TONIGHT! SEEDaniel Clowes in a rare in-store appearance! GAZE upon an exhibit of original art from Ghost World! HEAR Dan answer questions from our fearless leader Gary Groth! MEET other special unannounced guests! PURCHASE the very first copies of Ghost World: Special Edition and our special signed limited-edition silkscreen exhibit poster (VERY limited quantities of both - get there EARLY to secure your copies)! GET your Clowes books and paraphenalia signed! CLICK here for more details!
Time for a new installment of Steven Weissman's in-progress pages from "Blue Jay," an epic 32-page story from Chocolate Cheeks, the next collection of the Yikes! gang's adventures. In this week's episode: Elzie Crisler (the world's cutest monster dog) is in deep, deep trouble. (Remember, you must be registered and logged in to read.)
I don't know if I'll get in trouble for plugging another publisher here on our official organ, but good gravy: our esteemed colleagues at Timothy McSweeney's Quarterly Concern have put nearly all of their available back issues (including the Chris Ware-edited all-comics #13) on sale for just $5 each through tomorrow.
Adam Baumgold Gallery presents an exhibition of drawings by Charles Burns from September 5 through October 12, 2008. This will be Charles Burns' first New York solo exhibition and will include fifty seminal drawings executed in the last 25 years that showcases Burns' masterful pen and ink drawings for his award winning comic books and other publications.
Featured in the exhibition will be covers and drawings for the serialized version of Charles Burns' epic graphic novel "Black Hole," as well as the drawings for the covers and pages of "Skin Deep," "Big Baby," and "El Borbah," and a rare RAW era "Dog Boy" strip. The exhibition will also have drawings and covers for The New Yorker, Esquire and numerous other magazines that include drawings of cult figures William S. Burroughs and Robert Crumb. Also included will be the cover of "Permagel" the new large scale book of Burns' art.
Gallery hours are Tuesday through Saturday 11:00 - 5:30 P.M. . For additional information please contact Adam Baumgold at (212)861-7338 or
Signed exhibition posters will be available. A preview of the exhibition can be seen at adambaumgoldgallery.com Charles Burns will be present at the opening on Friday September 5th from 6 to 8.
Adam Baumgold Gallery 74 East 79th St. #1-D New York, NY 10075 (212)861-7338
The new masthead slogan for every Eros comic: "It isn't very good but lots of our other artists are even worse."
Here's a tip to cartoonists looking to be published: It doesn't matter if you've lived through three murder attempts, don't slander the work of the publisher you're courting. (Kim Thompson has verified that this technique, though surprisingly often utilized, is not effective.) And maybe don't send in your self-professed "not very good" work. (See below.)
(Thank you to Customer Service voice-of-Fantagraphics Stephanie Olczyk for placing this in the *ahem* "permanent" file. We'll miss you when you're gone.)
It never ceases to amaze me how much an artist can learn about cartooning from a single volume of our Dennis series . I can smell that shop. Ketcham didn't have to make readers smell the shop but he did it so naturally, so easily, it was like he drew with scented inks. He definitely didn't draw that shop from life--it's not believable in that way-- he just knew the smell, knew the way it FELT to be there.
And the way he manages these subtle perspectives. You're not exactly viewing it from any standard angle, but it's like God's perspective-- sympathetic to the experience of both adult and child. Flipping through two years worth of "static" single panel Ketcham gags is liable to give you whiplash the way he shifts 'camera' angles every single day, instinctually shaping the view to fit the situation. Most every comic in history has relied on one or two perspectives but Ketcham seems to be relentlessly challenging himself to portray intimacy and distance, chaos and discipline, etc.
Frequently there's a sketch quality to his work that amazes me. Even here, if I overanalyze the composition I wonder why the shop just ends on the left, but it works. Looking at day after day of his work, I admire the odd framing he'll often utilize, as if his brush developed in kind with range-finding cameras of his own childhood.
I keep meaning to gather together a more-than-impetuous posting about this beautiful strip (and one that's not entirely glowing--overall, Ketcham's humor is too mean-spirited for me) but this will have to do for now. I have work to do.
(Seriously. All their backs are to the viewer and the main characters are nowhere to be seen. Can you feel yourself crammed in the corner, brushing up on that guy's tweed jacket? Nice.)
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