Josh Neufeld's Blog
June 3, 2015
This Saturday, I’ll be in the heart of Williamsburg at the 3rd annual edition of Pat Dorian’s Grand Comics Fest. The original plan was for myself and Hang Dai Editions co-founder Seth Kushner to both be at the festival, but as you probably know, Seth tragically passed away less than two weeks ago.
Seth’s presence at Grand Comics Fest (and going forward) will be sorely missed, but his work will be there nonetheless, including his newest comic, Secret Sauce. I’ll try to have Seth’s other comics on hand as well, including Force Field Fotocomix and Schmuck Comix. And there may be some sort of raffle/giveaway to help raise money for Seth’s outstanding medical bills.
As for my own work, I will have copies of The Vagabonds, issues 1-4 (issues 3 & 4 being published through Hang Dai), as well as my books A.D.: New Orleans After the Deluge, A Few Perfect Hours, and The Influencing Machine. In other words: pretty much everything!
Other cartoonists scheduled to be at the curated show—which is open and free to the public—include such luminaries as Derf, R. Sikoyrak, Kriota Willberg, Jess Ruliffson, James Romberger, Marguerite van Cook, Box Brown, Paper Rocket Comics, and Ink Brick. Come on by!
Grand Comics Fest
Saturday, June 6, 12 noon – 8pm
Bird River Studios
343 Grand Street (corner of Marcy & Havemeyer)
Brooklyn, NY 11211
For more information, email email@example.com.
May 7, 2015
This coming Monday, May 11, I’ll be in Fort Greene at the wonderful Greenlight Bookstore, discussing Battle Lines: A Graphic History of the Civil War, by cartoonist Jonathan Fetter-Vorm and historian Ari Kelman.
I was given a chance to read an advance copy of the nonfiction graphic novel, and was profoundly impressed. Featuring Fetter-Vorm’s inspired storytelling, delicate line work, and haunting watercolor washes, Battle Lines is a tour-de-force of ground-level storytelling. Each chapter takes a single object and works ever outward, increasing in scope—through salient detail, it brings the epic conflict into focus. Profound and strangely beautiful, in my opinion Battle Lines is the best graphic novel ever produced about the Civil War.
The book came out this week (from Hill & Wang), and the authors will be presenting it to readers at Greenlight “on the big screen” on Monday. I will be there to admire the work and help guide the discussion. Please come by if you can make it; it’s really a special book. Here are the details:
Monday, May 11, 2015, 7:30pm
686 Fulton St.
Brooklyn, NY 11217
And here’s the Facebook event link: https://www.facebook.com/events/356409167895594/
April 9, 2015
A couple of days ago I wrote about the two comics I’ll be debuting at the MoCCA Art Festival this weekend. I also wanted to mention a work of mine that, depending on how you look at it, is nearly eight years old—A.D.: New Orleans After the Deluge. (The web version appeared on SMITH in 2007–2008, the hardcover came out in 2009.) Believe it or not, the tenth anniversary of Hurricane Katrina is coming up this August, and it’s an event whose repercussions continue to resonate. Apparently, the book continues to resonate as well: just this month, I’ll be traveling to Amsterdam to speak about it and some of my other comics reportage at a narrative journalism festival. The week after that I’ll discussing A.D. with students at a college in Boston who’ve been studying it during this school year.
To commemorate the upcoming anniversary of the hurricane, my publisher Pantheon put together a special oversize “Remember Katrina” postcard, and I’ll be signing copies of A.D. at the Pantheon table on Saturday at MoCCA. Look for me from 2-3 pm at table 405.
One more time, here are the MoCCA Fest deets:
MoCCA Arts Festival
April 11–12, 2015, 11am – 6pm
548 W. 22nd St., NYC
April 7, 2015
I’m debuting not one but two new comics at this year’s MoCCA Art Festival, this coming weekend April 11–12!
First off is THE VAGABONDS #4 (my second issue with Hang Dai Editions). This issue serves up a spicy blend of journalism, social commentary, memoir, and literary fiction. The lead piece is a new work of comics reportage called “Crossing the Line,” about profiling at the U.S./Canadian border. I’m also very proud of three collaborations with my wife, writer Sari Wilson (whose debut novel is coming out next year!). Throw in a couple of light-hearted travel tips, and The Vagabonds #4 is chock-full of goodies! The Vagabonds #4 is 24 full-color pages, and is only available for sale directly from me, or from HDE.
