The 317th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday, November 2, 2021 at 7pm ET. ONLINE PRESENTATION VIA ZOOM. Please email to register for this event. Free and open to the public.

Karolina Głusiec: Everything wrong is imaginary – how memory and memories shape drawings, paintings and films rooted in what once happened thus in the past.

In the talk I will be discussing drawing as communication and a link between the non-material memories and language and with the references to various artists paintings, films and to my own drawing and animation practice, I will be talking different ways how memories can be materialized as artworks in a way we want to keep them – often as an impossible surreal mirrors against the reality.

The title of the talk has been inspired by the Album by Lilys that has the same title that was released in 2006 :

Karolina Głusiec, (b.1986, Lublin Poland) visual artist working mainly across animated and diy film media, inspired by ways of seeing and ways of remembering. Frequent collaborator in projects inspired and rooted in music.

Currently working at Goldsmiths university, London and Academy of Fine Arts in Krakow, Poland along with other art universities and institution in England where teaching Drawing and Animation.

Visiting and faculty member lecturer in drawing and animation examining various ways of image-memorizing and perception. Currently working on a PhD thesis proposal on material and non-material memories in communication.

As a collaborator and visual artist or lecturer worked with or for the following: The Guardian, Azedine Alaia, Stara Rzeka, JAAA!, Royal College of Art, MÓZG Foundation, The House of Words, California Institute of the Arts, University of Arts London, Magdalen College Oxford, Kettle’s Yard Cambridge, TURF’s Projects Gallery, London Sinfonietta, King’s Place London, Instant Classic and Latarnia Records.

Over the last decade actively supporting and contributing to the idea of accessible art as a form of recreation and education by leading and facilitating workshops involving people being marginalized for various reasons.

Works and films have been presented and exhibited in the following : Entropia Gallery (Warsaw, Poland) PEER Gallery (London, UK) National Gallery (Washington, DC), Grunt Gallery (Vancouver, BC, Canada), Dzyndra Museum (Lviv, Ukraine), Mediations Biennale (Poznan, Poland) and BWA Drewniana (World / No World).

Karolina Glusiec: Sketchbook drawings and notes from home on Mission and 25th, drawing on a4 paper, coloured pencils, San Francisco, 2019

The 316th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday, October 26, 2021 at 7pm ET. ONLINE PRESENTATION VIA ZOOM. Please email to register for this event. Free and open to the public.

Aaron Rossner: ’The Draw of Novelties & Odd-ball Toys’

For many years, Aaron has collected and researched old toys, games and other vintage amusements.

In this talk, he will share a selection of unusual, strange and humorous finds that have inspired him, and will also show some of his artwork.

Aaron Rossner works with various media on paper and creates small sculptures from wood, metal and plastic.  His work has been shown in Victoria, Vancouver & Toronto.

A fascination with old-time production processes has led him to experiment with mold & die-making, pewter casting and plastic injection-molding.   He is in the process of starting a small business – ‘Wingnut Toys,’ through which he’ll produce limited runs of his own toy designs. He lives in Victoria, BC.

The 315th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday, October 19, 2021 at 7pm ET. ONLINE PRESENTATION VIA ZOOM. Please email to register for this event. Free and open to the public.

Fanny Grosshans: About the necessity to have a floppy arm to trace a straight line

One day, I was drawing swing dancers in a public place. A beautiful old and elastic man invited me to join in. It was an awkward dance session for both of us, but the main thing I remember, was his advice:«keep arms floppy!»
About drawing, in my personal practice,  it isn’t only arms which need to be floppy, the body must be floppy, the spirit must be floppy. Only the world around me, seems solid by comparison.
But to stay floppy isn’t an evidence when the spirit is focused on an activity.

I want to talk about every day tricks to save a cartoonist from his sheet of paper and keep on believing that drawing isn’t a so important thing.

How to enter in the wonderful world of the margin (of the paper, of the work, of publishers) and how to forget why you arrived in this place.

Fanny Grosshans is a French comic artist,  born in 1987, who draws stories published in small press, after having spent five years at the Angoulême Art School.
She’s mostly related to the small press publishers «Les Machines»and «Radio As Paper».
She’s fond of vernacular drawing in medieval art and children construction wooden blocks.
Her stories are fed by the every-day’s details and digress toward something different.
When she grabs her nib or reed pen, the most tiny sheet of paper become a large space of ice where she can skate on.
Most of times, she misses a drawing but that is another opportunity to cut, mix, assemble and finally let go, because, sometimes, it’s good to manage to finish something.
Her work is accessible at:

The 314th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday, October 12, 2021 at 7pm ET. ONLINE PRESENTATION VIA ZOOM. Please email to register for this event. Free and open to the public.

