The exhibit runs through April 15th at the Yeshiva University Museum in the Center for Jewish History [ 15 West 16th Street ] and features Fantagraphics artists Miss Lasko-Gross, Aline Kominsky-Crumb, Trina Robbins, and Diane Noomin, alongside a ton of other amazing female artists, like Vanessa Davis, Bernice Eisenstein, Sarah Glidden, Miriam Katin, Miriam Libicki, Corinne Pearlman, Sarah Lightman, Sarah Lazarovic, Racheli Rottner, Sharon Rudahl, Laurie Sandell, Ariel Schrag, Lauren Weinstein and Ilana Zeffren.
And on Monday, October 24th, you can join Miss Lasko-Gross and Ariel Schrag, Miriam Katin, and Lauren Weinstein for the panel "Close & Personal: Jewish Women Artists & their Graphic Diaries." Robin Cembalest, executive editor of ARTnews, will moderate. There will be a viewing at 6:00 PM, with the panel starting at 6:30 PM. Admission is free, with advance reservation, so get to it!
There will be live comedy from (five-time Emmy nominee!) Jon Glaser, Kate Beaton, David Rees, Max Silvestri, Emily Flake, Dyna Moe, and more. There will be live cartoons. There will be a Mark Twain costume contest, so start grooming those mustaches! And, yes, ladies and gentlemen... there will be a frog-humping contest.
Littlefield is located at 622 Degraw Street in Brooklyn. Doors are at 7:30 PM, and the show starts at 8:00 PM. Tickets are $5 in advance, or $8 at the door. And, sorry, kids, it's 21 and over only... y'know, frog-humping.
UPDATE: Michael has tweeted a couple additional details: "Free posters for everybody! A FREE BOOK for anyone dressed as Twain!"
STEVEN DAVIS: You’ve been talking about doing a longer-form narrative for a while. What made you decide on the autobiographical format?
MICHAEL KUPPERMAN: It’s just what I fell into doing. I find the reasons for doing things, the “why,” is very important, and if you’re doing what you’re doing because it genuinely amuses, you’re in the strongest position possible. I just started writing a couple of chapters and I was enjoying it, and it felt like the right thing to do to go for a book.
DAVIS: How do you feel about your results?
KUPPERMAN: Well, I’m always self-critical to a painful degree, but I do find myself laughing when I look at it. I feel pretty good, I guess; the reader’s reaction is all up to whether they find me funny or not.
DAVIS: Was it refreshing to work with a different format?
KUPPERMAN: It’s interesting to notice the difference. Both are wonderful escapes — and with writing I’m able to execute some rapid changes of idiom — but one notable thing is that writing has more of a time limit. You can only write for two or three hours at a stretch before you start to lose focus, I find. Whereas drawing is an activity you can really lose yourself in for as long as you can stay awake — I’ve drawn for as long as 20 hours at a stretch.
DAVIS: Why is Mark Twain a better target for parody than his partner Albert Einstein?
KUPPERMAN: Well, there was the occasion of the anniversary of his death: That really tipped the scales. But Einstein only really works for me as a character in relation to Twain: the same way Harpo only worked in relation to Chico or Groucho. Not alone. I’d love to do more with the two of them, though.
DAVIS: There’s a full chapter in the book that is cartooned, in which Mark Twain finds himself an accidental member of the Apollo 11 mission. Why did you decide to cartoon this section?
KUPPERMAN: I just wanted to break up the text a bit, and the Moon mission seemed like a good excuse to do some cartooning. That’s one in which many of the jokes are more visual.
DAVIS: Did any ideas that you’d originally intended to be comics get transformed into prose?
KUPPERMAN: No. That’s not so easy to do… A lot of ideas only work for the medium you invented them for. I have a bunch of material from my various aborted TV pilot deals that I can’t find a way to re-use, unfortunately.
DAVIS: What is the appeal of autobiographies? How does that translate into satire?
KUPPERMAN: Autobiographies have an automatically funny component in the self-deception that we all practice, which can be inadvertently revealing. The self-justifying and obfuscation that most autobiographies contain are comedy gold. The last two I read were the autobiographies of Jerry Weintraub and Esther Williams. Both contained comedic elements, although Esther was by far the better swimmer.
DAVIS: What specific autobiographical tropes did you most focus on subverting?
KUPPERMAN: False modesty is a big one, also unwittingly revelatory anecdotes, such as when the aliens try to get Twain to have sex with Sophia Loren; and the shaping of one’s life into a narrative, and how unreliable that can be.
DAVIS: You’ve talked about simplifying the cartooning in order to better focus on the humor. How is this reflected in Twain as compared to your past works?
KUPPERMAN: I think the Twain book is a big step forward in that direction. The art is much more streamlined, and less influenced by art from the past. I concentrated on just carrying the jokes through the art.
DAVIS: There’s a momentum in Tales Designed to Thrizzle that moves the reader through the book, even though it lacks a continuous narrative. In what ways did you approach flow and progression for Twain?
