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Art in Time Day is Here


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Wednesday, April 7, 2010


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My Favorite Booky Wooky

I’m told by my Mom that today is Art in Time day! I’m sure she’s correct! This day in history you can stroll down to your comic book store (or somewhere!) and buy it. To celebrate here are some tour dates. More info to come. Bonus image by John Thompson below!

Come see me this weekend at the MoCCA Fest on April 10, at 1 pm at the Abrams booth.

And then:

May 1: Lucerne, Switzerland: Fumetto
May 8 & 9: Toronto, Canada: TCAF
May 12: NYC: The Strand (with Chip Kidd)
May 21: Brooklyn: Desert Island (with Richard Gehr)
May 30: LA: Cinefamily (with John Thompson, Sharon Rudahl, Barbara “Willy” Mendes, Jaime Hernandez, Lawrence “Real Deal” Hubbard, Johnny Ryan, Sammy Harkham.)
June 26: D.C.: Politics & Prose

Color Guide by John Thompson for his Cyclops Comics, 1969.

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PictureBox and Santoro Forcibly Occupy MoCCA


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Tuesday, April 6, 2010


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Painting by Doug Johnson for Judas Priest. Approximates the vibe of the PictureBox booth.

This year Frank and I will be at MoCCA in full force (NYC, April 10-11, Booth A19-20A).

I will have all things PictureBox, including the debut of our Charles Willeford book, as well as Thurber’s new 1-800 MICE 4. There will also be the usual extra special items from everyone from Neal Adams to Anya Davidson. Yes, you read that correctly. Ask nicely and I’ll show you the original pages for Real Deal that will be for sale for the first time. Frank will have a fantastic selection of back issues for sale. Calling in from “the basement”, Santoro had this to say:

I now have a “Master’s Box”: Kirby, Mazzucchelli, Steranko, Brown (Chester), Barks, McCarthy, and, uh, Ditko! Plus other, lesser known masters like Ogden Whitney and Pete Morisi. You need Slash Maraud? I got yer Slash Maraud! You needa da Cold Heat? I gotchooda Cold Heat! A new comic book costs at least 3 bux these days. I will have whole boxes of great stuff for 3 bux and under. Plus a “quarter box” – meaning each comic is only 25 cents! That’s right, True Believers, you thought it couldn’t happen in NYC but it’s happening. Finally some good, cheap comics for sale in the Big Apple!

I’ll be debuting my own Art in Time: Unknown Comic Book Adventures 1940-1980 at the Abrams booth at 1 pm on Saturday with a signing by yours truly.

Avant men Frank and Dash will be on a panel on Saturday at 12:45, moderated by Bill K. They’ll be discussing color and line and form. Go get your learn on.

Peter Blegvad will be at the PictureBox booth on Sunday, 4/11, from 1 pm to 3 pm signing books. Don’t miss this rare opportunity.

            That’s it! See you soon!

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            Jack Rules


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            Wednesday, March 31, 2010


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            Coming May 1, 2010: “The House That Jack Built”. Over one hundred pieces of art by Jack Kirby (and co.) from the 1940s to the 1980s on display at Fumetto in Lucerne, Switzerland. I put this exhibition together with Paul Gravett and we’re both extremely excited about what we believe is the largest Jack Kirby retrospective ever mounted, and his very first in Europe. Among the treasures on display: A complete Fighting American story; stories from the unpublished Soul Love comic, a complete Fantastic Four story, numerous covers and splashes, pencils, remarkable character sketches from the 1940s, paintings, and a lot more. And yes, the credits will be fully visible, as will a brief essay on his past (and his estate’s present) difficulties with Marvel. I’ll say more on this later, but I want to publicly thank Rand Hoppe and the Jack Kirby Museum for so much help. That museum web site is a wonderful overlooked resource. Check it out.


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            Jesse Marsh by Tom Oreb and also…


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            Monday, March 29, 2010


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            As Art in Time gets closer to the big reveal I thought I’d begin to post some extra images I have by or of the cartoonists included. Here’s a rare photo of Jesse Marsh (with pipe) out for a day of sketching with animator Tom Oreb sometime in the late 1940s.

