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Category: Working in Museums

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RIP Trina Robbins

Trina Robbins speaking at the 2023 WonderCon in Anaheim, California. Photo by Gage Skidmore via Wikimedia

I did not know Trina Robbins very well, but she has impacted my thinking and my work. She was the kind of person that, after hearing her stories and reading her work, I have a deep appreciation for what she accomplished, and I wish I could have gotten to know her more and talked with her about something we share — a passion for the work of comics history.

I had the pleasure of meeting her a couple of times in the past few years. The first time I met Trina was when I joined her on a panel at FanExpo in San Francisco in November 2022. I remember it as the Sunday after Thanksgiving, and our panel topic was the centennial of the birth of Peanuts cartoonist Charles M. Schulz. Cartoonist and maze master Joe Wos, who organized the panel, invited Lex Fajardo, the editorial director for Schulz Creative Associates, and me (as curator of the Schulz Museum) to join him and Trina in a wide-ranging discussion of Schulz and his impact on cartooning. Trina was the only one of us to have really known Charles Schulz, bringing not only her stories of meeting Sparky (as he was known to those who knew him) but also her perspective as a Bay Area cartoonist and younger contemporary to him. It was fascinating and, of course, a lot of fun. Few people can tell the story about getting Charles Schulz to contribute a piece to a collection of cartoonists’ nude portraits.

Trina was in high demand that weekend, rushing from panel to table, signings, and other events that day. She joined us a few minutes late and had to leave the panel early for her next commitment, so I didn’t really get a chance to visit with her in that first meeting, though I got to basically sit next to her and hear her tell stories for an hour or so.

I’m so glad I remembered to bring my tape recorder with me, so I at least got audio of the panel—most of it, at least. The brand-new batteries I installed died, and I had to switch to my phone, but something went wrong—don’t try to talk on a panel and record yourself simultaneously if you can help it. At least I got a good chunk of our talk, which is now in the Schulz Museum’s archives.

The next time I saw her was at San Diego Comic-Con in July 2023, when we both had books nominated for an Eisner Award in the same category: Best Comics-Related Book. Attending the Eisner Awards is another story, but there’s a little time as people arrive and get settled in to say a few hellos. I saw her and said hello, and wished her good luck. I’m not confident she remembered me or even knew I was one of the other authors in her category, but she was very gracious. I was so overwhelmed just being in the room, so I don’t remember any other details, especially after Nat Gertler and I were announced as winning the category.

Though she was not awarded an Eisner that night (I thought she would win), her book about Gladys Parker is fabulous. Just as all of her historical work is not only well done but groundbreaking and essential reading. Comics is a rich field for study and enjoyment, enriching our lives as readers, thinkers, artists, and whole people. Trina brought that home, especially preserving, sharing, valuing, promoting, and shouting about women in comics from the rooftops.

After meeting Trina, hearing about her work, and finding her books, I looked at my own writing, my own thinking, and my own historical work and asked myself, “Where are the women?” In one project in particular that I’ve been slowly working on for a couple of years, a collection of short historical essays about the working methods of cartoonists, there were very few women initially. Now, it’s better, but there’s always room to improve. Thank you, Trina, for your work, for being wholly you.

UPDATE:

Andrew Farago compiled a wonderful collection of remembrances of Trina Robbins for The Comics Journal if you’ve not seen it yet.

About the Author: Benjamin L. Clark writes and works as a museum curator.

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Eisner Award Nomination

Silver circle foil seal for a Will Eisner Nominee book. Features the comic signature of comic artist Will Eisner, a large letter E as the central figure, and the word Nominee at the bottom. In very small print at the outer edge of the circle seal, it reads Comic Con International Comic Industry Awards

The book I wrote with Peanuts fan extraordinaire Nat Gertler has been nominated for a Will Eisner Award by the people who bring you Comic-Con International in San Diego each year! Voting has closed for the comics publishing industry award, but it’s been a thrill just to be nominated. I’ve never won an award and tended to roll my eyes at the idea of being grateful for a nomination, but I get it now. This is a recognition of the hard work of *so many* people. I’m so proud and grateful to my team at the Charles M. Schulz Museum and Research Center, our publishers Weldon-Owen, and all the fans of Charles M. Schulz, who have supported the museum and all do a part in preserving and sharing the legacy of Charles Schulz and Peanuts.

