Saturday, 27 March 2010

British TV ist Krieg!

To Mega Television:


Thank you everyone! The show is quite incredible. It is truly one of the coolest collections I've ever seen- running the gamut from heavyweights and pioneers like Milt Caniff, Will Eisner, R. Crumb and Basil Wolverton to little/un-known artists and equalizes everything into a community of comics.

It is so humbling to be a part of it!

I will post some thank you gifts and goodies here from my book. But for now I just want to extend my deepest gratitude and love to everyone who has helped me with this book, especially Tucker for his feedback and guidance, to David Wojnarowicz, and Kathy Acker and the other artists who inspire so much in me and who left us way way too soon. My Mom for helping me realize my full potential.

William Blake was and is a major inspiration for my work, but especially this book. The title is from his work, as well as the basic idea of fiction created through images. Sometimes I feel like he is the wellspring we all form out of, and like Saturn, he will devour his children one by one when we are done...

Last: especially Reginald, who I love with everything I have and am and wouldn't be anything without him.

Thanks for reading this blog every once in a while, too!

Tuesday, 23 March 2010

Dave Sim vol. 4; Dave's Not Here Right Now

Okay, let's get down to brass tacks: Dave Sim gets lazy. I mean, I get it. Taking three decades of your life and putting it into a public project, it's understandable. We all get lazy. Dave Sim can be one of the most expressive and insightful cartoonists, and he can turn around and be one of the laziest and ugliest. I have cringed at some of his character drawings. Pages later he has the mastery of some of the funniest faces in the business.

Hey, it happens.

But somebody who was along for almost the entire ride NEVER got lazy. His name was Gerhard and his artwork is simply stunning:
(please click on all these to see the full monty)

Behind Sim's stiff and studied art is a lush, immaculate and enticing world. There is such a sense of place in Cerebus, and it is ALL because of Gerhard's art.

Gerhard sort of appeared and disappeared. I haven't found any info on what he did prior to Cerebus. Two years after the series finished he sold his shares to Dave Sim. I haven't seen any mention of work he did since the completion of Cerebus. Like some stranger in an old western, he rides into town and leaves with the sunset without a trace. And nobody mentions his name, it is always eclipsed by Dave Sim's mad genius.

When he began working on Cerebus the equation was suddenly complete. It became iconic and inviting in this incredible way. In Understanding Comics, Scott McCloud talks a little about the super-cartoony character in a world of detailed rendering and how that juxtaposition invites the reader even further into the comic. I won't get into specifics, but Cerebus is one of the comics where that is absolutely true.

Compare this. It is all (early) Dave Sim:
To this... All Gerhard:Yes, the draftsmanship gets better and better with both of them, but even late in the game, Dave Sim would simply draw crap and it really sticks out over Gerhard's "backgrounds."

Now this is where I think the weirdness begins. Why do so many comics artists have this chasm between characters on this screen of a stage, the "background" just filler for their characters? I feel this too in my work. I'm not saying it's a particularly bad thing. Many greats couldn't be bothered with anything but white space behind their characters... and it works! But are we so vain and bored with the world around us that we treat it as noise? It's a weird phenomenon and so prevalent in many types of art (in music, we favor the voice, the singer over everything, flip through a magazine and see elaborate frames for bodies, dance of course, etc).

What Cerebus does is a little different. It creates and awkward space with its confrontational ugliness both spiritually and physically.

This misogynist zip-a-toned aardvark and other characters are ugly, sometimes honestly, sometimes just poorly drawn. So Cerebus creates this weird inversion that forces you to stop looking at the characters and go further into the world. You find yourself politely staring at the wallpaper or averting your eyes. You shouldn't point or whisper.

Later as the series was nearing its end, Gerhard began taking photographs and using them for the covers. Perhaps this is mistaken for laziness, but photography is no simple feat (this is before digital, keep in mind). This was out of his element, and with all the variables that could go wrong with light, exposure, framing and so on, it was probably more difficult that cranking out more cross-hatching and architecture. I think this is actually more of the awkwardness, the confrontation. It was a weird landscape photograph in muted colors in the midst of flying fists and space races and mutants. It was anti-comics. It was elegiac.

It was no longer trying to tell you something.

Saturday, 20 March 2010

Sweet, Chaste Fabric

Leonardo da Vinci could draw fabric like nobody else. A lot of those old masters and classic artists could hold their own in other arenas, but da Vinci is the reigning title belt ruler for all eternity.

