Happy 4th of July!
Get yer Faves!
Today I received Favorites, the zine Craig Fischer has put together to benefit Team Cul de Sac’s fundraising to support research into Parkinson’s disease. It’s a great little thing I encourage you to buy and read, and not — really! — just because I have a piece in it on Carl Barks.
You see, Team Cul de Sac is run by Chris Sparks, friend to the great cartoonist behind the comic strip of the same name, Richard Thompson, who was diagnosed with Parkinson’s in 2009. Its main project is a massive art book with contributions from a wide range of cartoonists to be published by Andrews McMeel in 2012.
Favorites is Craig’s and a bunch of other writers about comics’ way of contributing to this worthy cause. It unites thirty-odd such people, each of us writing about “our favorite comic”, whatever that may mean. Here’s the list of contributors: Derek Badman, David Bordwell, Noah Berlatsky, Alex Boney, Matthew J. Brady, Scott Bukatman, Joanna Draper Carlson, Isaac Cates, Rob Clough, Corey Creekmur, Andrew Farago, Craig Fischer, Shaenon K. Garrity, Dustin Harbin, Charles Hatfield, Jeet Heer, Gene Kanneberg Jr., Abhay Khosla, Susan Kirtley, Sean Kleefeld, Costa Koutsoutis, Andrew Mansell, Robert Stanley Martin, Chris Mautner, Joe McCulloch, Anna Merino, Mike Rhode, Jim Rugg, Frank Santoro, Chris Schweizer, Caroline Small, Tom Spurgeon, Ben Towle, and myself.
Favorites is $5. You can buy it through Team Cul de Sac.
Cover illo from Favorites by Richard Thompson.
Gene Colan RIP
From Doctor Strange #14 (1976), inked by Tom Palmer
I was sad to learn on Friday that the great silver-age cartoonist Gene Colan, known primarily for late 60s and 70s Marvel Comics like Iron Man, Howard the Duck, and above all Tomb of Dracula, passed away after several years of battling liver disease and cancer. He was one of the great stylists of his era, standing apart from his more classically oriented peers in the Marvel Bullpen with an open, expressive idiom — sort of like “Ghastly” Graham Ingels did at EC roughly a decade and a half earlier.
Unusually for a comic book artist, Colan’s drawing was defined less by contour and more by open, enveloping areas of dark. A dynamic chiaroscuro, his approach was less about the contrasting of forms than about their mutability.
The kind of smoky chiaroscuro — sfumato — developed by Leonardo in the late 15th century was a means of representing the fact that physical form is not clearly demarcated in space, there is no such thing as contour, but rather joined together infinitesimally. Colan’s drawing works a kinetic interpretation of this principle — hands disappear in blasts of energy, legs careen off wildly, facial features dissolve smokily, and forms undulate mercurially. Eschewing the solidity of the Kirby school of action cartooning, Colan created a thrilling alternative, painting with his pencil.
Take Two — An Interview with Ruppert/Mulot
From Sol Carrelus
The cartooning duo Florent Ruppert and Jérôme Mulot are amongst the most remarkable emerging talents on the Francophone comics scene. A two-headed cartoon beast, theirs is an organic collaboration, melding writing and drawing. Their comics are possessed of a strong experimental formalism — elaborate analytical constructions, in which characters move and interact for our entertainment, as if in a petri dish.
Picks of the Week
RIP Gil Scott-Heron & Geronimo Pratt.
The picks of the week from around the web.
Geronimo Pratt RIP
Elmer “Geronimo” Pratt, or rather Geronimo Ji Jaga, passed away in his adopted home in Tanzania yesterday. His death should give us pause to reflect upon a largely forgotten, but no less disgraceful passage in American history. A Vietnam vet and Black Panther, he was convicted of a murder he didn’t commit and imprisoned for 27 years on charges fabricated by the FBI. He is one of a large number of black, Latino, and American Indian activists and revolutionaries — some of the most visible “terrorists” of the day — subjected to gross miscarriage of justice at the hands of the government, its COINTELPRO, and other institutions, from the 1960s onward.
Here’s a short primer, from a 1984 episode of 60 Minutes:
His life was both an object lesson in the history of American institutional racism and suppression of dissent, and a rare example of transcending suffering. He never gave up, and when the conviction was finally reversed in 1999, he was unwavering in commitment to his cause without showing any despondency, bitterness, or resentment. This man’s story should be taught in schools.
And let us not forget that there’s still a large number of people in America serving long prison terms on dubious convictions. Mumia Abu-Jamal, on death row for almost 30 years, is but the most famous and visible of them. Whether guilty or not, many of them have not been given the fair trials promised in the Constitution. Why does it seem the book has been closed on them?
On the Real — An Interview with Chester Brown
This interview with Chester Brown, who is currently garnering much attention for his extraordinary new book Paying for It, was conducted at the 2004 MoCCA Arts Fest in a small storage room where they kept the boxed-up Harvey Awards, a couple of hours before the ceremony was to start. Brown had recently released the collected edition of Louis Riel, which naturally became the main subject of our conversation.
As should be evident from my 2005 review, I consider this a remarkable book in a remarkable oeuvre. I never thought the interview rendered Brown nor the book justice, consisting mostly of dead ends and leads left unpursued, but I still think the artist makes a number of interesting points and observations and foregrounds the motivations that led him to write Paying for It. I am in any case grateful that Mr. Brown took the time.
The interview was published at Rackham in 2004. This is its first publication in English. I hope you enjoy it, despite its shortcomings.
Picks of the Week
The picks of the week from around the web.
This is a well-written piece on the sometimes hermetic and puzzling vagaries of art world authentication. It doesn’t change, however, that there is no way the Buffalo Pietà at its center was painted by Michelangelo. Look at it. The provenance may be compelling, though the argument about the wax seal on the back seems iffy. And the underdrawing could of course be by the master, as the owner and his conservator champion claim, but the cropped infrared published in the interactive section of the article (look right) is hard to judge by. Nothing about it yells Michelangelo at this viewer though.
Peace Go With You Brother (Gil Scott-Heron RIP)
Gaea Ascendant
Gaea Ascendant
On Lars von Trier’s Antichrist