London exhibitions
Are you a fan of comics or zines? Do you like outsider art or
literature? Ever wanted to produce a comic, a magazine or a pamphlet
yourself?
If you answered yes, head to The Alternative Press Fair on Sunday February 1st at St Aloysius Social Club.
Free and open to all, this event features dozens of exhibitors and
interested types swapping their work and ideas, and members of the
public admiring and buying indy masterpieces.
We caught up with organiser Jimi Gerkhin, and two artists who have supported the venture with words, artwork, and hard graft: illustrator Richard Cowdry and writer Peter Lalley.
Article Contents
THE FAIR
How long has the fair been going?
JG: A year. In 2008 I had a lot of help: Peter Lally (Bedsit Journal– a fantastic comic!), Rich Cowdry, Al Maceachern, Gareth Brookes, Scott Smith, Chloe McCormack. We're just starting out...
What's the format?
JG: We
embrace everything from comics and zines to book arts and radical
literature. We'll have 26 tables and nearly 80 artists! But it won't be
all buying and selling, a lot of this is about is raising awareness...
It's really hard getting your stuff out there and seen in the
mainstream, but in the small press it's just a case of doing it!
What kind of reading material do people present at the Fair?
JG: Comics
range from autobiographical stuff and observational humour to satire
and such, zines span horror/skate/punk to vegan recipes via feminist
self defence zines. We have film criticism books, radical literature,
anarchism pamphlets, alternative lifestyles, and punk... Handmade and Bound will be running a table....
Is it about hanging out? Or collecting?
JG: Some people pick up a whole bunch of stuff which is great.. mostly it's
about meeting people doing cool work and seeing how it's done.
Hopefully people think 'I can do that!'
There's a party afterwards, right?
JG: Yes, an open mic night...
PL: ...after that we have Trent Miller and the Skeleton Jive – he's very good – have a listen.
Cool, how much is it?
JG: Totally FREE!
HOW TO INDY PUBLISH
What kind of publications shy away from the mainstream, or find themselves outside it?
JG: Some
people just don't believe in the world that the mainstream media
represents... other stuff may be too harsh for the mainstream palette.
RC: Publications with no backing. They have no choice
but to self–publish, then figure out how to distribute. Plus stuff
that's just too weird, extreme, experimental.... or produced by people
with mental problems (which doesn't mean it won't be good). Also, stuff
that's really bad.
Are there messages that are actually better suited to outsider status?
PL: Messages suited to outsiderdom are on unfashionable, or taboo topics.
RC: After the underground comix explosion of the '60s, alternative comics
became a medium that involved total freedom for the artist. Now there
seems to be less of this kind of work. Many artists began their life as
outsiders. I think it's a good place to start. As Quentin Crisp said:
'In an expanding universe, time is on the side of the outsider'.
JG: Some
stuff looks better from a photocopier! Darker, more gritty stuff
wouldn't work in a slick glossy mag. If 'outsider status' means being
heard by less people I don't know anyone who'd feel better suited to
that. What's the point in putting pen to paper unless someone's going
to read it?
What are the production values of typical work presented at the Fair?
RC: The
complete range, from professional looking art books and graphic novels,
to limited edition, hand made art books and photocopies.
Are stapled–together photocopies acceptable?
RC: Yes, as long as the work is good – that's what really matters. Mysteriarch by Yurt Baron, for example, is a £1 zine with really great writing.
JG: Absolutely...
people are producing great stuff out of their bedrooms, or a
photocopier at work... the long armed stapler is the creator's friend!
PL: Do what you want – write it on your own body if you wish. The final test is always, is the work any good.
Can I learn about publishing processes at the Fair?
PL: Yes, by talking to other exhibitors there. If you're embarrassed just
ask Jimi, Rich or myself – we're not experts, but we'll tell you what
we know.
RC: That's what it's all about – trying to create the most open, friendly event we can.
JG: I felt so great when I finished my first comic, and that's a great thing to share!
Where are the best places to do cheap print runs?
RC: Your place of employment.
PL: Start
with a photocopier. Up from that you have digital printing – small
runs, say 100, and binding for a low price makes it attractive. Above
that you have lithographic printing – you need a decent run like 500 to
make that worthwhile.
JG: Some comics guys pick up cheap laser printers and do them at home...
What are the most effective distribution channels?
JG: It's
tough, a lot of the shops that used to sell small press stuff are
running down that side of their business, also the shop thing involves
a lot of footwork. There are good distros like blank slate or samu. Events are a great way of getting stuff out. A lot of work, but more fun than walking round in the rain with a box...
RC: The internet is the most effective tool these days.... myspace, facebook, various other networking sites like like We Make Zines...
Is the internet represented at the Fair?
RC: Most
exhibitors will have a web presence of some kind. Some cartoonists will
be selling collections of strips that originally appeared online.
JG: A lot of comics artists are doing web comix now, some are doing comic blogs...
PL: They'll
only be at the Fair if they have chosen to put some work in a paper
format. We're not about having computers set up, with visitors
travelling to attend, only to sit down in front of a screen. This event
is about people... not virtual bullshit.
