The 259th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday,  Nov. 19, 2019 at 7pm at Parsons School of Design, University Center, 63 Fifth Avenue, room UL 105 (lower level). Free and open to the public.

Keren Katz on her recent work.

Katz‘s latest graphic novel The Backstage of a Dishwashing Webshow is a story of unrequited love set in a school for transmutation on top of Mount Scopus. It catalogs the disappearance and reappearance of four characters: Rivi the protagonist and eventual narrator of the book, Novak, Rivi’s roommate and popular yet elusive host of a live dishwashing show, Avner, Rivi’s father and Yakov, Rivi’s love interest. In her presentation, Katz will discuss the process of composing the image sequences in the book as a choreography, and the interactive performances in which they originated, as well as the use of auto-biographical writing as a catalyst for generating real life adventures. She will also introduce new experimental publishing projects from the Tel Aviv based “Gnat Micro-Press.”

Keren Katz is an Israeli-born cartoonist, writer, and the non-fictitious half of The Katz Sisters Duo. She is a graduate of the School of Visual Arts’s MFA Illustration Program. She is the author of the Academic Hour (Secret Acres), nominated for the SPX Ignatz Award for Outstanding Artist. Her work has been published in anthologies by Smoke Signal, Locust Moon, Rough House, Ink Brick, Retrofit Comics, The Brooklyn Rail, Carrier Pigeon, Seven Stories Press and NOW. Katz is the current Center for Cartoon Studies fellow, and recipient of the SVA Alumni Society 2013 Micro-Grant, the Sequential Artists Workshop’s 2014 Micro Grant, the Museum of Comics and Cartoon Art’s 2015 Silver Medal and Award of Excellence, the 2018 Slate Book Review and the Center for Cartoon Studies sixth annual Cartoonist Studio Prize for Best Print Comic (The Academic Hour) and the Cartoon Crossroad Columbus Emerging Talent Prize. Visit Keren at https://www.instagram.com/thekatzsisters/ to My Graphic Novels and http://kerenkatz.carbonmade.com/

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The 258th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday,  Nov. 12, 2019 at 7pm at Parsons School of Design, University Center, 63 Fifth Avenue, room UL 105 (lower level). Free and open to the public.

Kim Deitch on Reincarnation Stories

Are great artists born, or made? Of are they simply the same artistically-gifted souls recycled endlessly through multiple incarnations and parallel universes? Lauded underground cartoonist Kim Deitch discusses the mysteries of past lives and the alchemical storytelling process by which great comics are created in this presentation of his latest work of autobiographical fiction, Reincarnation Stories

Kim Deitch has a reserved place at the first table of underground cartoonists. He got his start doing comic strips for the East Village Other in 1967 and in 1969 he succeeded Vaughn Bodé as editor of Gothic Blimp Works, the Other’s underground comics tabloid. His Boulevard of Broken Dreams was named one of Time’s “100 Best Graphic Novels Ever Written” and he has been awarded an Eisner and an Inkpot Award. Over the past three decades he’s created such classics as Alias the Cat, and The Search for Smilin’ Ed.  His latest graphic novel is Reincarnation Stories (Fantagraphics 2019). Deitch remains a true cartoonists’ cartoonist, adored by his peers as much as anyone in the history of the medium.

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The 257th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday,  November 5, 2019 at 7pm at Parsons School of Design, Theresa Lang Student Center, 55 West 13th Street, 2nd floor. Free and open to the public.

Diane Noomin in conversation with Aline Kominsky-Crumb on Drawing Power: Women’s Stories of Sexual Violence, Harassment, and Survival

Comics creator Diane Noomin and Aline Kominsky-Crumb will discuss Drawing Power, the recently released anthology edited by Noomin, which features over 60 female comics creators that have shared their personal experiences with sexual violence and harassment.

Diane Noomin is the creator of the comics character DiDi Glitz, editor of the Twisted Sisters anthologies, and was one of the early contributors to Wimmen’s Comix. She has been nominated for Harvey and Eisner Awards and received an Inkpot Award. Glitz-2-Go, a collection of Noomin’s art throughout her career, was published in 2013. Her work is included in the Library of Congress Print & Photographs collection. She lives in Connecticut.

Aline Kominsky-Crumb is an underground comics artist who began her career in 1971 withWimmen’s Comix. Her work includes Love That Bunch (Drawn & Quarterly, 2018), and Drawn Together (W. W. Norton, 2012), a collaborative collection with her husband, Robert Crumb. The Crumbs live in Southern France, where Aline makes comics, paints, and teaches yoga.

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comic-strip by Aline Kominsky-Crumb

 

The 256th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday,  Oct. 29, 2019 at 7pm at Parsons School of Design, University Center, 63 Fifth Avenue, room UL 105 (lower level). Free and open to the public.

