I saw a whole bunch of shows this weekend, and some of them were really good. I would be writing about them here except that 29-95.com pays me to cover them over there! Sweet deal, right? But for those Pan readers--both of you guys--who are feeling neglected, I figured I better at least link to my other pieces.
So one of the shows was an installation called Wishing Well for Houston (at the Art League). I tried something I had never done before. Employing the video function on my Sony Cybershot, I interviewed one of the three artists who made the Wishing Well. You can hear my awkward questions and Brian Piana's gracious answers here at 29-95.
So go to the Art League and check it out. And while you are there, you can feast your eyes on the inspiring and sometimes moving art of the best of Houston's high school artists, the Scholastic Gold Key art exhibit. I think the Art League hosts this every year. If you took art classes in high school, you are probably familiar with this. I entered every year and never made it. Well, looking at this art, I can see why. These kids blow me away with thier talent. So a great two-fer at the Art League. Check it out.
Monday, January 18, 2010
Saturday, January 16, 2010
Best Comics of 2009, cont.
I wrote my own "Best of 2009" list here, and one caveat I made was that there were many highly regarded comics I had not read, either because I hadn't seen them yet (but surely intended to read them when I did) or because I just didn't bother.
The blogger at I Love Rob Liefeld has gathered all the best-of lists he could find to create what he calls a "Best Comics of 2009 Meta-List." It has 100 entries (although it only counts the top 97, due to ties). He used 130 lists to compile this meta-list.
First of all, this list tells me how much I didn't read last year. Of the 100 listed here, I had read 27 (including only 5 of his top 10) when I compiled my list. Even weirder (to me) is that there are five in my top 15 that don't make the meta-list at all! They are Little Orphan Annie vol. 3, Journey vol. 2, Dick Tracy vol. 8, Multiforce, and Map of My Heart. Their exclusion from the list makes me doubt its usefulness as an actual record of the best of the best. A critical consensus that says that there were 100 comics better than those in Little Orphan Annie vol. 3 is just plain wrong.
That said, I plan to dig into the list and read at least some of the titles that I seem to have overlooked. I already have read Footnotes in Gaza and am reading the big Alec book (I'm fairly sure I've read it all before in various forms). These were two that were published after I wrote my list. I also read the first volumes of 20th Century Boys and Pluto, and the first two of Scott Pilgrim. Footnotes in Gaza and Alec belong on the top 100 list (indeed, probably the top 10). I'm less sure about the others, which had their virtues but didn't blow me away. I will be reading more of Pluto and 20th Century Boys--they are both intriguing series. While I recognize the quality and verve of Scott Pilgrim, I feel too old for it. And it just seems a bit slight. It is clever, though, and well-drawn.
As I read more from the meta-list, I'll mention them here. I am certainly not going to read all the books (there is a Batman series at 15 (!) on the list--all I can say is that at the age of 46, I just have zero desire to read about a man who dresses in a leotard and leather mask and beats up criminals... I read enough of those comics, and so I am exercising my perogative to not care.)
The blogger at I Love Rob Liefeld has gathered all the best-of lists he could find to create what he calls a "Best Comics of 2009 Meta-List." It has 100 entries (although it only counts the top 97, due to ties). He used 130 lists to compile this meta-list.
First of all, this list tells me how much I didn't read last year. Of the 100 listed here, I had read 27 (including only 5 of his top 10) when I compiled my list. Even weirder (to me) is that there are five in my top 15 that don't make the meta-list at all! They are Little Orphan Annie vol. 3, Journey vol. 2, Dick Tracy vol. 8, Multiforce, and Map of My Heart. Their exclusion from the list makes me doubt its usefulness as an actual record of the best of the best. A critical consensus that says that there were 100 comics better than those in Little Orphan Annie vol. 3 is just plain wrong.
That said, I plan to dig into the list and read at least some of the titles that I seem to have overlooked. I already have read Footnotes in Gaza and am reading the big Alec book (I'm fairly sure I've read it all before in various forms). These were two that were published after I wrote my list. I also read the first volumes of 20th Century Boys and Pluto, and the first two of Scott Pilgrim. Footnotes in Gaza and Alec belong on the top 100 list (indeed, probably the top 10). I'm less sure about the others, which had their virtues but didn't blow me away. I will be reading more of Pluto and 20th Century Boys--they are both intriguing series. While I recognize the quality and verve of Scott Pilgrim, I feel too old for it. And it just seems a bit slight. It is clever, though, and well-drawn.
