This presentation features new research about the Comic Art Show (1983), the first show to treat comic art, graffiti, modern art and early post-modern art as equals under the sponsorship of a major New York art museum (the Whitney Museum of American Art's Downtown branch). This presentation includes comments by John Carlin (co-curator) and exhibition photos courtesy of the Frances Mulhall Achilles Library at the Whitney Museum of American Art.
I will be presenting on the "Comics and Museums" panel at San Diego Comic Con on Sunday (7/26) at 1:00pm in room 30AB with Michael Dooley and Denis Kitchen.
Ch. 2: The Second Invention of Photography (1839-1854)Jacqueline Ramirez
PHOT 154, Grossmont College, History of Photography, Daguerreotype, Calotype, Daguerreotypes in America, William Henry Fox Talbot, The Pencil of Nature, Photography and the Sciences, Photography in Anthropology, Photography in Medicine, Southworth and Hawes, Hill and Adamson
Ch. 2: The Second Invention of Photography (1839-1854)Jacqueline Ramirez
PHOT 154, Grossmont College, History of Photography, Daguerreotype, Calotype, Daguerreotypes in America, William Henry Fox Talbot, The Pencil of Nature, Photography and the Sciences, Photography in Anthropology, Photography in Medicine, Southworth and Hawes, Hill and Adamson
HedyHedy Lamarr: Bio, Actress, Marriage & Inventor of WifiHollyBio
Hedy Lamarr was born in Vienna, Austria, Hungary, and acted in several Austrian, German, and Czech films. In 1937, she fled from her husband, wealthy Austrian ammunition manufacture to Paris and London.
This presentation was designed for a high school film production class - it provides a visual accompaniment to a lecture on Film History. This module covers the period from the beginnings of photography through the early days of exhibition. Projectors and projection techniques are featured.
In 2020 as a result of the Coronavirus Pandemic, I recorded a video of this presentation. Here is the link:https://youtu.be/GQuJJ8QkHQE Please feel free to use it in your classrooms.
Talk from PCA/ACA national conference (New Orleans) 2009 about the relationship between comic art and museums. Looks at The Comic Art Show (1983), High & Low (1990), Masters of American Comics (2005) & Tezuka, Marvel of Manga (2007).
Companion paper "Beyond High & Low" is available here http://www.mg-km.com/kmhome.html.
The images supplied in this presentation are intended for academic purposes only; text is copyright Kim Munson, rights to images are held by their respective owners.
HedyHedy Lamarr: Bio, Actress, Marriage & Inventor of WifiHollyBio
Hedy Lamarr was born in Vienna, Austria, Hungary, and acted in several Austrian, German, and Czech films. In 1937, she fled from her husband, wealthy Austrian ammunition manufacture to Paris and London.
This presentation was designed for a high school film production class - it provides a visual accompaniment to a lecture on Film History. This module covers the period from the beginnings of photography through the early days of exhibition. Projectors and projection techniques are featured.
In 2020 as a result of the Coronavirus Pandemic, I recorded a video of this presentation. Here is the link:https://youtu.be/GQuJJ8QkHQE Please feel free to use it in your classrooms.
Talk from PCA/ACA national conference (New Orleans) 2009 about the relationship between comic art and museums. Looks at The Comic Art Show (1983), High & Low (1990), Masters of American Comics (2005) & Tezuka, Marvel of Manga (2007).
Companion paper "Beyond High & Low" is available here http://www.mg-km.com/kmhome.html.
The images supplied in this presentation are intended for academic purposes only; text is copyright Kim Munson, rights to images are held by their respective owners.
Censorship & Superbodies: The Creative Odyssey of Margaret HarrisonKim A Munson
Presentation based on my article published in the International Journal of Comic Art, Vol. 13, No. 2, Fall 2011. Art historical analysis of the work and career of the feminist pioneer Margaret Harrison, focusing on her Captain America paintings, her show “The Bodies Are Back” at Intersection for the Arts (2010) and her controversial Motifs Gallery show, which was closed in London for indecency after one day (1971). Includes interviews with Harrison & Kevin Chen. Presented PCA/ACA National Convention 2011 (San Antonio).
