Very busy with MoPrint doings, as this is crunch time for planning and publicizing. I will post a full update soon, but here’s a few teasers:
I’m jurying a print show at Core Gallery. Would love to see your work! Insider’s tip: I do have a bias for strong graphic work, I can’t help it. I do try to be balanced and often choose traditional, realistic work in these situations. But a nice tension between negative and positive; or lights and darks- that’s a plus. Register here
I will be in the Colorado Print Educators Show at Lincoln Center, Fort Collins, opening February 26, 4 PM.
I will have a ridiculously cheap edition of linocuts available for purchase at the TRVE Brewing Black Ink fundraiser for Month Of Printmaking, March 4. All proceeds will benefit MoPrint’s parent, The Invisible Museum.org.
I’m chairing a committee to organize the ASLD Print Fair March 4-27. I’m excited about it. It will have an exhibit opening March 4, a Pop up show with free demos March 5th, and a visiting artist, Heinrich Too with workshop and lecture, March 26-7. More details soon.
I do have the utterly fabulous Besties awards for comic book excellence ready to post, and have been just a little too busy to post it. Look for it soon.
I haven’t posted this in a while. But with #moprint2022 coming up, I’m re-posting it as an article of faith that we won’t need to cancel again, as with 2020. My interview is about 4th or 5th on the page.
It was a busy holiday season because of medical appointments. Most were catch up on things deferred during lockdown, or even earlier. I’m hoping it will pay off this year with a more active lifestyle, including travel.
2022 won’t wait however. Here are some things I have planned for this year:
MoPrint 2022! It was cancelled in ’20 as COVID came roaring in. We’re hoping this one will have better luck.
MoPrint events I’m helping organize: Art Students League Print Fair, March 4-5, Demos, portfolio show and month-long exhibit. ASLD.org
MoPrint shows I will be exhibiting in: Art Students League Members Exhibit, March 4-28; Print Educators of Colorado, 2022, Lincoln Center, Ft. Collins
MoPrint Shows I will be jurying: Core Gallery Details TBA- I will post these
MoPrint fundraiser where my work will be offered:
Other shows my work will be offered: ArtMA childhood cancer benefit gala at the Denver Design Center, February 12
Classes offered: A full complement, from sampler, to beginners, to experienced, about one per month, beginning with an online class on ‘Monotypes At Home’ which is registering now and begins next week.
Kids Class offered: My ‘Mad Science Monotypes’ art camp returns July 5-8 for 14-17 yo
I’m still monitoring print studio sessions at the League many Sundays and Fridays. $15 a session, a screaming deal. Register online
Most of these take place January-March, making for a frantic start to the year, which is always true during MoPrint years. After that will be much more relaxed as I am not planning to do the Summer Art Market this year. Yes, this will be the first one I’ve missed in over 20 years, although I won’t really be missing it as I’m planning to volunteer.
I felt like a break would be good for recharging my batteries and refilling my portfolio. I also intend to explore other options such as online sales, videos and even ebooks. These are things I’ve dabbled in, but never had time to pursue properly.
While this blog was less than regular this crazy Fall. I will try to update regularly, so check back. I haven’t updated my ‘Workshops’ page yet with a full ’22 schedule, but will try to do that next week. I have many book blurbs from all my holiday reading while isolating and convalescing, too.
I wish everyone a happy, prosperous, safe New Year. Fingers crossed, we’ll begin to emerge from several very dark years and there will be opportunities for all to pursue fulfilling lives.
What is the end game in the studio? Sometimes a deadline will bring focus, leading to a well resolved work, sometimes it inhibits experimentation, bringing repetitive ideas. I guess both- experimentation and production, are important.
At this time, I’m trying to produce new work for the upcoming MoPrint ’22, which will bring show opportunities, if COVID doesn’t cancel it again. But I’ve also had more time to work, read and think, which has brought a lot of experimentation.
