Something So Strong

Hot licks for a cold night: JD McPherson and band rocking the Ale House,
Troy, NY, March 3, 2014. Photo by Jeremy Clowe.

March is in like a lion! Last night JD McPherson was back in town, for a return engagement at Troy's Ale House (where they first played last July). Once again, we had a blast listening to his classic rhythm and blues sound in this charming, intimate venue (awesome chicken wings), and enjoyed chatting with the band afterwards.

I was particularly interested to find out from the pub's staff that McPherson's drummer, Jason Smay, is originally from my hometown of Rochester, New York. It turns out that Smay used to play with one of my favorite bands from the area, The Frantic Flattops, and I can see how jamming with those rockabilly greats would serve him well in his current gig (amazing how he can simultaneously shake a maraca and pound the drum skins, while keeping perfect rhythm). 

The band was on their way to Rochester from Troy, and this afternoon I was able to hear a live streaming of an interview McPherson gave to WBER, the station where I used to DJ in the mid-90s. Hopefully JD and the boys will be back in the area soon—I wouldn't mind a chance to interview the band myself (signed, sealed, signified).

Speaking of interviews, I just posted an uncut version of an interview I conducted with Neil Finn, one of my long-time musical heroes. I have been a fan of this beloved New Zealand singer/songwriter since I first heard his band, Crowded House back in the mid-80s. Coincidentally, this morning my alarm went off to the sounds of their hit, "Something So Strong" playing on the radio— not a bad way to start the day.

My video interview was conducted at Wilco's Solid Sound Festival, held at Mass MoCA, where Finn had performed with his side project, The Pajama Club back in June 2011. An honor to interview Finn, I enjoyed learning more about his new band and musical family, which includes sons Liam and Elwood, who are embarking on successful music careers of their own (I have some nice footage of Liam playing in the museum galleries during the festival—I hope to share soon).

This past month, Neil Finn has continued his creative journey with the release of his third solo album, Dizzy Heights. Our local station WEXT has been playing the album's first single, "Flying In The Face of Love," and it's sounding good... as always. 

Inspiring to hear artists keeping it real... and strong... after all these years.

Related Links:

http://neilfinn.com

www.pajamaclubmusic.com

www.jdmcpherson.com

"JD McPherson: Giving The Drummer His Due," Rochester City Newspaper, July 3, 2013

Museum Studies

We are now truly an art museum family.

This past week Sarah started her job in the education department at Albany Institute of History & Art (AIHA)—we are thrilled, since it brings her back to her original course of study. A talented artist, she is also great with kids—so hopefully this is the beginning of a positive experience for her.

Erastus Dow Palmer sculpture exhibition
at Albany Institute of History & Art. Photo by Jeremy Clowe.

Founded in 1791, AIHA is one of the oldest museums in the nation. Its holdings are said to form the best collection in the United States documenting the life and culture of the Upper Hudson Valley region from the late seventeenth century to the present day. It's a beautiful building and intriguing collection—my favorite are the works by Nineteenth-Century American sculptor, Erastus Dow Palmer (1817-1904); a grand, cascading stairwell in the museum frames an elegant grouping figures created by the artist, who lived for many years in the Albany area. In addition, there are a considerable number of works by contemporary artists. Last week we attended an evening lecture, where many of the exhibited artists spoke about their work—it was an interesting talk, which struck me as slightly different in tone from those offered at my museum, which focuses on art of a more narrative nature.

Things have been busy at Norman Rockwell Museum as well. We recently announced a major gift from the Famous Artists School, one of the largest art correspondence courses of the twentieth century. Norman Rockwell was one of the featured instructors for the program, which was in business from the late 1940s through my childhood (I remember their "We're Looking For People Who Like To Draw" ads on the back of my comic books). The donation nearly doubles our collection, with more than 5,000 un-catalogued artworks, including several original works created by Rockwell, plus an archive of hundreds of thousands of items. This past week I coordinated a visit for a major press contact, which hopefully will result in great exposure for the Museum and our mission.

