Margaret Galvan
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NY ACKER Awards Is Taken from an Archaic Dutch Word Meaning a Noticeable Movement in a Stream
1 THE NYC ACKER AWARDS CREATOR & PRODUCER CLAYTON PATTERSON This is our 6th successful year of the ACKER Awards. The meaning of ACKER in the NY ACKER Awards is taken from an archaic Dutch word meaning a noticeable movement in a stream. The stream is the mainstream and the noticeable movement is the avant grade. By documenting my community, on an almost daily base, I have come to understand that gentrification is much more than the changing face of real estate and forced population migrations. The influence of gen- trification can be seen in where we live and work, how we shop, bank, communicate, travel, law enforcement, doctor visits, etc. We will look back and realize that the impact of gentrification on our society is as powerful a force as the industrial revolution was. I witness the demise and obliteration of just about all of the recogniz- able parts of my community, including so much of our history. I be- lieve if we do not save our own history, then who will. The NY ACKERS are one part of a much larger vision and ambition. A vision and ambition that is not about me but it is about community. Our community. Our history. The history of the Individuals, the Outsid- ers, the Outlaws, the Misfits, the Radicals, the Visionaries, the Dream- ers, the contributors, those who provided spaces and venues which allowed creativity to flourish, wrote about, talked about, inspired, mentored the creative spirit, and those who gave much, but have not been, for whatever reason, recognized by the mainstream. -
FUN BOOKS During COMIC-CON@HOME
FUN BOOKS during COMIC-CON@HOME Color us Covered During its first four years of production (1980–1984), Gay Comix was published by Kitchen Sink Press, a pioneering underground comic book publisher. Email a photo of you and your finished sheet to [email protected] for a chance to be featured on Comic-Con Museum’s social media! Share with us! @comicconmuseum #comicconmuseum SPECIAL EDITION 4 Anagrams of Class Photo Class Photo is a graphic novella by Gay Comix contributor and editor Robert Triptow. Take 3 minutes and write down words of each size by combining and rearranging the letters in the title. After 3 minutes, tally up your score. How’d you do? 4-LETTER WORDS 5-LETTER WORDS 1 point each 2 points each 6-LETTER WORDS 7-LETTER WORDS 8-LETTER WORDS 3 points each 4 points each 6 points each Share with us! @comicconmuseum #comicconmuseum SPECIAL EDITION 4 Cross Purpose It’s a crossword and comics history lesson all in one! Learn about cartoonist Howard Cruse, the first editor of the pioneering comic book Gay Comix and 2010 Comic-Con special guest. ACROSS DOWN Share with us! @comicconmuseum #comicconmuseum SPECIAL EDITION 4 Dots & Boxes Minimum 2 players. Take turns connecting two dots horizontally or vertically only; no diagonal lines! When you make a box, write your initials in it, then take another turn. Empty boxes are each worth 1 point. Boxes around works by the listed Gay Comix contributors are each worth 2 points. The player with the most points wins! Watch Out Fun Home Comix Alison Vaughn Frick Bechdel It Ain’t Me Babe Trina Robbins & Willy Mendes subGurlz Come Out Jennifer Comix Camper Mary Wings "T.O. -
John Lurie/Samuel Delany/Vladimir Mayakovsky/James Romberger Fred Frith/Marty Thau/ Larissa Shmailo/Darius James/Doug Rice/ and Much, Much More
The World’s Greatest Comic Magazine of Art, Literature and Music! Number 9 $5.95 John Lurie/Samuel Delany/Vladimir Mayakovsky/James Romberger Fred Frith/Marty Thau/ Larissa Shmailo/Darius James/Doug Rice/ and much, much more . SENSITIVE SKIN MAGAZINE is also available online at www.sensitiveskinmagazine.com. Publisher/Managing Editor: Bernard Meisler Associate Editors: Rob Hardin, Mike DeCapite & B. Kold Music Editor: Steve Horowitz Contributing Editors: Ron Kolm & Tim Beckett This issue is dedicated to Chris Bava. Front cover: Prime Directive, by J.D. King Back cover: James Romberger You can find us at: Facebook—www.facebook.com/sensitiveskin Twitter—www.twitter.com/sensitivemag YouTube—www.youtube.com/sensitiveskintv We also publish in various electronic formats (Kindle, iOS, etc.), and have our own line of books. For more info about SENSITIVE SKIN in other formats, SENSITIVE SKIN BOOKS, and books, films and music by our contributors, please go to www.sensitiveskinmagazine.com/store. To purchase back issues in print format, go to www.sensitiveskinmagazine.com/back-issues. You can contact us at [email protected]. Submissions: www.sensitiveskinmagazine.com/submissions. All work copyright the authors 2012. No part of this book may be used or reproduced in any manner whatsoever without the prior written permission of both the publisher and the copyright owner. All characters appearing in this work are fictitious. Any resemblance to real persons, living or dead, is purely coincidental. ISBN-10: 0-9839271-6-2 Contents The Forgetting -