This is my study of Bronzino, who was no slouch. Definitely check out the exhibit at The Met, it will blow your mente (that's Italian for mind!)

Friday, 12 March 2010

Tuesday, 9 March 2010

Dave Sim vol. 3

So we've been dumping on the guy for his views. But please click on the picture below and see WHY we're spending so much time talking about his views. His art is incredible, especially his use of tone and shading (if you go back and look at early Cerebus, then Gerhard's backgrounds, then his stuff now, you may find where he may have picked up a thing or two).

This is from his new series, Glamorpuss. It is so bizarre, and just as polarizing among his fans as his worldview was among comics fans. In a nutshell, he redraws ads and pictures from women's fashion magazines and gives the history of photorealism in comics. Admittedly self-indulgent, but the history stuff is (at least for me) fascinating.

The polarization comes from doing these fashion spreads (replete with industry jokes, rants and send-ups) and studies of golden age photorealistic comics greats along with studies of their work. Check it out if you get a chance, it is puzzingly amazing and amazingly puzzling...

Monday, 8 March 2010

Dave Sim vol. 2

Jeff Smith is an amazingly talented comics artist. I confess to not having read the epic Bone, but the artwork is stunning and I've admired it from afar. I know that it has reduced grown men to tears, and that is not hyperbole!

What I have been reading is his new series RASL, which is really stunning and masterfully drawn. I really recommend finding it. Aside from being a terrific artist, he is a really really nice guy.

He started self publishing in 1991, and became one of the hardest working guys in comics. He was publishing consistently, pushing his wares, networking with other artists and distributors; basically everything you and I should be doing.

He also happened to become friends with the golden calf of self-publishing, Dave Sim.

Jeff Smith rose to fame with a bevy of independent comics artists who were all doing these amazing black and white stories with the veracity of wild wolves and the method of a Swedish clock. Colleen Doran, Neil Gaiman, and Martin Wagner and others who aren't as well known.

Well, the stodgy good ol' boys of the comics industry didn't much care for these young upstarts, and they were banned from participating in cons. You know what ingenuity is? These self-publishers set up tables in the lounge to sign autographs and meet fans. Dave Sim would invite everyone up to his suite.

Two things turned Jeff Smith's dynamite into rocket fuel. The internet was just beginning it's jet speed crawl from the caves, and these comics rock stars not playing by the King's rules, made something we like to call buzz. The second is that in the nineties, people were thinking comics were worth a lot of money, and kids would peruse the aisles not as the rabid geeks that they were, but as speculators looking to hit a veign. Comics probably hit a stride they will forever after fall short of. It was the California gold rush in CMYK.

When Dave Sim published his fated issue (likening women to voids and whimsied destroyers of all that is holy) he could have probably slipped under the radar, the friends would have argued and all would be in balance in the world. Unless you subscribe to Sim's worldview that is. But he made it personal. He (in true genius Cerebus style, where everything fictional or non in the world gets swallowed up) drew Jeff Smith into the comic. He drew Jeff Smith's wife into the comic. Suffice to say, it's not a pretty picture.

These two auteurs were under such scrutiny that their fighting became very public. Jeff Smith offered to give Dave Sim a "fat lip" which were popular in the nineties. All of this was recorded by various comics magazines and reports.

They are apparently, fine now. Like all break-ups, after the initial sting, you can usually be friends from a very healthy distance.

So this has all been a huge pretense to me showing you Dave Sim's very public letter to Jeff Smith. It's funny how Dave keeps mentioning how "femenized" or girly the world of comics is, and he uses an analogy from a man's man's movie. Yet he wouldn't dream of breaking out of the world of comics, even reportedly turning down Spielberg for the chance to make a Cerebus movie (having seen Howard the Duck; probably a smart move).

Perhaps this somehow femenized world, this Zenda is the only place he feels he belongs. It is ironically, one of the few places that gives him gracious space and a tolerant soap-box for his viewpoint. I can't imagine it (or him) any place else.


Dear Jeff Smith.

Sorry it’s taken me so long to get back to you about this, Jeff, but, considering that it took you nearly five years to “go public” with your side of our disagreement(s)–and in light of my own avowed intention to limit myself to writing only “Chasing Scott” and “To Ham & Ham Not” here in the back of the book (and nothing elsewhere) for the three-year-minus-two-months it was going to take me to finish Going Home–I didn’t think that time was of the essence.