From The Dean & DeLuca Sketchbook, Lynn Pauley, 2001.
All rights reserved.

My other big accomplishment this past week was finally picking up a new HD video camera and accessories for the Museum. We are now the proud owners of a beautiful Sony PMW-100 XDCAM, made possible through the generosity of one of our National Council members (who has a background in broadcast television production himself). This upgrade should enable me to produce more quality promotional and exhibition videos for the Museum—I'll cross my fingers. 

Actually, the day after my pilgrimage to B&H Photo in New York City (where I picked up our new items), I was already putting the video equipment to good use. I set up and captured an interview with Lynn Pauley, an illustrator known particularly for her reportage-style work. The camera picture looked wonderful, and Pauley proved to be a interesting subject—I enjoyed her sense of humor and learning more about her work, which held an constant, energetic line quality.

Some promising new opportunities ahead for me and Sarah. I'm looking forward to taking it to the next level. 

Related Links:

Albany Institute of History & Art

Albany (NY) History: Erastus Dow Palmer

"Famous Artists School archives donated to museum," Westport News, March 2, 2014

The British Invasion

Man, this has been some winter (Polar Vortex be damned!). Thankfully, February is also the month of love, and there has been plenty of that to spare... as four wise men once sang, "love is all you need."

This month also marked the 50th anniversary of the Beatles' arrival on North American shores. Of course there were plenty of tributes and media attention, as there seem to be with every Fab Four milestone. I was thinking I would resist the temptation, but recent reports have actually taught me a thing or two about the four lads that I didn't know, and made me appreciate their influence all the more.

"The Fabs" were the first band I ever loved. Any music I have listened to (since becoming hooked at age ten) has been judged by that melodic template. I always find myself gravitating towards British pop/rock, but was surprised to learn that prior to the winter of 1964, acts from the UK were seen as some kind of novelty.

We attended a great lecture recently, given by Skidmore College Music Professor/Chair Gordon R. Thompson. An ethnomusicologist, Thompson is also a Beatles' scholar--teaching courses on the subject, and authoring such books as Please Please Me: British Pop, Inside Out. His illustrated/musical talk was conducted in various locations around the Capital Region, and we caught it at Schenectady's great public library on February 8 (the weekend that the Beatles made history on The Ed Sullivan Show). 

It was interesting to learn about how the band tried to release successful records here in the States before 1964, but they all flopped (Please Please Me and She Loves You included). It wasn't until American media learned of the phenomenon occurring across Europe-- in particular, 1963's Roayl Command Performance-- and began reporting about "Beatlemania." 

At the same time, as Thompson pointed out, President John F. Kennedy was assassinated. A high-profile story on the band was bumped from Walter Cronkite's nightly news, and the nation went into mourning. The lecture theorized that the Beatles music and energy acted as a welcome relief after the devastating news. I did not know that the band refused to visit America until they had a top hit, and that is exactly what they did-- they didn't tour here until "I Want To Hold Your Hand" reversed their fortunes.

Another thing I did not realize was that host Ed Sullivan had to wait on the tarmac of London's Heathrow Airport, while fans reacted to the Beatles' incoming flight arrival. That is what clued him into the band, and booked them on the show. Last summer Sarah and I caught a "Live at Letterman" taping at the former Ed Sullivan Theater, and I remember being amazed at how small the studio seemed-- this is where John, Paul, George, and Ringo were introduced to the U.S. on February 9, 1964.

On the night of this anniversary, they aired a Grammy tribute to the Beatles on CBS-TV. It was alright-- fun to see Paul and Ringo playing together again, but pretty obvious that, for the most part, the modern acts trying to cover their songs really lacked what made the band and their songs so special. Stevie Wonder was there, and did a pretty funky version of "We Can Work It Out"-- I expected as much, as he released a cool cover of that song back in 1970. Sadly, the recent tribute show might serve as a telling example of how much spontaneity, craft, and soul is lost in modern pop/rock. Paul and Ringo just blew everyone else away when they took the stage. 

