Center for Cartoon Studies Archives - Robot 6 @ Comic Book Resources
Taiyo Matsumoto and Emily Carroll are the recipients of the second annual Cartoonist Studio Prize, presented by The Slate Book Review and the Center for Cartoon Studies.
The two were selected by The Slate Book Review editor Dan Kois, the faculty and students of CCS and this year’s guest judge, Chris Butcher, manager of The Beguiling in Toronto and co-founder of the Toronto Comic Arts Festival. Each winner receives $1,000.
Edward Koren, well known for his cartoons, covers and illustrations for The New Yorker, will be honored Feb. 27 as Vermont’s second cartoonist laureate. Burlington resident James Kochalka was the first.
A New York City native, Koren lives with his family in Brookfield, Vermont, where he has served as a volunteer firefighter for 24 years. Beyond his more than 1,000 cartoons for The New Yorker, he has contributed to such publications as The New York Times, Vanity Fair, GQ, The Nation and Esquire. Koren has also illustrated numerous books.
“The great imaginative artists, comic or seriocomic (what other kinds are there?), are great at least in part because they create a world: Baldwin’s Harlem, Faulkner’s hamlet, Chekhov’s dachas,” The New Yorker Editor David Remnick said in a statement. “Ed Koren not only created a world — the Koren worlds are both urban and Vermontian, but all Koren — he also created creatures, part human, part fantastical, to represent and give voice to all of our anxieties, joys, and craziness. Long live Ed Koren, his world and his creatures!”
Following his recognition Feb. 27 on the floor of the State House, Koren will begin his three-year term with a public lecture at The Center for Cartoon Studies in White River Junction. Vermont is the only state that appoints a cartoonist laureate.
Awards | All the presenters for last weekend’s Ignatz Awards ceremony were women, and that was no accident: This year’s host, New Yorker cartoonist Liza Donnelly, explains, “More and more of us are now in the business, unlike previous years, and I wanted to celebrate that fact by bringing attention to it.” [Comic Riffs]
Creators | Tom Spurgeon has an in-depth interview with experimental cartoonist Warren Craghead. [The Comics Reporter]
Creators | Stan Lee, in town for Wizard World Ohio Comic Con, chats with reporter Michael Grossberg about superheroes as modern fairy tales. [The Columbus Dispatch]
The Slate Book Review has teamed up with the Center for Cartoon Studies to offer The Cartoonist Studio Prize, a new awards program that will be judged by Slate’s Dan Kois, The CCS faculty and students, and New Yorker art editor Françoise Mouly, who serves as this year’s guest judge. Slate announced yesterday the nominees in two categories, best graphic novel and best webcomics, and will reveal the winners of the $1,000 prizes March 1.
Each March the $1,000 prize will be given to two creators, one for best graphic novel of the year and one for best webcomic of the year. Winners will be selected by Slate Book Review editor Dan Kois, the faculty and staff of the Center for Cartoon Studies, and a rotating guest judge. For the first year that will be New Yorker art editor and TOON Books publisher Françoise Mouly.
Submission forms can be found on the Center for Cartoon Studies website. Submissions are due Dec. 31; finalist will be announced Feb. 1, with the winners revealed March 1.
Hello and welcome to another edition of What Are You Reading? Today our special guest is Chris Williams, editor of the web series The Variants.
To see what Chris and the Robot 6 crew have been reading, click below …
Welcome to Food or Comics?, where every week we talk about what comics we’d buy at our local comic shop based on certain spending limits — $15 and $30 — as well as what we’d get if we had extra money or a gift card to spend on a splurge item.
It’s a week of familiar faces for me this time around. If I had $15, it’d go on Action Comics #8 (DC, $3.99), which completes Grant Morrison’s first story arc on the title — even though we’ve already had the second one; thanks, fill-ins! — as well as Supreme #63 (Image, $2.99), with Erik Larsen illustrating the final Alan Moore script for Rob Liefeld’s Superman knock-off (I’d love to see a well-done collection of all of these issues one day, now that the Moore run is completed). Also on tap, the final issue of OMAC (#8, DC, $2.99) and the long-awaited return of Busiek, Ross and Herbert’s Kirby: Genesis (#6, Dynamite, $3.99), because a man needs as much well-done Jack Kirby-inspired comics as possible, goshdarnit.
If I had $30, I’d add Hulk #50 (Marvel, $3.99) to once again celebrate what Jeff Parker had managed to do with a book and concept that, by all rights, should’ve disappeared a long time ago. (In all honesty, I much prefer the Red Hulk to the classic version these days, and it’s all Parker’s doing, along with his various artistic compatriots on the title.) Everyone who isn’t reading it: This is a jumping-on point issue! Try it and see if you don’t love it, too. And, despite the unevenness of earlier issues, Matt Fraction’s Casanova: Avarita #3 (Marvel, $4.99) is also a must-read; I really didn’t like the first issue, but loved the second. We’ll see where the book goes next.
