Pulp cover art
Pulp Cover Art: A Unique Place in Art History
Pulp cover art has a unique place in art history. It has tremendous nostalgic appeal for anyone who enjoyed The Hardy Boys, comic books, or even a peek at The Old Man's collection of True Detective or Stag magazines. Its primary purposes were to grab your attention on the newsstand amid a crowded field of competitors and to evoke emotions, usually with a provocative image of impending peril or suggestive sensuality. Common elements typically include a couple of 'toughs,' a large-breasted woman, and a 'citizen' or a 'hero.' The example above (original on the left, Rudolph Zirn, 1939) has all three.
We are excited and delighted to announce a gallery exhibit of original pulp cover art. The show will open in October (date TBD) and will include both the original art and the subsequent ephemera the originals were used to produce. The colors are extremely vivid, and the techniques used by the artists to evoke a response are fascinating.
This is the third year in a row that we have had the pleasure of working with Grapefruit Moon Gallery in presenting their collection of illustration art. In 2007, we presented original pin-up art and in 2008, we showcased original Cream of Wheat advertising art. Pulp magazine art is yet another sub-genre of illustration art that we are proud to present.
The 'pulps' were fiction magazines that were very popular from about 1930 to 1960. The term 'pulp' comes from the cheap paper typically used in production (cheap paper has a lot of wood pulp). The magazines became noteworthy for their provocative covers. The covers became so important that in many cases, the covers were designed first and the text was designed around the covers. Pulp magazines were also major employers of short story authors, and the subsequent demise of the pulp industry created a vacuum for these authors that has never been filled.
Oil or gouache paintings were used to create the original cover art. The colors are intentionally vivid to compensate for the primitive printing technology at the time. Several pulp cover artists (e.g., Frank Paul and Margaret Brundage) became accomplished artists in this genre and attracted a following. Pulp art has recently experienced a renaissance in popularity and is widely sought by collectors.
More details will be shared as they evolve, but I thought this teaser would have value.
Art for hire
Re-Framing a Norman Rockwell Concept Sketch
Recently, this Norman Rockwell concept sketch came into the shop to be re-framed. Rockwell would rough sketch a proposed painting, present it to a potential client, and solicit feedback. Hopefully, he would be awarded the project, complete the piece, get paid, and then move on to the next project.
Does the fact that an artist is directed what to paint diminish the art itself? Not at all. Artists who can support themselves solely through their creative output are rare. Taking on commissioned projects is only a small step from being a full-time commercial illustrator. The final result might not always be the artist's first choice, but finding opportunities to be creative within the boundaries of a client's expectations requires a unique skill set and artistic maturity.
This brings us to an exciting upcoming exhibit that was just finalized this week. The working title (subject to change) is "Tough Guys and Tough Cookies." It will showcase original art used for pulp magazine covers, which often depict dramatic scenes with someone in peril. This sub-genre of illustration art required artists to be efficient and productive. The paychecks were smaller than those of their peers, but it allowed them to make a living creating art.
This marks the third consecutive year we've had the pleasure of collaborating with Grapefruit Moon Gallery. The first two shows (original pin-up art and original Cream of Wheat art) were very successful. This exhibit will be a bit different but consistent with our mission of presenting 20th-century illustration art and its various subsets. More details will be shared next week.
In Our Own Backyard follow-up
In Our Own Backyard: U.S. Poverty in the 21st Century Exhibit Update
A little over a month ago, a prototype of the 2009-2010 traveling exhibit 'In Our Own Backyard: U.S. Poverty in the 21st Century' was unveiled at the College of St. Catherine in St. Paul, Minnesota. This was an opportunity to gauge reactions and measure the effectiveness of the message. Think of it as a preseason event before the annual Catholic Charities USA convention in Portland in September 2009.
Things have not slowed down since then. Details have been fine-tuned, and the new website can be found here. The tentative schedule for the traveling exhibit is:
September 24-29, 2009: Portland, Oregon
October 29, 2009: Sacramento, CA
January 21, 2010: San Antonio, TX
February 24, 2010: Atlanta, GA
March 8, 2010: Albany, NY
March 25, 2010: Nashville, TN
April 22, 2010: Cleveland, OH
April 29, 2010: Chicago, IL
Mr. Pin-up
Spotlight on Dan Murphy's Illustration Art Collection
The Minneapolis Star-Tribune featured a wonderful story today about Dan Murphy and his illustration art collection. We had the pleasure of working with Dan and Sarah on two different occasions: once in 2007 for The Dream Girl exhibit and again in 2008 for The Cream of Wheat exhibit.