Korean Comics: A Society Through Small FramesKim A Munson
Exhibition review of "Korean Comics: A Society Through Small Frames," curated by the Korea Society at the San Francisco Public Library (March 13-June 13, 2010).
Interview with artist Mark Bode about a series of exhibitions, his mural work and the cartoon concerts. Originally published on the Comics Journal blog.
Review of the exhibition "Morrie Turner, Creator of Wee Pals Cartoon: a 45 Year Retrospective" at the San Francisco Public Library October 2009. Discusses the long and wide ranging career of this award winning cartoonist.
Presentation on the history of the union label movement, given 9/12 at the Union Label & Service Trades convention in triburte to the 100th anniversary of the department.
This is an update of a 2006 SFSU art history presentation exploring the history and evolution of the AFL-CIO hand-in-hand logo, that I am posting in honor of the upcoming AFL-CIO convention and the 100 year anniversary of the Union Label and Service Trades Department.
I will be presenting on the history of the union label movement at the ULSTD's convention on 9/12. This presentation for academic/educational purposes only.
Evolution of an Emblem: the Arm & HammerKim A Munson
July 19 (Sunday) 1:00 PM (Free) Labor Archives and Research Center - SFSU 480 Winston Dr. SF. Presentation by Kim Munson. How did the arm and hammer end up on all those baking soda boxes? Art Historian Kim Munson shares her investigation of the origins of the arm & hammer from Greco-Roman myth and its role as an early union labor icon to its current usage as the Socialist Labor Party emblem and baking soda trademark.
Hosted by the Labor Archives and Research Center. Contact: larc@sfsu.edu Phone: 415-564-4010
San Francisco Labor Landmark PhotographyKim A Munson
Stunning photography by artists Wendy Crittenden and Tom Griscom in contrasting styles, featuring locations important to the San Francisco labor movement. Exhibition catalog is available on iTunes and Blurb print on demand: http://blur.by/1zhkQ0r
The images supplied in this presentation are intended for academic purposes only; text is copyright Kim Munson, rights to images are held by Griscom and Crittenden.
This work will be on display at the Special Collections Gallery, J. Paul Leonard Library, San Francisco State University, March 19 - August 9, 2015. Opening event April 2.
Palestine last event orientationfvgnh .pptxRaedMohamed3
An EFL lesson about the current events in Palestine. It is intended to be for intermediate students who wish to increase their listening skills through a short lesson in power point.
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
For more information, visit-www.vavaclasses.com
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Acetabularia Information For Class 9 .docxvaibhavrinwa19
Acetabularia acetabulum is a single-celled green alga that in its vegetative state is morphologically differentiated into a basal rhizoid and an axially elongated stalk, which bears whorls of branching hairs. The single diploid nucleus resides in the rhizoid.
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
Honest Reviews of Tim Han LMA Course Program.pptxtimhan337
Personal development courses are widely available today, with each one promising life-changing outcomes. Tim Han’s Life Mastery Achievers (LMA) Course has drawn a lot of interest. In addition to offering my frank assessment of Success Insider’s LMA Course, this piece examines the course’s effects via a variety of Tim Han LMA course reviews and Success Insider comments.
Biological screening of herbal drugs: Introduction and Need for
Phyto-Pharmacological Screening, New Strategies for evaluating
Natural Products, In vitro evaluation techniques for Antioxidants, Antimicrobial and Anticancer drugs. In vivo evaluation techniques
for Anti-inflammatory, Antiulcer, Anticancer, Wound healing, Antidiabetic, Hepatoprotective, Cardio protective, Diuretics and
Antifertility, Toxicity studies as per OECD guidelines
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
Francesca Gottschalk - How can education support child empowerment.pptxEduSkills OECD
Francesca Gottschalk from the OECD’s Centre for Educational Research and Innovation presents at the Ask an Expert Webinar: How can education support child empowerment?
