See Saw

The US Chamber Doesn't Speak For Me: Kevin Buckland and Hans Hansen

 

I have to bring you this wonderful video. Yay agit prop!!

 

Made by Hans Hansen for 350.0rg

Four Color Process: the inner world of dots and comic books

Comic Book, detail. Four Color Process. From 4cp.posterous.com a blog by Half Man Half Static

My regular readers know I've been a bit obsessed with making and or blogging about large scale reproductions of fragments from printed ephemera, particularly chromolithography, stone lithography and other early to mid 20th Century color-print processes.

 

Mid 20th Century Needle book. Detail. Liza Cowan ephemera collections.

I recently discovered the blog 4CP (four color process) by John Hilgart, the blogger known as   HM/HS Half Man Half-Static, A Curator of lost items. (Great name, by the way.) HM/HS writes in an early early essay In Defense Of Dots: The lost Art Of Comic Books: 

"Who is responsible for this art? At the level of a square inch of printed comic book, no one was the creative lead. 4CP highlights the work of arbitrary collectives that merged art and commerce, intent and accident, human and machine. A proper credit for each image would include the scriptwriter, the penciller, the inker, the color designer, the paper buyer, the print production supervisor, and the serial number of the press. Credit is due to all of them, to differing and unknowable degrees, for every square inch of every old comic. The hand of fate created this art, and it guides our hand as we search for 4CP images: We move a tiny Ouija board pointer across mid-Century comic books, looking for beautiful ghosts."

Comic Book, detail. Four Color process. From www.4cp.posterous.com

Jell-O booklet. Chromolithography. Detail. Liza Cowan ephemera collections. 

"However, in the decisive, paradoxical twist, four-color process created a form of depth even as it fought against illustrative realism. Whereas contemporary reproductions of mid-century comic art are truly closed and flat, old comic books are visually leaky and deep. Four-color dots perforate the flat surface of the universe, opening onto nowhere – some uncharted cosmos."

 

Detail of Comic, 4 Color Process, from www.4cp.posterous.com

 

Early 20th Century seed packet, stone lithograph. Liza Cowan ephemera collections

 

Comic book detail, four color process, from www.4cp.posterous.com

Read the whole essay HERE and make sure to spend some time in the 4cp archive for amazing images and really well thought out and well written articles. 

Pierre Bennu: Black Moses Barbie

 

Black Moses Barbie commercial #2 of 3 from pierre bennu on Vimeo.

This video contains many of my favorite elements: progressive politics, dolls and deconstruction of images and fakery. Wow.

"This mock commercial for a Black Moses Barbie toy is the 2nd in a series of 3 celebrating the legacy of Harriet Tubman. It is part of Pierre Bennu's larger series of paintings and films deconstructing and re-envisioning images of people of color in commercial & pop culture."

 

source 

 

Max Fleischer and the Rotoscope: Out of the Inkwell

I  love this cartoon and wanted to share it with you. Sheer genius. The Tantalizing Fly by Max Fleischer, created in 1919, the same year as The Easy Road To Readng in the previous post. Notice the difference between the sweet nostalgic art of ML Spoor and the avant garde perspective of Fleischer. Radically different approaches to art always happen in the same historical moment.

Fleischer made this cartoon using technology of his own invention, the rotograph. He also invented the rotoscope 

 
Rotograph

 
Patent for the rotoscope. Max Fleischer

Max Fleischer, with his brother Dave Fleischer,  were  famous not only for the Out Of The Inkwell series, but also for Betty Boop, Koko The Klown,  and the animated versions of Popeye The Sailorman, and Superman.

A slightly different version of The Tantalizing Fly, as well as a much better explanation and history of the rotoscope than I could ever hope to do,  is part of this inkwellink  Ray Pointer mini documentary about Fleischer:

For a wonderfully erudite and in depth look at animation and the early 20th Century avant garde I highly recommend Hollywood Flatlands: Animation, Critical Theory and the Avant- Garde, by Esther Leslie. Not an easy read, but well worth it.

 

                                 Painting by Liza Cowan. Acrylic on canvas.

This guy isn't Koko, but he reminds me of Koko. I painted him in 2005. Was an old memory of Koko  floating around in my subconscious when I painted him? Could be.