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Malaysian artist Anne Samay 'The Origin Of Savage Beauty 'exhibition at Marc Straus in Tribeca.
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Renée Stout’s exhibition at Marc Straus in NYC, Navigating the Abyss, presents a collection of her recent work in various mediums. From sculpture and painting to photography, her skillful and inventive work draws you in.
From the press release-
Starting out as a photo-realist painter depicting life in everyday urban neighborhoods, Stout soon developed an interest in the mystical and spiritual traditions in African American communities. Fascinated with fortunetelling and the healing power of Hoodoo, Vodou and Santeria still practiced within the African Diaspora in the American Southeast and Caribbean, she delved into ancient spiritual traditions and belief systems. She has drawn inspiration from a wide variety of sources such as current social and political events, Western art history, the culture of African Diaspora, and daily city life. While her artistic practice is rich with references and resonances, her works are eventually unique manifestations of her own imagination, populated by mysterious narratives and imagined characters derived from the artist’s alter ego.
In this exhibition, we encounter a group of portraits depicting Hoodoo Assassins and Agents (#213 and #214) who, in Stout’s imagination, are healers, seers, and empaths from a Parallel Universe in which fairness and balance rules. Erzulie Yeux Rouge (Red Eyes) is a spirit from the Haitian Pantheon of spirits whose empathic nature makes her a fierce guardian or protector of women, children, and betrayed lovers. Ikengas, originating in the Igbo culture of Southeastern Nigeria, are shrine figures that are meant to store the owner’s chi (personal god), his ndichie (ancestors) and his ike (power), and are generally associated with men. Stout’s Ikenga (If You Come for the Queen, You Better Not Miss) is a powerful female figure with her breasts and horns turned into weapons, and she is adorned with jewels and charms to boost her powers. Beyond the playful yet powerful imagination of these female characters are serious undertones of political commentary as Stout ponders the concepts of these deities while witnessing the recent rulings in our society that infringe on women’s rights.
In Escape Plan D (With Hi John Root, Connecting the Dots) Stout maps out her potential escape to the Parallel Universe when the daily news weighs unbearably on her psyche.
Visions of the Fall, in Thumbnails is a series of five small paintings that comments on the current state of our world and its imagined future with the titles as upcoming stages of its evolution.
American Memory Jar is an entirely black sculpture consisting of a glass jar covered with thin-set mortar, plastic and metal toy guns, topped with a doll head and adorned with a bead and rhinestone cross pendant. Memory Jugs are an American folk-art form that memorializes the dead adorned with objects associated with the deceased. Stout’s jar is a bitter but painfully accurate assessment.
While Stout’s work alludes to history, racial stereotyping, societal decay, and a set of alarming tendencies in our socio-political structures and ecosystem, it also reveals possibilities and the promise of healing. Various works reference healing herbs, potions, and dreams. Herb List, Spell Diagram and The Magic I Manifest speak of Stout’s belief in the power of consciousness, in the existence of more solid and fertile grounds, and of individual responsibility.
There is one overarching narrative that clearly emerges from Stout’s work – her personal history and spiritual journey as a woman and as an artist.
This exhibition closes 3/5/23.
#renée stout#marc straus#marc straus gallery nyc#nyc art shows#painting#sculpture#mixed media#art installation#art#art shows#christopher wool
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What could've been Animaze ..iNC during the 2010s
Talent pool (Note: any voice actor marked with * is union-only):
Steve Blum*
Mary Elizabeth McGlynn*
Crispin Freeman*
Kari Wahlgren*
Johnny Yong Bosch
Yuri Lowenthal*
Dave Wittenberg*
Roger Craig Smith*
Laura Bailey*
Travis Willingham*
Cherami Leigh
J.B. Blanc*
Sam Riegel*
Liam O'Brien*
Amy Kincaid*
Troy Baker*
Matthew Mercer
Joe Romersa*
Fleet Cooper*
Dyanne DiRosario*
Jennifer Love Hewitt*
Brian Hallisay*
Spike Spencer
Amanda Winn Lee*
Jaxon Lee*
Kyle Hebert
Ben Pronsky
Bob Buchholz
Richard Cansino
Murphy Dunne*
Carolyn Hennesy*
Jerry Gelb*
Adam Sholder
Ezra Weisz
Cristina Vee
Bryce Papenbrook
Michael Sorich
