Reflecting Culture: The Evolution of American Comic Book

Reflecting Culture: The Evolution of American
Comic Book Superheroes
July 14, 2007 - January 13, 2008
Superman #1 (June 1938)
Superman #148 (1950)
Superman #240 (July 1971)
Superman Infinite City (2005)
From the 1930’s through today comic books
have expressed the trends, conventions, and
concerns of American life…Comics have
been a showcase for national views, slang,
morals, customs, traditions, racial attitudes,
fads, heroes of the day, and everything else
that makes up our lifestyles.
Michael Uslan, The Comic Book Revolution (1977)
Reflecting Culture: The Evolution of American
Comic Book Superheroes
Table of Contents
I. About the Show……………………………………………………………………………….……..page 1
A. Superheroes Go To War………………………………………………………….………page 2-3
B. Cold War, Conformity, and Censorship:
Comic Book Superheroes in the Postwar Era and 1950s…………………….………...……page 4
C. Questioning Authority:
Comic Book Superheroes and Sociopolitical Change in the 1960s and 70s….…………...…page 5
D. Diversity and Moral Complexity: Comic Book Superheroes of the 1980s to Today……....…page 6
E. American Indian Superheroes: Stereotypes and Realities …………………………………...page 7
F. Spider-Man at Ground Zero: The New Century and a 9-11 Postscript……..………..……...page 8
II.
Experiencing the Show………………………….……..………………………….……………page 9
III.
Opening Celebration…………………………………………..…………..……………....……page 9
IV.
Printed Materials……………………………………………...………..……..……………..…..page 9
V.
Education Programs……………………………………………………………...……..…..…page 10
VI.
MAM’s Audience and the Appeal of this Superhero Exhibition…………….…………………page 11
VII.
Ancillary Exhibitions………………………………………………………... ……….. …...page 11-12
VIII.
More About the Organizers……………………………………………………...…………….page 12
IX.
Measuring Our Success…..…………………………………………………………………….page 12
X.
How Our Show Differs from Masters of American Comics………..………………………..……..page 12
XI.
More About the Museum
A. Our Purpose……………………………………………………………………………….page 13
B. Our Collections and Resources…...…………………………………………….……….….page 13
C. Our Exhibitions and Programs………..………………………………………….………...page 13
D. Our Facility…………………….…………………………………………………………..page 13
Reflecting Culture: The Evolution of American Comic Book Superheroes
I. About the Show
The thematic exhibition Reflecting Culture: The Evolution of American Comic Book Superheroes, to take
place from July 14, 2007 through January 13, 2008, will feature more than 75 original drawings, comic books,
graphic novels, posters, figurines, film and television clips and related objects that trace the evolution of American
comic book Superheroes from the Golden Age of comics (1938-1951) to the present. The majority of works will be
on loan from the private collection of local resident and comic book expert Michael Uslan, executive producer of
the movie Batman Begins and originator of the first college-accredited course on comic books at his alma mater,
Indiana University. The Montclair Art Museum’s Chief Curator, Gail Stavitsky and Curator of Native American Art,
Twig Johnson, are organizing the exhibition.
