#Poopsheet Foundation

[poopsheet]

Crowdfunding Update: Comic Zine Database

New mini added to the incentives!

Outside In #51, the revival of this long-running zine of artist self-portraits originally begun by Steve Willis. This new one's got art by Enrico Ariis, Bob Vojtko, Hal Weaver, Andy Nukes, and Hal Mundane!

This issue will be added to these three donation options and there's at least one more mini that'll be added before it's all said and done.

More info in the original post: https://poopsheet.tumblr.com/post/763686971419869184/hey-its-crowdfunding-time

More Update!

And we're over 60% of the way to the goal! Check that link above for more details and thanks for checking it all out!

[peachdoxie]

I can sort of answer this! I'm not an expert on zines and MARC records, but I did add several hundred zine titles to OCLC last year when I worked for a special collections library with a large zine collection, so I can tell you what my experience was like.

The librarian I worked under described it as trying to fit a square peg into a round hole. MARC records aren't designed for things like zines, which are often, by nature, inconsistent and non-standardized. A lot of the things you'd put for a book or serial publication, for example, might not be found in a zine, like the author, publisher, issue number, location, date, edition, etc. We'd also have many zines whose details changed from issue to issue, sometimes requiring different records because they were technically different publications. I had many questions for the librarian, who had to go consult other zine librarians in order to figure out what to do, and sometimes the answer was just "I dunno, make your best guess."

My library considers a zine anything published by an individual or a small or independent press. We aren't particularly strict about what qualifies, though a general rule of thumb is that a zine doesn't have an ISBN, usually. We have stuff from amateur press associations, traditional xeroxed fanzines, handmade volumes, and even weirder ones. We have a zine made from a toilet paper tube, a Victoria's Secret bag, an empty bag of potato chips, and plywood.

We do catalog unique items with only one copy, though that's up to the discretion of the library to decide if they want to do that or catalog it as a manuscript—a lot of other places with zine collections don't add their MARC records and instead put them in a manuscript collection. My library wants the zines to be easy to find in the catalog, so it's in our best interest to have them in the regular catalog rather than a manuscript collection.

As for the MARC records, we catalog zines as "continuing resources," though a lot of records created by other places cataloged them as "books," which made for some inconsistent cataloging when I was deriving records instead of creating new ones. They're also cataloged as though they're serial publications (even though many are single issues) because there's no way to know for sure if a zine is randomly one day have another issue, which is a situation that occurred with a lot of older fanzines where it could take a decade to get another issue out. It's rare but it does happen.

I was mostly focused on the 100, 245, and 264 fields (author name, title, and publisher information) as well as the 520 (summary) and 650 (subject headings) fields. Unfortunately, this information was not often easy to find! As mentioned above, many zines are inconsistent and don't conform to publishing standards. This is, of course, one of the charms of zines, but makes it a challenge to catalog because no one thinks of the poor archivists. Frequently, I had to search the zine online and hope someone else had compiled the relevant data I needed (mostly the year of publication). I became very familiar with Fanlore for the fanzines and places like the Grand Comics Database or the illustriously named Poopsheet Foundation for other kinds of zines, as well as people's personal websites, Etsy accounts, and random blog posts from the 2000s. Cataloging a single title could sometimes take 20 minutes if I really felt like digging to find the metadata. But there are still many zines that aren't online or are unique editions, so I just had to give up and put [Publisher not identified] or [1990s?] instead. And sometimes, it was extremely difficult to tell what the zine was about, resulting in very vague summaries and no subject headings beyond our usual ones.

There IS a genre heading for zines in the 650 field, thankfully, which according to the librarian took some badgering to the Library of Congress before they finally relented and made one—it makes it so much easier to find zines to browse in the catalog.

Some notable oddities from cataloging:

Zines with multiple publishers listed, like the USA and Australia, or Virginia, USA, and Tel Aviv, Israel. This was common in fanzines where the publishers gave permission to a different publisher outside of the USA to print and distribute zines.

The author named "Greywolf the Wanderer." Neither the librarian nor I had any idea how to format that in the 100 field and had to consult with the other library units. I think we just left it as is, though I can't remember which indicator we used.

Subtitles upon subtitles upon subtitles! Sometimes they went three or four layers deep.

A zine where the author numbered the issues at random, jumping from like 7 to 284 to 55. It's not exactly a problem for OCLC, more so for when the zines get added to our LMS, but I spent a LOT of time searching online to explain how this guy put out like 250 issues of his zine in the span of two years. (We only had three and a special edition, iirc, so the incomplete run didn't give any indication of what he did.)

