Mark Jenkins:  Street Illustrations Washington DC

Street Installations

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Bordeaux
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Fuerteventura, Canary Islands

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Prato, Italy

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Barcelona, Spain
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London

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Rio de Janeiro

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Mark Jenkins:  Street Illustrations

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catell ronca

New Illustration /

Catell Ronca

I first stumbled across the beautiful work of UK illustrator Catell Ronca a while back through some striking food themed stamps she created for the UK’s Royal Mail. I’ve been admiring her colorful, deceptively simple illustrations and paintings ever since.
catell ronca
catell ronca

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People in various parts of Mexico


Boston raised Paul D’Amato now resides and teaches in Chicago, where he has extensively photographed three public housing projects from the city’s near west side. Of this series Please Be Free Now, D’Amato says: ‘The subject of public housing, its sudden eradication, and its significance to the history of race and class issues in the U.S, though fascinating, is beyond the reach of photography’.





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Quoted from: Dulce Pinzon
dulcepinzon.com/images/super02.jpg

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Super Heroes!

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About the Photographer:
As a young Mexican artist living in the US, Dulce soon found new inspiration for her photography in feelings of nostalgia, questions of identity, and political and cultural frustrations.

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Dulce Pinzon’s website

Dulce Pinzon

New York, NY

Posted: 3.31.09

More info: Artist site

Rating:

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About “The Real Story of the Superheros”:

After September 11, the notion of the “hero” began to rear its head in the public consciousness more and more frequently. The notion served a necessity in a time of national and global crisis to acknowledge those who showed extraordinary courage or determination in the face of danger, sometimes even sacrificing their lives in an attempt to save others. However, in the whirlwind of journalism surrounding these deservedly front-page disasters and emergencies, it is easy to take for granted the heroes who sacrifice immeasurable life and labor in their day to day lives for the good of others, but do so in a somewhat less spectacular setting.

The Mexican immigrant worker in New York is a perfect example of the hero who has gone unnoticed. It is common for a Mexican worker in New York to work extraordinary hours in extreme conditions for very low wages which are saved at great cost and sacrifice and sent to families and communities in Mexico who rely on them to survive.

The Mexican economy has quietly become dependent on the money sent from workers in the US. Conversely, the US economy has quietly become dependent on the labor of Mexican immigrants. Along with the depth of their sacrifice, it is the quietness of this dependence which makes Mexican immigrant workers a subject of interest.

The principal objective of this series is to pay homage to these brave and determined men and women that somehow manage, without the help of any supernatural power, to withstand extreme conditions of labor in order to help their families and communities survive and prosper.

This project consists of 20 color photographs of Mexican and Latino immigrants dressed in the costumes of popular American and Mexican superheroes. Each photo pictures the worker/superhero in their work environment, and is accompanied by a short text including the worker’s name, their hometown, the number of years they have been working in New York, and the amount of money they send to their families each week.

(top) BERNABE MENDEZ from the State of Guerrero works as a professional window cleaner in New York. He sends 500 dollars a month.

(bottom) LUIS HERNANDEZ from the State of Veracruz works in demolition in New York. He sends 200 dollars a week.

Dulce Pinzón was born in Mexico City in 1974. She studied Mass Media Communications at the Universidad de Las Americas in Puebla Mexico and Photography at Indiana University in Pennsylvania. In 1995 she moved to New York where she studied at The International Center of Photography.

As a young Mexican artist living in the US, Dulce soon found new inspiration for her photography in feelings of nostalgia, questions of identity, and political and cultural frustrations. In her black and white series “Viviendo en el Gabacho” (a Mexican colloquialism for living in the US) she illustrates the dualistic phenomenon of the integration of the Mexican immigrant into the New York landscape.
This concept of dualism was further developed when she used nostalgic iconograpic images from a Mexican card game projected over the naked bodies of her New York friends and loved ones in “Loteria”. “Multiracial” portrayed subjects of multiracial heritage against primary color backgrounds, exposing the frailty of our concepts of race. “The Real Story of the superheroes” comes full circle to reintroduce the Mexican immigrant in New York in a satirical documentary style featuring ordinary men and women in their work environment donning superhero garb, thus raising questions of both our definition of heroism and our ignorance of and indifference to the workforce that fuels our ever-consuming economy.
In her latest project “People I like” she does studio portraits of divas, rock stars, party goers, drama queens and artists, people that fascinate her; all of them Latinos. They are part of what she believes to be a breakthrough in the Latino cultural scene of New York City.