Most of these experiments haven’t turned into finished, showable work yet. Here’s one that seems acceptable. Not quite sure where the idea of a trestle came from, but from a creative stand point, it seems to allude to being carried from somewhere to somewhere else. The journey is not resolved, but a tenuous structure appears to offer support and transit over the chasm.
That’s my story, and I’m sticking with it. I’m reading a lot of Gary Panter ( Jimbo in Paradise, DalTokyo, Cola Madnes ) He tends to really push an idea graphically, while still trying to at least allude to basic narrative. His characters invest a lot of energy and desire into quests, though what is quested (cheeseburgers, vintage muscle cars) sometimes seems quotidian or even preterite. This seems like a good model for what my studio work is trying to accomplish.
An extended period of downtime following a very successful Summer Art Market, and the end of my part time day job in a college bookstore is to blame for a lengthy lack of posts. This list of abbreviated book blurbs is a pretty good summary of what I’ve been up to as I emptied out my days with a view to building a new routine.
Classes and studio work have continued, of course. And with MoPrint ’22 fast approaching, a bit more urgency will be needed there. But for now, the order of the day for the last few weeks has been coffee and books- with excursions to bookstores to stack literature, non fiction, comics and art like cordwood against the bitter winds building.
Here’s a downpayment, culled from a diary I keep where often these thoughts first appear. There’s no theme, to the blurbs at least- the daybook includes a lot of rumination on what time and work actually are- and perhaps I should try to bring those deeper contemplations here sometime, but for now, just the books.
Bradley of Him, Connor Willumsen’s newest, was a bit too complex for just one reading. This is the downside to library books. Like Antigone, about slackers in a vaguely post-apocalyptic beach town, it was palpably brilliant, but hard to describe why. Extreme protagonist meets slightly dystopian hyper-capitalist paradise in Las Vegas. In both books, art that is watery and a tinge neurotic with narcissistic characters seemingly unaware of the strangeness they are immersed in.
Stroppy, Marc Bell: Again, I originally read it from the library, and decided when finances loosened up, to reread and add it to my shelf. Stroppy is an oafish schlemiel in a dystopian urban oligarchy, where even art is in service to the powers that be. Bell invokes E.C. Segar (Popeye) and mini-golf to tell the tale of a song contest that perpetuates a pop culture kleptocracy.
Bell is a central figure in the ongoing mini-comics/zine subculture, which small websites make it easier to experience. However, he’s long since broken through into mainstream publishing, not to mention gallery sales and this is just one of his highly entertaining hardcover albums. I also picked up Pure Pajamas, a collection of his alternative press weekly strips.His artistic lineage, after Segar, stretches through Crumb and even Phillip Guston, before looping back around to Rube Goldberg. An amazing talent, whose deadpan protagonists are always being imposed upon, and even physically occupied, by other characters.
S!#32 Kus: A pocket sized anthology, published in Latvia, of alt comics auteurs from around the world, in this case, Japan. They are available from online sellers such as Copacetic, or John Porcellino’s Spit-and-a-Half. This one, however, I found at Matter, the letterpress/bookshop on Market St. It’s well worth the trip on a Rockies away day. They also publish single-artist mini comics as Mini Kus.
The artists featured here belong to a later era of Garo magazine and other current publications, and thus provide a view of the current state of alt comics in Japan. Here, and in AX, a collection of alt manga published in 2010, the interchange with American styles seems more apparent, than in Garo’s earlier days, which took cues from pop art and French Nouvelle cinema. Fort Thunder influences are visible and Heta Uma (bad/good) styles the equivalent of the comics brut of Johhny Ryan, et al, are prominent. Who influenced who I can’t say, but these comics lack the sense of Japanese cultural ferment that the early manga pioneers like Hayashi and Sugiera drip with. Not that there aren’t some very intriguing short pieces here, and the internationalization of comics is sort of implicit in the Kus! project to begin with, but the downside of anthologies is you get only a quick glance at a given artist. The small format may also inhibit real engagement, but there are definitely artists here I intend to look for. One, Yuichi Yokoyama, I already found and sent for from the Copacetic site, and it’s in a stack of things I’m saving for when the flurries fly.