The primary focus of the exhibition is upon comic book superheroes as mass media reflections of changes in
American society and culture. The exhibition will explore a selection of major superheroes and superhero teams
including:
Superman (1938)
Wonder Woman (1941)
The Avengers (1963)
Batman (1939)
Phantom Lady (1941)
Black Panther (1966)
Captain Marvel (1940)
Supergirl (1959)
Red Wolf (1971)
Flash (1940)
Justice League of America (1960)
Peace Party (1990s)
Green Lantern (1940)
The Fantastic Four (1961)
Milestone Comics heroes
Justice Society (1940)
Spider-Man (1962)
Static, Hardware and Icon and
Captain America (1941)
X-Men (1963)
Rocket (1993)
Specifically, the Museum seeks to trace these characters’ evolution from their origins to the present time. These
examinations will be organized in the following chronological and thematic sections:
A. Superheroes Go To War/The Depression and New Deal: 1938-1945
B. Cold War, Conformity, and Censorship: Comic Book Superheroes in the Postwar Era and 1950s
C. Questioning Authority: Comic Book Superheroes and Sociopolitical Change in the 1960s and 70s
D. Diversity and Moral Complexity: Comic Book Superheroes of the 1980s to Today
E. American Indian Superheroes: Stereotypes and Realities
F. Spider-Man at Ground Zero: The New Century and a 9-11 Postscript
The show will consider the censorship of comics in the 1950s, the era of relevancy and awakening social
consciousness as reflected in comics of the 1960s and 70s, including the vulnerable anti-hero Superman of the 70s,
and the corresponding growth of multicultural diversity in comics, including portrayals of African American (i.e. in
Milestone Comics), Hispanic, Asian-American and Native American superheroes. The show will consider the
prominent role of Jewish entrepreneurs and artists in developing and shaping the comic book industry. The
exhibition will also provide several examples of superheroes responding to recent disasters and tragedies, often
oriented toward appreciation and admiration of emergency rescue workers and patriotism. For more detailed
information, please see the following images of selected comic book covers that address these thematic categories.
Page 1
A. Superheroes Go To War
Superheroes of the Depression era—especially Superman—were created as champions of the oppressed,
devoted to helping common people in need. Aligned against the forces of corporate and government greed,
these progressive super-reformers were fighters for social justice serving the public welfare. As international
crises loomed ever larger during this era, the conflict resolution role of superheroes expanded into the world
arena. American comic book superheroes began fighting against the Axis enemies months before the United
States entered World War II, as seen in the cover of Captain America Comics No. 1 (March 1941) where the
definitive American patriot slugs Hitler in the face. Many of the young artists creating these propagandistic
comic books were liberal Jews expressing their politics of moral revulsion in their work (e.g. Joe Simon and Jack
Kirby created Captain America).
Captain America Comics #1 (March 1941).
Cover art by Jack Kirby (pencils) & Joe Simon
(inks).
Batman #12 (Aug/Sep 1942)
Cover art by Jerry Robinson
Action Comics #43 (December 1941)
Cover art by Fred Ray
Green Lantern #4 (Summer 1942)
Cover art by Irwin Hasen
Captain Marvel Adventures #14
(August 1942)
Page 2
Superheroes Go To War, continued
Captain Marvel Adventures #8 (March 1942)
Action Comics #59 (April 1943)
Cover art by Jack Burnley
Wonder Woman #7 (Winter 1944)
Cover art by Harry G. Peter
Batman #17 (Jun/Jul 1943)
Cover art by Jerry Robinson
Batman #30 (Aug/Sep 1945)
Cover art by Dick Sprang
Page 3
B. Cold War, Conformity, and Censorship: Comic Book Superheroes in the Postwar Era and 1950s
Action Comics #206 (July 1955)
Cover art by Wayne Boring and Stan Kaye
After the war, DC and other comics increasingly de-emphasized social
commentary in favor of light-hearted juvenile fantasy, reflecting the era's
emphasis upon family and social conformity, as seen in the popularity of
romance comics (e.g. Wonder Woman as Romance editor and the
Norman Rockwell-like cover of Superboy carving a turkey). Other comic
books revealed serious anxieties about the dawning atomic age and
deepening Cold War tensions. As the nation mobilized for the war
against Communism, influences over young people, such as comic books,
became hotly contested. The comic book industry—especially the
proliferation of crime and horror comic books—found itself under attack
for corrupting impressionable youth and promoting juvenile delinquency.
As the controversy escalated, comic books of nearly all varieties were
deemed subversive. Calls for censorship, comic book burnings, bans,
and boycotts culminated in Dr. Frederic Wertham's Seduction of the Innocent
(1954), a lengthy indictment of the industry. The resulting Comics Code,
a type of self-censorship by which publishers gave up much of their
creative latitude, resulted in a general decline of the industry.
