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Posted in NewsTagged ala, Carole Maurel, Heidi MacDonald, Mariko Tamaki, Rina Ayuyang, sally ingraham
Sally Ingraham
Sally IngrahamAugust 17, 2017NewsSally here with work by Indian cartoonists Sarnath Banerjee, and Appupen – plus a few other comics news notes! ———————————————————————————————— A recent Comics Workbook Rowhouse resident – Javed Haque – brought along a copy of Corridor by Sarnath Banerjee to show us. This comic has been loudly touted as India's first graphic novel – a masterful publicity move, which, although it is untrue, helped get international eyes on the book and brought good attention and energy to the alt-comics scene in India. The River of Stories by Orijit Sen was published in 1994, and is actually the first Indian graphic novel. Corridor, created by Sarnath Banerjee in 2004, it is set in contemporary Delhi and follows the adventures of 4 characters. At the center of the group is Jehangir Rangoonwala, something of a Socrates wannabe who owns the second hand bookshop where the other characters meet and mingle. Brighu is searching for rare books and maybe an even rarer love. Digital Dutta meanders among his own dreams and ambitions, but makes little progress. Shintu is recently married, and quite caught up in keeping his domestic life spicy. Written and drawn by Sarnath Banerjee (who grew up in Calcutta and Delhi in the 70's) the artwork is a mixture of black and white drawings, color work, and collage. Banerjee captures Delhi street life and "the psyche of middle-class India" deftly, and with compassionate humor. He has gone on to publish 3 more comics – The Barn Owl's Wondrous Capers (2007), The Harappa Files (2011), and All Quiet in Vikaspuri (2016). In a great interview from last year on Guernica Magazine, Sarnath Banerjee talks about how he came to make Corridor. He was more of a documentary film maker, but through a string of small miracles he received a version of the McArthur Genius Award, and suddenly had to produce the graphic novel he had accidentally pitched. He actually went to Orijit Sen (who if you recall made India's true first graphic novel) in the hope that Sen would draw the stories Banerjee had written. He got encouragement and support, but not an artist. So he drew Corridor himself. "I started at the deep end. I learned while writing the book. I started drawing all the time after that. Like a maniac. My ex-wife recently told me that when she was cleaning up our house she found trunks—I had forgotten about this—trunks and trunks full of notebooks on which every surface had been drawn. I drew everything. I drew toasters, air conditioners, chairs, people and flowers. I was a maniac. I drew, drew, drew, drew, drew. And that's how I learned. Purely by doing. In Japan there's a phrase for it, it's called aware karada, which basically means learning through your body. You practice something to the point where you don't think anymore about it. It just comes out. The brain and hand barrier is absolutely taken out. So I think now I don't think about my drawing at all. It just comes the way it comes. Another thing that was good about working in this entirely new medium—new to India at least—and not getting published was that it makes you learn everything from scratch. Which is why I feel that every graphic novelist from India—Amruta Patil, Vishwajyoti Ghosh, Orijit Sen, Appupen—is phenomenally original." I highly recommend reading the rest of this interview. Banerjee is a very thoughtful and interesting person and there is a crash course on Indian comics, film, and other pop culture to be had just by perusing this conversation. Read it HERE. I'll be tracking down Banerjee's other comics asap – and also looking for Orijit Sen's comic. Sen has been making a ruckus lately with politically charged artwork – a recent article about his work and life can be found HERE. While I'm at it, I may as well link you up to the other comics makers Banerjee mentioned above – here's Amruta Patil; Vishwajyoti Ghosh – an interview on TCJ; and Appupen. ———————————————————————————————— My research sucked me in and I discovered this comic by Appupen – Dedshort #7: The Ring of the Lord, originally published on Brainded. Appupen wrote: "This classic story has stood the test of time in Halahala. You can clearly see their influence on some popular stories of our world." More on Appupen, from his website: "Appupen is a comics creator, visual artist and musician who tells stories from a mythical world called Halahala. Armed with a skewed view of the world and a sarcastic bite, he is a unique voice in Indian comics and comics in general. God recently appeared to him and said he needs to push out his comics more and hence this effort. Please help him." As per this stated mission, there are tons more comics on his site – check them out HERE. ———————————————————————————————— Other News of Note Unaiza Ali Barlas, a 20-year-old Lahore-based cartoonist, has been officially named in the Guinness Book of World Records for creating the world's longest strip. Her strip is 267.38 metres (877 feet) long! More details HERE. Tara Betts is interviewed on LA Review of Books – she is the editor of the anthology The Beiging of America: Personal Narratives About Being Mixed Race in the Twenty-First Century (which includes work by Pittsburgh cartoonist Rachel Masilamani) – interview HERE. ———————————————————————————————— Suzy and Cecil – 8-17-2017 – by Sally Ingraham ———————————————————————————————— Joanie and Jordie – 8-17-2017 – by Caleb Orecchio Share this page:Read More:03/30/201809/11/2018Rowhouse Residency…10/18/2018...
Juan FernándezMarch 1, 2017los Cómics / NewsJuan José con un poquito sobre #GRAFBCN2017; Bas Backer on Chicks on Cómics; Inés Estrada's Booklyn 2012; Mireia Pérez; Núria Pompeia; Berliac; Salva Rubio on Jiro Taniguchi; 100 Años de TBO; CW Daily Comics. Cómics y noticias que me han llamado la atención esta semana: ESTE FIN DE SEMANA: #GRAFBCN2017. Esta a la vuelta de la esquina. GRAF is coming to Barcelona. Here's all the info you need for #GRAFBCN2017's programming. March 3-5 at the wacky warehouse space, Fabra i Coats. It's the ninth edition of the Festival so it should get pretty wild. – If you're following from home, check out twitter and tumblr for the #GRAFBCN2017 to get some insights on. Want to know who's going to be there? Here ya go. Need more info? Here's Mireia Pérez with the scoop you need on #GRAFBCN2017 over on RTVE's La Hora del Bocadillo, Spain's weekly national comics radio hour. (Fast forward to minute 48). Descubre a Núria Pompeia en la exposición 'Núria Pompeia, sola ante el peligro'. Fundación Gin's digital editorial cartooning museum, Humoristan, has got a great online exhibition of Pompeia's work with highlights from Maternasis and Las Metamorfosis. Berliac's got some new comics on Vice – Asian Food Store Junkies – S01-E03 This week will horrify your taste buds. Inés Estrada's dropped a zine she made, quick and dirty after her time at Comic Arts Brooklyn in 2012. "I was going to make a zine of my comics diary of Brooklyn 2012 (cus I never did) but fck it… who cares about 2012″ Now you can read it online. Inspiring, fast, six panel autobio. Salva Rubio offers a great reflection on the work of the late Jiro Taniguchi. Especially of interest given it's a Spanish perspective on the manga titan. The theme here is the eternal return. This March, it will be the 100th anniversary of the first issue of "TBO", the popular illustrated magazine that gave name to Spanish comics, tebeos. To commemorate this the newly published, Antoni Guiral's 100 Años de TBO, tells the history of a publication which passed the great names of twentieth century Catalan comic. Take a tour of a century "TBO". (In Catalan!) Bas Backer ha hecho un relato hermoso de su paso por Buenos Aires, el encuentro con amigos y actividades de Chicks On Comics. A nice report, filled with photos and drawings of time passing through the amazing Chicks on Comics show and Buenos Aires. A nice long distance relationship travelogue, haha! ————————————————————————————————— Berliac offers some fresh cuts over at Fumettologica, the central axis of the conversation being his work editing and contributing to Kuš! #25's Gaijiin Manga. Short and sweet but goes in deep with his thoughts on gekiga, the western gaze and his own evolution as an author. How do you explain the current popularity of Gekiga in the western comics scene? Now they're getting published and before they were not, simple as that. If you want to dig deeper, I guess the publishers finally realized that since the late seventies, Western adults grew up with manga and anime, and we just needed a cultural approval from well-respected publishers, to re-unite with our childhood love without feeling embarassed about it. Put that together with the concept that publishers from liberal countries have of what a Graphic-Novel is supposed to be (basically realistic stories about the suffering of people from far away countries, to be enjoyed from the comfort of our sofas), and there you go: Gekiga provides us with both. Here lies another reason why I like to call my own work Gaijin-Gekiga: if Gekiga was the Japanese expression, in a dramatic comics form, of their own collective anxieties in times of hypercapitalism, then I can undoubtedly say that the main focus of my work is the very same one, only about my own place and time, of course. I have the impression that not many well-known cartoonists are really talking about what's going on right here and now, on this side of the world, on a collective scale. In Graphic-Novels, all I see is either boring lectures about foreign or past war conflicts from an "objective", Western point of view, or feel-good stories about individual self-improvement, and in the most successful cases, a combination of the two. These stories are just two different ways of patting our backs and telling ourselves how great we Westerners are. Gekiga was a beautiful, dignifying way to accept the crushing reality of post-war defeat. Western narratives of today, on the contrary, insist on that we're on the winning side, even when our reality clearly points to the opposite (see Donald Trump). I'm not saying there's dignity in being a loser, but in seeing reality for what it is. Drama without exaggeration. That is the essence of Gekiga. Now that a few months has passed from the release of the Kus, can you say that the anthology also served as a bond between the artists of this possible new western manga scene? Bonds among artists always exist, but maybe not explicitely. to the point not even we are aware of it. Many of the artists involved discovered each other's work in that issue of š! As I said in another interview, it is not the artists' task or responsablity to make that bond intelligible for the public, but the publishers', gallerists', and journalists'. As an author, I'm not too concerned about it. As a co-editor of š! #25, I certainly hope we provided a grain of sand to this cause. ————————————————————————————————— The Spring Semester of the Santoro Correspondence Course for Comic Book Makers is starting soon! The semester has a rolling start date, but it will officially kick off on March 7th. We will continue taking applications past that date – Frank is always willing to make it work for your schedule. Just apply! The course is 8 weeks long – 500 bux – payment plans are available. More details can be found HERE. Email santoroschoolATgmail to apply ————————————————————————————————— Blinkers – 3-1-2017 – by Jack Brougham ————————————————————————————————— Suzy and Cecil – 3-1-2017 – by Gabriella Tito ————————————————————————————————— Joanie and Jordie – 3-1-2017 – by Caleb Orecchio ————————————————————————————————— Cozytown – 3-1-2017 – by Juan Fernandez Share this page:Read More:01/24/201804/04/201802/28/201803/21/2018...
