“The world is a mad place, and New York was a good place to be mad in.”
Artist Glen Baxter joins the show for a conversation about his new collection, Almost Completely Baxter: New and Selected Blurtings (New York Review Comics). We get into the roots of his absurdism, his first visit to New York City in the ’70s and how it changed his life, where his cowboy-thing started, why he doesn’t define himself as either an artist or a cartoonist (but maybe as a visual poet?), the challenge of doing long-form narrative when so much of his work is single-panel, our mutual dislike of the contemporary art scene, and more! Give it a listen! And go buy Almost Completely Baxter: New and Selected Blurtings!
“All the cultural vibrancy of great cities has been made less possible by the fact that people can’t afford to live there anymore. The energy is dissipated.”
We also get into how absurdism insulates him from this modern world, the impact of Brexit on British culture, why his humor was always a tough sell in the UK, the paradox of political cartoonists’ work being bought by the politicians they ridicule, the joy of ukulele, the experience of having his work knocked off by other artists, the time he got a Cartier commission, and more. Now go listen to the show!
“European culture is important to me. Having that snatched away by Brexit, well, that’s something no one discussed in any of the debates.”
About our Guest
Glen Baxter is the author of many books since the 1970s, including The Impending Gleam, The Billiard Table Murders, and Blizzards of Tweed. His work has appeared in The New Yorker, Vanity Fair, Elle, Vogue, Le Monde, The Observer, and The Independent on Sunday. He is a Chevalier of the Order of Arts and Letters, and his art is often exhibited in New York, Amsterdam, Paris, and London, where “Colonel” Baxter lives. His new collection is Almost Completely Baxter: New and Selected Blurtings (New York Review Comics).
Credits: This episode’s music is Nothing’s Gonna Bring Me Down by David Baerwald, used with permission of the artist. The conversation was recorded at the Bethesda North Marriott on a pair of Blue enCORE 200 Microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on a Heil PR-40 Dynamic Studio Recording Microphone feeding into a Mackie Onyx Blackjack 2×2 USB Recording Interface. Photo of Mr. Baxter by me.
“Everybody was looking for the next van Gogh . . . so that opened up the space for anybody who put two sticks together to be a sculptor, or two dabs of paint on a canvas to be a painter: ‘Don’t miss him! This man is a genius!’ You’re not going to catch the next van Gogh by just throwing everything on a wall.”
Jonah Kinigstein is having a moment . . . at 92! The painter and cartoonist has published his first collection, The Emperor’s New Clothes: The Tower of Babel in the “Art” World (FU Press) and had an exhibition of his work at the Society of Illustrators in the past few months, and he’s just getting warmed up! We met at his studio to talk about the abysmal and unredeemable state of modern art, and why he elected to stay in the representative mode of painting despite the allure and rewards of conceptual art. He also talks about a near-century of New York City, his glory years in Paris and Rome, his disenchantment with the National Academy, and more! Give it a listen!
“Here I was, studying anatomy . . . and there’s a man who’s dripping on the floor! I’ve got a lot of drippings on the floor; I think I’ll put them up!”
Jonah’s got plenty of venom to spare for artists like Pollock, de Kooning, and Hirst, but also talks about his great artistic influences, his reasons for pasting angry anti-modern-art cartoons on the walls in SoHo, why he paints on wood instead of canvas, and making a living designing department store windows and point-of-sale whiskey displays. It’s a fascinating life, and I’m glad we had the chance to talk! You can check out my photos from Jonah’s studio, including several of his panels, over here.
About our Guest
Born in 1923 in Coney Island, Jonah’s early influences were discovered during visits to the Metropolitan Museum- “When I really saw the old masters, it blew my mind, of course.” He attended Cooper Union for a year before he was drafted into the Army, serving from 1942 – 1945. Soon after, Jonah moved to Paris where he spent time at the Académie de la Grande Chaumière, conversing with other aspiring artists, exchanging ideas, exhibiting his work, seeing established artists, and generally soaking up a fertile creative environment. He exhibited in several shows including the Salon D’Automne, Salon de Mai, and the Salon des Moins de Trente Ans, and had one-man shows in the Galerie Breteau and Les Impressions D’Art. After Paris, Jonah moved to Rome on a Fulbright Scholarship and studied at the La Schola Di Belles Artes. After a year, he returned to the U.S. and exhibited his paintings at the Downtown Gallery in Manhattan. Like so many painters, he was unable to make a living solely from painting, so he worked in the commercial art world and did freelance illustration and design. Throughout this time, Jonah’s commitment to his own art never wavered, and he continued to paint and occasionally exhibit.
Credits: This episode’s music is Sous Le Ciel De Paris by Edith Piaf. The conversation was recorded at Mr. Kinigstein’s home on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on a Blue Yeti USB Microphone. Processing was done in Audacity and Logic Pro. Photo of Mr. Kinigstein by me.
“I’ve been very lucky. I’ve had three separate careers: freelance illustrator, then set designer, puppetteer and animator, and now fine artist. I just bluffed my way into every one of ’em.'” –Wayne White
Artist Wayne White joins the show to talk about how his life and art have changed since he starred in the documentary Beauty is Embarrassing (which, if you haven’t seen it, go do so now now NOW!). We talk about the allure and absurdity of hubris, how much of the movie-Wayne maps onto the real version, how LA influenced his word-paintings, how he balances art and commerce, what happens to the giant puppets that he makes for installations, what he thinks of Jeff Koons, why he’s moving toward art-as-public-spectacle, what art form he’s dying to get back to, what his next big project is, when he’s gonna get rid of that beard, and more! Give it a listen!
