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Západočeská Univerzita V Plzni Fakulta Pedagogická
Západočeská univerzita v Plzni Fakulta pedagogická Bakalářská práce VZESTUP AMERICKÉHO KOMIKSU DO POZICE SERIÓZNÍHO UMĚNÍ Jiří Linda Plzeň 2012 University of West Bohemia Faculty of Education Undergraduate Thesis THE RISE OF THE AMERICAN COMIC INTO THE ROLE OF SERIOUS ART Jiří Linda Plzeň 2012 Tato stránka bude ve svázané práci Váš původní formulář Zadáni bak. práce (k vyzvednutí u sekretářky KAN) Prohlašuji, že jsem práci vypracoval/a samostatně s použitím uvedené literatury a zdrojů informací. V Plzni dne 19. června 2012 ……………………………. Jiří Linda ACKNOWLEDGMENTS I would like to thank to my supervisor Brad Vice, Ph.D., for his help, opinions and suggestions. My thanks also belong to my loved ones for their support and patience. ABSTRACT Linda, Jiří. University of West Bohemia. May, 2012. The Rise of the American Comic into the Role of Serious Art. Supervisor: Brad Vice, Ph.D. The object of this undergraduate thesis is to map the development of sequential art, comics, in the form of respectable art form influencing contemporary other artistic areas. Modern comics were developed between the World Wars primarily in the United States of America and therefore became a typical part of American culture. The thesis is divided into three major parts. The first part called Sequential Art as a Medium discusses in brief the history of sequential art, which dates back to ancient world. The chapter continues with two sections analyzing the comic medium from the theoretical point of view. The second part inquires the origin of the comic book industry, its cultural environment, and consequently the birth of modern comic book. -
Belgian Beer Experiences in Flanders & Brussels
Belgian Beer Experiences IN FLANDERS & BRUSSELS 1 2 INTRODUCTION The combination of a beer tradition stretching back over Interest for Belgian beer and that ‘beer experience’ is high- centuries and the passion displayed by today’s brewers in ly topical, with Tourism VISITFLANDERS regularly receiving their search for the perfect beer have made Belgium the questions and inquiries regarding beer and how it can be home of exceptional beers, unique in character and pro- best experienced. Not wanting to leave these unanswered, duced on the basis of an innovative knowledge of brew- we have compiled a regularly updated ‘trade’ brochure full ing. It therefore comes as no surprise that Belgian brew- of information for tour organisers. We plan to provide fur- ers regularly sweep the board at major international beer ther information in the form of more in-depth texts on competitions. certain subjects. 3 4 In this brochure you will find information on the following subjects: 6 A brief history of Belgian beer ............................. 6 Presentations of Belgian Beers............................. 8 What makes Belgian beers so unique? ................12 Beer and Flanders as a destination ....................14 List of breweries in Flanders and Brussels offering guided tours for groups .......................18 8 12 List of beer museums in Flanders and Brussels offering guided tours .......................................... 36 Pubs ..................................................................... 43 Restaurants .........................................................47 Guided tours ........................................................51 List of the main beer events in Flanders and Brussels ......................................... 58 Facts & Figures .................................................... 62 18 We hope that this brochure helps you in putting together your tours. Anything missing? Any comments? 36 43 Contact your Trade Manager, contact details on back cover. -
TEEN AGE -A Construção Da Narrativa Gráfica a Partir Da Autobiografia