Caleb OrecchioAugust 23, 2018NewsCaleb Orecchio here with more thoughts on Michael DeForge's new book from Koyama Press, Brat. ————————————————————————————————— Earlier this week, I wrote about Michael DeForge's "pace" as an author as well as within his comics, specifically his new book Brat, by use of the grid. Today I want to point out his use of symbolic imagery and repetition. Every character is a symbol. Brat's "protagonist," Ms. D is the character in the two non-sequential images above. The tippy top image is her most basic character model while the image beneath is a distorted version of this, an exaggeration. The exaggeration calls attention to itself by being "off-model" and communicates a more extreme than usual emotion. Ms. D is very angry and DeForge communicates this in a simplistic way as you can see. Below is another example of distortion where D's face gradually distorts from panel to panel to communicate restrained frustration while talking to her mother. The distortion is not over-exaggerated right away in the immediate page below, but our memory of D's uncomplicated model is ingrained in our head so we can't help but notice a change. It's kind of a subtle-not-subtle approach to emotion that the reader picks up on immediately as a visual cue due to the simplicity of the character model (and the dialogue). As DeForge moves us through space, we see cars, building, trees, etc. All these elements are rendered in their simplest symbolic form. They draw little attention to themselves while still communicating a sense of place and a sense of visual pleasure. They serve their purpose without taking over. Repetition is also key to DeForge's storytelling. Repetition of the grid, repetition of character models, repetition repetition. This patterin-ing of information creates a nice beat as all grids do, but the pattern of symbol-based images adds to the smooth rhythm of the book. Maybe "adds" is not the right term. The rhythm sustained by repetition minimizes the effort the reader has to extend. It's "easy" to read. And when you add the fact that every object is recognized immediately, the reading is immensely pleasurable. After a while you are not aware you are reading. You just are. That's what I'm getting at, Brat (and all of DeForge's work) is pleasurable to look at and read. The combination of sparse symbolic information, the grid and the repetition of these elements is a combination that gets to the heart of comics. It's a pattern that creates a rhythm that the reader can get lost in. From what I can tell, DeForge just keeps jogging along in no rush to reach some transcendental finish-line of the mind that others may expect or have expected in the past. He steadily continues to run at his own pace thank God. ————————————————————————————————— Cement Mixer – 8-23-18 – by Caleb Orecchio Share this page:Read More:08/20/201801/23/201809/21/201802/27/2018...
Juan FernándezOctober 26, 2016los Cómics / NewsJuan con un poquito sobre: Daniel Jiménez y Jesús Cossio entrevistan ha Joe Sacco; GRAF Madrid; Alienation 2 por Inés Estrada; "el fracaso de la narrativa gráfica" en Mexico; Publisher's Weekly on Spanish language comics; Fanzinología Mexicana 1985-2015. ————————————————————————————————— ⚡Joe Sacco habla sobre el periodismo,el hecho de narrar conflictos, y la violencia que el capitalismo permite. Es genial ver esta entrevista. Esta entrevista fue realizada por Jesús Cossio y por Daniel Jiménez en el Hay Festival 2014 de Cartagena. Mi trabajo es sobre la realidad de los conflictos, pero éstos se basan en la naturaleza humana. Yo no podría haber dicho esto hace diez años pero es de lo que tratan mis cómics, en realidad. Algunos de mis libros son acerca de un grupo específico de seres humanos. Por ejemplo, en mi libro sobre la Primera Guerra Mundial veo a los seres humanos convertidos en una masa y cómo la naturaleza humana responde a ese tipo de situaciones. Si existe un interés en el autoritarismo y la xenofobia yace, por decirlo de alguna manera, bajo la sombrilla de mi interés en la naturaleza humana. ————————————————————————————————— ⚡GRAF – Madrid se acerca! Ya puede consultarse la programación y el listado de expositores de #GRAFMadrid2016 que tendrá lugar del 11 al 13 de noviembre de 2016 en Madrid. talleres, musica, encuentros, feria de libros… es obvio que el equipo Mireia Pérez, Iñaki Sanz, Borja Crespo, Gerardo Vilches y Pedro Toro estan montando un monstruo de comics y fanzine fest… ————————————————————————————————— ⚡Alienation 2 por Inés Estrada esta disponible para la venta! Es el segundo volu su segundo volumen de su serie sobre la realidad virtual en el ártico. ————————————————————————————————— ⚡Publisher's Weekly has a piece on the comics that are making a large impact on the American comics market from Spain and Latin America. (Thanks Heidi!) Paco Roca, Liniers, Power Paola… Heidi McDonald touches on the heavy hitters in comics. The ones have changed how many approach the art form. It's a nice, concise recapitulation of all the on the ground work that cartoonists and comics publishers have been doing in the past decase. Of course, McDonald's emphasis here is on what is making it to the states, and at the moment that is primarily Spanish work. If you've been following this blog, I think you can imagine that this is soon to change… ————————————————————————————————— ⚡Francisco Haghenbeck nos da un contraste a esta atitud tan optimista. Haghenbeck se enfoca en "el fracaso de la narrativa gráfica" en Mexico. Por supuesto quizás Haghenbeck no no ha buscado bien bajo la superficie? Como, no es una criticá de "la novela grafíca ", osea que conviene proceder con cuidado 😉 A los últimos años, se ha tratado de recuperar la cultura de la narrativa gráfica en México, siguiendo la moda de otros países con una robusta lista de obras de calidad como Francia, Argentina, Japón o Estados Unidos. Cuando yo hice la recopilación e investigación para la exhibición "La vida en cuadritos: 120 años de historieta" (Museo Pape en Monclova; Gran museo de la Cultura Maya, Mérida; y Museo Guanal, Cd. Del Carmen) me di a la tarea de buscar las obras que representaran a nuestro país. Con tristeza, me enfrenté a que en los últimos 25 años hay una gran ausencia de historias de calidad literaria. Desde la muerte del colectivo Taller del Perro de la ciudad de México, y en especial, la novela gráfica Operación Bolívar de Edgar Clement, es notable el vacío. El único maravilloso asomo, apenas el año pasado, es la versión personal de William Burroghs de Bef, Uncle Bill (Sexto Piso, 2015) que, como señal de crisis, fue realizada con el apoyo del Sistema Nacional de Creadores de Literatura y no de narrativa gráfica. ————————————————————————————————— ⚡Y para darle contraste a ese articulo, les quiero decir que la antología de fanzines que Inés Estrada recopilo hace un año, Fanzinología Mexicana 1985-2015 (editada por Enrique Arriaga y Inés Estrada), ahora se puede descargar gratis en Gatosaurio. The underground is alive and kicking. Compilation featuring a selection from the graphic and visual narrative of three decades of mexican fanzines. The work collected was originally self-published in limited runs by and for underground niches formed by punks, queer activists, artists and amateurs among others. This book intends to collect and highlight these obscure publications and also to be a reference for contextualizing mexican zines. This is the first effort of its kind in Mexico. Edited by Enrique Arriaga and Inés Estrada, with material they both collected for la Fanzinoteca del Museo Universitario del Chopo in Mexico City. Arriaga started la Fanzinoteca in 2014 as a zine archive and a cycle of exhibitions at the museum. Book design by Inés Estrada, with a cover illustration by Edwin Sandoval. ————————————————————————————————— ⚡Echale un vistazo a este medallón estilo Pompeii! "Le encargué a la gran Airi Maeno que hiciera unos medallones de plata con sede fuera de mis dibujos. Este dibujo viende de mi libro Pompeii. Es algo que puedo imaginar que alguien se pondría hace dos mil años. Un simple medallón de un ser querido. Un retrato. Algo permanente para desafiar a la desaparición". – Frank Santoro Puedes comprar uno aquí! ————————————————————————————————— hasta la próxima! juan Share this page:Read More:07/11/201804/04/201806/27/201801/24/2018...