            On another note, I stopped by Thirty Days NY, the space/shop that David Kramer and Sammy Harkham are curating in Tribeca (sponsored by Absolut Vodka and TBWA/Chiat/Day) opening April 8. It’s going to be a knock out.

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            Russ Manning on Dell


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            Monday, March 22, 2010


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            Russ Manning, one of the great California cartoonists whose work, like his mentor Jesse Marsh‘s, stands apart as a West Coast alternative to the more chaotic New York-based artists, made a case for Dell as a key 20th century comic book publisher in Richard Kyle’s brilliant Wonderworld #9, (1973). The two-page article is below. One thing I enjoy about Wonderworld is that it offers an entirely different point of view on comics history — mostly avoiding superheroes and advocating for other genres and approaches in comics. Some of the artists who loomed large for Kyle, like Dan Spiegle and Hermann (whose two-volume Survivors album series was an early Fantagraphics project), seem largely forgotten today, but the samples published in Wonderworld offer a look at another course for character-based comics in the 70s. By the way, you can see an entire early issue of Wonderworld, when it was called Graphic Story World, over at the Jack Kirby Museum. Look closely for the amazing photo of Jaunty Jim Steranko.

            Russ Manning text copyright Estate of Russ Manning.

            Russ Manning text copyright Estate of Russ Manning.

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            Fanboy Dreamz


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            Sunday, March 14, 2010


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            Yes, I was briefly excited by this news that David Fincher is in charge of a Heavy Metal film revamp (er, another one!). I sometimes think Fincher is great. Zodiac was a masterpiece. Then there was Benjamin Button. No one is perfect. In any case, there are a few oddities here: It’s funny to me that someone would be SO excited to make an anthology movie based on, I guess, the “idea” of an anthology that was last good 25 years ago. On the other hand, I kinda understand it — HM represents a cinema-friendly storytelling style and is ready-made content for CG-fetishists. Assuming this involves work like Arzach and RanXerox, as opposed to, oh, I dunno, Captain Sternn, it could be rather remarkable. Then again, Kevin Eastman was attached as director, too. So… oh hell. There was a period when Chris Cunningham was set to make RanXerox, which could have truly blown minds and would again make sense since Cunningham worked for Fincher on Alien: Resurrection Alien 3. The whole thing seems to have fallen apart, and while I once even saw some gorgeous production designs online, they seem to have vanished. Alas, I suppose I would just hope for some kind of blowback that sees a RanXerox, color-corrected deluxe edition published. Or the complete works of Sergio Macedo. Etc. Incidentally, here are Cunningham’s designs (under the name Chris Halls) for the unfortunately terrible Judge Dredd movie. This post is called “pulling a Frank.”

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            E-Z Post #Infinity


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            Friday, March 12, 2010


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            A Pile of Kirby Originals for Fumetto

            A few odds and ends today.

            1) Via Sammy H., artist and Frank-favorite Kevin Nowlan has posted a couple of interesting accounts of learning the craft of storytelling.

            2) Patrick Ford passed along these choice passages from Jim Amash‘s excellent Alter Ego interview with Jack Katz, covering Kirby and Mort Meskin.

            Katz on Kirby at Timely: Jack would work at his own desk there and Joe would come in during the morning and subtly stare at us. Jack would go for lunch, and when he came back Joe would leave for the day. You know how I learned to ink? Jack sat me down one day, He said, “This is what you do.” He took one of my drawings, and he inked it with a brush. I’d never seen inking that good in my life. I said, “Jack if you could ink so good, why do you let—?” He said, “I don’t have the time.” He said, “This is what I want you to do. You apply the blacks like this. This is this is what you do with your camera angle to make the background stand out. Jack would fill in all kinds of black areas in the background. As an inker, I don’t think there could have been anybody better if he had done his own stuff himself. One of the things they had in the office was the Sunday Hal Foster Tarzan strips, almost from it’s inception…everyone in the office was using them for swipes. Kirby never used swipes. I’m being very straight about that. If he did it was for reference, I never saw him erase anything either. Jack would get in early, he was always there before I came in. He left late. Jack wrote as he drew, he also worked from scripts, but he would use them as a template.

