Axel-In-Charge: Waid & Samnee on "Black Widow" and the Dawn of the All-New, All-Different Era
English and Scharf famously appeared, alongside Robbie Conal and Shepard Fairey, in the 2012 Simpsons episode “Exit Through the Kwik-E-Mart, a nod to the Banksy documentary Exit Through the Gift Shop.
It’s been said the Hulk acts like a baby as he reverts to his base instincts, but now one artist has actually transformed the Green Goliath into one.
Artist Ron English recently completed a mural in New York City called Temper Tot that depicts Hulk as a baby — or a baby as the Hulk, depending on how you look at it. Behind the baby Hulk is an American flag collage that English calls his Propoganda series. An earlier version of the piece can still be seen on the Lower East Side on Mulberry Street.
As an Irishman, I must confess I don’t know much about American politics, and the only U.S. news channel my TV picks up is Fox News — but apparently you’ve just sworn in an Islamist Communist as President for his third term. Congratulations! This has also inspired street-art legend Ron English to release a commemorative limited-edition print called “Incredible Barack.” This isn’t the first time English has invoked Marvel’s Hulk in his work; in fact, it’s something of a recurring theme for the man.
Ah, the cruel end to Shakespeare’s seven ages of man, from Jacque’s “All the world’s a stage” monologue in As You Like It: “Last scene of all, That ends this strange eventful history, Is second childishness and mere oblivion, Sans teeth, sans eyes, sans taste, sans everything”. The painter Jason Bard Yarmosky seems to have come to a similar conclusion about the links between the very old and the very young, populating his canvasses with a cast of the elderly (his main models being his own grandparents) dressed in the paraphernalia of childhood: cowboy-and-Indian gear, ballet tutus and superhero costumes. Consider it a little glimpse into the retirement homes of the future, populated by the cosplayers of today. More from Yarmosky’s “Elder Kinder” series below, as well as work by Sho Murase, James Hance and others.
Molly Crabapple is a successful entrepreneur (as the founder of the Dr. Sketchy’s Anti-Art School) and storyteller. After a recent book tour to support her new Fugu Press book, Scarlett Takes Manhattan, she indulged me in a quick email interview. Her graphic novel is described (on the book’s back cover) as “A young woman orphaned in tragic circumstances (by a pair of copulating circus elephants) rises to become the foremost burlesque performer of her era: Scarlett O’Herring.”
Tim O’Shea: How did the book land at Fugu Press?
Molly Crabapple: Years ago, I did a catalog cover for a company owned by Christophe (big cheese at Fugu). When he decided to found a comics publishing company, he asked if I had any ideas for graphic novels. The rest, history…
O’Shea: You clearly love to explore the art of sexuality through your work. In those terms, what was the most enjoyable or challenging scene to convey in Scarlett Takes Manhattan?
Crabapple: I actually loved the scene where Scarlett is working as a dock prostitute and is able to avoid an unpleasant client with the help of a watermelon. Sadly, a watermelon was worth more than a blowjob in 1884.