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Painter Llyn Foulkes will be the subject of a major retrospective at the Hammer Museum in Los Angeles that opens on February 3. The exhibit will travel to the New Museum in New York in June 2013 and to the Museum Kurhaus Kleve in Germany in November 2013.
Besides his obvious importance in West Coast art, Foulkes has a fascinating animation connection: he became Ward Kimball’s son-in-law when he married Ward’s oldest daughter, Kelly, in 1960. The marriage didn’t last, but Ward had a lasting impact on Foulkes.
Most curiously, Ward inadvertently turned Foulkes into a vehement opponent of Mickey Mouse. Foulkes’ unflattering depictions of Mickey have appeared in his work for decades and serve as a broader commentary on the ways that corporations condition and influence consumers through benign Pop symbols. The press notes for the Hammer exhibit tell more of the story:
In the late 1970s Foulkes’s former father-in-law Ward Kimball (one of the head animators at Disney Studios) gave him a copy of the Mickey Mouse Club Handbook from 1934, and Foulkes read the letter inside detailing how the club would teach children to be well-behaved, polite citizens. Dismayed by Disney’s attempts at brainwashing, Foulkes developed a skepticism and distrust that have remained with him ever since. A few years later he began to take his paintings in a new direction, and Mickey Mouse became a recurring character. The seminal work “Made in Hollywood” (1983) features a copy of the letter from the Mickey Mouse Club Handbook.
Llyn Foulkes photo by Ward Kimball, 1962. (And yes, that’s a dead cat in the painting behind him.)
I interviewed Llyn when I was researching my biography of Ward Kimball, and my book touches on the relationship between Ward and Llyn. Llyn’s success as a fine artist in the early-Sixties was a big inspiration to Ward, who began pursuing his kinetic art seriously around the same time. Despite a big difference in age, Kimball and Foulkes got along well and shared a similar set of hobbies. Notably, Foulkes, in addition to being a painter, is also a musician, and he plays a self-built one-man musical instrument called the Machine:
Here’s the description of the Hammer show followed by some more images:
The Hammer Museum presents an extensive career retrospective devoted to the work of the groundbreaking painter and musician Llyn Foulkes (b. 1934 in Yakima, Washington), on view from February 3 to May 19, 2013. One of the most influential yet under recognized artists of his generation, Foulkes makes work that stands out for its raw, immediate, and unfiltered qualities. His extraordinarily diverse body of work—including impeccably painted landscapes, mixed-media constructions, deeply disturbing portraits, and narrative tableaux—resists categorization and defies expectations, distinguishing Foulkes as a truly singular artist.
LLYN FOULKES is organized by Hammer curator Ali Subotnick and will feature approximately 140 artworks from public and private collections in the U.S. and Europe, some of which have not been seen for decades. The exhibition will explore the entire scope of the artist’s career, including early cartoons and drawings, his macabre, emotionally-charged paintings of the early 1960s; his epic rock and postcard paintings of the late 1960s and early 1970s; his “bloody head” series of mutilated figures from the late 1970s through the present; his social commentary paintings targeting corporate America (especially Disney), which include his remarkable narrative tableaux that combine painting with woodworking, found materials, and thick mounds of modeling paste, seamlessly blended into the painted surface to create a remarkable illusion of depth. The show will also feature a video of Foulkes playing his Machine, a one-man instrument consisting of horns, bass, organ pipes, percussion and more. LLYN FOULKES will be accompanied by a fully-illustrated catalogue including essays by novelist and art critic Jim Lewis, writer Jason Weiss, and curator Ali Subotnick.
Jam Session at Ward Kimball’s home in 1973: Top row, from left to right: John Kimball, Al Dodge, George Probert, Robert Crumb, Ward Kimball. Bottom row, from left to right: Robert Armstrong, Spencer Quinn, Llyn Foulkes (on drums).
Kelly Kimball and Llyn Foulkes with their daughter, Laurey. Photo by Ward Kimball, 1962.
Wedding cake toppers that Ward designed for Llyn and Kelly’s wedding, 1960.
This was just screened at Comic Con and worth a look – it’s the intro to the forthcoming Epic Mickey 2 video game, featuring Oswald the Lucky Rabbit, Gus Gremlin and a host of early 30s Disney bit players.
