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Today Tom Spurgeon offers an excellent explanation of the appeal of Wally Wood. I remain fascinated by the late work of Wood. His and Ogden Whitney’s work have occupied my brain for the better part of a year now. Both create such odd, tactile visual spaces and both, in some ways, are under-appreciated. The recent biography of Wood, Wally’s World, by Steve Starger and J. David Spurlock does little to remedy that. It’s a slapdash affair that at times borders on incoherence. There’s a great book to be written on Wood–it just doesn’t exist yet. In the meantime, check out Tom’s succinct take on a unique artist.

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Well, my fave comics of ’06 list caused a little tizzy in web-land. And Dirk got kind of annoyed. All because of my flippant remark about Fun Home. My remark was just that: flippant; and not really meant as a substantive criticism (obviously), but rather as an example of a disagreement with the PW list. That said, I don’t really have much to add: I found the narrative devices in Fun Home to be rather forced and the cartooning too often stiff and inexpressive. Most of all, it just seemed overstuffed and not really in control of the medium. Mostly, it just doesn’t interest me enough as a book to write any further about it. It’s not a terrible book, just kinda mediocre.

I don’t agree with Dirk that my not liking it represents some kind of comics-elitist (something I’m certainly not–though I’d like to see a list of qualifications) reaction against mass popularity. I totally understand why it has wider appeal than Kim Deitch’s work (which is vastly more successful as art)–ummmm, that’s the way world works. I’m not surprised at all, nor do I expend any energy being annoyed at it. Culture is what it is and the most we can do is to work for and promote and write about the things we believe in and hope for the best.

And further, contra-Dirk I don’t make my aesthetic judgments based on the relative popularity of a work or what “scene” it emerges from. Who cares about that stuff? I might have at age 14 but certainly not now. I judge things based on their relative successes as art, and that’s it. So that’s pretty much my response. I didn’t like the book that much, but anything else–scenes, cred, popularity and all that other foolishness is besides the point.

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Yes, I forgot a book that was very important to me on a personal level, coming at a time when I needed a distraction or three. As a result of being tied into a bit of a black hole of a time, I left it off the list. Renee French’s The Ticking is a deeply profound and loving book about self-acceptance and artistry. Her artwork hit a new peak, the soft pencil forms evoking such powerful emotions in every panel. I can’t recommend it highly enough…put at whatever number you like.

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I was kinda bummed to see the PW Best of 2006 critics poll. I contributed to it, thinking that we’d each have our own lists in there as well. Maybe I didn’t read the instructions close enough. No big deal, but I feel totally disconnected from it as it stands, so I thought I’d post the list I made in a slightly revised form, at the very least to promote the books I really believe in. As for their list, I just don’t get it. The Bechdel book I found pretentious, overwrought, and really poorly drawn, and Scott Pilgrim is cute teen stuff, that I guess cute teenagers like, but…huh? McCloud? Lost Girls? Ugh, don’t get me started.

And while I’m bumming your trip, I heartily suggest everyone read Gary Groth’s essay on the book Eisner/Miller in the current Comics Journal. It’s an excellent piece of criticism that goes to the heart of the problems with contemporary comics criticism and historical writing (and dimly relates to how, in any sort of sane world, Fun Home and Scott Pilgrim could rank above Kim Deitch and Carol Tyler). It also pokes further holes in the Eisner legend, which is an ongoing “hobby” of Gary’s, and one which I fully support.

My faintly revised list:

1. Shadowland by Kim Deitch (Fantagraphics)
Another masterpiece from Deitch, who, more than any other cartoonist working today, is in full control of the medium. This tragi-comic yarn is moving, terrifying and deeply deeply awe-inspiring. The man is a national treasure.

2. Late Bloomer by Carol Tyler (Fantagraphics)
Released at the very end of 2005, too late for best-of lists, Late Bloomer towers over 2006. Tyler’s timeworn but eloquent voice is much needed in comics. Late Bloomer is that rare thing: a wise book. Neither pretentious nor showy, it is full of insight, perfectly drawn, and one of the few to insist on truth above all else. A risky, bold work of art and indisputably the best book of 2006.

3. Or Else 4 by Kevin Huizenga (Drawn and Quarterly)
Kevin’s epic attempt to explain the universe on a micro level was a moving and humbling comic—expansive in scope and filled with the good-natured love and nimble curiosity that marks his work.

4. Girl Stories by Lauren Weinstein (Henry Holt)
Weinstein’s book is perhaps the most important of the year for widely introducing a unique voice. Like Tyler, Weinstein comes at comics from the outside and has none of the baggage and stylistic tics that plague so many others. Hers is a clear, funny and humane voice and together with her gorgeous, evocative linework, it makes her a compelling talent.

5. The Squirrel Mother by Megan Kelso (Fantagraphics)
A wonderful collection of short stories by Megan Kelso. Pitch-perfect cartooning and closely observed tales of family, history and America make this a gem-like volume. Kelso is certainly one of our finest cartoonists.

6. Lucky by Gabrielle Bell (Drawn and Quarterly)
Bell has a wicked ear for dialogue and draws some of the most nuanced body language in comics. Her first book of mature work displays her talents to great effect. Despite the familiarity of the subject matter—20-something ennui—Bell makes it all new again with her eye for detail.

7. A Last Cry for Help by Dave Kiersh (Bodega)
This is a hilarious comic book version of a 1970s teen sex romp. Genuinely erotic in parts and always funny, Kiersh’s book is a delight.

8. Ghost of Hoppers by Jaime Hernandez (Fantagraphics)
Jaime remains the king of understated emotions and concise cartoon language. This wonderful book about hitting middle age and letting go of old memories is one of his finest works.

9. Ed the Happy Clown by Chester Brown (Drawn and Quarterly), even in reprint form, demands respect. His liner notes and stellar covers make this re-serializing qualify as a “new book”. It provides an unparalleled insight into one of our most important artist’s feelings about his crucial work both then and now. More than just history, it feels like Brown asserting and reconstructing his identity as a cartoonist.

Reprints:

It’s been a great year for them. My favorites are Jeet Heer and Chris Ware’s superlative Gasoline Alley series and Dark Horse Comics’ Magnus Robot Fighter. About as far apart on the spectrum as you can go, but why not? Frank King and Russ Manning both understood body language and space extremely well, but put it in service to, um, very different content. Drawn and Quarterly’s Moomin book and Tatsumi series are also favorites, as well as Fantagraphics’ Popeye book.

Notes:

Despite all the interest and activity from major publishers, this year once again demonstrates the virtues of small, brilliant publishers like Drawn & Quarterly and Fantagraphics. Nurturing unique artists, growing with them, and releasing quality work remains the best (and oddly unique to these two companies!) business model. All the hype and money in the world can’t beat it.

And, I’d be remiss as a publisher and a critic if I didn’t mention Ninja by Brian Chippendale (PictureBox). I know it’s rather rude to put my own book on the list, but it’s how I really feel. In terms of formal daring and drawing, no other book this year has gone further with such success. Chippendale, like Gary Panter before him, uses drawing as a form of expression, turning comic visuals into a multi-layered medium for real mark making. His long form meditation on urban life, gentrification, war, friendship and violence is moving and profound.

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Saturday, 11/18, 1 pm, Julie Doucet, Brian Chippendale and Paper Rad will be signing their new books, Elle-Humour, Ninja and Cartoon Workshop/Pig Tales at the New York Art Book Fair, at the Chelsea Art Museum, 22nd st. and 10th ave.

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I’ve just returned from Tokyo, where I had a whirlwind adventure in Manga and art. I’ll have some very special related announcements soon. In the meantime, as Tim has noted, Comics Comics 2 is out and about. Look for it in a store near you, and in the Diamond catalog for February shipping along with issue 1. Also, I’m proud to announce the release of Cold Heat 2, which will be available through Diamond in January, and monthly thereafter.

Anyhow, Cold Heat remains a 12-issue series by Ben Jones and Frank Santoro about Castle, an 18-year old Ninja. It features truly groundbreaking concepts in story and art, and also every issue contains a one-page piece of fiction by Tim. Below is an excellent description by Bill Boichel, CC 1 contributor and the owner of our favorite comic book store. Copacetic Comics. Cold Heat is available from PictureBox Inc.

Cold Heat #2
By Ben Jones and Frank Santoro
Picking up where the first issue left off, Cold Heat #2 revs it up a few notches and takes us on a whirlwind ride through the dis-united states of the disturbed American psyche. Series artist, Frank Santoro once again refuses to play it safe. This time around he pulls out all the stops and takes the chances that most other artists wouldn’t take even if they could. Leaping into the artistic no man’s land between the well established borders of pre-existent genres, Santoro combines the propulsive narratives of mainstream American heroic adventure
comics, the exaggerated expressiveness of Japanese manga, and the naivete of self-published autobiographical comics with his own experimental ideas to create a totally unique comics cocktail that will knock you for a loop. Cold Heat takes the outside in and then brings the inside out—demonstrating how our internalization of international affairs creates monsters in our minds that are every bit as dangerous as anything we’ll meet on the street—and by so doing helps us see our place in and find our way through the mess of our world.

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This is sort of comics related. Last weekend me and Rachel and Helene Silverman and Gary Panter drove up to Providence RI to attend the opening of “Wunderground“, a massive show of Providence posters 1995-05 and a group of installations by eight artists including Mat Brinkman, Erin Rosenthal, Brian Chippendale, Jim Drain, Leif Goldberg and Jungil Hong. Helene and I art directed the catalog for the RISD Museum. Anyhow, the show is totally amazing. The posters are astounding of course, rivaled only by the 1960s psychedelic explosion on the West Coast. The installations are massive and truly inspired. I’ve never seen a show quite like it, and its vitality is astounding. This kind of work just isn’t made anywhere else. Its real mystery, humor and love should be beacon for other artists. Below is a photo report of sorts.

Here’s a 20-foot tall paper mache ogre by Mat Brinkman. Title: Maximum Ogredrive.

And here’s Jim Drain’s piece, constructed around a totem pole from the museum’s collection:

Here’s a view of Chippendale’s house and one of Erin’s sculptures.

And inside Brian’s house:

And here’s part of Leif’s sculpture, which also projects a fantastic animated film.

and a screen shot:

Anyhow, that’s the story. Go see this show if at all possible.

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Well, Tim’s been on vacation and I’ve been frantically trying to squeeze out some books and get an exhibition up as well. See PictureBox for all the updates. In the meantime, I should note that I saw the great Frank Tashlin movie Artists and Models last week. It’s an amazing Jerry Lewis and Dean Martin vehicle in which they star as writer/artist pals on the make in New York. They happen into, you guessed it, the comic book world, as Jerry’s favorite cartoonist turns out to be their upstairs neighbor and beautiful, too, natch. Dean falls for her (fascinating, given all the recent discussion, that the famous cartoonist in the movie is a woman–also a convenient plot device, but still…) while Jerry falls for her model, played by Shirely Maclaine. Anyhow, there’s some wonderful stuff in there with sleazy publishers, exciting imagery (“Bat-Lady” is the stuff of Jerry’s fantasies) and general hilarity. What’s so refreshing about the movie is that the comics stuff seems oddly right-on. It’s just a business in this movie, but the business still generates the raw material for dreams and nightmares. I could see how comics were once part of the entertainment mainstream–just another thing for a film to riff on. Too bad that’s no longer. There’s also a great sequence in which Jerry gleefully makes the case that comics made him retarded, a sentiment I couldn’t agree with more. Retarded is the new sexy.

Anyhow, we’re hard at work on the next issue, which thus far features a fine essay on Spider-Man by Peter Bagge, a fine list by Mark Newgarden, comics by Matthew Thurber and Paper Rad, a long interview with Pshaw, and Tim on Steve Gerber. It’s coming along. We hope to have it done for October.

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The summer is whizzing by. Tim and I are hard at work, sort of, on the next issue of Comics Comics, which should be out in time for SPX in mid-October. There are some fine goodies in store.

Anyhow, after making a fuss and posting about Diamond Comics last month, I never really followed up. After the publicity and support that followed their initial rejection of PictureBox, Diamond reconsidered and has now taken me on as a vendor. It’s a funny thing, the comics community. It remains small enough that the community can, in fact, sway large companies. So, I’m pleased with the outcome, naturally, and while my pride is a bit bruised I feel good about being able to get the books and comics out to as wide an audience as possible. Thanks for reading and chiming in.

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Well, Tim brought up an interesting point in his Monday post. He is quite right that I may have overshot with my comments and is also correct that Barry could stand with Spiegelman and Ware (as could, I would argue on a better day, Aline Kominsky Crumb and easily Julie Doucet). Any converstion about women-in-comics has to basically start with 1968 and move forward. There wasn’t much before then that rises above good, solid cartooning. And nothing on par with the likes of Herriman. But there is a ton after that. Of course, that’s the problem with exhibitions that arbitrarily settle on a number like 15. I understand the desire to want to create a canon (though I disagree with it–canons are so last century.) in order to provide a focus, but I think being a little loosey goosey with the numbers and adding Barry and the Hernandez Bros would have vastly improved the curators’ credibility.

History is a funny thing, yes. Melville and all that. Or Frank King and Tatsumi, for that matter. What’s fascinating about today’s history-making is that so many choces are guided by knowledgable cartoonists, not historians. Ware for King and Tomine for Tatsumi, for example. This has often been the case in other media, but what’s so interesting in this case is that there simply aren’t any historians or critics who command the same respect as Ware, Tomine, et al. I think that is changing, but slowly. And for now, I’m thrilled to have such pro-active (and wise) cartoonists leading the way into the past. And yes, who is to say who will pop up later? I think, for example, that in future years Rory Hayes will emerge as a definitive influence on the 90s and 00s and Gary Panter’s influence on visual culture in general will equal (if not surpass) Crumb’s. And along the way, some long lost female cartoonist from the 50s might emerge. I doubt it, but maybe.

Anyhow, the most interesting thing about the Masters show reaction was found in Sarah Boxer’s Artforum essay, in which she astutely pointed out that it wasn’t only the absence of women in the show but the way women were presented in all of the work in the show. That is, if I remember correctly, women were either absent or villains or cypher, which is an astute observation about comics in general. I wish I could remember a bit more of the argument…Anyhow, it’s an interesting point, and once that should be pondered a bit more.

Ok, over to you, Tim.