May
08

Interview with Archie Comics’ Dan Parent

Hi All,

Welcome to another comic book interview!

This time around we interviewed Dan Parent of Archie Comics. Lately, Archie Comics has brought diversity to Riverdale in exciting new ways. If you haven’t heard, the newest kid on the Riverdale Block is Kevin Keller, a character who identifies as gay.

 

 

Veronica thinks Kevin Keller is gorgeous!

 

 

In an early Kevin Keller story, Veronica continues to pursue Kevin... but when will she find out that he is gay?

 

 

Becky Jewell:  It seems that every time I open an Archie book with a Dan Parent cover, there is also a credit for you on the inside cover for the script. It’s rare to find such diverse talent in one person. Do you have a favorite task in comic book creation? Or do you love it all?

 
Dan Parent: Well, I do love it all, but I have my favorites. Kevin Keller would be one, given the freedom I have in writing those stories. I also like writing anything with Veronica and Jughead in it, especially together, since they play so well off each other.

 

 

Veronica and Jughead often are trying to best one another

 

 

Some Dan Parent sketches for Archie Meets Kiss, script by Alex Segura

 

 

J:  Do you remember when you first met Archie, or an early time in your life where you were first reading Archie comics?

 

 

Dan Parent: I started reading Archie Comics in 1970 ( It was a Josie comic), when I was 6 years old. And I’ve been hooked ever since!

 

 

A retro Josie comic - Josie and Melody meet Valerie.

Archie and Valerie are happy together

Archie Marries Valerie!

 

J: You’re a graduate of The Kubert School. Who were some of your heroes in comic book creation while you were studying?

 

 

Dan Parent: There were so many, including Joe Kubert himself. But there weresuperhero artists like Alex Toth, Neal Adams, Jim Aparo and Marshall Rogers. And then there were independent creators like the Hernandez Brothers, Petter Bagge and Daniel Clowes. And then there were humor artists like Dan DeCarlo, Harry Lucey, Warren Kremer, Bob Oksner. I could go on and on!

 

 

J:  Can you tell us a bit about your writing process for your recent projects at Archie, including the Kevin Keller series and the Archie Marries Valerie storylines? How do you sit down and write a story, and where does it take you?

 

 

 

 

Dan Parent: I usually start by writing a list of bullet points, which is a list of events or just simple elements I want in the story. Then I map out a synopsis from those bullet points. Then comes the detailed story with dialogue, which to me is the easiest part.

 

 

Kevin lets a bullied classmate know that it gets better.

 

 

J: For art creation, do you use pen-and-paper or do you use digital art tools to make your work? A mix of both? What do you think of digital art tools in the comics world today?

 

 

 

Dan Parent: I still use good old-fashioned pencil and paper, but the art is scanned and digitally lettered and colored, so I guess you could say we incorporate the best of both worlds. I use a Wacom tablet and Photoshop and Illustrator programs, and they are both valuable tools.


 

 

J: Can you give us any sneak peeks into what is next for you at Archie?

 

Dan Parent: There are a couple of projects yet to be announced, but there will be another KISS team-up (Archie vs. KISS) and I’m working on an Archie/fairytale storyline which is really out there. And of course, good ol’ Kevin Keller!

 


Apr
14

Two Books, plus Shoes, Raves, Life, and Business

 

 

For this blog I thought I would try something a bit different: a joint book review.  As some of you may know, I am a rainy-day reader of business advice books. Why? Because they are empowering. Art criticism books, though fun to read, are rarely empowering.

Don’t get me wrong: nothing is more hopeful than the enterprise of art.

Writing about art, well, that is a bit different. And though there are a few great art history books, it’s hard to find the same kind of empowerment as in business books. This is odd to me, because art and entrepreneurship are often about the same thing: making it happen.

 

———————————-

Art and Fear outsells all for education

 

 

While the art world has classics with titles like “Art and Fear,” the world of entrepreneurship has books with these titles: “Start Something That Matters” and “Delivering Happiness.” You tell me which books of those three that YOU would like to review. That’s right, the latter two. So here we go!

 

 

Both books take the reader on a personal journey as well as a journey through a corporate history. Each book suggests that one cannot be extricated from the other, that life and enterprise must weave together as neatly or as messily as they must. These lessons combine to produce a company culture, core values, and a core competency or mission.

 

We will start with the TOMS book  (which has since launched a movement)

 

Start Something!