While we’re at it – and not to be a complete shill for this product – this promo (below) on the history of Disney’s Oswald is pretty good. Game designer Warren Spector and Disney archivist Becky Cline discuss and review the history of the character. Makes me feel good to see a 1920s cartoon star re-emerge in the 21st Century. The prospects for reviving Koko the Clown or Farmer Al Falfa are looking better every day.
Have you subscribed to 365 Days of Ward Kimball? It’s the official tumblr for Amid Amidi’s upcoming biography called Full Steam Ahead: The Life and Art of Ward Kimball, coming this fall.
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11. Alternate Mickeys by Ward Kimball, 1985.
Have... as of 1/1/1900
I’ll bet you’ve never seen the actual opening of an early 1930s Mickey Mouse cartoon. Oh, you may think you have – but only animation historian David Gerstein really has – and thanks to him, now we can too. Gerstein’s spent years researching and accumulating rare prints and original film elements to these early 30s Disney cartoons – and has compiled all that research into his latest post on his blog.
Gerstein, editor of Fantagraphics’ Floyd Gottfredson Library, is displaying images from more than a dozen of these rare title frames – like this lost one above from Giantland (1933) – he found in various private collections. The newly recovered title cards include several styles previously unseen by modern-day Disney buffs and serious researchers. Calling all Disney Nerds: look closely at some of this material and you’ll note even some copyright lines and sound system credits differ from versions we’ve seen for years. This is some heavy stuff – and I love it! Thanks, David… Mickey mavens, check this out!
Thank you Facebook, for allowing us to to see another side of Disney – off model Mickey’s, awkward Donald’s and suggestive Pigs – courtesy of postings from around the world. Just had to share some of my favorites:
It’s December. Holiday gift-giving time. Prepare for several posts in the next few weeks about new books and DVDs you must own – or give to your toon-headed loved ones. But first up, above all else, are these two:
How can you resist any book with Horace Horsecollar on the cover? How many books even have Horace Horsecollar on the cover? This one does. Walt Disney’s Mickey Mouse Vol. 2: “Trapped on Treasure Island” is the latest edition in a series of magnificently produced hard covers reprinting vintage Mickey Mouse comic strips by Floyd Gottfredson from the 1930s. Specifically from January 1932 through January 1934, this book gloriously reprints six classic continuities (The Great Orphanage Robbery, Mickey Mouse Sails For Treasure Island, Blaggard Castle, Pluto And The Dogcatcher, The Mail Pilot, Mickey Mouse And His Horse Tanglefoot and The Crazy Crime Wave), each strip restored from the best possible archival materials. Uncut, uncensored and politically incorrect – these tales are from an alternate Disney universe, where Mickey is a red-blooded, two-fisted adventurer; they are fun to read and a delight to view. Gottfredson’s comics are as classy, funny and as slick as the Disney shorts from the same period. And as usual, co-editor David Gerstein provides a plethora of “bonus materials”: galleries of rare art and merchandise, character histories, essays about scripter Ted Osborne and collaborators Webb Smith and Merrill De Maris, aided and abetted by noted Mouse historians Alberto Becattini, J.B. Kaufman and Malcom Willits – and over a half-dozen pieces are penned by Gerstein himself! A fine package, a full meal, and a perfect follow-up to volume 1, Walt Disney’s Mickey Mouse Vol. 2: “Trapped on Treasure Island” fills a gap long-neglected in animation history. Buy it.
I think I’ve been waiting for this book my entire life. I’ve always enjoyed the artistry and wit of Walt Kelly’s Pogo, but the historian in me always wanted to read the entire thing, strip by strip, from day one. At long last the complete Pogo has been compiled, lovingly, by Fantagraphics Kim Thompson and Kelly’s daughter Carolyn Kelly in the miraculous new hardcover, Pogo: The Complete Syndicated Comic Strips, Vol. 1: Through the Wild Blue Wonder. Buy this book. It wasn’t the first newspaper comic strip by an former Disney animator, but it’s the best – and the first I’d encountered to have an animators aesthetic in the layouts and character poses. This fascinated me no end as a child. Kelly’s drawings are just magnificent, and his sophisticated writing style was far ahead of its time. Its time has come – and Fantagraphics has gone out of its way to ensure the best possible copies of these rare strips were found, restored and preserved perfectly here for all time (BTW, I&rsqu
Brew reader Jonathan Sloman spotted this baseball cap for sale on Oxford Sreet in London. Mortimer Mouse wasn’t exactly a cartoon “star”, appearing in just one classic Disney short. Regardless of whether it’s authentic or bootleg, there’s a certain novelty in seeing a minor cartoon character appear on his own piece of merchandise.