Of course, the book is still available everywhere that good books are sold, and proceeds support the Schulz Museum. You can also buy the book directly from the Schulz Museum, which is a way to support the museum doubly. You can even leave a note when you purchase to request that I sign it, and I’m happy to do that.

About the Author: Benjamin L. Clark writes and works as a museum curator.

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Celebrate the Art of Newspaper Comics and Support a Great Cause at the North Bay Letterpress Arts — Saturday, April 22

If you’re a fan of newspaper comics and letterpress printing and live in the North Bay Area, you won’t want to miss a special event hosted by the North Bay Letterpress Arts organization on Saturday, April 22nd. The “Sunday Funnies” event will feature a conversation with Benjamin L. Clark (me), Maia Kobabe, and Andrew Mecum, the Executive Director of NBLA, about the relationship between printing, comics, and beyond.

Maia Kobabe, who was once a member of NBLA, is an accomplished author and artist who has created beautiful books. Eir graphic novel, Gender Queer, has been widely banned (boo!), bringing em major media attention, interviews, (and a new book deal).

In addition to the conversation, there will be a short movie about the subject, live printing demonstrations, and fundraising party tricks. All guests will be treated to coffee from Retrograde, tea, donuts, and other fun snacks throughout the event.

This year, the month of May is also a memorial tribute to Dennis Renault, a political cartoonist and letterpress printer who sold Eric Johnson his iron hand press. Unfortunately, Renault passed away last fall. Examples of his work will be on display at the event, showcasing his life and legacy that perfectly embodies the spirit and wit of the “Sunday Funnies” event.

The event will take place at the North Bay Letterpress Arts studio, located at 925-D Gravenstein Hwy S, in Sebastopol, California. Doors will open at 4:00 PM, with the event ending at 6:30 PM. Sliding scale donations will be accepted in person at the event, or you can donate ahead of time online. Be sure to leave a note that it’s for the event or email the organizers.

All proceeds from the event will support the mission of NBLA, which is to democratize letterpress, lower the barrier of entry, and create more access for a wider audience, especially youth in the community. This year, NBLA is generously supported by a grant from the California Arts Council, along with support from local sponsors such as Sonoma County Libraries, the Charles M. Schulz Museum and Research Center, the Cartoon Art Museum, Blackwing pencils, and Retrograde Coffee.

Join us for an afternoon of fascinating insights into the world of newspaper comics and letterpress printing while supporting a great cause. We hope to see you there!

NB: This post was partially written with ChatGPT tools.

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I have a new book out! The Art and Life of Charles M. Schulz in 100 Objects

Charles M. Schulz: The Art and Life of the Peanuts Creator in 100 Objects

It’s hard to believe, but I had a book come out on November 1st! You can get it anywhere good books are sold, but if you buy it from the Charles M. Schulz Museum, it will be signed by none other than Jean Schulz!

Working with Jeannie on the book was a very special experience. I get to work with her quite a bit developing exhibitions for the Schulz Museum in Santa Rosa, California, and for Snoopy Museum Tokyo, and she’s always happy to pitch in with research — connecting me to contacts, making ID’s in photos, and sharing memories. But this was different. We got to reflect on Sparky as an entire person together and dig into various parts of his life and personality we’ve not done a lot about at the museum for whatever reasons.

The book is almost like a visit to the Schulz Museum — 100 Objects from the museum’s collections are featured in gorgeous detailed photos, and a bit of history is shared about each, often with other supporting images of other objects that help tell the story. We also asked 50 contributors, from cartoonists, celebrities, politicians, friends, and members of the Schulz family, to share their own stories and remembrances related to these objects.

Interior spread from 100 Objects

All of us are very proud of the book, and I hope you will like it, too. It’s out just in time for the holiday gift-giving season, so if you know someone who loves Peanuts (and who doesn’t?), this is something a little different and totally new they will love. If you do buy a copy, be sure to rate and review it wherever you bought it, as it helps other fans find the book. Thank you!