 

A key lesson to learn from Start Something That Matters is contained in this excerpt:

 

“When I started TOMS, people thought I was crazy. In particular, longtime veterans of the footwear industry (shoe dogs, as they’re called) argued that the model was unsustainable or at least untested – that combining a for-profit company with a social mission would complicate and undermine both. What we’ve found is that TOMS has succeeded preciselybecause we have created a new model.”

 

The famous TOMS model of one-for-one, though innovative and expected to fail during its inception,  is it’s key success point. Buy a pair of TOMS shoes, and a child in need gets a pair of shoes. Even if you buy the Start Something That Matters book, a book is donated. That’s how TOMS works, and always has.

 

The model of Corporate Social Responsibility is old news by now. Everyone knows that it’s good to have your company volunteer, limit waste, use green products, ect, ect.

But what is new news is that companies that work social responsibility into their business plans also succeed financially in addition to, well, doing all-around good.

This seminal article reveals the depth of links betwen CSR and financial performance. A touchstone here is Reputation – which TOMS thrives upon both by word of mouth and by its one-for-one policy.

The last sentence in the conclusion of this article reads:

“Corporate virtue in the form of social and, to a lesser extent, environmental responsibility is rewarding in more ways than one.”

 

If you grew up in the 90s or if you pay attention to any kind of manufacturing activism, you probably have your own imagining of a Nike factory in China emblazoned on your memory.  Non-socially responsible business practices call to mind a small Chinese child slaving for 3.20$ a week, sewing until her fingers bleed, eating only government provided meals at her school (if she does go to school). Beautiful and status-endowing shoes, it would seem, emerge from the most humble of hands.

 

TOMS shoes are still made overseas. The company is transparent about its practices, and this is more transparent than just about any other shoe company out there.

 

The below graphic reflects a spectrum of corporate social responsibility, where some corporations ‘just get by,’ while others not only get by but give back.

Bare —- Good —- Better

 

 

What makes TOMS a particularly revolutionary company is that it skipped a step before anyone even thought about there being a ‘good’ step. It transcended the oh-so-typical shoe business model of doing the bare minimum to doing better, which means that it also does good. There might be a fourth category here, a corporation which follows a Best model for CSR. But you can visualize the Better category as a Better/Best category.

 

 

 

 

 

 

 

The Zappos book, Delivering Happiness, overflows with lovable biographical anecdotes from the life of Zappos CEO, Tony Hsieh. In one memorable episode, a child Tony Hsieh builds a dirt box of earthworms as a business.  The worms, after just a few weeks, seem to disappear, much to young Tony’s dismay.

 

Images in this blog are excerpted from the comic book version of Delivering Happiness, available from Round Table Comics

 

^^The worm box: Tony Hsieh’s only failed business?

 

 

 

The utter failure of his worm box, strangely enough, seems like the only disheartening failure in the book; as Tony Hsieh grows up and continues to rock at high school, college, young professionalism, and life in general. The saddest thing that happens to him is a depressing period where he hates waking up in the morning. Who hasn’t been here? You can’t help but feel for him. What distinguishes Hsieh from the crowd is that he uses this experience to change his life. And he never forgets it.

 

None of Tony Hsieh’s failures seem like failures, because he is A) Positive about failure and B) Learns from everything that happens to him.

 

 

Throughout this book, Tony Hsieh reveals himself to be a positive-attitude leader as well as a business leader. Thus the title, Delivering Happiness, which, like TOMS, has become a movement in addition to a company outlook.

 

Throughout the book he  about life and community as a 90s raver, even adopting the acronym PLUR as a sort of life/business model – perhaps the best use of the term outside the grounds of a mega-rave.

the Plur connection

 

Tony Hsieh was a party-maker – he created experiences.  He went from a semi-skeptical rave-goer who barely understood electronic music to an enlightened Plur kid who rustled up smoke machines for his penthouse apartment parties.  Like any good party person, he gathered awesome people around him. Like any good businessman, he made things happen.

 

^^Even though the fire department gets called on Tony Hsieh's club BIO, it's still all cool

 

 

The too-popular image of a burnout or a party monster refuses to cloud the spirit of this book, and surely Tony’s life.  The ghost of guilt tries to conjure itself a few times, such as when a fire department must investigate Hsieh’s ‘smoking’ apartment, but it disappears as fast as it assembles.