Abstract from one perspective, recognizable as animation icons from another. Check out these cartoon-based perspective sculptures by UK artist James Hopkins. Most of his subjects are recognizable even in their distorted form – either way, they are a lot of fun.
Click on thumbnails below to see even more of these incredible pieces of art:
Just finished the first Fanatagraphics collection of Floyd Gottfredson Mickey Mouse adventure stories and I'm bowled over. I just love them. Great drawings, great stories and a rollicking cartoon adventure. It's so great to read fun comic books. Even if they are 80 odd years old. Grab this book for yourself!
I drew this with a Japanese brushpen and a Cintiq.
If I can make each and every one of you buy a book this week, it would be one or both of these – Simply put, these are two of the best animation books of the year. Each completely different from the other, both are absolute must-haves for anyone, everyone who loves animation.
I’ve personally been a fan of Bill Plympton’s since I first saw his print cartoons in the Soho Weekly News (an NYC alternative newspaper in the 1980s). I actually met Bill at a comic con back then, but he wouldn’t remember that. However, I was lucky enough to become a personal friend of his since the time of his first short Your Face, which I helped distribute through the Tournee of Animation.
That said, I had no expectations for this large coffee-table art book, except to see lots of artwork from Bill’s films and comic strips. Boy, was I in for a surprise. First off, Bill got David Levy to co-write the book with him. Readers of this blog know that I am a huge fan of Levy’s writings and previous books. Chris McDonnell (Meathaus; Bakshi’s Unfiltered) did the layout, so the book is gorgeous. What I didn’t expect was how moved, dazzled and entertained I was by Bill’s story and the abundance of varied art and images.
This is Bill’s journey, told through his voice, and every page of this 264 page book is pure joy to read or to look at. Your Face (1987) was the film that introduced us to Plympton and was a breakthrough for him as an artist. It’s fascinating to see his early work fill the first 75 pages, as you can see his many influences (Yellow Submarine, Milton Glaser, David Levine) in his drawings. Your Face really nails what we are to know as Bill’s style – and from there on, in this book, we are able to see how he’s grown as an animator through storyboards, rough comics, production cels and pencil drawings. The text recounts his entire professional career. As “the king of the independent animators”, aspiring artists will find lots of inspiration in his story.
Terry Gilliam contributes a hilarious Foreword in the front, and Bill provides a detailed Filmography in the back, along with a list of his personal inspirations (it’s a great list and includes Tex Avery, Bob Clampett, Rod Scribner, Hayao Miyazaki and R. Crumb among many many others) as well as his all time favorite and worst films (where Bill counts The Chipmunk Adventure as one of the worst – even though he animated on it!).
Independently Animated: Bill Plympton is available now on Amazon.com and at whichever book retailer still exists in your city. Also, tonight April 27th, at the Society of Illustrators in New York, Bill’s having a big book party and film screening to celebrate the book’s publication. It’s from 6:30-8:30 at 128 East 63rd Street (between Park and Lexington Avenues).
And on Monday May 2nd, Bill is throwing open the doors of his New York City studio to have a gala Starving Animator’s Sale of discounted artwork from all his classics: Your Face, How to Kiss, Guard Dog, The Cow Who Wanted to be a Hamburger, Idiots and Angels. Refreshments will be served. Be there 4pm to 8pm at 153 W. 27th St. #1005.
Just got my Book Month in August programme – really looking forward to speaking to 1000s of kids across Sydney!!!!!!!! Love you all!
Signing out from Disney
PS My photos will be coming soon – my Disney village hotel internet can’t handle the capacity.
PPS Literature Live! with Jeni Mawter, Aleesah Darlison, Laurine Croasdale and the brilliant illustrator Nina Rycroft are setting up launches – connecting Literature Live! with Australia & the world.
I’ll be joining the Literature Live! team when I get back to Sydney on 23rd March
Disney fans like to look for “hidden Mickeys” – but here’s one they may have missed. When Disney’s mouse became an overnight sensation in 1928, almost every competing studio included a Mickey-like mouse (or a Mickey-like fox or Mickey-like bear) in their films. Now it turns out that these ersatz Mickey’s weren’t confined to Hollywood cartoons.