Richard Epcar
Ellyn Stern
Tony Oliver
Kirk Thornton
Lexi Ainsworth*
Aria Noelle Curzon
Grace Caroline Currey*
Michael Forest
Erik Davies
Adam Bobrow
Joshua Seth
Junie Hoang*
Kirk Baily*
Tom Fahn
Jonathan Fahn
Dorothy Elias-Fahn
Melissa Fahn
Stephen Apostolina*
René Rivera*
Deborah Sale Butler
Kevin Brief
Michael Gregory*
Riva Spier*
Cassandra Morris
Erica Mendez
Erika Harlacher
Erica Lindbeck
Marieve Herington
Kira Buckland
John Rubinstein*
Kim Matula*
Brittany Lauda
J. Grant Albrecht*
Michael McConnohie
Steve Bulen*
Dan Woren
Derek Stephen Prince
Wendee Lee
Edie Mirman
Jason C. Miller
Taliesin Jaffe*
John Snyder
Robbie Daymond
Ray Chase
Kaiji Tang
David Vincent
Christina Carlisi*
Christopher Corey Smith
Cindy Robinson
Rachel Robinson
Jessica Boone
Lauren Landa
Megan Hollingshead
Jalen K. Cassell
Doug Erholtz
Michelle Ruff
Gregory Cruz*
John Bishop*
Matt Kirkwood*
Lara Jill Miller*
Carol Stanzione
Steve Staley
Dave Mallow
Mona Marshall*
Darrel Guilbeau
Robert Martin Klein
Robert Axelrod
William Frederick Knight
Lex Lang
Sandy Fox
Joey Camen*
Randy McPherson*
Jad Mager
Richard Miro
Milton James
Anthony Pulcini
Douglas Rye
Patrick Seitz
Keith Silverstein
Jamieson Price
Skip Stellrecht*
Stoney Emshwiller*
G.K. Bowes
Alyss Henderson
Patricia Ja Lee
Peggy O'Neal
Carrie Savage
Melodee Spevack
Jennifer Alyx
Julie Ann Taylor
Sherry Lynn
Brad Venable
Christine Marie Cabanos
Greg Chun
LaGloria Scott
Steve Kramer
Melora Harte
Rebecca Forstadt*
Kyle McCarley
Mela Lee
Karen Strassman
Faye Mata
Laura Post
Kayla Carlyle*
Brina Palencia
Connor Gibbs
Brianne Siddall*
Barbara Goodson
Loy Edge
Jay Lerner
Jennie Kwan
Max Mittelman
Jessica Straus*
Alexis Tipton
Fryda Wolff
Michele Specht
J.D. Garfield
Debra Jean Rogers*
Julie Maddalena
Carrie Keranen
Tara Sands
Matthew Hustin
Cody MacKenzie
Bridget Hoffman*
Colleen O'Shaughnessey
Grant George
Jessica Gee
Jeff Nimoy*
Peter Lurie*
Brian Beacock
Paul St. Peter
Chris Jai Alex
Dan Lorge*
Ewan Chung*
Steve Cassling*
Philece Sampler
Stephanie Sheh
Sam Fontana
Ben Diskin
Juliana Donald*
Michael O'Keefe*
Christina Gallegos*
Tara Platt
Keith Anthony*
Beau Billingslea
David Lodge*
Kim Strauss
Eddie Jones*
William Bassett*
Kim Mai Guest*
Caitlin Glass
Hannah Alcorn
Ron Roggé*
Camille Chen*
Ethan Rains*
Yutaka Maseba*
Joe J. Thomas
Michael Sinterniklaas
Erin Fitzgerald
Joe Ochman
Marc Diraison
Xanthe Huynh
Brianna Knickerbocker
Dean Wein*
Michael McCarty*
#Animaze#ZRO Limit Productions#Steve Blum#Crispin Freeman#Kari Wahlgren#Laura Bailey#Travis Willingham#Sam Riegel#Liam O'Brien#Matthew Mercer#Jennifer Love Hewitt#Brian Hallisay#Spike Spencer#Troy Baker#Cristina Vee#Johnny Yong Bosch#Yuri Lowenthal#Mary Elizabeth McGlynn#Jessica Boone
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Marie Watt - Seneca Nation
ABOUT
Marie Watt ist eine interdisziplinäre Künstlerin, deren Arbeiten Textilien, Skulpturen, Drucke und ortsspezifische Installationen umfassen, die alle tief in der Zusammenarbeit mit der Gemeinschaft verwurzelt sind. Ihr interdisziplinäres Werk schöpft aus der Geschichte, der Biografie, dem Proto-Feminismus der Irokesen und den Lehren der Eingeborenen; darin erforscht sie die Überschneidung von Geschichte, Gemeinschaft und Geschichtenerzählen. Durch kollaborative Aktionen regt sie generations- und disziplinübergreifende Gespräche an, die einen Blickwinkel und ein Gespräch für das Verständnis der Verbundenheit mit dem Ort, den Mitmenschen und dem Universum schaffen können. Watt hat einen MFA in Malerei und Druckgrafik von der Yale University und verfügt über Abschlüsse der Willamette University und des Institute of American Indian Arts. Im Jahr 2016 wurde ihr die Ehrendoktorwürde der Willamette University verliehen. Sie war Stipendiatin an der Skowhegan School of Painting and Sculpture und am Vermont Studio Center und erhielt zahlreiche Stipendien und Auszeichnungen von Institutionen wie Anonymous Was a Woman, der Joan Mitchell Foundation, der Harpo Foundation und der Ford Family Foundation. Ihre Arbeiten sind in Museumssammlungen in den gesamten Vereinigten Staaten zu finden, und sie wird von PDX Contemporary Art in Portland, Oregon, der Catharine Clark Gallery in San Francisco, Kalifornien, und der Marc Straus Gallery in New York City, New York, vertreten. Wenn man TURTLE ISLAND sagt, selbst wenn man nicht weiß, was es bedeutet, bestätigt es eine wichtige Geschichte - es verändert die Art und Weise, wie wir gehen, wandern, schwimmen und Unterstände bauen. Die Anerkennung eines Ortsnamens, der den kolonialen Namen vorausgeht, ist ein Schritt zur Anerkennung des historischen Traumas und des Vermächtnisses von Ausbeutung und Vertreibung."
