Pop Art and Nostalgia: the New Lessons of David Vandermeulen’S Ric Remix Hugo Frey
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The Swiss Comic Strip in Brussels
From 4 February until 18 May 2014 At the Belgian Comic Strip Center Cosey, A la recherche de Peter Pan, Le Lombard The Swiss comic strip in Brussels The geography of the European comic strip rises to some impressive heights – among them Derib, Cosey and Zep – and not everyone realizes that these authors are not in fact Belgian but Swiss. This exhibition at CBBD, staged with the assistance of the Swiss Embassy in Brussels and the Centre BD in Lausanne, therefore reestablishes a few geographical truths and showcases the talents of today’s creators of the Swiss comic strip. Curator : JC De la Royère In collaboration with the Embassy of Switzerland in Belgium and the comic strip center of the city of Lausanne. With the support of the Brussels Capital Region Belgian Comic Strip Center Rue des Sables, 20 - 1000 Brussels (Belgium) Open every day (except on Monday) from 10 a.m. till 6 p.m. Tel: +32 (0)2 219 19 80 - www.comicscenter.net - [email protected] Press-info: Willem De Graeve: [email protected] - +32 (0)2 210 04 33 or www.comicscenter.net/en/press, login: comics + password: smurfs The Swiss comic strip in Brussels An exhibition by the Belgian Comic Strip Center Curator : JC De la Royère Scenography : Jean Serneels Texts: JC De la Royère Translations: Bureau Philotrans Corrections : Tine Anthoni and Marie-Aude Piavaux Management of original artwork : Nathalie Geirnaert and Dimitri Bogaert Graphic design : Pierre Saysouk Photogravure : Sadocolor Framing: AP Frame, Marie Van Eetvelde Production: Jean Serneels and the team of the Belgian Comicscenter Communication: Valérie Constant and Willem De Graeve The Belgian Comic Strip Center wishes to thank Cuno Affolter, Siro Beltrametti, Anne Broodcoorens, Jean-Claude Camano, Armelle Casier, S.E. -
Belgique Francophone, Terre De B.D
Belgique francophone, terre de B.D. François Pierlot Frantseseko lektorea / Lector de francés Laburpena Komikien historia Suitzan hasi zen 1827an, Rodolphe Töpffer-ek “litera- tura iruditan” deiturikoa sortu zuenean. Printzipioa sinplea da: istorio bat kontatzen du marrazki bidez, eta istorioa azaltzeko testuak eransten ditu. Hogei urte geroago, Wilhelm Bush alemaniarrak Max und Moritz sortu zuen, marrazkietan dinamismo handia zuen umorezko komikia. Gero, batez ere egunkarietan agertzen hasi ziren komikiak. Eguneroko prentsak ere gero eta arrakasta handiagoa zuenez, komikiak Europa osora za- baldu ziren. Egunkarientzat oso garrantzitsua zen komiki onak izatea, irakur- le asko erakartzen zituztelako. Erresuma Batuan ere arrakasta izan zuten ko- mikiek. AEBtik, bestalde, koloretako argitalpenak iristen hasi ziren, testuen ordez bunbuiloak zituztenak. Belgikan, 1929an hasi ziren komikiak argitaratzen, Le petit vingtième haurrentzako egunkarian. Apaiz oso kontserbadore bat zen erredakzioburua, eta umeei komunisten alderako gorrotoa barneratzeko pertsonaia asmatzeko eskatu zion Hergé marrazkilari gazteari. Horrela sortu zen Tintin. Lehenengo aleak Tintin sobieten herrialdean zuen izenburua. Hergék bere pertsonaiaren «gobernua» hartu baino lehen, ideologiaz beteriko beste bi abentura ere izan ziren (Tintin Kongon eta Tintin Amerikan). Tintinekin hasitako goraldiaren ondoren, beste marrazki-aldizkari bel- gikar batzuk sortu ziren; besteak beste, Bravo! agerkaria. Komiki belgikarrak 1940ko hamarkadatik aurrera nagusitu ziren mundu frantsestunean, bi agerkari zirela bitarte: Le Journal Tintin eta Le Journal de Spirou, hurrenez hurren, Hergé eta Franquin marrazkilari zirela. Bi astekariek talentu gazteak hartu zituzten, aukera bat emateko. Komikien ibilbidea finka- tu zuten, klasizismo mota bat ezarrita. Journal de Spirou izenekoa 1938an sortu zuen Dupuis argitaletxeak, eta umorea landu zuen. Pertsonaiek oso jatorrak dirudite, grafismo biribilari esker (horregatik aipatzen da “sudur lodiaren” estiloa). -
Bruxelles, Capitale De La Bande Dessinée Dossier Thématique 1