Bharath Murthy: Indian Comics- Trouble growing up

The talk will take you through a brief history of Indian comics and offer some speculations on the present and future of comics in India from the perspective of a practicing cartoonist. 

Bharath Murthy is a cartoonist and filmmaker. He works on publishing, film and animation projects as a partner in Studio Ekonte. He edits and publishes Vérité, a comics magazine for adults, under the Comix India label. His first book-length comic, The Vanished Path: A Graphic Travelogue was published in 2015 by HarperCollins, India. He has also taught film direction at Film & Television Institute of India (FTII), Pune.

In 2017, he co-founded Indie Comix Fest, a festival for self-published comics.

The 313th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday, October 5, 2021 at 7pm ET. ONLINE PRESENTATION VIA ZOOM. Please email to register for this event. Free and open to the public.

A case study: EGG by Martina Scarpelli

From idea development to actual film production, through the highest highs and lowest lows of animation filmmaking: inspirations turned into ideas, film funding, producers, some sneak peeks into the making of animated scenes, and an opportunity to talk about the journey of a director on making a personal film.

About EGG: A woman is locked in her home with an egg. She eats the egg, she repents. She kills it. She lets the egg die of hunger.

Martina Scarpelli (1988) is an Italian filmmaker and producer with a bachelor in Fine Art from “Academy of Brera” in Milano, and a bachelor in Animation from “Experimental Cinematography Center” in Turin. Alumni of European workshops “ASF – Animation sans frontieres”, “Anidox” and “Open Workshop Residency” in Viborg – DK.  She is board member of Viborg based Art Collective “Plastic”. 

Martina’s short film Egg was selected at more than 150 festivals and won over 45 awards. Among others: a crystal for first film at Annecy, a Golden Dove at Dok Leipzig, Grand Jury Award at AFI Fest, and got shortlisted for the 2020 Cesar award.
She is now working on her first feature film “Psychomachia”, an animated opera. 

The 312th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday,  September 28, 2021 at 7pm ET. ONLINE PRESENTATION VIA ZOOM. Please email to register for this event. Free and open to the public.

Avant-Garde Histories of Comics: 1945-1970

Mainstream histories of post-war American comics emphasize the fortunes of the commercial comic book industry, which enjoyed a period of experimentation before negative public scrutiny encouraged the development of a censorious comics code which greatly restricted comic book content outside of a handful of narrowly defined, child-friendly genres. Concurrently, the daily newspaper comic strip faced diminishing space in newspapers and competition from the emerging television medium. While some cartoonists with contemporary sensibilities and minimalist styles adapted to changing conditions, the format lost its primacy as a visual mass medium in American culture and entered a decades-long period of general decline. Histories of comics within other Western cultures differ substantially in their particulars, but are similarly concerned with popular formats and genres that emerged and developed as part of post-war mass culture. Across these national cultures, post-war comics are still seen as having been a largely commercial form before the eruption of more independent comics in the 1960s and 70s brought an avant-grade sensibility to the comics form. 

Looking outside of the parameters of Western commercial comic book industries, the post-war decades were particularly fertile ones for comics within avant-grade cultural movements. In post-war Paris, the Lettristes first gained notice as an avant-garde poetry movement, before moving on to investigate combinations of text, image and other codes to produce “hypergraphic” novels. The Situationists began as a faction of the Lettristes and produced their own unique comics through the process of détournement —the reuse of found objects— to subvert social norms. Other poetic movements engaged comics for their own purposes, from the Poema-Processo group in Brazil to Joe Brainard’s visual collaborations with poets of the New York School. In a trans-Atlantic exchange, French publisher Eric Losfeld and the American Grove Press both published Pop Art-inflected graphic novels for adult readers in the mid-1960s as part of publishing programs that were self-consciously avant-garde and socially transgressive. In short, the years before the emergence of underground comix were rich with experimental comics production that often emerged from the activities of recognizable post-war avant-garde movements. Taken together, these artistic phenomena present a compelling counter-history of post-war comics that substantially shifts the context within which we might consider subsequent developments.