Looking back, I just discovered another fantastic 1970s cover version of the Beatles: "I Want To Hold Your Hand", recorded by the Reverend Al Green-- I had never heard it before, but it has kept me smiling ever since:

Another idea that I hadn't really thought about was that the Beatles, when they were first starting, were basically giving back their own covers of popular American rock music-- Elvis, Chuck Berry, early Motown-- which they loved. Obviously they put their own Liverpudlian spin on it (I always get a kick out of hearing George Harrison's heavily accented singing in those days). 

Anyway, I thought I wasn't going to get sucked in, but so it goes... once again, eagerly devouring information about the Beatles and their lasting legacy. Beyond their music, it's interesting to learn about the cultural aspects-- a new generation defining their own times. "Mad Men" learning to coexist with the hippies. 1964 was an important year-- my parents got married-- so I can't help but find myself intrigued by the changes that were occurring at the time.

There have been countdowns in the last month, so here's one more: my attempt at a list of my all-time, favorite Beatles songs (with help from the excellent The Beatles: A Hard Day's Write to remember them all):

-"Please Please Me" / "From Me to You"

-"Twist and Shout" / "Misery"

-"I Want To Hold Your Hand"

-"Ticket To Ride"

-"You Can't Do That" 
"Nowhere Man"

-"We Can Work It Out"

-"I'm Looking Through You"

-"Eleanor Rigby"

-"I'm Only Sleeping"

-"A Day in the Life"

-"Lovely Rita" / "Good Morning Good Morning"

"All You Need Is Love"

"Hey Jude"
"All Together Now"

"Happiness Is a Warm Gun" / "I'm So Tired" / "Bungalow Bill"

"While My Guitar Gently Weeps"

"Across The Universe" rarities version

"Something"

"Here Comes The Sun"

"I Want You" 

It's all good, really. I'm not such a fan of the Let It Be album, but this past month I FINALLY watched the film. It gave me a new appreciation for the band's skill, even as they were disintegrating. The scenes of the four working out songs in the studio confirmed how skilled they were. I have been reading Malcolm Gladwell's book Outliers, and he mentions the Beatles as having one of the key elements of "genius"-- the idea that it takes about 10,000 hours of practicing to achieve mastery in a field. What I hadn't thought about was the Beatles were already experts by the time they hit our shores-- having played endless hours in the rough pubs of Hamburg, Germany.

It's hard to imagine another band coming along and achieving their lasting impact, but my early love of the Beatles (a generation removed) would manifest itself in a love for 80s and 90s Britpop, and plenty of exciting bands in the time since. 

Ten years ago I had my own "Ed Sullivan" moment, as I managed to land the first televised interview with the UK band, Keane here in the U.S. The band has just released a retrospective of their career (according to Q magazine they are taking a "hiatus," and singer Tom Chaplin is looking at a solo album). To commemorate, I recently posted my original, "uncut" Berkshire Soundstage interview with the lads. I plan to post similar interviews from my "really big shew" (as Sullivan would put it).

"In the end, the love you take is equal to the love you make..." The Beatles will no doubt continue to impress generations of fans and musicians to come, so... alright, keep those anniversary tributes coming.

Piece By Peace

The "Golden Rule" mosaic. UN Photo/Milton Grant.
www.unmultimedia.org

This week the United Nations Headquarters in New York held a rededication ceremony for their large mosaic based on Norman Rockwell's Golden Rule. Created by a group of artists in Venice, Italy, the mosaic was originally presented to the UN in 1985 as a gift from the U.S. by First Lady Nancy Reagan. Five years ago it was taken down for repairs, when it was discovered to contain large cracks that threatened its integrity. I have only been outside of the UN Secretariat Building (for a peace march during the 2010 NPT Review Conference), but several years ago my wife made it in with the League of Women Voters; she says that the mosaic is an impressive sight to behold.  

