An interview with Justin Renteria
My connection with New York Cityâs still influential Village Voice stems from several things. We lived in Greenwich Village for some 14 years, and a high school chum of mine, Pulitzer Prize winner Jules Feiffer, was their featured cartoonist for years too. But times change, we all move on. And as I discovered on a recent visit to The Big Bagel, the work of a very intriguing artist, Justin Renteria, caught my eye in one of their current issues.
Now living in Aurora, Colorado, this freelance illustrator admits that being so aptly described is a sort of âlow pointâ for him, as opposed to being regularly syndicated. He said to me, âThe lows come every few weeks when the phone doesnât ring, and you wonder if anyone will ever commission you for a an illustration ever again.â
The âhighsâ of course come when youâre able to see your work in magazines and newspapers. Among the many other publications that have used Justin Renteria’s work are: (according to his website) The New York Times, Los Angeles Times, The American Lawyer, Wall Street Journal, Washington Post, University of Toronto, among others. Justin mentioned that, âMaybe in 50 or 100 years from now, someone will happen across one of them in some archive and really like it and be inspired to make their own art.â
Justin Renteria credits other artists for keeping his wellsprings full. âIâm very inspired by others, not only artists working today but especially those from earlier times. So unless all art disappears one day, I think the well will always be there.â He added the word, âHopefully.â
It turns out that what was “always there” for him were his parents, âhis biggest fans,â though âthey were doubtful that it was a wise career choice, and with good reasonâ(he adds). He always was the âclass artist,â And one insightful teacher, Ms. Whitford (now Mrs. Adams), was, âinstrumental is helping me get to art school and seeing art for me as career.â
He relishes the thought that Mrs. Adams must be proud of him, whatever his standing in the art world. But he jestingly says that some other teachers might say of him, âWow, he didnât end up in jail?â
As one of todayâs young talents, Justin Renteria is very positive about the Internet. He thinks âitâs a great tool for getting your work out there. Iâd say every artist should have a website that shows examples of work (that was how I could enjoy even more of his illustrations) and allows fans to get in touch with you and maybe even buy some of your art. You can even,â he emphasized, âjust self-publish on your site until youâre hired.â
Addressing the advisability of pursuing art as a career, Justin is hard-headed in appraising it. He doesnât think, âany arts profession is one you choose to make money. But, if itâs what youâre passionate about, and you donât mind stressing about rent and bills every now and then, welcome aboard.â
Discussing his youthful cartoonist idols, he ranks at the top the work of Bill Watterson with his brilliant âCalvin and Hobbes.â Justin mentioned some current favorites like Jerry Scott and Jim Borgman (âZitsâ) and Brian Crane (âPicklesâ), but Watterson, he admits, âtops them all.â If he could go back in time to conjure a heart-to-heart with some of the great old-timers, he feels it would be âmost interesting to speak with any of the old Mad Magazine staff, artists like Bill Elder, Jack Davis or any of the other usual gang of idiots.â
Iâve asked this question before â âinto whose skin would you jump if you couldnât be you?â â and this is the first time an artist says not just a person, but an entire decade. âIt would have been cool to have been born in the 1930âs. Imagine growing up watching Bugs Bunny in the movie theaters and having a chance to see the birth of rock and roll.â
Working out of and in Colorado, Justin Renteria still finds time to do some reading and those heâd select if communication with the rest of the country was cut off, include, âFight Club by Chuck Palahniuk, White Noise by Don Delillo, 1984 by George Orwell, Watchmen by David Gibbons and Alan Moore and a collection of Kurt Vonnegut novels and short stories, including Catâs Cradle and Breakfast of Champions.â
Speaking of novels, we took up the subject of the graphic ones. Justin said in his youth he âdidnât have the time or money to collect each issue of the ones I loved.” But now, he says, he can get the collections he wants. âI missed out when Watchman was first published in single issue form, but now I can read it anytime in the graphic novels. Iâve also loved reading the much more personal work like Art Spiegelmanâs Maus, Marjane Satrapiâs Persopolis and Charles Burnsâ Black Hole. I think itâs been helpful to cartoonists for getting their work to a broader audience.â
I like Justin Renteria’s outlook on life, even at the end of it, when this father of a five-year-old said heâd tell the assembled crowd at his lifeâs conclusion, âLife is short, unless you live to be 150 like me. But more likely, itâs too short to worry about things like what kind of car you drive or how big or nice your house is. Spend as much time as you can with the people you love and care about. Theyâre the only things that really matter.â
You may be in the wilds of Colorado, Justin, but your positive, heart-warming philosophy reaches out, like your art, and touches all who encounter it.
- Insight on Cartoonists: Michael Capozzola - March 2, 2016
- Insight on Cartoonists: Signe Wilkinson - February 12, 2016
- Insight on Cartoonists: Terry Mosher - January 3, 2016