Aaron CockleAugust 13, 2018NewsOn Vacation/Process Post ————————————————————————————————— I was on vacation last week, so I don't really have much in the way of comics news for this week. My apologies! While on vacation, I tried to get some work done, mostly sketching, but also some penciling and inking in my sketchbook, trying to keep my hand moving. I didn't really work on anything of substance, comics-wise, I'm kind of at a point with my current work-in-progress that some time away from it would do it some good. Here are some pictures: some of my materials, sketches, and some tracing/drawthrough exercises I did in my sketchbook. What else? I finished Joan Didion's Miami, about U.S./Cuba in the 1980's: Many Havana epilogues have been played in Florida, and some prologues. Florida is that part of the Cuban stage where declamatory exits are made, and side deals. Florida is where the chorus waits to comment on the action, and sometimes to join it. The exiled José Martí raised money among the Cuban tobacco workers in Key West and Tampa, and in 1894 attempted to mount an invasionary expedition from north of Jacksonville. The exiled Fidel Castro Ruz came to Miami in 1955 for money to take the 26 Julio into the Sierra Maestra, and got it, from Carlos Prío. Fulgencio Batista had himself come back from Florida to take Havana away from Carlos Prío in 1952, but by 1958 Fidel Castro, with Carlos Prío's money, was taking it away from Fulgencio Batista, at which turn Carlos Prío's former prime minister tried to land a third force in Camagüey Province, the idea being to seize the moment from Fidel Castro, a notably failed undertaking encouraged by the Central Intelligence Agency and financed by Carlos Prío, at home in Miami Beach. And I read Tree of Smoke, Denis Johnson's novel about psychological operations and the Vietnam War: The nights were wild with stars, otherwise empty and cold. For warmth he kept fifty-five-gallon drums full of diesel-soaked sand burning around the place. He made a circuit among the maze of conveyor belts under gargantuan crushers and was never done. The next evening the same belts, the same motions, even some of the same pebbles and rocks, it stood to reason, and the same cold take-out burger for lunch at the dusty table in the manager's trailer at 2:00 a.m.; washing his hands and face first in the narrow john, his thick neck brown as a bear's, sucking water up his nostrils and expelling the dust in liverish clumps. Not long after his lunch the roosters alone on neighboring small farms began to scream like humans, and just before six the sun arrived and turned the surrounding aluminum rooftops to torches, and then at six-thirty, while Houston punched out, the drivers came, and they lined their trucks nose-to-ass and one after another drove beneath the largest hopper of all to wait, shaken by their machines, while wet concrete cascaded down the chute into each tanker before they went out to pour the foundations of a city. OK, thanks for reading. I'll return to regularly-scheduled news posting next week. ————————————————————————————————— Vision Box – 8-14-18 – by Cameron Arthur ————————————————————————————————— Cement Mixer – 8-14-18 – by Caleb Orecchio Share this page:Read More:MoCCA Arts Festival 2018Comic Arts Brooklyn 2017Comic Arts Brooklyn 2018San Diego Comic-Con…...
Juan FernándezMarch 29, 2017los Cómics / NewsEmpezamos el dia con Katherine Supnem;Roberto Massó; Borlocomix; Emma Ríos; Fabian Rangel Jr y Alexis Ziritt; Amaru Distro; Desiree Rodriguez; Berliac; Sol Díaz Castillo y Marcela Trujillo; Manu Garrido y los tebeos del día! ————————————————————————————————— Cayo Cæctus nos presenta Katherine Supnem en Sacapuntas.cl (…) lo fundamental es comenzar a cambiar nuestras propias vidas autoconvocándonos y organizándonos junto a otras mujeres. Necesitamos grupos espontáneos de cómics y grupos dirigidos con una finalidad específica para el radical cambio cultural. Tengo las esperanzas puestas en los nuevos hombres, niños, niñas, mujeres, lesbianas, trans, intersexuales, queers, para una cultura no sexista, ni machista. El trabajo de Lady's cómics es a punta de cañón, obteniendo recursos desde la propia autogestión, donaciones colectivas y fondos del estado para llevar a cabo este proyecto que rescata la cultura y la historia de las autoras de cómics de Brasil y latinoamérica. Si grupos/colectivos/eventos de este tipo no son imitados, vamos a perder nuestra historia y siempre será el relato de las vencidas (como los relatos de toda América Latina, que parten desde la derrota contra los españoles), siempre seremos las otras, las segregadas, las marginadas de la historia universal del cómic y para que esto no suceda, se debe rescatar con mente y acción arqueológica. No dejemos que se pierda la historia de la historieta hecha por autoras de cómics, por ello es necesario crear eventos bajo la tutela de mujeres. – Katherine Supnem sobre el 2° Encuentro de Lady's Cómics – Belo Horizonte Brazil ————————————————————————————————— Roberto Massó presenta un nuevo cómic mural e inédito sobre la ciudad de Madrid inaugurando así la tercera exposición de la quinta temporada de La ciudad en viñetas. Massó presenta una visión múltiple de un día en Madrid, desde el subsuelo al cielo pasando por el asfalto, poniendo de relieve detalles y acciones, algunas imperceptibles y otras que siempre están ahí, pero nos pasan desapercibidas. Edificios, tráfico, gente, rótulos… todo se conecta en su particular visión de la ciudad. La inauguración será el próximo jueves 6 de abril en la 4ª planta de CentroCentro Cibeles a las 19h, y la exposición se podrá visitar de forma gratuita hasta el 2 de julio de 2017. ————————————————————————————————— "Si alguien me pregunta quien es el mejor dibujante de comics Venezolano mi unica respuesta es Carlos A. Etcheverry . Los demas son puros mamaguevos!" – Alexis Ziritt Eric Colón Moleiro entrevista a Carlos Etcheverry, dibujante venezolano feroz en Los Angeles: La película porno perdida que hizo su tía María Conchita en los años setenta, la supuesta homosexualidad oculta de su padre Robert, la leyenda de la hacienda Daktari y las razones que lo han llevado a renegar de su apellido. Carlos (Alonso) Etcheverry es venezolano y vive en California desde hace más de 15 años. Es artista plástico y autor de un comic que ha visto la luz gracias a la editorial R-ev inspirado en torno a un personaje surreal, suerte de arlequín perverso con ropa del altiplano llamado Borlo y asegura -en este entrevista exclusiva que es tan arriesgada como sus historietas- que en su casa se habla mal de Chávez, de su papá y de María Conchita también, por supuesto ————————————————————————————————— Cómics y noticias que me han llamado la atención esta semana: Entrevista con Emma Ríos – Emma Ríos comparte sus experiencias como creatriz de MIRROR and PRETTY DEADLY con Nadia Alamah de ComicsVerse. All new Space Riders is out!!! Hoy en EEUU!!! Coming at you full force via Blackmask Studio's dynamic duo, Fabian Rangel Jr, Alexis Ziritt. Want to get your hands on this high voltage galactic transmission? Find your local comic shop using Comic Shop Locator or if you don't have a local spot because you live on the moon, here's more options: Black Mask Store + ComiXology. En 2014 Amaru Distro emprendio una gira vía tierra por Suramerica,con el objetivo de dar a conocer el trabajo de creadoras y creadores del fanzine de Uruguay, Argentina, Chile, Perú, Bolivia, Ecuador, Colombia, Venezuela, Brasil y Paraguay, ellxs cuentan como es la movida fanzinera en este lado del continente, desde su orígenes, contexto social y cultural, hasta la actualidad. Esta semana Amaru Distro compartió un teaser de documental, Fanzinogamia. Desiree Rodriguez interviewed by Greg Anderson-Elysee. Columnist and Editorial Assistant for Lion Forge's Catalyst Prime, Rodriguez has written for outlets such as: The Nerds of Color and Women Write About Comics in detail on diversity in comics and pop culture, Latinx representation, feminism, and sexuality. She is currently working as an Editorial Assistant on Catalyst Prime for Lion Forge Comics, coming out in May. Dig in! Berliac's got some new comics on Vice – Asian Food Store Junkies – S01-E05 This week's all about secret origins… Fabian Rangel Jr.'s new comics series "Helena Crash" gets a micro-review. It's pulse pounding, caffeine fueled, sword swinging, machine-gun firing, car crashing sci-fi adventure comic. You know the type. Sol Díaz Castillo y Marcela Trujillo tienen una nueva edicion de La Polola Podcast! En este capítulo las chicas conversan nuevamente con Katherine Supnem, esta vez de su participación en el reciente festival de historieta que organizaron las amigas Chicks on Comics en Argentina. Taiyo Matsumoto o el placer de dejarse abrazar por un cómic. A good Spanish appreciation of the singular mangaka by Manu Garrido. ————————————————————————————————— La gran Vanesa R. Del Rey le ha dado permiso a Comics Workbook para publicar unas selecciónes de sus cuadernos de bocetos. Hemos diseñado esta publicación para que parezca uno de esos libros de de artistas los años 80. Arte y Entrevista. El texto es una transcripción de la entrevista que hicimos con Vanesa cuando visito la Residencia Rowhouse en 2016. Vanesa es un artista impresionante y inigualable. Puedes comprar una copia AQUI. Sigan a Vanesa por Instagram – @vrdelrey – y http://vrdelrey.com/ ————————————————————————————————— Blinkers – 3-29-2017 – by Jack Brougham ————————————————————————————————— Suzy and Cecil – 3-29-2017 – by Gabriella Tito ————————————————————————————————— Joanie and Jordie – 3-29-2017 – by Caleb Orecchio Share this page:Read More:01/24/201801/31/201806/13/201804/18/2018...
Bill Griffith's Weird Pittsburgh
J KellyMarch 25, 2016Art Trip / SketchbooksLegendary Underground cartoonist Bill Griffith has often set his long-running daily newspaper strip Zippy the Pinhead in the city of Pittsburgh. Griffith has visited Pittsburgh several times, including in 2009 when Pittsburgh's cartoon museum, The ToonSeum (then still located in the Children's Museum), put on the show Zippy's Pittsburgh and More, which included some of the strips seen below. On April, Griffith will return to Pittsburgh to talk about "45 Years of Zippy" at the ToonSeum on April 1st at 7 pm and to take part in our Pittsburgh Indy Comix Expo (PIX) on April 2nd. As part of PIX, Griffith will sign books during the day, run a cartooning workshop for Comics Workbook at the Carnegie Library at 3:30, and speak about his new book, Invisible Ink at 7:30. In preparation for all that activity, we thought it was a good time to re-visit a few of those Zippy strips, as well as take a look at some never before seen pages from Griffith's sketchbook composed during a 1990 trip to Pittsburgh. But first, here's a couple where Zippy, Griffy and others note Pittsburgh's "more enlightened and weirder" culture: Here's a few (and there are many more) Zippy strips that are set in familiar Pittsburgh locations: Ritter's Diner in Bloomfield. The Big Day Wedding & Event Center, Strip District. Charlie's Diner (now known as Peppi's, and also once known as Scotty's, as well as Downtown Diner), Lincoln Highway. Glowing Sculpture Thing, PPG Place. In early June of 1990, Griffith visited Pittsburgh to take in the Thomas Rowlandson show at the Frick Art Museum. The images below are taken from sketches he made at the time. While in town, Griffith also spent some time at the historic Kennywood Amusement Park in West Mifflin, as seen below. Griffith, who arrived for that trip via the rail road, also sketched the train ride and station. "For me, Zippy is funniest when his craziness bumps up against the 'real world', which is why I put him in diners and have him talking to Bob's Big Boy," Griffith said in 2009. "It doesn't get much more real than Pittsburgh, PA – it's Zippy Country!" Hopefully he'll find some additional examples of that "more enlightened and weirder" pop culture on his trip back here in April. Share this page:Read More:03/14/201809/11/201806/14/201804/30/2018...