It is fun to point out that the original Rockwell painting, part of the permanent collection of Norman Rockwell Museum, actually started life as an idea to illustrate the United Nations' humanitarian efforts. Conceived in 1952 and created in 1953, the original drawing included 65 people, representing the nations of the world, standing hopeful behind three UN delegates (USSR, United Kingdom, and United States). Rockwell eventually abandoned this illustration because he felt it seemed pretentious, but eventually incorporated several of its multicultural group of figures into one of his finest works: Golden Rule appeared on the cover of The Saturday Evening Post on April 1, 1961—a colorful and dynamic composition with the inspiring words: "Do unto others as you would have them do unto you."

The restoration for the mosaic was done by Williamstown Art Conservation Center, which has worked on several pieces from Norman Rockwell Museum's collection over the years, including (you guessed it) Rockwell's United Nations drawing. In 2009 I was asked to travel to Williamstown to create a video documenting how the Museum's fragile work was being repaired by conservators. The restoration process for the pencil on paper work included several fascinating steps, including being immersed in an aqueous water treatment (folks, don't try this at home!).

One of my favorite productions I have created for the Museum, here is the final video. It is currently on view at the Museum, along with the restored drawing and final Golden Rule painting.

Related Links: 

“‘Golden Rule,’ iconic Norman Rockwell mosaic, rededicated at UN Headquarters,” 
UN News Centre, February 5, 2014 

"The Golden Rule: Restoring the Norman Rockwell Mosaic at the United Nations,"
Art Conservator, Summer 2013

"Rockwell's 'Golden Rule,'" Norman Rockwell Museum

Turn, Turn, Turn...

Getting through the last, bitterly cold week of January wasn't made any easier upon hearing the news that Pete Seeger had died. "Where Have All the Flowers Gone?" "If I Had a Hammer," "We Shall Overcome": the legendary folk musician, who lived to age 94, touched generations with the warmth of his music and message.

Pete Seeger in Schenectady, May 2013.
Photo by Jeremy Clowe.

I must admit that Seeger wasn't really on my radar until after I met my wife, and Bruce Springsteen released his Seeger Sessions album in 2006. Unlike Sarah, I did not grow up with much of an awareness of folk music, apart from singing such songs as "Kumbaya" or "This Land Is Your Land" in school or church functions. She and I started attending folk concerts quite regularly, and I began to better appreciate the history, power and communal nature of the music.

In 2009 we trekked out to Rhode Island, to attend the 50th anniversary of the Newport Folk Festival. In addition to such acts as Billy Bragg, Fleet Foxes, and The Decemberists, I was excited to finally see Pete Seeger perform—it seemed fitting to have the man on the bill, since he was one of the festival's first performers and founders. It was truly a special moment when the man took the stage, leading the assembled in a spirited sing-along of such standards as "This Little Light of Mine" and "Guantanamera"—I think even the most jaded concert-goer let down their guard and joined in, feeling like they were transported back to their early school days by the end of his set.

Pete Seeger and grandson Tao Rodriguez-Seeger
teach the crowd to sing at the 50th anniversary of
Newport Folk Festival, August 1, 2009.
Photo by Jeremy Clowe.

Seeger seemed at once relentless, optimistic, and humble; he never stopped believing in the power of music to bring people together. Through his talent and idealism, he called attention to social justice, civil rights, and the environment. As someone with deep ties to New York's Hudson Valley, I appreciate what Seeger was able to achieve through his Hudson River Sloop Clearwater organization, helping to bring awareness to and restore much of the polluted river. I understand that he visited Norman Rockwell Museum back in 1996, the same year he was inducted into the Rock and Roll Hall of Fame, to perform during a benefit concert for the cleaning up of the nearby Housatonic River; as internationally known as he was, he found equal time to connect with the local stage. 

Sarah and I felt fortunate to see the artist perform one last time, during an intimate concert with his sister Peggy at Schenectady's Proctors Theater last year. Still nimble on the banjo and singing with conviction, he was a gentle and hopeful inspiration.

Pete and Peggy Seeger sharing the spirit of music at Proctors,
Schenectady, NY, May 12, 2013. Photo by Jeremy Clowe. 