My “sabbatical” was partly an exercise in self-discipline and partly my concession to the comic-book environment. Having been “all over the place” in promoting self-publishing as a viable direct market vehicle for comic-book creators for three years or so…

[and--whatever else you have attempted to portray my efforts as in subsequent years--that is all that I was trying to do. I know you find it hard to believe that the direct market existed before you came along, Jeff, but believe me it did. And there was a time when virtually the entire direct market--most especially publishers like Gary Groth, Denis Kitchen and Mike Richardson--made a great point of the fact that self-publishing was not a viable option and that Dave Sim was the "exception that proved the rule". My efforts on behalf of self-publishing were not to create a "self-publishing movement" (as you keep saying), but to disprove Groth, Kitchen, Richardson et al and to show that it was possible--more than possible--for others besides Dave Sim to make a living self-publishing their work and only self-publishing their own work. I intended to devote a fixed amount of time to that task (which I did) and then I intended to walk away (which I did) and--if, thereupon, self-publishing proved itself to not be a viable option for others (without my on-going, hands-on interference)--I intended to eat Crow back issues (as it were) and admit that I was wrong and that I was, in fact, some sort of mystical being, the only one endowed with the ability to self-publish successfully. The fact that you are one of the outstanding examples that assisted me in refuting that misapprehension is one of the reasons--'til now, anyway--that I have not responded to your own vague but passionate insinuations that "Dave Sim is terribly, terribly, terribly wrong and terribly, terribly, terribly evil in some way". However inadvertently, you helped me to disprove the only misapprehension about myself that really concerned me: that I was uniquely and exclusively suited to self-publish. The rest of the "terribly, terribly, terribly wrong and terribly, terribly, terribly evil" stuff is just part of the price one pays for being a non-feminist in a feminist world. Water off a duck's back.]

…it seemed as if a comparable period of keeping the direct market “Dave Free” (outside the pages of Cerebus) was the least that I could do. Apart from a letter to The Comic Buyer’s Guide on the occasion of Gil Kane’s passing, a press release when Going Home caught us flat-footed by selling out its second print run too quickly and a cover and introduction for Dork Tower and an interview or two for small fanzines, I stuck by that vow. As the three-years-minus-two-months unfolded, I reminded myself that if there was anything which really stuck in my craw, I could address it after the three-years-minus-two-months were over. Many things stuck in my craw (my craw just seems to be constructed that way) but, as the three-years-minus-two-months came to an end, nothing had really “stuck” (craw-wise) that I could count worthy of attention. Attention, in my view, better spent preparing myself, mentally, physically and artistically for the final three year climb up the final rock face on my own personal Mount Everest, the 300-issue Cerebus project.

Except one.

Just about a year ago at this time, I was still “pissed off” (a definite exception to the rule of my largely non-emotional life) about your assertion in your Comics Journal interview (the belated Trilogy Tour issue) that you had threatened to give me a “fat lip” that time that I stayed in your lovely A-frame house overlooking the San Andreas Fault.

Can’t remember the last time I ever said this, but I’m saying it now–to you, Jeff.

You are lying.

(If anyone doubts that you are lying, I invite them to read what I wrote about that visit in Reads–page 241-and compare it with your recollection of what I wrote as you “reconstructed” it–that is to say as you completely fabricated my words–in the aforementioned interview)

Leaving aside your “Big Johnson Bone” fabrications, I’m not sure what my reaction would’ve been had you, indeed, threatened to give me a fat lip. I find accurate perception a sufficiently arguous on-going task without muddying the waters of perception by dealing in various permutations of the hypothetical. I suspect I would’ve asked to use the phone and called the nearest hotel and then the nearest limo company and made arrangements to leave (since you had picked me up in a limo, I could at least be sure that one could have made it up those mountain roads) and then I wouldn’ve taken you up on your little “challenge” once I was sure that I wasn’t staying under your roof any longer.

But, of course, there was no “challenge”.