Superheroes, ever popular, were the key to the comic book industry's
survival in the age of television.
Sensation Comics #97 (May/Jun 1950)
Cover art by Irwin Hasen
Superman #66 (Sep/Oct 1950)
Cover art by Curt Swan
Superboy #36 (October 1954)
Cover artists: Curt Swan and Stan Kaye
Page 4
C. Questioning Authority: Comic Book Superheroes and Sociopolitical Change in the 1960s and 70s
The early 1960s was the time of a major reevaluation of youth culture as an economic, social, and political force.
Epitomizing this new development were the alienated anti-heroes of Marvel Comics whose idiosyncrasies
represented a reworking of the formulas for comic book superheroes. In 1962 Spider-Man emerged as the
quintessential Marvel superhero—an adolescent who had to contend with his own weaknesses, insecurities, and
confusion while fighting the bad guys who at times were official figures of authority (i.e. as in "Crisis on
Campus"). The young, flawed, and brooding anti-hero became the most widely imitated archetype in the
superhero genre since the appearance of Superman. The ground-breaking DC series, Green Lantern/Green
Arrow (1970) immersed its superheroes in the social and political issues of the time: racism, poverty, political
corruption, the "generation gap," the plight of the Native Americans, pollution, overpopulation, and religious
cults. Green Arrow was the leftist who causes the more conservative Green Lantern to question authority while
seeking truth and justice.
Justice League of America #79 (Mar 1970)
Cover art by Neal Adams
Green Lantern #79 (Sep 1970)
Cover art by Neal Adams
Justice League #57 (Nov 1967)
Cover art by Carmine Infantino and Murphy
Anderson
The Amazing Spider-Man #68 (Jan 1969)
Cover art by John Romita
Wonder Woman #178 (Sep/Oct 1968)
Cover art by Dick Giordano
Page 5
D. Diversity and Moral Complexity: Comic Book Superheroes of the 1980s to Today
The restructuring of the comic book industry in the late 70s and early 80s resulted in the direct marketing of comic
books in specialty stores. The institution of creators' rights also encouraged comic book makers to accommodate
the taste of the market for superheroes with more realism, violence, cynicism, and moral ambiguity.
The cast of Watchmen; Clockwise from
top: Doctor Manhattan, the Comedian,
Ozymandias, the second Nite-Owl,
Rorschach, Captain Metropolis, and the
second Silk Spectre. Art by Dave
Gibbons, coloured by John Higgins.
Among the most popular superheroes were the new X-Men whose international,
multicultural identities as outsiders feared and hated by the society that they fought
to defend made for compelling narratives. The Watchmen, originally published as a
limited series in 1986-1987 was one of the first superhero comics to present itself as
serious literature. Watchmen is set in 1985, in an alternative history United States
where costumed adventurers are real and the country is edging closer to a nuclear
war with the Soviet Union. It tells the story of a group of past and present
superheroes and the events surrounding the mysterious murder of one of their own.
In Watchmen, superheroes are depicted as real people who must confront ethical and
personal issues, who have neuroses and failings, and who are largely lacking in
superpowers. Watchmen's deconstruction of the conventional superhero archetype,
combined with its innovative adaptation of cinematic techniques and heavy use of
symbolism and multi-layered dialogue, has changed both comics and film.
Batman experienced resurgence as an older and slightly mad right-wing
moralist in Batman: The Dark Knight Returns (1986), culminating in a series of
blockbuster movies. This story was responsible for the rejuvenation of
Batman as a dark character, and for the comics industry as a whole.
Milestone Comics, a division of DC
Comics, was launched in 1992 by four
young African American creators who
wanted to provide sorely needed
models of black heroism, as
exemplified here by Static, a geeky
high school student who is
transformed into a superhero with a
bizarre array of electrical powers and
was also featured in an animated
series. Although no longer in
existence, Milestone expanded and
enriched the genre, paving the way for
greater diversity in comics.