About the Author: Benjamin L. Clark writes and works as a museum curator.

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My Panels at Comic-Con — San Diego

July 21-24, 2022 – San Diego Convention Center

Friday, July 22 — 12:30 PM – 1:30 PM in Room 24ABC
Celebrating 100 Years of Charles Schulz
Moderator Damian Holbrook (TV Guide) and panelists Robb Armstrong (JumpStart), Benjamin L. Clark (curator, Charles M. Schulz Museum), Melissa Menta (Peanuts Worldwide), Alexis J. Fajardo (Schulz Creative Associates), and Hailey Cartwright and Promise Robinson (Armstrong Project scholarship recipients) discuss the centennial and legacy of the Peanuts creator; the publication of a new book Charles M. Schulz: The Art and Life of the Peanuts Creator in 100 Objects; and Peanuts’ inspiring Armstrong Project (named for Franklin Armstrong, Peanuts’ first Black character): two $100,000 endowments to Howard and Hampton Universities to support the work of up-and-coming Black animators.

Saturday, July 23 —4:30 PM – 5:30 PM in Room 26AB
It’s a Filmstrip, Charlie Brown
In the 1980s, kids got career advice from Charlie Brown, Snoopy, and pals (including a new Latina friend) in educational filmstrips produced by the Peanuts animation team. Benjamin L. Clark (curator, Charles M. Schulz Museum) and Nat Gertler (The Aaugh Blog) discuss and present some of these filmstrips, with one live-cast voice performance by cartoonist Gladys Ochoa (Ribbons of Thought), Allison Gertler (Invisible Zeppelin), and more., and more.

Peanuts by Charles M. Schulz, December 11, 1997
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Keith Haring’s trap

“It’s easy to fall into a trap of making things that are in the manner of previous “successful” endeavors — is it a trap?” — Keith Haring, Journals Nov. 1979, page 85.

Cover of Keith Harring's Journals
Cover of Keith Harring’s Journals

Could this be a thing? It’s certainly a thing, but is it on the level of Murphy’s Law? Around May 1st last year, I found a copy of Keith Haring’s Journals visiting a favorite local thrift store (for books). Of course, I had to take it home. I always love a good collection of journals or letters. In my copy, a large paperback by Penguin, there was supposed to be an introduction by Shephard Fairy, but it had been torn out of this copy for some reason. I didn’t notice when I found it. The previous owner otherwise kept it in good shape and tore it out pretty cleanly, so it’s not noticeable, and something tells me I’m not missing much. They also seem to have used white-out across the statement about Fairy’s intro.

So, what about this trap of success? I imagine it should have a name. The [something] Paradox. If there’s not yet a name for this, there should be. The curse of success? Many creators struggle with this and others seem to just roll along, evolving by creating and trying, but every creator is lured back, or at least tempted by what was successful in the past. Especially if that’s how you eat and shelter.

It’s not *my* problem — I don’t have the level of success solely by my own creation and work, but it’s an interesting question. But, as someone who does make things, I want the things I make to be fresh. For my own sake, I want to keep my work fresh, mostly, but also to have a sense of progress, of making and not simply re-making. So, now I must ask myself at various points in a project, “Am I falling into the Haring Trap?”

About the Author: Benjamin L. Clark writes and works as a museum curator.

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Stumped museum curator — can you help?

Late 19th Century mystery card printed with the letter a and numeral 10 at the top and the names G. Robbins, Miss Harrison, J. F. Hull, Gracie Battis. And at the bottom of the card, a capital M.

I’ve worked in History and museums for the better part of 20 years …

Late 19th Century mystery card printed with the letter a and numeral 10 at the top and the names G. Robbins, Miss Harrison, J. F. Hull, Gracie Battis. And at the bottom of the card, a capital M.

So, it was natural my cousin sent someone to me when they found something odd while removing an old chimney in an old house in Nebraska. “What is it?” they asked. It was a little card with some words and letters and numbers printed on it. The longer I looked, the less sense it made. I had no idea. In fact, it’s been a few years since they asked, and I still have no idea.