Her work has been published and collected internationally. In 2001 her photos were used for the cover of a publication of Howard Zinn’s book “A People’s History of the United States”. In 2002 Dulce won the prestigious Jovenes Creadores grant in Mexico for her work. In 2006 she won an Honorific Mention in the Santa Fe project competition and she won the 12th edition of the Mexican Biennial of El Centro de La Imagen. Dulce was a 2006 fellow in Photography from the New York Foundation for the Arts and is now participating in the 2007 fall session of the Bronx Museum’s AIM program. She is currently a Ford Foundation fellow and lives in Brooklyn New York.

ON WRITING PERSEPOLIS
By Marjane Satrapi, as told to Pantheon staff

Marjane SatrapiChances are that if you are an American you know very little about the 1979 Iranian Revolution. “This revolution was normal, and it had to happen,” says Marjane Satrapi, author of Persepolis, a totally unique memoir about growing up in Iran after the Shah left power. “Unfortunately, it happened in a country where people were very traditional, and other countries only saw the religious fanatics who made their response public.” In her graphic novel, Satrapi, shows readers that these images do not make up the whole story about Iran. Here, she talks freely about what it was like to tell this story with both words and pictures, and why she is so proud of the result.


Why I Wrote Persepolis

From the time I came to France in 1994, I was always telling stories about life in Iran to my friends. We’d see pieces about Iran on television, but they didn’t represent my experience at all. I had to keep saying, “No, it’s not like that there.” I’ve been justifying why it isn’t negative to be Iranian for almost twenty years. How strange when it isn’t something I did or chose to be?

After I finished university, there were nine of us, all artists and friends, working in a studio together. That group finally said, “Do something with your stories.” They introduced me to graphic novelists. Spiegelman was first. And when I read him, I thought “Jesus Christ, it’s possible to tell a story and make a point this way.” It was amazing.

Persepolis Writing a Graphic Novel is Like Making a Movie

People always ask me, “Why didn’t you write a book?” But that’s what Persepolis is. To me, a book is pages related to something that has a cover. Graphic novels are not traditional literature, but that does not mean they are second-rate. Images are a way of writing. When you have the talent to be able to write and to draw it seems a shame to choose one. I think it’s better to do both.

We learn about the world through images all the time. In the cinema we do it, but to make a film you need sponsors and money and 10,000 people to work with you. With a graphic novel, all you need is yourself and your editor.

Of course, you have to have a very visual vision of the world. You have to perceive life with images otherwise it doesn’t work. Some artists are more into sound; they make music. The point is that you have to know what you want to say, and find the best way of saying it. It’s hard to say how Persepolis evolved once I started writing. I had to learn how to write it as a graphic novel by doing.

What I Wanted to Say

I’m a pacifist. I believe there are ways to solve the world’s problems. Instead of putting all this money to create arms, I think countries should invest in scholarships for kids to study abroad. Perhaps they could become good and knowledgeable professors in their own countries. You need time for that kind of change though.
I have been brought up open-minded. If I didn’t know any people from other countries, I’d think everyone was evil based on news stories. But I know a lot of people, and know that there is no such thing as stark good and evil. Isn’t it possible there is the same amount of evil everywhere?

If people are given the chance to experience life in more than one country, they will hate a little less. It’s not a miracle potion, but little by little you can solve problems in the basement of a country, not on the surface. That is why I wanted people in other countries to read Persepolis, to see that I grew up just like other children.

It’s so rewarding to see people at my book signings who never read graphic novels. They say that when they read mine they became more interested. If it opens these people’s eyes not to believe what they hear, I feel successful.

You Have to Think Freely to Know What to Write

My parents were very proud when they read Persepolis. If I criticize them once in a while, it’s because it’s the truth, and they laugh. My father always says, “It is only an idiot who never changes his mind.” My parents accept that times change, and they are not right anymore. They’ve taught me that you can make mistakes.

They were extremely open-minded about what I said and they were demanding. I’m also tender with them because they were magnificent parents. They gave me the most important thing — the freedom of thinking and deciding for myself. The best present anyone can receive is not being formatted because the world or a religion wants you to be.

<!–I Have Mistakes, Not Regrets

In the translation that my American editor is working on now, I tell about when I was only seventeen years old and a junkie living on the streets. It’s a terrible part of my life, but I don’t say it was a mistake. I learned from that that you can change your life anytime. Of course, I’d rather not have lost two years of my life. But I had my hippie friends in the streets. Maybe I would be boring without them. Maybe I would be an engineer marrying another boring engineer, and not a graphic novelist.

