I am happy to say that I am returning to San Diego Comic Con with the Thursday afternoon panel Splashing Ink on Museum Walls: "Do comics belong in museums? Lots of major art and cultural institutions seem to think so, with ambitious new shows and comic art museums springing up everywhere, including one spearheaded by Comic-Con itself. Artist/writer Emil Ferris (My Favorite Thing Is Monsters), Kim Munson (editor, From Comics to Frames: Comic Art in Museums), writer/editor and exhibition consultant Ann Nocenti, and SDCC museum director Adam Smith converse about the future of comics on display, moderated by Rob Salkowitz (Forbes, Full Bleed). http://sched.co/FQnu
In support of my upcoming book From Panels to Frames: Comic Art in Museums, I'm posting some exhibition photos and checklists as additional reference material.
To flesh out my interview with Art Spiegelman, I've assembled photos I took of his retrospective exhibition Co-Mix at the Art Gallery of Ontario (Toronto) in January of 2015. I apologize for the quality of these shots, they were intended only to document the show. There is also a rough floor plan. They are posted in order as I walked through the galleries.
In my upcoming book, From Panels to Frames: Comics Art and Museums, I am including an interview with Carol Tyler about the very tactile, personal art installations she created based on her multi-Eisner nominated You’ll Never Know graphic novel trilogy, and Soldier’s Heart - the Campaign to Understand My WWII Veteran Father: a Daughter’s Memoir (Fantagraphics), the 2015 book that collects them all together. Her quest to make sense of life’s challenges and her family relationships (parents, husband, and daughter) is both intensely personal and universal for anyone that has ever tried to figure out a difficult relationship.
Here I am collecting Carol's video, exhibition photos, and other information about her exhibitions. Pages and Progress (video and slides below) was presented at the University of Cincinnati at DAAP Galleries, Meyers Gallery, February-March, 2016).
Many shows by artists known for comics have become “museumified,” with everything perfectly framed and starkly presented in the Alfred Barr/Museum of Modern Art tradition. Tyler’s installations are very different, distinctly apart from the antiseptic feeling of the white cube. Her graphic style, crammed with detail and drawn in a limited palette of warm tones, is reflected in the design of the exhibition. She invites us in to look at the flotsam of her life and art. Her down to Earth mid-western quality is reflected in a room of drawings fluttering gently on a clothesline, and a second gallery filled with objects like her father’s woodworking tools, toys, memorabilia, and other props that Tyler crafted herself as signs of her process and emotional state.
In the photos below, you can see some of these handmade props, such as the “table of tears” (a table covered with glass fragments wet with “tears” from a tube feeder on the wall) and the “egometer” where Tyler’s own face appears and disappears like a window shade. There are also self-portraits and thorn sculptures from a later show, Cincinnati Five.
In July 2018, Tyler has created 6 elegant mini-sculptures from the thorns of her honey locust tree and other materials from her farmhouse. If you are interested in purchasing one of these pieces, please contact her directly at firstname.lastname@example.org.
In support of my new book From Panels to Frames: Comics Art in Museums (coming out in 2018), I'm going to be posting some checklists and exhibition photos. The first of these is the artist list for the 1951 show American Cartooning, exhibited at the Metropolitan Museum of Art (NY) May 11 - June 10.
The show brochure includes a paragraph about the show's purpose: "This exhibition was planned, in cooperation with the National Cartoonists' Society, to illustrate the art of the American professional cartoonist in our time. Members of the Society, together with other cartoonists, were invited to submit several original drawings to a committee of selection composed of representatives of the Metropolitan Museum and the Society. Those drawings were chosen which, in the opinion of the committee, best represented each artist's work, and at the same time provided a broad picture of contemporary cartooning in this country."
The NCS wanted to include at least one piece from all members who submitted work, plus some classics (such as McCay, Herriman) and a few drawings from the Met's collection. The drawings, over 200 of them, were displayed unframed, lined up in a grid inspired by Mondrian (a concept mentioned in NCS correspondence). The exhibit followed the nation-wide publicity the NCS received during the US Saving Bond Tour in 1949, a multi-city cross-country tour for the US Treasury Department that kicked off with NCS members sketching President Truman at the White House and included a touring exhibition on comics history that started at the Library of Congress.