Batman Gothic Knights #31 (Sep 2002)
Static Shock # 1 (January 2001)
Original pen and ink drawing by JP Leon
Page 6
E. American Indian Superheroes: Stereotypes and Realities
With the Museum’s ongoing interest in exploring the intersections between American and Native American art,
this exhibition will consider both the range of Native American superheroes including Marvel’s Red Wolf and
Blue Corn Comics’ Peace Party. It will pay close attention to the treatment of American Indians and the use of
Native American stereotypes in traditional American comics like Superman and Captain Marvel, which were
drawn and written by Anglos who had little knowledge of Indian culture.
Captain Marvel #83 (April 1948)
Cover artist unknown
Red Wolf
PEACE PARTY is a Native American series by Blue Corn Comics that
tells the story of two young Indians chosen by the gods to become
superheroes. Unlike most comic books, PEACE PARTY uses the genre
to present character-based dramas. It portrays Native people as they are
today, free from myths and stereotypes. PEACE PARTY stars two
Hopi/Pueblo cousins, Billy Honanie and Drew Quyatt. Billy's an urban
Indian, a lawyer, who's out of touch with his heritage. Drew's a
reservation Indian, an artist, who's deeply connected to his heritage.
Reconciling their differences, which represent the Native duality of
"living in two worlds," is the heart of the series. While the creator is
Caucasian, Blue Corn Comics hires Native people to write and draw
stories. They have a Board of native experts who review the scripts and
advise on Native issues, as well as Native business partners who help
market and sell the comics. These comics are used at reservation schools
to teach personal and tribal self-esteem, and upon request, have been
translated into Native languages to preserve and strengthen them.
Blue Corn Comics, Peace Party
Page 7
F. Spider-Man at Ground Zero: The New Century and a 9-11 Postscript
Superheroes had responded to national
calamities before but none that had ever
hit so close to home as what happened on
9/11/01. The December 2001 issue of
The Amazing Spider-Man, encased in a
solid black cover, was the first to do so,
featuring Spider-Man, Captain America
and Daredevil helping to clear the
wreckage in the aftermath of the attacks.
They stand, on the last page, behind the
real heroes—the firefighters, rescue
workers, police, and armed forces.
Captain America at Ground Zero
The Amazing Spider-Man (Vol. 2)
#36, (Dec 2001). Called the Black
Issue for its solid black cover
In September 2003 the war in Iraq was addressed in an issue of the Justice League of America in which the
superheroes question President Lex Luthor's decision to unilaterally invade the fictional country of Qurac without
evidence of WMDs.
In a current Marvel series, Civil War, America's superheroes
are divided against each other in the wake of a tragedy caused
by a TV reality show and the government's subsequent
requirement that all costumed superheroes unmask
themselves and enlist as registered defenders of the country—
thus challenging their rights to privacy and the definition of
superheroes.
Justice League of America (Sept. 2003)
Art by Joe Kelly, Chris Cross, and Tom Nguyen
Civil War #1 (July 2006)
Art by Mark Millar, Steve McNiven, Dexter Vines, and Morry Hollowell
Page 8
II. Experiencing the Show
Museum visitors will enter the exhibition through an introductory area in the elevator lobby just outside of the
special exhibition gallery. This orientation space will include an intimate seating area to watch looping audiovisual
presentations about technical and aesthetic aspects of creating comic books, as well as the evolution of superheroes
and comic book characters in other mediums, especially television, cartoons, and movies. This vestibule will
include didactic panels with graphics that address the origins and history of comic books and collecting, as well as a
reading nook with both superhero comic books and other comic book genres, such as Westerns, children’s Disney
comics, Archie, and Classics Illustrated for visitors to explore. This space will also feature free Gallery Guides and
Family Guides that include engaging gallery activities and scavenger hunts.
The main exhibition will be on view in the Josh and Judy Weston Exhibition Gallery, with artwork organized
chronologically by theme. Comic books and figurines will be displayed in freestanding and wall-mounted covered
cases. Original drawings and concept sketches will be juxtaposed with comic books to document the artists'
creative process whenever possible. Large images of superheroes will be designed and mounted as dynamic graphic
elements to guide visitors throughout the space. We are also investigating the possibility of including several life-size
statues of superheroes to additionally enliven the experience of the show.