Bill Kartalopoulos is an internationally recognized comics critic, educator, curator, and editor. He served as the Series Editor for the #1 New York Times—bestselling Best American Comics (Houghton Mifflin Harcourt) series for six annual volumes, beginning in 2014. He teaches courses about comics at the undergraduate and graduate levels at Parsons and at the School of Visual Arts. He has curated exhibits about comics across North America and in Greece, Switzerland and France, and is a frequent public speaker internationally. He co-founded the Brooklyn Comics and Graphics Festival and currently serves as the programming director for the MoCCA Arts Festival in New York, NY. He has been nominated for Eisner and Harvey awards, and he has worked as a studio assistant for Pulitzer Prize–winning cartoonist Art Spiegelman. His writing about comics has appeared in venues including the Huffington Post, The Paris Review, BOMB Magazine, and The Comics Journal. He is currently writing a history of comics, forthcoming from Princeton University Press. For more information, please visit

From the series “Epipopimal Épopée” by Jacques Spacagna (1965)

The 311th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday, September 21, 2021 at 7pm ET. ONLINE PRESENTATION VIA ZOOM. Please email to register for this event. Free and open to the public.

Richard Samuel West on My Life in Cartoons

From Peanuts to Puck, Richard Samuel West traces his passion for the American cartoon, with stories from his long-standing friendships with leading cartoonists and references to the half-dozen books he’s written on American cartoon history.

Rich West is the author of a number of books on American cartooning, the latest being What Fools These Mortals Be! The Story of Puck (2014). He is the owner of Periodyssey, a business that trades in significant and unusual American paper.

The 310th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday,  Sept. 14, 2021 at 7pm ET. ONLINE PRESENTATION VIA ZOOM. Please email to register for this event. Free and open to the public.

Jaime Arredondo: Place of Fright, Road of Awe. Illustrations of the Popol Vuh.

The Popol Vuh, or the Book of the Community, is the earliest body of literature in the Americas and in terms of its breadth of imagination and storytelling can easily be compared to The Odyssey by Homer, and The Epic of Gilgamesh. Unfortunately, we have witnessed a tendency to dismiss the art and culture of Native Americans as something of common coin, and difficult to access. In fact, there is an abundance of information on these First Peoples of the Americas, and with new technology we are now able to ascertain data never imagined leading to major revisions and a new way in how we view these cultures.

In 2007 I set myself on a mission to reverse this trend by bringing the Popol Vuh to light, leading me to assign readings on it to my classes at NYU and The New School. In 2010, as a way to elucidate and clarify the story I decided to create 26 illustrations that trace the story from the beginning to the middle. In 2019 I completed 39 more based on the remaining half of the story.

It is my profound hope that as a result of these illustrations the former glory of the Popol Vuh and its authors will be rightly restored to its deserved place in human history and that this in turn will lead to a greater interest and defense of it, and of the art and culture of Native, Indigenous Peoples.

Jaime Arredondo is an assistant professor at Parsons, and an adjunct professor at NYU. He was born in Dallas, Texas, to Mexican-American Tejano parents. His mother was a descendent of the original land in Texas dating back to the 1600s. His father was Otomi, a Native American nation originating from Central Mexico. While growing up they filled his imagination with stories of the borderlands and Mexico, of land, of conquest, of love and betrayal, of spirit and of soul.

Arredondo has had numerous solo gallery and museum shows in the Southwest and in New York City, and has been the recipient of numerous awards. In 2009, his paintings were published as stamps by the United Nations and in 2015 he was commissioned to create a permanent art project for the MTA comprised of 36 mosaics of his works, installed at the Zererga Station in the Bronx, and entitled “Garden of Earthly Delight.”

After graduating from Yale with an MFA in painting, Arredondo moved to New York City and began teaching his course “Of Fire and Blood: Art and Mythology of Mexico” at NYU Gallatin and The New School. He lives in New York City with his wife and daughter.

Jaime Arredondo image

In partnership with the K-12 Outreach Program at the Institute of Latin American Studies, Columbia University.

Copy of ILAS logo

The 309th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday, September 7, 2021 at 7pm ET. ONLINE PRESENTATION VIA ZOOM. Please email to register for this event. Free and open to the public.

