John Gholson from GuttersandPanels.com joins MoisÃ©s to begin our 77-part mega-crossover-Bat-series by discussing some of the best stories to read if you want to get into Batman…aka NOT Dark Knight Returns.
Tagged with “art” (26)
An After Dark for another show (Screen Time 26) suddenly mutates into a full-on trip by The Shack with 70Decibels’s Myke Hurley. We go from talking about his go-to reads to how we compile our personal "SuperTeams" of the characters and stories we follow.
Scott Kurtz has been making the wildly popular webcomic PvP for 15 years. He talks about merch-ifying, starting a print comic, and the challenges and rewards of being accountable to his audience instead of an editor or publisher.
A History of the World in Maps - Late Night Live - ABC Radio National (Australian Broadcasting Corporation)
Throughout history, maps have always been as much about their creators and their worldviews as about reproducing an accurate replica of the world. Early maps were also about the unknown and how to display the borders of the known world. Monsters in illustration were often used to represent what lay beyond the edge of the world, and cartographers competed to create the best and scariest monsters on their creations.
Professor and BBC documentary presenter Jeremy Brotton has produced a study of the cultural values embodied in maps and collected them in a book called A History of the World in Twelve Maps.
All New X-Men artist David Marquez talks about his long road to anything but instant success as an illustrator. From liking & mimicking Jim Lee’s 90’s X-Men to working on Marvel’s mutants himself, he makes the case for why he’s glad he skipped law school.
It’s not every day you get to interview one of your heroes. In this interview with Seth Godin, I do just that. We talk about art and his book, The Icarus Deception.
Moises and Dan welcome Andy Ihnatko to talk about Superior Spider-Man #1, symbiotic storylines, and jumping on points for characters that are multiple decades old.
Merlin Mann joins Moisés to talk about Saga while Dan screens live calls. They inevitably talk a little bit about X-Men, "comics that never end", and the precise/exact/nebulous/opaque thing/things that they love about Saga, and why you should read it.
Get ready for your "to read" list to expand exponentially into quantum space, as Moisés, Merlin, and our listeners also talk about loads of the best modern limited-run maxi-series, including Y: The Last Man, Transmetropolitan, Locke & Key, and seventeen dozen other great reads that start and end, with no revivals, reboots, Next Generations, or Summer Crossover Events. Sometimes it’s a great thing when things just…end.
SPOILERS ABOUND! MoisÃ©s and Dan are joined by "The Incomparable" Jason Snell (host of 5by5’s The Incomparable!) to discuss the Spiderverse-shaking events contained in Amazing Spider-Man #700 and Avenging Spider-Man #15.1. We start spoilers early and often
AUDIE CORNISH, HOST:
We’re gonna take a global look stroll now, looking at street art, everything from a mural of creepy pink bunnies in San Francisco to a sculpture of a brick train engine stuck in the ground in New Zealand to a street light covered with knitting in Bristol, England. It’s all collected on a website and a mobile app that will launch at the end of the month. It’s called Big Art Mob and it’s the creation of Alfie Dennen, who joins me from London to talk about it.
Alfie, welcome to the program.
ALFIE DENNEN: Hi, thank you so much.
MELISSA BLOCK, HOST:
And I’ve logged on now to a beta version of your Web site. You have pictures of 12,000 public artworks in your database. Why don’t you take me now to one of your favorite ones?
DENNEN: I think my favorite really has to be a piece by Anthony Gormley called "The Quantum Cloud." It’s 30 meters tall and it’s set against the Thames. And what he did was write an algorithm which at the center of it, if you look from certain angles, you can see the image of a male form, which is his form. And it’s galvanized steel. It’s this enormously imposing structure, but it sits beautifully within the skyline.
BLOCK: Yeah, it’s incredible. You see this huge form, this male form, in the middle of this - what looks sort of like barbed wire almost surrounding him stretching up into the clouds over the Thames.
DENNEN: You’ve got to see it sometimes. It’s really beautiful.
BLOCK: You know, as we’ve been talking, Alfie, I stumbled upon something called Pixie Doors at Greenwell. And they’re wonderful. They’re these little, tiny painted doors that are embedded in the roots of trees. And they’re, you know, places where fairies or pixies can get into their homes…
BLOCK: …about 10 of them in Cumbria, it says
DENNEN: Yet, I think that this is the thing which excites me most about people: they can go out into the world and they can do these things which have no intention other than to delight you or me, or whoever finds them.
BLOCK: And we get a sense from this that there is a really big range of what you have here. It could be a museum piece right in a public space, a big piece of sculpture. Or a wall of graffiti, or some just little anything, anywhere - a pixie door in the middle of Cumbria.
DENNEN: Yeah, exactly. I mean, you know, we’re not setting out to create a huge canonical work which defines explicitly what is and isn’t art in the public realm. So pixie doors certainly, they fit right in alongside those graffiti walls whose character emerges over years and decades, all the way through to the bronze man and a horse which we all have in our towns, villages and cities.
BLOCK: Isn’t curated in some way? I mean, does anything qualify or do you draw some distinctions between what gets on the app and what doesn’t?
DENNEN: Well, I think if you uploaded a photo of your undoubtedly delightful kitten…
DENNEN: …that would not be art. You might think so, but I think the broader community would not.
BLOCK: And do you think public attitudes toward street art or graffiti have changed over time?
DENNEN: Yeah, I think, you know, starting in the early 1980s in New York you had this enormous sort of savage attack on graffiti and street art culture, in the sense that it was linked directly to crime. And I think that that stigma that surrounds graffiti specifically, you know, it’s dissipated over time. But I think that it’s still largely there.
But graffiti as a form has, of course, evolved and has become, you know, one which is beautiful to look at. Which I think also is different to Johnny 505 tagging up a wall around the corner by the Wal-Mart. So I think that whilst attitudes have changed, there is the sense that maybe our policies haven’t really adjusted to accommodate. And part of that is maybe that the way that we define public art is sort of - it’s no longer really correct.
BLOCK: I’ve been talking with Alfie Dennen. He’s the creator of the Big Art Mob Project, creating a database of the world’s public art.
Alfie Dennen, thanks so much for talking to us.
DENNEN: Thanks so much, Melissa.
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