The other book I’m debuting is the print edition of Terms of Service: Understanding Our Role in the World of Big Data. Between social media profiles, browsing histories, discount programs, and new tools controlling our energy use, there’s no escape from Big Data. As we use technology to record (and share) new information about ourselves (such as FitBit health data), what are the questions we should be asking? What is the trade-off between the benefits we gain from sharing data and how that data can be used against us? And what are the technologies that seem invasive today but in five years we’ll unthinkingly accept? How do we keep up with new technology while not letting our data determine who we are? Terms of Service examines the role of technology and the implications of sharing personal information. Our hope is that it is a thought-provoking field guide to help smart people understand how their personal—and often very private—data is collected and used. Co-produced by myself and Al Jazeera America reporter Michael Keller, the 48-page “graphic novel” follows our comics avatars as we learn about such topics as the “Unravelling Theory” and the so-called “Internet of Everything.” Terms of Service debuted online on Al Jazeera America’s website in late October 2014, and is now available for the first time in print. Editor & Publisher calls Terms of Service “funny, informative, and ridiculously readable,” and Panda Daily calls it “smart, breezy, and beautiful.”
So come get signed copies of both new comics from me at MoCCA Fest (at its swanky new location, Center548, just steps from the High Line). And while you’re at it, pick up new books from my HDE partners Dean Haspiel, Gregory Benton, and Seth Kushner (making his triumphant post-leukemia return!). Here’s a lineup of all of HDE’s debut books.
We’ll be at the Hang Dai table (#314, Third Floor, Yellow Zone) both days, April 11 and April 12, from 11am–6pm. (I’ll also have copies of The Vagabonds #1–3, and my other books, should you be looking for those.)
Once again, here at the key details:
MoCCA Arts Festival
April 11–12, 2015, 11am – 6pm
548 W. 22nd St., NYC
February 24, 2015
Two of my biggest heroes when I was a kid were Frederick Douglass and Harriet Tubman. I had posters of them on my wall! I read Douglass’s autobiography a number of times, and I thrilled to the daring exploits of Tubman and the Underground Railroad.
Many of the residents of Oberlin, Ohio, home of my alma mater, Oberlin College, were active in the Underground Railroad in the years before the Civil War. (Ohio borders Kentucky, which, during that period, was a slaveholding state.)
Recently, Oberlin Alumni Magazine commissioned me to illustrate an article about Oberlin’s role in anti-slavery activism. In reading the piece, by J. Brent Morris, and researching the era for my illustrations, I was fascinated to learn that many escaped slaves stayed openly in Oberlin—despite the fugitive slave laws—and became active abolitionists. Here’s a great quote from the article illustrating the fierceness of Oberlinians’ defiance of the “peculiar institution”:
Even though federal marshals and Southern slave catchers seemed a ubiquitous presence in Oberlin, it was nearly impossible to reclaim a free Oberlinite or “fugitive slave” from the town’s protective grasp. . . . Brooklyn abolitionist William Watkins could tell that Oberlin African Americans were “not afraid of the white man.” He noted “a sort of you-touch-me-if-you-dare” attitude about them and would not have been surprised by the security plans of a man like Gus Chambers, who declared that “If any one of those men darkens my door, he is a dead man.” In his blacksmith shop, Chambers always had a hammer and iron bar at the ready for protection, and most often also had a red-hot poker in the fire. Above his door was a loaded double-barrel shotgun, and beside his bed were razor-sharp knives and a pistol. He would never kill a man, he conceded, but clarified that a “man-stealer”
was not fully human. “The man who tries to take my life,” Chambers declared, “loses his own.”
A number of brave former slaves even journeyed back across state lines into Kentucky to recruit slaves to escape back north with them! In a four-panel comic I did for the piece, I show what one hapless U.S. Marshall based in Oberlin was confronted with when he tried to enforce the Fugitive Slave Law, from being run off with a shotgun to being beaten with a walking stick, to finally being run out of town by a group of Oberlin citizens. Ha!
I was given my choice of what to draw for a full-page illustration, and there were many amazing anecdotes of Oberlin’s place in abolitionism and the Underground Railroad. But the story I ultimately chose was a key moment in the Oberlin-Wellington Rescue. In 1858, an escaped slave named John Price was abducted by Southern slave catchers, who intended to bring him back to Kentucky. A large group of Oberlin residents, including many African-Americans, rushed to the nearby town of Wellington, where the slave catchers had holed up in a hotel for the night. In blatant defiance of the “law,” the Oberlin residents forced their way into the hotel and rescued Price.