David Kunzle on The Rebirth of the English Comic Strip: A Kaleidoscope, 1847-1870

Rebirth of the English Comic Strip: A Kaleidoscope, 1847–1870 enters deep into an era of comic history that has been entirely neglected. This buried cache of mid-Victorian graphic humor is marvelously rich in pictorial narratives of all kinds. Author David Kunzle calls this period a “rebirth” because of the preceding long hiatus in use of the new genre, since the Great Age of Caricature (c.1780–c.1820) when the comic strip was practiced as a sideline. Suddenly in 1847, a new, post-Töpffer comic strip sparks to life in Britain, mostly in periodicals, and especially in Punch, where all the best artists of the period participated, if only sporadically: Richard Doyle, John Tenniel, John Leech, Charles Keene, and George Du Maurier. Until now, this aspect of the extensive oeuvre of the well-known masters of the new journal cartoon in Punch has been almost completely ignored. Exceptionally, George Cruikshank revived just once in The Bottle, independently, the whole serious, contrasting Hogarthian picture story.

Numerous comic strips and picture stories appeared in periodicals other than Punch by artists who were likewise largely ignored. Like the Punch luminaries, they adopt in semirealistic style sociopolitical subject matter easily accessible to their (lower-)middle-class readership. The topics covered in and out of Punch by these strips and graphic novels range from French enemies King Louis-Philippe and Emperor Napoleon III to farcical treatment of major historical events: the Bayeux tapestry (1848), the Great Exhibition of 1851, and the Franco-Prussian War in 1870. Artists explore a great variety of social types, occupations, and situations such as the emigrant, the tourist, fox hunting and Indian big game hunting, dueling, the forlorn lover, the student, the artist, the toothache, the burglar, the paramilitary volunteer, Darwinian animal metamorphoses, and even nightmares. In Rebirth of the English Comic Strip, Kunzle analyzes these much-neglected works down to the precocious modernist and absurdist scribbles of Marie Duval, Europe’s first female professional cartoonist.

David Kunzle,professor emeritus of art history at the University of California, is author of Rebirth of the English Comic Strip: A Kaleidoscope, 1847-1870Cham: The Best Comic Strips and Graphic Novelettes, 1839–1862Father of the Comic Strip: Rodolphe Töpffer; Gustave Doré: Twelve Comic Strips; and Rodolphe Töpffer: The Complete Comic Strips, all published byUniversity Press of Mississippi.

The 308th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday,  August 31, 2021 at 7pm ET. ONLINE PRESENTATION VIA ZOOM. Please email to register for this event. Free and open to the public.

Sweet Time with Weng Pixin: From Zines to Graphic Novels. In conversation with Lim Cheng Tju.

Weng Pixin is the first Singapore comic artist to be published by Drawn & Quarterly. In this sharing, Pixin will chat with CT Lim about her journey and development as a comic artist and art educator. 

My name is Pixin (Pix for short). I was born in 1983 and grew up in sunny Singapore, an island city located along the equator. Upon graduating from (then-known-as) Lasalle-SIA College of the Arts in 2004 with a first class honours in Painting, I spent the next decade immersed in my art practice: working in a range of medium from painting, drawing, making comics to sewing and constructing using found objects. My facilitation of art workshops for children and adults in Singapore and overseas led to my interest and completion of a Masters in Art Therapy from LASALLE College of the Arts in 2016. 

I am part of Chicks on Comics, a comics collective based in Buenos Aires, Argentina. The collective utilises comics as means of expression and discussion on assorted topics, issues and challenges. It provides me a space to get ‘outside’ of a repertoire of topics or themes that I generally work with, and encourages me to continually learn new ideas or ways of thinking, and to expand my thoughts and perspectives on diverse topics. 

When it comes to non-comics-related art such as painting, sewing and/or drawing, it is a much more process-driven experience where the final outcome is not the key interest, but rather, being with the act of making itself, on my own or with others. The making can be felt as a form of playing, where the adult-me meets the child-me to process our experiences together. It is incredibly rewarding and fun in that sense. 

As an artist, I divide my time between facilitating art workshops for children and working on my comics and art.

Lim Cheng Tju is an educator who writes about history and popular culture. His articles have appeared in the Southeast Asian Journal of Social Science, Journal of Popular Culture and Print Quarterly. He is the country editor (Singapore) for the International Journal of Comic Art and also the co-editor of Liquid City 2, an anthology of Southeast Asian comics published by Image Comics. He is one of the authors of The University Socialist Club and The Contest for Malaya: Tangled Strands of Modernity (Amsterdam University Press/National University of Singapore Press). He recently wrote a comic book, Guidebook to Nanyang Diplomacy.