Furthermore, the comprehensive television documentary Time Machine: Comic Book Superheroes Unmasked (History
Channel, 2003, 100 minutes) will be presented each day at 11 a.m., 1 p.m., and 3 p.m. in a specially constructed
theater within the main exhibition space. Related posters will be hung on the exterior walls of this theater. The
documentary chronicles the history of comic-book superheroes, from the introduction of Superman in 1938 to the
present day. The producers were given unprecedented access to the archives of DC and Marvel, the foremost
purveyors of comic books. Among the topics covered are the neurosis-ridden heroes of the 1960s created under the
aegis of Marvel's Stan Lee, and the clean-up-comics campaign of the 1950s, sparked by the specious findings of
psychologist Frederick Wertham (Seduction of the Innocent). In addition to the ubiquitous Stan Lee, artist/writers Will
Eisner and Jim Steranko are interviewed, as well as writers Dennis O’Neil, Michael Chabon, and others.
III. Opening Celebration
The Member and VIP opening in September 2007, to take place on a Friday or Saturday evening, is expected to
attract well over 500 guests including Museum trustees, benefactors and members, exhibition lenders, and
government, corporate and foundation supporters. This festive event will have the feel of a Hollywood premiere,
complete with searchlights and red carpet, and will include cocktails and hors d’oeuvres, welcoming remarks in
MAM’s Leir Hall public program space, and opportunities to view the Museum’s collections and comic book show.
Life-size superheroes will be on display in front of the Museum, and we will hire a local photographer to take
portraits of guests, offering options to purchase prints of themselves with their favorite heroes. For promotional
purposes, we are also investigating the possibility of displaying an inflated Spider-Man figure on the façade of the
Museum’s building, and/or projecting images of the Batman logo on the façade of the building in the evenings, for
the duration of the show. Costumed superheroes will roam the galleries. As this is a members-only event, we
anticipate promoting the evening to help attract new members and supporters to the Museum.
IV. Printed Materials
Pending funding, the Museum plans to publish an illustrated catalogue to accompany the exhibition, which will
include color illustrations of selected works in the show and introductory statements by the curators and Michael
Uslan. We plan to collaborate with comic book artist Reilly Brown, who freelances for Marvel Comics and grew up
in Montclair, NJ, to create the free informational Gallery Guide for the exhibition, in the form of a comic book. In
addition, the Museum’s education department will develop interactive Family Guides to help visitors explore the
show and learn about comic books and superheroes and the creative process of developing and making comic book
characters.
Page 9
V. Education Programs
• To generate interest in the show in advance of the Opening Celebration in September, and to help build our
family audience, the Museum plans to present outdoor screenings of movies including Batman Begins,
Superman, Spiderman, and The Incredibles during July and August 2007. We will also present a Family Day that
will explore the exhibition in more depth.
•
A fall 2007 panel discussion with industry leaders will help visitors trace the evolution of American comic
book superheroes. Panelists will include Michael Uslan, Executive Producer of “Batman Begins,” Paul Levitz,
President and Publisher of DC Comics, Stan Lee, Chairman Emeritus of Marvel Comics, and Joe, Adam, and Andy
Kubert, the family of leading comic book artists who are based in New Jersey.
•
We seek to invite two executives from Black Entertainment Television, Denys Cowan, Vice President for
Animation, and Reginald Hudlin, President for Entertainment, to speak about their experiences as industry
leaders who are involved in the creation of African American superheroes. Cowan was one of the cocreaters of Milestone Comics in 1992, a comic book company owned by African-Americans concerned
about developing a place where characters are created without preference to gender, race or ethnicity. In
2004, Hudlin wrote his own groundbreaking comic resurrection of the world’s first Black superhero "The
Black Panther.” This project led to the coveted job of writing the new Spider-Man comic book series for
Marvel Comics. One of his recent storylines sent Black Panther to post-Hurricane Katrina New Orleans to
help in the cleanup.