Sally IngrahamJune 16, 2017NewsSally here with Tatiana Gill; graphic medicine; the new superwomen and their fresh talk; Karen Green's life in comics. ————————————————————————————————— Adam Griffiths attended "FRESH TALK: Who are the new superwomen of the universe?" at the National Museum of Women in the Arts in D.C., on June 14th, 2017. He sent these notes for me to share with you: FRESH TALK: Who are the new superwomen of the universe? tag: #freshtalk4change Panelists: Carolyn Cocca : Author of "Superwomen: Gender, Power and Representation." Ariell Johnson : Owner of Amalgam Comics & Coffeehouse, Inc. Gabby Rivera : Writer for Marvel's AMERICA series. Ashley A. Woods : Artist for the Stranger Comics series, "NIOBE: She is Life." Moderated by Emily Whitten. Tonight's panel at NMWA was crowded with curious onlookers, geeks, comics fanatics and well-wishers for the comics medium, which has barely had a presence in the thirty-year old museum's programs or collection. I have to admit I was a little nervous for the panelists; the selection of speakers intimated that the program would serve as a sort of general survey of this contemporaneous moment, where the concept of women and comics are discussed in a women-positive environment, on women's terms. The fact of the matter is that this discussion has been going on for the past two decades. Like pulp fiction, comics has emerged from the margins of popular literature as a force that even Hollywood has had trouble quantifying. We're learning that comic-book movies are made with all hands on deck. One misstep in storytelling or context can unleash a digital herd of comics aficionados. They are protective of their stories, passionate about cinematic interpretations of their heroes, and uncannily heeded by the industries that create this type of entertainment, probably because these fans are primarily men. When comics shop owner Ariell Johnson is discussing her first forays into comics, she mentions a male friend with a great collection of comics. She was always borrowing his, but when an image of Storm from the X-men pops up during her slide presentation, she lights up: "This woman was the one who started it all for me," she says. There seems to be a little guilt there – the collection that she had access to ended at some point and perhaps could have ended her relationship with comics. Instead, she started her own shop. When Gabby Rivera begins discussing her writing, she's still overwhelmed by the influx of community support she got for her early work, and how that motivated her to continue. Artist Ashley Woods remembers getting to comic conventions with no money, sometimes even arriving without her own book in hand to sell. There's a thread here that's tough to follow if you choose to really feel it; Gabby Rivera wants you to know that her mom is awesome. When Rivera's mother calls she asks: "Gabby have you eaten something?" "eatsome'neat." It's something about how women hold fast to their communities, sometimes needfully breaking themselves in order to advance. Speaker Carolyn Cocca suggested that the cult of domesticity in the United States is responsible for sluggish progress for women in the comics industry. Within that history, we do know that there were women creators in comics. We also know that there were tons of women colorists, women letterers, women running printing presses. The standout artists and writers however are the ones that there are few of, seemingly. The mise-en-scène here is that women comics creators are piggybacking on each other towards an enhanced presence in the comics field. Last night, the room was very warm with this prevailing outlook. ————————————————————————————————— Tonight the reception for the 2017 Comics & Medicine Conference: Access Points will be held at the Fantagraphics Bookstore – featuring a book signing by Tatiana Gill. She will be presenting her new collection, Wombgenda; "fierce feminist comix" to all reports. Fantagraphics Bookstore & Gallery is located at 1201 S. Vale Street and the event will be from 6-9 PM. The Seattle Review of Books writes about Tatiana Gill's new comic: "The three long pieces in Wombgenda address Gill's journey to developing a positive body image, her abortion story, and an account of getting a new IUD at Country Doctor. Her style in these strips is very reminiscent of Seattle cartoonist Roberta Gregory's autobiographical comics from the 1990s — simple figures, little to no backgrounds, and a lot of words packed into every panel. They feel something like handwritten letters from a friend — confessional, intimate, exuberant, and heartfelt." Read the rest of the review HERE. This is the eight annual Comics & Medicine Conference, the bulk of which will be held at the Seattle Public Library Central Branch (June 15th-17th). This year the event features keynote speakers Hillary Chute, Georgia Webber, and Rupert Kinnard. Learn more about the event HERE. Seattle Weekly profiled the event, and spoke to co-founder MK Czerwiec about the importance of comics in health care. " "Comics have the power to convey important information in ways that people who are dealing with issues in health care and caregiving find appealing to absorb," Czerwiec explains. Comics have been used in public health situations for decades to make information accessible in ways that can "transcend language barriers," but they also provide patients with a "form of reflection and … storytelling" that can help in the healing process. They also help others empathize with patients. For those reasons, she says, nursing and medical schools are beginning to use comics to teach students. Czerwiec says that Seattle has existed on this intersection between comics and medicine for a very long time. Cartoonist Mita Mahato, who has helped to organize this year's Comics & Medicine conference, has long been a booster. Ellen Forney's memoir about life as an artist with bipolar disorder, Marbles, has fast become a classic in mental health circles. And "of course, Meredith Li-Vollmer at the King County Public Health Department has come to our conferences in the past and presented projects that she's done with David Lasky in the public health arena." Li-Vollmer and Lasky worked on the comic No Ordinary Flu, which saw a print run of over half a million copies translated into a dozen languages and distributed around the country." Read the rest of the article HERE. ————————————————————————————————— Karen Green's life as a comic, by Nick Sousanis – or, "How a Butler librarian became Columbia's first curator for comics and cartoons". Check out the whole thing HERE. Nick Sousanis wrote about the experience of making the comic: "While only six pages long, this proved to be a huge undertaking – i was working on it December through March, and it was just published this week. When first approached to do this project, I was hesitant. Although I'm good friends with Karen and she was a great colleague while I was doing my doctoral work, biographies are not really the sort of comic I make. But then I got the idea to tell her story through homages to all the comics she read growing up and through adulthood – and that got me excited for the challenge (I did do one autobiographical piece a long time back that touched upon somewhat similar terrain). And it was a challenge – the amount of reference material for this short piece are kind of ridiculous but once you've committed to this path – can't really stop walking. The comic draws on her lifelong fascination with Alice in Wonderland in a few places, the New Yorker, the Bayeux Tapestry, Archie, Little Nemo, Charles Burns, and the crowning achievement of the piece – a riff on Al Jaffee's legendary Mad Fold-Ins! (See a recent interview with Jaffee here.) Although this final page was the quickest to draw in the end, it was by far the hardest to figure out." Read more of his thoughts HERE – and see the "fold-in" page in action! ————————————————————————————————— Blinkers – 6-16-2017 – by Jack Brougham ————————————————————————————————— Suzy and Cecil – 6-16-2017 – by Sally Ingraham (based on a sketch by Gloria Rivera) Share this page:Read More:06/18/201806/14/201806/29/201804/03/2018...
CREEP HIGHWAY & the CANDY BOYZ
Chris Anthony DiazMay 23, 2016The Diaz Archiveat the NAMING GALLERY & ElI'S MILE HIGH CLUB oakland, monday, october 6, 2014 shot & edited by chris anthony diaz featuring musical performances by michael deforge, patrick kyle, alvin buenaventura, simon hanselmann, marc arsenault and dylan dockstader Share this page:Read More:The Hannah K. Lee Interview01/25/201802/27/201802/14/2018...
Juan FernándezJune 21, 2017los Cómics / NewsEmpezamos el día conFebrero para galgos de Peter Jojaio; Frank Santoro en vivo;Pati Aguilera e Isabel Molina; Galería Plop!; Álvaro Pons; y los tebeos de Comics Workbook! ————————————————————————————————— Peter Jojaio: La Violencia de lo Sublime Elizabeth Casillas comparte sus impresiones sobre una de las mejores sorpresas que nos ha llevado este año: Febrero para galgos de Peter Jojaio en Revista Cactus: Febrero para galgos es una obra sublime porque implica dolor, porque se aleja de la complacencia o el agrado y entra a formar parte de ese otro círculo que conforman las obras que nos enseñan la decadencia de la sociedad –sin atisbo de humor, sin redención– y en el que podríamos englobar algunos relatos de Adrian Tomine, como el devastador Búhos de Intrusos (Sapristi, 2016), o ese compendio de dolor que es Beverly de Nick Drnaso (Fulgencio Pimentel, 2016). De hecho, lo primero que uno tiende a pensar al terminar esta novela gráfica es que no ha podido hacerse aquí, en España. Por lo arriesgado de la propuesta, por su estilo. Aquí es cuando salen a relucir los referentes del autor, porque más allá de los evidentes –como Daniel Clowes, Chris Ware o Charles Burns–, surgen nombres de disciplinas variadas. «Intentaba usar como buenamente podía todo aquello que iba viendo y me gustaba: de Aki Kaurismäki, el tipo de intensidad que alcanza a través de un lenguaje y un humor frío y áspero. De Jean Pierre Melville, cómo hace que los actores se muevan como piezas de un reloj, cómo explica los personajes y el mundo en el que viven a través de la acción, sin apenas recurrir al diálogo. El uso de la perspectiva en las pinturas del gótico. Leer Hijo de la ira de Jim Thompson y El señor de las moscas me dio algunas ideas de base. Los cuadros de Paula Rego, James Ensor, Caspar David Friedrich», enumera Jojaio. Léanlo AQUI. ————————————————————————————————— RiYL Episode 219: Frank Santoro Our fearless leader, Frank Santoro speaks up in the latest edition of RiYLcast with Brian Heater. They met up at the Row House Residency in Swissvale, PA for a rich, cafe style discussion: Pittsburgh comics, regionalism, self-publishing and the long shadow of Andy Warhol – it's all there. Póngale play! ————————————————————————————————— Cómics y noticias que me han llamado la atención esta semana: Sol Díaz Castillo y Marcela Trujillo tienen una nueva edicion de La Polola Podcast! Las chicas conversan con Pati Aguilera e Isabel Molina, ilustradora y periodista, además de ser el elemento femenino de Galería Plop!. Hablan acerca de la historia de la Galería, sus aventuras, proyecciones, momentos altos, y momentos complicados. Plop! Galéria ha compartido un trozito de la exposición Casa Ajena, de Mathias Sielfeld, Nico González, Matías Prado y Pablo Luebert. Denle un vistazo. La fanzinoteca del Instituto Valenciano de Arte Moderno (IVAM) calienta motores con una exposición con los fondos de Álvaro Pons. Al igual que ocurre con nuestras parejas de baile, en los contratos también debemos elegir bien a quien concedemos nuestra obra. Ceder o no ceder en exclusiva? Esa es la cuestión de la que hablan hoy en el post, ¿Me concedes esta obra? en firmado por. ————————————————————————————————— Suzy and Cecil – 6-21-2017 – by Gabriella Tito ————————————————————————————————— Joanie and Jordie – 6-21-2017 – by Caleb Orecchio Share this page:Read More:Thee Santoro…03/21/201806/14/2018Frank Santoro in…...
