David Parkin gave me a copy of The Devil Is Due in Dreary after my Comic-Con presentation. He’s a friend of a friend and we all ate dinner together, discussing the nature of being a Mormon and an artist and/or a Mormon artist. Also, I’m sad to share, I heard some unpleasant stories about bias against Mormons in Tinseltown. So there’s that.
Anyway, The Devil Is Due in Dreary shares some surface traits with Pariah Missouri—terrifyingly authoritarian religious orders in a Western setting tinged with the supernatural. But Dreary is either modern or near-modern and thus Dreary the town isn’t merely frontier (as is Pariah), but isolated—a pocket of the past trapped in the modern world. Continue reading “Reading The Devil Is Due in Dreary as a Mormon text”
As this post appears, you have less than one day to get into the Pariah Missouri Kickstarter, so open that in a new tab now, so’s you don’t forget.
You may recall that I’ve mentioned this comic before, but that was before I’d read it. Now I have and I’m ready to talk about its Mormon elements.
The first thing to know is that all I can discuss at present of the story’s first two volumes as the third and presumably final volume is the Kickstarter’s raison d’être. Therefore I will not be attempting any sort of Meaning of the Work as a Whole or analyzing its Mormon elements with that sort of goal in mind. Rather, my interest today is comparing the Mormon aspects of the two books available now. After all—that’s what the author challenged me to do!
(The author, Andres Salazar, sent me review copies gratis.) Continue reading “Mormon Easter Eggs and Mormon Veins of Goldin Pariah Missouri”
Part I: Whoops.
Somehow I failed to post this earlier this week. I hope you weren’t coming anyway.
Nathan Florence has directed a new documentary, Art & Belief, about a handful of artists including Trevor Southey and Dennis Smith, who believed not only that Mormonism and fine art were compatible, but that together they could change the world.
The Bay Area Mormon Studies Council is hosting Florence as he shares and discusses a twenty-minute excerpt this Sunday.
Here’s an interview with Florence for more information on the movement and his project, and here’s Terryl Givens on the movement. Visit the website if you would like to receive updates such as additional upcoming events or the film’s rollout.
Part II: A couple takeaways.
For some reason I hadn’t bothered to google him prior, but Nathan Florence is a painter, and a pretty good one at that (based on the jpgs).
I hope to do more on this film as time goes on, but for now, here are two nice quotations from the extant 20 minutes:
“Illustration answers questions. Art asks questions.”
– – – Dennis Smith (I think it was Dennis Smith)
“Vulnerability equals intimacy.”
– – – Trevor Southey (this one I know is correctly attributed)
Part III: What to do with $100,000.
They have a distributor and big names like Sterling Van Wagenen and Lesley Chilcott are on-board, but they need money to finish it. AMV readers are famed for their deep pockets and generous natures so, you know, get yourself an executive-producer credit.
Trevor Alvord and I gave presentations at the recently completed San Diego Comic-Con International. I may get around to connecting the subpar audio to the slideshow, but if you’re interested you can look at the pictures sans commentary now. If you have questions, please ask.
One of the first and most worth discussions questions we took during our Q&A came from Andres Salazar, a writer/artist I’d never heard of before and creator of Pariah Missouri, an indirectly Mormon-themed Western.
The gist of the question was this:
How do we decide, as Mormon creators, how much Mormon to stick into our works?
We should have hosted a panel with creators just to address that question. It’s a good one, and later that evening at dinner with some Mormon filmmakers, we rehashed it.
My answer at the time, basically, was that more specific works are more universal, and we can trust audiences to keep up with fully Mormon works. I made the Maus comparison and should have mentioned American Born Chinese—two widely beloved comics that make the point.
Anyway. That’s it for this minireport. I have some books that were given to me that I’ll write up here on AMV in the near future.
Until then, join me in checking out Pariah Missouri. But don’t dawdle! It has an active Kickstarter and now’s the time to get in. Third volume’s the last volume, so if you want a supernatural western with a Mormony aftertaste, act now.
As part of this ongoing hoax of me being expert, I will be presenting on Mormons in Comics with Trevor Alvord (BYU librarian and the man who has unquestionably outraced me in expertise).
People discussed in my presentation will also be present including Tyler Kirkham (on at least one panel), Ryan Ottley (booth 4601), Mike and Laura Allred (Eisner Awards), Jed Henry (not in my presentation but in the Nucleus booth). There are some other Mormon or Mormon-adjacent folk there as well. Noah Van Sciver is also nominated for an Eisner but, ah, I neglected to ask if he’ll be there.
Center Street in Provo is swiftly becoming the happen’est locale in Mormon arts. Pioneer Book has been hosting the monthly Mormon Lit Discussion Group and, more pertinent to this post, Writ and Vision has been hosting some great events and filling its gallery with provocative art.
Opening next weekend: Annie Poon.
Not being in Utah, I can’t speak much to the show (though I’ve seen the catalogue and it looks swell), but Annie gave me access to her new short film playing at Writ and Vision so let’s talk about that, shall we?
It’s just under five minutes long and, thematically, strikes me as a cross between “Runaway Bathtub” and “Annie’s Circus“—and certainly it shares with those films its surrealism. (Aside: I don’t mean surreal, as it often seems to be used today, in the sense of Dalíesque—but, as Breton said, from the position of believing that “pure dreaming . . . is not inferior to the sum of the moments of reality.” All three of these films engage in a fluidity associated more with dreams than the empirical world, and all three of them find their truths through breezing past the strict requirements of realism.
Annie’s cut-out animation encourages viewer identification with her characters. Their ink-on-paper simplicity also connects us to childhood. While with “Runaway Bathtub” this connection is explicit and unbroken, even the “adult” characters of “Annie’s Circus” or “Split House,” by virtue of their medium of presentation, are as safe to identify with as a child. We haven’t all been owls, but the childlike innocence implicit in even her most dangerous characters, makes them as easy to identify with.
As the title suggests, “The Split House” includes various instances of characters splitting. When the woman transforms into an owl, for one. Here are two more: Continue reading ““The Split House” by Annie Poon”