PROJECT
Marie Watts SHIFT Project, Chords to Other Chords ist eine Serie von drei ortsbezogenen Neonskulpturen, die darauf abzielen, Geschichten und Gespräche über Land, Haushalterschaft und Ort zu verstärken. Der Schriftzug "TURTLE ISLAND" wird in Licht "genäht" und in öffentlichen Einrichtungen in und um die Heimat von Watts Vorfahren in New York platziert. In Zusammenarbeit mit dem federführenden Forge Project finden Veranstaltungen mit Dichtern, Künstlern, Wissenschaftlern und anderen Vordenkern statt, die sich mit den Themen von Turtle Island auseinandersetzen.
PARTNERORGANISATION
Forge Project ist eine von Eingeborenen geführte Organisation, deren Aufgabe es ist, die Führungsrolle der Eingeborenen in Kunst und Kultur zu pflegen und zu fördern. Forge befindet sich auf dem angestammten Land der Moh-He-Con-Nuck und ist in zwei Gebäuden untergebracht, die von dem bekannten Künstler und Aktivisten Ai Weiwei auf einem 38 Hektar großen Campus im Mahicannituck-Tal (Hudson River) entworfen wurden. Das Forge-Projekt ist ein Modell für die kulturelle Selbstbestimmung und Führungsrolle der Ureinwohner, das traditionelles und zeitgenössisches Wissen und Praktiken miteinander verbindet, um Gemeinschaft, öffentliche Bildung und kollektives Handeln zu fördern. Originalartikel Das könnte Sie auch interessieren Read the full article
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Check out Jessica Alazraki, Hammock (2022), From Marc Straus
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Max Ernst 'C'est le chapeau qui fait l'homme' , 1920
Max Ernst, né le 2 avril 1891 à Brühl et mort le 1er avril 1976 à Paris, est un peintre et sculpteur allemand, dont l'œuvre se rattache aux mouvements dadaïste et surréaliste.
Max Ernst est le fils du peintre Philipp Ernst et de Louise Kopp.
En 1910, il commence à étudier la philosophie à l'université de Bonn mais il abandonne rapidement les cours pour se consacrer à l'art. Il rencontre les membres du groupe Blaue Reiter en 1911 avec qui il expose à Berlin, en 1913. La même année, il fait la connaissance de Guillaume Apollinaire et Robert Delaunay, part pour Paris et s'installe dans le quartier du Montparnasse.
En 1918, il épouse Louise Straus, historienne d'art. Leur relation tumultueuse ne tiendra pas. L'année suivante, il rend visite à Paul Klee et crée ses premières peintures, impressions à la main et collages ; il expérimente différents supports et matériaux.
La période dadaïste et surréaliste
Durant la Première Guerre mondiale, il sert dans l'armée allemande. Après celle-ci, rempli de nouvelles idées, il fonde avec Jean Arp et l'activiste social Johannes Theodor Baargeld le groupe dada de Cologne mais deux ans plus tard, en 1922, il retourne à la communauté d'artistes de Montparnasse à Paris où il vit chez le couple Éluard.
En 1925, Max Ernst invente le frottage : il laisse courir une mine de crayon à papier sur une feuille posée sur une surface quelconque (parquet ou autre texture). Cette technique fait apparaître des figures plus ou moins imaginaires. Elle s'apparente à l'écriture automatique des écrivains surréalistes qu'il côtoyait comme Paul Éluard et André Breton.
L'année suivante, il collabore avec le peintre Joan Miró pour la création de décors pour les spectacles chorégraphiques de Sergei Diaghilev. Avec l'aide de Miró, Max Ernst se lance dans l'élaboration d'une nouvelle technique, le grattage du pigment directement sur la toile.
En 1933, Max Ernst part en Italie.C'est ici qu'il compose en trois semaines 182 collages à partir d'ouvrages français illustrés en noir et blanc de la fin du xixe siècle. De retour à Paris, il les publie dans un ouvrage en cinq volumes appelé Une semaine de bonté ou les sept éléments capitaux, chacun de couleur différente d'avril à septembre 1934 aux éditions de la galerie Jeanne Bucher.
En 1934, fréquentant Alberto Giacometti, il commence à sculpter. En 1937, il rencontre Leonora Carrington avec qui il part vivre à Saint-Martin-d'Ardèche. En 1938, l'héritière américaine Peggy Guggenheim achète un bon nombre d'œuvres de Max Ernst qu'elle expose dans son nouveau musée à Londres.
La période américaine
Dès le déclenchement de la Seconde Guerre mondiale, en septembre 1939, Max Ernst est arrêté comme « étranger ennemi » et interné dans le camp des Milles près d'Aix-en-Provence. Avec l'aide du journaliste américain Varian Fry, fondateur du Comité américain de secours à Marseille en août 1940, il réussit à quitter le pays en compagnie de Peggy Guggenheim. Ils arrivent aux États-Unis en 1941 et se marient l'année suivante. Max Ernst vit à New York où, à côté des peintres Marcel Duchamp et Marc Chagall, il aide au développement de l'expressionnisme abstrait parmi les peintres américains comme Jackson Pollock.
Son mariage avec Peggy Guggenheim est un échec. En octobre 1946, il épouse Dorothea Tanning à Beverly Hills, (Californie). Max Ernst s'installe à Sedona, (Arizona). En 1948, il écrit le traité « Beyond Painting » puis part voyager en Europe en 1950. En 1952, il devient Satrape du Collège de ’Pataphysique.
Max Ernst 'C'est le chapeau qui fait l'homme' , 1920
À partir de 1953, il s'installe à Paris et l'année suivante reçoit le Grand prix de la biennale de Venise, ce qui lui vaut l'exclusion du mouvement surréaliste.