 

 

Tony Hsieh, in the book’s mythos, is too much of a winner for such things to trouble him. And though the book must skip over some of the possible negative consequences of partying (it just has to, or these are the purest parties on the planet), one feels that this editing choice isn’t done out of fear, just out of a resolute positive attitude.

 

 

There’s no Lion King moment where Tony decides to cast aside his party-happy life and assume austere responsibility – no, the element of celebration is there up until the end of the book, where his overjoyed employees remind him of peace-loving ravers, dancing in sync to a refreshed corporate beat. The drop, in this case, was Amazon’s acquiring of Zappos.

 

The key is personal balance, understanding, and true respect for his workers. Without these qualities, the company and the celebration would fall apart. Party’s over.

 

 

Zappos as a company is rife with eyebrow-raising corporate policies: newly-hired employees can accept a 2,000$ check after two weeks of work if they choose to quit. This policy may seem extreme and abusable, as some (or many) employees could squeeze into Zappos, quit, and walk out with an instant 2,000$. The philosophy behind this practice is that anyone who takes the mini-buyout is not the kind of person Zappos is looking for.

 

 

It makes sense, and it even makes sense in the frame of party philosophy. Would you want to party with buyout-snatching person like that for years on end? It doesn’t seem like much a good time.

 

 

Unlike TOMS, there is little CSR that is mentioned in the Zappos book, though this keeps in line with each shoe company’s particular mission statement. All notions of responsibility, in Zappos, are geared toward the Zappos customer and the Zappos employee. Everyone involved in a Zappos transaction is happy.

 

Now, if shoe manufacturers took a page, just a page, from Tony Hsieh’s book, the shoe world overall would be a much happier place.

 

 


Apr
01

Interview With Brazilian Artist/Writer Estevão Ribeiro

This comic strip bio, found on Estevão Ribeiro’s Facebook page, is perhaps the best introduction for him:

 

Estevao Ribeiro Bio

Translation: Estevão Ribeiro was born in April of 1979. He has spent most of his life writing stories and comics. He is the author of the comic anthology Little Heroes, which came out in the EUA in 2012, and also is the author of A Corrente, which will be published in Italy in October of 2012.

Here is an interview I conducted with him. This interview has been long in the works, both of us working to translate from English to Portuguese and back again.

——————-

 

Jewell:  Your comic strip, Hector and Alfonse, is very cute, but also full of truth. How did you come to invent Hector?

 

Ribeiro: Hector and Alfonse were invented when I was waiting for a script meeting for an animated series that I was testing out.

 

I was trying to draw a bird about to take off from the paper. On my third try, Hector was created. After that, I thought that I’d like to draw a friend for Hector. He needed to be simple like Alfonse, yet different and distinct. Alfonse was more difficult to create.

^ Alfonse is a bit more brusque than the loving Hector

 

 

 

J:  At graphicly, we first encountered your work in the book “Little Heroes.” Did you enjoy working on this project? Can you tell us a bit about your process for creating and curating this comic book?

Little Heroes

 

 

Ribeiro: Little Heroes was a big project and I’m very proud with how it turned out. At it’s core, it is about kids and teenagers, who, at in some point in the story, do something heroic which makes them into big heroes. I hadn’t the money to give the contract artists, but they wanted participate this project because they liked it. If you had the chance to honor your favorite hero, why not?

I wrote the whole script, and all of the stories happen without speech balloons. I wanted the book to be ‘silent’ like this because I could show this collection to a person from any other country and this person would be able to understand the story and also appreciate the art.

This first chapter honors the DC Comics characters. The next three chapters honor the Marvel heroes, and classic heroes (like Dick Tracy, Tarzan, Flash Gordon and others), and the last chapter in the comic book honors the villains.

The collection won the Troféu HQMIX as the best comic book for kids and teenagers in 2011. The Troféu HQMIX has been established for 21 years, and is like the Eisner award in Brazil.

 

 

^  A stunning tribute to Wonder Woman.

 

—————

J: How do you balance your family life and your life as an artist ?

Ribeiro:  My wife Ana Cristina is a writer too, so she understands my job responsibilities. I work as an art editor in a journal in Rio de Janeiro, and so I have only a few hours each day to write some project or to draw my comic strips. My wife knows that all I do is for her and my stepson Miguel.

