On Campus Friday – Human Rights Org LINK Hosts Info Session

Screen Shot 2014-10-15 at 11.33.31 AMHow much do you know about the world’s most secretive society? Do you want to learn more about the lives of ordinary people in North Korea?

Every year, thousands of North Koreans risk their lives to escape political persecution and economic hardship. If caught trying to escape or caught in China and sent back, they are at risk of extremely harsh punishments, including brutal beatings, forced labor, forced abortions, torture, and internment in a political prison camp.

LINK (Liberty in North Korea), and organization based on the West Coast, helps North Koreans escape and relocate to South Korea and the United States. LINK is visiting our campus this Friday, October 17th. If you are interested in hearing the stories of North Korean refugees and learning more about the situation in North Korea, please come to the LINK info session on Friday at 6 East 16th Street, room D1004 at noon.

For more information, check out http://www.libertyinnorthkorea.org

New York Comics & Picture-story Symposium: Gary Panter

panter-good

The 104nd meeting of the NY Comics & Picture-story Symposium will be held on Tuesday, October 21, 2014 at 7 pm at Parsons The New School, 2 West 13th Street, in the Bark Room (off the lobby). Free and open to the public. Please note 7 pm starting time.

Gary Panter attempts to invoke the unfolding lotus of the 1960s by thumbing through an old magazine missing pages – LOOK, Jan 9, 1968.

Gary Panter is an illustrator, painter, designer and part-time musician. Panter’s work is representative of the post-underground, new wave comics movement that began with the end of Arcade: The Comics Revue and the initiation of RAW, one of the second generation in American underground comix. He’s had three one-man shows at Fredericks & Freiser gallery in  New York City. In 2008, Gary was the subject of a one-man show at the Aldrich Contemporary Art Museum. His books include a comprehensive monograph, Gary Panter (PictureBox), and four graphic novels: Jimbo in Purgatory (Fantagraphics); Jimbo’s Inferno (Fantagraphics); Cola Madnes (Funny Garbage); Jimbo: Adventures in Paradise (Pantheon). Gary has won numerous awards, including three Emmy Awards for his production design on Pee-wee’s Playhouse, as well as the 2000 Chrysler Award for Design Excellence. For more information visit: http://www.garypanter.com/site/

http://nycomicssymposium.wordpress.com

Student of the Week: Eliza Bender

“Isis Bucket Challenge” / courtesy of Eliza Bender

Eliza Bender is a junior illustration major from Sugar Loaf, NY. Employing a hyper-realistic style, she recontextualizes the spaces in which icons and phenomena exist to provide a polarizing, insightful, and often clever viewpoint that’s unmistakably clear. Eliza’s politically-fired illustrations often provoke heated commentary amongst viewers, as evidenced in a reddit post that spent a fair amount of time atop the site’s front page.

Her animatic “The Water Tower” received the very first Hammie Award for Best Character Design, a prize instituted within the program to recognize the best student work in Animation.

293dea1faf1a4911d66747aac71d8d45 60e3bb0ab066854fe599cec66d96a9bb

To see more of Eliza’s work:

Official Website: elizabender.com
Facebook: facebook.com/elizabenderillustration

Alumni of the Week: Emily Eibel

fleetfoxesgoodfriends

With her alter-ego, Tomby, Parsons Illustration alumna Emily Eibel defies the common perception that every illustrator has one distinguishable “style” of work. 

The organic qualities expressed through Emily’s stitched works in contrast to the highly technical and rigid qualities of Tomby’s pixel work may immediately suggest two entirely different artists are behind them; however, as Emily herself suggests, “it’s really just one style in two mediums.” She likens the layer-building process of her pixel illustrations to painting, while considering the stitch work as more like drawing with thread. She claims the solutions in one medium lend themselves directly to the other medium, making it much easier for her to balance the complexities of working as both Emily and Tomby.

Emily’s selected clients boast an impressive list of names including The New York Times, WIRED Magazine, ESPN Magazine, Maxim, The New Yorker, and more!