As I read more from the meta-list, I'll mention them here. I am certainly not going to read all the books (there is a Batman series at 15 (!) on the list--all I can say is that at the age of 46, I just have zero desire to read about a man who dresses in a leotard and leather mask and beats up criminals... I read enough of those comics, and so I am exercising my perogative to not care.)
Thursday, January 14, 2010
Wayne White Goes to the Thrift Store
The Oxford American produced this great short video of Wayne White.
SoLost: Wayne White Goes Thrifting from Oxford American on Vimeo.
(Weird fact about The Oxford American--they are located in Conway, Arkansas--which is where Southwestern Energy, my employer, has its Arkansas headquarters.)
SoLost: Wayne White Goes Thrifting from Oxford American on Vimeo.
(Weird fact about The Oxford American--they are located in Conway, Arkansas--which is where Southwestern Energy, my employer, has its Arkansas headquarters.)
Wednesday, January 13, 2010
Aurora Robson
I am totally stealing a couple of photos from C-Monster--I encourage you to click through and see more. The reason I'm doing this is 1) because they look so cool, and 2) because Houston has a new permanent Aurora Robson sculpture. It's going into Rice's new gym (er, I mean "recreation and wellness center"). As soon as I get a chance, I'll go over and take some photos. But in the meantime, feast your eyes on these:
Monday, January 11, 2010
Emily Sloan at Redbud Gallery
My first professional art show review (really!) is up at 29-95.com, which is the Chron's blog for various culture around town. Please check it out. And you can read what I've written in the past about Emily Sloan on Pan here.
Sunday, January 10, 2010
Recent Acquisition: Rick O'Shay
Stan Lynde grew up on a sheep farm in Montana and became a cartoonist in the navy. After his military service, he developed a satirical strip, Rick O'Shay, set in a small Montana town called Conniption. It seems to be set in the 19th century but simultaneously in the present (the early 60s). It was a funny strip with long involved stories (relatively unusual for new comic strips at the time, which tended to be "gag a day" strips). Not surprisingly, it was strongly influenced by L'il Abner and especially Pogo. But something rather weird happened over the course of the 60s. These cartoony characters got less and less cartoony. The intrusions of the present-day into the 19th century frontier disappeared, and by the early 70s, Rick O'Shay had been transformed to a more-or-less realistic comics strip in a Western setting. There was still a lot of humor, but there was also a lot of action. It was this somewhat more serious Rick O'Shay strip that I fondly remember reading as a boy. According to Lynde, his last strip was on May 7, 1977.
This strip is dated May 20, 1977. What th--?!
Stan Lynde or Alfredo Alcala, Rick O'Shay, ink and halftone film on bristol board, 5/20/1977
Here is what it looks like in color.
Stan Lynde or Alfredo Alcala, Rick O'Shay, ink and halftone film on bristol board, 5/20/1977
As you can see, the halftone film has yellowed significantly, which is what happens with old comic strip art.
So how is it that I have a strip dated from after the last strip that in this series that was published? I can think of two possible explanations. Lynde left the strip after a contract dispute with the syndicate. The strip continued with a different writer and Alfredo Alcala on art. So even though the strip I have is signed by Lynde, it could be an Alcala strip. It looks like Lynde's artwork, but Alcala was a monstrously talented artist who could have easily aped Lynde's style, as would have been a requirement of the job in taking over the strip. But maybe Lynde worked so far in advance that when the dispute with the syndicate came to a head, he already had several weeks more already done. (Lynde doesn't mention the dispute at all in his memoir.) One factor supporting the Alcala theory is that much of Lynde's original artwork was lost in a fire at his house in Montana. So not that many Lynde originals are circulating out in the world.
I'll have to do some research on this one, but if it's a strip Lynde drew that was never published, it is certainly a curiosity. If it's an Alcala version of Lynde, well, that's less exciting than owning a Stan Lynde original, but not too bad.