Pooh Kaye on The Illusion of Movement

Pooh Kaye is a choreographer, performer and visual artist who has been making both live dances and animated films since 1975. In her movies she seeks to create the illusion of movement by subverting the impulse to move with the appearance of movement. This means that all the movement is constructed out of still images. One could say that for Pooh Kaye the process of making a film is the inversion of making a dance. A dance composed of millions of momentary visual images, cascading through time.

The films have allowed Ms. Kaye and her collaborators to integrate unusual visual elements made from objects, painted surfaces, with real human/dancing bodies. She does this primarily by using single frame photography. All effects are created in the camera. Ms. Kaye applies neither post digital or photographic special effects beyond that which can be accomplished in a single shutter exposure.

A choreographer and animator, Pooh Kaye’s stop‐motion films combine human movement with manipulated environments. They have been seen at the Metropolitan Museum, The Whitney Museum of American Art and The National Gallery of Art in Washington D.C.. Ms. Kaye’s 2011 re-edited video version of her 1991-93 stop-motion 16mlle.mixed animation film, The Painted Princess, won top prize in the 2011 Hudson Mohawk exhibit. Her live-action, stop-motion film called Spring Cleaning, commissioned by EMPAC in Troy, New York, has been at the Walter Reade Theater as a part of the 2012 Dance on Camera Festival, and won a purchase award The 2012 Hudson Mohawk Regional Art Show.  Her films have been recently on exhibit at: The Munson Proctor Institute, Utica, New York; At the Suny, Oneonta, Martin Mullen Gallery; The 2014 Hudson Mohawk Regional; The Kate Weare Gallery in New York City; Shoot the Lobster Gallery in NYC; Greenkill Arts, Kingston; and The Hyde Collection in Glen Falls, NY.

A 1972 graduate of Cooper Union Pooh Kaye studied with experimental film-maker Hollis Frampton. She went on to perform with the experimental  dancer, Simone Forti, from 1973-76, and both perform with and act as studio assistant for the seminal video artist Joan Jonas from 1976-1978. She has been presenting work in NYC since 1975 Her early work was seen at the Kitchen Center, N.Y.; MoMA, at PS1 and Summergarden; St. Marks Church, New York; Lincoln Center, New York; and The Holland Festival. Pooh Kaye formed the dance and film production company, Eccentric Motions in 1983. The company toured internationally and was in residence at The American Dance Festival for four years, 1984-1987, with three commissions and a tour of Japan in 1986. Eccentric Motions received funding from NYSCA and the NEA from 1983-1993 when Ms. Kaye dissolved the dance company in order to focus on the animation work. Ms. Kaye has been the recipient of a Guggenheim Fellowship, a NYFA award and six Fellowships from the National Endowment for the Arts. She has a graduate degree in media and dance from Bennington College in Vermont.

production of then Painted Princess - Copy - Copy (1233x1680)

The 255th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday,  Oct. 22, 2019 at 7pm at Parsons School of Design, University Center, 63 Fifth Avenue, room UL 105 (lower level). Free and open to the public.

FLEEGIX: A 16mm film by Matthew Thurber.”  Q&A to follow
 
FLEEGIX is a science-fiction film set on Earth, although some of the population have become convinced that they are in fact living on the planet Mars. The film investigates the nature of belief systems which overlap, co-exist, and create conflict in any human society. It takes place in a recognizable world of parks, parking lots, gas stations and video stores, which makes the episodes stranger and more tangible. It does not create a fantasy world: the extraordinary is mapped onto a recognizable landscape.
The film is inspired by and loosely adapted from on a Young Adult novel by Daniel Pinkwater, Alan Mendelsohn, the Boy From Mars, in which alienated high school students Leonard and Alan escape boredom through developing telepathic powers and learn to travel to other dimensions overlapping their own. I have received permission from the author to make a film that is a creative interpretation of his book.
The film, shot on color 16mm, includes both live action, stop motion and hand drawn animated segments. The appearance of animation in the narrative is to illustrate propaganda, such as depictions of newsworthy events on Mars.
This film is an organism that grows and continues to develop a web of connected motifs and ideas.
At the heart of the film is the question as to how Fleegix (a beverage enjoyed by Martians) is manufactured.The film details further conflict among New York Martians who express themselves in animated movement, and the Hand Shadow Punks of Baltimore, who represent a pre-cinematic faction.The film proposes various absurd answers to this question, and the dispute takes on symbolic and mythological proportions.
Fleegix, 2019.16mm projection with live sound performance.
Total running time 60 minutes.

Matthew Thurber‘s unpredictable practice has included: Mining the Moon, a full length musical play; Moon Tube, a week of movies each made in a single day; an olfactory performance, dressed as a giant nose; Mouse Maze, a mosaic labyrinth installed in an elementary school; Terpinwoe, choreographed noise dance about a carrot-based economy; an interactive novel employing Handwriting Analysis.