KUPPERMAN: I tried to vary the tone of the chapters enough so that the reader would be carried through what is basically a series of routines… I’ve never sustained one scenario for so long, but I’m eager to move on to longer projects still.
DAVIS: How did Snake ‘N’ Bacon become your flagship strip?
KUPPERMAN: People kept asking for it. And when Avon (subsequently bought by HarperCollins) asked me to do a book, they insisted Snake ‘N’ Bacon be in the title. Then later on Scott Jacobson and Rich Blomquist from The Daily Show spearheaded the Snake ’N’ Bacon pilot for Adult Swim, same thing. They’re anti-characters, basically: extremely limited in almost every way.
Some people do really seem to like them. I’ve even seen tattoos!
DAVIS: I’m curious about your past pseudonym P. Revess. Where did this come from and where did it go?
KUPPERMAN: It was just the prefect pseudonym I came up with— mysterious, ambisexual — and I stopped using it because some dumb editor at New York Press told me I should just use one name, my own. And I was an idiot and listened to her.
DAVIS: Were your parents supportive as you pursued a career as an artist?
KUPPERMAN: Yes. I don’t know if they saw it coming but they’ve adjusted well.
DAVIS: What type of art were you interested in when you attended art school?
KUPPERMAN: Basically anything and everything (still am):What I didn’t know was how I should fit into it all...
DAVIS: How were you first exposed to surrealism and dadaism?
KUPPERMAN: Through Alice in Wonderland and books like that, but I think it’s just part of the culture now. Comedy now has a strong strain of surrealism in it.
DAVIS: What has kept you interested in surreal humor?
KUPPERMAN: It’s what I respond to. I love idioms sliding into each other and situations that melt and transform: dream logic, where meaning shifts and overturns.
DAVIS: You’ve talked about being influenced by sketch comedy shows, Monty Python and SCTV. A few years ago you had the chance to write some sketches for The Peter Serafinowicz Show. Was that a pretty easy adjustment for you?
KUPPERMAN: It wasn’t an easy situation, because I was so far away. The real writing action was taking place in London, and I was in New York. Even when an idea came from me — the whole acting-class thing, which in my version was with Michael Caine —it would be so heavily re-written that it wasn’t so much mine anymore. That’s just the way things work. I’d love to try again on a more level playing field.
DAVIS: I know you’ve talked a little about this before. But can you discuss some of your experiences writing scripts for DC — Any differences in your process? Any challenges? Any new creative avenues it allowed you to explore?
KUPPERMAN: It was frustrating — the more of those comics I did, the less rewarding it became. The very first one — a Jetsons story where Mr. Spacely becomes a baby— was probably the best. But the editing became more and more severe. The last story I did was a Scooby-Doo — they even changed the name of a character I wrote from Murderous Pete to Homeless Pete! I didn’t pursue it after that.
DAVIS: You’ve called Twitter a "petri dish of comedy.” For you, is the Internet mostly helpful or distracting?
KUPPERMAN: Helpful, but you have to limit your exposure or depression will result. I do love Twitter and the people I’ve met on there, and I try not to let it prevent me working.
DAVIS: You’re currently producing a weekly comic called Up All Night. Will any of these strips or related strips be featured in future issues of Thrizzle?
KUPPERMAN: Perhaps some of them…
DAVIS: In an interview last year you mentioned a potential project with Adult Swim after the Snake ’N’ Bacon pilot wasn’t picked up. Can you elaborate on that at all?
KUPPERMAN: Yes- they hired me to develop a horror pilot. But by the time I had characters and a scenario their attention had completely drifted away. This happened to a lot of talented and well-known comedy people last year, so I’m not alone! Dealing with Adult Swim is like trying to talk to someone peaking on an acid trip. You never know what they’ll say or do next...
DAVIS: Between TV Funhouse and the Snake ’N’ Bacon pilot, you’ve done quite a bit of work in animation. How do you feel about the current state of animation?
KUPPERMAN: I am indifferent, since I’m not involved. There really isn’t anything that’s compelling me to watch lately...
DAVIS: Many alternative cartoonists have transitioned into animation and videogames. How interested are you in pursuing jobs in different media?
KUPPERMAN: I’m only interested as long I continue to exist as an artist! So it has to be on my terms to some extent. I had that with the S&B pilot, which is why it was so amazing. I drew every inch of the animation, that’s why it looks the way it does. But I have a horror of producing crap, and unfortunately most media product ends up being just that.
DAVIS: How does your work reflect what’s going on across media, in terms of humor, today?
KUPPERMAN: I think my humor is very contiguous with the humor that’s going on now in live comedy, the better TV comedy, podcasting the smart stuff. Not comics though: I feel very alone there. Most other humor in comics is excruciating.
DAVIS: You have a serious graphic novel called Henry Spelman in the works. Can you tell us any more about that?