To see more of her work visit her official website: emilyeibel.com AND tombyillustration.com

NY Comics & Picture-story Symposium: Anya Ulinich in conversation with Olga Gershenson

9780143125174_LenaFinklesMagicBarrel.inddThe 103nd meeting of the NY Comics & Picture-story Symposium will be held on Tuesday, October 14, 2014 at 8 pm at Parsons The New School, 2 West 13th Street, in the Bark Room (off the lobby). Free and open to the public. Please note 8 pm starting time.

Presentation: Anya Ulinich in conversation with Olga Gershenson.

Anya Ulinich will present her graphic novel, Lena Finkle’s Magic Barrel, which the Publishers’ Weekly called “an honest and absorbing tragicomedy about love, sex, and everything that goes with them.” She will discuss how she went from being a painter to becoming a fiction writer to writing a graphic novel, and the steep learning curves along the way. She will also talk about her process, and the challenges of using autobiographical material in fiction and visual storytelling.

Anya Ulinich grew up in Moscow, Russia, and immigrated to Arizona when she was seventeen. She holds an MFA in visual arts from the University of California, Davis. She is the author of Petropolis (Viking, 2007), and Lena Finkle’s Magic Barrel, a graphic novel (Penguin, 2014). Ulinich’s short stories and essays have appeared in The New York Times, Zoetrope: All-Story, n+1, and PEN America Journal. She teaches creative writing at the New School and lives in Brooklyn with her two daughters.

Olga Gershenson has been Jewish in Russia, Russian in Israel, and finally became an academic in the US, where she is Professor of Judaic and Near Eastern Studies at the University of Massachusetts Amherst. She is the author of Gesher: Russian Theatre in Israel (2005) and The Phantom Holocaust: Soviet Cinema and Jewish Catastrophe (2013), as well as an editor of Ladies and Gents: Public Toilets and Gender (2009). She has published widely on Jewish and Israeli films, and she is now working on her own film.

https://nycomicssymposium.wordpress.com

Alumni of the Week: Beth Zimmerman

Meet our fabulous alumni!
Beth is a Texas born designer/illustrator based in Brooklyn. She graduated from our program in 2014 and has been doing amazing work.
Amongst her clients are: Dior, Kevyn Aucoin Beauty, Into The Gloss, Nylon Magazine, Wilhelmina Modeling Agency, Sisley Cosmetics, Marc O’Polo Menswear, Bleach Online Magazine, VERB Haircare, Nex9 Productions, The New School, Verameat Jewelry, The Vera List Center for Art and Politics, Explain-o-Graphics, Michelin Automotive, The Horn Austin.

You can view and purchase her illustrations here: http://society6.com/bethzimmerman and http://www.printallover.me/collections/beezee
You can also find her here: http://bethzimmermanart.com/
Instagram: http://instagram.com/bethzimm

Beth Zimmerman - Alumni 2             Beth Zimmerman - Alumni 1Beth Zimmerman -Alumni 3

NY Comics & Picture-story Symposium: Jay A. Gertzman

bond-sign-finalThe 102nd meeting of the NY Comics & Picture-story Symposium will be held on Tuesday, October 7, 2014 at 8 pm at Parsons The New School, 2 West 13th Street, in the Bark Room (off the lobby). Free and open to the public. Please note 8 pm starting time.

Presentation: Jay A. Gertzman: Look, Look, Just Look: Scopophilia and the 20th century Illustrated Book.
My talk  will be about the way 20th century drawings illustrate texts by substituting the mutual sexual  contact and its fulfillment—which is the subject of the narrative—with images which stimulate auto erotic responses in the viewer. Freud’s phrase for this is scopophilia, the substitution of the eye for the penis. What results is prurience and the substitution of shame for pleasure in establishing a loving relationship.
After a few book illustrations exemplary of gazing and fantasizing,  I will show three types of graphic illustrations. The first are drawings prepared for wealthy consumers: erotic bookplates, extra-illustrated images in finely printed editions of classic pornography, and a deluxe privately printed 1930s edition of Lady Chatterley’s Lover.
The next class of drawings was used to sell prurient but not explicit materials that could be used to interest, but not shock, middle- and working-class consumers with conventional sexual tolerances, given the moral  consensus of their communities. Illustrations for mail order fiction, non-fiction, and correspondence clubs, as well as pulp magazines and paperback novels, are rich sources for judging what these purveyors of  borderline  material wanted to tease their customers with.  Many of these also show men looking at females—the keyhole motif was famous for its frequent appearance in advertisements as well as books themselves.
A final set of slides would illustrate materials sold to, or created by, underclass and outcast people.  These are for the most part explicit (regarding various sexual acts and full nudity) and at the same time more expressive of unruly desires than they are prurient teases: playing cards, tattoos, Tijuana Bibles (“little dirty comics”),  sketches on boarded-up windows of Times Square bookstores and peep palaces,  graffiti, and  covers and interior drawings for hard core paperbacks.
In all three categories, there are drawings which subvert the concept of prurience and the identification of sex with furtive masturbatory pleasure.