Should I be splurging, then this week the splurge is on Flex Mentallo: Man of Muscle Mystery Deluxe HC (DC/Vertigo, $22.99). One of my favorite comics of all time, I’m likely going to end up getting this over-sized, recolored reprint just because I genuinely can’t resist the optimistic, hopeful tone of the book and its love of superheroes.
Libraries | The Center for Cartoon Studies has found a new home for the Schulz Library, whose previous location was damaged in a flood in August: the old post office in downtown White River Junction, Vermont. The school was able to purchase the building with the help of Bayle Drubel, a real estate developer and founding CCS board member who bought the post office in 2004. Renovations are set to begin this winter to create room for instruction space, faculty offices and the Schulz Library cartoon collection. [The Center for Cartoon Studies, via The Daily Cartoonist]
Creators | The Atlantic profiles Zippy the Pinhead creator Bill Griffith. [The Atlantic]
Creators | Artist Fabio Moon talks about teaming with Zack Whedon on the new Serenity comic that makes up one-half of one of their Free Comic Book Day offerings. [ComicsAlliance]
Legal | A Michigan judge on Monday denied a defense motion to dismiss the murder case against former retailer and convention organizer Michael George, who will now stand trial a second time in the 1990 shooting death of his first wife Barbara. His trial is set to begin Sept. 7. George, 51, was convicted in 2008 of killing his wife in their Clinton Township comic book store. However, later that year Macomb County Circuit Judge James M. Biernat set aside the conviction based on claims of prosecutorial misconduct and the emergence of new evidence that might have resulted in a different verdict. [The Detroit News]
Comic strips | On Sept. 11, the Sunday comics pages will mark the 10th anniversary of 9/11 as 93 strips from six syndicates participate in “Cartoonists Remember 9/11.” After publication, the strips will be collected at CartoonistsRemember911.com. [USA Today]
Education | Updating Monday’s report about rising waters in White River Junction, Vermont, imperiling The Center for Cartoon Studies’ Schulz Library, Director James Sturm says that while the building was seriously damaged, thanks to the efforts of students, staff and alumni, not a single book was lost. Cartoonist Jen Vaughn, meanwhile, details the rescue, with accompanying photos. [The Comics Reporter, The Beat]
Education | The Center For Cartoon Studies’ Schulz Library in White River Junction, Vermont, was damaged over the weekend in flooding caused by torrential rains from Hurricane Irene. According to CCS Director James Sturm, volunteers called in Sunday night were able to remove about 70 percent of the library’s collection and move the remaining materials to higher shelves. However, he indicated to Tom Spurgeon that the building itself may be a loss. [The Comics Reporter]
Publishing | Jim Shooter, former editor-in-chief for Marvel Comics, shares the story of how DC Comics almost licensed the publishing rights to their characters to Marvel in the mid-1980s. Obviously the deal never happened, which Shooter said was due to a lawsuit by First Comics alleging anti-trust violations. [Jim Shooter]
Creators | Gail Simone discusses her upcoming work on Batgirl and Fury of Firestorm. [TFAW]
Of course, the really great thing about this weekend’s MoCCA Festival is the huge flock of individual creators who go there to show off their work. Here’s the full list, and here are a few of the highlights that jumped out at me. Feel free to point out the good stuff I missed in the comments section.
Neil Kleid will happily sign copies of his comics, mini-comics, and graphic novels (The Big Kahn, Brownsville), and anything else he has work in (including the Fraggle Rock anthology), but if you really want to make his day, bring him an obscure soda.
Stephanie Yue, who illustrates the Guinea Pig: Pet Shop Private Eye graphic novels (not just adorable, but funny for both adults and kids) will be there, as will her editor Carol Burrell, who draws SPQR Blues under the nickname Klio.
Rica Takashima will have a special doujinshi just for MoCCA. Rica is a yuri (lesbian) manga creator and the author of the much-acclaimed Rica ‘tte Kanji?, which Shaenon Garrity described, approvingly, as “as cute as a blender full of kittens.”
If your tastes tend more toward the retro-bizzare, check out Coin Op Studio, which will be debuting the charmingly titled Coin Op No. 3: Municipal Parking and Waterfall at the show.