When asked this past week to name my favorite Seeger song, I had to choose "Turn! Turn! Turn!" which he wrote back in the late 1950s. The lyrics were adapted from the Bible's Book of Ecclesiastes: "To every thing there is a season, and a time to every purpose under the heaven," one of my grandmother's favorite scriptures. When she fell ill a few years ago, I remember singing the song to her at her bedside, unselfconscious of the nursing home setting. It seemed an appropriate way to further honor her at her memorial service once she passed—strumming my guitar, joined in song by my future wife, it was harder to get through than I imagined... but hopefully I managed to properly express the beautiful spirit of Pete's song.

Mad Bad and Dangerous To Know

At least there's the soundtrack...
courtesy www.nonesuch.com

I have definitely been getting a crash course in film studies lately. Sarah and I have been watching a ton of TV and movies and, more often that not, there seems to be a common thread that we are drawn to.

Yesterday we made it out to see Inside Llewyn Davis, the new film by the Coen Brothers. A longtime fan of the brothers' quirky tales of lovable losers, I have to admit that I was disappointed by this near-humorless movie. Don't get me wrong, the music and cinematography definitely paint the picture of the early '60s New York folk scene, but that was about all I found attractive. Oscar Isaac seems a talented singer, but there is nothing sympathetic about the title character that he portrays. Miserable Llewyn Davis, walking trough the Village in his thin coat, insulting people, chasing after lost cats... the film is about struggling and the artistic life, but very early on I didn't find much about this selfish character to root for... isn't that the idea of the anti-hero?

bad-ass gift! The complete "Breaking Bad" series on DVD.
Courtesy www.breakingbadstore.com.

There was an interesting NPR story that came out this past fall about how in the very first episode of Breaking Bad, show creator Vince Gilligan utilized several story and filmmaking tricks to get us to sympathize with Walter White (played by the brilliant Bryan Cranston). A down on his luck chemistry teacher who learns that he has inoperable lung cancer, NPR points out that the filmmakers establish a world full of sad obstacles for the character and then bring us a point-of-view sequence where we can connect with the character's emotions even further. It seemed to do the trick: after five seasons of increasingly evil behavior, I still find myself somewhat rooting for the nerdy teacher turned meth-cooking drug kingpin. 

I have said it before, but I was so impressed with Breaking Bad. The great thing is that the production of the show has been so well-documented, and I have enjoyed listening to the series podcasts on the way to work and watching behind-the-scenes footage on the show's DVDs. Gilligan and his crew have been extremely generous in letting us see what expertise each member of their crew brought to the table (the writer's room comes to mind), making one of the most compelling series of all time. 

Mad about it... how many weeks until April 13?
courtesy: www.amc.com

After bingeing on Breaking Bad, I was eager to immerse myself in another show of equal quality. People had been talking about the 1960s advertising drama, Mad Men for some time, but I hadn't really taken the time to look into it (apart from an unsuccessful attempt by Sarah and I to watch the first episode of season three, and being repulsed by the characters). Late last year I decided to give it a proper try, starting at season one... and many weeks later Sarah and I had a new favorite show. 

I had a feeling I would enjoy the show's attempts to recreate an authentic "look" of the era, but was surprised how I also began to appreciate and care for the characters as they travel through the changing culture of the 1960s. Don Draper (Jon Hamm), Roger Sterling (John Slattery), Pete Campbell (Vincent Kartheiser)... these are all fairly repulsive men who operate in a selfish, cutthroat and sexist world but again, through great writing, performances, and the unfolding nature of episodic TV, you really get to learn the background and different aspects of each character's personality (almost like a psychological study).

When asked about the appeal of Mad Men during a Paley Center talk with the show's creator and cast, actor Jon Hamm made an excellent point: "It takes it's time... it's not dependent on a certain formula or a certain show that has succeeded in the past... it's sort of this cool little one-off." Show creator Matthew Weiner continued that "you don't know what's going to happen, which takes a tremendous amount of effort from the both the audience and the writing, because the audience is really used to getting into the formula of like Agatha Christie or Law & Order or one of those things... and I think it also helps that the show is kind of honest in an almost embarrassing kind of way."