Lynde left Rick O'Shay at the height of his creative powers. He drew several more strips (all of which were good, if not as successful as Rick O'Shay) and wrote some fairly creditable Western novels. He started his own publishing company, Cottonwood Publishing, and through it interested readers can purchase book collections of Rick O'Shay and his other strips, which I highly recommend. The best place to start exploring the work of this comics great would be Rick O'Shay, Hipshot and Me, which is where I got the date May 7, 1977, as the last Lynde Rick O'Shay.
This strip is dated May 20, 1977. What th--?!
Stan Lynde or Alfredo Alcala, Rick O'Shay, ink and halftone film on bristol board, 5/20/1977
Here is what it looks like in color.
Stan Lynde or Alfredo Alcala, Rick O'Shay, ink and halftone film on bristol board, 5/20/1977
As you can see, the halftone film has yellowed significantly, which is what happens with old comic strip art.
So how is it that I have a strip dated from after the last strip that in this series that was published? I can think of two possible explanations. Lynde left the strip after a contract dispute with the syndicate. The strip continued with a different writer and Alfredo Alcala on art. So even though the strip I have is signed by Lynde, it could be an Alcala strip. It looks like Lynde's artwork, but Alcala was a monstrously talented artist who could have easily aped Lynde's style, as would have been a requirement of the job in taking over the strip. But maybe Lynde worked so far in advance that when the dispute with the syndicate came to a head, he already had several weeks more already done. (Lynde doesn't mention the dispute at all in his memoir.) One factor supporting the Alcala theory is that much of Lynde's original artwork was lost in a fire at his house in Montana. So not that many Lynde originals are circulating out in the world.
I'll have to do some research on this one, but if it's a strip Lynde drew that was never published, it is certainly a curiosity. If it's an Alcala version of Lynde, well, that's less exciting than owning a Stan Lynde original, but not too bad.
Lynde left Rick O'Shay at the height of his creative powers. He drew several more strips (all of which were good, if not as successful as Rick O'Shay) and wrote some fairly creditable Western novels. He started his own publishing company, Cottonwood Publishing, and through it interested readers can purchase book collections of Rick O'Shay and his other strips, which I highly recommend. The best place to start exploring the work of this comics great would be Rick O'Shay, Hipshot and Me, which is where I got the date May 7, 1977, as the last Lynde Rick O'Shay.
Saturday, January 2, 2010
A Half Year in Art in Houston
This was a pretty weird year, because for the first half of the year, I hardly saw any exhibits. This reflects inertia on my part, and this inertia was what induced me to start this blog. The blog itself would be the inducement I needed to get the hell out the front door. Consequently, even though there were some worthwhile shows in the first half of the year, I'm concentrating mostly on the year since June. So here is my list of my favorite artists and/or events of the year.
a "pushme-pullyou" in Elaine Bradford's studio, 2009
1) Elaine Bradford. One of the few shows I saw early in the year was "The Museum of Unnatural History" by Elaine Bradford at the Art League. I loved the combination of taxidermy forms and knitting. Her work was later shown at Lawndale, and I got the opportunity to see her studio one night at Box 13.
Kathy Kelley, (not sure what the title is), rubber, 2009
2) Kathryn Kelley. Kathryn Kelley is an artist who combines a rigorous post-minimalist approach with really personal work. I am not revealing any confidences in saying that this past year has been an emotionally tough one for her--it's all over her art and her blog. I saw her solo show at Ggallery and then saw more work recently at Box 13, where she also has her studio.
Oneself by Oneself, Stephanie Toppin, 2009
3) Stephanie Toppin. I first saw Stephanie Toppin's long, super-colorful "autobiographical" abstract painting at the $timulus show Diverse Works. Then a larger version of the same piece was put up at Box 13 (above). Then she had drawings up at the Frenetic Fringe Festival, and I bought a few (they were a bargain!). Then finally, she had a show at Rudolph Projects, where I took the plunge and bought a painting of hers.
Carlos Runcie-Tanaka, Huayco/Kawa/Rio, ceramic
4) Carlos Runcie-Tanaka. This Peruvian artist had a haunting, moving show of ceramic installations at the Station Museum, which I couldn't stop thinking about for a long time after I saw it.
Havel and Ruck, Give and Take, hollowed-out house, 2009
5) No Zoning. I said some unkind things about this show at CAMH, but loved the catalog. But for me, it was an introduction to a certain art history of Houston and group of artists who were worth knowing. I subsequently met Bill Davenport (and played ping pong with him) and Jim Pirtle, who managed to change my mind about No Zoning. (Plus there were funny comments on Facebook.)
