In comics in the US, there is a prevailing stigma of creators being misanthropic shut-ins. A stereotype that afflicts not only content but creators’ self-hood alike, and an identity which is defensibly bunk.
I first met Lyra Hill during a class we had together at the School of the Art Institute. Hill is a filmmaker, cartoonist, and the producer behind the experimental comics reading series Brain Frame. Since it’s conception in 2011, Brain Frame has served as a storytelling platform for a mash-up of emerging and more established artists (myself included).
Every other month audiences are invited to a celebration of strangeness and a showcase of eccentric ambition. In it’s many iterations, the event has become a beloved happening among independent artist communities in Chicago. What began as an exploration into what a comics reading could be, has become a site of social engagement within a medium still haunted by rigid versions of its self.
Lyra and I sat down recently to draw upon and reflect on Brain Frame’s final year.
As the new comics writer for Bad at Sports, I’ve spent more time than I’d like to admit debating how to contextualize comics as an art form for the audience of a contemporary arts blog. Writing about comics from an arts perspective is a relatively new development for a medium that has been around since the 1830s. Historically, comics have been meanwhiled into the margins of art and institutional processes of cultural validation. In a not so distant past, it would be unheard of for the managing editor of an arts publication like B@S to devote an entire column to comics criticism (or for the editor herself to be the creator of a superhero comic featuring a lady lead). Comics were certainly not something made in art school or written about in the canons of art history. Declaring to family members that you wanted to tell stories with words and pictures was cause for embarrassment and heartbreak. But things are shifting. When I told my dad in 2009 that I wanted to use my life to make comic books, it was met with a sigh of relief, “Oh good, we thought you were going to be a painter.”
For the purposes of this blog, and as a cartoonist myself, debates about the validity of comics as a medium bore me. This is not to say that as comics become more enveloped in academia or part of the art economy that artists shouldn’t be paying attention. There is a lot of smart and critical media being published that speaks to this, such as an essay by cartoonist, Caitlin Cass published last month on Inkt Art. For me, comics were validated as a suitable baseline beat for self-expression the first time I found my dad’s stack of pulp comics in his closet, or the first time I checked out a comic book from the public library, or the first time I created a mini-comic as an art student in 2009. The list continues ad infinitum.
Meanwhile… was originally (and continues to be) an interview series and critical exploration which I began with fellow cartoonist, Krystal DiFronzo. We were tired of comics criticism or attempts at canonization that were not indicative of the dense and diverse artistic communities that we, as creators, are apart of. This column is an extension of that project. Each month I will be highlighting and providing captions to an array of artists and thinkers who take comics and time-based storytelling as a given for navigating their world(s).
To kick off this series (and to tide readers over until next month) I would like to underscore comics/things available on the web for leisurely perusal. ENJOY!
1. Aidan Koch’s gorgeous book, The Blonde Woman, was created with assistance from a Xeric Grant and was originally released online via The Study Group Magazine website. I recommend reading it all in one sitting if possible.
2. The New York Times recently published a mini-comic by C.F. called Face It.
3. Cartoonist, Brian Chippendale made an animated music video out of flip-books he drew as a kid. There’s a dragon and eyeball bombs in it – need I say more? Black Pus – 1000 Years