The Metacomics of Alan Moore, Neil Gaiman, and Warren Ellis
University of Alberta Telling Stories About Storytelling: The Metacomics of Alan Moore, Neil Gaiman, and Warren Ellis by Orion Ussner Kidder A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfilment of the requirements for the degree of Doctor of Philosophy in English Department of English and Film Studies ©Orion Ussner Kidder Spring 2010 Edmonton, Alberta Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission. Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l’édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-60022-1 Our file Notre référence ISBN: 978-0-494-60022-1 NOTICE: AVIS: The author has granted a non- L’auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l’Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. -
577-1201 [email protected] for IMMEDIATE
JAMES FUENTES 55 Delancey Street New York, NY 10002 (212) 577-1201 [email protected] FOR IMMEDIATE RELEASE JAMES ROMBERGER ANTON VAN DALEN MARTIN WONG January 23 – February 17, 2019 James Fuentes is pleased to present works by James Romberger, Anton van Dalen, and Martin Wong. The exhibition is presented alongside Jane Dickson, All That Is Solid Melts Into Air. This exhibition brings together multifaceted portraits of a complex city. Romberger, van Dalen, and Wong were each close observers and keen documenters of life in New York City during the 1980s, a tumultuous and violent period that saw the wreckage wrought by AIDS, crack, heroin, homelessness, and real estate development. These artists describe a crime-ridden and cop-flooded history. At the same time, their works are saturated with the brilliance and energy of the communities that surrounded them. Together, they offer a certain mythology of their lives in the city. Wong and van Dalen appear courtesy of PPOW Gallery, New York. Martin Wong (1946–1999) was a prolific painter of New York City’s gritty, textured cityscapes. His works stand as semi-autobiographical registers of the Lower East Side and Chinatown in the 1980s and ‘90s, merging details of his life with a rich and poetic imagination. The New York Times describes Wong as “the self-dramatist; the mythologist; the existential tourist; and the virtuoso realist.” Oftentimes he employed trompe l’oeil effects, mimicking the characteristics of his surroundings in combination with other recurring motifs—constellations, billows of smoke, shuttered storefronts—that give these scenes an apparation-like quality. -
Questioning Comics Women and Autocritique in Seth’S It’S a Good Life, If You Don’T Weaken
Katie Mullins Questioning Comics Women and Autocritique in Seth’s It’s a Good Life, If You Don’t Weaken Seth’s “picture-novella” It’s a Good Life, If You Don’t Weaken is firmly situated in the conventionally male comics tradition, with a narrative that revolves around the physical and psychological journey of the male protagonist. Although it poses as an autobiography (the protagonist, also an artist, shares the creator’s name), It’s a Good Life is largely fictional; that said, Seth clearly blurs the boundary between his real and fictional self in order to pay tribute to comics creators he admires, and to comment on the body of work that informs his own place in the comics tradition. In this sense, It’s a Good Life is a kind of Künstlerroman in that it traces the artist’s development through his search for meaning in both life and art. The pro- tagonist’s selfish obsession with comics art, his nostalgia for the past, and his quest for the fictional male artist Kalo define a myopic and masculine world in which romantic relationships, love, and ethical obligations are cast aside for narcissistic pursuits. The book does, in fact, appear to contain several of the issues for which mainstream comics have often been criticized, particu- larly the portrayal of women as narrative embellishments or as eroticized objects of desire.1 In Comics, Comix and Graphic Novels: A History of Comic Art, Roger Sabin discusses the matter of sexism in comics, particularly in adventure comics: there were three main objections to . -
Nominees Announced for 2017 Will Eisner Comic Industry Awards Sonny Liew’S the Art of Charlie Chan Hock Chye Tops List with Six Nominations
