Paul Guinan is a Chicago-born multimedia artist whose eclectic career includes stints as a storyboard artist, cinematographer, ad agency illustrator, kinetic sculptor, mural painter, movie…
Traveling the world with Boilerplate
If I may be so bold as to suggest an addition: In the spring there was a truly unique book launch for FRANK READE, an historical fiction picture book by myself and Anina Bennett. It was an unprecedented undertaking involving three separate booksellers, in which we didn’t just do a reading, but performed original skits inspired by the book. At one location was a choreographed pirate fight by PDXYar, at another venue a one-time-only mini-musical was produced by the Alter Egos theatre troupe. Attendees took home custom Frank Reade chocolate gold coins. Powell’s on Burnside had a major exhibit of artwork from the book. Several local comic book shops displayed faux-historical artifacts seen in the book. The Leonardo Museum in Salt Lake City invited us for a residency that included a Frank Reade exhibition. The book garnered international acclaim from sources such as The Atlantic, the New York Times Book Review, and the Wall Street Journal.
I sincerely apologize if I came off as accusing the Mercury of being anti-comics or anti-Stumptown. Along with other comics folk, I appreciate your coverage and support over the years. Yet I have to agree with commenters such as Martha Dumptruck, who pointed out that the combined intent of the Mercury’s Stumptown strip and cover is confusing. What are they intended to communicate?
By contrast, the piece you ran on the comedy festival in the same issue was a clearly delineated description of the events, personalities, and venues involved. The message is: Go to there. When juxtaposing these two pieces (as the Mercury did on its own cover), the reader is left with a clear conception of the comedy fest as a well-organized, professional event and a murky notion that there may be some cartoonish mayhem at the Doubletree Hotel.
Ms. Main posted on her Facebook pages draft versions of dialog balloons, as well as whole panels, that were rejected or changed by the Mercury. The earlier versions were funnier and much less mean-spirited that what was printed. Combine that fact with the cover of this week's issue, which is a clear and direct insult to the comics community, and it sure looks like the Mercury has an anti-Stumptown agenda. What gives?
The Boilerplate art show at the PCPA's ArtBar in Hatfield Hall (1111 SW Broadway at Main St.) continues through the end of November, then moves to Powell's Pearl Room in December.
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