Synthetic Fiber Construction in lab .pptxPavel ( NSTU)
Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
1. REVISITING THE COMIC ART SHOW
WHITNEY MUSEUM OF AMERICAN ART, DOWNTOWN GALLERY, 1983
Presented by Kim Munson, PCA/ACA St. Louis, 2010
2. First art exhibition produced by a major
New York art museum to display comic art,
graffiti, pop art and the post-modern art of the
East Village art scene together as equal
works of art.
Co-curated by John Carlin (Masters of
American Comics, Imagining America) &
Sheena Wagstaff (Comics Iconoclasm,
currently Chief Curator at Tate Modern
London).
This show ultimately brought together the circle of
people that produced Masters of American
Comics in LA (2005). Spiegelman, Carlin, Brian
Walker & Anne Philbin, plus many artists.
Downtown gallery at Federal Hall (26 Wall Street), NY
3. The show concept was inspired by a class
Carlin was teaching as a grad student at
Yale called Popular Iconography and his
deep involvement in the new generation of
punk, pop and underground artists creating
a big stir in the East Village.
1960’s 1980’s
1980’s Art and Comix in Transition.
4. Spiegelman, who was working on Raw and just
beginning Maus, became Carlin’s mentor on this
project, introducing him to many collectors.
John Carlin: “Rick Marschall, Pete Maresca and
Bill Blackbeard, are the three people that
saved printed newspaper comics from oblivion
at a time when they were being thrown away
and no institution in America saw any value in
them. They preserved them. They bought the
bound volumes and kept them. Now they're all
in Ohio. If those three men hadn’t kept them,
they wouldn't exist. It's really kind of a heroic
story, it would be a great documentary. .”
(5/09)
Winsor McCay (1869-1934)
Little Sammy Sneeze, 1905 (Sunday)
Ink, crayon, wash on paper
Collection of Ray Moniz
The Comics Collectors
5. Comic Artists
Ernie Bushmiller Chester Gould Winsor McCay
Milton Caniff Harold Grey Richard Outcault
Al Capp Bill Griffith Gary Panter
R. Crumb Milt Gross Alex Raymond
Will Eisner George Herriman E.C. Segar
Lyonel Feininger Bill Holman Joe Shuster
H.C. Fisher Robert Kane Art Spiegelman
Rube Goldberg Walt Kelly Cliff Sterrett
Frank King Garry Trudeau
Harvey Kurtzman & Wally Wood
Stan Lee & Jack Kirby
Painters & Sculptors
Roger Brown Roy Lichtenstein Alexis Smith
Ronnie Cutrone Jim Nutt Saul Steinberg
Stuart Davis Claes Oldenburg Andy Warhol
Oyvind Fahlstrom Suzan Pitt John Wesley
John Fawcett Lee Quinones Karl Wirsum
Vernon Fisher Mel Ramos Ray Yoshida
Steve Gianakos Robert Rauschenberg Anonymous (2)
Keith Haring Ad Reinhardt
Jess David Salle
Jasper Johns Kenny Scharf
Richard Outcault. The Yellow Kid 1896
Art Spiegelman. Two-Fisted Painters, 1982
Plus additional works by Henry Chalfant, The Hairy Who & C. Comics Stuart Davis. Lucky Strike, 1924
Keith Haring. Untitled, 1981
Who was in the show.
6. Gary Panter (b. 1950). Jimbo, 1981
Suzan Pitt (b. 1943). Untitled, 1983 (Sculpture)
Jess (1923-2004). The Truth Shall be Thy Warrant, 1976
Ronnie Cutrone (b. 1948). The Price of Liberty is
Eternal Vigilance, 1982.
John Carlin: “I hung the show myself,
intuitively with no hierarchy, in a way meant
to give the viewer an intellectually and
emotionally moving experience.” (5/09)
A wall of drawings by R. Crumb (b. 1943),
Frank King (1883-1969), Cliff Sterrett (1883-1964) &
Art Spiegelman (b. 1948). The small sculpture in the
center is Untiltled, 1974 by Roger Brown (b. 1941).
All exhibition photos courtesy of the Frances Mulhall
Achilles Library at the Whitney Museum of American Art.