Bad Ball, Samplerman: Samplerman is a French comics artist who cuts up and reassembles old comics to create surreal adventures. Again the small format in this Mini Kus may not be optimal, as I’ve seen him play in a piece in Scratches with intricately shaped panels to bring the negative space of the gutters ( space between panels) into play, and here he limits himself to a 6 panel grid. Thus, the vibe is sort of constrained surrealism, like the early Dr. Strange comics by Ditko, or even the cluttered strangeness of Ogden Whitney’s Herbie.
Gold Pollen, Seiichi Hayashi: This is also a reread after I got it from the library a couple of years ago, then found the book online for a decent price. It’s rare to find it under $75, partially because it’s a beautiful book published by the sadly departed PictureBox of Dan Nadel, with a very interesting essay by Ryan Holmberg.
Nadel was an apparently huge part of the re-discovery of Garo Magazine-era manga of the 60’s and 70’s. I’ve become a bit obsessed with these artists and Holmberg is part of the reason, as he explicates Japanese culture both pre-WWII, and in the turbulent years of Garo‘s establishment as the first magazine devoted to alternative, avant garde comics in the world, in 1964. Our ingrained American exceptionalism makes this massive contribution to the art of comics easy to ignore, but at the time, Marvel’s angsty but violent superheroes were about it in this country for those looking for comics for an adult sensibility. Even Undergrounds and the often adolescent boob-a-licious sci-fi of Heavy Metal were still in the future. Not so in Japan, where dramatic gekiga manga led to a real avant garde.
Hayashi and others, such as Tsuge, Sugiera and Tezuka were experimenting with Pop Art and avant garde Carnaby Street graphics and French New Wave cinema as inspiration for their charged stories of relationships and change in Japan.
Hayashi is not easy to find here. I’ve tracked down 3 of the 4 collections that have been published in English. Red Colored Elegy, about doomed, disaffected lovers is his masterpiece, but one will want the title story in this collection as well, a tensely constructed minimalist visual symphony. Mike Mignola’s measured cinematic pacing and love of folklore in Hellboy might offer a hint of what Hayashi was doing while Marvel’s The Thing was immersed in clobberin’ time, but that would not do justice to Hayashi’s sense of ordinary people caught between a fascist past and a hyper capitalist occupier.
Valley, GG: Ordered this Mini Kus from Copacetic after running across She’s Not There at the library. Misty images, disturbing implications, and ambiguous plot lines in both.
Comic Arf, Craig Yoe: This is an odd project; a bit of an ego trip, but not without merit.On one hand, it’s over designed, with not much to say about the artists it presents, and is editorially dodgy as it attempts to shoehorn Yoe’s own mediocre work as an equal to the accomplished past professionals. Those artists, however, are very interesting, and some I’d never heard of. He employs current illustrators as part of his design, which adds to the jumble, but certainly leads to some nice individual pieces. There’s a great Milt Gross feature, “Draw Your Own Conclusions” in which current cartoonists complete Gross cartoons originally offered for readers to finish. There’s nothing wrong with having Gross and other classic cartoonists on one’s bookshelf. But it lacks the editorial/design unity of Scratches or Blab.
Cola Madnes, Gary Panter: which gets too much credit in the afterword for being a masterpiece, but which is an early, fairly improvisatory Panter romp that features the mutually disaffected characters and post industrial wasteland of his Daltokyo and other classic punk comics. The graphics are amazingly… graphic. “Ratty line” is a common descriptive for Panter’s slashing, textural ink work, but his rich blacks are always well placed and add depth and detail to his dystopian suburbia. It’s mostly hyper grungy, hyper violent slapstick, and I keep wanting to assign manga influences to it that may not really be there, but it was originally intended for Japanese publication before being shelved for 20 years so the urge is irresistible. Very interesting item, and I want to re-read other Jimbo I have.