Wayne White, Big Lectric Fan to Keep Me Cool, installation details, 2009
6) Wayne White. This painter/sculptor/cartoonist/puppeteer had a huge genius installation at the Rice Gallery--a huge cartoon head of George Jones. He also had a great art book out this year (signed copies still available at Brazos Bookstore--get it!) and even a couple of paintings at Inman Gallery.
Jorge Galvan, This Land Was Made (detail), mixed media, 2009
7) Jorge Galvan. Jorge Galvan is a student at the University of Houston. He had an installation at Project Row Houses this summer that blew me away with its use of text and construction materials to form a tribute to laborers. Then later, during the Art Crawl, I saw a functional sculpture of his called "American Bred." I liked it so much that I bought it!
Dario Robleto, An Instinct Towards Life Only a Phantom Can Know, mixed media, 2007-2008
8) Dario Robleto. Dario Robleto's work up at Inman Gallery just blew my mind. It was so well crafted and so visually interesting, then had additional layers of meaning added when you learned what it was made of. I'm really still trying to absorb it. It was breathtaking.
One final observation--there seem to be more excellent artists in Houston who are women than who are men. In addition to the ones I listed above, I have seen and loved work by Emily Sloan, Kia O'Neill, Beth Secor, Carmen Flores, Jasmyne Graybill, and Karin Broker. (That said, there was excellent art by dudes as well--the Art Guys, Matthew Guest, Seth Alverson, and Mark Greenwalt, for example.)
1) Elaine Bradford. One of the few shows I saw early in the year was "The Museum of Unnatural History" by Elaine Bradford at the Art League. I loved the combination of taxidermy forms and knitting. Her work was later shown at Lawndale, and I got the opportunity to see her studio one night at Box 13.
2) Kathryn Kelley. Kathryn Kelley is an artist who combines a rigorous post-minimalist approach with really personal work. I am not revealing any confidences in saying that this past year has been an emotionally tough one for her--it's all over her art and her blog. I saw her solo show at Ggallery and then saw more work recently at Box 13, where she also has her studio.
3) Stephanie Toppin. I first saw Stephanie Toppin's long, super-colorful "autobiographical" abstract painting at the $timulus show Diverse Works. Then a larger version of the same piece was put up at Box 13 (above). Then she had drawings up at the Frenetic Fringe Festival, and I bought a few (they were a bargain!). Then finally, she had a show at Rudolph Projects, where I took the plunge and bought a painting of hers.
4) Carlos Runcie-Tanaka. This Peruvian artist had a haunting, moving show of ceramic installations at the Station Museum, which I couldn't stop thinking about for a long time after I saw it.
Havel and Ruck, Give and Take, hollowed-out house, 2009
5) No Zoning. I said some unkind things about this show at CAMH, but loved the catalog. But for me, it was an introduction to a certain art history of Houston and group of artists who were worth knowing. I subsequently met Bill Davenport (and played ping pong with him) and Jim Pirtle, who managed to change my mind about No Zoning. (Plus there were funny comments on Facebook.)
6) Wayne White. This painter/sculptor/cartoonist/puppeteer had a huge genius installation at the Rice Gallery--a huge cartoon head of George Jones. He also had a great art book out this year (signed copies still available at Brazos Bookstore--get it!) and even a couple of paintings at Inman Gallery.
7) Jorge Galvan. Jorge Galvan is a student at the University of Houston. He had an installation at Project Row Houses this summer that blew me away with its use of text and construction materials to form a tribute to laborers. Then later, during the Art Crawl, I saw a functional sculpture of his called "American Bred." I liked it so much that I bought it!
8) Dario Robleto. Dario Robleto's work up at Inman Gallery just blew my mind. It was so well crafted and so visually interesting, then had additional layers of meaning added when you learned what it was made of. I'm really still trying to absorb it. It was breathtaking.
One final observation--there seem to be more excellent artists in Houston who are women than who are men. In addition to the ones I listed above, I have seen and loved work by Emily Sloan, Kia O'Neill, Beth Secor, Carmen Flores, Jasmyne Graybill, and Karin Broker. (That said, there was excellent art by dudes as well--the Art Guys, Matthew Guest, Seth Alverson, and Mark Greenwalt, for example.)
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