Exhibition photos
7. George Herriman, Krazy Kat, June 11, 1936
Roy Lichtenstein (1923 - 1997). Bugs Bunny, 1958.
David Salle (b. 1952) Untitled. 1961.
Jphn Carlin: “The thing that motivated me was
this: here you are in the most media saturated
culture in human history, and you have this
form of expression, like comics, that's constantly
on the verge of being literally inaccessible.
Americans really don't preserve their own
culture. It's a real tragedy, because we have
this kind of fear of the things that we like. If we
like it and it's popular, then it can't be significant.”
(5/09)
George Herriman, Krazy Kat, June 11, 1936
Winsor McCay (1869-1934)
Little Sammy Sneeze, 1905 (Sunday)
Anonymous (American Hopi Indian) Mickey
Mouse doll. painted wood, c. 1950.
Anonymous (Alaskan Eskimo) Olive Oyl doll.
carved ivory. c. 1940.
Exhibition photos
8. Chester Gould (1900-1985),
Dick Tracy, 1957
John Wesley,(b. 1928).
Bumstead, in a Strait Jacket, 1975.
These two graphics served as invitations to the opening
reception and later dance party.
The opening became a media event, covered by the New
York Times, WABC TV, WNEW TV, the Village Voice,
Newsweek, Art in America & others.
There was also a week long animation festival.
Opening & Events - July 18, 1983.
9. “Cartoons and Comic Strips fall into the general
category of folk art. They entertain and poke fun,
tickle our funny bone, “Clearly, cartoon characters have transcended
and satirize, but they do not concern themselves with their identity as mass-produced disposables,
the broader formal or thematic dimensions of emerging as pictorial icons and psychological
reality that are the symbols .“
basis of more serious forms of art.” -David Keeps, Heavy Metal, 11/83
-Theodore Wolff, Christian Science Monitor,
9/27/83
“What the Comic Art Show
“The show is perhaps most successful in its attempt to
reveals is a strong impulse
make us see cartoons historically and critically in their
to valorize the comics by
hugely satisfying richness, to have us appreciate the
treating them according to
special kind of verbal/visual genius necessary to
a methodology derived from
create an enduring comic strip.“
mainstream art history.”
-Roberta Smith, Village Voice, 8/23/83
-David Deitcher,
Art in America, 2/84
“The Comic Art Show seemed to be trying to
hard to prove that comics are art.” “What a delight! The cartoon become artoon.”
-Jim Salicrup, quoted in Comics Journal 1/84 -Nicholas Moufarrege. FlashArt, 11/83
The critics have their say…
10. Carlin: “One thing I was always proud to say, was at the
time, and I haven’t checked this since, at the time it was the
only profitable exhibition that the Whitney had ever done.
It made a lot of money. Because I talked Keith Haring into
doing the very first commercially available T-shirt that he
ever did. He was afraid it was going to ruin his reputation.
He was afraid no one would take him seriously...The T-shirts
were probably only 10 bucks, but we might have sold, like,
10,000 T-shirts and 10,000 catalogs.
Somebody uptown at the Whitney got the idea that this
was a show that was so successful that they should've
brought it uptown and re-presented it. And it got me into a
lot of political mess, and basically,
there were some powerful people that just didn't want to
see that happen. Which I always thought was a shame. I
think it's great that the Whitney did this, but I think it
would've been more important, if they had really made it
part of their uptown main museum exhibition schedule.”
Catalog with 7 extensive essays printed by (5/09)
Fantagraphics in black & white on inexpensive
paper and sold for $2.95 (or $6.95 by mail).
A Success ! … but wait…
Editor's Notes
Clearly, cartoon characters have transcended their identity as mass-produced disposables, emerging as pictorial icons and psychological symbols (David Keeps, Heavy Metal, 11/83) Cartoons and Comic Strips fall into the general category of folk art,. The entertain and poke fun, tickle our funny bone, and stirize, but they do not concern themselves with the broader formal or thematic dimensions of reality that are the basis of more serious forms of art. (Theodore Wolff, Christian Science Monitor, 9/27/83)