Running across this photo again I’d kept for reference, I got back in touch with the finder and asked if he had any answers — Still no.

I’d lost any details I’d had, so he kindly sent me more info:
The card is 2″ wide, 3.5″ tall and totally blank on the back. Much smaller than I assumed it would be.

With an ornamental border it reads:

a 10
G. Robbins
Miss Harrison,
J. F. Hull
Gracie Battis
M

And that’s all I know about it. Do you have any ideas?
Link to the biggest version of image I have: https://www.flickr.com/photos/benjclark/49592317168

About the Author: Benjamin L. Clark writes and works as a museum curator.

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Remembering Charles M. Schulz 20 Years Later

Charles M. Schulz at the drawing board, 1956

It’s been 20 years since Charles M. “Sparky” Schulz died. It’s hard to believe it’s been that long ago. As tributes and remembrances pour forth today, I can’t help but remember that day too.

Charles M. Schulz at the drawing board, 1956
Charles M. Schulz at the drawing board, 1956

I remember it pretty well when I read the news, though for me it was otherwise unremarkable. I was a Sophomore at York College in York, Nebraska. As was my routine, when I was “home” on campus for the weekend, I went to the library when it finally opened after lunch to read the Sunday newspapers.

It was cold. In rural Nebraska, the winters are cold and February can be the worst. My friends and I were excitedly planning a trip to the west coast for Spring Break. It would be my first trip there.

Going into the library, the periodical racks weren’t far from the entrance. At that time (perhaps still?) there were a couple of couches and comfortable chairs where one could relax and read. It was one of my favorite places on campus.

The display was such that you could see several front pages at once and more than one newspaper had the news that Charles Schulz had passed away. I probably read the story, but I don’t remember anything about it. Maybe I didn’t read it first. Maybe like millions of other readers, I found the comic section to see the final comic from the man himself. I remember that final strip crystal clear, realizing as I read the message over and over that he announced his retirement, he somehow knew it meant his life was ending. It still brings a tear to my eye all these years later.

Peanuts by Charles M. Schulz, 2/13/2000

Peanuts was on the front page of the Sunday comics section, above the fold in our newspaper. It had earned the spot long before I was born as the most popular, most syndicated comic of all time. That day, I remember also wondering what happens to comic strips when the creator passes away, not knowing that the comic section in my hands included several strips by artists who had died long ago.

Of course, back then I had no idea I would one day get to know the life and art of Charles Schulz on a much deeper level than as a more-days-than-not reader of the funnies. Since becoming the curator of the Charles M. Schulz Museum in Santa Rosa, California two years ago today, I’ve read pretty much all the books about Schulz, I’ve watched all the interviews, I’ve read all his comics. I’ve read his personal correspondence and squinted into his family snapshots. I’ve met his kids and have gotten to know his widow. I can recognize his handwriting. In that time, I’ve gotten to know him about as well as I can not actually knowing the man. Schulz was a lot of things, and to me, I’ve only become a bigger fan.

Thanks for everything, Sparky.

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It’s A Podcast, Charlie Brown

It's a podcast, Charlie Brown

Good grief

So, I’ve had a drastic move in my day job: It’s been about a year since moving to California for a dream job: I’m now the curator of the Charles M. Schulz Museum and Research Center. Yes, that makes me the official historian of Snoopy, Charlie Brown and the whole Peanuts Gang. It’s been fantastic, but it’s been hectic in my first year here and it’s not left any time at all for much creative writing. Don’t get me wrong, I’m writing constantly … for work. We have six exhibitions per year, and I write all of them, and there have been special projects that were waiting as well, so it’s been crazy but the end is in sight.

We’ve also been busy as a family getting to know our incredible new home. Sonoma County and the Bay Area, in general, is just a very special, beautiful place, and as people who love the outdoors, it’s easy to put the notebooks aside for the weekend and just go. The beach, the mountains, the Redwoods, several hundred wineries, world-class dairies with their specialty cheese shops — it’s a lot to take in for a family of midwesterners who are used to holing up for the winter and not seeing true warmth and daylight until May.