My illustration shows the aftermath of the rescue, as the joyous crowd of rescuers carry Price out of the hotel on their shoulders. Photos from the era showed many of the Obies who took part, as well as the Wellington hotel itself, all of which I incorporated as best I could into the illustration. I even portray the slave catchers, cowering up in the attic, peeking out the windows as their “prize” is taken away.
It turned out that the Oberlin-Wellingto Rescue was a key moment in the lead-up to the Civil War. Ohio state officials defended the rescuers, despite their flouting federal law (the Fugitive Slave Law), and even tried to repeal the law at the 1859 Republican convention. (Remember, the Republicans were the “good guys” back then!) The resulting attention kept the issue of slavery very much in the public eye right up until secession and the shots fired at Fort Sumter.
Seeing as how it’s Black History Month, I’m proud to share this story, and my visual representation of the Oberlin-Wellington Rescue, which has rarely been portrayed.
(Thanks to Emily Crawford, the OAM art director, who was so accommodating to work with, and so supportive all along the way. I also want to draw attention to cartoonist Bentley Boyd‘s Oberlin: Origins and Onward! , a comic book history of Oberlin from 1833 to the present.)
February 9, 2015
My mother, Martha Rosler, and I have a new collaboration, in the online art/public service campaign The Art of Saving a Life. Sponsored by the Gates Foundation, the project brings together over 30 “world-renowned musicians, writers, filmmakers, painters, sculptors and photographers” to promote vaccinations (particularly in the third world). Some of the other creators involved the project include Annie Leibovitz, Christoph Niemann, Deborah Kelly, Mary Ellen Mark, Mia Farrow, and Yiyun Li. (The project has been covered by, among others, The New York Times.)
My mother’s and my piece, titled “Gift to the World,” tells the story of Jonas Salk and his development of the polio vaccine. The nine panels of the comic float, bubble-like, on the surface of a radiating ripple. As a child of the polio era, this project seemed particularly personal to my mom. We were both moved by Salk’s comment (quoted in the piece), “Who owns the patent to this vaccine? Well, the people, I would say. There is no patent. Could you patent the sun?” I can safely say that Jonas Salk is one of my mother’s personal heroes.
My mother and I have collaborated on a number of other projects over the years, including a monumental piece about the European debt crisis, a billboard graphic about education & prison spending, and a two-page comic on the Iraq War and Guantanamo. It’s funny, because when I got into the comics game, I figured our two creative worlds would never intersect, what with comics being a “low art” and her career firmly ensconced in the academy. Times have changed! Of course, the subjects of our respective work overlap in some places, particularly our shared interest in real people’s stories. Which is no surprise, as my mother has, through her raising me and through her long career as an artist, shaped my life’s moral compass.
Check out The Art of Saving a Life here. And support vaccination!
January 28, 2015
I’ll be attending my second-ever Angoulême International Comics Festival this week, ostensibly to promote La Machine à Influencer, the French translation of The Influencing Machine. (I’ll also be signing copies of A.D.: Le Nouvelle Orléans Après le Déluge, published back in 2011 by the good folks at La Boîte à Bulles. They’re the ones who brought me to Angoulême the last time, back in 2012, which I’ll be forever grateful for, as this festival is to me like making the pilgrimage to Mecca.)
The French translation (published by Ça et Là) is already the third one for the book, following Korean and Italian editions, with a German translation coming soon. (I already wrote about the evolution of the cover for the French edition in a previous post.) It’s ironic, because when we were working on the book, Brooke kept saying that she didn’t expect much interest from foreign-language publishers because it deals mostly with the unique trajectory of American media. Apparently, however, the book is more universal than even she imagined!
La Machine à Influencer has received a nice reception in France, with the distinguished newspaper Libération even doing a large spread about the book. Despite the fact that Brooke already visited France to promote the book (back in May), it gladdens my heart to be invited as well.
