If you were like me and unable to attend the I AM 8-BIT opening earlier this week, you’ll be pleased to know that there’s many photos of the paintings floating around online. Vinyl Pulse has lots of paintings HERE. And there’s plenty of event photos already posted on Flickr. The caliber of this year’s paintings, both technically and thematically, is quite impressive. Be sure to check out the paintings by animation artists like Steve Purcell, Michel Gagné, Craig Kellman, Sean Szeles, Tony Mora, Scott Morse and Dave Wasson.

Here’s a chance to see what Pixar artists draw in their off hours. San Francisco’s Canvas Gallery will host Combined Weight, a collection of work by artists from Pixar Animation Studios, “produced in their spare time to show the world through their eyes”. Artists include Daniel Arriaga, Enrico Casarosa, Janet Lucroy, Jennifer Chang, Liz Holmes, Lori Klocek, Mark Holmes, Nate Stanton, Noah Klocek, Paul Topolos, Rich Quade, Robert Kondo, Robin Cooper, Ronnie Del Carmen, Simon Dunsdon, Steve Pilcher, and Steve Purcell. Opening reception is next Thursday April 27th, from 7pm - 12am. The exhibition runs from April 27 throuh May 22nd at The Canvas Gallery, 1200 9th Ave. at Lincoln, San Francisco.

Fox News is reporting that veteran Harvey Comics editor Sid Jacobson and long time Richie Rich artist Ernie Colon are teaming up on a serious re-telling of the tragic events of September 11th, 2001. Illustrating simultaneous events side by side on the page, using the timelines of the hijacked planes as laid out in the 9/11 commission’s findings, The 9/11 Report: The Graphic Novel is said to use the comic medium “to chilling effect”.

“I think we have taken a terribly important document, which I wish every American would read, and done it in a way that makes it far easier for people to grasp,” said publisher Thomas LeBien of Hill and Wang, a division of the prestigious Farrar, Straus and Giroux.

This is reported to be the first in a series of graphic novels by Jacobson and Colon. Next up, the stories of Malcolm X and Ronald Reagan. Seriously.(Thanks, Harry McCracken)

From yesterday’s entry on the blog of animation writer Earl Kress:

But getting back to “Song of the South,” there are two things I do know. It was definitely on the schedule to be released as one of the “Treasures” series, and Bob Iger, new head of The Walt Disney Company, recently sat down and watched it. It’s definitely not on the schedule any more.

UPDATE: Mark Evanier has more details about Iger’s specific reasons for not releasing the film. Iger said at the Disney shareholder’s meeting last month, “Owing to the sensitivity that exists in our culture, balancing it with the desire to maybe increase our earnings a bit but never putting that in front of what we thought were our ethics and our integrity, we’ve made the decision not to re-release it.”

The new edition of I AM 8-BIT (”an art show inspired by videogames from the ’80s”) opens tonight at Gallery 1988 (7020 Melrose Ave, LA, CA 90038) from 6-11pm. There’s way too many artists to name here, but a list of exhibiting artists, including loads of animation folk, can be found HERE. For those that can’t make it, be sure to pick up a copy of Jon Gibson’s just-released book I AM 8-BIT, which includes artwork from both last year’s show and the new show.
(Artwork above by Rex Hackelberg)

We mentioned this last week: this Thursday, April 20th, there will be an auction at Cartoon Network benefitting Fyn Stec. Fyn is the young son of current Nickelodeon and former Cartoon Network art director Paul Stec (FOSTER’S) and his wife Dayla Corcoran (production coordinator on DEXTER’S LAB and SHREK). Fyn has recently been hospitalized with a rare form of liver cancer and the auction is raising funds to help defray medical expenses not covered by their insurance.

Lots of artwork by lots of terrific artists has been posted online and anybody can bid on them through midnight of Wednesday, April 19. You can also bid at the auction at Cartoon Network Studios (300 N. 3rd St, Burbank 91502) on Thursday, April 20th, from 5:30-8pm. Below are a couple of the pieces by Craig Kellman (top) and Genndy Tartakovsky (bottom).

Here’s a roundup of news related to our earlier post about Cartoon Network’s rebranding efforts, and its new programming direction, which is showing less cartoons and more live-action programming. In the past few months, the network had begun airing live-action features like DUMB AND DUMBER, ACE VENTURA 2 and HONEY, I SHRUNK THE KIDS, but tonight, CN began airing reruns of SAVED BY THE BELL, the first time in its history that it has aired a completely live-action TV show. The news of CN’s live-action shift has not been well received in the online community. Cartoon fans have good reason to be concerned, and one person has already started a PETITION asking the network to stop airing live-action programming.

A recent article in TV WEEK had this quote from Cox cable spokesman David Grabert addressing Cartoon Network’s shift in programming: “We always closely watch what programmers do, especially if they make changes that take them away from how they sold us the service. This is the first we’ve heard of these plans, but if we feel like they’re going too far, we’ll let them know.” Grabert’s statement suggests that if enough viewers complain to cable operators like Cox, they may step in and take some action forcing Cartoon Network to return to its original programming charter.

Brew reader David Silva wrote in from Mexico to let us know that the Latin American version of Boomerang (the classic cartoons arm of Cartoon Network) has also switched from showing older cartoons to a mixture of cartoons and live-action. He writes:

Boomerang Latin America (English version here) is no longer for classic cartoons… it has been turned into a children and teenage-oriented channel. Yes, the channel still has classic TV shows, but it’s also showing a bunch of teenage dramas and edutainment shows. Which, of course, are not cartoons. The focus has changed completely.

I’m emailing you because, as far as I can see, this change has not happened in the United States. But I am afraid that it will, and sooner than you’d expect. Cartoon Network’s situation is frightening, and the more I see these things happening, the more it makes me think that they’re trying to turn the channels into another version of The Disney Channel.

UPDATE: Animation artist Jamie Badminton writes from the UK:

Just wanted to let you know that the Toonami channel we have in the UK has been showing ‘Parker Lewis Can’t Lose’ of all things since March, along with a science program and and an extreme sports magazine show!! Worryingly, the allotted timeslots for these shows increased the following month so it can’t have been a total failure with audiences. It baffles me that they would ever consider sacrificing their once-focused broadcasting plans for early 90s teen comedies!!

We’ve had ‘Willy Wonka and the Chocolate Factory on Cartoon Network-UK several times too. I’m sure there are enough talented animators that could fill these slots with shows if given the half the chance. Thanks for highlighting it the problem - I have quite a lot of affection for what Cartoon Network once was. ‘Foster’s Home’ and ‘Samurai Jack’ have been the most outstanding animated series of the last 10 years and that is primarily because the artists have had a solid rock of studio support around them ever since the days of World Premiere Toons, letting them hone their skills in one place with the same constant team (something that had not been possible since animation’s golden age). I’d hate for that to be compromised just because some bright spark decides that ‘kids don’t like cartoons anymore’ based on one month’s viewing figures!!

Michael Sporn shares his memories of working on the last commercial that John Hubley ever directed. It was a spot for Vlasic Pickles that didn’t go over too well with the agency. Sporn’s posts - PART I and PART II - include some great thumbnail poses by animator Phil Duncan and also the revelation that Hubley was responsible for designing the Vlasic Pickles stork mascot, which is still used by the company today.