De 1955 à 1963, il réside à Huismes (Indre-et-Loire) où il réalise des œuvres marquées par la Touraine : Le Jardin de la France, Hommage à Léonard ou La Tourangelle.
En 1963, il déménage avec sa femme dans une petite ville du sud de la France, Seillans (Var), où il continue à travailler. Il crée les décors d'un théâtre et une fontaine dans la ville d'Amboise (Indre-et-Loire). En 1966, il réalise un jeu d'échecs en verre sur un échiquier géant de cinq mètres de côté, qu'il baptise Immortel.
En 1975, une rétrospective a lieu au Musée Solomon R. Guggenheim à New York et les Galeries Nationales du Grand Palais de Paris publient un catalogue complet de ses œuvres.
Max Ernst deviendra un ami du grand industriel Jean Riboud.
Max Ernst a été incinéré à Paris au cimetière du Père-Lachaise
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Omar Rodriguez-Graham at Marc Straus Gallery
Shape and color appear to explode from Omar Rodriguez-Graham’s paintings, once again on view at newly reopened Marc Straus Gallery on the Lower East Side. Based on Renaissance or Baroque paintings by artists from Tiepolo to Ricci which the artist turns into digital abstract compositions then paints on canvas attached to shaped supports, the artist marries historical work with a distinctly contemporary sense of energy and movement. (On view through July 31st). Omar Rodriguez-Graham, La Anciana de las 3 Navajas, oil and acrylic on linen mounted on panel, 78.7 x 72.8 inches, 2020.
#marc straus#omar rodriguez-graham#la anciana de las 3 Navajas#painting#abstract#reopened#gallery#tour#art#lower east side
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Books On Books Collection - Antoine Lefebvre
Books On Books Collection – Antoine Lefebvre
I Can’t Breathe (2015)
I Can’t Breathe (2015) Antoine Lefebvre Saddle-stitched with staples. Digital print. 16 pages. H218 x W178 mm. Edition of 100 copies. Acquired from the artist, 29 August 2020.
I Can’t Breathe is the first publication made under Lefebvre’s imprint. He labels it a “zine” and calls it a “gut reaction” to the murder of Eric Garner. Lefebvre is one of several book artistswh…
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#Albrecht Durer#Andrew Wenrick#Antoine Lefebvre#Dan Flavin#J. Meejin Yoon#Johan Karlsson#Josef Albers#Joseph Kosuth#Marc Straus#Marcel Broodthaers#Michalis Pichler#Nam June Paik#Vera Molnár#Vladimir Tatin
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Nicole Eisenman (F ‘06), Katherine Mangiardi (’07), and others The White Heat Marc Straus Gallery 299 Grand Street, New York, NY June 3 – July 30, 2017
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King Princess – Terminal 5 – November 1, 2019
Brooklyn singer-songwriter, producer and multi-instrumentalist King Princess is getting lots of love, from fans and critics alike, for her debut album, Cheap Queen, out two Fridays ago on Mark Ronson’s label. NME called her “a pop great in the making,” and it’s safe to say that everyone at a sold-out Terminal 5 on Friday night agreed.
Photos courtesy of Marc Millman | www.marcmillmanphotos.com/music
#Cheap Queen#Columbia Records#King Princess#Live Music#Marc Millman#Mark Ronson#Mikaela Straus#Music#New York City#Photos#Terminal 5#Zelig Recordings
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AT MARC STRAUS, OTIS JONES CASTS A SIDE-EYE AT PAINTING
THE DAILY PIC presents two views of a painting aptly titled “Tan with Four Dirty Circles,” from Otis Jones’s recent solo at Marc Straus gallery in New York.
Jones isn’t the first artist to care about the sides of a painting, and how it exists as an object: Kenneth Noland and Robert Ryman certainly mined that territory. But it’s rare to find a painting whose sides seem to have even more action going on than its front.
It’s as though Jones has taken it to heart that a painting only really has a front at all thanks to the sides where that front ends; in the end, those sides, however self-effacing, are responsible for the frontal predicament that every painter has had to face. Jones makes those sides take their turn on stage, then seeks revenge with his staple gun.
For a full survey of past Pics visit blakegopnik.com/archive.
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Liliane Tomasko (via Liliane Tomasko at MARC STRAUS | Artwell Guide)
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Currently at Marc Straus is Marie Watt’s impressive exhibition, Singing Everything.
From the press release-
A member of the Seneca Nation, Watt also has German-Scott ancestry. Her layered and complex influences include Indigenous knowledge and Iroquois proto-feminism, the matriarchal structures of certain Native American nations, the rise of social activism throughout the 20th century, and the anti-war and anti-hate content of the 1960s and 1970s music scene.
Central to the exhibition are three Sewing Circle pieces that were initiated at communal gatherings at the Whitney Museum of American Art in 2022. Watt’s sewing circles are cross generational, multicultural gatherings that she has been organizing for over a decade. Inspired by poet laurate Joy Harjo’s (Mvskoke/Creek) poem Singing Everything, Watt collects words from the participants of her sewing circles with the prompt, “what do you want to sing a song for in this moment?” The submitted words are then embroidered or sewn onto patches of fabric during the sewing circle. For the Whitney Sewing Circle, with over 300 participants, Watt, for the first time, used all the submitted words. Each panel is patterned in a way that stays true to the original hand. She thinks of ones handwriting as an extension of the cadence of one’s voice and in this project, it becomes part of a larger chorus. By composing large-scale wall works from these pieces of fabric, Watt creates collaborative artworks that interweave many individual handwritings, touches, and the stories that were exchanged in a shared space.