I want to say this without any bitterness whatsoever, but so much of the American reception of The Influencing Machine centered solely on Brooke, to the exclusion of my contributions as co-author. Yes, it’s Brooke’s manifesto, and I illustrated her ideas, but it wouldn’t be a comic book if I hadn’t drawn it. Ya know? In the U.S., the role of “illustrator” often seems to be dismissed, as if it were the work of a soulless machine. (Since I’ve collaborated with so many writers over the years, I can tell you this from long experience, and many of my comic artists cohorts would echo my feelings.) The fact is I sweated over the book for two years, working on it every step of the way from concept to scripts to finished product, and I felt as invested in communicating its “teachings” as anyone else—including Brooke. So, as I was saying, it’s gratifying that Ça et Là’s editor, Serge Ewencyzk, thought enough of my contributions to ask me to come represent La Machine à Influencer at Angoulême. Merci encore, Serge!
It probably doesn’t hurt that in the last few months the book has been blessed with a couple of journalism award nominations. The first one was from the Assises Internationales du Journalisme, a big three-day international congress on journalism which takes place in the northeastern city of Metz. La Machine à Influencer actually won the “Education to media” award, a special category created just for the book. There was a ceremony back in October in Metz, which Serge E. attended and accepted the award on our behalf.
The other prize the book was up for was the Prix France Info, an award for comics which contribute to journalistic understanding. It didn’t win that one, but still—not bad for our little collaboration!
P.S. One other thing: after Angoulême, I’ll be going up to Paris to do some more signings at some Parisian comics stores. One of them, Librairie les Super-Héroes, previously commissioned an exclusive bookplate for which I drew an image of Brooke as Spider-Man (riffing off a panel from the book, with her exclaiming, in French, Spidey’s famous phrase,“with great power comes great responsibility”). And here’s the image in question:
January 16, 2015
Whenever I debated the pros and cons of being a cartoonist, I never considered that it was inherently a dangerous job. (Unless you’re Joe Sacco, running around in war zones.) But I had to re-evaluate that after the events of January 7, and the massacre of five cartoonists (and seven others) at the French satirical weekly Charlie Hebdo.
The last week has been a crazy one, trying to process the events, the manhunt for the killers, the related events at the Paris kosher grocery, the outpouring of pain and outrage, Je suis Charlie, Je suis Ahmed, the backlash, and so on and so on.
The day of the shooting, as things were still unfolding, I was asked to come in to the studios of NowThis News and deliver a “rant” on the events. I didn’t know any of the cartoonists killed. I’d never read Charlie Hebdo (though I knew of its reputation, and its previous run-ins with “angry readers.”) But as a fellow cartoonist, I figured I had some kind of perspective on what had happened. I wish I had been more articulate, more forceful, but I think you can see I was still in a state of shock. Anyway, here’s the video.
I’ll be heading to France myself in less than two weeks, to attend my second Angoulême International Comics Festival (and to also do some signings in Paris). I imagine it will be quite a scene there, what with the various tributes to be held, the changed security situation, and so much more I can’t even imagine. I’ll be sure to take plenty of notes.
Finally, most importantly. Matt Bors, cartoon editor of Medium‘s “The Nib” (publisher of some of my work) has put together an amazing special section on the Charlie Hebdo killings. He commissioned work from seven cartoonists with specific ties to the world of satire, Islam, French culture—even one of the original cartoonists from the 2005 Danish cartoon controversy. The result, “Laugh, Cry, Be Offended,” is an incredible collection of heartfelt, thoughtful words and pictures that addresses so many of the issues brought up in the wake of the killings: free speech, racism, Islamophobia… every single piece demands your undivided attention:
“I Still Can’t Believe It,” by James Van Otto—a French cartoonist discusses his relationship to Cabu, one of the assassinated cartoonists.
“If We Back Down On This, What’s Next?“, by Ann Telnaes—the Pulitzer Prize-winning editorial cartoonist for the Washington Post reminds us what free speech actually means.
“I’m a Muslim Who Fights for Free Speech,” by Albaih—a Sudanese political cartoonist criticizes Charlie Hebdo for what he saw as racist, anti-Islam cartoons, at the same time as he laments the attacks. And he reminds the world—as someone who has never fully enjoyed free speech—not to take it for granted.
“I Drew a Muhammad Cartoon. It Didn’t Go Well,” by Annette Carlsen—one of the infamous Danish cartoonists thoughtfully dissects the events of 2005, which in some ways led to last week’s shootings.
“Satire Is Dead. And Cartoonists Killed It,” by J.J. McCullough—a self-proclaimed conservative Canadian cartoonist breaks down Charlie Hebdo‘s satire for ignorant American audiences—and hilariously skewers both American political correctness and Charlie “solidarity” cartoons.