Norakuro is a Japanese comic series created by cartoonist Suiho Tagawa (1899-1989), which ran from 1931 up until the early ’40s, about a black dog in a canine Army, very much inspired by the Imperial Japanese army at the time. The comic stopped when World War II broke out, but the cartoons remained popular. It was animated several times – a series of short-films in the ’30s, two TV series (1970-71 and 1987-88). This cartoon is believed to be in public domain (if you can find it) – Mickey Mouse is still protected by international trademark.
Calling all animation historians and Disney geeks! Our friends at the Modern Mechanix blog have dug up another animation related article from their stash of long lost popular science/mechanics publications of the 1930s. This time it’s Making Mickey Mouse Act For the Talkies from the March 1931 issue of Modern Mechanix magazine. The article, by [...]
If Epic Mickey didn’t rock your world – maybe this will…
Technologizer’s Harry McCracken posted this on his personal blog, and I couldn’t resist sharing it with Brew readers. It’s video of Fisher-Price’s Dance Star Mickey doll, from Toy Fair 2010 at the Javits Convention Center in New York City. It goes on sale next month.
Here’s something I’d like to have: this cleverly designed limited edition Mickey Mouse remote control from Japan, with a stand shaped like Mickey’s shoes. In addition to controlling the TV (and which Disney Channel you’ll watch) it has a voice button with which to hear 9 Mickey Mouse lines. It also has a “B.S.” button (which hopefully filters out all Disney B.S.). If only it could restore all cable programming to pre-1970 Disney films and cartoons.
Big news out of San Diego: Fantagraphics announced that they will be publishing a complete run of Floyd Gottfredson’s “Mickey Mouse” newspaper strip, which he drew daily between 1930 and 1975. As Fantagraphics publisher Gary Groth says, “I think it’s the last truly great, masterful strip that has not been reprinted.” Here’s an interview with Groth with more details about the project, which begins in spring 2011.
I am fascinated by the science of retrieving sound waves from wherever they go after they hit the air and dissipate. Since waves don’t end but keep spreading out, any sound ever made is technically still out there waiting to be rounded up and heard again. That’s incredible. It means, among other things, that if we could refine the science enough, we could literally hear epic moments like the Gettysburg Address or re-experience sweet, personal exchanges like a baby cooing. How eerie yet thrilling would it be to stand in a field in Pennsylvania and hear Abraham Lincoln’s actual voice brought back to life by modern technology corralling scattered sound waves? But, in some ways, I don’t think we need to wait for those advances. Have you ever been somewhere and heard the echoes of the past? Not specific words, maybe, but whispers of sound that seem to linger. In Chattanooga, Tennessee, there is a massive natural stronghold of great tactical benefit during the Civil War. The army that controlled Lookout Mountain, with its towering height and expansive view, was in a position of virtually impenetrable superiority, and as such it was the scene of fierce fighting. At the base of the mountain, if you stand very still and listen very carefully, the wind still carries the sounds of long ago. It is haunted. In Walt Disney Production’s The Haunted House, Mickey and friends are hearing things. I wonder if it would help to know it’s just trapped sound waves.
Moving things around in the garage, I came across some old college-era drawings, paintings, and prints that I kept. It was funny to go back and look at these things that have rarely seen the light of day since the early 90’s.
It’s especially funny since I’m a completely different person now than I was then, and the imagery I gravitated towards oozed with my youth. With titles like “Angel of Suicide” …What? All that’s missing is my “Question Authority” bumper sticker.
I knew that I wanted to make some kind of statement, but I don’t think I ever knew what that statement was. I just knew what imagery fit the bill - or formula - for cutting edge, music saturated L.A./Long Beach California. But really, it’s very similar to a lot of other statements that you see even among today’s emerging young artists that I see online. And, we thought we were being so avant garde. I just knew that I DIDN’T want to “illustrate” as that was a bad word in the fine arts department. Oh, silly me.
What I do see that is worth anything is the interest in detail, linework, and texture that are a big part of my current work. I just think I took a pretty round-about way of getting here.
I remember that 3-D box face that I had on my wall, the mannequin head with the Mickey Mouse ears, the gas mask…I just can’t for the life of me figure out which apartment that was (I moved several times during my college years).
I love it! And that you have it in a little Moleskin is even better!
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Love this page from a Mickey Mouse book from the 1930's that my father in law found in an antique market in London Ontario. The artist has really imbued it with a really fun sense of adventure that I just love.