They are a present force in my work as well. Miguel reads my comic strips and books for children (he’s 9 years old) and she read my books and helps me in some translations. We are a good team.

——————-

J: You are doing work with the emmy-nominated Kiyash Monsef. Can you 
tell us anything about this project?

 

Ribeiro: The project involves production work on the second season from graphic novel online Urgent Evoke, part of a big innovative social game created by Kiyash for the World Bank Institute.

Since this graphic novel is about Brazil, Kiyash needed a Brazilian writer to help him.

I heard about this project through you, Becky. So I sent Kiyash some links about my job experience, including Little Heroes, and I was hired.

Kiyash is a successful artist and has welcomed me into his world.

Six episodes are currently in the works for this project. I can’t talk more about this project, but I can say that you’ll see a different kind of game at work for me.

——————-

 

J:  What is your artistic process? How do you come up with ideas, and
 how do you get these ideas into comic book form?

Ribeiro: I’m always working. I’m always thinking about a new comic strip, or coming up with ideas for my new novel or thinking about writing projects for TV, but I don’t have time to dedicate to all of these ideas, because I’m not able to live 100% on my comicbook-related income. So, for the most part, I transform my ideas into comic strips or short stories.

I write the scripts in a word doc and let it settle until I find time to draw it.

I don’t like to write in the streets or send myself idea reminder e-mails. I like to keep an idea in my head until I can write it down on my computer. If the idea is good, I will remember it.

The comic strip “Hector and Alfonse” is drawn with a tablet. I don’t do sketches, I draw directly into Photoshop with a brush.

 

——–

J:  Have you always wanted to be a comic book artist? When did you
 start to do art?

Ribeiro: I was born in 1979 and I have 2 brothers and 3 sisters. My brothers liked comics and so I learned to like them too. But we were a very poor family, and art production in Brazil is costly. I always wanted to work with comic books, but before I started my first job as a newspaper writer in 2000, I worked in the graphic design industry. I’d wanted to understand why it was so expensive to do a comic book in Brazil. When I finally understood the market a bit more, I began to publish my own works.

 

J: What can you tell us about life as a comic book artist in Brazil?

Ribeiro: It’s very hard, but it’s better than it was 20 years ago. The big years for Brazilian comics were in the 1940s, when the war interrupted the circulation of foreign comics in Brazil. So, our local artists needed to do their own stories or create new stories about well-known characters, like Buster Brown.

In the 1960s , there was “Monica’s Gang”,  a comic created by Mauricio de Sousa. Shortly after it came out, Mauricio de Sousa Produções became a big studio in Brazil. Mauricio is our Disney or Stan Lee.

For many years some of Disney’s comics were created in Brazil, especially Zé Carioca. In the 1970s, the most famous artist to draw Zé Carioca was Renato Canini. He is to Ze Carioca what Don Rosa is to Scrooge McDuck.

 ^ American folks might recognize this Disney character from “The Three Caballeros”

 

 

In 70s and 80s, comic and cartoon artists in Brazil would work in Mauricio de Sousa Produções and the Brazil Disney studio. Artists could also go into work with erotic & horror comics, celebrity comics, and of course they could make their own characters. In cartooning, an important group was formed by Angeli, Laerte, Glauco. These artists created the Chiclete com Banana, an underground comic book with a big influence across two generations of Brazil artists.

 

 

 

In the 1990s and into the 2000s,  the market in Brazil was a very complicated place for comic book writers. Almost all of the American studios want just artists, while comics writers must live in Brazil doing basic industry comics or write for Mauricio de Sousa Produções. The idea of creating Brazilian stories AND publishing them in Brazil is still mostly a dream.

Yet, more and more Brazilian artists are printing their own works and bringing them to Comic Cons in Brazil and the USA. We are exporting authors, artists and stories. It is an exciting time.

 

 


Mar
19

Eye Candy March 18

Lord Suckfist, John Chamberlain

 

———————————————————————-

Rosenquist at work

 

 

Be, Inspired! Be Be Inspired!

 

————————————————————————-

Julie Mehretu piece

 

———

 

Daniel Richter


Mar
05

Silly and Incredible Ads and Layouts from 1940s America

Whenever I develop an ad campaign, I try to think of it in terms of how people 60 years from now might view it. Good concepts and communication may not last forever, but they should last for a long time. See how these ads hold up to the test of time!

 

Bored? Get some war bonds! oh yeah... don't forget your Ex-Lax!