FOR IMMEDIATE RELEASE Contact: Jackie Estrada [email protected] Nominees Announced for 2017 Will Eisner Comic Industry Awards Sonny Liew’s The Art of Charlie Chan Hock Chye Tops List with Six Nominations SAN DIEGO – Comic-Con International (Comic-Con) is proud to announce the nominations for the Will Eisner Comic Industry Awards 2017. The nominees were chosen by a blue-ribbon panel of judges. Once again, this year’s nominees reflect the wide range of material being published in comics and graphic novel form today, with over 120 titles from some 50 publishers and by creators from all over the world. Topping the nominations is Sonny Liew’s The Art of Charlie Chan Hock Chye (Pantheon), originally published in Singapore. It is a history of Singapore from the 1950s to the present as told by a fictional cartoonist in a wide variety of styles reflecting the various time periods. It is nominated in 6 categories: Best Graphic Album–New, Best U.S. Edition of International Material–Asia, Best Writer/Artist, Best Coloring, Best Lettering, and Best Publication Design. Boasting 4 nominations are Image’s Saga and Kill or Be Killed. Saga is up for Best Continuing Series, Best Writer (Brian K. Vaughan), and Best Cover Artist and Best Coloring (Fiona Staples). Kill or Be Killed by Ed Brubaker and Sean Phillips is nominated for Best Continuing Series, Best Writer, Best Cover Artist, and Best Coloring (Elizabeth Breitweiser). Two titles have 3 nominations: Image’s Monstress by Marjorie Liu and Sana Takeda (Best Publication for Teens, Best Painter, Best Cover Artist) and Tom Gauld’s Mooncop (Best Graphic Album–New, Best Writer/Artist, Best Lettering), published by Drawn & Quarterly. -
AML 3285.0989 a Cultural History of American Women in Comics Fall 2017
AML 3285.0989 A Cultural History of American Women in Comics Fall 2017 Time: T 5-6, R 6 —► Tuesdays ll:45am-l :40pm, Thursdays 12:50pm-l :40pm Place:TUR 2318 Canvas Website:http://elearning.ufl.edu/ Course Website:https://americanwomenincomics.wordpress.com/ Instructor Name:Dr. Margaret Galvan Email:[email protected] Office: TUR 4348 Office Hours:Tuesdays 10:30am-11:30am, Thursdays 2:45pm-3:45pm, and by appointment Course Description: Despite a long history of female creators, readers, and nuanced characters, women’s participation in American comics has frequently been overlooked. Contemporary scholars have focused on recovering these forgotten women. In this class we will explore why women’s contributions have not been visible in comics histories. We will start by reading how comics have been variously defined. Reading these definitions alongside this understudied tradition of women’s comics, we will ask: is there something about the definitions that exclude women in comics? We will read comics by women in addition to reading comics for and about women, since female random and characters have also been minimized. We will read a variety of forms, both print and digital, and consider how we might wield this digital space to right the balance. Course assignments will include digital reflections on a shared course website, a short formal essay, and a research project that includes an annotated bibliography, proposal, Wikipedia edits, and formal paper. Books to Purchase: Lynda Barry, Syllabus (2014), Drawn & Quarterly, ISBN: 1770461612 Kate Beaton,Hark! A Ir agrant (2011), Drawn & Quarterly, ISBN: 1770460608 Thi Bui, The Best We Could Do (2017), Abrams, ISBN: 1419718770 Emil Ferris, My Favorite ThinglsMonsters (2017), Fantagraphics, ISBN: 1606999591 Cristy C. -
Feminist (And/As) Alternative Media Practices in Women’S Underground Comix in the 1970S1
Małgorzata Olsza Feminist (and/as) Alternative Media Practices in Women’s Underground Comix in the 1970s1 Abstract: The American underground comix scene in general, and women’s comix that flourished as a part of that scene in the 1970s in particular, grew out of and in response to the mainstream American comics scene, which, from its “Golden Age” to the 1970s, had been ruled and construed in accordance with commercial business practices and “assembly-line” processes. This article discusses underground comix created by women in the 1970s in the wider context of alternative and second-wave feminist media practices. I explain how women’s comix used “activist aesthetics” and parodic poetics, combining a radical political and social message with independent publishing and distributive networks. Keywords: American comics, American comix, women’s comix, feminist art and theory, media practices Introduction Toughly mainly associated with popular culture, mass production, and thus consumerism, the history of comics also intertwines with the history of the American counterculture and feminism. In the present article, I examine women’s underground comix from the 1970s as a product and an integral element of a complex and dynamic network of historical, cultural, and social factors, including the mainstream comics industry, men’s underground comix, and alternative media practices, demonstrating how the media practices adopted by female comix authors were used to promote the ideals of second-wave feminism. As Elke Zobl and Ricarda Drüeke point out in Feminist Media, “[u]sing media to transport their messages, to disrupt social orders and to spin novel social processes, feminists have long recognized the importance of self-managed, alternative media” (11). -
JOIN CBLDF TODAY! CBLDF’S Important Work Defending the Freedom to Read Is Only Possible Because of the Support of Individuals Like You
