The 166th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday,  Nov. 1, 2016 at 7pm at Parsons School of Design, University Center, 63 Fifth Ave., room L105 (lower level). Free and open to the public. PLEASE NOTE: THIS EVENT IS HAPPENING ON A TUESDAY EVENING at 63 Fifth Ave!

David Kunzle on Chesucristo. The fusion in word and image of Che Guevara and Jesus Christ: the poetry.

Amid the manifold means by which this fusion was made, in narratives of the life of Ernesto Che Guevara, in word and in image, the poetry stands out, likening Che to Jesus in various moments of Jesus’ life and especially death. In the substance and words of various actions recorded in the Gospels parallels are drawn to Che’s sacrificiality; to his embodiment of the creative forces of a “divine”nature; to his omnipresence post-mortem, even his (spiritual) omnipotence. Extracts from the poetry are intoned simultaneously with projection of some of the infinite variations made of the famous, so often christified visage of Che.
Based on Kunzle’s recent book , Chesucristo, The Fusion in Word and Image of Che Guevara and Jesus Christ.

David Kunzle was born Birmingham England in 1936 and educated at universities of Cambridge and London (PhD 1964, in art history). British Universities Combined Events Olympic Gymnastics champion 1961 and 1962. This taught him to hang on, a life-lesson.  Member of British Universities Gymnastics team at first International Student Gymnastics championship, Moscow 1959.
Official Lecturer National Gallery, London 1962-64. University of Toronto 1964-65,  University of California, Santa Barbara 1965-73 (fired). AFT-supported lawsuit  against UC Regents, alleging wrongful dismissal for protesting Viet Nam war, drags on 1973-77 until rehiring at UCLA 1977.
Viet Nam war inspires beginning of poster collection from 1965.  Organized first exhibition of US posters of Protest in Italy 1968, in US 1971 (UCSB, then New School, New York), subsequently travelled UK, Italy and France and Cuba (1973). Sporadic vandalism and theft enhanced his motivation to give entire collection to the Center for the Study of Political Graphics in Los Angeles. Professed History of Art at UCLA from 1977 until retirement 2010 at rank of Distinguished Professor Emeritus.
Kunzle has written about 135 articles and 12 books in realms (mostly) of popular, public and revolutionary (anti-imperialist) art, including several books on the History of Comic Strip, large and small; Fashion and Fetishism (Chinese ed. pending); From Criminal to Courtier, the Soldier in Netherlandish Art 1550-1672Murals of Revolutionary Nicaragua 1979-90); Che Guevara, Icon Myth and Message (1997). Recent books are on the Father of the Comic Strip, Rodolphe Töpffer (1799-1846, two vols ), Gustave Doré, Twelve Comic Strips, and the large well-illustrated Chesucristo: the Fusion in Word and Image of Che Guevara and Jesus Christ (De Gruyter 2016). A book on the graphic novelettes on Cham is with the publisher, and he is working on the Birth of Modern English Comic Strip 1847-1870.

Che cover

The 165th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday,  Oct. 25, 2016 at 7pm at Parsons School of Design, The New School, 2 West 13th Street, in the Bark Room (off the lobby). Free and open to the public.

Crossing Kirby: The “King of Comics” in context of social issues and “fine” art

The groundbreaking exhibition “Comic Book Apocalypse: The Graphic World of Jack Kirby” at California State University, Northridge in summer 2015 and its accompanying catalog advanced interesting ideas about this visionary pop artist’s cultural significance and his intersection with issues of commercial creativity, representations of otherness, personal trauma and more. Panelists are include the exhibition’s curator Charles Hatfield (CSUN), the catalog’s co-editor Ben Saunders (University of Oregon), artist and “Black Kirby” co-founder John Jennings (UC Riverside), playwright Crystal Skillman and writer/comics historian Fred Van Lente (who collaborated on the play King Kirby), designer Rand Hoppe (curator, Jack Kirby Museum & Research Center), writer/filmmaker Ann Nocenti (catalog contributor, legendary scripter of Daredevil and, recently, the Kirby-created Klarion), artist, activist and Kirby scholar James Romberger, and artist/writer Amy Reeder (currently co-scripting the Kirby-inspired Moon Girl and Devil Dinosaur). Moderated by catalog contributor, cultural critic and comic writer Adam McGovern.


