The NY Comics and Picture-Story Symposium is a weekly symposium for artist/writers working in various text-image forms: comics, picture-stories, animation, etc. at which to present and critique current work. The symposium will examine new ideas for the distribution of print and electronic work that move beyond the existing models of publishing and advertising. We will re-examine the relationship between readers and autographic writers. Emphasis will be placed on self-initiated work and the development of a self-sustaining economic model for such work. Meetings will be facilitated by a rotating group of practitioners and guest speakers. The symposium will offer an ongoing place to learn and think about the traditions and future of text-image work.
We meet at Parsons The New School for Design at 2 West 13th Street, New York, NY 10011, on the lobby level in the Bark (Orientation) Room, M101.
Aug. 29 – Andre and Ed Krayewski on FKT Comics
Sept. 5 – Josh Bayer, Adam McGovern and guests on All Time Comics
Sept. 12 – David Leopold on Al Hirschfeld’s book illustration
Sept. 19 – Martin Wilner on his work
Sept. 26 – Katie Fricas, cartoonist
Oct. 3 -Sue Coe on her recent work
Oct. 10 – Kurt Ankeny, cartoonist
Oct. 17 – Craig Gropper on William Gropper
Oct. 24 – Michael Hearn on Russian Constructivist Children’s Books
Oct. 31 – Maya Edelman – animator
Nov. 7 – Ethan Persoff – cartoonist, archivist, and sound artist
Nov. 14 – Mark Newgarden and Paul Karisik on How to Read Nancy.
Nov. 28 – Bob Grossman – illustrator and cartoonist
Dec. 5 – Elizabeth C. Denlinger on Frankenstein
Dec. 12 – Stephen Norris on Borris Efimov, Russian cartoonist
If you would like to make a presentation, please send an email with your ideas: symposium(at)katchor.com
Joe Hwang is a recent graduate of Parsons BFA Illustration program. The work pictured here is from his thesis project.
The Q&A: Joe Hwang
By Peggy Roalf Monday, July 24, 2017
Q: Originally from South Korea what are some of your favorite things about living and working in the New York area?
A: I lived in Seoul, South Korea till 2010. In the summer of that year, I came to New York to study art. New York has much to see. I like wandering around the city, especially West Village and Upper East Side, watching people and the cityscape. I like those two neighborhoods because there are many elderlies, which is the main subject of my work. To me, elderlies in New York City are like beautiful historic buildings that have aged well. I also like that they have their own styles and live at their own pace, balancing out the overall pace of the city against the fast pace of younger generations.
Q: Do you keep a sketchbook? What is the balance between art you create on paper [or other analog medium] versus in the computer?
A: I use the back of used copy paper for sketches. Most of the times, I first sketch on paper, scan it to my computer, and work on it digitally in Adobe Illustrator. To me, both paper sketches and digital paintings are equally important. In the paper sketch process, I draw objects in detail, learning characteristics of them. In the digital process, I try to simplify the objects, leaving only the essence. I like digital painting because of the vividness in color and its cleanness. Meanwhile, I also make paintings based on my digital works because I also like working in the traditional way.
Q: What is the most important item in your studio?
A: My iPhone. I take lots of photos of people with it, which is the first stage of my work process.
Q: How do you know when the art is finished?
A: When I feel that the image I had in my head has been fully rendered.
Q: What was your favorite book as a child? What is the best book you’ve recently read?
A: The Insect World of J. Henri Fabre. He was a man of curiosity, wanting to know everything about insects. It was interesting that insects could be appealing to someone, instead of scary or gross. For a while, I wanted to be an entomologist. Recently, I mostly read the Bible.
Q: If you had to choose one medium to work in for an entire year, eliminating all others, what medium would you choose?
A: Acrylic paints. I like matte and fluid type acrylics because I like my paintings flat and bold.
Q: What elements of daily life exert the most influence on your work practice?
A: I try to go out every day. I like walking around the city, watching people and taking photos of elderlies I like. Elderlies with great style or interesting look are my inspiration for my work.
Q: What was the [Thunderbolt] painting or drawing or film or otherwise that most affected your approach to art?
A: I am very interested in fashion, so I get inspired by works in which fashion plays a big part. I especially like classic style and vivid colors in clothing such as the ’60s and ’70s styles and preppy style.
I like films from those years because I like what actors are wearing and the atmosphere in them. Breakfast at Tiffany’s is my favorite movie. In it, the styles of actors, scenes of New York City, and music by Henri Mancini make a perfect harmony. I also like Jean-Pierre Léaud’s style from the movie Stolen Kisses.
