Lauren Weinstein Archives - Robot 6 @ Comic Book Resources
Everyone knows the central role that Jewish writers and artists have played in the history of comics, from Siegel and Shuster to Lee and Kirby to Eisner to Spiegelman to Bendis. But what of the female members of the tribe? That’s the question at the heart of “Graphic Details: Confessional Comics by Jewish Women,” a traveling art exhibit curated by Michael Kaminer and Sarah Lightman. Following a stint in San Francisco, the show re-opens this coming Thursday, February 17, at the Koffler Gallery Off-Site at the Gladstone Hotel in Toronto. Focusing on the role that Jewish women have played in the development of the autobiographical comic — arguably the genre responsible for the medium’s new-found respectability over the past three decades — it boasts contributions from Miss Lasko-Gross (that’s her grabber of an image above) Vanessa Davis, Sarah Glidden, Miriam Katin, Aline Kominsky-Crumb, Diane Noomin, Trina Robbins, Ariel Schrag, Lauren Weinstein, and many more. I know a person named “Sean T. Collins” is dubiously qualified to use Yiddish, but I could plotz over seeing original art from that line-up.
Click here to see the Koffler Centre’s impressive suite of events revolving around the exhibit, and click here for the Graphic Details blog.
It’s not exactly Mickey Mouse buying Spider-Man, but it’s fascinating news nonetheless: Indie publisher PictureBox Inc. will be selling digital versions of its comics and graphic novels through the iPhone comics app Panelfly. Available titles include C.F.’s Powr Mastrs Vols. 1 & 2, Frank Santoro’s Storeyville, Lauren Weinstein’s The Goddess of War #1, and Yuichi Yokoyama’s Travel. Panelfly‘s other publishers include indie outfits NBM and SLG.
That even PictureBox — the artiest of the artcomix publishers, known for envelope-pushing material, extremely high production values, and a publishing line that straddles the comics and fine-art worlds — is going digital says a whole lot about the industry’s perceived need to get a foot in that particular door, not to mention about PictureBox’s willingness to seek out an audience outside of the traditional art/alt/underground comics venues.