The 164th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday,  Oct. 18,  2016 at 7pm at Parsons School of Design, The New School, 2 West 13th Street, in the Bark Room (off the lobby). Free and open to the public

Colette Gaiter on “Emory Douglas: 50 years of Revolutionary Art”

Colette Gaiter will talk about former Black Panther Party Minister of Culture, artist, designer and illustrator Emory Douglas’s work on The Black Panther newspaper in the 1960s and 70s. His subversive and proactive political cartoons, collages and drawings visualized the Black Power movement and galvanized activism that persists into the twenty-first century. He currently travels globally to give talks about his previous work and collaborates with indigenous activists in Australia, New Zealand, Mexico—any place where people use art for liberation from injustice and oppression.
The New Museum in New York and the Museum of Contemporary Art Los Angeles are on the long list of international museums and venues that have featured his work in solo exhibitions. The AIGA awarded Douglas a 2015 Medal for his contributions to the field of design and visual communication.

Colette Gaiter is an Associate Professor of Visual Communication at the University of Delaware. She wrote the introduction for the second edition of Black Panther: The Revolutionary Art of Emory Douglas, which also contains her essay on his work. Her writing on Douglas’s work also appears in West of Center: Art and the Counterculture Experiment in America, 1965-1977. Since 2004, she continues to write about Douglas’s work for a variety of publications.
After working in graphic design she became an educator, artist and writer, exhibiting her work internationally and in galleries, museums and public institutions in the United States. Her work ranges from digital prints and artist books to web sites and interactive installations. Venues include the Studio Museum in Harlem, Pennsylvania Academy of the Fine Arts, and the Contemporary Arts Museum of Houston.


Original image, 1976, The Black Panther Newspaper. Right: Black Lives Matter poster. © 2015 / Emory Douglas / Artists Rights Society, New York

The 163rd meeting of the NY Comics & Picture-story Symposium will be held on Tuesday,  Oct. 11, 2016 at 7pm at The New School, 66 West 12th St., Room A510. Free and open to the public. PLEASE NOTE 12TH STREET LOCATION FOR THIS EVENT!

Filip Pagowski on “My Father and I. Graphic Arts Across Generations and Oceans.”

I would like to introduce my father Henryk Tomaszewski’s graphic oeuvre followed by the presentation of my own work. My father’s segment will consist of a chronological show of his work, mostly posters, with some book covers, illustrations and satirical drawings, starting in the mid 1940s and continuing till the early 1990s. I wanted to present the social, historical and political meaning of that time period in Poland and how it influenced, or not, the work and creative process of the leading member of the so called Polish School of Posters.
After that, I want to present my own path within the graphic arts world, its ups and downs and its geography: America, Europe and Asia.
I think that the lecture as a whole with my work in the context of my father’s might prove interesting to an audience that will follow, judge or compare any similarities or differences of style, visual language and times in which we worked.
HT’s work, even the one from the 40s, 50s or 60s still seems very young and fresh. After 2014 massive retrospective at the Warsaw National Gallery, I was surprised to see how many young people came to see the show, the ones who where too young to remember my father or even know his designs. Young people were the majority of visitors and the show broke the records with over 30 000 visitors in 90 days.