The Met show was planned to run over the summer but was cut short by a large remodeling project at the museum. My book includes details of the many reviews, which were mixed (the NCS wanted a neutral representation of everyone's work and the critics wanted the Met's curators to take more of a hand in the selection), info about how this show came together, and its effect on future exhibitions of comic art.
Here are the 239 artists, in alphabetical order as published in the Met's brochure: Jay Allan; F. O. Alexander; Clarence C. Allen; Colin Allen; Carl Anderson; Alfred Andriola; Emidio (Mike) Angelo; Gus Arriola; Edd Ashe, Jr. - Mickey Bach; Ray W. Bailey; Perry Barlow; James D. Barstow; C.D. Batchelor; Frank H. Beck; Janice Berenstain; Stanley Berenstain; Walter Berndt; Michael Berry; Jame T. (Jim) Berryman; Jim Bettersworth; Charles B. Biro; Daniel Bishop; Wally Bishop; Merrill Blosser; Henry Boltinoff; Wayne D. Boring; Dave Breger; Morrie Brickman; Clare Briggs; Bo Brown; Ernie Bushmiller - Milton Caniff; Irwin Caplin; Al Capp; Mel Casson; Sam Cobean; Roland Rae Coe; Fred Cooper; Gibson M. (Gib) Crockett; Percy Crosby; Herbert E. Crowley; Matt Curzon; Otho Cushing - Gregory D'Alessio (NCS Secretary); Phil Davis; Chon Day' Abner Dean; Billy de Beck; William de la Torre; Harry Arthur Devlin; Anthony Louis (Tony) Di Preta; Walt Disney; Walt Ditzen; Ed Dodd; T. T. (Tad) Dorgan; Stephen Anthony Douglas; Daniel B. Dowling; Frances (Edwina) Dumm; Courtney Dunkel; Bob Dunn; Bill Dyer - Carl Ed; Gus Edson; L.G. Edwards; Will Eisner; Lee Elias; Frank Engli; Eric Ericson; Ray Stevens, Sr. - Jo Fisher; Dudley Fisher; Hammond E (Ham) Fisher; Daniel Robert Fitzpatrick; Don Flowers; Frank Fogarty; Vic Forsythe; Harold R. Foster; Gil Fox; Ving Fuller - Tom Gill; Frank Godwin; Reuben Lucius (Rube) Goldberg (Past President/NCS committee member); Ray Gotto; Chester Gould; Mel Graff; William Karr (Bill) Graham; Harold Gray; Milt Gross; Chad Grothkopf; Carl Grubert - Harry Hanan; Lou Hanlon; Fred Harman; Irwin Hasen; Jimmy Hatlo; George Herriman; Ned Hilton; Burne Hogarth; Bill Holman; Hugh M. Hutton - Jay Irving - Burris Jenkins, Jr.; Ferd Johnson; Roy B. Justus - Bob Kane; Al Kaufman; Jeff Keate; Reamer Keller; Ted Key; Frank O. King; Rollin Kirby; Ken Kling; Karl Kae Knecht; Clayton Knight; A. Kovarkey; Robert (Bob Kay) Kuwahara - Clyde Lamb; Fred Lasswell; George Lichty; Marty Links; Tom Little; Scott Long; Martin Lowenstein; Gustav Lundberg - H. A. Mac Gill; Stan Mac Govern; Bill Mac Lean; Neyer Mael; Gus Mager; Reg Manning; Jack Markow; Ernest Marquez; Charles E. (Cem) Martin; Fran Matera; Rex Maxon; Winsor McCay; Darrell McClure; Wilson McCoy; MC Cuthcheon; Elmer R. Messner; McGowan Miller; Tarpe Mills; R. B. Modell; Bob Montana; Edward MdDowell (Ed) Moore; John (Milt) Morris; Carl Louis Mortison; Zack Mosley; Willard Mullin - Fed Neher; John Norment; Paul Norris; Irving Novick - Robert Stanley (Bob) Oksner; F. Opper; R. F. Outcault; William Overgard; Frank Owen - Grover Page; Gladys Parker; David (Pascal) Pascolsca; Russell Patterson; Bill Pause; John Pierotti; Alfred John Plastino; Al Posen; T. E. Powers; Garrett Price - Connie Rasinski; Hal Rasmusson; Alex Raymond (NCS President); Gardner Rea; Rranciscc Xavier (FOXO) Reardon; Ed Reed; Paul Reinman; Laurence (Larry) Reynolds; Mischa Richter; Frank Robbins; Carl Rose; Hy Rosen; Michael J. (Mike) Roy; John Arthur Ruge; D. D. Russell; Rod Ruth - Jose Luis Slinas; William Sandeson; Leonard Sansone; Robert D. Scholnki; Lew Sayre Schwartz; Fred O. Seibel' Irma Selz; Claude Shafter; George Shellhase; Barbara Shermund; Vaughn Shoemaker; Erle B. Slack; Dorman H. Smith; George Smith; Otto Soglow (committe chair); Howard Spraber; AndrewSprague; John Spranger; Stanley Stamaty; Russell Stamm; Ralph Stein; Cliff Sterrett; J. Striebel; T. S. Sullivant; V. A. Svoboda; Swinnerton - Hilda Terry; Paul H. Terry; Barney Tobey; Buford Tune; Leslie Turner - Philip Albert (Flip) Uzanas - Charles A. Voight - Mort Walker; Dow Walling; Jerry Walter; Linda Walter; L. D. Warren; Coulton Waugh; Morris Weiss (Wes Morse); Peter Wells; Elmer Wexler; Bert Whitman; Frank H. Willard; J. R. Williams; Dick Wingert; Basil Wolverton; George Wunder - Richard Yardley; Chic Young - Bill Zaboly; Eugene (Zim) Zimmerman.
"How the French Kickstarted the Acceptance of Comics as Art in the US: the Books and Exhibitions of Maurice Horn" will be published in the Fall 2016 issue of the International Journal of Comic Art, and is currently available on Academia.edu.
Overview of the career of the French/American comics pioneer Maurice Horn. Discussion of the French interest in US comics, and the exhibitions Bande dessinée et figuration narrative (Paris 1967), AAARGH!: a Celebration of Comics (London 1970), and 75 Years of the Comics (NY 1971). Books discussed are A History of the Comic Strip (1968), World Encyclopedia of Comics (1976), Women in the Comics (1977), and several others. Includes a short history of American comics in France, and the 1960's groups, Club Bande Dessinée, and SOCERLID, that championed the idea of comics as "the ninth art" through their exhibitions and publications. Horn was a contributing member of these groups, moving on in the 1970's to edit an important string of comics reference books.
Article includes interviews with Maurice Horn, Rick Marschall, John Lent, Brian Walker, Denis Kitchen, Trina Robbins, Steve Leialoha, and Art Spiegelman.
"A Collaborative Journey: Malcolm Whyte, Troubador Press, and the Cartoon Art Museum, San Francisco" will be published in the Fall issue of the International Journal of Comic Art, and is currently available on Academia.edu.
The longest running independent museum of comic art, the Cartoon Art Museum in San Francisco, was forced out of its space in September 2015, and is still looking for a home. This is the story of the museum's founder, the author and publisher Malcolm Whyte. His amazing career began in the Navy when he and a partner started Troubador Press, which began with greeting cards and grew to high quality coloring books illustrated by Greg Irons, Larry Todd, and Edward Gorey, In the mid-80's he founded the Cartoon Art Museum, and was the director from the opening in 1988 through 1992. Key exhibitions and catalogs are discussed. Following this he moved back into publishing with the Cottage Classics books. These were illustrated by artists like S. Clay Wilson, Maxon Crumb and Spain Rodriquez. Often these publications were coordinated with exhibitions.