“Cartooning is the hardest craft I ever did, because it’s no-shit-everything-has-to-work. With a painting, you can fudge things. Everything in a cartoon has to work, like a car, or it won’t run. I learned a lot about craft and discipline from cartooning, way more than painting.” –Wayne White
But first, we have an interview with Wayne’s wife, Mimi Pond! I interviewed Mimi last May (go listen to it!) at the Toronto Comic Arts Festival, shortly after the release of her graphic memoir, Over Easy. This time around, we talk about the success of the book, the surprises of the book tour, how the sequel’s progressing, how it felt to win a PEN Center USA Literary Award, and more! (There are also some overlapping questions, and I thought you guys might dig hearing their different perspectives on topics like LA vs. NYC, and becoming empty-nesters.)
“In LA, it’s the law that you must be engaged in writing a screenplay with your hairdresser, pool boy, personal trainer, life coach, dog walker, or yoga instructor.” –Mimi Pond
About our Guests
Wayne White is an American artist, art director, illustrator, puppeteer, and much, much more. Born and raised in Chattanooga, Wayne has used his memories of the South to create inspired works for film, television, and the fine art world. After graduating from Middle Tennessee State University, Wayne traveled to New York City where he worked as an illustrator for the East Village Eye, New York Times, Raw Magazine, and the Village Voice. In 1986, Wayne became a designer for the hit television show Pee-wee’s Playhouse, and his work was awarded with three Emmys. After traveling to Los Angeles with his wife, Mimi Pond, Wayne continued to work in television and designed sets and characters for shows such as Shining Time Station, Beakman’s World, Riders In The Sky, and Bill & Willis. He also worked in the music video industry, winning Billboard and MTV Music Video Awards as an art director for seminal music videos including The Smashing Pumpkins’ Tonight, Tonight and Peter Gabriel’s Big Time.
More recently, Wayne has had great success as a fine artist and has created paintings and public works that have been shown all over the world. His most successful works have been the world paintings featuring oversized, three-dimensional text painstakingly integrated into vintage landscape reproductions. The message of the paintings is often thought-provoking and almost always humorous, with Wayne pointing a finger at vanity, ego, and his memories of the South. Wayne has also received great praise for several public works he has created, including a successful show at Rice University where he built the world’s largest George Jones puppet head for a piece called ‘Big Lectric Fan To Keep Me Cool While I Sleep.’ He was the subject of Neil Berkeley’s 2012 documentary, Beauty is Embarrassing.
Mimi Pond is a cartoonist, illustrator and writer. She’s created comics for the LA Times, Seventeen Magazine, National Lampoon, and many other publications. Her TV credits include the first full-length episode of The Simpsons, and episodes for the shows Designing Women and Pee-Wee’s Playhouse. She lives in LA with her husband, the artist Wayne White. She is currently working on the sequel to her 2014 graphic memoir, Over Easy.
Credits: This episode’s music is I’m Ragged but I’m Right by George Jones. The conversation was recorded in Wayne and Mimi’s dining nook on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. The intro and outro were recorded on a Blue Yeti USB Microphone. Processing was done in Audacity and Garage Band. Photos of Mr. White and Ms. Pond by me.
It’s time for a (somewhat) long-delayed new episode of The Virtual Memories Show!
“Picasso said that the way you draw your circle is your style.”
This time, postmodern cartoonist Bob Sikoryak talks about the high/low mashups of his amazing book, Masterpiece Comics, the 1980’s art scene in NYC, the sea change in the acceptance of comics as art and entertainment, the (un)importance of having an individual drawing style, and more!
“It’s amazing to me how comics artists can speak to a generation, and that’s it. When you make something, it’s of your time, no matter what you do.”
We also reflect on the art of mimicry, the history of popular art, and who decides when it’s too soon to goof on Dostoevsky. I’ve been a fan of his work since I first read his Inferno Joe strip in 1989, so getting the chance to sit down with Bob for a conversation was a joy. (He’s the sweetest person I’ve met in comics.)
“My roommate in college said, “If you keep reading those comics, it’s gonna affect your style,” and clearly he was right.”
Photo by Kriota Willberg.
About Our Guest
R. Sikoryak has drawn cartoons for numerous media giants, including Nickelodeon Magazine, The New Yorker, and The Daily Show with Jon Stewart, as well as for independent publications, films and theater productions. His cartoon slideshow series Carousel has been presented around the U.S. and Canada. He also teaches and lectures on comics and illustration. He lives in NYC with his wife and frequent collaborator Kriota Willberg.
About Our Sponsor
This episode is sponsored by Out of Print Clothing! Visit their site and check out their great selection of T-shirts, fleeces, bags and other gear featuring gorgeous and iconic book cover designs.
The Virtual Memories Show is on iTunes! If you’d like to subscribe, visit our iTunes page!
If you’d like to check out past episodes, you can find us on iTunes or visit the Podcast page for all our back episodes, as well as e-mail signup and tip jar! And why don’t you friend the Virtual Memories Show at our Facebook page? It’d make my mom happy.
Credits: This episode’s music is Ambicion Eterna by Thievery Corporation. I recorded the intro on a Blue Yeti mic into Audacity, and the conversation with was recorded in Mr. Sikoryak’s home in Stuy Town in NYC, on a pair of Blue Encore 100 mics, feeding into a Zoom H4N recorder. All editing was done in Garage Band, with some post-processing in Audaity.