When I was featured in a prominent magazine, the publishers didn’t want to print how my great-grandfather was a king, but I ended up a junkie. They decided I would not be a role model if I want to make this past public. But there is nothing I regret. If one is intelligent, one can learn and grow from her mistakes. I like myself now and that is what matters.
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You’ve never seen anything like Persepolis–the intimacy of a memoir, the irresistibility of a comic book, and the political depth of a the conflict between fundamentalism and democracy. Marjane Satrapi may have given us a new genre.”
–Gloria Steinem
Read more about the book and view sample pages here.


MORE ABOUT MARJANE

IMAGE GALLERY

  • Come see some of the details from the pages of Persepolis.


KEEP CLICKING:

THE HISTORY OF PERSEPOLIS

IRAN ON THE NET

THE NEW WAVE OF FRENCH COMICS

  • Joann Sfar’s site (in translation): art that is an inspiration to Marjane
  • NPR: Listen to a recent Morning Edition program about the popularity of comics in France

  • And from hot sexy girls to biblical illustrations! How’s that for a good segue? Ever had the urge to illustrate a text from Leviticus, but had no avenue with which to share your vision? Well fear not my children, for The Flaming Fire Illustrated Bible is here. It’s a rich and diverse collection of illustrations by a wide variety of artists, depicting various texts from King James Version, plus the Apocrypha commonly included in Catholic Bibles — Esdras; 2 Esdras; Esther; 1 Maccabees; 2 Maccabees; Tobit; Judith; Wisdom; Sirach; Baruch; Susanna; Azariah; Manasseh and Bel. So like, why would someone start something like this? The creators of this site state: Our goal is to illustrate the entire bible verse–by–verse— one illustration per verse. We plan to enlist artists and illustrators from all over the world— including you!— to help us bring each of the 36,665 verses in our database to life. Some of the artists who have contributed to this project are Tony Millionaire, Farel Dalrymple, Ken Habarta, Dame Darcy, Danny Hellman, R. Sikoryak, Esao Andrews and Lauren Weinstein. The illustration you see above you is by Dave Lapp, and you can see more samples of his amazing bible illustrations here. So go forth, be fruitful and creative, and send your visions in!

    This entry was posted on Friday, June 10th, 2005 at 9:39 am


    Filed under: Comedy, Fandom

    If you’re a fan of either man (or both), I bet the question Is Judd Apatow this generation’s John Hughes? inspires an immediate, gut-level “yes” or “no.” It’s either a valid comparison or a terrible insult. But let’s talk about it.

    The two filmmakers are similarly prolific. Between 1984 and 1991, Hughes served as writer, director, or producer — and sometimes all three — on a whopping 14 movies. Apatow, meanwhile, has his name on 15 films just since 2005, three as director (The 40-Year-Old Virgin, Knocked Up, and the upcoming Funny People), and the rest as writer or producer. Granted, a producer (especially “executive producer”) doesn’t always have much influence on the actual creative content of a film, but it’s not hard to look at something like, say, Superbad, and see Apatow’s fingerprints.

    Apatow-produced films tend to rely less on tight screenplays and more on improvisation and horsin’ around — but Hughes dabbled in that, too, particularly when working with people like Steve Martin and John Candy (Planes, Trains & Automobiles) or Chevy Chase (the Vacation movies). There are supposedly enough deleted scenes from Planes to make a three-hour version of the film, an idea that should sound familiar to Apatow fans.

    On a deeper level, the films by Apatow and Hughes tend to focus on teenagers or immature adults whose lives are altered either by regular slice-of-life stuff (losing one’s virginity; graduating from high school) or major events (unplanned pregnancy!). The films are always comedies, and often sarcastic and caustic (and, with Apatow, incredibly vulgar), yet there’s always a tender side, too. Their films have heart.
    Technically, Apatow and Hughes even worked together on Drillbit Taylor, which Apatow produced and which was based on an old story by Hughes (who was credited as “Edmond Dantes”).

    But there are differences, too. Hughes is reclusive and avoids interviews; Apatow is outgoing and omnipresent. Hughes worked almost exclusively in the PG and PG-13 realms, while Apatow is usually rated R (and a hard R at that). Hughes’ films felt simpler, more teen-friendly — but then again, teens have changed a lot since the mid-1980s. Kids under 17 might technically be barred from seeing Apatow’s films, but they see them anyway, and they relate to them.

    Finally, John Hughes and Judd Apatow both have four-letter first names starting with “J,” and six-letter last names. I don’t know what more proof you need.

    I leave it to you. Is Judd Apatow this generation’s John Hughes? If not, does that title fall to someone else? Or was Hughes a hack who wasn’t worth emulating anyway? (Note: If that’s your position, may the gods have mercy on you.)