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Introducing Ladydrawers

Tuesday, 21 June 2011 00:00 By MariNaomi and Anne Elizabeth Moore, Truthout Graphic Journalism | Graphic Journalism
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In recent years, comics have grown into a legitimate - and big money - business. Yet, some in the industry haven't felt the impact of the popular success of the now ubiquitous form. More often than not, it's the female-identified creators who aren't being encouraged to submit work, aren't being sought out and aren't getting books turned into big movie deals. In comics and elsewhere, women creators of all sorts of media are starting to ask: Why? Ladydrawers, a new semimonthly comics collaboration, will look at a few possible reasons and impacts in comics form.

Click here or on the comic below to open it in a new window and click again to zoom in.

We're always looking for new talent to showcase, and pay, at Ladydrawers. This email address is being protected from spambots. You need JavaScript enabled to view it. and a couple published work samples and if you're at all ladylike, we'll get in touch!

Anne Elizabeth Moore

Anne Elizabeth Moore is a cultural critic and author of several award-winning, best-selling nonfiction books including Unmarketable (The New Press) and Cambodian Grrrl (Cantankerous Titles). She is a Fulbright scholar and was a USC Annenberg/Getty Arts Journalism Fellow. Her work has appeared in The Baffler, Al Jazeera, Salon, The Onion, Talking Points Memo, Wilson Quarterly, Tin House, and in international art exhibitions, including the Whitney Biennial and solo shows at the MCA Chicago. She has appeared on CNN, NPR, Voice of America, and in The New York Times, among others, and currently lives in Chicago. Threadbare: Clothes, Sex, and Trafficking comes out in May.

MariNaomi

MariNaomi is the San Francisco-based creator of the graphic memoir Kiss & Tell: A Romantic Resume, Ages 0 to 22 (Harper Perennial) and the self-published Estrus Comics (est. 1998). Visit her website at marinaomi.com.


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Introducing Ladydrawers

Tuesday, 21 June 2011 00:00 By MariNaomi and Anne Elizabeth Moore, Truthout Graphic Journalism | Graphic Journalism
  • font size decrease font size decrease font size increase font size increase font size
  • Print

In recent years, comics have grown into a legitimate - and big money - business. Yet, some in the industry haven't felt the impact of the popular success of the now ubiquitous form. More often than not, it's the female-identified creators who aren't being encouraged to submit work, aren't being sought out and aren't getting books turned into big movie deals. In comics and elsewhere, women creators of all sorts of media are starting to ask: Why? Ladydrawers, a new semimonthly comics collaboration, will look at a few possible reasons and impacts in comics form.

Click here or on the comic below to open it in a new window and click again to zoom in.

We're always looking for new talent to showcase, and pay, at Ladydrawers. This email address is being protected from spambots. You need JavaScript enabled to view it. and a couple published work samples and if you're at all ladylike, we'll get in touch!

Anne Elizabeth Moore

Anne Elizabeth Moore is a cultural critic and author of several award-winning, best-selling nonfiction books including Unmarketable (The New Press) and Cambodian Grrrl (Cantankerous Titles). She is a Fulbright scholar and was a USC Annenberg/Getty Arts Journalism Fellow. Her work has appeared in The Baffler, Al Jazeera, Salon, The Onion, Talking Points Memo, Wilson Quarterly, Tin House, and in international art exhibitions, including the Whitney Biennial and solo shows at the MCA Chicago. She has appeared on CNN, NPR, Voice of America, and in The New York Times, among others, and currently lives in Chicago. Threadbare: Clothes, Sex, and Trafficking comes out in May.

MariNaomi

MariNaomi is the San Francisco-based creator of the graphic memoir Kiss & Tell: A Romantic Resume, Ages 0 to 22 (Harper Perennial) and the self-published Estrus Comics (est. 1998). Visit her website at marinaomi.com.


Hide Comments

blog comments powered by Disqus