bruxelles, capitale de la bande dessinée dossier thématique 1. BRUXELLES ET LA BANDE DESSINÉE a. Naissance de la BD à Bruxelles b. Du héros de BD à la vedette de cinéma 2. LA BANDE DESSINÉE, PATRIMOINE DE BRUXELLES a. Publications BD b. Les fresques BD c. Les bâtiments et statues incontournables d. Les musées, expositions et galeries 3. LES ACTIVITÉS ET ÉVÈNEMENTS BD RÉCURRENTS a. Fête de la BD b. Les différents rendez-vous BD à Bruxelles c. Visites guidées 4. SHOPPING BD a. Adresses b. Librairies 5. RESTAURANTS BD 6. HÔTELS BD 7. CONTACTS UTILES www.visitbrussels.be/comics BRUXELLES EST LA CAPITALE DE LA BANDE DESSINEE ! DANS CHAQUE QUARTIER, AU DÉTOUR DES RUES ET RUELLES BRUXELLOISES, LA BANDE DESSINÉE EST PAR- TOUT. ELLE EST UNE FIERTÉ NATIONALE ET CELA SE RES- SENT PARTICULIÈREMENT DANS NOTRE CAPITALE. EN EFFET, LES AUTEURS BRUXELLOIS AYANT CONTRIBUÉ À L’ESSOR DU 9ÈME ART SONT NOMBREUX. VOUS L’APPRENDREZ EN VISITANT UN CENTRE ENTIÈREMENT DÉDIÉ À LA BANDE DESSINÉE, EN VOUS BALADANT AU CŒUR D’UN « VILLAGE BD » OU ENCORE EN RENCON- TRANT DES FIGURINES MONUMENTALES ISSUES DE PLUSIEURS ALBUMS D’AUTEURS BELGES… LA BANDE DESSINÉE EST UN ART À PART ENTIÈRE DONT LES BRUX- ELLOIS SONT PARTICULIÈREMENT FRIANDS. www.visitbrussels.be/comics 1. BRUXELLES ET LA BANDE DESSINEE A. NAISSANCE DE LA BD À BRUXELLES Raconter des histoires à travers une succession d’images a toujours existé aux quatre coins du monde. Cependant, les spéciali- stes s’accordent à dire que la Belgique est incontournable dans le milieu de ce que l’on appelle aujourd’hui la bande dessinée. -
Appreciation and Appropriation, Art and Architecture
84TH ACSA ANNUAL MEETING THEORY AND CRITICISM 1996 263 Appreciation and Appropriation, Art and Architecture ALEX T. ANDERSON University of Pennsylvania INTRODUCTION journey in this enlightened way must satisfy themselves with 'nutrition' and 'digesting,' the rationalized and limited Architecture differentiates itself from other forms of art by forms of tasting, savoring and incorporation of food. It is demanding a different sort of attention. Rapt concentration difficult for tourists to fully experience the places they visit does not reveal it. Appreciation is not enough. Architecture because they cannot live with them. demands appropriation. This becomes particularly evident when we consider the In this essay I demonstrate that art and architecture difference between tourist's experience of a building and a distinguish thernselves not in their physical constitutions, lived experience of it. "Buildings," according to Benjamin, but according to the relationships they form with those who "are appropriated in a twofold manner: by use and percep- observe them. In making a work of architecture, it is crucial tio~rrather by touch and by sight."' The tourist's expe- first to understand these relationships, and then to create a rience of a building is limited because the inevitable brevity field that is capable of sustaining them. of 'touring' precludes tactile appropriation, which, Ben- jamin asserts, "is accomplished not so much by attention as VISUAL EXPERIENCE by habit."4 The true experience of a building involves a In his well-known essay, "Art in the Age of Mechanical gradual incorporatio~notthe "introjection of an 'out- Reproduction" Walter Benjamin disparages "the attentive side"' that Calvino's sophisticated tourist experiences, but concentration of the tourist before a famous building."' He an extended temporal involvement. -
Bandes Dessinées
BANDES DESSINÉES Vente aux Enchères Publiques Drouot-Richelieu = Salle 8 9, rue Drouot = 75009 Paris Tél. : 01 48 00 20 08 SAMEDI 28 JUIN 2014 à 14h Collection Picavet (2e partie) Autour de E.P. JACOBS = HERGE = MARTIN Albums des éditions Lombard, objets, documents, Pixi... EXPERT : Roland BURET Tél. : 06 80 66 50 36 = Fax : 01 42 46 00 75 = [email protected] Expositions publiques : Vendredi 27 juin de 11h à 18h et samedi 28 juin de 11h à 12h. Tessier-Sarrou & Associés : S.A.R.L. = Agrément 2001-014 = 8, rue Saint-Marc = 75002 Paris = Tél. : 01 40 13 07 79 Fax : 01 42 33 61 94 = E-mail : [email protected] = www.tessier-sarrou.com : « catalogue en ligne » BANDES DESSINÉES, collection PICAVET 28 juin 2014 à 14h 1. Martin Jacques Alix la collection intégrale. 27 vol. etat neuf. Joint Orion vol 1,2,3, Keos vol 1234. Les voyages d’alix vol 1,2,3,4 = Orion les oracles.Ed originale etat neuf. 100 € 2. Revue l’immanquable du N° 1 au N°13 = Cinq classeurs la planète BD + divers numéros de DBD, télérama et autres hebdomadaires sur la BD, BD sup, sapristi, les cahiers de la bande dessinées, ran tan plan + de 50 numéros. 60 € 3. Un classeur Hergé contenant différentes cartes chinoises représentant différentes illustration aviation de la collection voir et savoir, plus de 50 cartes. 100 € 4. 1 lot 18 albums réédition Blake et Mortimer, 4 vol Black et Mortimer grand format 1991+ 15 vol Black et Mortimer réedition. 150 € 5. 1 lot 7 vol Pêchés de jeunesse, 6 vol Tif et Tondu cartonnés. -