Posted on June 28, 2018 by Sally Ingraham
Sally here with comics and news from Rina Ayuyang, Heidi MacDonald, Carole Maurel and Mariko Tamaki, and more!
Coming this November from Drawn & Quarterly is Rina Ayuyang's Blame This on the Boogie. It's the story of her childhood as a Filipina-American in Pittsburgh, PA, and how music and pop culture got her through the tough high school years, and continues to keep her sane as she navigates her present-day life as an artist and mother in Oakland, CA. Publishers Weekly has a brief review of the comic HERE.
HERE is a preview of the book!
Vera Brosgol, Ngozi Ukazu, and Raina Telgemeier at the ALA Conference 2018
Heidi MacDonald attended the American Library Association annual conference in New Orleans recently, and published a complete report of her experience at The Comics Beat. As a former librarian myself, and a kid who considered my local library a second home and counted my librarians among my best friends…I am always interested in how librarians have been saving the world lately. Heidi concludes her detailed account of an uplifting and informative experience with these thoughts:
"And that's really the bottom line about the ALA. Librarians love comics not because it's a secret hobby they try to fob off on other people – graphic novels are highly circulated books in libraries. There is an avid readership and a growing need for more information about all of it. I think a lot of first time ALA attendees" [from comics publishing] "thought that their job would be trying to persuade librarians to give comics a try, but the reality is that curators are way ahead of that – they're always looking for MORE information about the publishers and authors their patrons are interested in, and more information to justify their purchasing budgets. They are hungry for more books that people can read and enjoy.
Far from the roil of the DM, graphic novels were clearly on the upswing "Graphic novels are big and they're just going to get bigger," someone at the Disney booth, of all places, told me.
Creator Frank Cammuso had an even more blunt assessment. "I think libraries saved comics," he told me. Looking back at how comics emerged from the wreck of the post speculation market into the manga-fueled era of bookstore comics, and the recovery following Borders going under, library sales have risen steadily, an invisible but integral part of the business for publishers smart enough to get in on it. The numbers don't lie: There are an estimated 119,487 libraries in the US, including 16,000 public libraries and nearly 100,000 school libraries. A hit in this market dwarfs the direct sales market, and doesn't even show up on Bookscan."
Read the rest of the report HERE.
Paste Magazine has an excerpt from French cartoonist Carole Maurel's Luisa: Now and Then, newly adapted into English by Mariko Tamaki and available this week from Humanoids' Life Drawn imprint.
"A disillusioned photographer has a chance encounter with her lost teenage self who has miraculously traveled into the future. Together, both women ultimately discover who they really are, finding the courage to live life by being true to themselves. Luisa's sexuality is revealed to be a defining element of her identity, one which both of her selves must come to terms with. A time-traveling love story that turns coming-of-age conventions upside down, Luisa is a universal queer romance for the modern age."
See the preview HERE.
A few extras
PRI has a brief story on the new artist behind the comic strip Nancy – HERE.
A 13-year old cartoonist named Sasha Matthews responds to Trump's family separation policy – HERE.
Suzy and Cecil – 6-29-2018 – by Sally Ingraham
Rowhouse Residency Report – Ian Densford
Sally IngrahamJune 22, 2017NewsSam Ombiri brings thoughts on C.F.'s Powr Mastrs 3 – plus other links and comics for your Thursday! ————————————————————————————————— Sam Ombiri here: I read Powr Mastrs 3 by CF very often. Very, very often. Even more often than Powr Mastrs 2, but that could just be a result of me lending it to someone else. Powr Mastrs is the type of book you lend to other people. I'm more invested in Powr Mastrs 3 than 2, maybe as a result of the pace at which the characters are moving. The story doesn't have a fast moving energy, but a slower more contemplative progression – not to say that this wasn't the case for Powr Mastrs 2, it's just there was only one real moment of action in 3 that I can think of. Only one complete, concrete, certain action that transformed the landscape of other events to come. So then, with 3 more so than 2, a certain weight is added to the momentum that was fueled by what had happened before 3. Of course I haven't read 1 because I was kind of late to the party with CF. He begins the book by telling those who mimic him to "follow your own star." Can you, the reader, draw like CF does? The way he draws seems impossible. It's a very stubborn way to draw. He drew amazing characters – an amazing cast that you can imagine doing various things even before the story begins. So then it's a real thrill to be seeing them moving in the story, mixing with your presumptions and what you imagined them to be like, and acting in accordance to their committed role. The beginning with the Circuit Runner feels like, as the reader, you're being told to travel with the Circuit Runner. The beginning hints to us about what will come to fruition. The characters are quiet before they address us. They occupy their own moments before they address the reader, if at all. The first person who addresses us is Jim Bored, who is stretching his imagination to his limits. He asks "what was entertainment?" while stuck in his prison in Mosfet's lab. Really similar to like what we do with art and stuff I guess – I wonder what question CF is asking here? Maybe it's something about what symbolically happens when our deteriorating memory and alienated imagination reaches its limit. I felt that Jim Bored is still making stories that attempt to keep the mind going when trapped in an inescapable pit. Meanwhile, CF is drawing a reconstruction of perception after perception is lost or is slipping away. New China is an easy place to navigate, thanks to the way CF guides the reader from panel to panel. One moment floating gently into the next moment without any scheme to rush, beyond what feels like the needed pacing. The reveals that happen are slow as we pan to some hidden factor in New China of some unrevealed element that hasn't come fully into fruition but is sure to be big when it does. The people we meet in New China are reduced to a fetishization of action figures. It's a bit dizzying, the intense encounters with what feel like mirrors reflecting an energy present in our lives, but CF catches that energy in a jar and releases it in every page. The ways the characters look, and the way color comes in, is that similar feeling to when you're a kid and the colors of packs of candy stick out to you, and part of the candy and enjoying the candy is the bright colors of the wrappers and the bags you rip – or all those cool action figures that you could never have and imagine playing with. – Sam Ombiri Get a copy of Powr Mastrs 3 HERE. ————————————————————————————————— 6-22-2017 – by Sam Ombiri ————————————————————————————————— Sally here – Ariell R. Johnson has been in business for over a year now, and her plans for Amalgam Comics & Coffee Shop are only getting grander. The Knight Foundation recently picked Johnson out of over 4,500 applicants to receive a grant of $50,000 – she will be expanding her space, and implementing more educational opportunities for the local community. Read more about her shop and her plans HERE. ————————————————————————————————— There's a review of Space Riders: Galaxy of Brutality #2 on Nothing But Comics – they write: "I can't say enough about Ziritt's art, as it really is unlike any other style you see in comics now. It's like the album art you saw on 70's covers, bright and glaring, its subject matter seizing your eyes. On reflection, Ziritt's style is like a spiritual continuation of Jack Kirby and Jim Steranko's work in the 60's. The bold body shapes, the sublime color combinations, and the geometric technology, it all was prominent in the heyday of comics and its mostly vanished in modern times." Read the rest HERE. Get a copy of Alexis Ziritt's and Fabian Rangel Jr.'s other new comic, Tarantula, HERE from AdHouse Books. ————————————————————————————————— Work by Jim Pluk – he recently had a solo show in Mexico at the gallery TOBA. Check out more of Jim's work HERE – and get a copy of his most recent comic Canosa's Welcome HERE. ————————————————————————————————— Frank was the guest on Episode 219 of of Brian Heater's RiYL podcast: "…unlike the Bay, his hometown is actually livable for an artist. In fact, he own two houses on the same street. The second, a mirror image of his own residence, is the headquarters of the Rowhouse Residency, an off-shoot of his long standing comics correspondence course that he likens to "a dojo for students much like a martial arts academy." It's an immersive school from which Santoro broadcasts lessons and publishes the work of the artist in residence, fueled by home cooked meals prepared by his mother who lives up the street. Santoro and I met up at his row house to discuss Pittsburgh comics, self-publishing and the shadow of Andy Warhol." Give it a listen HERE! Learn more about the Comics Workbook Rowhouse Residency HERE. ————————————————————————————————— Suzy and Cecil – 6-22-2017 – by Sally Ingraham ————————————————————————————————— Joanie and Jordie – 6-22-2017 – by Caleb Orecchio Share this page:Read More:03/15/201801/25/201805/03/201804/12/2018...