That’s the really infuriating part of this whole business, Jeff: your assertion in the interview that you presented me with this “challenge,” and “everything got very quiet” and then you proceeded to “enjoy your weekend”. The comic-book field is not a particularly masculine environment so, for a certain unknown-but-presumably-large percentage of the people who read your interview, the whole thing was very straightforward. You threatened me and I backed down. For a likewise unknown-but-presumably-small percentage of the people who read your interview–that is for the (dozen? two dozen? three dozen?) men as opposed to males in the Comics Journal’s readership, let’s face it, Jeff. You were calling me a coward who backs down from another man’s challenge to settle things man-to-man. And then you compounded your insult by portraying me as a weasel who would stay under another man’s roof after having backed down from that man’s challenge to a fight.

Off-and-on, I have now spent the better part of a year trying to figure out how to address another man’s entirely fictional “challenge” to “step outside” (presumably we would have stepped outside as opposed to “duking it out” in your living room) made five years after the “fact”. At the height of my “pissed-offedness,” I just kept thinking to myself, “I’d like to see him try.”

Once my “pissed offedness” had subsided (it took a few weeks), to my own not inconsiderable amusement I realized that that was exactly the sum and substance of my reaction. All emotion aside:

I’d like to see you try, Jeff.

I have to confess that I never thought that, at the ripe old age of forty-four (forty-five in May) I would be “stepping into the ring” with someone, least of all a fellow cartoonist. No matter how much of a fighter you are–George Foreman aside–it’s really a game for one’s twenties and thirties. But, clearly, I can’t just let this pass without taking some action to defend myself from this…(whatever you call it. Before this, who would have needed a word for “lying about a challenge to fight man-to-man”?)

[I do understand--given the fact that I am not a feminist--I have to accept that it is "open season" on Dave Sim. Any feminist is going to feel him- or herself more than entitled to talk about me behind my back and to exert any and all efforts to destroy my reputation and credibility through gossip, innuendo and outright lies. I would expect nothing les of the unfairer sex and their allies and I knew that was the inevitable result of declaring myself to be "not a feminist" in an almost wholly feminist environment.

But you are supposed to do it behind my back, Jeff. That is how the feminist game is played. "girl fighting," as it were. However. To lie, in a public forum, about having offered to give another man a "fat lip." That's something else again.]

I would assume from your choice of the phrase that you have had a certain amount of fight experience. Offering to give someone a “fat lip” implies a disproportionately larger amount of fight experience on the part of the “offerer” than on the part of the “offeree”.

I have to say that in the short space of time that we knew each other, I never once thought of you as being a fighter but, presumably, I was wrong about that. Or maybe I wasn’t.

Which brings us back to “I’d like to see him try”:

I will fly to Columbus on any date that you would care to name and I will give you three three-minute “rounds” to try to give me a “fat lip”. I’m in a the light heavyweight class–on any given day between five and ten pounds lighter than a heavyweight. I would assume you are somewhere in that vicinity as well. I have ten-ounce gloves. Opinion is divided as to which sort of glove dish out the greater punishment: sixteen-ounce (just because they’re heavier) or ten-ounce (because there’s less “cushion”). If your opinion is that ten-ounce gloves won’t do the job for you (“fat lip-wise”), let me know which weight you prefer and I’ll pick up a pair. Or if you want to go all the way up to twenty-four ounce gloves I’m more than amenable. Likewise with headgear. I’m comfortable fighting without it. If you prefer headgear, just let me know.

I’ll let you pick the venue and the time keeper and the referee and I’m more than willing to listen to any requirements you might have that I haven’t covered here.

Just in case some “bright lights” out there get the idea of turning this into a benefit for the CBLDF or some other charity at a convention, let me head you off at the pass right now:

Having had a year to try to figure out how to explain this to a largely feminist, largely feminized crowd I figure the best bet is a (may God forgive me) movie analogy:

Do you remember in the movie The Color of Money, the sequel–make that, the “sequel”–to The Hustler where the Tom Cruise character tells the Paul Newman character that he “threw” their big championship game, so he could “clean up” on side bets? And the Paul Newman character corners the Tom Cruise character and challenges him to a game, a for-real game? And he says to the Tom Cruise character, “Let’s clean this up”?

That’s what I’m doing here. You can’t “clean up” a mess like this in a circus atmosphere.

Jeff, I am saying, flat out, that you have lied. In lying, you have made a mess–a non-masculine mess.

You have made a mess.


Let’s you and me, man-to-man, clean up the mess that you have made.


