Archive for the ‘Art In Time’ Category

Art in Time News


Monday, May 10, 2010

Post Comment

I couldn't agree more.

Well, a little bit of news and some bragging.

First of all, please join me and Chip Kidd at The Strand (NYC) on Wednesday, May 12 at 7 pm for a lively discussion, slide show and signing for Art in Time.

And, I’ve received some very nice reviews from Entertainment Weekly (A-!), The Onion A.V. Club, and The Jewish Daily Forward, and have managed not to embarrass myself too badly in an interview with Publishers Weekly.

Ok, now go about your business. But don’t forget to come to The Strand!

UPDATE 5/15/10: New interview at Robot 6, where I really gab “deep nerd” with Chris Mautner, and book excerpts at the LA Times.

Labels: , , ,

Dan ‘n’ Dash and PBox at TCAF


Wednesday, May 5, 2010

Post Comment

Artist's rendition of current state of mind of subject: Nadel. TCAF be warned.

Dash and I will be rolling into Toronto’s TCAF this weekend, May 8 and 9, with a full slate of programming and, natch, a full assortment of PictureBox books covering two tables. I’ll also be signing and selling Art in Time for all you history buffs out there. Come by the booth, go see Dash at his signings, and come see us both jabber on about comics.

Spotlight: Dan Nadel’s Art in Time
Saturday, May 8th, 10:30 – 11:15am, Learning Center 1

Publisher and comics historian Dan Nadel will discuss and show images from his new book, Art in Time, while addressing how comics history gets constructed and how the theme of adventure in comics has expanded and contracted over the years. Artists discussed will include H.G. Peter, Willy Mendes, Sharon Rudahl, Jack Kirby, Bill Everett.

-Spotlight: Paul Pope and Dash Shaw
Saturday May 8th, 12:00-1:00pm, The Pilot

TCAF Featured Guests Paul Pope and Dash Shaw are two of the most exciting creators in comics, mixing their influences and innovations to create groundbreaking work. Now Inkstuds Radio/Podcast host Robin McConnell will moderate a conversation between these two creators about the role that influences play in creating comics, ranging from traditional comics to film and music and from classical to contemporary works. This also includes a discussion of education, some key points in creating your own vision in comics, and an examination of how to make influences work and finding out where they lead you.

-Indie Comics Japan: Manga Outside the Mainstream
Saturday, May 8th, 1:45 – 2:45pm, Learning Center 1

Comics from Japan are called “manga”, and the very word inspires a very particular idea of style and presentation in the minds of many readers. But manga is just the Japanese word for comics, and the styles, presentations, and ideas contained within that medium are as interesting and diverse as the sorts of comics being produced in Europe or North America. Join publisher Dan Nadel of PictureBox Inc., translator/production coordinator Ryan Sands, Fanfare/Ponent-Mon and representative Deb Aoki, translator Jocelyene Allen, and moderator Christopher Butcher to discuss the many treasures manga has to offer North American readers!

Labels: , , ,

Johnny Mack Brown


Monday, April 26, 2010

Read Comments (5)

In the 1972  fanzine Sense of Wonder #12, Russ Manning published an enigmatic “see if you can guess” essay on Jesse Marsh. Without naming the artist, Manning takes the reader through the progression of the mystery artist’s style, beginning with Four Color Comics and ending with Johnny Mack Brown. Manning situates Marsh’s style from first-hand knowledge of Marsh’s influences, but goes further by describing the difference between an artist like Gould and an artist like Foster: design versus composition. It’s a quick theoretical detour, but one Manning would come back to later in interviews about his own work. Over halfway through the piece he declares Johnny Mack Brown #2 (featured in its entirety in Art in Time and chosen—I swear—before I even read this article!) a masterpiece, and then explains why in as close an analysis of artistic style as I’ve read from that period. Manning gets inside the work like a fellow artist but with the enthusiasm of a fan. And Russ Manning was, in fact, a fan. He began as an Edgar Rice Burroughs fanzine artist and, via Tarzan, made the acquaintance of Jesse Marsh, who got the younger artist his first job at Dell. Eventually, of course, Manning would succeed his mentor on Tarzan. By the end of the piece, Manning, with rhetorical flourish, reveals his subject to be Jesse Marsh. Anyhow, these two men, so different in style, were closely linked as artists and friends. It’s a study in contrast and lineage, and also a somewhat opaque subject, since both men were very private and possessed full lives outside of comics. Maybe this independent streak, something common to the handful of comic books masters on the west coast, was recognized and respected by the two friends. In any case, here is some fine evidence of an unusual artistic friendship.

Labels: , ,

Magic Words


Thursday, April 15, 2010

Read Comment (1)

A man with much on his mind

Click on this glowing word and make the images on your computer screen magically rearrange themselves into a Newsarama interview with Dan. It regards his amazing new book, Art in Time, and in it, he says things like this:

[Bill] Everett, to me, is the great heir to Alex Raymond on Flash Gordon, or someone like Virgil Finlay. His work has a wonderful sense of passion to it. He was a true auteur – he wrote, drew, lettered, did everything.

And this:

[“Crystal Night”] was introduced to me by my friend Matthew Thurber, who’s an artist. I kind of fell in love with it as a feminist take on Philip K. Dick, and I love the drawing as well. There’s a kind of unsung drawing style that artists like Justin Green and Sharon Rudahl and Frank Stack have that’s kind of figure-based and open.

Hmm, sounds interesting…

Labels: , , ,

Dear Mr. Crane…


Friday, April 9, 2010

Read Comments (3)

Jeet kindly forwarded me two letters from Pat Boyette to Roy Crane, which he came across while researching his texts for Fantagraphics’ upcoming Crane books. It sounds like these essays will do for Crane what our man Heer has already done for Frank King: completely open up a new way of thinking about his life and work. I can’t wait. Anyhow, as part of my continued and shameless shilling for Art in Time, here are the two letters. Love the humor here and Boyette’s unabashed fandom. Don’t forget to come see Frank and I at MoCCA this weekend in NYC. The password is: “Charlton.”

Labels: , , ,

Art in Time Day is Here


Wednesday, April 7, 2010

Read Comment (1)

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.

Labels: , ,

Jesse Marsh by Tom Oreb and also…


Monday, March 29, 2010

Read Comments (2)

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.

Labels: , , , ,

E-Z Post #Infinity


Friday, March 12, 2010

Read Comments (6)

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.

Labels: , , , ,

Tom Knows Best


Monday, February 22, 2010

Read Comment (1)

I promise not to link to every nice review about the book, but Tom Spurgeon’s is the first substantive take on the book and he does a better job than I ever could of explaining it and what I hope is its appeal. It’s heartwarming, even for grouchy ol’ me, to have my work, and that of the cartoonists, so well discussed.

Labels: , , ,

A Little More About Herbert Crowley


Tuesday, February 16, 2010

Read Comments (4)

The other day I received the kind of email that I always dream of, to be frankly nerdy about it. Herbert (“The Wigglemuch”) Crowley was  the most mysterious cartoonist I documented in Art Out of Time. And he mostly remained so after publication. But two weeks ago a woman in Zurich identified herself as Crowley’s niece and sent along some pictures and info about Crowley and said she’d be in NYC in a week and would I like to meet with her. Well I did, and we met, and, yes folks, there is a Herbert Crowley archive. Not a huge one, and not quite enough to fill out his entire life, but quite a bit, including voluminous sketchbooks, a scrapbook, passports, and more. Now, when I published Art Out of Time, I knew nothing, not even birth and death dates. I know a whole lot more now, and as I learn yet more I’ll update you, my tiny, tiny public. (more…)

Labels: , ,