“It’s Not About Islam,” by Safdar Ahmed—an Australian artist and academic sheds a despairing light on the events; his complex argument includes the cheery thought, “Islamophobes share with Muslim extremists the apocalyptic fantasy of a global war between Islam and the West, making such cartoons a force for mobilization.”
“They Killed My Idols,” by Emmanuel “Manu” Letouzé—a French cartoonist (and United Nations economist) pays tribute to murdered cartoonists Tignous, Cabu, and Charb. Must-reading.
Two days before the horrific events of Jan. 7, “The Nib” published my own story, “Crossing the Line,” about the unprovoked harassment of American Muslims at the U.S.-Canadian border. It’s really important to remember that we can’t allow events like 9/11, like January 7, to compromise our American values—freedom of religion is part of the same amendment that protects freedom of speech. The same goes for the presumption of innocence. Only by holding fast to these fundamental values can we ensure that the terrrorists don’t “win,” and that Safdar Ahmed’s apocalyptic prophecy will not come to pass.
January 5, 2015
Medium‘s “The Nib” just posted my newest piece of comics journalism, titled “Crossing the Line“—about ethnic/religious profiling at the U.S./Canadian border. In this historical moment of scrutiny of law enforcement’s treatment of people of color (cf. Michael Brown, Eric Garner) the story seems to carry greater resonance.
I was inspired to do the piece by a radio story I heard on the NPR show On the Media. (Yes, the same On the Media co-hosted by my Influencing Machine collaborator, Brooke Gladstone.) OTM producer Sarah Abdurrahman’s piece, “My Detainment Story, Or: How I Learned to Stop Feeling Safe in my Own Country and Hate Border Agents,” is a riveting, outrage-provoking triumph of radio journalism. If you haven’t heard it already, give it a listen.
As great as Abdurrahman’s piece was, to me it screamed to be told in comics form: the freezing cold rooms, the heartless treatment of families with small children, and most appallingly, the endless, repetitive interrogations. One of the subjects of Abdurrahman’s piece, Khaled A., was especially interesting to me. After speaking with him, I was determined to focus my story on his particular experiences.
“Crossing the Line” is one of my most personal—you might say, “subjective”—comics journalism stories. Not only am I a “character” in the piece, but it probably strays the furthest into direct editorializing than any of my previous “cojo” stories. (For “balance,” I did try to get a comment from the Department of Homeland Security and the office of Customs and Border Protection. No one ever got back to me.) Anyway, I hope it works. And I hope you think so too.
P.S. Thanks for Matt Bors for sticking with me and this piece as long as he did, since it was delayed for many months by the demands of my previous comic, Terms of Service.
November 25, 2014
This is a week for giving thanks, so I’m penning a little shout-out to my Atlantic Center for the Art associates. They were a great group: so talented, dedicated, and inspiring! And after 20+ years of working solo in my home/studio, I have to say the experience of sharing a studio with them has made me rethink my aversion to studio environments. We shall see…
In the meantime, I wanted to show off the beautiful hand-made card my associates presented me at the end of our residency. Cliodhna Lyons fabricated the card (which measures 4″ x 5-1/2″) as an accordian-style pamphlet. It is now one of my most prized possessions. Check it out:
Sarah Howell‘s awesome pencil drawing of San Francisco Giants‘ catcher Buster Posey was just one of many references to the Giant’s World Series victory, which took place right at the end of the residency. I guess I was a little obvious in my Giants’ fandom those last few days!
Robin Ha references my less-than-stellar exploits during our ACA karaoke nights. The less said about that the better!
I love Neil O’Driscoll‘s portrait of me as a husky lumberjack sailor! “Yacht”? “Soon”? Neil had arranged a post-ACA visit to Miami, where he had reserved an AirBnB-stay on a boat in the Miami harbor. Neil fancied calling the boat a “yacht.” His host had ended one of their emails with the ominous-sounding “Soon.” Thus the below…
Kett‘s action shot of me riding the waves at Flagler Beach! (I actually did catch a few.)
I’ve always wanted to play for the Giants! And have a nice tan! Thanks to Dave Kiersh for making my dreams come true.
Joe Luby: awwwww!!!
Sara Woolley‘s beautiful watercolor rendition evokes another of my karaoke screeches—post-Giants’ victory, of course.
And that does it. Thanks again, associates. And Happy Thanksgiving!