•
A yet-to-be determined art historian will present a slide lecture that examines the work of contemporary
artists who are influenced by comic books and comic illustrations.
•
The Museum is investigating offering comic book classes and workshops for adults and children by faculty
members of the Joe Kubert School of Cartoon and Graphic Art, Inc, based in Dover, New Jersey. Our
summer art camp will include a session on Heroes and Myths.
•
We are exploring the concept of hosting an intimate miniature comic book convention that could provide
opportunities for fans to purchase comic books, meet comic books artists, and request drawings of their
favorite characters.
•
Over a thousand educators and students at the pre-K to university level will participate in guided tours of
this highly anticipated exhibition, and curriculum materials will be developed to assist them with pre- and
post-visit activities.
Comic writer Judd Winick
As quoted in New York Times
article, “Straight (and Not) Out of
the Comics: At DC and Marvel
Comics, new heroes are gay, black,
Asian and Hispanic. Get used to
it.”
“When I get gripes for my need to
force my social agenda into comics,
I always ask: which social agenda
are you complaining about? Is it the
gay people? Or the black people or
the Asian people? After a while, it
doesn’t look like a social agenda.
This is the world we live in.”
Page 10
VI. MAM’s Audience and the Appeal of this Superhero Exhibition
MAM exists to foster a greater awareness, understanding and appreciation of the dynamic richness and variety of art
created in America and its relevance and value to our visitors’ lives. Located less than twenty miles from New York
City in Montclair, NJ, a multicultural community of 39,000 with a nearly 40% African American population, the
Museum serves a broad and diverse audience of students, teachers, children and their families, artists, scholars,
senior citizens, special needs audiences, and visitors from the general public. MAM, with annual membership of
3,500 households, serves 65,000 onsite visitors annually, and reaches 150,000 additional national & international
visitors via touring shows, publications and its website.
The Museum seeks to build upon the excitement and momentum of the terrific publicity and exposure surrounding
the current comic book shows in Newark and New York City. We will position ourselves to attract new audiences
to the Museum, including intergenerational audiences. We expect that older visitors will approach the comic book
material with nostalgia, just as younger visitors will be inspired by the ongoing vibrancy of the art form as it
continues through comic books, as well as video games, television and Hollywood films. Specifically, we will focus
on attracting younger Generation X and Generation Y visitors, who to date do not make up a large percentage of
our audience. In addition, our marketing efforts will include grassroots publicity initiatives such as exhibition
bookmarks distributed at regional comic book stores and conventions. Moreover, this exhibition provides
multicultural role models in such comic books such as the Native American Peace Party series and Milestone
Comics, helping the Museum in meeting its mission to welcome and attract diverse audiences to our exhibitions and
programs.
With total attendance forecasted to reach 70,000 in 2007, the Museum anticipates that the superhero show will
reach approximately 35,000 visitors during its 25 week run in Montclair. In addition, the show will reach thousands
more who access the exhibition catalogue through various modes of distribution.
VII. Ancillary Exhibitions
Michael Uslan has observed that, “the ancient gods of the Greeks, the
Romans, the Egyptians and the Norse still exist today, only they’re clad in
spandex, capes, and masks.” As such, the relationship of comics to
mythology, folklore, and American Indian beliefs will be explored through
the following ancillary exhibition:
•
In Lehman Court MAM will present a Permanent Collection
installation of Native American katsinas, traditional, modern and
contemporary Pueblo figurines that depict the spiritual figures and
dancers that help to bring rain and snow, good crops, good health,
and well being for people everywhere. Like American superheroes,
katsinas are caped and masked. A presentation of these sacred
figurines will help to draw connections between cultures,
illustrating the need for all civilizations, whether ancient, native or
contemporary, to believe in the supernatural.