A duplicate title to ones we already had, but only some were duplicates (we had the first 6 already but the donation was like 5-8), and for some reason we already had TWO copies of 6 and 7 but they were in a different record from the first 5 because the publication information changed between 5 and 6, but it turned out that we only had one copy of 6 that was somehow in both records, and the two copies of 7 we had had different publications locations for some unknown reason—or something like that; I can't quite remember. But it was confusing trying to figure out what different catalogers had done in the past, especially because the standards my library developed for cataloging have changed over the last 20 years.

I hope that gives a little insight into zine cataloging and MARC records! It's a mess sometimes!

the whole point of a zine is that it's cheap to produce, amateur and homemade. if you're being asked to apply to participate in a print project, it is not a zine. if the final product is being printed and bound professionally, it is not a zine. if you are being asked to enter into any kind of licensing agreement more complex than "my work can be reproduced as part of this publication" it is not a zine. nine times put of ten if the final product costs more than $5 you have left zine country. im so serious about this.

[iesorno]

kicking it - 7th April 2021

kicking it – 7th April 2021

header art by Toru Terada ( @ToruTerada67 ) Subscriptions Ryan Carey – patreon – review site A hugely busy and effective reviewer Poopsheet Foundation – patreon – review site a great resource holding lots of info on mini-comics and small press titles you’d never know about otherwise New this week Gardener by Matt Emmons (@secondatbest_) (fully funded) finishes Thursday, April 22 2021 3:01…

[acaseforpencils]

Karen Green, Curator for Comics and Cartoons at Columbia University.

Who are you and what do you do? My name is Karen Green, and I was hired as Columbia University's Librarian for Ancient & Medieval History back in 2002 (I had done my graduate work in medieval history here at Columbia).  A love of comics, and a recognition of their absence in our collections, caused me to propose that we begin to buy graphic novels in 2005; what was then 3 titles (Maus, Persepolis, and Palestine, for those keeping score at home) has grown to 14-15,000 titles in over two-dozen languages.  In 2010, my role expanded when Chris Claremont offered us his papers, and I began collecting other creator archives, with a focus on the NYC area and the history of publishing.  This became a prominent enough part of my brief, that in November 2016, the libraries created the job of Curator for Comics and Cartoons, and moved me up into our Rare Book & Manuscript Library with the other curators.

Portrait of Karen by Drew Friedman

What is your goal as a curator for comics and cartoons? There are more archives of comics history than you might think, with the largest and most prominent probably being the Billy Ireland Cartoon Library and Museum at Ohio State University in Columbus OH.  I'm not trying to compete with Billy Ireland--I couldn't really, even if I tried, as they have a 35-year lead on me!--but what I try to do is create an array of materials that fits well with other strengths in Columbia's Rare Book & Manuscript Library: specifically, the history of publishing, NYC history, the Pulitzer Prize archives (including 95 years of editorial cartoon winners), and illustration.  I want to build out those areas, make the material accessible, assist scholars in their research--and to further solidify comics studies as a proper academic discipline.  And I want to try to preserve a snapshot of the 21st-century NYC comics scene.

Learning about the history of cartoons can be a bit daunting. Where would you recommend a novice start? Gosh, there's no one starting place, I think.  I found THE SMITHSONIAN COLLECTION OF NEWSPAPER COMICS when it first came out, back in 1978, and that grounded me in newspaper strip history.  Other useful resources are Brian Walker's two books about comics, before 1945 and after 1945, and Jerry Robinson's history of the comics.  Comic-book history is a bit more challenging, but Gerard Jones' MEN OF TOMORROW lays out a lot of the players and the process, and the two big Taschen 75 YEARS OF... books, DC Comics by Paul Levitz and Marvel Comics by Roy Thomas, provide narratives for the two dominant mainstream publishers.  Mark Estren's history of the undergrounds is still probably the best there is, and Tom Spurgeon's history of Fantagraphics, WE TOLD YOU SO: COMICS AS ART, offers an oral history of one of the larger alternative publishers.  But there's no unified field theory for the medium's history, and just going to panels and listening to creators talk can be the most interesting and entertaining way to dig in.

A piece of original art from STUCK RUBBER BABY, showing marginal notations; the Howard Cruse papers, Rare Book & Manuscript Library, Columbia University.