 

 

Lifesavers will solve your marriage! We promise! In fact, we should call em MarriageSavers

Rely on RELIANCE, not redundance

Colgate does it all.

 


Mar
02

Interview With Artist Xi Zhang

 

Xi Zhang’s solo show opens this Thursday, March 8th, at Plus Gallery Denver.

———

A few years ago, I met Xi Zhang in a graduate-level painting course, where we visited each others’ studios as a series of introductory classes. Zhang’s studio at CU was a world in of itself, a small space with four walls of super flat paintings that were variable in style but consistently skilled.

 

On one wall he had hung a small painting of an email window addressed to Kung Fu Panda, rendering perfectly a pixellated mouse cursor hovering over the body of the email. This painting was uncharacteristic of his usual oeuvre, but it spoke to me: It was a painting of a misspelled email to a popular American cartoon character who was meant to be “Asian” but voiced by Jack Black. The extremely precise effort of the painting represented a futile, imprecise attempt at communication. I remember it because it perhaps the most disempowered piece Zhang had in his studio.

 

The rest of Zhang’s work is lively, omni-colored, and bravely intricate. Many of his portraits contain acrylic weavings of cabled visages. People, in these works, go deep. There’s a feeling that relationships matter more than we can ever know. Like the email to Kung Fu Panda, there’s also a hint of technology in everything. But technology is never as important as people.

 

You can’t look at Zhang’s paintings and eschew the delicate skill or the patience that goes into such enlivened works. Like many expert paintings, some of his works seem to have just spontaneously appeared, like an email or like a vision. Of course this is not the case, but the works are convincing as psychedelic apparitions, or perhaps dream dust.

 

An in-progress piece

Xi was nice enough to answer some questions about his process, his life as an artist, and his experience in Colorado.

——–

 

Becky Jewell: Can you describe your process? How do you begin a painting, and where does the painting take you?

 

Xi Zhang: First of all, I am a collector of ideas and visual fragments. Sometimes, the ideas come to me while I am doing something else, such as taking a bus or riding my bike; other ones come while I am working on my art. Right now, anything can inspire me. Even the texture of a bottle of beer or a sunset; I don’t see them as what they are but visual fragments.

 

Second, In general, I have “Drama” paintings and ” Comedy” paintings. I tend to create paintings in series, and each series is almost like a theme-based album. Then I will see which idea might fit the album better. Usually, I work on two series simultaneously. For some paintings, such as my “comedy” paintings, I have really clear thoughts what I am going to do. In other words, before I paint them I already know what they exactly are going to look like. Other paintings, such as my “Drama” paintings, I only know 30% of what they will be.
———

 

J: You are originally from China. What do you think about America, and more specifically, art in America? What are your thoughts on art in China?

 

Xi Zhang:  This is something I always think about. Chinese artists and scholars consider my work westernized and think I am an American Artist; American artists and scholars categorize me as Chinese artist. For me, this is not just a simple identity issue. But I guess my heart is my golden compass, I will keep my art real.

 

I came to the United States while I was 19. In the past eight and half years, I have only visited China twice. Also, my art roots in my life belong to Colorado, and I have fewer memories of China. So it is hard for me to generalize “art in America”. As for what I know about China, I think we have more freedom for creating art in America. For me, to talk about art is China is like to talk about foreign art and culture. I feel strongly disconnected with my homeland. But I plan to rent an art studio in Beijing later this year, so I will reconnect there.

—————-

 

J: You just finished your MFA at the University of Colorado. How do you feel now that you are out in the real art world?

 

 

Xi Zhang: It is awesome. I was in the “real art world” before I went to CU Boulder. However, I was focusing on my studies while I was in CU. So I am glad I got out.

 

It was of great fortune for me to go to grad school. A few years ago, before I went to grad school, I had some local success, but this success almost “killed” my creativity. I was not ready for the art world back then. In the past three or four years in grad school, I really learned “what does it mean to be an artist” : I have to follow my heart and keep it real.
———-

 

 

J: What advice do you have for young artists?

 

Xi Zhang: I think I am still a beginner as a young artist. The most interesting things in art for me are not just about art itself.  The words “Be in studio”, “be a nice human being”, and “be true to yourself and your art” are much more interesting for me. Also, carrying the idea of  “believe in yourself” everywhere with you is really important too :)

 

———–

J: Do you have any favorite artists that you are looking at currently?