In addition, the Museum seeks to spotlight the fine work of leading comic
book artists from New Jersey:
•
Captain Marvel # 6 (Jan 1942)
Cover artist unknown
We are exploring the possibility of featuring comic book covers and illustrations by Joe Kubert and his sons
Adam and Andy, all New Jersey-based legends of the comic book industry, in MAM’s intimate Shelby
Family Gallery. The 80-year old Joe Kubert is renowned for his classic portrayals of Sargent Rock, Tarzan,
Hawkman, and the caveman Tor, which he is currently reviving for DC where he served as Director of
Publications from 1967-76. Kubert’s two recent publications include graphic novels entitled Yossell and Jew
Gangster, which deal with his Jewish heritage and the Holocaust. In 1976 Kubert founded the first and only
accredited school devoted solely to Cartoon and Graphic Art. Known as the Joe Kubert School of Cartoon
Page 11
and Graphic Art, Inc., currently based in Randolph, New Jersey, it has educated many of today's leading
cartoonists and comic book artists. Kubert's sons, Adam and Andy teach at the school and are famous for
their renditions of Superman and Batman, respectively, among other superheroes as well.
•
The Museum seeks to commission leading NJ illustrator Greg Hildebrandt to create a large-scale mural for
The Blanche and Irving Laurie Foundation Stairway Gallery. Better known to the illustration world as
part of “The Brothers Hildebrandt,” before his brother Tim passed away in 2000, Greg has worked on
documentary films and thousands of illustrations for text books, children's books, calendars, book covers,
posters, comic books, advertisements, movie posters, production design for films, collectables and trading
card games. Greg and his brother became internationally known for the original Star Wars movie poster and
the 1976, 1977, and 1978 JRR Tolkien Lord of the Rings calendars. He has worked for Marvel Comics, DC
Comics, and almost every book publishing company, Franklin Mint, Batfilms and Lucas Films. The mural
will explore the theme of comic book superheroes throughout the ages.
VIII. More About the Organizers
Michael Uslan, a New Jersey native, amassed an incredible collection of comic books, a passion that spawned an
extraordinary career in film and entertainment. At Indiana University, he earned three degrees (BA history, 1973;
MS education, 1975; JD, 1976) and taught the first accredited college course on comic books. The course drew
international media attention and led DC Comics to invite Uslan to write his dream comic, Batman. Michael is well
known as executive producer of the "Batman" franchise films, among others. Mr. Uslan's outstanding career in
Hollywood spans nearly thirty years. He is an Emmy Award-winning producer ("Where On Earth Is Carmen
Sandiego?") who recently donated over 38,000 comic books from his private collection to Indiana University's
prestigious Lilly Library. He will serve as a consultant, lender, and program participant for this project.
Gail Stavitsky, MAM’s Chief Curator since 1994 and a recognized scholar of American modernism, will lead the
curatorial team for Reflecting Culture: The Evolution of American Comic Book Superheroes. Dr. Stavitsky
directed the organization and publication of Roy Lichtenstein: American Indian Encounters; Conversion to Modernism: The
Early Work of Man Ray; Precisionism in America 1915–1941: Reordering Reality; and George Inness: Presence of the Unseen.
IX. Measuring Our Success
The Museum measures its success through analysis of attendance figures for exhibitions and related programs;
scope of and reactions expressed in press coverage, reviews, feature articles, and television and radio highlights;
tracking of MAM membership levels related to solicitations that focus on specific exhibitions and programs;
catalogue sales and reviews; evaluation of observations made in comment books and at Question & Answer
sessions of public programs; tabulation of evaluation forms completed by program participants; focus group
comments from educators who visited the exhibition and used education materials developed to enhance the
exhibition; and the Museum’s ability to raise sufficient funds to support program, administrative and overhead
expenses.