Aaron CockleFebruary 27, 2017NewsAaron here today with Whit Taylor Comics; PaperJazz; LA Times Book Prize Finalists (Comics Category); Pete Toms Gets Reviewed; Another Look at Matthew Thurber; Horvitz/Provan in Conversation; Congrats to INK BRICK ————————————————————————————————— What is Race? Just the Facts. Whit Taylor has a comic about race and its perception throughout history posted at the Nib. ————————————————————————————————— ————————————————————————————————— Graphic Novel/Comics of Note (in Los Angeles, California) The Los Angeles Times has released its list of finalists for their annual book prize awards, with a strong list of contenders for the 'GRAPHIC NOVEL/COMICS' category: "Beverly" by Nick Drnaso "The Artist" by Anna Haifisch "Don't Come in Here" by Patrick Kyle "What Is Obscenity" by Rokudenashiko (translated by Anne Ishii) "Demon: Volume 1" by Jason Shiga ————————————————————————————————— A Comic Whose Characters Swim in Apathy and Cynicism At Hyperallergic, R. Orion Martin digs in to Pete Toms's Dad's Weekend, published by Hic and Hoc: Every middle-aged character in the book except for Manny seems to be in a state of resigned existential crisis. One middle-aged woman interrupts Manny to tell him about a realization she's had, Once you unpack, you're left with an empty suitcase. What's at the foundation of who you are? Animal instincts? Some shit your parents said to you when you were a toddler? It's all so simple and unimportant. I had this dream where I hung myself with my own DNA strand. ————————————————————————————————— 'The pre-production of Cremaster 3 is kind of just rolling along without me.' Sally and Juan linked to this Max Morris/Matthew Thurber interview last week, but I wanted to take another look at it, especially this part from the start of the Q&A: Max Morris: Back in 2014, you wrote this article for The Comics Journal Website , "Letter to a Young Cartoonist", that stirred some controversy at the time. A bulk of the article dealt with the ramifications of posting comics work on Tumblr and Social Media, among other issues of challengers to the new generation of comics artists. This was in a time when that felt like the primary way to see new work being made by current creators. A little under 3 years after you posted that article, a lot has changed. Looking back at this article, what words do you have to say to the young cartoonist today? Matthew Thurber: I feel more than ever that printed media contains autonomous power that is almost magical. All internet publication is embedded in and framed by another corporation. With print, as soon as it flies off the press it belongs, like the land, to "you and me". The disturbing thing about social media is they change the terms of publication from one of total freedom, to one where you are being allowed to express yourself. Because they grant it… they can take it away. Social media echo chambers are destructive: look at what they have helped to do in terms of ripping our country in half, replacing everything with a simulation of reality. Is that what you mean by "a lot is changed"? We're opting into 1984 because it feels good. It's so seductive to feel like you've done something in pseudo-reality. We need to learn to live without the internet, to distribute artifacts in physical space, to know how to talk to each other again. It is so much more meaningful and beautiful. And guess what??? I'm part of the problem because I'm on INSTAGRAM (@mtshelves)! What a miserable hypocritical worm!!!! And the worst part is….I LOVE it! I love the ego pampering attention and the immediacy despite my complete conviction that it sucks! ————————————————————————————————— Ask the Stone to Say Via Triple Canopy, David Horvitz and Alexander Provan discoursing on time, space, discourse, discoursing: Horvitz's work as an artist often suggests how to live outside the bounds of time, how to recover forms of experience that are rooted in natural rhythms and not the dictates of international bureaucracies. "A lot of people are into yoga and meditation, but I see those as ways of relaxing your mind and body so that you can continue to work efficiently and productively, at absurdly accelerated rates," he says. "I'm interested in forms of meditation that cultivate the enjoyment of time, that oppose efficiency, that make you miss every deadline." Horvitz and Provan cover ancient Egyptian astrology and atomic clocks, the auditory landscapes of nineteenth-century villages and the contemporary landscapes offered by geostationary satellites. They find the origins of Brexit in the imposition of the Gregorian calendar ("European-elite time") on the British in 1752, which vanquished eleven days and gave rise to a protest slogan after Boris Johnson's heart: "Give Us Our Eleven Days." ————————————————————————————————— INK BRICK's crowd-funding goal for it's 8th issue was met with some time to spare, so congratulations to them. The new book has a great list of contributors, and frequent readers of this news-blog will see some of their favorite cartoonists/people involved: Vidhu Aggarwal | Alyssa Berg | Warren Craghead | Erin Curry | John Hankiewicz | Keren Katz | Mark Laliberte | Matt Madden | Paul Madonna (cover) | Alexander Rothman | Alexey Sokolin | Bishakh Som | Deshan Tennekoon | Andrea Tsurumi | Paul K. Tunis | Andrew White | Sophia Wiedeman | Shahar Sarig More info, as well as details about their 'Stretch Goals', are noted on their Kickstarter page. ————————————————————————————————— The Spring Semester of the Santoro Correspondence Course for Comic Book Makers is starting soon! The semester has a rolling start date, but it will officially kick off on March 7th. We will continue taking applications past that date – Frank is always willing to make it work for your schedule. Just apply! The course is 8 weeks long – 500 bux – payment plans are available. More details can be found HERE. Email santoroschoolATgmail to apply ————————————————————————————————— A Cosmic Journey – 2-28-2017 – by Cameron Arthur ————————————————————————————————— Suzy and Cecil – 2-28-2017 – by Sally Ingraham ————————————————————————————————— Joanie and Jordie – 2-28-2017 – by Caleb Orecchio ————————————————————————————————— Cozytown –2-28-2017- by Juan Fernandez Share this page:Read More:03/09/201802/06/201803/06/2018Digital Ways of Seeing…...
Ch1: The Comic Head (FACC)
Juan FernándezJanuary 1, 2016ResourcesShare this page:Read More:09/17/2018Rowhouse Residency…07/20/201810/18/2018...
Aaron CockleJune 30, 2016NewsSally here – I'm in Honduras looking for Blue-crowned Motmots, Montezuma Oropendolas, and Lovely Cotingas (birds!)…as well as Honduran comics, so I'm handing the mic over to Aaron this week. Back with you next Friday! Take it away, Aaron. ————————————————————————————————— Thanks, Sally, looks like you're having a nice trip! Today in the news we have Robert Kirby in conversation with MariNaomi; Smile Revisited; WE ALL WISH FOR DEADLY FORCE; Howard Cruse; mini-architecture; Austin English on the Risograph; PERSPECTIVE!; Secretimes; Drawing as Language Interviews; Mining the Moon ————————————————————————————————— "I Want Everything to Mean Something": A Conversation with MariNaomi I'm always categorizing cartoonists: there's this pure storytelling school that I would put you in, alongside John Porcellino, Kelly Froh, people like that. It's this type of storytelling where the fat is boiled down to a lean, spare-looking narrative. What's called "deceptively simple." I feel like that describes my process, both with writing and drawing: I'm basically editing the whole time. But I don't want to be spare just to be spare (or busy just to be busy). I want everything to mean something. To meet the emotion of the scene or the moment? Exactly. Once I was mentoring a student, who had this wonderful, personal story she wanted to tell about her family. It was a quiet piece, and that's how she was approaching it. But some of her peers, her fellow students, were trying to convince her to draw all these very dramatic panels for it, which was causing her a lot of anxiety, because she didn't think she could pull that off. And the thing is, what they were suggesting was completely wrong for this particular story! I think when you're just starting out you might feel like "I need X, Y, & Z to tell a story," but that's not how it works! There's no template. Every story has its specific needs. That's what I learned from doing all those comics for The Rumpus, which became my book Dragon's Breath. I learned as I went how to make each individual piece be what it wanted to be. —via Robert Kirby at TCJ ————————————————————————————————— Raina Telgemeier's Smile signaled a sea change in comics still felt today At a glance, this feels like a pretty big deal for Telgemeier but not necessarily all that important to anyone else—just a personal success worth celebrating. But Smile has inarguably changed the way many people look at comics, and the way the industry itself approaches audiences. It's not that there was no one else writing graphic novels for young women when Smile came onto the scene in 2010, but Telgemeier's incredible success legitimizes comics as suitable for YA literature and YA literature as suitable for comics, at least to people who were paying attention to the number of copies sold. ————————————————————————————————— See trauma become art with hints of dark humor in 'We All Wish for Deadly Force' To say that Leela Corman puts much of herself into her art is an understatement. Most of her collected work here covers her own history, traumas, perspectives, feelings, and even humor. As she herself admits, her sense of humor is quite dark and she proudly wears her Jewish and Brooklyn heritage on her sleeve as inspiration for her work. Through her short stories, readers not only learn a lot about their creator, but also learn a lot about how trauma is experienced as well as genuine issues involving women in Egypt as well as those suffering from loss. Her style is simple yet effective, with plenty of detail in clothing, furniture, and backgrounds with plenty of realistic illustrations of people (especially herself). Her sense of color to establish mood is exceptional and evident in much of her work here. The entire graphic novel gives the reader many things to reflect upon afterward and sticks with one long after it has been put down. ————————————————————————————————— International Comic Arts Forum 2016 Artists Talk: Howard Cruse Artist Howard Cruse's presentation at the International Comic Arts Forum at University of South Carolina on April 15, 2016. Cruse is the Eisner and Harvey award-winning creator of Stuck Rubber Baby, a founding editor of Gay Comix, and creator of Barefootz and the Wendel comics series. ————————————————————————————————— Japan opens its first museum for miniature architecture models ————————————————————————————————— New risograph zine by Austin English ————————————————————————————————— 10 typical perspective errors —via electricalice ————————————————————————————————— Keith Jones' Secretimes is a Pleasant, Joycean Class War Somehow, it's not depressing, even with the rich murdering the poor for sport, probably because of the fun Jones seems to have drawing the thing. Nothing seems to mean much, but that keeps the stakes low, and the artist's habit of filling every bit of space with some doodad or other is pleasant without becoming overcrowded. The result is like James Joyce's riffs slowed down to a more manageable pace—a gifted brain unwinding for pleasure by extemporizing. ————————————————————————————————— Drawing as Language Video-Interviews with Cartoonists To commemorate the 25th anniversary of the international Comix-Festival, Fumetto, we will be showing interviews with cartoonists who coined our contemporary drawing culture. They speak of their drawing experiences and on topics such as «drawing as a language» and «visual narration». ————————————————————————————————— Matthew Thurber's Mining the Moon Essential 4th of July reading/viewing/listening. The Comic The Musical ————————————————————————————————— Share this page:Read More:Rowhouse Residency…The Hannah K. Lee Interview07/16/201806/29/2018...