 

Xi Zhang: There are some old Chinese masters’ work I really adore. Zhu Da, Qi Bai Shi, Xu Wei, and Liang Kai are my favorite ones right now.

 

In term of contemporary artists, Xu Bing, Charles Ray, Wangechi Mutu, Yang ShaoBin, Glenn Brown, and Daniel Richter are my favorite.

 

————

 

J: Your solo show at Plus is coming up. Are you excited? How do you prepare for shows?

 

Xi Zhang: Yes, I am really honored to work with PLUS. They help me to grow as an artist and person.

 

This Show is titled “11 Ceremonies” which is the first season of my art series “The Switches”.  There will be about twenty new paintings in it that I have made since 2011. This body of work is the most “complicated,” in terms of art practice, that I have ever made. I cannot wait to hear everyone’s feedback.

 

 

 

 

 

 


Jan
29

Coral Collages

Hi Everyone,

 

Here are some new pieces I have been at work on. They are collages of paper, dried paint, and scraps.


Jan
23

Interview with Artist Liz Miller




Liz Miller, who recently visited Denver and filled David B. Smith Gallery with a lively installation, agreed to do an interview with me about her process. Here is what we discovered.



Becky Jewell: Your installation at David B. Smith was conducted with Clyfford
Still in mind. Have you done other installations like this? Do your
installations often take inspiration from artists or sites?


Liz Miller: The work of other artists is certainly inspiring to me, but is not usually a direct source of inspiration for my installations. I am much more likely to find inspiration in non-art sources. I’ve recently been fascinated with weapons, and many of my projects over the past year have been inspired by guns, swords, knives, and other weapon forms. The simultaneous beauty and violence of these objects intrigues me. Through the use of their simple, elegant silhouettes, I play with people’s perceptions.
Using Clyfford Still’s work as a point of departure was a real change of pace from my weapon-related projects, but I feel that I found a way to create a Still-inspired work that has personal resonance for me. The asymmetry of Still’s forms, along with the gestural undulations in paint, create a sense of energy and movement. But there is also aggression in Still’s forms,and that combination of beauty and agitation fits in quite well with my current interests.I tried to utilize some of the shapes, colors, and layering in Still’s work and to bring them into play in my own work.

 


B: If you could do an installation with ANY artist in mind, which
artist would it be? Where would it be?


Liz: I would try to choose someone whose work is very different from my own. I actually think Still fits the bill quite well, but there are many other artists who could also be a good match. It seems almost impossible to assign myself an artist, because when you do that you are choosing consciously based on the parameters you set. I think this kind of thing works best as a surprise, where someone assigns an artist to you–which is why the Still project was so wonderful for me. I was forced to grapple with something unexpected! The same holds true for location. I know it sounds like I am dodging the question, but really, it’s the truth.

 

B: Who or what inspires you most to do art? What artists are you
looking at right now?

 

Liz: I am inspired by materials, by process, by experimentation. There are so many ways to be inspired, but for me, the biggest inspiration is being in my studio with a bunch of materials and just playing. I’ve been fortunate to travel quite a bit lately, too. A recent trip to Washington, D.C allowed me to study weapons and military uniforms at the Smithsonian Museum of American History. I’m constantly collecting imagery that might make its way into new projects.
The artists I look at are quite varied. You never know what is going to be influential, or how, or when. So I try to take as much in as possible. Lately I’ve been excited about the work of Katherina Grosse. I love her aggressive, sculptural method of painting. There is such a wonderful scale and physicality to it, but it’s also breathtakingly beautiful. In general, I am excited about artists who are pushing boundaries and using materials in new and dynamic ways.

 


B: How did you arrive at industrial foam as a medium? It looks
fantastic. Did your process lead you to this material, or did the
material create the process? Or is it more complicated than that …?


Liz: My use of industrial felt grew out of a love of tactile, non-art materials. I have utilized all different sorts of materials in my installations in the past (felt, foam, vinyl, flexible plastics), but there are some qualities of felt the make it really perfect for what I’m doing. It is a material that has so many different associations. It is, on one hand, a very soft craft material. But it also has many applications in industry. And it is both high-brow and low-brow. Although it seems delicate, it is very strong–while it looks somewhat similar to paper, it is so much stronger!
In terms of content, I love the fact that I can reference weapons or other sinister imagery in a material that is so non-weapon-like!
I think my use of materials always grows out of my process. I like to play with materials until something clicks, and then I just run with it.

