The 273rd meeting of the NY Comics & Picture-story Symposium will be held on Tuesday,  April 7, 2020 as an online event via Zoom. Here’s the link to join the online event:  Free and open to the public.

Pre-Passover Special Event!


DANNY FINGEROTH, author of the definitive biography, A MARVELOUS LIFE: THE AMAZING STORY OF STAN LEE (2019 St. Martin’s Press/Macmillan), gives a slideshow-enhanced talk about Lee’s life, accomplishments, and the controversies surrounding him. Topics covered will include answers to these four questions:

  • Stan Lee created SPIDER-MAN, THE HULK, IRON MAN and THE AVENGERS, just like Walt Disney created Mickey Mouse, right?
  • Stan Lee was an overnight sensation whose career started when Marvel’s superheroes became breakout hits in the 1960s, right?
  • Stan Lee was all about his CAMEOS in Marvel movies and TV shows and was pretty much retired for several decades, right?
  • Everybody loved Stan Lee, right? I mean, how could you not?

Plus: See how Passover figured importantly into the lives and work of Lee and his main collaborator, JACK KIRBY!

Q & A with the author will follow the presentation.

DANNY FINGEROTH is an author whose latest book is A MARVELOUS LIFE: THE AMAZING STORY OF STAN LEE (St. Martin’s Press, 2019). Legendary cartoonist/screenwriter/author Jules Feiffer has said of the book:

“I couldn’t stop reading it. Danny Fingeroth gives us, page after page, rapid and cogent insights into the Marvel world, the comics universe, and Stan Lee as innovator, ring master, high-stakes gambler, con man, and an indefatigable charmer. And visionary, as well.” 

Fingeroth was the longtime editorial director of Marvel’s Spider-Man comics line and writer of comics featuring Spider-Man, Iron Man and other iconic characters. He’s also the author of books including “Superman on the Couch: What Superheroes Really Tell Us About Ourselves and Our Society” and “Disguised as Clark Kent: Jews Comics and the Creation of the Superhero.” Danny is a consultant to Will Eisner Studios and to the traveling “Marvel: Universe of Super Heroes” exhibition that has set attendance records in Seattle and Philadelphia. He has spoken and taught on comics-related topics at Columbia University, the Smithsonian Institution, and many other venues. For more info:

A Marvelous Life cover v2 copy 2


The 272nd meeting of the NY Comics & Picture-story Symposium will be held on Tuesday,  March 31, 2020 as an online event via Zoom. Here’s the link to join the online event: Free and open to the public.

Ian Gordon on Rose O’Neill: Comic Strip Artist

In December 1909 the Ladies’ Home Journal published “The Kewpies Christmas Follies,” a full page illustrated verse for children by Rose O’Neill. The Kewpies, cherub like figures with a distinct tuff of hair, were an instant success and episodes followed in January and February 1910.  O’Neill then moved the feature to the competing Woman’s Home Companion after a dispute with the Journal­­­­ editor Edward Bok. Eleven months before the Kewpies appeared in their pages the Journal editorialized against the “comic” supplement in Sunday newspapers labelling them “a crime against American children.” Comics in the Journal’s view were an “extraordinary stupidity, and an influence for repulsive and often depraving vulgarity.” Parents needed to give their children the work of “competent illustrators” who demonstrated refined rather than vulgar humor.[1] O’Neill’s Kewpies then originated in a search for an antidote to the offending comic strips. While the Journal wished to suggest that O’Neill and its other illustrators created something more refined than the crudities of comic strips it is hard to see these early Kewpies episodes as anything else but comic strips.  In this talk I will show how O’Neill’s background as a staff cartoonist for Puck gave her a full command of the visual humor tropes of the day and that her Kewpies, although presented in verse, were in keeping with the formal properties of comic strips. Moreover, Bok deployed the Kewpies in just the same way as Hearst deployed the Katzenjammer Kids: they were features designed to boost circulation and attract advertising dollars for their respective publishers. O’Neill had no compunctions about the commercial nature of her work and lent her characters to advertising for various products including Jell-O.