X. How Our Show Differs from Masters of American Comics
Just as the Museum was in the initial stages of developing our concepts for this show in April 2006, we learned that
The Newark Museum and The Jewish Museum were going to serve as the final venues for the Masters of
American Comics exhibition, jointly organized by the Hammer Museum and The Museum of Contemporary Art
in Los Angeles. Despite initial concerns, we quickly realized that our exhibition would complement and build upon
the Masters of American Comics show. While the Masters show focuses on an art historical survey of some of the
leading comic strip and comic book artists, the Montclair Art Museum’s show is undertaking a more
comprehensive, thematic approach to exploring how the evolution of key superheroes reflects changes in American
history, culture and values. Rather than placing the emphasis upon the artists and their biographies, the show in
Montclair will feature classic original comic art drawings and comic books as vehicles for exploring the development
of superhero characters in the mainstream comic book industry as reflections of sociopolitical and cultural
evolution.
Page 12
XI. More About the Museum
A. Our Purpose
The Montclair Art Museum (MAM) exists to collect, preserve, present, and interpret American and Native
American art and to stimulate creativity in ways that educate, inspire, and connect people of all backgrounds so that
a deeper understanding and appreciation of America’s diverse cultural heritage enhances the overall quality of life in
our community, region and world. The Museum just celebrated its 90th anniversary in 2004. Looking forward,
MAM’s Board of Trustees, staff, volunteers, and visitors are working together to further develop our strategic plans
for exhibitions, programs and initiatives that will help to advance the Museum during its Centennial Decade,
culminating in 2014 with a major celebration of 100 years of art, education and community involvement.
B. Our Collections and Resources
The Museum’s internationally renowned collection highlights various aspects of art making in the United States
over the last three hundred years, shedding light on the development of America's unique creativity and vision. The
collection of 12,000 objects includes paintings, prints, original works on paper, photographs, and sculpture by
American artists from the 18th-century to the present, as well as traditional and contemporary Native American art
and artifacts representing the cultural developments of peoples from all of the major American Indian regions. The
Museum’s LeBrun Library is one of only five art research libraries in New Jersey, and the most extensive library of
American and Native American art in the state. MAM’s Yard School of Art is the leading regional art school
offering a multitude of comprehensive courses for children, youth, adults, seniors and professional artists.
C. Our Exhibitions and Programs
MAM presents groundbreaking and critically recognized theme-based, group and solo exhibitions including
permanent, nationally and internationally traveling, and visiting shows. Related scholarly exhibition catalogues
accompany many of these shows. Exhibitions generally focus on under-recognized, yet significant artists and
movements, as well as related programs that enhance historical, artistic and cultural experiences and consciousness.
The Museum collaborates with several art and community partners in presenting its education and public programs
that range from lectures, studio art classes, guided gallery tours, curriculum development, teacher training, family
day festivals, cultural and musical performances, library research workshops and visual arts outreach, serving a wide
and diverse audience from throughout NJ and beyond.
The Museum celebrates cultural diversity, as well as differences in race, gender, nationality, age, religion, sexual
orientation, and physical abilities, through its collections acquisition policy, staffing, trustee and volunteer
recruitment, exhibition strategies, and scope of public program offerings. MAM partners with community, national
and international groups to attract a broad and diverse audience. Thousands of special needs visitors participate
annually in unique onsite and outreach programs developed specifically for developmentally and physically
challenged, autistic, and hearing and visually impaired audiences. MAM’s renovated and expanded facility is fully
ADA-accessible and the Museum strives to offer all persons equal access and opportunities to participate in its
services, programs and activities. Assistive Listening Devices, Sign Interpretation, Tactile Exhibits and Large Print
Publications are provided when requested in advance, and MAM markets these resources in its Members’ Bulletin,
on the website and via special event publicity. The entire facility is wheelchair accessible including parking, rest
rooms, telephones and reception. We offer free admission to the public one morning each week. Public
transportation is conveniently located in front of the Museum, and parking is provided free.
D. Our Facility
In February 2002 MAM completed a successful $14.5 million Capital Campaign and construction project that
doubled the size of the facility, creating larger and more accessible galleries, classrooms, art studios, collection
storage vaults and public spaces.
Page 13