Pen and ink
A Weimar era cartoon I made that's just as relevant now as it was the day I drew it.
A cartoon I submitted to the New Yorker in the 40s. At the time, it was considered "ahead of its time."
An "outtake" from my recent Hedwig Sketchbook report for Vanity Fair. This is actually the first drawing I did the week of tech. It shows the stage manager and a costumer in the house, watching as John Cameron Mitchell rehearsed. The costumer ended up being the audience stand in whenever Mitchell practiced his "in the house" moments.
I’m Michael Arthur (Inklines), the Pub’s Archival Artist, checking in today— just short of a week before the big Balthrop, Alabama show—to share some more drawings we’ve received from artists interested in coming in and drawing at the Pub.
Today’s submission came as a surprise for me. The drawings posted here are from Adam Matta—one of New York City’s Musical Urban Treasures—a masterful beat boxer and musician who also happens to be one of the nicest people in the five boroughs. I ran in to Adam soon after we started this project and happened to mention it to him. He quickly asked if he could submit some drawings to which I replied, “Wait. You draw?”
It turns out that he does—as you can plainly see from the above portraits and sketches. But what really fascinates me is the way that Adam has begun playing with ways to incorporate drawing into his live performances. Right now he’s playing with a camera and randomizer that takes his live drawing, re-arranging and layering them in projection during his act. But he also paints with bikes. I love that his curiosity and willingness to experiment are taking him into new areas.
Drawing, music, acting, dancing—they’re all paths for an artist’s journey and it’s exciting when artists combine different routes in interesting ways. I really look forward to seeing what comes next from a guy like Adam who’s already a hands down genius.