As Ambergris and in other ensembles he has performed at the Serpentine Gallery in London, the Hammer Museum, the Fumetto Festival, Abrons Art Center, and in an eyeglass store. He co-founded Tomato House, an art gallery in operation from 2012-2015, with Rebecca Bird. Finally he is the author of 1-800-MICE, INFOMANIACS, and Art Comic.

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No meeting on Oct. 8th.

The 254th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday,  Oct. 15, 2019 at 7pm at Parsons School of Design, University Center, 63 Fifth Avenue, room UL 105 (lower level). Free and open to the public.

 Andrew Hemingway on “True fantasy is the most genuine mirror of the present.” Georg Scholz’s New Objectivity of 1923 in Baden

At the end of 1918 the artist Georg Scholz returned from his wartime service to the small town of Grötzingen, just outside Karlsruhe where he had trained at the Academy and where his artistic career was mainly to unfold. In short order Scholz – who had shown no clear political inclinations previously – joined the antiwar Independent Socialist Party and then the Communist Party – although he did not stay in either long. At the same time his art went through a rapid sequence of stylistic mutations before he adopted the Neue Sachclichkeit [New Objectivity] idiom for which he is best known in the mid 1920s. In this lecture I use Scholz’s evolution to chart the options open to a would-be revolutionary artist struggling to make a living in the disastrous postwar economic climate and consider the links between Scholz’s practice as a painter and his work as a print-maker, illustrator, and graphic artist. I will focus particularly on the two paintings Baden Small Town by Day and German Small Town by Night as a Dadaistic critique of the cult of homeland.

Professor Andrew Hemingway

Andrew Hemingway is Professor Emeritus in History of Art at University College London, where he taught from 1987 to his retirement in 2010. He has held visiting appointments at Northwestern University, the City University of New York, and the Freie Universität in Berlin. Hemingway has written widely on British Romantic art and art theory and on U.S. art of the early twentieth century. His books include: Landscape Imagery and Urban Culture in Early Nineteenth-Century Britain (1992), Artists on the Left: American Artists and the Communist Movement, 1926-1956 (2002), The Mysticism of Money: Precisionist Painting and Machine Age America (2012), and Landscape Between Ideology and the Aesthetic: Marxist Essays on British Art and Art Theory, 1750-1850 (2017).  His most recent book, co-edited with Malcolm Baker, is Art as Worldmaking: Critical Essays on Realism and Naturalism (2018). He was for twelve years an editor of the Oxford Art Journal and since 1998 has been a contributing editor to Kunst und Politik. Jahrbuch der Guernica-Gesellschaft.

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The 253rd meeting of the NY Comics & Picture-story Symposium will be held on Tuesday,  Oct. 1, 2019 at 7pm at Parsons School of Design, University Center, 63 Fifth Avenue, room UL 105 (lower level). Free and open to the public.

Special New School 100th Anniversary event.

Andrew Hemingway on Meyer Schapiro and the New School: From the Popular Front to the Cold War

In the winter of 1937, Meyer Schapiro published a critical review, “Nature of Abstract Art,” in the Marxist Quarterly, organ of the self-styled American Marxist Association, which had an address on West 90th Street. This review achieved almost legendary reputation among art historians as a critical demolition of formalist interpretations of modern art. Beginning in the 1970s, a new wave of social historians of art interested in Schapiro’s Marxist past noted that he had already mooted basic theses of “Nature of Abstract Art” in a paper read at the First American Artists’ Congress on 15 February 1936 in the New School for Social Research. The American Artists Congress was a communist front organization and its foundation can be understood as a manifestation of the Communist Party’s Popular Front strategy. What has passed largely unnoticed is that Schapiro had actually advanced the same arguments in the fall of 1935 in a course of six lectures on “The Content of Modern Art” at the New School.

This lecture will reconstitute Schapiro’s 1935 course from his notes and consider his arguments in relation to the politics of the moment. It will also set it against Schapiro’s later lecture courses at the New School from the 1940s and 1950s and consider them as an index of the changing political situation and his responses to it.

Andrew Hemingway is Professor Emeritus in History of Art at University College London, where he taught from 1987 to his retirement in 2010. He has held visiting appointments at Northwestern University, the City University of New York, and the Freie Universität in Berlin. Hemingway has written widely on British Romantic art and art theory and on U.S. art of the early twentieth century. His books include: Landscape Imagery and Urban Culture in Early Nineteenth-Century Britain (1992), Artists on the Left: American Artists and the Communist Movement, 1926-1956 (2002), The Mysticism of Money: Precisionist Painting and Machine Age America (2012), and Landscape Between Ideology and the Aesthetic: Marxist Essays on British Art and Art Theory, 1750-1850 (2017).  His most recent book, co-edited with Malcolm Baker, is Art as Worldmaking: Critical Essays on Realism and Naturalism (2018). He was for twelve years an editor of the Oxford Art Journal and since 1998 has been a contributing editor to Kunst und Politik. Jahrbuch der Guernica-Gesellschaft.

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