ART - Artists from the Master Storytellers Exhbit

MASTER STORYTELLERS

illustrations inspired by Hans Christian Andersen, the Brothers Grimm, Kenneth Graham, Shakespeare and more master storytellers. Curated by Donna Miskend.

On view at 

Poe Park Visitor Center

2540 Grand Concourse, Bronx 

through May 30, 2015 EXTENDED THROUGH JUNE 27, 2015

CLICK here for a schedule of events or call the gallery 718. 365.5516

Yuko Katakawa 2015, Snow White and the Seven Dwarfs

DM: What story did you illustrate and why did  you choose it?

Snow White and the Seven Dwarfs. I thought it might be fun to show this popular story in a different cultural context (Japanese).                         - Yuko Katakawa

Humpty Dumpty. I grew up with Mother Goose rhymes and this one was fun to add a twist to. Humpty is an egg who had a great fall, so he should be covered in yolk!     - Clare Pernice

I chose Red Riding Hood because there is just so much drama and tension happening throughout the story. As a child reading this story, it's impossible to forget the moment when you realize this little girl in red is about to be eaten by a wolf. The color red is also so intense and iconic (Good marketing strategy on whoever chose the colors) that it just becomes extremely memorable.    - Hyo Taek Kim

The story I did my illustration for is The Nose by Nikolai Gogol, because it's such a strange, memorable, and inspiring story. It's sad, but it's so funny, too. For this, I was thinking back to graphic artists who did satire, such as England's William Hogarth, who lived in the 18th century, and New York's Thomas Nast, who lived in the early 20th century. The story of the nose pokes fun at corrupt bureaucrats and shows great sympathy for the poor.Those artists did the same thing. Artists and writers have been doing that throughout history, and continue to.  - Vicky Rubin

Sonnet 147, Dave Kopka 2015

I chose The Dead Wife from The Yellow Book by Andrew Lang. Despite the clearly morbid title, I really enjoyed that it was about a man and woman who worked together and existed as irreplaceable partners for each other that they could each rely on. I always felt that small stories such as the ones from Lang's fairytale books had a hint of something quietly magical about them, where strange things happened in a world not unlike our own. The Dead Wife had something poignantly sad that reminded me of a Greek tragedy, and it was this simplicity that I wanted to convey.  - Candace Lee

I illustrated The Reluctant Dragon, By Kenneth Grahame. In the story the little boy was able to communicate and understand the dragon. I chose this because I used my imagination to create my own pictures.  - Robin Meeks

The Dark Lady Sonnet 147 by Shakespeare. I felt that this particular sonnet of the series would present an interesting and engaging challenge if I were to reinterpret the words. The man who is writing the sonnet is no longer the victim of this woman's taunting allure, but rather the victim of his own poorly-chosen actions. - Dave Kopka

DM: Did you read the story as a child, in school or as an adult? 

Hyo Taek Kim 2015, Brazilian Red Riding Hood

As a child growing up in Brazil, then as an adult here in the states. In fact, I always thought it was a Brazilian story up until a few years ago, but I guess not.
- Hyo Taek Kim

I read (or was read to) the story as a child. I remember being puzzled by the tale of not so friendly animals, with their absurd designs and schemes, as they are trying to arrange Thumbelina's future for her. - Delphine Hennault

I read Jack and the Beanstalk as a child, over and over again - the giant's world always fascinated me.  - Candace Lee

I actually hadn't heard of either story until my second year in college. There was a History of Illustration course that had exposed me to a good number of fantastic old school illustrators. With that came some of the stories that they had illustrated for, and that's how I happened across Wind in the Willows. The Shakespeare sonnet was apart of another assignment, but the imagery for both stories became sharp enough for me to want to try and make my own pictures for them. - Dave Kopka

DM: Who are the artists that influence your work?

Donna Miskend 2015
How The Leopard Got Its Spots

There are many, but Matisse is one of the most influential. His work is about line, pattern and most of all color. I haven't done collage in many years, but after seeing Matisse's cut paper collage show at MOMA I was inspired to return to it. This series is simpler with a more graphic quality to it versus my earlier collages which were layered with symbolism.  - Donna Miskend

Growing up in France I was most influenced by caricaturists like Honore Daumier, and comic book artists like Claire Bretecher or Herge (the author of Tintin). - Delphine Hennault

I have been influenced by the artwork of Romare Bearden, Jacob Lawrence, Faith Ringgold, Ezra Jack Keats, and Eric Carle, among many others.

- Nancy Doniger

There are so many artists I find inspirational, but to name some: Arthur Rackham, Harry Clarke, Kay Nielson, Amy Reeder, Winsor McCay, Greg Manchess, and Diane & Leo Dillon. Though a few approaches are similar to each other in appearance, in all the work the differences are very noticeable and I find each artist's work moving for its particular reasons. - Dave Kopka

I currently am enamored with Emily Carroll's style of work: she can convey genuinely haunting tales from her comics, and they all seem to have this rich history she creates with her words. Also, in the more traditional vein, Stuart Immonen is an amazing Marvel artist whose characters are so expressive and well-rendered that I hope to absorb some of that in my own work.   - Candace Lee

DM: What else would you like people to know about you or your work? 

Nancy Doniger 2015, The Peacock and the Crane

Sometimes I work with pieces of cut paper, but in this case I chose to work digitally so that I could focus of the relationship of the birds, tweaking the expressions and positions to make their relationship it clear.  I was able to create and change shapes and positions easily while still having 'cut out' type shapes. Next I plan to make a version of the image in paper collage, and also one as an etching with mono print.  

 - Nancy Doniger  www.donigerillustration.com

I make prints, pillows and other things on my spare time, they can be found at www.society6.com/hyos  . . . and my website is hyotk.com  - Hyo Taek Kim

The first book I illustrated, Write Out of the Oven! by Josephine Waltzis a collection of letters and recipes from more than 50 well-known and award-winning children's authors.   I also have one non-fiction short true story, Standing Up, that has been published, in Chicken Soup for the Child's Soul, Character-Building Stories to Read with Kids Ages 5-8, May 2007.  When I not illustrating or writing, I am a teaching artist with the Vermont Arts Council and the New England Foundation of the Arts.  
Visit www.christinemixart.com    - Christine Mix

My first book, Circus Girl was released recently in 2014. It is a story of make-believe and childhood dress up. Currently I'm working on a companion book, Adventure Boy. My second book of fractured rhymes in the same style as Humpty Dumpty is The Real Mother Goose and will be published soon. - Clare Pernice

I have been working on a rhyming picture book written by my uncle, Steve Kopka, a writer currently working on his own YA series (http://www.cometjack.com). I am also involved in private commissions ranging from poster art to portrait paintings, but my main focus has been on building up my portfolio.  There are many projects I am excited about enveloping myself in and even more I am itching to start. - Dave Kopka

The next show I am curating, Fairytales, will be at the Brooklyn Public Library and run throughout the summer. News will be on my blog along with more exhibit and illustration info. In addition to writing and illustrating, I am also a teaching artist on the rosters of Arts Westchester and recently accepted to Lifetime Arts. I work with children, adults and seniors through these programs and in independent workshops. Thank you to all the artists who participated in Master Storytellers, and sharing their thoughts about their work here. Join several of the artists from the show for an artist panel on April 11 at noon, followed by a conversation with Michael Patrick Hearn, children's literary historian about the stories illustrated in the exhibit and our opening reception. 
- Donna Miskend, curator