ACCLAIMED QUEER CANADIAN CARTOONIST READS @ LITTLE SISTER’S ON OCT 21
A Canadian artist who currently lives in Long Beach, California after several years in Japan, Steve MacIsaac’s comics explore the intersection of culture, identity, and sexuality: how gay men strive, succeed, and fail to make sense of the paradoxes and opportunities that present themselves in contemporary gay life, particularly the construction of presentation of masculinity.
SHIRTLIFTER #4 contains the second volume of “Unpacking”, MacIsaac’s graphic novel in progress, which he began in issue three. The story is centered around a Vancouver graphic designer named Matt, who has begun regularly seeing a visiting businessman. The catch? The businessman is straight. And married. And their no strings relationship quickly begins to get tangled. This new issue also features work from Justin Hall (GLAMAZONIA, HARD TO SWALLOW) and selection of DICK strips from UK artist Ilya (END OF THE CENTURY CLUB).
SHIRTLIFTER #4 is an 80 page, full color comic distributed to bookstores through Last Gasp, Bookazine, and Prerogatives. The comic is available through Amazon and directly from the author via his website.
Little Sister’s Book & Art Emporium
1238 Davie Street, Vancouver, British Columbia, Canada
Open 10 AM – 11 PM daily (PST) 604.669.1753
Many millions of dollars annually get siphoned away from artists by commercial interests who care far more about making money than making art.
The commercialization of the art business by big business is nowhere more evident than in the marketing of reproduction prints, particularly giclees (computer prints of digital files) by entities billing themselves as fine art publishing companies. These reproductions are typically advertised as signed limited edition “fine art” prints and can sell for hundreds or even thousands of dollars. The great majority, however, are nothing more than computer printouts of scans or photographs of paintings, watercolors, or works of art in other mediums (as opposed to digital works of art created by digital artists entirely or in part on computers which ARE considered to be originals). Repro print artists usually have nothing to do with producing these editions, their only participation being signing their names which takes maybe thirty seconds or so per print at most. And that’s supposed to be worth hundreds or thousands of dollars? No way. But the people hawking these reproductions sure want you to think so and sure manage to talk plenty of people believing it.
The problem with this end of the art business is fourfold. First of all, the large majority of these prints and giclees are marketed in such ways as to confuse less sophisticated buyers about whether or not they’re getting original works of art. Many people mistakenly believe that they are originals. Second, some level of collectibility and/or investment potential is often implied by sellers, when in fact, these reproduction “giclee” copies of works of art in other mediums are little more than glorified posters. Third, the markup over production costs is often huge with the bulk of the profits going to printing companies (aka fine art publishers) and to the galleries or websites who sell these prints rather than to the artists themselves; many artists only get royalties. Fourth, every time someone buys one of these reproduction prints or giclees, one less artist somewhere sells one less original or limited edition work of art. The bottom line? Many millions of dollars annually get siphoned away from artists by commercial interests who care far more about making money than making art.