 [1] “A Crime Against American Children,” Ladies Home Journal, 26 (January 1909), p. 5.

 Ian Gordon teaches American Studies and History at the National University of Singapore. His publications include: “Bildungsromane and Graphic Narratives,” in A History of the Bildungsroman, (Cambridge: Cambridge University Press, 2019), Superman: The Persistence of an American Icon (Rutgers University Press, 2017), Kid Comic Strips (Palgrave, 2016) and the edited volumes The Superhero Symbol: Identity, Culture, and Politics. (New Brunswick: Rutgers University Press, 2019 in press), Ben Katchor: Conversations (University Press of Mississippi, 2018), and The Comics of Charles Schulz: The Good Grief of Modern Life (University Press of Mississippi, 2017).

The Ladies' home journal.

The 271st meeting of the NY Comics & Picture-story Symposium will be held on Tuesday, March 24, 2020 at 7pm as an online event via Zoom. Here’s the link to join the online event:

Amy Lockhart on her work.

Amy Lockhart will speak about her art practice which involves animation, comics, and more, including her recently published graphic novel Ditch Life, published by Fantagraphics Underground Press.

Amy Lockhart is a filmmaker, animator and artist. Her animations have screened internationally, including the Whitney, NY, British Film Institute, N.Y. Anthology Film Archives, GLAS Animation Festival, Ann Arbor Film Festival, The Ottawa International Animation Festival, Carnegie Mellon, and Hiroshima International Animation Festival. Lockhart has received fellowship at the National Film Board of Canada and support from the Canada Council for the Arts. She has completed residencies at Calgary’s Quickdraw Animation Society, Struts Gallery, and The School of the Art Institute of Chicago. Her drawings, comics and paintings have been published by Fantagraphics (Ditch Life, 2019), Drawn & Quarterly (Dirty Dishes, 2009), and by Colour Code (Looking Inward, 2016).

lockhart cover

The 270th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday,  March 10, 2020 at 7pm at Parsons School of Design, University Center, 63 Fifth Avenue, room UL 105 (lower level). Free and open to the public.

Brian Rea: Learning to draw, learning to see, learning to choose.

A career (and a life) through illustration, art direction and the authorship of ideas.

A discussion on what we draw and what we draw inspiration from, what we see and the process of transferring that into our work and what we choose to draw more of in our life and in our life’s work as an artist. 

Los Angeles based artist Brian Rea is the former art director of the Op-Ed page of the New York Times and his award winning emotionally charged drawings can be seen each week alongside the paper’s column “Modern Love.” He has produced books, posters, murals, film and fashion projects for clients around the world. Some of these collaborations include Apple, Marni, Google, The New Yorker, Airbnb, Penguin Books, Herman Miller, Malcolm Gladwell and Vanity Fair. Rea’s intricate drawings and list-based paintings have been exhibited in Paris, Tokyo, Los Angeles, Mexico City, São Paulo, Seoul, New York and Barcelona at the Joan Miró Foundation as part of the group show Murals.

Rea is an Adjunct Associate Professor at Art Center College of Design and a member of Alliance Graphique Internationale.

Rea’s first book, Death Wins a Goldfish, (Chronicle Books) was published in 2019.

He lives in California with his wife, his son and his plants.


IG: freebrianrea


The 269th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday,  March 3, 2020 at 7pm at Parsons School of Design, University Center, 63 Fifth Avenue, room UL 105 (lower level). Free and open to the public.

Will Eisner Week event.

A Contract with God: Curator’s Collection with John Lind and Danny Fingeroth

About the Curator’s Collection: Will Eisner’s A Contract with God—one of the most influential graphic novels of all time—is in this collection reproduced from Eisner’s original art—both pencil layouts and finished inked artwork! The deluxe slipcase, two-volume hardcover set, edited and designed by John Lind, provides a rare glimpse into the creative process of the Champion of the Graphic Novel and the making of a comics masterwork. The collection includes commentary from Frank Miller, Dave Gibbons, Denis Kitchen, and John Lind. 