Duets with Frank
Chris Anthony DiazJanuary 27, 2016The Diaz ArchiveAll Photos by Chris Anthony Diaz and colored by Graham Willcox. THEE chronicler of north american small press comics. Share this page:Read More:Rowhouse Residency…06/14/201810/18/201809/26/2018...
KRAMERS ERGOT 9 release party at FAMILY
Chris Anthony DiazApril 29, 2016The Diaz ArchiveKRAMERS ERGOT 9 release party at FAMILY bookstore, Los Angeles Thursday, April 14, 2016 Candids by Chris Anthony Diaz and color by Graham Willcox Share this page:Read More:05/17/201802/28/2018Jaime Hernandez Talk…03/21/2018...
Juan FernándezNovember 1, 2017NewsEmpezamos el día con Marcela Trujillo; Isabel Mendez; Berliac, Museo ABC, Daniel Jiménez Quiroz; y los tebeos de Cómics Workbook! ————————————————————————————————— Marcela Trujillo: Siempre Hay una palabra para destruir a la mujer libre que escoge cómo vivir. Denisse Leighton entrevista Marcela Trujillo en Belelu: Marcela "Maliki" Trujillo (48) es una de las más famosas ilustradoras chilenas, una de las pocas mujeres en el Olimpo del dibujo a lápiz y/o tinta china en este país. Sin embargo, para llegar a este lugar de reconocimiento ha debido pasar por muchas situaciones que han forjado su carácter y carrera artística. Porque ser mujer en todas las áreas significa un cuestionamiento, más si tus primeros proyectos hablan de cuánto te gusta el sexo. "Enamorada de mi Clítoris", publicado en The Clinic, fue el comic que la llevó a convertirse en una de las ilustradoras más irreverentes de Chile a inicios del 2000 cuando aún vivía en New York. Inspirada en las obras de Phoebe Gloeckner, Julie Doucet y Aline Kominsky-Crumb y también los capítulos de Sex And The City serie que veía en VHS mientras vivía en la Gran Manzana. El inicio de su carrera se enfocó en la pintura tras sus estudios de arte en la Universidad de Chile, sin embargo, las experiencias en New York la acercaron al cómic donde hoy es todo un referente en un momento álgido para esta técnica. Asegura que una obra de Phoebe Gloeckner hablando de abuso la impactó al punto de comenzar a indagar en el cómic hecho por mujeres creando así su personaje "Maliki 4 ojos" que relataba al inicio bromas sobre sí misma pero que mutó hacia la sexualidad, a hablar de la masturbación y el deseo femenino en general. Léanlo todo AQUI. ————————————————————————————————— Las ideas ¿Nacen o se hacen? Isabel Méndez nos ofrece un vistazo a nuestras erramientas creativas en Firmado Por: Hoy vengo con un post sobre CREATIVIDAD. No, no te has equivocado de página. Esto es FirmadoPor y ya te adelanto que estamos preparando nueva web. ¡Oh Yeah! Esta semana el post es distinto, aunque no nos alejamos mucho de la propiedad intelectual ya que la creatividad tiene mucho que ver con los derechos de autor ¿No es requisito indispensable para que una obra esté protegida por derechos de autor que la misma sea ORIGINAL? ¿No tiene que ver la originalidad con la CREACIÓN? ¿No es acaso la creatividad la HERRAMIENTA más valiosa de los autores? Voy a dejarme llevar en estos post, investigar y curiosear sobre el proceso creativo. Ver cómo creaban o qué opinaban del arte y la creatividad otros artistas y, por qué no, ponerlo en relación con nuestra Ley de Propiedad Intelectual. Léanlo todo AQUI. ————————————————————————————————— Los cómics y las noticias que me han llamado la atención esta semana: Seis libreros colombianos hablan sobre las ventas del cómic, el nacimiento de autores locales y el Festival Entreviñetas en El Espectador. ¡Queremos tebeos! No os perdáis la exposición HISTORIETAS DEL TEBEO, 1917—1977 en el Museo ABC. Berliac talks Identity Politics in Exberliner magazine Issue 165 on Full article on page 20. En StartUp, Daniel Jiménez Quiroz habló de la importancia de establecer redes de comunicación entre abogados y creadores de cómic. ————————————————————————————————— Suzy and Cecil – 11-1-2017 – by Sally Ingraham ————————————————————————————————— Cozytown – 11-1-2017 – by Juan Fernandez ————————————————————————————————— Joanie and Jordie – 11-1-2017 – by Caleb Orecchio Share this page:Read More:01/31/201804/18/201806/13/201805/02/2018...
Juan FernándezApril 11, 2018los Cómics / NewsAle Acosta, Pablo Delcielo, y Liv Strömquist! —————————————— Los cómics y las noticias que me han llamado la atención esta semana: ~ en Español y "sometimes in English" ~ ————————————————————————————————— Sol Díaz Castillo y Marcela Trujillo tienen una nueva edicion de La Polola Podcast! Las chicas conversan con Ale Acosta acercae su trabajo, de su forma de trabajar, de los proyectos y de su amor por la docencia, entre muchas cosas mas. ————————————————————————————————— Por qué lo llaman vagina cuando quieren decir vulva – Elizabeth Casillas Puede que sea uno de los tebeos más controvertidos que vayas a leer este año, y no precisamente por decir sandeces. La historietista sueca Liv Strömquist firma El fruto prohibido (Reservoir Books, 2018), un cómic que repasa la historia cultural de la vulva con argumentación teórica pero, sobre todo, mucho humor. Anuncios de compresas o tampones que recurren, en exceso, a las palabras "limpia" y "segura". Señores que se preocupan, en exceso, de lo que suele denominarse «el órgano sexual femenino». Autoridades, organizaciones, periódicos, médicos y demás organismos empeñados, en exceso, de producir (des)información sobre el sexo. Y así sucesivamente, Liv Strömquist termina enumerando una serie de cosas que están mal (muy mal) en nuestra sociedad en lo que a la mujer y su sexo se refiere. Léanlo todo en REVISTA CACTUS ————————————————————————————————— Entrevista a Ghor Bosch (2015) – dibujado por Pablo Delcielo – publicado en Buenos Aires por Yegua ediciones. Este comic es parte de una serie de entrevistas imaginiarias, que son bastante graciosas y serias con Ghor Bosch aunque. Léanlo AQUI. ————————————————————————————————— ————————————————————————————————— Suzy and Cecil – 4-11-2018 – by Gabriella Tito Cozytown – 4-11-2018 – by Juan Fernandez Share this page:Read More:07-18-201802/21/201804/04/201802/28/2018...