Can you recommend sites for web publishing?
PL: I'm sorry...There's some guy who did a comic about on–line comics – he'd know.
RC: I buy hosting for bedsitjournal.com and absurdart.com, but you may as well use wordpress, blogspot or other free blog hosting sites. My blog Love The Line is devoted to comics, cartooning, and cartoon art – managing and updating it couldn't be easier.
Is the Fair more about learning, networking or drinking?
RC: Hopefully the first two more than the last.
PL: Exhibitors
can learn from studying each other's methods... Visitors will be
surprised by the amount and diversity of work. Networking has negative
connotations as business speak but people will meet. As for drinking,
that's more of an unconscious thing – people can have a drink if they
want. Well it's Britain, innit! Get 'em down you, you fat b'std...
JG: Well said Pete! Mine's a Kronenburg!
THE COMICS AND ZINES SPHERE
The UK's
published comic sphere is excessively influenced by the USA and
superhero comics, wheras Europe or Japan have more eclectic scenes. Are
sales targets the enemy of off–key comics?
JG: Sure that's the stuff that will sell because in our
culture comics are seen as something which are for children. But the UK
has a rich history in comics coming from popular humour and political/
social satire to modern alternative stuff. There's a great book by
Roger Sabin called Comics, Comix and Graphic Novels which documents this history.
RC: I'm not convinced... It's fascinating that the art form is so accepted,
but I suspect the edgier stuff is still marginalised. I won an award
from a Swiss comics festival, and was flown over to collect it. The
festival was well funded, with hundreds of guests, but I couldn't find
much that really grabbed me. Most manga I've seen looks like it's aimed
at children. People whose work I like are looking for a new audience.
PL: I don't know if the UK is excessively influenced by USA & Superhero comics. Viz and Beano represent a British tradition, even if it is a constant rehash. At any UK comic convention you will hear the words '2000AD' and 'Alan Moore' inside 10 minutes – both British influences. If you said the scene was too influenced by '2000AD' I'd agree.
JG: 2000AD has become a parody of itself. At one time there were some cool artists there also doing stuff for Deadline – a great magazine which carried Tank Girl and British alternative stuff.
Is publishing outsider material necessarily a loss–making labour of love?
PL: I don't think it has to be – but the lack of decent money keeps the
money people away from the scene. If money was to be made a lot of the
current artists would be pushed out by ambitious, unscrupulous people
who'd knock a commercial comic together, quickly, to cash in.
JG: People don't get into it to make money unless they're crazy! I liked
what Peter said about unscrupulous people trying to cash in on a new
scene that's thriving... guys like that will move on quickly... they're
involved to make a name for themselves and get a job on some big
magazine or something... Oh, back to the question! In the end, money is
the last thing on my mind.
RC: In the '60s during the
underground comix boom in the USA, comics could expect sales of at
least 20,000 because they had their own distribution. There's an
audience out there.
What or who represents the future of UK comics and zines?
JG: I hope there will be more events like Zine Symposium and ours, more networks and more awareness so people feel they can do it too. Why leave it to the pros! What do they know?!
RC: Comics need more voices in the media, cartoonists need to be on Newsnight and The Culture Show.
There needs to be more education, because so few people really know
about the medium. It's great that many art tutors now accept comics as
coursework. Art teachers who know about comics will make a big
difference!
If the people doing interesting work now manage to keep going – Gareth Brookes, Ellen Lindner, Hannah Glickstein, Richard Cowdry, Scott Smith, Bird, Peter Lally, Jimi Gherkin, Karoline Rerrie, Steve Tillotson, Ralph Kidson, Jeremy Dennis,
and a few others, and if some of these people actually benefit, then
things could really take off. I'm hoping publishing houses will build
their own graphic novel departments.
PL: It's more about
getting a good scene going than who's the next big thing. Richard is
the best UK artist on the scene, and if the scene was better he'd
already have been a big thing, and we'd have more coming along. I
think this is a time for basic spadework, to build up the scene.
Name your favourite comics of all time
JG: Dan Clowes' Eightball, the artwork of Charlie Burns, Johnny Ryan's Angry Youth Comix, Robert Crumb, Harvey Pekar...
RC: Popeye original strips by E.C.Segar, Little Lulu, Zap Comix, Robert Crumb, Kim Deitch, Love and Rockets, Maus. I think recent issues of both the European anthology, Stripburger, and the US anthology, Mome, have been very strong.
PL: I dislike most comics, but I like the format. I like Robert Crumb, Steve Ditko-era Spiderman, Jack Kirby's Thor. There's a woman called Alex Levin who edits a small–press comic called Jones, who I think is very talented – her strips are really good.
Phew! Thanks guys, we can't wait for the main event...
If you are heading down, names to look out for include Whores Of Mensa, Nurse Pussy, Ethel Sparrowhawk, The Bedsit Journal, Scott Jason Smith, Banal Pig, Active Distribution, Karoline Rerrie, Tanya Meditsky, Al Maceachern and Paul Ashley Brown.
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