What do you wish artists knew about curation? I wish they realized that we're not just looking for their original art.  Don't get me wrong--we love original art!--but it's not the whole story, and we know that it can often be a crucial revenue source for cartoonists.  We're interested in process materials (sketchbooks, first drafts, tracings), too, because they demonstrate the creator's thinking.  But we love correspondence (between creators and publishers, creators and editors, creators and family, creators and other creators), we love business records and contracts, we love ephemera.  Often a creator won't even understand the research value of little things--I went to visit a major comix artist once, who was getting an external appraisal, and in one drawer was a pile of address books going back decades.  My excitement was met with surprise, but those things are snapshots of creative networks over time: invaluable!  On a different note, for artists who work digitally, I just pray they're preserving all their versions and their layers, so that researchers of the future can analyze their process.

Oliver Cesare, cartoon about the impeachment of NY governor William Sulzer, impeached after tangling with Tammany Hall; Dennis Ryan editorial cartoon art collection, Rare Book & Manuscript Library, Columbia University.

Tools of choice:  The Grand Comics Database for comics runs and covers; Poopsheet Foundation for minicomics; and Wikipedia--you probably won't be surprised to learn that comics fans create meticulous and thorough entries, including publication histories.  And WorldCat, to see how others have cataloged some of the rarer items.

George Herriman, hand-colored drawing from archy & mehitabel, given to his Doubleday editor; Daniel Longwell papers, Rare Book & Manuscript Library, Columbia University.

Tools I wish existed: Oh, this tool exists: a processing archivist.  We just don't have enough of them for the number of archives we bring in!  Oh, and a bigger budget, especially for programming.

Tricks: Still looking for those! But while it isn't a trick, I'm happy I work in city that has such a long and storied comics history, and which still has a relatively vibrant comics community, despite the ravages of NYC rents.

Charles Saxon, NEW YORKER cover proposal; Charles Saxon papers, Rare Book & Manuscript Library, Columbia University.

George and Sarah Booth, accompanied by Bob Eckstein and David Borchart, visiting the archives to look at Charles Saxon's paper. [Editors note: all of these wonderful people have appeared on Case!]

Misc.: Sometimes I think that Columbia isn't well-known enough as a comics archive for creators to think of us when they're figuring out what to do with their files.  It's true we've only been collecting archives for about seven years now.  I go to cons, both mainstream and indie, and I've been an Eisner judge, a Pulitzer Prize judge, and moderated panels around the world.  But I'll still meet creators who'll be surprised to learn that Columbia even has an interest in comics.  I'd like creators to think about the context in which their work could be studied here, too--we have a tremendous historical children's literature collection, with movable books and Big Little Books and all sorts of comics-related stuff, and we have a terrific illustration collection, with the largest collection of original Arthur Rackham drawings and watercolors in the US, and original Caldecotts and Rowlandsons and Cruikshanks as well as Rockwell Kent and Boris Artzybasheff and more.  I think this allows us to provide a context that a comics-only archive might lack.

Website, etc. A guide to our collections, and to research

My old ComiXology columns (2009-2012) 

Books for which I've written prefaces or introductions:

THE LEANING GIRL

WEIRD LOVE vol. 3

MORE HEROES OF THE COMICS

Enjoy reading A Case for Pencils? Consider becoming Twitter, Instagram, and Patreon buds with the blog and/or Twitter buds with its creator, Jane!

[monkeypeemonkeypootoo]

Writers / Artists: Terry Boyce - Poopsheet Foundation

[seagreenzines]

Happy Mail Monday – Mentally Scattered Edition

Happy Mail Monday – Mentally Scattered Edition

Hello and happy Monday, zine and mail friends. Today I am sharing wonderful mail that has landed in my postbox from US friends as well as a friend one state over here in Australia. Check out the zine (and sticker!) goodness.

Thank you so much for watching.

*** Awesome People/Places/Spaces Mentioned:

*Poopsheet Foundation – https://poopsheetfoundation.com/ *Amy of Lost Projects – https://www.face…

[researchbuzz]

Contemporary Art, Mini-Comics, History, More: Monday Afternoon Buzz, October 9, 2017

Contemporary Art, Mini-Comics, History, More: Monday Afternoon Buzz, October 9, 2017

NEW RESOURCES

Google Blog: Exploring contemporary art with Google Arts & Culture. “Working with more than 180 partners all over the world, Google Arts & Culture is shining a light on contemporary art, with a new collection of online stories and rich digital content at g.co/ContemporaryArt.”