Juan FernándezNovember 9, 2016los Cómics / NewsJuan con un poquito sobre: GRAF Madrid; Chicks on Comics;Animal Collective. Nuevas iniciativas en el cómic europeo; el Festival Furioso de Dibujo; the 2016 FUERZA Awardees. ————————————————————————————————— ⚡ Antes que todo, quiero compartir unas buenas noticias: I'm extremely honored to have been chosen as one of the 2016 FUERZA Awardees here in Pittsburgh! I've been here doing my best to make Pittsburgh a city where self-publishing and comics making foster an equitable and inspiring community. It's really nice to feel that others are feeling the impact of what we're building here. Para ustedes que no vivan en Pittsburgh, The FUERZA Awards bring visibility to the Pittsburgh Latinx leadership. "The 2016 FUERZA Awardees reflect a true dedication to culture, to pride, to hard work and to the possibility of creating a community that reflects our values, our identities and our histories. Latinx have never been one to shy away from challenges. And we are here, contributing to make the Pittsburgh region a more vibrant, a more equitable and more just place for all who call it home." If you're in town next week, Come celebrate with me and the rest of the awardees next Friday NOV. 18TH, 5-8PM at ALLOY 26 – there'll be food, n dancing, n zines! en español y ingles! https://www.facebook.com/events/989303767862057/ ————————————————————————————————— ⚡GRAF – Madrid Es este fin de semana! Sera el punto de encuentro con el cómic de autor y la edición independiente. Ya puede consultarse la programación y el listado de expositores de #GRAFMadrid2016 que tendrá lugar del 11 al 13 de noviembre de 2016 en Madrid. talleres, musica, encuentros, feria de libros… es obvio que el equipo Mireia Pérez, Iñaki Sanz, Borja Crespo, Gerardo Vilches y Pedro Toro estan montando un monstruo de comics y fanzine fest… GRAF Madrid 2016: 11,12 y 13 de noviembre en @MuseoABC ————————————————————————————————— ⚡ Por primera vez se presenta en Proa el colectivo "Chicks on Comics", integrado por Bas, Clara Lagos, Delius, Julia Homersham, Maartje Schalkx, Powerpaola y Sole Otero, siete mujeres historietistas de la Argentina, Colombia, Holanda y Nueva Zelanda, quienes desde 2008 exploran los recursos narrativos del cómic como medio de comunicación e intercambio, utilizando plataformas virtuales el grupo produce diálogos, publicaciones y exhibiciones para dar visibilidad a mujeres historietistas y promover el intercambio y el diálogo entre las disciplinas afines a la historieta y sus diversos públicos. Te digo que va a ser increíble! Diciembre 2016 – Marzo 2017 Fundación PROA Av. Pedro de Mendoza 1929 La Boca, Caminito Buenos Aires Argentina ————————————————————————————————— ⚡ Mireia Pérez ha compartido su impresiones de la nueva exibicion, Animal Collective. Nuevas iniciativas en el cómic europeo en Centro Centro, Madrid. Léelo y visitálo! Se me ocurre que el cómic puede tener más que ver con la danza que con la literatura. Especialmente el que se aleja de las estructuras narrativas más convencionales y se acerca a lo abstracto. Lo secuencial aporta una nueva dimensión al dibujo y la composición gráfica juega un papel importante en cuanto al ritmo. El texto (o el gesto), cuando sucede, termina de dotar a las obras con un significado dramático humano directo. En el prólogo de Best American Comics 2015, el crítico y editor Bill Kartalopoulos agradece especialmente la participación de Raymond Pettibon en dicha antología con piezas que, por su forma, se han calificado como cómics. Encajan así en una categoría inventada por el propio Kartalopoulos de forma privada y bautizada como "paracomics" donde también entraría la obra de artistas como Sol Lewitt, Ida Applebroog, Jennifer Barlett, Keith Haring, Duane Michals o Joe Brainard. Explica también que durante décadas los cómics y sus creadores han trabajado en paralelo al mundo del arte contemporáneo mientras que hoy muchos jóvenes autores, con las lecciones del arte de los siglos XX y XXI digeridas, están produciendo cómics que tienen más parentesco con los "paracomics" que con muchas de las obras que históricamente han caracterizado al medio. ————————————————————————————————— ⚡ Entre ayer y el viernes se realizará en Plataforma Lavardén una nueva edición del Festival Furioso de Dibujo,. Una muestra colectiva sobre ciudades imaginadas, mesa editorial de sellos y autores rosarinos, charlas y talleres a cargo de reconocidos ilustradores esperan ser descubiertos. Ayer salio una nota sobre el festival en el diario Diario La Capital – Rosario esta toda la información de las actividades: El festival surgió en 2014, cuando un grupo de dibujantes o más bien de gente a la que le interesaba el dibujo comenzó a reunirse más o menos regularmente. "La idea del festival, justamente, es reunirse, aunque sea una vez al año, intercambiar experiencias, tomar talleres, ver el trabajo de otros y mostrar el propio y discutirlo, pensamos el dibujo como un punto de encuentro y en eso tratamos de que el espacio que brindamos sea lo más amplio posible", explica Vane Saucedo, una de las organizadoras del festival junto a María Luque, María Victoria Rodríguez García, Romina Biassoni, Giselle Feuillade, Pipah, Jazmín Varela, Alina Calzadilla, Flopa, Lucía Seisas, M. Luz Preumayr y José Sainz. ————————————————————————————————— ⚡Echale un vistazo a este medallón estilo Pompeii! "Le encargué a la gran Airi Maeno que hiciera unos medallones de plata con sede fuera de mis dibujos. Este dibujo viende de mi libro Pompeii. Es algo que puedo imaginar que alguien se pondría hace dos mil años. Un simple medallón de un ser querido. Un retrato. Algo permanente para desafiar a la desaparición". – Frank Santoro Puedes comprar uno aquí! hasta la proxima! Juan Share this page:Read More:05/23/201806/19/201805/09/201807-18-2018...
Sally IngrahamMay 19, 2016NewsToday, on scene reporting from Alyssa Berg, an amazing comics show in Germany, comics with Georgia O'Keeffe, tips from Benjamin Marra and Noah Van Sciver, and a few other things we're excited about. ————————————————————————————————— Alyssa Berg provides this snapshot of a recent evening spent with Rokudenashiko, MariNaomi, and Anne Ishii (pictured above, left to right) – "On Wednesday evening (May 18th, 2016), the Asian American Writers' Workshop in NYC presented a conversation between MariNaomi (Turning Japanese, 2dcloud, 2016), Rokudenashiko (What Is Obscenity? The Story of a Good For Nothing Artist and her Pussy, Koyama Press, 2016) and Anne Ishii (moderator of the conversation, translator and co editor of Rokudenashiko's new book). MariNaomi did a reading from Turning Japanese accompanied by projected images from the book. The first part focused on her experience in an illegal hostess bar in San Jose. The second part presented was a quieter section of the story based on a visit to the temple of the Goddess of Mercy in Japan. (Check out that excerpt HERE.) MariNaomi also discussed curating the Cartoonists of Color Database and the Queer Cartoonists Database and her fear that "diversity is a fad right now." Rokudenashiko presented a wide variety of manko (pussy) artworks that appear in her new book What Is Obscenity? The Story of a Good For Nothing Artist and her Pussy and discussed details of her arrest for breaking Japanese obscenity laws for posting online, open-source blueprints of her pussy. She also talked about being an easy target for police because she is an unrepresented, female, freelance artist but "people in a position of weakness need to show resistance." Rokudenashiko presented this video piece and if you have 4 minutes 34 seconds to spare, I recommend having a look." – Alyssa Berg ————————————————————————————————— The German show …and Other Stories opens today in the Zeitraumexit gallery in Mannheim! The show explores current American self-publishing trends and will feature a collection of booklets, original drawings, mini comics, zines, and other printed materials by American artists Alyssa Berg, Julia Gfrörer, Aidan Koch, Laila Milevski and Maggie Umber. What a lineup! Maggie Umber and Raighne Hogan (of 2dcloud) will be presenting two free workshops at the gallery on June 11th and 13th – find details on how to attend HERE. ————————————————————————————————— Check out a new feature on Comics Workbook: ART TRIP – a continuing series that offers reflections on art and comics, and the adventures that transform those who seek it out. First up, my own (Sally here!) recent run-in with Georgia O'Keeffe. "…I'm looking at her stuff and seeing comics, yes. That's where my brain lives constantly, these days. The index card is a panel for a comic. The Palo Duro Canyon drawings aren't a series – they're a sequence. Her paintings without lines prove how lively comics can look without being pinned down by traditional inks." Read the rest of the adventure HERE! ————————————————————————————————— Benjamin Marra added his "10 Rules for Drawing" to the collection curated by Dov Torbin this week. Some highlights for me are: 2. Emotional accuracy is more important than emulating reality. Realism is overrated and reality is an illusion anyway. Just make a good drawing. 4. Don't create walls. You'll only run into them later. Avoid Puritanism of materials, tools, techniques, methods, and approaches. Don't be a perfectionist. 9. You gotta know the rules before you can break the rules. 10. There are no rules. Check out the whole list here, and read more "10 Rules for Drawing" by the likes of Alex Toth or Michael DeForge, among others…! ————————————————————————————————— While we're on the topic of "tips for being a good artist" here's a Comics Workbook TV interview with Noah Van Sciver that I really appreciated. The idea of "world-building" through sketchbooking is great. ————————————————————————————————— Two things I'm excited about that will be releasing into the world soon – Anya Davidson is working on a new zine (above), due to be released at CAKE this year (tentatively titled Gloom Planet)…! The Shirley Jackson Project (edited by Rob Kirby and being released by Ninth Art Press) is in it's final production stages. Here's the rad cover art by Michael Fahy: Can't wait for this beast to roar! ————————————————————————————————— That's my story for this week, folks. I'm currently on the road between Santa Fe, NM, and Pittsburgh, PA, (coming home to the Comics Workbook world headquarters!) so pardon a light offering today. The whole team will be back next week with all the best in comics news for you. Thanks for hanging out with us! – Sally Share this page:Read More:05/21/201806/12/201810/24/201803/01/2018...


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Austin has seen firsthand the unique ability to drastically improve one's quality life – body, mind, and soul. Although no longer a teacher in a traditional classroom, his passion for teaching remains the same. Austin's desire is to use CrossFit to help others better themselves and find a greater level of fulfillment out of their own lives.
Michael Kinslow has a always had a huge passion for fitness. Michael was a collegiate football and baseball player, as well as a competitive martial artist. He has over 20 years of coaching experience for the junior high to collegiate level. His CrossFit journey started in 2007, and he has been a CrossFit coach since 2011. Michael's passion and energy levels are hard to match, and we are thrilled to have him on our team.


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14 people die of cholera in northeast Nigeria
Fourteen people have died of cholera in northeast Nigeria, with most of the victims living in a camp for people displaced by Boko Haram violence, the health ministry said Saturday.
"Up to September 1, 14 deaths have been reported," the health ministry said in a statement, adding that "the total number of suspected cholera cases stands at 186."
Most of the suspected cases and deaths are in Muna Garage, a camp for displaced people on the outskirts of Maiduguri, the capital of Borno—which is the epicenter of the jihadist Boko Haram insurgency.
The other victims come from neighbouring districts.
Nigeria's government and NGOs are now working to improve sanitation, including better water purification and installing extra latrines, in a bid to prevent new cases, the statement said.
The city of Maiduguri has doubled in size since the start of the conflict with Boko Haram some eight years ago, rising to some two million inhabitants due to influxes of displaced people from across Borno state.
The fighting has left some 20,000 people dead and displaced some 2.6 million in the country's northeast, with many people now living in camps where they lack sufficient food and are at risk of diseases like malaria.
Citation: 14 people die of cholera in northeast Nigeria (2017, September 3) retrieved 29 January 2023 from https://medicalxpress.com/news/2017-09-people-die-cholera-northeast-nigeria.html
Cholera kills 16 at Boko Haram displaced camps in NE Nigeria: MSF
UNICEF: 80,000 children will starve to death in Nigeria
Nigeria starts emergency polio vaccinations
Nigeria reports first 2 cases of polio in years, WHO says
Nigeria reports third polio case in restive north: WHO
49,000 kids dying of malnutrition linked to Boko Haram: UN

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