B: The works inside glass at David B. Smith are called ‘collages’ but
in the exhibition essay, you call them “wonky origami.” It sounds like
your work cannot be easily pinned down into a named form. How do you
feel about this?


Liz: I love making work that situates itself between disciplines. I never worry about being a drawer or a painter or a sculptor or an installation artist. I just make the work I want to make, and let it be what it will be!

 

 

B: You installed at Denver and now you’re installing in Milwaukee. How
do you prepare for an installation, or two installations in a row?


Liz: It is never easy to prepare for one installation, let alone two installations! I do the best I can to work toward the project prior to install, to arrive prepared, and to be adaptable on-site. As an installation artist, I think it’s critical to be able to respond to the site you are working in, and sometimes that means deviating from plan. My mantra is to be as prepared as possible prior to the install, but to try to relax during the install and allow things to unfold in unexpected ways. It’s the part of installing work that most excites me–the opportunity to improvise!

Liz Miller's take on Clyfford Still

 

 

 

Be sure to check out Liz Miller’s website, at www.lizmiller.com


Jan
19

Interview with Comic Book Creator Jeremy Whitley

The comic book PriceLess tells the refreshing story of a young woman who is prince-less, and she likes it that way, thank you very much. Despite a fairy-tale kingdom that seems bent on making her into a princess, the heroine Adrienne does things a bit differently.

 

In this interview, I speak with PrinceLess writer Jeremy Whitley. We discuss his comic book writing process, his sources of inspiration, and we get a sneak peek into the future of the comic book!

 

Becky Jewell:  What I like about this book is that life is just as hard for the heroine, Adrienne, as it is for the young suitors who try to win her heart. In the first book, in an extra segment, you show young boys suffering through “Charm” school to become ideal Princes. It is nice to see that balance at work.

 

The unfortunate princes-to-be in PriceLess are forced to go to Charm School

 

 

 

Jeremy Whitley:  Thanks.  That was a fun bit to write as well.  Telling a story in four pages like that is always a great challenge for me. D.E. Belton also knocked the art out of the park on that one.  The idea occurred to me and I quickly fell in love with it.  Applying the current military boot camp style setup that we’re all so familiar with to possibly the least hardcore class of guys around.

Becky Jewell: The character design in PrinceLess is excellent. How closely did you work with the artist on character development?

 

Jeremy Whitley: Goodwin actually worked independently on a lot of the character designs and then brought them to me nearly finished.  At the same time, when I introduce a character in a story I often give obscenely detailed descriptions.  I love what we ended up with though and I can’t give Goodwin enough credit for that.

the characters in Princeless have attitude and definition

 

Becky Jewell: How would you describe your comic book writing process?

Jeremy Whitley: Heh…hours of staring out window, at walls, and pretending to do something important while I take little scraps of notes in my notepad or occasionally even on my phone followed by hours of putting all those pieces together.
I always start with the characters I want and give them some room to breath and direct the story.  Princeless was even more like this than most.  I had the characters of Adrienne, Bedelia, and Devin fully fleshed out long before I had the story actually put together.  I find that when you really know your characters it makes writing the book incredibly easy.  Also, it means that my characters talk a lot, which drives the artist and letterer nuts.

Sparky the dragon helps Adrienne escape her imprisonment.

 

 

 

Becky Jewell: Do you write anything other than comics? What or who inspires you to write comics?

 

 

 

Jeremy Whitley: I have written quite a few things that aren’t comics.  I actually have a degree in creative writing from the University of North Carolina.  However, they had very little interest in writing or teaching comics, so I worked pretty solidly within the non-genre short-fiction style for a while.  A couple years after I graduated I got hooked back on comics and the transition seemed natural.  As far as being inspired to write comics, I love seeing them come together.  I feel it’s a medium that combines the writing and art in a way not often seen.  Nothing beats seeing the characters I wrote living and breathing in the art.

Becky: Did anything inspire you to write PrinceLess in particular?

