JURIED COMIC EXHIBIT: RESIST!
On display September 1-24
Reception & Comic Discussion September 9. Time TBD.
Entry Deadline August 1, 2017.
The theme of the Gmeiner Art & Cultural Center’s second juried comic exhibit is Resist! What does your hero resist in their mission to build a better world? Gravity? Evil? Apathy? We want to know!
Because the Atrium Gallery is dedicated to the exhibition of new work, entries must have been completed since 2014. Due to space limitations, each entry should not exceed36″ in any direction. Each piece should be prepared for professional exhibition upon acceptance into the exhibit. And each piece should have label with the title, size, artist’s name, address, and phone number attached to the back.
To enter, please email one photo of each page of your comic or comic art – or a link to your digital portfolio – to firstname.lastname@example.org. Subject: Juried Comic Exhibit. In the content of your email please include your name, address, phone number, and a brief description of the work. Our jurist will select which comics we display in the Atrium Gallery.
There is no fee to enter the Juried Comic Exhibit.
The Gmeiner Art & Cultural Center is a Non-Profit 501(c)3. When you buy Art at the Gmeiner 85% goes directly to the Artist. Our sales support the endeavors of area Artists and the small 15% gallery commission stays local too! We use commission revenues to support Tioga County Arts events and Cultural programs.
About our jurist, Louse Sullivan-Blum: As a writer, as a lover of words, I came to graphic novels reluctantly, forgetting that those first stories I wrote in childhood, with the pictures I drew to accompany each scene, would technically be classed as comics. I came to graphic novels believing they were the province of adolescent boys, forgetting those comics that I’d loved and followed avidly, Doonesbury, The Far Side, Dykes to Watch Out For. As graphic novels found their way into the mainstream, I resisted them, believing that the form had little to offer me as a writer. I signed up to teach a class, suspecting that, as always, teaching would be the way I’d educate myself. I began with total immersion, selecting Watchmen as my first graphic novel. I read the first page and put it down. It nearly gave me a migraine: so many pictures, so much going on in every corner of every panel, in the gutters between panels, in the images that exploded beyond the lines. It broke rules I didn’t even know I followed. I read it again and again, trained myself to pay attention, to learn the language of this new medium, with its lines and shapes, its emphasis on symbol and abstraction. I read it until I understood it, the way that Alan Moore captured a story on his own terms, the way he wove together plots and subplots, subtly shifted from one perspective to another, manipulated color and space and painstakingly evoked emotion with the stroke of a pen. And in studying this art, in all its myriad forms, I realized both how little comic techniques differed from those I used in literature, and how much they had to teach me about the economy of language and the use of negative space. Though I’ve read many more novels since that first one, explored the techniques of many artists, I always come back to Alan Moore and the many doors he opened for me. Interestingly, the motivation of every character in that novel could be traced back to the theme of “building a better world,” though in their own flawed, misguided ways. This is the gift of comic art, and of every artistic form: it transports us to another world, and returns us to our own, transformed.