Saturday, 6 March 2010

Dave Sim vol. 1

I've been reading the ol' Cerebus lately. If you're not familiar with Cerebus, please take a moment (or 540) and look for some black and white phonebooks at your local comic book store filed under C for Cerebus or S for Sim.

Dave Sim is a unique individual in the field of comics, which is a field of unique individuals. He is a very polarizing individual, which again is not that unique in comics. But what IS unique is that he is polarizing for his views, not necessarily his art or writing. In fact, most people agree he's a great writer, a decent draftsman, an accomplished caricaturist, and one of the best letterers in the business. What's most remarkable is his pure dedication to the genre.

This is a good summary for the uninitiated:

In the late 80s he became one of the rockstars of comics. He was publishing Cerebus like clockwork, making sure every month the adventures of a cartoony aardvark in a starkly illustrated world filled the minds of independent comics fans. He was staunchly independent, becoming a pioneer for self-publishers. Without him, the black and white boom that launched a thousand careers would be as forgotten as Comico Comics. But it had an impact, and more importantly proved that you could make a living doing this, that you could do it without working for a company, and you could do whatever you wanted.

Here he is around 1988-89 talking about his comic. At heart, like most great creators, he is talking about himself...

Cerebus DID whatever it wanted. The story would parody pop culture, comics, comics artists and writers, politics, society, swords and sorcery (SO popular at the time) and pretty much anything flying under Sim's radar. Many of the stories are fantastic and really just push the creative limit from the styles to the layouts to the incredible backgrounds Gerhard added that brought a depth and poignancy to the stories in the most subtle way.

Dave Sim let young talent and rising stars fill back pages of his comics. He was at play in his own kingdom, beholden to just one thing: the fulfillment of his obligation to keep producing issues (he began in 1977 and finished in 2004; only Mark E. Smith may be the only other person I know still crankin' em out). An obligation that he ultimately did fulfill. But this task ended up destroying his fan base, alienating him from the comics community and pushing misogyny to its limit and creating his own religion. But more on that later...

Before I go, here's a little interview on (I believe a local Canadian show). It's my favorite, despite the hackneyed morning show style of the interview, unlike some others it does have some heart. It was also 1994, the year everything began to unravel:

Friday, 5 March 2010

Sketches Have No Shame

The new Bronzino exhibit at The Metropolitan Museum of Art is really incredible. This is a truly rare chance to see the underworking process one of the greatest artists who ever lived. If you get a chance, definitely check it out. He draws backs better than anyone else alive, which is no easy feat!

This is a sketch of one of his studies for a larger painting. I really messed up the arm, but the rest of it is pretty close. There is also an illuminated manuscript collection that is truly the most incredible exhibit of its kind.

The Broken Light is still under construction, but it's being closer to becoming a real thing than it was in February. It should be up and running by the middle of March. To access it, you can go to and click on The Broken Light. There ain't much else there, but soon, kids, soon.

Wednesday, 3 March 2010


So if you're around, you should see this show that I'm in. There are more of my heroes in this than I can count on both hands and toes, so if not for me, look at this fucking amazing line up! You will probably never see this much talent in one room again ever in your life, so stop by if you can!

I'll let you know when the reception is.

Museum of Comics and Cartoon Art presents;