            Katz on Kirby and Meskin:

            Jack represented a boss who was handling a very unusual art form. He was very much in command. The only one who could say stupid things to him was Mort Meskin. Mort had a window seat. He’s say, “Get up!, Get up!” and a girl would be walking around in a bathing suit. And Jack would say, “Would you sit the F**k down.”This happened almost every day. One day Mort brought in some pornographic toys, Queen-sized fake breasts. He shows them to Kirby. Jack says, “What are you doing?” Mort puts the breasts on the floor and starts jumping up and down on them. Jack told him to stop, and get back to work. Mort said, “I can’t because I had a date with a disgusting pig, and I’m taking out revenge.

            Katz on Kirby and the War:

            Jack was involved in horrific situations where he had to do the ultimate thing. He wasn’t ashamed, but he felt deep regret over the fact that he had to kill people. When he talked to me about these things, his eyes were very deep in the past. It was extraordinary. Sometimes I noticed him staring out the window, and from the look in his eyes it was apparent that he was reliving the war.

            3) And finally, I really enjoyed this account of Kirby’s war experiences from Jack Kirby Collector 27, as posted by early biographer Ray Wyman. Like Jeet, I think Kirby’s war experiences are crucial to his output and kind of underplayed in contemporary accounts of his life.

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            Afrodisiac Comes Alive


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            Monday, March 8, 2010


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            We’ve spent a good portion of the last week or so batting around ideas about comics reprints. Taking a sideways glace at the theme, I offer Jim Rugg and Brian Maruca’s Afrodisiac, an expertly conceived and executed hardcover that presents an anthology of, well,  comics ephemera related to the titular blaxploitation character. Rugg and Maruca smartly present not complete stories, but rather snippets, splash pages, covers, and even the “final” Afrodisiac story, all rendered in a variety of styles that emulate the look and feel (right down to the paper tone and off-register coloring) of 1970s and ’80s Marvel comics.

            Comics making as comics history is not new, of course. Dan Clowes did it wonderfully in his The Death Ray and Alan Moore, et al, did it in 1963, not to mention Image’s recent The Next Issue Project. But what I like here is that Rugg and Maruca don’t try to create an overarching narrative – they’re less interested in the stories themselves than in the junky world they inhabit. (more…)

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            Hogarth on Foster


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            Saturday, March 6, 2010


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            Burne Hogarth interview with Gary Groth, The Comics Journal #166, 1994:

            “[Hal Foster] is one of the great geniuses of the comic strip… one of the great things he did was to bring the human figure from the great achievements and virtues of Renaissance art, the whole of the empirical figure, down into that small space of a panel, and he made it live; there are damn few people who could ever do that. … I began to realize that what I was doing, what [Alex] Raymond was doing; we were developing a whole new syntax of the figure. By that I mean taxonomy–the organization of all actions. No one had ever done it human history, no one! Not even Winsor McCay, because he always had that gravitational feel of the perspective of the great city forms, and the little figures that he did were rooted, again, down onto the bottom line of the panel; they were walking and standing on firm ground, he seldom lifted them up and let them soar, even though he had the chance in Slumberland to do that.”

            This seems like as good a description of the virtues of Foster as any, whatever hyperbole might be in play. Foster leads directly into Kirby in the sense of dream-like figures in play, in motion — these moments of sublime force on a page.

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            Elvis in the Building


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            Monday, February 22, 2010


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            Yes, that's a new painting by Ebisu.

            If you’re anything like me, you must be wondering, “What does Japanese comics legend Ebisu do these days?” And you must also wonder, “Does he paint in his underwear?” Well, never fear, because here are the answers to all your questions. And mine, too. And some I didn’t know I had. You’ll be happy to know that we (ahem, PictureBox) will be selling work much like what is pictured in the link in just a few short months. If you poke around (NSFW) the rest of this site (an art agency) you’ll find some good information on Ebisu and Nemoto as well, not to mention a rather more eccentric artist, too.

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