Dan has an impressive collection and is a recognized expert in this genre. I look forward to working with Dan again this year, possibly on a pulp men's magazine (think True Detective) or a science-fiction exhibit.
The War on Poverty
Steve Liss: Photojournalist and Humanitarian
Steve Liss is a highly accomplished photojournalist, with an impressive 43 Time Magazine cover photos to his credit.
However, it is not just his professional success that Liss takes the most pride in. Steve Liss is a humanitarian who uses photo essays to shed light on tough topics. His subjects have included poverty in the Mississippi Delta, runaway youth living on the streets of Hollywood, and studies of the Nuns of Mankato and Alzheimer's disease. He has been honored with the Soros Justice Media Fellowship for his work on juvenile justice and the Alicia Patterson Fellowship for his work on domestic poverty.
We are thrilled and honored to be invited to participate in his latest project, titled In Our Own Backyard: U.S. Poverty in the 21st Century. This unique poverty awareness initiative is being undertaken by more than 15 preeminent American photojournalists. The project's goal is to utilize the visual power of large-format documentary photography to elevate the discussion of making the fight against poverty a national priority.
This project is in partnership with Catholic Charities and their campaign to cut poverty in half by 2020. Starting in the fall of 2009, nine major photographic and multimedia exhibits, each featuring 50 emotionally moving large-format photographs, will tour throughout the United States.
The project will kick off at a leadership summit on April 20, 2009, at the College of St. Catherine in St. Paul, MN. For more information, you can register here and view the invitation postcard here.
Poverty has many faces, and it is impossible to ignore when seen up close and personal. It is projects like this that make our work feel less like work and more like purpose.
Max Becherer update
I was delighted to get a note from Max Becherer this morning. I have planted the seed of thought with Max to begin to prepare a five year retrospective photojournalism exhibit for next year. Max has been in Iraq since the initial days of "Shock and Awe" and has made a career of globetrotting to the hot spots on the planet. But let Max speak for himself:
"Hi John!
So good to hear from you. I hope you are having a great New Year! I am in Cairo, Egypt at the moment but should be heading to Iraq for the Provincial Elections later this month. I also think it will be a good place to be when Obama takes office. I was up at the Egyptian Border with Gaza last week and watched as Israeli bombs blow up the tunnels and as the Palestinian wounded came over on their way to Egyptian hospitals. It was a difficult scene. I was waiting for a chance to enter Gaza but they are keeping a tight lid on things there.
So, your idea sounds great. I would love to do a five year retrospective. There are so many ways we could go with it for sure. I have a portfolio book of images I collected from the last five years.
Last year I started covering the elections in Pakistan. It was interesting and I was even able to head up to Peshawar where the North West Territory begins. What a wild place. In any case, I was in Iraq at the last part of this year for the New York Times and then did an assignment about Samarra for the Smithsonian Magazine which is on newsstands now. This week I head to Baghdad for a month and then in April I will be in Afghanistan where things are expected to be difficult this year. That is all for now.Thanks for checking in with me. I hope we get to see each other soon. Say hello to the crew for me!
Best, Max"
Leah Lundgaard
Introducing 'Art al fresco' Artist: Leah Lundgaard
Leah Lundgaard is the latest 'Art al fresco' artist. We have had the pleasure of knowing Leah for several years and have enjoyed watching her grow as an artist. Leah is a full-time artist, both a painter and a potter.
She typically paints with either a watercolor pencil or oils. A common element in her paintings is a burst of color and activity, such as fall leaves or waves crashing on beach rocks.
Her pottery features an interesting pattern of geometry. I see a Fibonacci sequence in her patterns, a common sequence found in nature. Sunflower heads, honeybee combs, and artichoke flowers are all examples of Fibonacci patterns.
Leah is modest, soft-spoken, and a very genuine person. She clearly has an inner voice that she expresses through her art.