CELEBRATE REGINALD PROFILES DIVERSITY «««HUDLIN: BLACK «««IN BLACK IN 2016! COMICS MATTER CARTOONING Issue 5 Spring 2016 Director’s Note Everything is changing in 2016, yet the familiar challenges of the past continue to reverberate with great force. This isn’t just true in the broader world, but in comics, too. While the boundaries defining representation and content in free expression are expanding, we continue to see biased or outmoded viewpoints stifling those advances. STAFF As you’ll see in this issue of CBLDF Defender, we are working on both ends of the Charles Brownstein, Executive Director spectrum by providing vital education about the people whose work expanded free ex- Alex Cox, Deputy Director pression while simultaneously fighting all attempts to censor creative work in comics. Betsy Gomez, Editorial Director Maren Williams, Contributing Editor In this issue, we work the former end of the spectrum with a pair of articles spotlight- Caitlin McCabe, Contributing Editor ing the pioneers who advanced diverse content. On page 10, “Profiles in Black Cartoon- Robert Corn-Revere, Legal Counsel ing” introduces you to some of the cartoonists who used comics to express themselves about the African-American experience in the harsh racial climate of the United States BOARD OF DIRECTORS in the 20th Century. “She Changed Comics,” on page 7, introduces CBLDF’s upcoming Larry Marder, President Milton Griepp, Vice President book, which will tell the story of how women changed free expression in comics. Jeff Abraham, Treasurer In our lead interview, “Black Comics Matter,” entertainment luminary and CBLDF Dale Cendali, Secretary Board Member Reginald Hudlin discusses how times have changed for Black creators Jennifer L. -
A Pictorial History of Comic-Con
A PICTORIAL HISTORY OF COMIC-CON THE GOLDEN AGE OF COMIC-CON The 1970s were the formative years of Comic-Con. After finding its home in the El Cortez Hotel in downtown San Diego, the event continued to grow and prosper and build a national following. COMIC-CON 50 www.comic-con.org 1 OPPOSITE PAGE:A flier for the Mini-Con; the program schedule for the event. THIS PAGE: The Program Book featured a pre-printed cover of Balboa Park; photos from the Mini-Con, which were published in the Program Book for the first three-day MINI-CON Comic-Con held in August (clockwise MINI-CON from left): Forry Ackerman speaking; Mike Royer with some of his art; Comic-Con founding committee member Richard Alf NOTABLE MARCH 21, 1970 at his table; Ackerman at a panel discus- sion and with a fan; and Royer sketching GUESTS live on stage. The basement of the U.S. Grant Hotel, Downtown San Diego Attendance: 100+ Officially known as “San Diego’s Golden State Comic-Minicon” (the hyphen in Minicon comes and goes), this one-day event was held in March to raise funds for the big show in August, and FORREST J ACKERMAN was actually the first-ever West Coast comic convention. Most Comic-Con’s first-ever guest was the popular editor of Famous of those on the organizing com- Monsters of Filmland, the favorite mittee were teenagers, with the movie magazine of many of the major exceptions of Shel Dorf (a fans of that era. He paid his own recent transplant from Detroit way and returned to Comic-Con who had organized the Triple numerous times over the years. -
“We're Not Rated X for Nothin', Baby!”
CORSO DI DOTTORATO IN “LE FORME DEL TESTO” Curriculum: Linguistica, Filologia e Critica Ciclo XXXI Coordinatore: prof. Luca Crescenzi “We’re not rated X for nothin’, baby!” Satire and Censorship in the Translation of Underground Comix Dottoranda: Chiara Polli Settore scientifico-disciplinare L-LIN/12 Relatore: Prof. Andrea Binelli Anno accademico 2017/2018 CONTENTS CONTENTS ........................................................................................................................................................................ 1 INTRODUCTION ............................................................................................................................................................. 3 SECTION 1: FROM X-MEN TO X-RATED ............................................................................................................ 11 Chapter 1. “DEPRAVITY FOR CHILDREN – TEN CENTS A COPY!” ......................................................... 12 1.1. A Nation of Stars and Comic Strips ................................................................................................................... 12 1.2. Comic Books: Shades of a Golden Age ............................................................................................................ 24 1.3. Comics Scare: (Self-)Censorship and Hysteria ................................................................................................. 41 Chapter 2. “HAVE YOU EVER SEEN THE RAIN?”: RISE AND FALL OF A COUNTERCULTURAL REVOLUTION ................................................................................................................................................................