Comics | A July house fire in Minneapolis that killed homeowner Gary Dahlberg spared his meticulously preserved comic-book collection, which experts say could be worth $1 million. The comics, which includes first issues of The Amazing Spider-Man, Fantastic Four and Daredevil, will be sold at auction on May 5 by Heritage Auction Galleries, with the money going to Dahlberg’s estate. “To go for the really big money they have to be really perfect, and that what these are,” says Barry Sandoval of Heritage Auction Galleries. “The comics look like they just rolled off the printing press and nobody’s ever touched them.” [KSTP TV, with video]
Crime | A 17-year-old boy accused of attempting to rob Fun 4 All Comics & Games in Ypsilanti, Mich., on Monday has been arraigned on charges of assault with attempt to rob while armed and attempted larceny. Police say the teen, wearing a blond wig, bandanna and dark glasses, gave an employee a list of merchandise — “most, if not all, of it Yu-Gi-Oh! cards” — then opened his coat to reveal what appeared to be an improvised explosive device. The boy allegedly threatened to detonate the bomb if he wasn’t given the merchandise. When the employee yelled for the owner to call police, then teen said he was only joking, then bought some inexpensive items and left the store. The sheriff’s department later arrested the teen in his car in a Burger King parking lot. The Michigan State Police bomb squad responded, and determined the potential explosive device was inert. [AnnArbor.com]
Publishing | More details have begun to emerge about the abrupt closings of Wizard and ToyFare magazines, and the announcement of a new public company headed by Gareb Shamus. ICv2.com reports that Wizard World Inc. was taken public through a reverse merger with a shell company, a failed oil and gas venture known as GoEnergy Inc., which acquired the assets of Kick the Can, a corporate repository for the assets of Shamus’ Wizard World Comic Con Tour. Following the acquisition, GoEnergy’s chairman and chief financial officer resigned and was replaced by Shamus. In the process, the new company raised capital through the issuance of $1.5 million in preferred stock. Meanwhile, an anonymous Wizard staff member reveals to iFanboy he was informed that the magazine had folded during a phone call Sunday evening, and was not permitted to collect personal belongings. A freelance contributors writes at Bleeding Cool that he learned about the closing through a Facebook message on Monday morning.
The comics Internet is swarming with reaction pieces: Andy Khouri points out the huge number of comics editors, bloggers and journalists who got their starts at Wizard; Heidi MacDonald does the same, noting that it was “a total boys club”; Albert Ching surveys numerous creators and editors; and Robot 6 contributor, and former Wizard staffer, Sean T. Collins comments on the magazine’s demise and rounds up links.
Something tells me that sunny Gainesville, Florida, is about to see an influx of aspiring comics creators: Cartoonists Tom Hart (Hutch Owen), Leela Corman (Subway Series), and John Porcellino (King-Cat) have announced the opening of The Sequential Artists Workshop [UPDATED: link added], a new non-profit educational institution “dedicated to the prosperity and promotion of comic art and artists.” The school will offer a two-year program with its inaugural class to begin in 2012, while a “Spring Break Intensive” will be offered from March 6-12, 2011. The SAW will also feature a residency program for practicing cartoonists, online classes, gallery and performance spaces, a house anthology called The Seen in which cartoonists will do “cover versions” of pages from other artists’ creator-owned works, and the proverbial “much more.”
If you’re thinking the SAW sounds a bit like James Sturm’s Center for Cartoon Studies in Vermont, you’re not alone. According to the new school’s FAQ:
Isn’t this just like CCS?
Yes, a little, and maybe no. James Sturm, who founded Center for Cartoon Studies (CCS) has done a great thing in White River Junction, VT and we are in constant awe of his gumption and smarts. James has been friendly with us and he has helped us enormously by offering advice in the forming of this school. We too offer a two-year program in comic art, and will require students to publish their own work at the end of the program. Our school is new and we don’t know how it will evolve. Right now, our goals may be similar, but the places and personalities are different enough that soon the differences between the schools will become evident.
The more the merrier if you ask me.
In addition to the announced faculty of Corman, Porcellino, and founder/executive director Hart — himself a longtime School of the Visual Arts instructor — SAW’s boards of directors and advisors feature an all-star line-up that includes Lauren Weinstein, Brendan Burford, Vanessa Davis, Shaenon Garrity, Bill Kartalopoulos, Donald Ault, Matt Madden, Joey Manley, Chris Staros, Phil Yeh, and William Ayers. School’s in!
It’s probably too early to say what the best books of 2010 will be, but I feel safe in saying that James Sturm’s Market Day will easily make it on the short list of works to be considered. The graphic novel, published by Drawn and Quarterly, is about a Jewish rug maker, who heads off to the local market full of hope and elan, only to experience a devastating setback to his career. It’s a smart, moving work that I think will turn a lot of heads when it comes out in March.
In the meantime though, I took the opportunity to talk with Sturm about the book and it’s development — as well as life at the Center for Cartoon Studies, a school he co-founded — over at the main CBR site:
You say that this was originally intended to be a children’s book. Where did the inspiration for “Market Day” come from?
Drawn and Quarterly, my publisher, actually played an important role in the book itself. There was a point when they hooked up with a national distributor – they were distributed by Chronicle Books at one point.
I don’t think that worked out as well as their current partner [Farrar, Straus & Giroux], but when they first hooked up, they felt this would open up a lot more markets, and after the deal happened [publisher] Chris [Oliveros] sent an email to his stable of artists at D&Q saying “One of the things I’m considering is doing a children’s book line. If you have any ideas, I’d love to hear them.”
So, in my sketchbook, I conceived a story about a rug weaver. In that version of the story, the focus wasn’t so much on the main character but more about how important one individual’s commitment and support can be for somebody. In “Market Day,” when the Finkler character disappears, it sets off this bad chain of events for Mendleman. In my mind I thought of Chris as the Finkler character and how important my own relationship with D&Q was for my own artistic development. The actual book plays out differently – but I did want to get that across and a sense of camraderie between artists who share a an aesthetic and committment to a certain type of work.