Also, (back to work), I’ve had a lot of reading to do. Like how to do you become an “overnight” expert on a man who has had a handful of biographies, has given hundreds of interviews, and wrote and drew a daily comic strip for nearly 50 years (to the tune of 17,897 strips!) — A lot of reading. A lot, lot of reading. And to read his influences. And his acolytes. And I’m not done, by a long shot, but I think I’m starting to see the margins of life reforming where I can slip in a creative word or two outside my journal.

I’m a blockhead

It's a podcast, Charlie Brown

In the past year, I’ve been learning a lot about comics and how they fit into pop culture in the 20th Century and coming forward to now. So, in an effort to keep my bona fides current, and to be a good creative person, I’m showing my work (#showyourwork) as a sort of disciple of Peanuts fan Austin Kleon has taught in his wonderful books which really kicks off with Steal Like an Artist, his follow up Show Your Work, and the just-released Keep Going.

So, on that front, of being a good museum curator, here is my recent-ish interview for the podcast It’s A Podcast, Charlie Brown. It’s something of a monthly audio magazine for the true Peanuts fan. My interview begins around the 36:30-minute mark or so.

About the Author: Benjamin L. Clark writes historical mysteries and works as a museum curator.

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How to know how old anything is

Dating Old Stuff

man cleans old painting
“How you doin’?”

Learning how to date things is both science and art. Of course, I don’t mean engaging in a romantic experience with the objects, but telling how old a thing is.

Like you’ve probably heard about bank tellers, who are trained to spot counterfeit currency by handling a lot of real currency, the same is true for museum and archive professionals. We learn to recognize things for what they are by handling a lot of similar stuff. Well seasoned collectors are the same. Being able to observe characteristics of an object allows us to learn more than is on the surface.

Curators track not only the history of the artifacts they care for in the way the object was used, but also how it is used after it enters a museum’s collections, like if it was studied for a publication, or if it appeared in an exhibit somewhere. This includes keeping an archive of related materials, like news clippings from exhibits. I recently received a news clipping from an exhibit, but there was no date on the clipping, from the newspaper or otherwise (a handwritten date is also great if it’s done). So, I wanted the clipping, but when did it come out?

Clues

On the front of the article, the gentleman on the left (not in the painting) looked all too familiar. No, he’s not me, but he could have been at one time. I remember the mid-1990s well, and that’s exactly how I dressed and most young men dressed at the time. But, what year, exactly? I can’t really tell from the photo if it’s 1993 or 1998. I know the exhibit and museum are in Nebraska (I am too), so I know wearing a flannel shirt and jeans really isn’t a good indicator of the season, so I’m can’t be sure of the month just from this photo. So, on the front of the article, the part I want, there’s not much to tell me the exact date of the article beyond it’s from the mid-1990s. Probably. 

Flipping the clipping over, there are a few other bits that may be helpful, but best of all, there’s a movie schedule!

Today, many of these Omaha theaters are now gone, or if they still exist have been bought out. They also probably don’t have records on hand for when they showed which movies. Luckily for us, we have IMDB. I recognized some of these movies but didn’t remember exactly when they came out. (Who could forget Beverly Hills Ninja? Just me? Ok.) Fortunately, there were enough films here to hone in on a date where movies on the way out, and movies that had just debuted overlap. Charting it, we’ve got it down to the last two weeks in January 1997. That’s a pretty narrow window, and frankly good enough for documenting this article for my files. 

To get the date even closer I could go through microfilm/digitized copies from those weeks and find the article, but that would take time I just can’t devote when January 1997 is good enough.  

 

…

Curatorial Pipe Dreams

Admittedly, I lucked out on this clipping. I’ve got many others in our archives that just don’t have much to go on at all. In fact, it’s so obscure I can only hope one day someone develops the technology where I can run an image recognition of the scanned clipping and it’ll find the correct article within the digitized newspaper somewhere online. Wouldn’t that me amazing? Maybe someday.

About the Author: Benjamin L. Clark writes historical mysteries and works as a history museum curator.

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