Sampling Real Life: Creative Appropriation in Public Spaces
Sampling Real Life: Creative Appropriation in Public Spaces Elsa M. Lankford Electronic Media & Film (EMF) Towson University [email protected] I. Introduction Enter an art museum or a library and you will find numerous examples of appropriation, all or most of which were most likely legal at the time. From the birth of copyright and the idea that an author, encompassed as a writer, artist, composer, or musician, is the creator of a completely original work, our legal and moral perceptions of appropriation have changed. Merriam-Webster defines appropriation in multiple ways, two of which apply to the discussion of art and appropriation. The first, “to take exclusive possession of” and the second “to take or make use of without authority or right.”1 The battle over rights and appropriation is not one that is only fought in the courtroom and gallery, it also concerns our own lives. Many aspects of our lives involve appropriation, from pagan holidays appropriated into the Christian calendar to the music we listen to, even to the words we speak or write appropriated from other countries and cultures. As artists, appropriation in many forms makes its way into works of any media. The topic of appropriation leads to a discussion of where our creative ideas come from. They, in some sense, have been appropriated as well. Whether we overhear a snippet of a conversation that ends up woven into a creative work or we take a picture of somebody, unknowingly, as they walk down a tree-shadowed street, we are appropriating life. For centuries, artists have been inspired by public life, and the stories and images of others have been appropriated into their work. -
Hergé and Tintin
Hergé and Tintin PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Fri, 20 Jan 2012 15:32:26 UTC Contents Articles Hergé 1 Hergé 1 The Adventures of Tintin 11 The Adventures of Tintin 11 Tintin in the Land of the Soviets 30 Tintin in the Congo 37 Tintin in America 44 Cigars of the Pharaoh 47 The Blue Lotus 53 The Broken Ear 58 The Black Island 63 King Ottokar's Sceptre 68 The Crab with the Golden Claws 73 The Shooting Star 76 The Secret of the Unicorn 80 Red Rackham's Treasure 85 The Seven Crystal Balls 90 Prisoners of the Sun 94 Land of Black Gold 97 Destination Moon 102 Explorers on the Moon 105 The Calculus Affair 110 The Red Sea Sharks 114 Tintin in Tibet 118 The Castafiore Emerald 124 Flight 714 126 Tintin and the Picaros 129 Tintin and Alph-Art 132 Publications of Tintin 137 Le Petit Vingtième 137 Le Soir 140 Tintin magazine 141 Casterman 146 Methuen Publishing 147 Tintin characters 150 List of characters 150 Captain Haddock 170 Professor Calculus 173 Thomson and Thompson 177 Rastapopoulos 180 Bianca Castafiore 182 Chang Chong-Chen 184 Nestor 187 Locations in Tintin 188 Settings in The Adventures of Tintin 188 Borduria 192 Bordurian 194 Marlinspike Hall 196 San Theodoros 198 Syldavia 202 Syldavian 207 Tintin in other media 212 Tintin books, films, and media 212 Tintin on postage stamps 216 Tintin coins 217 Books featuring Tintin 218 Tintin's Travel Diaries 218 Tintin television series 219 Hergé's Adventures of Tintin 219 The Adventures of Tintin 222 Tintin films -
Ethics of Appropriation Found Footage T. ELSAESSER
Keynote Recycled Cinema Symposium DOKU.ARTS 2014 The Ethics of Appropriation: Found Footage between Archive and Internet © Thomas Elsaesser, 2014 Appropriation as Spectatorship Appropriation is a varied concept, and it can carry very different meanings. For instance, applied to the engagement of the film-viewer, appropriation can be a more vivid term for spectatorship and reception studies, especially if we think of the active and interactive role we now tend to assign to the spectator—as viewer, as user, as player—given the different screen activities that are involved in the consumption and apperception of moving images. These include going to the cinema, watching television, using the monitor screens of our laptops and tablets, or acquiring the skills needed to play video games. In short, spectatorship as appropriation acknowledges the active participation of the viewer in the process of reception of films and the consumption of visual displays and spectacles. Appropriation and cinephilia However, in the more specific case of the cinema, appropriation can also signify a more intimate gesture of love and an act of devotion. Thus, cinephilia—the particularly intense manner of living the film experience, by wanting to repeat it and to prolong it—should also be seen as a form of appropriation. But cinephilia, as a way of watching films, of speaking about them, of accumulating expertise and then writing about films, is both appropriation (in the sense of holding on to, and not letting go) and its opposite: a desire to share, to diffuse this knowledge and create, through this sharing, a likeminded community. Cinephilia of the Internet age has produced its own form of active and productive appropriation, in the form of the video-essay: a genre that combines the history of compilation films, of found footage films and the essay film: all genres that try to make films reflect about their own conditions of possibility, and that enrich our experience of cinema by creating forms of para-cinema, post- cinema and meta-cinema. -
Fact & Fiction: Amending Right of Publicity Statutes to Include Life
BEACH 2017 FACT & FICTION: AMENDING RIGHT OF PUBLICITY STATUTES TO INCLUDE LIFE STORY AND FICTIONAL CHARACTER RIGHTS Stephanie J. Beach* I. INTRODUCTION .............................................................................. 132 II. THE HISTORY OF THE RIGHT OF PUBLICITY ................................ 134 III. RIGHT OF PUBLICITY IN THE REAL AND MAKE-BELIEVE .......... 137 A. Life Stories are Inseparable from Persona ................... 137 i. Why the Right to Privacy Is Not Applicable ........... 138 ii. Why the Right of Publicity is the Best Equipped Legal and Equitable Remedy for Life Story Appropriations ...................................................... 140 B. An Actor’s Ownership in the Fictional Characters That He or She Brings to Life ............................................. 151 C. Competing Equities: Right of Publicity vs. Right of Freedom of Expression ............................................... 155 IV. EXPANDING THE POST-MORTEM RIGHT OF PUBLICITY THROUGH THE CREATION OF A DESCENDIBLE FUTURE INTEREST ......... 158 V. CONCLUSION ................................................................................ 161 * J.D. Candidate, 2018, Seton Hall University School of Law; M.S., 2015, Columbia University Graduate School of Journalism; B.A., 2014, New York University. I would like to thank the incomparable Professor Paula A. Franzese for her invaluable guidance in crafting this Note, and for being, quite simply, the best. I would also like to thank my fantastic family for listening to me talk about the right of publicity for hours on end, and, most importantly, for providing unconditional love and support in everything that I do. Finally, special thanks to all of the editors and members of the Seton Hall Legislative Journal, vol. 42 for their hard work and dedication in preparing this book. 131 BEACH 2017 132 SETON HALL LEGISLATIVE JOURNAL [Vol. 42:1 “The image is one thing and the human being is another. -
Some Copyright Aspects of New Art: Pop Goes the Easel William B
Boston College Law Review Volume 10 Article 10 Issue 4 Labor Law 7-1-1969 Some Copyright Aspects of New Art: Pop Goes the Easel William B. Sneirson Follow this and additional works at: http://lawdigitalcommons.bc.edu/bclr Part of the Intellectual Property Law Commons Recommended Citation William B. Sneirson, Some Copyright Aspects of New Art: Pop Goes the Easel, 10 B.C.L. Rev. 993 (1969), http://lawdigitalcommons.bc.edu/bclr/vol10/iss4/10 This Current Legislation is brought to you for free and open access by the Law Journals at Digital Commons @ Boston College Law School. It has been accepted for inclusion in Boston College Law Review by an authorized editor of Digital Commons @ Boston College Law School. For more information, please contact [email protected]. SOME COPYRIGHT ASPECTS OF NEW ART: POP GOES THE EASEL 1. INTRODUCTION Under the present Copyright Act, protection is afforded to artistic as well as to literary encleavors, 1 Although this coverage was originally limited to fine arts,2 since 1909 it has involved a wider spectrum called "works of art." 3 In this category are included paintings, drawings and sculpture, the works traditionally associated with the fine arts, as well as areas of artistic crafts- manship? In the past fifteen years, the Supreme Court has further expanded the coverage of the Act by the inclusion of utilitarian objects of artistic value.5 Thus, copyright protection is now available for a wide variety of works, provided only that the requirements of the Copyright Act be complied with, and that there he some creative artistry involved. -
Synthèse De La Rencontre Avec Les
SYNTHÈSE RENCONTRE avec les éditeurs de Bande dessinée COLOMIERS, 23 MAI 2019 Le secteur de la bd connaît une forte croissance, particulièrement tirée par les segments Jeunesse et manga et par le format du roman jouit d’une aura importante. graphique. Il touche de nombreux Celle-ci se manifeste au travers lecteurs de tous âges, y compris des nombreux festivals organisés des jeunes adultes. Ainsi, 53 % des tant au plan national comme le 13-24 ans lisent des albums franco- festival d’Angoulême qu’au plan belges et 51 % lisent des mangas ou local comme celui de Colomiers. des comics. Elle se traduit également par une visibilité internationale accrue La France représente un marché pour certains auteurs, français important pour les auteurs de bande et étrangers, découverts et publiés dessinée du monde entier. D’une par des éditeurs français. Toutes les synthèses part, ses éditeurs se caractérisent des Rencontres bd sont par leur curiosité, leur attention L’année prochaine sera très téléchargeables sur www.sne.fr portée aux auteurs et leur savoir- importante pour le secteur, puisque � Agenda faire. D’autre part, la bande dessinée 2020 a été déclarée « année de la � Rencontres bd en région produite et développée en France bd » par le ministre de la Culture. rencontre avec pour les enfants rencontre avec lesles diteurs diteurs de de bande bande dessine dessine et les adolescents La Bande dessinée s’enivre deColomiers, toutes ses 23 sources mai 2019 Adrien Vinay, Romain Pujol, Mathias Vincent, Vincent Petit 9h45-11h et Christophe Brunella ( de gauche à droite ). Nouvelles créations en bd Jeunesse Romain Pujol. -
Cultural Ramifications of the Found Object in Contemporary African Art
International Journal of Multiculturalism Volume 2, Number 1, 2021. 50-74 DOI: 10.30546/2708-3136.2021.2.1.50 CULTURAL RAMIFICATIONS OF THE FOUND OBJECT IN CONTEMPORARY AFRICAN ART Clement E. AKPANG FRSA : https://orcid.org/ 0000-0002-5510-4304 Cross River University of Technology, Calabar, Nigeria © The Author(s) 2021 ABSTRACT ARTICLE INFO Arguably Found Object genre represents the most dominant form of ARTICLE HISTORY contemporary artistic expression with unlimited possibilities of material exploration and conceptual ideation. However, Found Object discourse Received: institutionalized in European art history is exclusively western and dismisses 17 November , 2020 Accepted: those of other cultures as mimesis and time-lag. This paper aims to prove that the dominant contemporary discourse of „Recyla Art‟ which many African sculptors 8 February, 2021 Published: have been absorbed into, problematically blurs the conceptual and ideological 25 April, 2021 differences in European and African exploration of discarded objects in art Available online: creation. Using a triangulation of Formalism, Iconography and Interviews as 25 April, 2021 methodologies, this paper subjects the works of El Anatsui, Delumprizulike, Nnena Okore, Bright Eke, Olu Amonda and others to formalistic and interpretative analysis to establish the postcolonial context of the found object in contemporary African art. Findings demonstrate that European and African appropriation of discarded objects in art differs according to societal context in KEYWORDS form and content. The paper therefore concludes that found object art is culture- specific and defined by unique cultural ramifications, thus, to fully understand Found Object, Art, the dynamism of this art genre, a culture-specific or localized reading is required Culture, Ramifications, because the context of its emergence in Europe stands in contradiction to its Africa, Europe conceptualism in contemporary African art-space.