Archive for October, 2007

Who IS That CHILD?!!

Sunday, October 28th, 2007
At right as seen on my iMac: Me on TV in 1984

It’s a clear sign of advancing age when you respond to images of yourself recorded when you were forty with a rueful shake of your head accompanied by the unvoiced question: Who IS that child?

But that’s how I felt last week while taking a fresh look at myself as I was 23 years ago, when a half-hour television interview about underground comic books featuring yours truly was taped at WDCN-TV, a Public Broadcasting station in Nashville.

Crumb and S. Clay Wilson being unavailable, it fell to me, a one-time flower-powered longhair who by 1984 had discovered the convenience of a shorter trim, to acquaint a mainstream television audience with what we dope-smoking, acid-tripping counterculture cartoonists of yore had brought forth once we applied our comix-creating impulses to the dispensation of outrageous sexual fantasies, religious transgression, political belligerence and, in my case, cockroach-infested parables on cosmic matters—all in "easy-to-read comic book form."

The interview I’m talking about was one installment of twelve that were broadcast as a series under the umbrella title Funny Business: The Art in Cartooning. All episodes in the series concentrated on one aspect or another of cartooning. (WDCN subsequently syndicated the series to interested PBS stations across America.)

Veteran gag cartoonist and cartooning educator John R. Cassady (known to his friends as "Jack" or "Cass"), was the creator and host of the series. Cass and I had met shortly after my 1977 move to New York during gatherings of the now-defunct Cartoonists Guild.

Funny Business was seen widely enough in its day to generate fan mail from cartooning enthusiasts in various cities, but it never achieved a high enough profile to be a viable candidate for contemporary commercial re-release in DVD format. But that hasn’t stopped Cass from recently burning DVDs of individual episodes on his own for sale on his web site. I was made pleasantly aware of this welcome development when a jewel case through whose plastic cover my unlined face was peering arrived in my Massachusetts mailbox, courtesy of my longtime colleague and pal.

It’s not my first opportunity to see how my interview turned out. Although I never lived in a city whose PBS station carried the series, WDCN provided me with a complimentary tape of the episode once it was edited. Watching myself being interviewed always has its rewards, despite the cringing I invariably do at my every instance of stammering and garbled syntax. Seeing yourself on TV makes you feel fleetingly like a star, even if it’s only a passing shot of you sitting in the audience of a Phil Donahue Show. Well, maybe "star" is too strong a word. It makes you feel that your existence on the planet has been documented for posterity, no matter how neglected you may feel at any given time. For those of us who occasionally wonder whether we actually exist, this is a comfort.

The thrill of temporary video affirmation swiftly passes, of course, and recordings like the one from WDCN soon begin gathering cobwebs. I realized when Cass’s newly-burned DVD arrived that I haven’t pulled the ol’ VHS tape of my Funny Business interview off the bedroom shelf for many years now — possibly to avoid being directly confronted with the disparity between the amount of hair I had on my head then and the amount remaining there now.

But having been propelled anew into the past by this artifact from my mid-career youth, when some interesting things had happened already but many even more interesting events still lay ahead, I find nostalgia trumping vanity. It was a fun day in Nashville, one during which I got to shmooze with the great New Yorker cartoonist George Booth, whose Funny Business segment was to be taped the same day as mine. Cass, a fellow southerner whose drawl from the interviewer’s chair combined with mine from across the set provided healthy balance to the British-to-mid-Atlantic phonics that typically crowd our Dixie quadrupthongs off the airwaves (unless a really stupid or really devious fictional character is needed for plot reasons).

Cass may have forgotten by now that at a certain point he opened my eyes to new artistic possibilities. He was, for the record, the first cartoonist in my orbit to educate himself about and then enthusiastically extol the merits of adding digital graphics to the ‘tooner’s toolbox.

I had previously been skeptical about permitting soulless computers any foothold in my creative realm, but that was before Cass sat me down in his hotel room during a visit to New York and showed me a bunch of dazzling Photoshop-enlivened additions to his portfolio.

Those examples told me more clearly than any lecture could have that my former misgivings were overdue for reevaluation.

At left: A cartoon by the Cass-man himself.

Above: In between tapings in Nashville I ran around the studio taking snapshots of the equipment. Who knew whether I might want to use a television station as the setting for a future comic strip?

Web Guy On Paper

Wednesday, October 24th, 2007
Once it was web-only,
but now that’s changed.

As longtime readers of this blog know (if the two years I’ve been posting entries to it can be considered a "long time"), I spent much of 2006 drawing a 14-installment webcomic at the behest of Adobe Systems, Inc.

My strip was called Mark the Art Guy and it was commissioned by Adobe to tout, hopefully in an entertaining way, the merits of what was at that time Adobe’s most advanced bundle of magical graphics software, Creative Suite 2.

That incarnation of Mark the Art Guy was created solely for web display and could only be viewed by visitors to the Adobe’s web site. But now, in celebration of the recent release of Adobe Creative Suite 3, the newest incarnation of its flagship software, Adobe has decided to bring out an appropriately updated version of my Mark series—this time as an honest-to-god 16-page comic book printed on actual paper.

Since I grew up reading comic books and launched my adult career drawing them, I’m pleased to finally have Mark available as a tangible work of art that I can hold in my hands and thumb through.
Unfortunately for your chances of doing the same, the comic won’t be showing up on the shelves of your neighborhood comic book store. It’s a promotional giveaway that exists to be handed out to design pros who wander up to Adobe’s booths at big trade shows like Macworld Expo. Design professional are Creative Suite 3’s targeted consumers, after all, not the blog-reading hoi polloi like you!
That’s a shame if you were secretly hoping to get your hands on this comic as simply as you can cop a copy of one of my books. On the other hand, you may just happen to know some graphics geek who makes a habit of attending such software-saturated mass gatherings. If you do, ask him or her to keep an eye out for the Adobe booth so that you, too, with your friend’s help, can view Mark’s misadventures creating logo art for the Happy Sow Purse Works as they unfold on beautiful white paper stock.

SPECIAL TIP FOR MY DEVOTED BLOGPALS: Despite the fact that CS2 has now been supplanted by the new CS3 upgrade, some (though not all) of the original CS2-oriented Mark episodes can still be viewed by clicking here. If you’re curious to see what the series was like in its initial form you may want to grab a look before somebody at Adobe wakes up and deletes these on account of outdatedness.

The Return of Evelyn

Wednesday, October 17th, 2007
At right: Ev disembarks after being chauffeured by Eddie from Albany International Airport.

She comes north! She goes back south! Then north again; then south again! Where will jet-setter Evelyn Sedarbaum eventually decide to settle?

At age 94 it hasn’t been easy for Eddie’s newly-widowed mom to decide where she wants to put down her post-Harold roots, and she’s changed her mind already several times.

Is she prepared to endure winters in the Berkshires? Can her arthritis make peace with the stairs she has to climb if she wants to come and go from our house on Cliff Street? On the other hand, is living by herself in flat-and-warm Florida preferable to living in North Adams with Eddie and Howie? How to decide?

The current and presumably final verdict is that the pleasure of breakfasting every morning with her son and son-and-law trumps any competing comforts that the Sunshine State can offer. And considering what wonderful company Eddie and I are, can anyone question that her decision is the right one?

Below left: Eddie escorts his mom to her new home. Below right: Yikes! That staircase from street level to front yard suddenly reminds Evelyn of one reason she had thought life might be easier in hill-less West Palm Beach! Well, life is full of trade-offs, isn’t it?

October Newsletter Alert

Tuesday, October 16th, 2007
Subscribers to my art newsletter got their Issue 2 Alert yesterday.
Click here to learn what they already know.