Henryk Tomaszewski
1914 Born in Warsaw
1934-39 Studies painting at the Academy of Fine Arts in Warsaw
1952-85 Professor at the Academy of Fine Arts in Warsaw
1958 Member of Alliance Graphique Internationale (AGI)
1976 Honorary Royal Designer for Industry, Royal Society of Arts, London1936 Published his first work
1939 1st Award for design of the Polish Industrial Pavilion, World Exhibition, New York
1948 Five gold medals, International Poster Exhibition, Vienna
1953 Polish Goverment National Award.
1958 Award of the Polish Prime Minister for illustrations of children’s books
1959 Award of magazine” Przegląd Kulturalny”
1963 1st Prize at the 7th Biennale, Sao Paulo, Brazil.
Gold medal for the book of drawings “Complaint book”, Leipzig.
1966 Silver medal at the International Poster Biennale, Warsaw.
1970 Gold medal at the International Poster Biennale, Warsaw
1979 1st Prize at the 3rd Poster Biennale in Lahti, Finland.
1981 1st Prize at the Colorado International Poster Exhibition, Fort Collins.
1984 The Award of the Alfred Jurzykowski Foundation, New York.
1986 ICOGRADA Excellence Award.
Gold and Silver medal at the International Poster Biennale, Warsaw .
Warsaw City Award.
1991 Bronze medal, Toyama International Poster Triennale, Japan.

His works are at collections of :the Warsaw and Poznań National Museums; Museu de Art Moderna, Sao Paulo; Museum of Modern Art, New York; Villa Hugel, Essen. Museum of Modern Art Kanagawa, Japan: Stadelijk Museum Amsterdam; Colorado State Uniwersity, USA: The Museum of Modern Art, Toyama, Japan.

Selected Exhibitions:
1969 – Palais des Congres, Biel-Bienne, Switzerland
1991 – Stedelijk Museum, Amsterdam, The Netherlands
1992- Ginza Graphic Gallery, Tokyo, Japan
1996- School of Visual Arts, New York, NY, USA
2013- Ginza Graphic Gallery, Tokyo, Japan
2014- Zacheta National Gallery, Warsaw, Poland
2016- National Gallery, Ljubljana, Slovenia

Filip Pagowski
Born and educated in Poland.
Studies painting; then poster design, under his father prof. Henryk Tomaszewski, at the Warsaw Academy of Fine Arts.
From 1980 to 2010 lives and works in New York City.
Early on starts doing freelance illustration work for book covers, magazines and newspapers. Also does set and prop design for the new emerging market: the music videos.
In 1992 starts a long lasting collaboration with the New Yorker doing illustration work, lettering and logotypes for different sections of the magazine. Around the same time produces ads for Barneys New York department store and works for French clients, editorial and advertising, among them Le Monde daily paper.
From 1999 on, works on numerous projects for the Japanese fashion house: Comme des Garçons, on assignments ranging from brochures, ads and logotypes to prints for men’s and women’s garments.
His work with Comme des Garçons label triggers collaborations with a multitude of Asian clients resulting in numerous art and design projects in Taipei, Hong Kong, Beijing and Tokyo.
Starting in 2013 and following in 2014 for a 100 year anniversary of his father’s birth, organizes a retrospective of Henryk Tomaszewski’s work at Tokyo’s ggg Gallery, then at the Warsaw National Gallery and in 2016 at the National Gallery in Ljubljana(Slovenia).
In 2016 is contacted by the musician Drake to create the single cover, logotypes and billboards for the release of what became a chart breaking and award winning album Views.
Since 2010 FP is living back in Warsaw, Poland.
Pagowski small image

The 161st meeting of the NY Comics & Picture-story Symposium will be held on Tuesday,  Sept. 27, 2016 at 7pm at Parsons School of Design, The New School, 2 West 13th Street, in the Bark Room (off the lobby). Free and open to the public.

Martha Rust on
Circles, Lines, and Coils: Picturing Life Stories in Medieval Manuscripts and Rolls.