Comics vs. Art, Bart Beatty: Always a fascinating subject, and ambivalence is of course high- I’m not one to denigrate Pop Art, or to deride its superficiality, which is actually a big part of its complex point. This is a facile trap that “Team Comics” often falls into, though thankfully not Beatty. Nor do I consider war and romance comics of the 50’s to be under appreciated artistic gems. I have a respect for Kirby, Heath, even Novick, from the pulp escapes of my youth, but for the most part, I do not attempt to elevate them as high art.
Nonetheless, the appropriation of the imagery in all the great museums is a bit troubling. Russ Heath gives it a wry reflection in a one pager about his image Whaam!, appearing at MOMA ( the painting is actually a mash-up of panels from Heath, Novick, and Jerry Grandinetti, from two comics that Liechtenstein undoubtedly bought at the same time from the same newsstand. One imagines an unknown but soon to be wealthy artist being regarded a loser as he buys comics on the street. Or one does if one is an unknown artist who often buy comics on the street.) “Quotidian” is about the most complementary term I’ve seen applied to the original work in several sources, including Comics vs, and Wikipedia. Nonetheless, the original imagery was conceived by these artists, took time and effort, and often displayed a level of compositional creativity that clearly places it above the sort of mundane disposable image Liechtenstein and co. implies it is. This is a common stereotype in all graphics. While the irony in “Whaam!’ Is all Liechtenstein’s, Heath was certainly no stranger to camp and irony, having executed Michael O’Donahue’s hilariously arousing bondage/romance/war/western comics parody Cowgirls At War in National Lampoon. Buxom dommes and subs, viewed through binoculars in blasted landscapes. We don’t know how much of that is in O’Donaghue’s script, and how much Heath’s imagination, but what is suppressed in pop culture is often telling. While Ditko struggled to realize comics’ creative potential on Dr Strange in the work-for-hire sweatshops of Marvel, he was also inking Eric Stanton’s luscious underground kink across the studio they shared. In the case of war comics, the industry was not interested in irony, and with the exception of Kurtzman and co., rarely even questioned the morality of war.
Collectors certainly have always valued these originals, to an extent, but they never approached the cultural cache of Kirby’s superheroes, let alone Liechtenstein’s appropriations. My search on ebay for All American Men of War #89 ( the “first appearance” of the “Whaam!” image) brought up a listing at $325 in nice condition with Liectenstein’s name in the heading (not Novick’s, as would be the case in most comics listings). Another comic in similar condition from the same era, same Johnny Cloud character, AAMW #100, Heath’s name in the heading, is asking $30. However, for whatever reason, interest in these books is higher than I recall, whether Roy gets credit, or not.
This is an interesting book, very readable ( like most comics critics, excepting Thierry Groensteen, Beatty proudly eschews the lit theory jargon) and raising ponderables about both high and low arts.
Worst.President.Ever. Robert Strauss: Not about who one would think, published in early 2016, with a title that was outdated by the end of that year. James Buchanan, the last president to have a chance at avoiding the Civil War, provides a parallel lesson to today in what happens when personal ambition *trumps* civic responsibility. While 15 was not as corrupt as 45, he apparently was just as willing to adopt a racist stance to further his career. Sometimes a bit frothy, sometimes a bit sketchy on the research, but certainly timely, in a weird sort of way.
Robinson, Muriel Spark: Robinson is a recluse on a small island, onto which our heroine’s plane crashes. With a controlling hermit and 3 marooned strangers, suspicion is high, and human nature being what it is, there is tension. Spark, like Hemingway, packs a lot of meaning into the simplest of sentences.
Trots and Bonnie, Shary Flenniken: NYRB resurrects this unfairly forgotten 70’s gem from the pages of National Lampoon. Flenniken wields the subversive power of second wave feminism combined with utter, tits out horniness and narrative anarchy to come up with an authentic statement about growing up during the war of the sexes and the necessity of comics and other pop culture for social change. In other words, it’s hard to believe that voices like Flenniken’s, Aline Kominsky-Crumb’s and Julie Doucet’s would have been heard without the relatively accessible medium of comics to provide a platform.
The back material, including interview, sketches and annotations, is a real plus. Many of these cartoons, especially the earliest, are laugh out loud funny. Like many at this time, Flenniken brilliantly reprises, then revivifies early newspaper comics’ styles to move the medium back into its rightful place as pop cultural touchstone. This was America’s reply to Garo Magazine’s creative experimentation, and a precursor to Raw. The rise of female cartoonists is one of the Underground era’s most redemptive features. How about some new material, Ms Flenniken?
The Summer Art Market returned, about 14 months late, after the COVID shutdown. People were clearly glad to see it come back. Attendance was crowded on Saturday morning, and steady for the rest of the weekend, with only the afternoon heat really slowing things down. The sales were strong for most artists I spoke to.
It was no different for me, as the show was an all-time high. That makes all the work of framing and wrapping, packing and hydrating worthwhile, but it’s been over 25 years of doing it, and I’m going to take a year off next year, in all probability. It’ll be nice to recharge the batteries, and the steady time in the studio has been very rewarding, so a year of simply doing new work without regard to what might sell could be a tonic. I’ll undoubtedly volunteer to enjoy the vibe, and for the first time, see the whole show.
As for now, I’m going right back in the studio, as I was really pleased with the way things were going, and was a bit reluctant to stop for the show. I’ll be monitoring the print room most Fridays and Sundays this Fall, which is when I work on my own things.
Other than that, I’m planning a relaxing autumn. Restaurants and shopping now seem safer, at least in this area, and like many who attended the show, working on freshening up my house will be a nice distraction. I’m postponing travel till Spring, hoping things will stabilize.
Reading is always a go-to activity in my house, and while I’ve been too busy to attempt any major works, I’ve been reading enough lighter things to post some blurbs. That will be next.
The Summer Art Market 2021 will be a ticketed event to control for social distancing. It’s coming right up, August 28-29. However, tickets are only $5 and are good for all weekend. The socially distanced event will still feature over 100 artists, but the ticket money will go toward making up for lost revenues from the reduced booth fee revenue.
My spot will be similar to past years,near the entrance to the school, at 2nd and Grant St. Booth #55
It’s my favorite event, and one of few street fair type shows I still do. I’ve done it for over 25 years now, and may take a break next year, I won’t decide till the new year, but a year off to just wander around and enjoy the show may be a pause that refreshes. I plan to volunteer.
As for this year, the lack of a 2020 show means more work available for this one. There will certainly be more room to show it. There will be food and drinks, and a chance to see some peeps we haven’t seen in a while. I’m looking forward to it.
Classes for Fall: I’ve updated my Workshops page to reflect Fall offerings, which have increased from Spring. You will be able to register at the Summer Art Market, but the distancing limits are still in effect so far, and space will be limited. So consider registering as early as you can. For my September class, Monotype Mad Science, that’s now! Questions? Come see me at Booth #55 at SAM.
It’s ironic to note that as the reopening of quarantined restaurants, bars and businesses presents options for going out after a long lockdown, the heat has made leaving the house quite unappealing. Viruses and global warming have made our world resemble a Steve Erickson novel.
My own narrative this Winter/Spring has included a health issue- no, not that one in the news- a lovely condition where one’s autoimmune system attacks your own joints and muscles, making going anywhere, even to the fridge for a drink, painful. Thanks to treatment, that’s now manageable, and I’m back in the studio, if not in the bars.
And I’m preparing for the Summer Art Market, now postponed to August 26-7, and distanced and limited to a few thousand visitors. As I was incapacitated for March/April, this postponement has been a fortunate twist. It was not fortunate for a friend- we’ll call her Susie- who went down to visit my booth during the traditional weekend, this last one, and found a quiet intersection in front of the school.
Don’t be like Susie! Read my blog for further updates.
Classes are also ongoing as people begin to venture out. A teen camp in July is full, and an adult evening class is registering now. The print room is religiously cleaned and distanced, and we’re going on a year without any reported re-closures or incidents. You may attend without a mask if you are vaccinated. Evenings in the print room are cool and pleasant.
Other than that, It’s been a lot of what I’ve come to think of as ‘comfort’ reading and viewing, with soccer books and telecasts a prominent feature. International football is returning with the Euro Championship, and with the US national team winning its own continental championship. I also re-read The Ball Is Round, by David Goldblatt, a history of the game from a somewhat Marxist/cultural perspective that is even more rewarding with a second run-through. I post on reading and pop cultural matters to break up the content presented here, and I may work up a post on that soon.
Stay safe and be cool! #sam2021 #asldprintmakers #monotypes
The Summer Art Market is back! It will of course be different as a result of the pandemic, and I’ll be posting about it several times before it returns, August 26-27. I’m going to be in a very similar spot to where I have been in past shows, which is right near the school’s main entrance at 2nd Avenue and Grant. I’m not publicizing the booth number yet, as the restrictions on attendance and number of artists are fluid, so the booth numbers may change, though the location will remain the same.
First note the dates. The old second weekend in June slot was too soon and too uncertain, so August was chosen. I’m glad, as the studio was closed for several months, and it’s given me time to make more work.
Second, and most important, the event will be smaller, per city guidelines. This may also be subject to change. There’s a limit to how many artists and visitors will be allowed in, 5,000 people as of now. This is about a 6th of the normal crowd, IIRC. It will allow for distancing.
To control for crowd size, a reservation system is being set up, and thus the show is expected to sellout before it opens. If you’d like to see the show, please consider reserving early. There will be a nominal $5 charge for reservations. The festival is the school’s major fundraiser, and will help them recoup lost revenues from the reduction in booth fees.
For more info, go tothe school’s website. I have not seen a link for registration yet, and will post it here when I do. I’m having photos of new work done, and will post previews soon.
I have several classes scheduled for Summer. An online teen camp from June 20-25 is registering right now. There is also a live teen camp in July which is full, but again, guidelines for class numbers may change, so getting on the wait list can’t hurt.
Tomorrow, June 8, begins registration for my adult evening class, Monotype Starter, which is a beginner’s class that gives you all the basics of printing monotypes and also certifies you to use the studio on your own. Registration link for that class is here. Numbers for adult classes are currently limited, so don’t delay. Again, however, changing guidelines may open more spots, especially as unlike kids, adults have generally been vaccinated.
More general info on all my classes is under ‘Workshops’ on the menu at top. I’m hoping to see some people this Summer, and I’m sure I’m not the only one!
The promised end of quarantine is just as slow to arrive as the sun. Snow and rain, which we’ve had a lot of, means movies and books. Mostly movies, these days, but that leaves room for larger book reviews. This post has sort of a theme, but begins with a personal weakness of my always associative reading agenda, a book on books.
The Book, Keith Houston: I get geeked out about books. That’s the point of this column. Books on books? Better not get me started. Oops- too late. The Book, with its cute diagrammatic design and very definitive-sounding subtitle: “A Cover-To-Cover Exploration Of The Most Powerful Object Of Our Time”, was always going to be a must-read.
However, this isn’t the book that I hoped, or fantasized, that it would be: a wholistic examination of books’ development, including the intellectual matter of their effect on culture. Despite the subtitle, little was really said about what makes books powerful.
Instead the narrative stuck close to the nuts and bolts of how the physical item developed, interesting, but not really as powerful as the ideas therein. It made for what is properly speaking, historical trivia- highly readable, take my word for it- but not essential to the understanding of just how books came to be so entrenched in our intellectual landscapes.
To be fair, at 325 pages of mostly fascinating details, there was little room to stop and contemplate the insistent whisper of the flipping leaves. But a discussion of Audobon’s The Birds of North America left one aching for at least some acknowledgement of the sweeping changes in ordinary life that the publication of Gutenberg’s Bible, or science tomes and maps, and maybe even the appearance of the novel, brought.