Mad Men and Breaking Bad have kept me on my toes as a viewer—I appreciate that. Like a good novel, these works are not presented merely as "black and white," and I find myself less patient of TV and films that would present otherwise. 

Do the hustle! Amy Adams continues
to shine. Courtesy www.thewrap.com

In the last couple weeks we have also seen the movies Her and American Hustle—both films are expertly made, but not entirely successful for me. The acting is the best part of American Hustle, loosely based on Abscam, the FBI's sting operation of the late 1970s. Actor Christian Bale plays Irving Rosenfeld, a cheating con man with a ridiculous toupee (hard to believe that before this he starred as Christopher Nolan's Batman) who eventually ends up working with an FBI agent to entrap corrupt politicians. Last seen in the Schenectady-based Place Beyond the Pines, Bradley Cooper plays agent Richie DiMaso, who has his own bad hair issues (I realize now this is what he must have been shooting when he showed up for the Pines premiere here in town). There is great dialogue between all the characters, including the always-entertaining Amy Adams, playing Irving's fellow con-artist/mistress Sydney Prosser. It's the kind of work that might be even better as an ongoing TV series, as the plot seems to get a bit unfocused... but again, I loved the period recreation and characters.

Her certainly has an interesting premise: in a not too distant future, a lonely man starts a "relationship" with his computer operating system—with the way technology is heading (simultaneously bringing us together and further isolating) it's a rather sobering thought. 

Photo of filmmakers Spike Jonze and David Fincher
talking movies at the NYC premiere of "The Curious Case of
Benjamin Buttons, December 2008. Photo by Jeremy Clowe.
All rights reserved.

I admire filmmaker Spike Jonze's work, even though I was pretty disappointed with his adaptation of Maurice Sendak's Where The Wild Things Are (maybe that was largely due to Dave Eggers' neurotic screenplay and the whiny voices of the monsters). In a recent interview, Jonze described learning something about vocal performances from that movie, which helped in the production of Her; I can see the benefit, as Scarlett Johansson was certainly captivating as the voice of Samantha The OS. A dressed-down Amy Adams was also fun as a "real-life" friend to Joaquin Phoenix's Theodore Trombley character (including a ridiculous exchange about people cheating on each other's operating systems). Otherwise, the movie felt a little too claustrophobic and depressing for me. I continue to appreciate what Jonze is trying to do, but prefer his more playful music videos and early films. 

So yes, I'm typically drawn to quirky movies and television, with flawed, realistic characters. Furthermore, I certainly enjoy a great looking film, but am beginning to wonder if the majority of critics are being deluded by style over substance... 

www.facebook.com/downtonabbey

TV seems to be winning out at the moment, and hey... it's cozier on the couch with your girl and a bowl of popcorn. Downton Abbey returns tonight, and I too have succumbed to the allure of this period piece looking at the British upstairs/downstairs social hierarchy of the Crawley Family Estate. This season has brought the cast outside of the Abbey a bit more, opening them up to the changing culture of the 1920s Jazz Age—not a bad thing. Again, the production values and performances are superb; I also find it interesting how they are dealing with the departure of actors, and maintaining strong storytelling. 

In a creative sense there's plenty to watch and learn from in the movies, but perhaps more so from the new "Golden Age of TV." Who would have thought?

Take My Breath Away

Stay tuned... David Aja's cover to issue #18 (don't
even get me started). Courtesy blog.david.aja.com

It's Wednesday! Which means...

A. It's Hump Day.
B. It's bloody cold outside.

It's also "New Comic Book Day," the day of the week when all the new releases are shipped to comic book stores around the country (yes, I'm geek chic enough to know that). 