KUPPERMAN: Not at the moment! I’m trying to examine my options with as clear a head as possible. My bank balance is always a concern, and right now I’m just trying to stay alert. I’m hoping to get into the Spelman project soon, but it’s a matter of balancing the work against the chances of an advance in today’s publishing world, truly the worst and least hospitable ever. And I’m waiting to see how the Twain book does…
Mark Twain and his family moved into this self-designed manor in Hartford, Connecticut back in 1874, and since 2003, the Mark Twain House & Museum have offered guests, "an opportunity to learn more about Mark Twain, his family, the historic house, and the author's legacy." Well, what could be a more perfect location for a Kupperman reading than this???
Join Kupperman this Saturday at 7:30 PM at the Mark Twain House & Museum [ 351 Farmington Avenue, Hartford, CT ] for what's sure to be a historical event in itself!
We've got a gorilla-sized weekend coming up at APE: the Alternative Press Expo in beautiful San Francisco, CA! Come see us on Saturday, October 1st and Sunday, October 2nd at the Concourse Exhibition Center, and be among the first to get your mitts on these hot numbers:
You can find us in our usual spot at tables 112-115. (Right by our good friends Jim Blanchard and J.R. Williams at table 116!)
[ Please note: this is a chopped-up map, just to give you an idea where you can find us! The Concourse Exhibition Center is too wide to fit on the FLOG, so check out a PDF map here. ]
And panels! Boy, do we have panels!
Saturday, October 1st
2:00 PM // The Comix Claptrap . . . LIVE! Co-hosts Rina Ayuyang and Thien Pham record an episode of their enlightening, riotous, and controversial podcast, The Comix Claptrap LIVE at APE! For four seasons, Rina and Thien have interviewed comics artists in the indie comics scene about their work, creative processes, and experiences in the industry. Each show has included New Comics Wednesday beat reportage from fellow cartoonist Josh Frankel, and new favorite segment, The Comix Cranktrap, where they crank-call a well-known cartoonist listed in their Rolodex. Also featured on the panel: Mike Dawson, Scott Campbell, Levon Jihanian, and Esther Pearl Watson. This panel promises to be total mayhem!
3:00 PM // A Discussion with Daniel Clowes and Adrian Tomine Critically acclaimed, award-winning, bestselling cartoonists -- and APE special guests -- Daniel Clowes (The Death-Ray, Ghost World, Wilson) and Adrian Tomine (Optic Nerve, Shortcomings) are both professional peers and friends, having met over a decade ago when both lived in the East Bay. TheComicsJournal.com editor and PictureBox publisher Dan Nadel talks to the two artists about their work, their friendship, and the comics medium.
4:00 PM // Spotlight on Shannon Wheeler From stapling 21,000 minicomics, to shooting comic books with a .22, to creating operas, to publishing cartoons with The New Yorker, APE special guest Shannon Wheeler must be drinking too much coffee, man. Recently, his collection of rejected cartoons I Thought You Would Be Funnier won the Eisner Award for Best Humor Publication. Wheeler and his trusty sidekick BOOM! Studios marketing director Chip Mosher talk about the best ammunition to use on a comic, Japanese bootleg shirts, and drawing dead granddads in fishnet stockings with swastika panties. Shannon Wheeler once also created Too Much Coffee Man, so they'll probably talk about that, too.
6:00 PM // Drawing Inspiration: The Secrets of Comics Creativity Ever wonder where your favorite author or artist gets his or her inspiration? Now you can find out as moderator Charles Brownstein (executive director, CBLDF) joins APE special guests Kate Beaton (Hark! A Vagrant!), Craig Thompson (Habibi), Matthew Thurber (1-800 MICE), and Shannon Wheeler (Oil and Water), plus Tom Neely (The Wolf) for an in-depth discussion of what gets their creative juices flowing and the secrets of what inspires them.
Sunday, October 2nd
12:00 PM // Indie Cartoonist Survival Guide: Part 3 Cartoonist Keith Knight moderates this panel (in its third appearance at APE), featuring a lineup of successful independent creators who share their stories, methods, techniques, trials, and tribulations concerning making a living as a so-called Indie Cartoonist. Shannon Wheeler (I Thought You Would Be Funnier), Dan Cooney (Dan Cooney Art), Andy Ristaino (Adventure Time), and Rebecca Sugar (Pug Davis) all chime in.
The great Eric Reynolds will be manning the table, so come by and come buy! We'll see you at APE!
We've got our eye set on this majestic event: Leslie Stein will be signing this Friday, September 30th at The Escapist in Berkeley, CA!
We're teaming up with our friends at PictureBox to present this pre-party for APE: the Alternative Press Expo. Leslie will be signing copies of her latest Eye of the Majestic Creature, and she'll be joined by Matthew Thurber, signing the collected 1-800-MICE!
Meet them both, starting at 7:00 PM at The Escapist Comic Bookstore [ 3090 Claremont Ave. in Berkeley ], and say hi to our old intern, Sophie!
Register and Login to receive full member benefits, including members-only special offers, commenting privileges on Flog! The Fantagraphics Blog, newsletters and special announcements via email, and stuff we haven't even thought of yet. Membership is free and spam-free, so Sign Up Today!