When I look at Alex Katz’s portraits, I get a similar impression. I like the combination of the classic style of models he portrays and the vivid and bold colors he uses. Even when I was in kindergarten, I think I was influenced by the style of Mr. Rogers’ style from his show Mr. Rogers’ Neighborhood. Especially, his closet filled with colorful cardigans was a big inspiration for me. I try to reflect those in my illustrations and paintings.
Q: Who was the [Thunderbolt] teacher or mentor or visiting artist who most influenced you early in your training or career?
A: When I was a kid, my mother and I would draw characters from commercial products and shows such as the man on the Pringles ads, Tony the Tiger on Frosted Flakes, and Chester on Cheetos. She is not an artist by profession, but she is fond of the arts. Also many relatives from my maternal family were artists: singer, fashion model, artist, etc. Watching their artistic activities laid a foundation of how to approach arts.
One day when I was a student at Parsons, I was struggling with a design for a postcard competition. My wife, who was my girlfriend at the time, saw me struggling and said, “Why don’t you use your sense of color and humor?” That was a lightening moment for me. I immediately came up with an idea for the design and finished it within a few hours. I even won the competition. The design was used for holiday cards by Aid for AIDS that year. From that moment on, that is my motto: to use my sense of color and humor.
Some of my teachers at Parsons were also good mentors, especially Noël Claro and Jordin Isip. They helped me broaden my perspective in illustration.
Q: What would be your last supper?
A: Anything with my wife.
Joe Whang is an artist and illustrator, born in Seoul, Korea and living in Jersey City, NJ. He graduated form Parsons School of Design with a BFA in Illustration. He is fond of vintage clothing and items. He likes to illustrate elderlies. His works have been recognized by Society of Illustrators, American Illustration, 3×3 Magazine, Applied Arts Magazine, and World Illustration Awards.
World Illustration Awards Exhibition at Somerset House, London. July 31 – August 28, 2017 Info
Group Exhibition Melted City 4 at RISD, July 22 – August 4, 2017 Info
Randall Enos: A Life on the Slanted Board.
Randall Enos talks about his 60 year career of explorations into new directions for comic art.
Known for his unique linocut illustrations, Randall Enos has been drawing “funny pitchers fer the peeple for 60 years.” His work has generally been lurking in the pages of practically every magazine and lots of newspapers in America but forays into the land of comic strips, animation and children’s books have also been noticed.
He lives on his horse farm in Connecticut with his wife of 60 years (who is starting to get on his nerves).
Anna O’Meara – Ja ja ja!: Isidore Isou on destroying words and pictures for their realization
The cinema is where words meet moving images in a continuum. Films seamlessly merge music, dialogue, narrative, and images. In 1951, Isidore Isou made a violent attempt to break film’s seamless continuum in Treatise on Drool and Eternity. An inspiration to filmmakers like Stan Brakage and Guy Debord, Isou’s film manifesto was a precursor to both American and French avant-garde art and politics. After working on a new translation of Isou’s film for Annex Press, I will discuss Isou’s methods in breaking traditional art forms in order to create new aesthetic and ideological standards. This discussion will use texts by Isou, many of which are untranslated, that wrestle with the creation of new forms through the deconstruction and reconstruction – through the merging and breaking – of the relationship between text and image in film.
Anna O’Meara is a French to English translator and historian based in Albany, NY. Her translations include a forthcoming publication with Annex Press of Isidore Isou’s Treatise on Drool and Eternity in partnership with translators Ian Thompson of Brisbane, Australia and Nadège LeJeune of Paris, France. She has also translated The Works of Arthur Cravan, which has appeared in Maintenant by Three Rooms Press. O’Meara received her M.A. in Art History from the University of Notre Dame in 2013 for which she wrote The Marxist Critique of Religion in the Films of Guy Debord. Currently, she serves as a Research Assistant to the New York State Historian, Devin Lander. O’Meara has conducted branding research and website development for a New York City production firm, Archivist Media, as well as exhibit development research for the Children’s Museum of Indianapolis. Previously, she served as the Director of Outreach & Development for the Museum Association of New York, and the Assistant Administrator of the Albany County Historical Association.
The 187th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday, May 2, 2017 at 7pm at Parsons School of Design, 2 West 13th Street, in the Bark Room (off the lobby).
Free and open to the public.
Mohammad Sabaaneh on The Art of Political Cartooning in Palestine
The Art of Political Cartooning in Palestine
Mohammad will discuss his craft, including his production methods and artistic choices, and his artistic influences and how he navigates the challenges of editorial cartooning in Palestine. He will discuss, accompanied by slides of his work, his own development as an artist and cartoonist – from how he started out, to how his techniques and style evolved over time.