New-to-me, from Jonathan B.: The Poopsheet Foundation. It is not what it sounds like. From the home page:…

[poopsheet]

Larned Justin and Steve Keeter had some kind words to say about some of my recent mini-comics in their latest "Talking Small Press Comics" show. These guys are old school and we go way back!

[almostnormalcomics]

For Mini-Comic Monday it’s…Copy That! #55! This issue is an 8-page, B and W info/news mini comic zine published by D. Blake Werts. Cover by Adam Yeater.

This is another Mini Comic issue of Copy That! and that means no interview, but TWO minis and news and info from your favorite mini comic creators! In the community section we get updates and offerings from: Aaron Poliwoda (Offensive Jokes!); Adam Yeater (Dream Space); Andy Nukes (The Andy Nukes Newsletter); Billy McKay (Peculiar Paper People); Charles Brubaker (The Fuzzy Princess); Ian Shires (Time Trvlr); Matt Feazell (Board of Superheros); Matt Jones (Gnarly Gnome, Through the Block); Nate McDonough (Grixly); and Rick Bradford/Poopsheet Foundation (Alien Insects, Larva Pimp).

Then the two minis included with this issue are Tormento the Clown by David Miller and The Highly Opinionated Mr. So&So by Matt Jones. In Tormento the Clown we meet a funny guy that just can't be taken seriously. Then in The Highly Opinionated Mr. So&So we get treated to a reflection that's not so pleasing!

To get your hands on Copy That! and for more info contact:

D. Blake Werts

12339 Chesley Drive

Charlotte, NC 28277

or email Blake at: bwerts (at) vnet (dot) net

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Reviewer Revue - Warren E Elliott

Reviewer Revue - Warren E Elliott @ancwee talks about their history with reviewing and what they like to look out for #comics #minicomics #reviewerrevue #reviewer

ZL – Hi, thanks for agreeing to talk to us! Let’s start with a bit of an introduction, can you tell us your name, where you live and what site(s) and how long you have been reviewing? WEE – Hi! I’m Warren E. Elliott and I currently live in southeast Arizona near the Mexican border. I post my reviews to my Blog and to The Poopsheet Foundation. I’ve been reviewing zines and comics (and for a…

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The History of Zines: Poopsheet Foundation is now online

The History of Zines: Poopsheet Foundation is now online

Oh yeah, speaking of zines (look it up kids) something called The Poopsheet Foundation is now online, and it’s one of those 90s things that was what passed for social media back in the day: The Poopsheet Foundation began in 1993 as Poopsheet, a small publication that reviewed other small publications. The zine eventually became a website and the Poopsheet Shop sprang from that. Owner Rick…

[poopsheet]

At the Mini Mart, Warren Elliott reviews the latest from Zoe Thorogood and Avery Hill.

https://pfminimart.com/the-impending-blindness-of-billie-scott/

[poopsheet]

New review at the Mini Mart: Warren Elliott on Grant Thomas’ TATANKA

[poopsheet]

March's Monthly Mini-Comics: Steve Willis and Hal Mundane

The March minis are currently on their way to all subscription patrons. Hooray! This month we’ve got: ● Hal Mundane‘s Slow Death of a Pseudo-Intellectual (Wag Rag #5), underground comix about a creative type who overanalyzes and over-agonizes (nope, can’t relate to that, nope). ● Steve Willis‘ As I Recall the ‘Sixties. Originally published in 1983, this mini calls out the remarkable similarities…

[poopsheet]

Database Progress Update

Hi, everybody, just a quick note about the Mini-Comic and Fanzine Database. Since the last update we’ve added 142 new entries and updated another 171 (new data or photos). 29 of those are new fanzine entries by Dana Marie Andra. One of the most recent additions (above) is Mutt #4 by Jim Conatser. One of these days I’ll manage to complete my Conatser collection. Great stuff. The March mini-comic…

[poopsheet]

The September mini-comics are OUT!

The second installment of the Poopsheet Foundation Monthly Mini-Comic series. All proceeds help in building and maintaining the Mini-Comic and Fanzine Database.

This September 2017 mailing includes two minis. First up is Wag Rag #2 with comics and art by Hal Mundane, Andy Nukes, Caesar Meadows, Billy McKay and Roger Langridge.

The second mini for this month is Poopsheet? with info on some recently published small press comics by a variety of folks and cover art by Andy Nukes.

Subscriptions through Patreon or by the month through the Poopheet Shop. Thank you for your support!

https://www.patreon.com/poopsheet

https://poopsheetshop.com/

https://poopsheetfoundation.com/