 

Jeremy: Princeless is inspired by three particular women.  First is my wife Alicia who didn’t give up on reading comics even though she was a black woman and there was little or no representation of her in the books.
      Second is my sister-in-law, Adrienne, for whom the character is named.  Adrienne, like the character in the story, has always been the sister in her family whom the others label as “weird”.  I love Adrienne because she has no problem being her rambunctious tenacious self and liking the things she likes even when everybody else doesn’t get it.
      The third person who inspired me is my daughter, Zuri.  Even before she was born, heck before she was conceived, I was thinking about her and the kind of girl I would want her to be.  I want my daughter to know that she can do anything, accomplish anything, and that she doesn’t need some guy with a five gold haircut to come along and rescue her from her tower.  Girls, women, ought to be encouraged to be comfortable with who they are and not feel the need to fit some Princess mold.
       That doesn’t mean I’m banning her from pink clothes and playing with barbies, just that she ought to have the choice between the Barbie doll and the Batgirl action figure.  Hopefully, to some girls out there, Princeless will be an opportunity to learn that choice and find the tools to make it themselves.

The options for women warrior clothing seems a bit scant to Adrienne.

 

 

Becky: What other projects are you working on?

 

 

Jeremy: Currently I have a lot of stuff going.  First and foremost, I have my self-published series with artist Jason Strutz through Firetower Studios called “The Order of Dagonet”.  Dagonet is about the return of all the mystical, magical, and dangerous creatures of Faerie to modern day England.  When they return and take over, the only people who can stop them are the knights of England.  Unfortunately, the order that answers the call is The Order of Dagonet, an order devoted to the knighted entertainers of England.  You’ve not really lived until you’ve seen Ozzy Osbourne and Ian McKellen take on a dragon.
     Beyond that, every day at Firetowerstudios.com we have new webcomics, written by myself and featuring art by Jason Strutz, Charlie Harper, Rich Lombardi, and my lovely wife Alicia Whitley.  The topics range from my wife and my journal comic “Hot Interracial Marriage” to Richard and my werewolf legal thriller “Werewolf D.A.”.

A moment from Whitley's journal comic, "Hot Interracial Marriage"

Also from Firetower I have three new series starting up this summer.  ”Illegal” with artist Charlie Harper, which is a sci-fi action story about illegal immigrants in an America where all citizens are identified by a microchip implanted in their hand and undocumented immigrants find themselves hunted in the streets.
     “Skip” with artist Rich Lombardi is the story of a woman who learns she a superhero while working for the world’s top super villain.  She tries to do what’s right only to find herself in the middle of the violent endgame between the two factions.
    Finally, Jason Strutz and I are working on a graphic novel called “The Last Fairy Tale” which is the story of an adventurous girl lost in America after a magical apocalypse.  She finds one of the last peaceful refuges only to find it cursed by an awfully familiar spell.
    Finally, I’ve also been working with Action Lab, producers of Princeless, on the miniseries GlobWorld, an all ages book which ties into the lives of the characters on the anti-bullying website of the same name.  That series is also available on Graphicly and should be wrapping up shortly.  Hopefully they’ll let us do some more though, because the first series was a lot of fun to write.

Becky: Can you tell us anything about Adrienne’s future adventures?

 

Jeremy: Adrienne should be returning to the comic book page later this year.  In April we’ll be releasing the trade of first miniseries and by the end of the year the second mini should be under way.  I don’t want to give too much away, but the story will continue to feature Adrienne, Bedelia, Sparky, Devin, and will introduce a new member of the Ash family, Angelica.  Angelica is known far and wide to be the most beautiful princess in all the world and she’s never let her little sister Adrienne forget the fact.  I think our fans and readers will be in for a lot of fun when the next book starts.
   ———

 


Jan
18

Great Current and Upcoming Art Shows in Denver

 

Current:

Right now, you can check out Terminal Kings as it visits Denver. Watch street artists from LA as they do live art every day. (rollover to see links)

 

 

Plus Gallery’s Frank T Martinez show is almost over, be sure to see it this week.

 

This week and onwards:

 

Be sure to check out this Friday’s opening at David B. Smith Gallery, featuring the work of Liz Miller.

 

A sample of Liz Miller’s installation work

The Invented World, by Sandy Skoglund opens this Friday at Rule Gallery.

 

You might know Sandy Skoglund by Fox Games (above) famously installed at the DAM. All the more reason not to miss her show at Rule.

 

On Jan 28th, a new opening at Redline  .

 

 

Huma Bhabha is still at the Aspen Art Museum if you haven’t checked this show out yet. Slater Bradley and Ed Lachman also have an exhibition there. Both of these shows end on February 5th.