I keep looking on the schedules to see when the next issue of Marvel's Hawkeye book is coming out. Launched immediately following the successful Avengers movie in 2012, the monthly book has been highly acclaimed for the quality of its art and story... perhaps because of the high standard, the book is also notorious for being delayed. So I got a little excited when I saw the book listed on Earthworld Comics' collection of titles coming out this week... but issue #16? Did #15 even come out yet?... No, in fact it hadn't (can they do that?). Turns out I'll have to wait another month to see the beautiful illustrations of artist David Aja--this month it is Annie Wu, who has started rotating the slot with Aja... presumably so he could get it done! Being a purist, I think I'll wait it out (this is sequential art, after all). 

I'm good anyway... a couple hump days ago I scored big time, finally locating Hawkeye writer Matt Fraction's first work with artist David Aja: The Immortal Iron Fist. Currently out of print, I picked up the first two volumes of these new tales of Marvel's old martial arts hero, which show the beginning of Fraction and Aja's creative collaboration. In addition, I picked up the latest issue of Afterlife with Archie-- I know, it sounds like I'm crazy... but this book, which turns the Archie characters into a honest-to-goodness horror graphic novel, is an unexpectedly fun read (I always was a fan of monsters as a kid). Truly creative work by writer Roberto Aguirre-Sacasa and artist Francesco Francavilla, which keeps you guessing which of the Riverdale gang is going to get zombiefied next!

These books are, of course, exceptions to the current norm. Maybe it's the deadlines, but most of the monthly comic books aren't that interesting... reminding me why I left the scene in the first place. 

Breaking out the Spidey tie for the opening of LitGraphic
(with artists Marc Hempel and Mark Wheatley). November 10, 2007.
Photo by Sarah Clowe. ©Jeremy Clowe. All rights reserved.

I blame Norman Rockwell Museum, which reconnected me with the genre with their LitGraphic: World of the Graphic Novel exhibition back in 2007. That show introduced me to many creative artists, who loved this kind of visual storytelling... names like Lynd Ward, whose stunning wordless novel Gods' Men from 1929 can be seen as a precursor to the work of such modern day graphic novelists as Peter Kuper (The System) and Art Spiegelman (Maus). 


I had the great fortune of interviewing about half a dozen of the LitGraphic artists for a video I created for the exhibition. Two of the most entertaining of the bunch were Mark Wheatley and Marc Hempel, whose 1990 mini-series Breathtaker (created for DC's Vertigo line) is an example of the high standard that can be achieved in this art form.

Breathtaker tells the story of Chase Darrow, a woman whose affections are known to kill. A mutant pursued by the government because of her ability to drain life from her lovers, she is hunted by The Man, the world’s first superhuman, who is willing to bring her in dead or alive.

Reading the book during my research for the video, I was really drawn in by the pulp-like storyline and expressive artwork. As I learned, the longtime collaborators blended their talents, with Hempel conceptualizing, pencilling, inking and lettering the book, which was scripted and colored by Wheatley. Hempel's strong graphics were reproduced on clear acetate, providing a framework for Mark Wheatley's vibrant watercolors, which lies beneath it.

Of course that was 1990, and things have certainly changed. For instance, Hawkeye artist David Aja does all his drawing on computer, and most coloring for books is done digitally as well. Mark Wheatley contacted me a few months back to inform me that he and Hempel are looking at "remastering" the Breathtaker project, and even possibly looking at a sequel. Here is a video, which gives a little more background on their exciting news: 

Time flies... I can't believe it has been seven years since we hosted this exhibition, and a whole year since we had comic book artist Alex Ross' work on display. I actually received a call the other day from a reporter from The Wall Street Journal, looking for information about Ross (who I also interviewed for an award-winning Museum exhibition video). It turns out that his exhibition of masterful superhero paintings is heading to Paris (the Mona Bismarck American Center for Art & Culture) this March. Well, if the bon vivants are starting to take note, then you know that comic book art has reached a new pinnacle... keep it coming, I say (this means you, Aja!). 

Related Links:

Mark Wheatley and Marc Hempel's Breathtaker Remastered (indiegogo Campaign)

"Exclusive First Look: Hawkeye #15," January 15, 2014, comicvine.com

Earthworld Comics, Albany, NY