John Lind, editor/designer of the Kitchen Sink/Dark Horse Curator’s Collection series, gives an insightful visual presentation on his 2019 Eisner Award-winning edition of “Will Eisner’s A Contract with God: Curator’s Collection,” followed by a conversation on Eisner and his work with comics scholar and historian Danny Fingeroth.

 Will Eisner (1917-2005) innovated and pioneered comics in two different eras. Eisner helped invent the comics industry in the 1930s and created The Spirit in the 1940s as a heroic crime-fighting figure who appeared in a Sunday newspaper comics insert. The Spirit walked through a world of noir-inflected, urban drama, one suffused with humor and insight into the human condition, a world not afraid to essay the occasional Yiddish in-joke or Bronx social drama vignette. Then, after producing comics for training and education, Eisner, in 1978, re-invented himself—and the comics medium—with his first graphic novel, A Contract With God, followed, until his 2005 passing, with many acclaimed graphic novels and textbooks.

John Lind is the multi award-winning creative director of Kitchen Sink Books, an imprint of Dark Horse Comics. He has designed and art directed books for publishers including Bloomsbury, Simon & Schuster, Chronicle Books, Abrams, and Disney.

Danny Fingeroth is the Chair of Will Eisner Week. A comics writer, editor and historian, he’s author of books including A Marvelous Life: The Amazing Story of Stan Lee (2019, St. Martin’s Pres/Macmillan).

Screen Shot 2019-10-14 at 12.15.16 PM

The 268th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday,  February 25, 2020 at 7pm at Parsons School of Design, Arnhold Hall, 55 West 13th Street, Theresa Lang Community and Student Center, room I202 (Second floor). Free and open to the public.

John Cuneo on “Some of the Lines I’ve Fallen For.”

John will be talking about some specific drawings that have influenced him one way or another.  He will show a few examples from a handful of artists , all of them “drawers” with distinctive lines, and attempt to explain their seductive effect. There will also be examples of his own work; drawings that relate either stylistically or by theme or subject matter —these will mostly personal drawings, culled from sketchbooks and the like.

John Cuneo is a freelance illustrator and cartoonist whose drawings appear in most major magazines and newspapers here and abroad. Clients include The New York Times, The LA Times, Variety, The New York Review of Books, Mother Jones, Esquire, Bon Appetit, GQ,  and Atlantic Magazine. He has done several covers  for the New Yorker and many illustrations and cartoons over the twenty years that he’s been working with the magazine. His work has received Gold and Silver medals from the Society of Illustrators, been featured in American Illustration, and is displayed in several public museums and private collections. Several book collections of his personal and sketchbook work have been published.

John Cuneo image


The 267th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday,  February 18, 2020 at 7pm at Parsons School of Design, University Center, 63 Fifth Avenue, room UL 105 (lower level). Free and open to the public.

Stepan Shmytinsky on the Russian comic-book industry.

A survey of Russian comics from ancient lubok and Soviet caricatures to today. The appearance of Russian superheroes and political magazines.  Is the comic book industry important in Russia, and which comic books are prohibited?  How many Russian comic-book artists are working for the U.S. industry?  All of that and more, including some gossip and funny stories from an industry insider.

 Stepan Shmytinsky has been working in the comic-book industry in Russia for nine years. Back in 2011, he witnessed the very beginnings of the Russian “Bronze Age” of comics. After working for a few years with mainstream titles like TMNT, Deadpool, and Adventure Time, in Komilfo, the biggest Russian publishing house that focuses exclusively on comic books, Stepan resigned to become one of the founders of the first Russian indie-comic book PH, ComFederation. It features a catalogue composed of rare foreign titles and Russian talents. 

Stepan also takes part in organizing the largest comic-book conventions and festivals in Russia. Starting in 2019 Stepan became an acquisition editor of the comic book branch of EKSMO, the largest Russian publishing company. However, he continues to be the heart and soul of ComFederation, now bringing major titles alongside alternative gems to the Russian comic-book market.

Stepan Shmytinsky image 72

Ninja Turtles and the Russian Bear, c. 1990