Small New England City Goes Art-Crazy

Tuesday, October 16th, 2007
Despite ominous lingering symptoms from last week’s allergy attack, I made it through an Open Studios weekend filled with wall-to-wall chatting without once falling to the floor in a coughing fit. This was a great relief. In fact, I had such a fine time all weekend that I barely remembered having spent the previous week worrying.
Above: I and my drawings await our many admirers, as 107 Main Street opens its doors.

I also managed to somehow meet the daunting cluster of deadlines that had devilishly conspired to coincide with Open Studios: I completed my grant application for the funding needed to produce more issues of the North County Perp; I completed a Minneapolis-based illustration assigment that was due yesterday; I compiled this month’s issue of the Cruse Art Newsletter; and I somehow stayed on top of the cartooning course I’m teaching this semester at MCLA.

But back to our big citywide art extravaganza. More than 86 artists showed off their work in locations all over North Adams for two whole days, an organizational feat not to be sneezed at. (Here’s to you, Sharon Carson, for steering that unwieldy ship into port.) Not that I personally experienced much of the event’s scope, given that I spent all of Saturday and Sunday anchored to my own exhibit at 107 Main Street and could only spend time admiring the work of the six who shared that space with me (see below). Those six were plenty good company, though, and the room stayed awash in good vibes and mutual admiration the whole time.

Gratifyingly, the mounted blowup of "A Zoo of Our Own," my comic strip about gay animals (which I brought along on a last-minute impulse), turned out to be an unexpected hit when it was placed in the storefront window, attracting a steady stream of gawkers on the sidewalk, many of whom may well have never before contemplated the point of view of a homosexual hippopotamus. (You’ll find the whole strip, adapted for web viewing, by clicking here.) In the window to the left of my comic strip was one of "Skeets" Richards‘ gorgeous landscapes, a vision also difficult to pass by without stopping for a close look. Between our two showcased eye-catchers, we succeeded in slowing down the sidewalk strollers and tempting them to drop in and see the exhibits awaiting them indoors. John Sherman, whose creative skills are equalled only by his marketing instincts, concocted this ploy.

I’d be remiss if I quit without introducing you to my talented gallery spacemates from 107 Main Street, starting with…(clockwise from below left)

John Sherman—fancypainter. John has conquered more creative fields than his bio knows what to do with. Check out his web site to get a feel for his range.

William LaBerge—cabinetmaker. His catalog wows everyone who thumbs through it, and you haven’t lived till you’ve sat in one of Bill’s exquisite chairs.

J. ("Skeets") Richards, Jr. —painter. This guy spent decades teaching high school physics, then morphed into a landscape master after retirement.

Wes Pecor II —wood hand-carvings. A master craftsman, Wes says he "draws with wood."

Dorothy ("Dot") Ransford —auctioneer, appraiser, and art framer. No web site for this gal, but you can email her if you want to talk business.

Gus Jamallo—Folk artist (and full-time barber). Drop by 475 Union Street in North Adams for a haircut and a look at his saw blade paintings. Gus will swap art tales with you from first clip to final talc.

Mom’s Juicy Again

Friday, October 12th, 2007
This Saturday night I’ll be in North Adams recovering from the first of two days spent shmoozing with the art-lovers pouring into town for Open Studios, but if I were in New York City you can bet I’d be at the launch party for Juicy Mother 2.

The Juicy Mother "queer comix" anthology series is the brainchild and pet project of cartoonist Jennifer Camper, who put together the first installment a year ago and is now back with more, thanks to Manic D Press, who stepped into the breach when the first volume’s publisher was forced to scale back its commitments.

With the new book hitting bookstores now, it’s time to party! And as I’ve learned from experience there’s nobody more fun to party with than Ms. Camper, whose been a best buddy of mine since her comic strip "She’s My Two-Timin’ Truck-Drivin’ Mama" popped over the proverbial transom while I was putting together the second issue of Gay Comix in 1980.

Above: the book’s cover; a panel from my own morose one-page; and Jen Camper herself with a panel from her JM2 contribution.

