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Knowledge #7: Keith Rosson

Keith Rosson started with the DIY culture in the late 90’s and galleries. He has participated in nearly three dozens group exhibitions over the past twelve or thirteen years.

He’s also an illustrator and graphic designer, having done work for bands such as Against Me!, Hot Cross, Submission Hold, Amanda Woodward and more. When he’s not painting pictures of floating wolf heads or rabbits in gas masks, he works in education.

This two-person exhibition with Mario Robert marks the last show he’ll be having on the west coast (or anywhere) for some time. Over 80 paintings old and new were exhibited.

Keith said he worked with heavy, obvious themes in his mind; universal theme, loneliness, jingoism, lack of emotional connections, greed, kindness, justice.

He grown up with comic and punk culture and his arts are strongly influenced by these two elements.

Knowledge #6: Rejabhad

Rejabhad (born Rejab bin Had) is a Malaysian legendary cartoonist in the Malaysian comic industry. Known as King of Malaysian Cartoons or Malaysian Comic Headman because of his huge contribution towards Malaysian comic industry. He did in 2002 due to heart disease.

Even though he loved drawing, he joined Malaysian Army right after he left school because at that time, being a cartoonist might not be able to guarantee the future life. He joined the army about three months after his debut comic was published in Gelanggang Filem magazine.

He became a full-time cartoonist for Gila-Gila magazine right after he retired from army services. He was the first Malaysian cartoonist who hired personal car driver but he prefer walking and boarding LRT instead. He was the only cartoonist in the world eligible for the title Comics Headman by a comic publisher since there was no comic publisher in the world which dared to offer the title to any of their cartoonists.

As a cartoonist, Rejabhad applied the basic principles of comics that comics functions to criticize certain issues lightly. Because Rejabhad was born before Malaysian independence, he is well-known for drawing comics according to latest events but with traditional, classic strokes. In addition, he often used philosophies in the dialog boxes in order to make his comics even more interesting.

reference: http://en.wikipedia.org/wiki/Rejabhad

Knowledge #5: Aaron Cometbus Art Show

Aaron Cometbus is well-known for his writing and his bands, but his distinctive Xerox-style artwork hasn’t gotten it deserves. His first official art show happened at 1-2-3-4-Go Records in Oakland through the end of February. The show displayed his flyers art, record art and personal archives. It also showcased among others a barely-seen innovation of flyer for a club’s last show, with photos of and word-bubble quotes from regulars about its importance.

The message behind his artwork is more than manipulations and intricate patterning. It’s the right of flyering as a freedom of speech for the underprivileged.

His working methods have always been fascinating. He used Kodak IM-40 for halftones and reversals; no one could ever achieve the same effect on the same machine. Some tricks are hinted at this show by revealing different stages of work.

Unlike a conventional art show, nearly all of the pieces are photocopies and none are for sale. Xeroxing or silk-screening became an integral part in his creative process. Without that final step, to him the work feels incomplete which is why copies are showcased rather than the original cut and paste.

reference: http://www.bohemian.com/citysound/?p=2941

knowledge #5: comix

Underground comix are small press, self-published comic books. They differ from mainstream comics because not forbidden by Comics Code Authority. They were popular in the US (1969-1975) and UK (1973-1974). It was popular with the hippie, punk and other alternative subculture.

In 1982, comix were distributed through the emergence of specialty stores. Early underground comix are still on sale today alongside recent underground publications.

In the US, underground comix emerged in 1960’s as antithesis against mainstream comics. Early comix focused on subjects such as drug using, politics, rock music and sexual intercourse. These titles were termed "comix" in order to differentiate the comics from mainstream publications.

reference: http://en.wikipedia.org/wiki/Underground_comix

knowledge #4: DIY movement

The DIY movement is about using anything available to create your own subculture entity, things that are missing in the mainstream market. DIY zines, albums, books and movies are some of the things that any random people can create. This underground scene goes against the grain and produce unique and fresh arts, regardless it will sell or not. DIY culture evolves with rapid technology and gives alternative to it. As opposed to mass media which promotes consumerism, DIY culture encourages people to contribute and produce something on their own. Independent magazines and newspapers are also having the similar ideas and purpose which is to put words into print. The big ideas is if you can’t find the cultural experience you are looking for, create your own alternative.

reference: The Rise of Lo-fi Culture book

knowledge #3: History of Fanzines

Fanzine and self-publication history can be traced from the invention of the printing press. Large scale printed sheets in various sizes with text reporting news were, satire and literature, and religious thoughts also self-published in that era, to spread message to a wide audience.

Little-magazines or self-published political publication emerged just before and after World War 1 period (1950’s) that’s also quite similar to fanzines. Then came Dada publications that can be said as proto-zine which also self-published for pleasure or creators and readers, short-lived and ignoring all standards and rules. After that there were surrealist journals that were also self-published.

The mimeograph revolution came into picture in 1930’s and was at the high stake during World War 2 with hundreds of zine-like resistance publication produced by leftists. Fanzine was invented by science-fiction enthusiasts in 1950’s. It typically focuses on concepts, rumors, fads and similar phenomena rather than commercial promotion.

Nowadays fanzine producers use word processing, design program and internet on computers, it’s all easier.

reference: Vale, V. 1996. Zines! Vol. 1. San Francisco: V Search.