When entering the gallery, the visitor is greeted by a sweeping, 24-foot-long neon sign spelling out the words “deer, skywalker, heron, bass, great lake, woodland, beaver, turtle, wolf, lowly, muskrat, rat” in various hues that evoke the sky on the horizon during sunset and sunrise. While the piece represents a new direction in Watt’s work, she views neon as an extension of beadwork. The glass itself is at once thread and bead, and both neon and beads have a relationship to trade. They both envelop light, color, and sound, embodying sunrises and sunsets on the horizon.
Two blanket towers, her signature sculptural works, appear in the show but now with tin bells or jingles added to the reclaimed wool blankets. This choice of added material felt like a natural extension to Watt. She writes: “Blankets are danced and so are jingles, there is something healing about them both. They are objects of comfort” – by way of touch or sound. “Jingles acknowledge the Jingle Dress Dance which began as a healing ritual in the Ojibwe tribe in the 1910s during the influenza pandemic. The Jingle Dress Dance was also a radical act. In 1883, the United States banned Indigenous ceremonial gatherings. Though the ban was repealed in 1978 with the American Indian Religious Freedom Act, during its century-long prohibition the Jingle Dress Dance was shared with other tribal communities. Today it is a pow-wow dance and continues to be associated with healing. The relevance of this dance extends beyond pandemics.” By including jingles Watt brings the potential of sound into her work, adding to their visual and tactile aspects.
While drawing from long craft traditions such as textile or glass work, Watt is expanding her work by including contemporary stories and both individual and collective experiences. Her primary interest is to think about art as more experiential, rather than only visual, a direction she plans to explore further.
This exhibition closes 5/20/23.
#marie watt#marc straus#marc straus gallery nyc#nyc art shows#fabric art#neon#neon art#blankets#embroidery#sculpture#art installation#art
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Antonio Santin (b. 1978)
Elevator Pitch, 2019. Oil on canvas 152 x 200 cm (60 x 78.8 in) – Colossal, 2020
Trash Julia, 2010. Oil on canvas 240 x 160 cm. Private collection. Berlin. – Yatzer, Oct 2013
Honeymoon, 2017 (Detail) – Marc Straus gallery
thnx sasparillagodzilla & dreams-of-mutiny & julienfoulatier
#Antonio Santin#painting#tapestry#falling#red#body#stairs#realistic#detail#odd#gallery#pattern#accident
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Winners announced for the 2019 Eisner Awards
The winners were announced last night for the 2019 Will Eisner Comic Industry Awards.
Tom King and Mitch Gerads, partners on the Mister Miracle series from DC, took home five awards between them. John Allison’s Giant Days and The Prince and the Dressmaker by Jen Wang also took home multiple awards.
The Eisner Awards also inducted 10 people into the Hall of Fame last night: the judges chose Jim Aparo, June Tarpé Mills, Dave Stevens and Morrie Turner, while voters chose José Luis García-López, Jenette Kahn, Paul Levitz, Wendy and Richard Pini, and Bill Sienkiewicz to join the class of 2019.
Other awards given out last night included the The Bill Finger Excellence In Comic Book Writing Award, which was presented to Mike Friedrich and the late E. Nelson Bridwell, and the Russ Manning Most Promising Newcomer Award, which went to Lorena Alvarez.
The 2019 recipients of the Bob Clampett Humanitarian Award were Edgardo Miranda-Rodriguez, for his work on Ricanstruction: Reminiscing & Rebuilding Puerto Rico, and comic artist Tula Lotay, AKA Lisa Wood, for creating the UK-based Thought Bubble Festival. And La Revisteria Comics in Argentina won the Will Eisner Spirit of Comics Retailer Award.
You can see all the Eisner winners below, in bold.
Best Short Story
“Get Naked in Barcelona,” by Steven T. Seagle and Emei Olivia Burrell, in Get Naked (Image)
“The Ghastlygun Tinies,” by Matt Cohen and Marc Palm, in MAD magazine #4 (DC)
“Here I Am,” by Shaun Tan, in I Feel Machine (SelfMadeHero)
“Life During Interesting Times,” by Mike Dawson (The Nib), https://thenib.com/greatest-generation-interesting-times
“Supply Chains,” by Peter and Maria Hoey, in Coin-Op #7 (Coin-Op Books)
“The Talk of the Saints,” by Tom King and Jason Fabok, in Swamp Thing Winter Special (DC)
Best Single Issue/One-Shot
Beneath the Dead Oak Tree, by Emily Carroll (ShortBox)
Black Hammer: Cthu-Louise, by Jeff Lemire and Emi Lenox (Dark Horse)
No Better Words, by Carolyn Nowak (Silver Sprocket)
Peter Parker: The Spectacular Spider-Man #310, by Chip Zdarsky (Marvel)
The Terrible Elisabeth Dumn Against the Devils In Suits, by Arabson, translated by James Robinson (IHQ Studio/ Image)
Best Continuing Series
Batman, by Tom King et al. (DC)
Black Hammer: Age of Doom, by Jeff Lemire, Dean Ormston, and Rich Tommaso (Dark Horse)
Gasolina, by Sean Mackiewicz and Niko Walter (Skybound/Image)
Giant Days, by John Allison, Max Sarin, and Julaa Madrigal (BOOM! Box)
The Immortal Hulk, by Al Ewing, Joe Bennett, and Ruy José (Marvel)
Runaways, by Rainbow Rowell and Kris Anka (Marvel)
Best Limited Series
Batman: White Knight, by Sean Murphy (DC)
Eternity Girl, by Magdalene Visaggio and Sonny Liew (Vertigo/DC)
Exit Stage Left: The Snagglepuss Chronicles, by Mark Russell, Mike Feehan, and Mark Morales (DC)
Mister Miracle, by Tom King and Mitch Gerads (DC)
X-Men: Grand Design: Second Genesis, by Ed Piskor (Marvel)
Best New Series
Bitter Root, by David Walker, Chuck Brown, and Sanford Green (Image)
Crowded, by Christopher Sebela, Ro Stein, and Ted Brandt (Image)
Gideon Falls, by Jeff Lemire and Andrea Sorrentino (Image)
Isola, by Brenden Fletcher and Karl Kerschl (Image)
Man-Eaters, by Chelsea Cain and Kate Niemczyk (Image)
Skyward, by Joe Henderson and Lee Garbett (Image)
Best Publication for Early Readers (up to age 8)
Johnny Boo and the Ice Cream Computer, by James Kochalka (Top Shelf/IDW)
Petals, by Gustavo Borges (KaBOOM!)
Peter & Ernesto: A Tale of Two Sloths, by Graham Annable (First Second)
This Is a Taco! By Andrew Cangelose and Josh Shipley (CubHouse/Lion Forge)
Tiger Vs. Nightmare, by Emily Tetri (First Second)
Best Publication for Kids (ages 9–12)
Aquicorn Cove, by Katie O’Neill (Oni)
Be Prepared, by Vera Brosgol (First Second)
The Cardboard Kingdom, by Chad Sell (Knopf/Random House Children’s Books)
Crush, by Svetlana Chmakova (JY/Yen Press)
The Divided Earth, by Faith Erin Hicks (First Second)
Best Publication for Teens (ages 13–17)
All Summer Long, by Hope Larson (Farrar Straus Giroux)
Gumballs, by Erin Nations (Top Shelf/IDW)
Middlewest, by Skottie Young and Jorge Corona (Image)
Norroway, Book 1: The Black Bull of Norroway, by Cat Seaton and Kit Seaton (Image)
The Prince and the Dressmaker, by Jen Wang (First Second)
Watersnakes, by Tony Sandoval, translated by Lucas Marangon (Magnetic/Lion Forge)
Best Humor Publication
Get Naked, by Steven T. Seagle et al. (Image)
Giant Days, by John Allison, Max Sarin, and Julia Madrigal (BOOM! Box)
MAD magazine, edited by Bill Morrison (DC)
A Perfect Failure: Fanta Bukowski 3, by Noah Van Sciver (Fantagraphics)
Woman World, by Aminder Dhaliwal (Drawn & Quarterly)
Best Anthology
Femme Magnifique: 50 Magnificent Women Who Changed the World, edited by Shelly Bond (Black Crown/IDW)
Puerto Rico Strong, edited by Marco Lopez, Desiree Rodriguez, Hazel Newlevant, Derek Ruiz, and Neil Schwartz (Lion Forge)
Twisted Romance, edited by Alex de Campi (Image)
Where We Live: A Benefit for the Survivors in Las Vegas, edited by Will Dennis, curated by J. H. Williams III and Wendy Wright-Williams (Image)
Best Reality-Based Work
All the Answers: A Graphic Memoir, by Michael Kupperman (Gallery 13)
All the Sad Songs, by Summer Pierre (Retrofit/Big Planet)
Is This Guy For Real? The Unbelievable Andy Kaufman, by Box Brown (First Second)
Monk! by Youssef Daoudi (First Second)
One Dirty Tree, by Noah Van Sciver (Uncivilized Books)
Best Graphic Album—New
Bad Girls, by Alex de Campi and Victor Santos (Gallery 13)
Come Again, by Nate Powell (Top Shelf/IDW)
Green Lantern: Earth One Vol. 1, by Corinna Bechko and Gabriel Hardman (DC)
Homunculus, by Joe Sparrow (ShortBox)
My Heroes Have Always Been Junkies, by Ed Brubaker and Sean Phillips (Image)
Sabrina, by Nick Drnaso (Drawn & Quarterly)
Best Graphic Album—Reprint
Berlin, by Jason Lutes (Drawn & Quarterly)
Girl Town, by Carolyn Nowak (Top Shelf/IDW)
Upgrade Soul, by Ezra Claytan Daniels (Lion Forge)
The Vision hardcover, by Tom King, Gabriel Hernandez Walta, and Michael Walsh (Marvel)
Young Frances, by Hartley Lin (AdHouse Books)
Best Adaptation from Another Medium
Anne Frank’s Diary: The Graphic Adaptation, adapted by Ari Folman and David Polonsky (Pantheon)
“Frankenstein” by Mary Shelley, in Frankenstein: Junji Ito Story Collection, adapted by Junji Ito, translated by Jocelyne Allen (VIZ Media)
Out in the Open by Jesús Carraso, adapted by Javi Rey, translated by Lawrence Schimel (SelfMadeHero)
Speak: The Graphic Novel, by Laurie Halse Anderson and Emily Carroll (Farrar Straus Giroux)
To Build a Fire: Based on Jack London’s Classic Story, by Chabouté (Gallery 13)
Best U.S. Edition of International Material
About Betty’s Boob, by Vero Cazot and Julie Rocheleau, translated by Edward Gauvin (Archaia/BOOM!)
Brazen: Rebel Ladies Who Rocked the World, by Pénélope Bagieu (First Second)
Herakles Book 1, by Edouard Cour, translated by Jeremy Melloul (Magnetic/Lion Forge)
Niourk, by Stefan Wul and Olivier Vatine, translated by Brandon Kander and Diana Schutz (Dark Horse)
A Sea of Love, by Wilfrid Lupano and Grégory Panaccione (Magnetic/Lion Forge)
Best U.S. Edition of International Material—Asia
Abara: Complete Deluxe Edition, by Tsutomu Nihei, translated by Sheldon Drzka (VIZ Media)
Dead Dead Demon’s Dededede Destruction, by Inio Asano, translated by John Werry (VIZ Media)
Laid-Back Camp, by Afro, translated by Amber Tamosaitis (Yen Press)
My Beijing: Four Stories of Everyday Wonder, by Nie Jun, translated by Edward Gauvin (Graphic Universe/Lerner)
Tokyo Tarareba Girls, by Akiko Higashimura (Kodansha)
Best Archival Collection/Project—Strips
Pogo, vol. 5: Out of This World At Home, by Walt Kelly, edited by Mark Evanier and Eric Reynolds (Fantagraphics)
Sky Masters of the Space Force: The Complete Sunday Strips in Color (1959–1960), by Jack Kirby, Wally Wood et al., edited by Ferran Delgado (Amigo Comics)
Star Wars: Classic Newspaper Strips, vol. 3, by Archie Goodwin and Al Williamson, edited by Dean Mullaney (Library of American Comics/IDW)
The Temple of Silence: Forgotten Words and Worlds of Herbert Crowley, by Justin Duerr (Beehive Books
Thimble Theatre and the Pre-Popeye Comics of E. C. Segar, edited by Peter Maresca (Sunday Press)
Best Archival Collection/Project—Comic Books
Action Comics: 80 Years of Superman Deluxe Edition, edited by Paul Levitz (DC)
Bill Sienkiewicz’s Mutants and Moon Knights… And Assassins… Artifact Edition, edited by Scott Dunbier (IDW)
Dirty Plotte: The Complete Julie Doucet (Drawn & Quarterly)
Madman Quarter Century Shindig, by Mike Allred, edited by Chris Ryall (IDW)
Terry Moore’s Strangers in Paradise Gallery Edition, edited by Joseph Melchior and Bob Chapman (Abstract Studio/Graphitti Designs)
Will Eisner’s A Contract with God: Curator’s Collection, edited by John Lind (Kitchen Sink/Dark Horse)
Best Writer
Alex de Campi, Bad Girls (Gallery 13); Twisted Romance (Image)
Tom King, Batman, Mister Miracle, Heroes in Crisis, Swamp Thing Winter Special (DC)
Jeff Lemire, Black Hammer: Age of Doom, Doctor Star & the Kingdom of Lost Tomorrows, Quantum Age (Dark Horse); Descender, Gideon Falls, Royal City (Image)
Mark Russell, Exit Stage Left: The Snagglepuss Chronicles, Green Lantern/Huckleberry Hound, Lex Luthor/Porky Pig (DC); Lone Ranger (Dynamite)
Kelly Thompson, Nancy Drew (Dynamite); Hawkeye, Jessica Jones, Mr. & Mrs. X, Rogue & Gambit, Uncanny X-Men, West Coast Avengers (Marvel)
Chip Zdarsky, Peter Parker: The Spectacular Spider-Man, Marvel Two-in-One (Marvel)
Best Writer/Artist
Sophie Campbell, Wet Moon (Oni)
Nick Drnaso, Sabrina (Drawn & Quarterly)
David Lapham, Lodger (Black Crown/IDW); Stray Bullets (Image)
Nate Powell, Come Again (Top Shelf/IDW)
Tony Sandoval, Watersnakes (Magnetic/Lion Forge)
Jen Wang, The Prince and the Dressmaker (First Second)
Best Penciller/Inker or Penciller/Inker Team
Matías Bergara, Coda (BOOM!)