Jay A Gertzman retired in 2000 as a professor of English at Mansfield U. He taught a diverse set of courses: radical themes in modern literature, noir crime fiction, D H Lawrence, Shakespeare, literary censorship, in addition to composition at the freshman and upper class levels.
His research specialty is publishing history. He has published four books on this subject.
In Bookleggers and Smuthounds: The Distribution and Prosecution of Erotica, 1920-1940 (U of Pennsylvania Press, 1999), he discussed publishers, distributors and dealers and their symbiotic relationship with private “decency” groups and police.  The book details  the methods of underground publishing and the way booksellers got sexually explicit texts into readers’ hands. His Samuel Roth, Infamous Modernist, was published in the spring of 2014 by the U. Press of Florida. It is a biography of the man who served two federal prison terms for distributing erotica through underground sources and the U.S. mails.  After publishing parts of Ulysses in 1926 without explicit permission from James Joyce, he was denounced as a “thief” and “pirate,” although there was no international copyright agreement at the time.  Roth’s long career as editor, poet, and iconoclast  culminated in Roth v. U.S. (1957), a major event in First amendment liberalization.

NY Comics & Picture-story Symposium: World War 3 Illustrated 1979-2014

ww3-coverThe 101st meeting of the NY Comics & Picture-story Symposium will be held on Tuesday, September 30, 2014 at 7 pm at Parsons The New School, 2 West 13th Street, in the Bark Room (off the lobby). Free and open to the public. Please note 7 pm starting time.

Presentation: World War 3 Illustrated 1979-2014
Celebrating the release of a new 320 page hard-cover anthology, artist/editors Peter Kuper, Seth Tobocman, Sabrina Jones and Sandy Jimenez will give you a behind the scenes history of the of the long-running zine’s past, present and future with visual presentations.

Peter Kuper is co-founder of World War 3 illustrated and has written and drawn “Spy vs Spy” for Mad magazine since 1997.  His graphic novels include The System, Sticks and Stones, and Stop Forgetting to Remember, and he has also published the sketchbook diaries Diario de Oaxaca and Drawn to New York, as well as graphic adaptations of Upton Sinclair’s The Jungle and Kafka’s The Metamorphosis.  His cartoons have appeared in The New York Times, Time, and Newsweek. He teaches comics courses at The School of Visual Arts and Harvard University.

Seth Tobocman, co- founded the magazine World War 3 Illustrated.  He is the author of a number of graphic books including: You Don’t Have to Fuck People over To Survive, War in the Neighborhood, Disasters and Resistance and Understanding the Crash. His illustrations have appeared in The New York Times, The Village Voice and many other publications. His art has been displayed at The Museum of Modern Art, The New Museum Of Contemporary Art among many other museums and galleries. His images have been used as posters, banners, murals, patches and tattoos by people’s movements all over the world.

Sabrina Jones created her first comics for World War 3 Illustrated and went on to edit many issues. Her graphic biographies have covered historical visionaries from Isadora Duncan and Walt Whitman to FDR and Jesus. She has illuminated the work of justice advocates in “The Real Cost of Prisons Comix” and “Race to Incarcerate, A Graphic Retelling.”

Sandy Jimenez is a comic book artist and filmmaker who has produced scores of varied and original illustrated stories since graduating from The Cooper Union in 1990, he is best known for creating the independent comic book series Marley Davidson, and the long running and critically acclaimed “Shit House Poet” stories for World War 3 Illustrated. His next work, an illustrated adaptation of Jules Verne’s 20,000 Leagues Under the Sea will appear in the upcoming Graphic Canon YA collection for Seven Stories Press.