On the other hand, a fairly concise history of printmaking is found here, a real joy for a printmaker. Paper, we forget, is one of the great innovations in human invention, and here we are reminded. The internet- an earthshaking development in our own lifetimes- but can it compare with the only slightly more distant inception of mechanical presses- mass media? Again, the relationship between commercial printing and the spread of images and info among a rapidly expanding middle class is not touched on. The Book needs context, something that the object itself helped invent. That book is out there, I’m sure, or will be. This book provides diversion for bibliophiles, but only points out the need for something that gives books a bit more their due, culturally speaking.
Red Red Rock and Other Stories, 1967-70, Seichi Hayashi: An elegant trade paperback, published by Breakdown Press in England (2016), It is still available at cover price, unlike others of Hayashi’s work in English. It contains one of Ryan Holmberg’s excellent essays on the history and influences of manga which really add to the richness of Hayashi’s topical, Pop Art-influenced short stories. There are 4 collections of Hayashi’s pioneering early alt manga that have been published, including Red Colored Elegy, a moody, impressionistic tale of a relationship smothered by ennui, and Gold Pollen and Other Stories, which I’ve read, but which is impossible to buy for a reasonable price. I attribute this to Hayashi’s status as a landmark creator in the history of comics, but also to the sheer beauty and attention to detail of Picture Box’s publications before they went out of business.
This one makes for a great overview of Hayashi starting with early efforts in a sort of Euro/satirical leftist journal style, and gradually progressing to his peak style, which incorporates elements of Warhol’s Pop Art, Carnaby Street commercial animation, and even French New Wave cinema. Hayashi is to be considered integral with the Japanese Angura (underground) of the late 60’s, as Holmberg demonstrates.
Remember, all that American comics at this time had to offer to those interested in comics as a creative medium were the innovative but bombastic Marvels, and the raunchy, rowdy undergrounds. Europe was beginning to explore adult genre, such as sci-fi and crime, but the Japanese were the first to truly push the boundaries of the medium, through Hayashi, Sugiera, and and others associated with Garo magazine. Manga is impossible to ignore now, and these spare and thoughtful comics are part of the reason why.
Mysterious Underground Men, Osamu Tezuka: Another Picture Box product that is hard to find at a reasonable price. Again, it’s well designed, contains a Holmberg essay, and is a seminal manga artifact, being published in this country for the first time since its 1947 appearance in Japan.
Unlike the Hayashi and Tsuge works mentioned here, it is clearly aimed at children, and heavily influenced by Disney’s Carl Barks and Floyd Gottfredson, not to mention Flash Gordon serials. But in it, as Holmberg explains, we see a first departure from Nansensu (nonsense) manga for children and toward Gekiga, the ‘dramatic pictures’ that paved the way for Japan’s groundbreaking Garo magazine in the 60’s. Tezuka himself, after starting the equally influential Astro Boy, embraced alternative visions, and started his own similar magazine, Com.
Red Flowers, Yoshiharu Tsuge.: This title story is probably the first manga I ever read, tipped into the pages of Raw Magazine Number Seven ( 1985), the infamous “Torn Again” issue, which also included a small section of alternative manga ( my first encounter with the wondrous strange Shigeru Sugiera). I was impressed by the story, a lush, bittersweet tale of children growing up in rural Japan, but didn’t see enough things like it to place it into context until I read an overview of alternative manga in the very excellent Comics: A Global History, by Dan Mazur and Alexander Danner. I began seeing collections pop up on the lists of fave publishers Picture Box and D&Q. This is the importance of good criticism and book editing; it is a form of curation, and the medium needs that. I recommend those above-mentioned starting points for sorting through the vast befuddling landscape of manga, but I’m sure there are others.
I mention all this because the complete original collection is about to be released for the first time in English in the Fall as part of a series of Tsuge collections by Drawn and Quarterly. I’m not saying that this, too, will shoot up into hundreds of dollars on the secondary market, but it’s clear that the pioneers of alternative manga are starting to finally attract attention. They went a long way to making the medium appropriate for adult reading around the world, and they certainly deserve it.
Manga- Japanese comic books, simply put, are another aspect of how ideas and culture spread themselves to all corners through a simple codex of sheaves of paper.