Mohammad Sabaaneh is a Palestinian graphic artist based in Ramallah in the West Bank. He is the principal political cartoonist for Al-Hayat al-Jadida, the Palestinian Authority’s daily newspaper, and has published his work in many other newspapers around the Arab World. He is a member of the International Cartoon Movement, as well as the VJ Movement connecting visual journalists across the globe. Sabaaneh’s work has been displayed in numerous collections and fairs in Europe, the United States, and the Middle East. He won third place in the Arab Caricature Contest in 2013.
A special meeting of the NY Comics & Picture-story Symposium will be held on Wednesday, April 26, 2017 at 7pm at Parsons School of Design, 2 West 13th Street, in the Bark Room (off the lobby). Free and open to the public.
PLEASE NOTE: THIS IS A WEDNESDAY NIGHT EVENT!
Patricia Mainardi: Popular Prints to Comics
While popular prints had existed all over Europe for centuries, in the nineteenth-century they evolved into several new genres, including comic strips, children’s literature, and advertising. Subjects for their earliest rural semi-literate audiences, were limited to religion, rulers, crimes and disasters, and homilies, but with advances in printing technology, they began to appeal to an urban and eventually an international audience. These new audiences preferred multi-paneled sheets that abandoned the old verities and instead depicted the whimsical situations typical of modern popular culture in both comic strips and in advertising. This presentation will review the development of popular prints from the earliest examples to comic strips and superheroes.
Patricia Mainardi is an art historian specializing in the 18th and 19th centuries. Her book Another World: Nineteenth-Century European Print Culture was recently published by Yale University Press and discusses the explosion of printed imagery in books, newspapers, comics, and single-sheet images. Previous books include Art and Politics of the Second Empire (Yale University Press, 1987), which was awarded the College Art Association Distinguished Book Award, The End of the Salon (Cambridge University Press, 1983), and Husbands, Wives, and Lovers (Yale University Press, 2003), as well as numerous articles and museum catalogues. She has received fellowships and awards from the National Endowment for the Arts, the Institute for Advanced Study, the National Gallery of Art and the French Institut national de l’histoire de l’art, and was appointed chevalier (knight) in the Ordre des palmes academiques by the French government. This year she received the College Art Association Distinguished Teaching of Art History Award. She is professor emeritus in the Doctoral Program in Art History at the Graduate Center of the City University of New York.
The 186th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday, April 25, 2017 at 7pm at Parsons School of Design, 2 West 13th Street, in the Bark Room (off the lobby). Free and open to the public.
Twister Artwork above: ART©AnaMouyis
Earth Week: Beyond Polar Bears
Presentation and Stipend Awards
Wednesday, April 19, 2017 at 10:00 am to 11 am
Theresa Lang Community and Student Center, Arnhold Hall, I-202
55 West 13th Street, New York, NY 10011
The images will be presented between 10:00 and 11:00 am during the Tishman Environment and Design Center interactive showcase of community-based participatory research led by New School faculty and students addressing the impacts of climate change.
Images will be shared during the first presentation. This is the culmination of a year long project and a great deal of work on your student’s part. If it is at all possible, please excuse this student to join the event, for this hour where faculty grant winners and student scholars will share their research that applies to policy, design, and social justice to address current and future environmental issues generated by the ever-increasing impact of climate change.
Earth Week: “Beyond the Polar Bear” Artwork Exhibition
Thursday, April 20, 2017 at 11:00 am to 3:00 pm
Event Café, University Center
63 Fifth Avenue, New York, NY 10003
Visit this pop-up exhibition of student, faculty, and alumni work reflecting on the threat of climate change in our lives.
Since its launch in the spring of 2016, Beyond The Polar Bear, a collaboration between The New School and 350.org has captured the imagination of over eighty artists; students, faculty members and alumni from The New School and Parsons School of Design. Of the 142 works submitted, 80 visual expressions are assembled, comprised of gifs, video, memes, diptychs and single images dedicated to interpret the issue of climate change from an intimate perspective. The projected exhibition of works and brief summary of the project will be shared by coordinator and Parsons’ Illustration Assistant Professor, Wendy Popp.
This event is supported by the Tishman Environment and Design Center.
Parsons student Darius Moreno’s artwork has been featured in GoldLink’s newest album At What Cost as the cover artwork as well as the artwork for several singles including “Crew” and “Meditation.” Moreno was recently interviewed by VICE Magazine’s Noisey about his creative process behind the works. Read the interview here. The original framed acrylic of Moreno’s GoldLink artwork will be shown at the AMT 2017 End of Year Exhibit.