Mitch Gerads, Mister Miracle (DC)
Karl Kerschl, Isola (Image)
Sonny Liew, Eternity Girl (Vertigo/DC)
Sean Phillips, Kill or Be Killed, My Heroes Have Always Been Junkies (Image)
Yanick Paquette, Wonder Woman Earth One, vol. 2 (DC)
Best Painter/Multimedia Artist (interior art)
Lee Bermejo, Batman: Damned (DC)
Carita Lupatelli, Izuna Book 2 (Humanoids)
Dustin Nguyen, Descender (Image)
Gregory Panaccione, A Sea of Love (Magnetic/Lion Forge)
Tony Sandoval, Watersnakes (Magnetic/Lion Forge)
Best Cover Artist (for multiple covers)
Jen Bartel, Blackbird (Image); Submerged (Vault)
Nick Derington, Mister Miracle (DC)
Karl Kerschl, Isola (Image)
Joshua Middleton, Batgirl and Aquaman variants (DC)
Julian Tedesco, Hawkeye, Life of Captain Marvel (Marvel)
Best Coloring
Jordie Bellaire, Batgirl, Batman (DC); The Divided Earth (First Second); Days of Hate, Dead Hand, Head Lopper, Redlands (Image); Shuri, Doctor Strange (Marvel)
Tamra Bonvillain, Alien 3 (Dark Horse); Batman, Doom Patrol (DC); Moon Girl and Devil Dinosaur, Multiple Man (Marvel)
Nathan Fairbairn, Batman, Batgirl, Birds of Prey, Wonder Woman Earth One, vol. 2 (DC); Die!Die!Die! (Image)
Matt Hollingsworth, Batman: White Knight (DC): Seven to Eternity, Wytches (Image)
Matt Wilson, Black Cloud, Paper Girls, The Wicked + The Divine (Image); The Mighty Thor, Runaways (Marvel)
Best Lettering
David Aja, Seeds (Berger Books/Dark Horse)
Jim Campbell, Breathless, Calexit, Gravetrancers, Snap Flash Hustle, Survival Fetish, The Wilds (Black Mask); Abbott, Alice: Dream to Dream, Black Badge, Clueless, Coda, Fence, Firefly, Giant Days, Grass Kings, Lumberjanes: The Infernal Compass, Low Road West, Sparrowhawk (BOOM); Angelic (Image); Wasted Space (Vault)
Alex de Campi, Bad Girls (Gallery 13); Twisted Romance (Image)
Jared Fletcher, Batman: Damned (DC); The Gravediggers Union, Moonshine, Paper Girls, Southern Bastards (Image)
Todd Klein— Black Hammer: Age of Doom, Neil Gaiman’s A Study in Emerald (Dark Horse); Batman: White Night (DC); Eternity Girl, Books of Magic (Vertigo/DC); The League of Extraordinary Gentlemen: The Tempest (Top Shelf/IDW)
Best Comics-Related Periodical/ Journalism
Note: There was a tie in this category
Back Issue, edited by Michael Eury (TwoMorrows)
The Columbus Scribbler, edited by Brian Canini, columbusscribbler.com
Comicosity, edited by Aaron Long and Matt Santori, www.comicosity.com
LAAB Magazine #0: Dark Matter, edited by Ronald Wimberley and Josh O’Neill (Beehive Books)
PanelxPanel magazine, edited by Hassan Otsmane-Elhaou, panelxpanel.com
Best Comics-Related Book
Comic Book Implosion: An Oral History of DC Comics Circa 1978, by Keith Dallas and John Wells (TwoMorrows)
Drawn to Purpose: American Women Illustrators and Cartoonists, by Martha H. Kennedy (University Press of Mississippi)
The League of Regrettable Sidekicks, by Jon Morris (Quirk Books)
Mike Grell: Life Is Drawing Without an Eraser, by Dewey Cassell with Jeff Messer (TwoMorrows)
Yoshitaka Amano: The Illustrated Biography—Beyond the Fantasy, by Florent Gorges, translated by Laure Dupont and Annie Gullion (Dark Horse)
Best Academic/Scholarly Work
Between Pen and Pixel: Comics, Materiality, and the Book of the Future, by Aaron Kashtan (Ohio State University Press)
Breaking the Frames: Populism and Prestige in Comics Studies, by Marc Singer (University of Texas Press)
The Goat-Getters: Jack Johnson, the Fight of the Century, and How a Bunch of Raucous Cartoonists Reinvented Comics, by Eddie Campbell (Library of American Comics/IDW/Ohio State University Press)
Incorrigibles and Innocents, by Lara Saguisag (Rutgers Univeristy Press)
Sweet Little C*nt: The Graphic Work of Julie Doucet, by Anne Elizabeth Moore (Uncivilized Books)
Best Publication Design
A Sea of Love, designed by Wilfrid Lupano, Grégory Panaccione, and Mike Kennedy (Magnetic/Lion Forge)
The Stan Lee Story Collector’s Edition, designed by Josh Baker (Taschen)
The Temple of Silence: Forgotten Worlds of Herbert Crowley, designed by Paul Kepple and Max Vandenberg (Beehive Books)
Terry Moore’s Strangers in Paradise Gallery Edition, designed by Josh Beatman/Brainchild Studios/NYC (Abstract Studio/Graphitti Designs)
Will Eisner’s A Contract with God: Curator’s Collection, designed by John Lind (Kitchen Sink/Dark Horse)
Best Digital Comic
Aztec Empire, by Paul Guinan, Anina Bennett, and David Hahn, www.bigredhair.com/books/Aztec-empire/
The Führer and the Tramp, by Sean McArdle, Jon Judy, and Dexter Wee, http://thefuhrerandthetramp.com/
The Journey, by Pablo Leon (Rewire), https://rewire.news/article/2018/01/08/rewire-exclusive-comic-journey/
The Stone King, by Kel McDonald and Tyler Crook (comiXology Originals) https://cmxl.gy/Stone-King
Umami, by Ken Niimura (Panel Syndicate), http://panelsyndicate.com/comics/umami
Best Webcomic
The Contradictions, by Sophie Yanow, www.thecontradictions.com
Lavender Jack, by Dan Schkade (WEBTOON), https://www.webtoons.com/en/thriller/lavender-jack/list?title_no=1410&page=1
Let’s Play, by Mongie (WEBTOON), https://www.webtoons.com/en/romance/letsplay/list?title_no=1218&page=1
Lore Olympus, by Rachel Smythe, (WEBTOON), https://www.webtoons.com/en/romance/lore-olympus/list?title_no=1320&page=1
Tiger, Tiger, by Petra Erika Nordlund, (Hiveworks) http://www.tigertigercomic.com/
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