So it you’re in or near the Big Apple on Saturday the 13th, hie thee downtown to Bluestockings (172 Allen Street) so you can meet a bunch of the Juicy Mother contributors. Not all of them can be there, of course, but some who will reportedly be making the scene are Diane DiMassa, Ivan Velez, Jr., Joan Hilty, Victor Hodge, David Hooper, Fly, Michael Fahy, Katie Fricas, and Chitra Ganesh.

Meanwhile, if you pick up the book you can also spend quality time with comics by the other JM cartoonists who, like me, can’t make it to Bluestockings this weekend (or if they can, are keeping it a secret so they can make a splashier entrance). They are Alison Bechdel, Tristan Cowen, Jamaica Dyer, Leanne Franson, Justin Hall, G. B. Jones, David Kelly, Robert Kirby, Carrie McNinch, Erika Moen, Sara Rojo Pérez, Karen Platt, Carlo Quispe, Lawrence Schimel, Ariel Schrag, Serpilla, Scott Treleaven, Robert Triptow, and Stephen Winter.

The are more Juicy Mother 2 events to come in other cities, by the way, so mark your calendars if you’re gonna be in Boston on November 4 (4 PM at the Center for New Words) or in Philadelphia on December 1 (at Robin’s Bookstore; check locally for the exact time). I can’t make it to the Philly signing but expect to be at the Boston one (along with Jen and Dianne).

Posters and Fliers and Site Maps — Oh, My!

Saturday, October 6th, 2007
This frazzled and overextended cartoonist has been graphic-designing his winsome tushie off these last few weeks, folks.

It’s a good thing I enjoy playing with pixels as well as word balloons or I’d be fleeing for the hills in search of serenity right now. (And the nice thing about living in the Berkshires is that those hills are so very near and so very pretty that fleeing to them tends to shed any ambience of unpleasant psychic desperation.)

No hills for Howie, though. There have been fliers, posters, receptiuon invitations, and an incredibly complicated map to compose, the latter item showing where the event’s more than 85 participating artists are going to be showing off their brainchildren next Saturday and Sunday.

Yes, North Adams Open Studios, the annual citywide arts event that I warned you in an earlier blog entry was preparing to roll into north Berkshire county like morning fog into San Francisco Bay, is now but a week away.

Merely preparing for my own modest cartoon exhibit (I’ll be at 107 Main Street, gang; please drop by) would have been sufficient to keep my head spinning, but on top of that I’ve been responsible for designing all of the assorted print materials for the event, most of which feature in one way or another that Picasso-esque assemblage I shared with you as this project was just revving up.

Hopefully the word is getting out, because what’s the point of turning Greater North Adams into one long string of artists’ studios on October 13 and 14 unless lots of art-lovers, artist-lovers, and general partiers show up to help keep things lively. The town will be providing free rides thither and yon on its historic trolley, so you’ll only have to park your car once.

To quote the event’s press release, "artists at three historic mills, Eclipse, Beaver, and Windsor, will throw open their studios to welcome local visitors and tourists from throughout the Northeast. In addition, five storefronts on Main Street, Eagle, and Holden will be transformed into galleries, complementing the existing Gallery 51, a special Gallery 51 Annex, Papyri Books, Cup & Saucer, the Flatiron Art Space, North Adams Antiques, Widgets, Kronick Art Studio, and the Chapel for Humanity."

Things will be hopping at nearby Heritage Park, too, where artists will be showing at Northern Berkshire Creative Arts and the North Adams Historical Society. Wanna see costumed historical characters talking about history and the arts? Say no more; the historical society will be ready to oblige. To paraphrase the boast frequently offered by the young Ricky Nelson on the Ozzie and Harriet TV show of my childhood: We don’t fool around, man!

Some extra side events will be adding to the fun at the Beaver and Eclipse mills, like drumming, a children’s drawing wall, a printmaking demonstration, and an ongoing reading by local fiction writers.

And as an extra bonus, you can pick up a free pass to the town’s cultural crown jewel MASS MoCA at any of the Open Studios locations all weekend.