"The Flash" EP Kreisberg Shares Insight on Major Reverse-Flash Revelations
Sometimes, artists who make the jump from comics to galleries have been out of the drawing-funny-books business for so long, it’s hard to tell what their current feelings are toward the medium that gave them their first push forward.
For example, it’s been a while since I heard an interview with David Choe, but when I did, they all focused on what his Facebook stock options were worth, rather than if he had any plans to bring Slow Jams back into print. We’ll give Choe the benefit of the doubt, though: He may have chanced of becoming the fourth- or fifth-richest living artist (depending on whose estimate you believe), but he still seems to be living the same productive bohemian life he’s always led. Just this week, two new projects of his have reached the internet: some street art he collaborated on in LA, and the release of a screen-print based on a mural painted on the former home of Pablo Escobar in Medellín. The print is called “Stockholm Syndrome,” presumably a comment on the madness that overtook Columbia during Escobar’s reign.
My personal favorite of the comicker-to-fine artist brigade remains Glenn Barr. His low-brow approach and subject matter just appeals to my inner SF-lovin’ rock’n’roller. His latest show, “Rooms,” began this week at the new Inner State Gallery in Detroit; there’s a sizable selection previewed at its website. Alongside longstanding Barr themes and motifs, there’s some pieces in this collection that remind me of a hipster Edward Hopper (a hipster Hopper? there’s a terrible pun in there somewhere, wanting to get out); but clearly there will always be a place in Barr’s heart for exotic females flying extremely un-aerodynamic looking machines.