NeoIntegrity: Comics Edition
March 12 – May 30, 2010

Charles Addams • Ray Alma • Peter Arno • Mark Badger • Liz Baillie • Peter Bagge • Ralph Bakshi • Isabella Bannerman • Disney Studio Artist, signed by Carl Barks • James L. Barry • Charles Barsotti • Josh Bayer • Alison Bechdel • Jordi Berbetm • Ellen Berkenblit • Nick Bertozzi • Mark Beyer • Michael Bilsborough • R.O. Blechman • Ruben Bolling • Vaughn Bode • Doug Bratton • Barbara Brandon-Croft • Kevin Breslawski • Jeffrey Brown • Gary Brotmeyer • Ivan Brunetti • Brendan Burford • Charles Burns • Tim Burton • Karen Caldicott • Sabin Michael Calvert • Bob Camp • Milton Caniff • Al Capp • Joey Cavalieri • Mark Chamberlain • Roz Chast • Nicolas Cinquegrani • Bob Clampett • Rob Clarke • Daniel Clowes • Al Columbia • Dave Cooper • Leela Corman • Erik Craddock • Ann Craven • Robert Crumb • Howard Cruse • Marguerite Dabaie • Farel Dalrymple • Henry Darger • Geof Darrow • Melissa DeJesus • Angelo DeCasere • Kim Deitch • Guy Delisle • Mike Diana • Liza Donnelly • Julie Doucet • Don Duga • Tom Duncan • Caroll Dunham • Ryan Dunlavey • Mickey Duzyj • Will Eisner • Steve Ellis • Austin English • AndrĂ© Ethier • Neil Farber • Jules Feiffer • Jessica Fink • Ken Fisher • Joe Flood • Hilary Florido • Jack Forbes • Rick Geary • Joe Giella • Stephen Gilpin • Sarah Gllidden • Stan Goldberg • Emma Claire Goodman • Jonathan Gray • Spencer Green • Roberta Gregory • Cheryl Griesbach • Rick Griffin • Bill Griffith • Theodor Geisel (Dr. Seuss) • Richard Hahn • Peter Halley • Tomer + Asaf Hanuka • Joe Harris • Tom Hart • Rory Hayes • Glenn Head • Jaime Hernandez • Gilbert Hernandez • Matt Hickling (Matty Burns) • Syd Hoft • Seonna Hong • Scott Hug • Humayoun Ibrahim • Al Jaffee • Frances Jetter • Phil Jimenez • Ryan Johnson • Anton Kannemeyer • Ben Katchor • KAZ • June Kim • Denis Kitchen • Hank Ketchum • Mike Kelley • Walt Kelly • Jack Kirby • Denis Kitchen • Keith Knight • Ed Koren • Peter Kuper • Harvey Kurtzman • David Levine • Alice Meichi Li • Yali Lin • John Liney • Jason Little • David Lloyd • Matt Loux • Lee Lorenz • Jay Lynch • Matt Madden • Derek Mainhart • Sakura Maku • Kerry James Marshall • Stanley Martucci • Joe Matt • Brendan McCarthy • Dan McCarthy • Winsor McCay • Patrick McDonnell • Ted McKeever • Taylor McKimens • Bill Malendez • Tony Millionaire • Mike Mignola • Moebius • Andrei Molotiu • Victor Moscoso • Tom Motley • Stanley Mouse • Tony Murphy • Josh Neufeld • Marc Newgarden • Diane Noomin • Hiroki Otsuka • Grace S. Pak • Gary Panter • Tintin Pantoja • Rick Parker • Chari Pere • Raymond Pettibone • Brad Phillips • Rina Piccolo • Nate Powell • Hugo Pratt • Ted Rall • Archie Rand • MK Reed • Ad Reinhardt • Fred Rhodes • Chris Roberts-Antieau • Jerry Robinson • Trina Robbins • Spain Rodriguez • Dave Roman • Alex Ross • Virgil Ross • Ed "Big Daddy" Roth (or studio of) • Fay Ryu • Bud Sagendorf • Richard Sala • Jim Salicrup • David Sandlin • Frank Santoro • Elizabeth Sayles • Mell Scalzi • Charles M. Schulz • Dana Schutz • J.J. Sedelmaier • Maurice Sendak • Seth • Marie Severin • Dash Shaw • Jim Shaw • Gilbert Shelton • David Shrigley • James Siena • R. Sikoryak • Shel Silverstein • Josh Simmons • Jeff Smith • Raymond Sohn • Art Spiegelman • Charles Steffen • Leslie Stein • Saul Steinberg • James Sturm • B.K. Taylor • Raina Telgemeier • Craig Thompson • Jodi Tong • Mike Townsend • Carol Tyler • Steve Uy • Fred Van Lente • Jhonen Vasquez • Chris Ware • Lauren Weinstein • Rudolph Wendelin • H.C. Westermann • Eric White • Gluyas Williams • Skip Willamson • Connor Willumsen • Laura Wilson • S. Clay Wilson • Ivan Witenstein • Jim Woodring • Thomas Woodruff • Basil Wolverton • Sylvia J. Yi

NeoIntegrity: Comics Edition is curated by Keith Mayerson


594 Broadway, Suite 401
(btwn. Houston and Prince)
New York, NY 10012

Tel. 212-254-3511
Fax 212-254-3590

Tues-Sun 12pm-5pm

Thanks for checking it out!

Bookmark Aqui: