Is Always Open,” the artist welcomes visitors into his creative universe. If you’re in the Los Angeles area, you will definitely want to take in this retrospective of one of the major contemporary artists of pop surrealism at the Skirball Cultural Center, running from April 25 thru August 18, 2013. Visit the museum website here.