I don't usually post business stories on this blog but this one's a doozy and pretty significant to everyone who loves comics and animation.Disney has begun the process of purchasing Marvel Comics.You can read more about it here.Above is a painting by the great Disney comics artistFloyd Gottfredson.
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So I never got around to my Mouse House rants. I've cooled off a bit, so I won't bore you too much with how I think the whole "pin trading" business is one of the biggest parent-fleecing rackets the folks at Disney have ever come up with - and as I'm sure y'all are aware, these guys are expert at emptying parental pockets.
One thing I do still feel the need to rant about is the subservient role of women in the Disney universe. Don't get me started on the whole "Some Day my Prince Will Come" stuff. I remember when my daughter was about 2, sitting and watching "Cinderella" with her snuggled on my lap. There were already issues in my marriage, although I was no where near at the wanting a divorce stage then. I still had hope that things could actually change. But I remember sitting there as the Prince and Cinders drove off in the carriage to "And they lived happily ever after" and thinking, "Yeah, but then he started taking her for granted and she ended up having to do all the work around the Castle," and I wondered why I was letting my daughter watch it.
Three years later, when things were really going downhill, I wrote about 200 pages of a "grown up book." There's one scene where the protagonist gets drunk and takes all the Walt Disney videos that feature the main female character waiting to get "saved" by her Prince and she rips them out of the video cases, then buries the evidence in the outside garbage cans.
I'd forgotten how much I hated about Disney's lack of feminism until I was at Disney World and we visited Minnie Mouse's house.
Attached to Minnie's bulletin board was this "to do" list:
Anyone else feel like barfing?
I mean, seriously. Doesn't Minnie have anything better to do besides calling Mickey every thirty seconds? Her whole freakin' life revolves around Mickey - she's either calling him, making his lunch, or doing Mousercize and eating a low fat nutritious breakfast so she can stay skinny for him.
Grrrrrrrrrrrr. Wanna make a bet Mickey isn't sitting around all day mooning over Minnie, but actual *does* something with his life? *****Rant Over*****
Meanwhile, on the moving front, it's now a mere 29 days until we move out of the marital manse and into a temporary furnished rental, before closing on our new abode about a week later. I've been busy packing boxes. So far have done 2 wardrobe boxes and five linen cartons in my bedroom, plus 18 cartons of books - and that's just from my study. The latter is somewhat unnerving considering that currently there is NOT A SINGLE BOOKSHELF in the new house. Don't they READ?! I mean, I know I have more books than your average bear, but...the mind boggles. Needless to say that projecto numero uno is to build bookshelves wherever there's free wall space. I'm so looking forward to getting the move over with and getting all settled into the new house.
Finally an update to the Never Ending and Somewhat Surreal Saga of saraclaradara's feet. Apparently, due to all the walking at Disney, I managed to aggravate a previously fractured sesamoid in my left foot. No exercise for another week (not good, when you're stressed out about moving and the government is trying to mess with your chocolate)and the usual icing and ibruprofen. To quote the Rolling Stones: "What a DRAAAAAAAAAAAAAAAAAAAAAG is is, getting old!"
Still, maybe next time I can get one of those motorize scooter thingies to whiz around on. I could run over Snow White if she starts blathering on about how some day her Prince will come. Unless it's the Purple Rain kinda Prince. Then I'll ask for tickets to the show.
Here's an illustration I did for the site www.everybodyneeds2drawmickeyonce.com If you haven't been there, I suggest checking it out. Anyone can participate and it's great to see all the different takes on the iconic rodent. At one point I made it into the top 10 but I think I was knocked out by a three year old. Good stuff. :) www.SoundsLikeBlue.com
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Kelly Kimball and Llyn Foulkes with their daughter, Laurey. Photo by Ward Kimball, 1962.
“Corporate Kiss” by Llyn Foulkes, 2001.
How can you resist any book with Horace Horsecollar on the cover? How many books even have Horace Horsecollar on the cover? This one does. 
I think I’ve been waiting for this book my entire life. I’ve always enjoyed the artistry and wit of Walt Kelly’s Pogo, but the historian in me always wanted to read the entire thing, strip by strip, from day one. At long last the complete Pogo has been compiled, lovingly, by Fantagraphics Kim Thompson and Kelly’s daughter Carolyn Kelly in the miraculous new hardcover, 
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Your finding and the description you give of it is amusing.One of my girls is very artistic and when she looks back she sees a similar growing pattern.