The set of all points in a plane that are equidistant from a given point, a circle is also an image of totality and completeness. Any two points in the circumference of a circle define a line, making a line the figure of connection and also of boundaries. A version of a circle, a coil suggests cycles as well as wholeness. By way of a separate etymology, “coil” also denotes the busy tumult of life, the “mortal coil” made famous by Shakespeare. All three of these design elements feature in medieval images and diagrams depicting typical life stories and exemplary life practices that were meant to aid a viewer in successfully negotiating that busy tumult. Among these works, images of the Wheel of Fortune are primarily pictorial while Wheel of Sevens diagrams based on the petitions of the Lord’s Prayer are primarily textual. In between are diagrams that feature a smaller circular element, the roundel. A look at the use roundels in a range of contexts–in stained glass, in Books of Hours, in genealogies–demonstrates that unlike the all-encompassing circle, the roundel isolates specific items of information and lends them visual emphasis.The use of roundels in a diagram displaying the ten stages of human life renders each a subject of contemplation, even as the lines connecting all ten roundels to a central hub pictures an individual life as part of a larger cycle. By contrast, the use of roundels of the “Pater Noster Table” in the Vernon Manuscript creates a visual hierarchy of information, in which the content of the roundels not only have priority over the lines of text that connect them but also become subject to a viewer’s mental manipulation.

Martha Rust is an associate professor of English at New York University, specializing in late-medieval English literature and manuscript culture. Her first book, Imaginary Worlds in Medieval Books: Exploring the Manuscript Matrix (Palgrave, 2007) envisioned the confines of a medieval manuscript as the potential territory of a virtual world; her current book project, Item: Lists and the Poetics of Reckoning in Late-Medieval England theorizes the list as a device that enables thinking in a variety of modes. She has also written about comics and picture stories in an essay entitled “It’s a Magical World: The Page in Comics and Medieval Manuscripts.”
Psalter of Robert de Lisle - caption: 'Wheel of the ten ages of

Wheel of the ten ages of man – Psalter of Robert de Lisle (c.1310), f.126v – BL Arundel MS 83

The 160th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday,  Sept. 20, 2016 at 7pm at Parsons The New School for Design, 2 West 13th Street, in the Bark Room (off the lobby). Free and open to the public.

Seymour Chwast on GOD WAR SEX
Many of my illustrations and work that I do for myself fall under these categories. The subjects are graphically important to me.

Seymour Chwast is co-founder of Push Pin Studios and has been director of the Pushpin Group where he reintroduced graphic styles and transformed them into a contemporary vocabulary.  His designs and illustrations have been used in advertising, animated films, and editorial, corporate, and environmental graphics.  He has created over 100 posters and has designed and illustrated more than thirty children’s books.  His work has been the subject of three books including, Seymour Chwast: The Left Handed Designer (Abrams, 1985).  Many museums, such as the Museum of Modern Art (New York) and the Library of Congress (Washington D.C.) have collected his posters.  He has lectured and exhibited worldwide and is in the Art Directors Hall of Fame. He is the recipient of the 1985 Medal from the American Institute of Graphic Arts.

god in mexico

(above) God in Mexico.



The 159th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday,  Sept. 13, 2016 at 7pm at Parsons The New School for Design, 2 West 13th Street, in the Bark Room (off the lobby). Free and open to the public.

Tommy José Stathes on his work as an early animation archivist and researcher.
Animation historian and archivist presents an overview of the 1913-1927 animated films produced by the pioneering Bray Studios of New York City. Stathes shares rare Bray film clips, images, and information from his archives while also discussing his work in finding rare early ‘orphaned’ films and reintroducing them to modern audiences.

Tommy José Stathes is an archivist, historian, exhibitor, distributor, and educator in the realm of early animated films. Stathes is best known in film history circles for creating the Bray Animation Project research initiative; the Cartoons On Film early animation release label and Cartoon Roots Blu-ray home video releases; supplying early animated films to and co-hosting them on Turner Classic Movies; as well as for the 16mm Cartoon Carnival film series in New York City. He is also Consulting Producer on Cartoon Carnival: The Documentary, an educational film about silent- era animation as well as Stathes’ related work in archiving and exhibiting this subgenre, which is currently in production.

How Animated Cartoons Are Made still small