TEEN AGE A Construção da Narrativa Gráfica a Partir da Autobiografia Ana Raquel Cunha Diogo Relatório de Projeto para Obtenção de grau de Mestre em Artes Plásticas, Especialização em Desenho Orientador Professor Doutor Mário Moura Porto, 2019 Agradecimentos | i Quero agradecer ao meu orientador, Professor Mário Moura, pela sua disponibilidade em orientar-me, e acompanhar-me ao longo deste processo de trabalho. Agradeço principalmente aos meus pais pelo apoio e esforço que sempre fizeram ao longo destes anos de estudo. A Bárbara e Maria, que sempre me acompanharam durante este caminho e sempre me incentivaram para continuar, às suas recomendações e conhecimentos partilhados. Ao Pedro, pela paciência e motivação, e por me ajudar a nunca desistir. Aos meus colegas e amigos de mestrado, pelos bons e maus momentos, entreajuda, partilha de ideias e opiniões. Resumo | ii O presente relatório de projeto tem como principal objetivo abordar a banda desenhada autobiográfica como um modo expressivo de contar histórias aos quadradinhos em que os autores se assumem nas suas histórias como personagens, da mesma forma que se expressam perante a sociedade. O nosso caso de estudo é a banda desenhada do movimento artístico norte-americano criado na década de 60 e chamado Comix-Underground. A autobiografia é uma forma inevitável de exprimir o pessoal de cada um, visível ao leitor. Falamos assim de um projeto autorrepresentativo e do papel da mulher na sociedade nomeadamente na prática de skate na qual é assumida com a dominação masculina e se torna visível a desigualdade entre estes experienciando assim pequenos episódios de discriminação, preconceitos e estereótipos presentes na modalidade. -
Citymagazine for Visualists* Amsterdamamsterdamamsterdamamsterdamamsterdam
eins08 GO:// MAGAZIN EUR 7,50 S 25 0879 69 2709 1982 D Citymagazine for Visualists* amsterdamamsterdamamsterdamamsterdamamsterdam go://amsterdam graphicdesign: thonik * productdesign: droog * comic: lambiek EDITORIAL CITYMAGAZINE > Amwerdam Cityguides, Citymagazines, Designma- gazines, you can have them dime a dozent. But most citymagazines- and guides are for tourists, while most Designmagazines are for Designers only. Why not combine and do something every- one with a focus on visual culture can enjoy? A warm and kind welcoe ton the first issue of GO://! Inside these pages, you‘ll find anything you need to experience the most attractive citys on the globe. Featured in this issue is a city of beauty, charme and chaos. With its proud multicultural tradition, Amsterdam, capital of the Netherlands has always been a melting pot of ideas and styles. Combined with it‘s royal, european flair you have a perfect spot fully to satisfy a visualist‘s needs. So what exactly can you find here? We in- troduce you to the playful, edgy world of Dro- og Design, Amsterdam‘s finest adress for pro- ductdesign. You‘ll find out about Amsterdam‘s most famous graphicdesign agency that has now turned its face from orange to green: Tho- nik. Also, we take a peek into countless recks and boxes, filled with the finest in europe- an comics at Lambiek. Further, you‘ll get all the information you‘ll need to survive in this puzzling metropolis - at least for 48 hours! We present you the most interesting spots to watch, dine, rest and - of course - party. Finally, the last words are saved for a true child of the city: Dave. -
Peter Kuper 235 West 102Nd #11J New York, NY 10025 (646)
Peter Kuper 235 West 102nd #11J New York, N.Y. 10025 (646) 875-9360 [email protected] www.peterkuper.com Education Pratt Institute 1978-1981 Painting/drawing major in work-studies program Teaching Experience 1987-to present School of Visual Arts (NYC) Courses: Comics and illustration Also regular mentoring in the masters program 2003-2005 Parsons School of design Course: Art and Activism illustration 2010 Fashion Institute of Technology Course: Masters illustration class 2011-Present Harvard University visiting professor Course: Graphic Novels Employment 1982- present Free-lance illustrator for publications including: Mad magazine Time, Newsweek, The New York Times, The Boston Globe, The Washington Post, Esquire, The New Yorker, Mother Jones, Harper’s, The Progressive and The Nation among many others 1988-2006 Art director of INX a syndicated editorial illustration service 1997-1999 Developed animated show for HBO based on my graphic novel Stripped Publications 1980 Co-founded World War 3 illustrated, member of editorial board to present 1981 Founded Ubiquitous, arts magazine for Pratt Institute that continues publication to the present 1993 -2002 Syndicated Eye Of The Beholder a comic strip that began as the first comic to appear in the New York Times 1997-present took over writing and drawing of Spy vs Spy for Mad Magazine 1998-2000 Political cartoonist for the New York Daily News 2010-2012 Eye Of The Beholder in Liberation (France) 2012-2013 –Art Director weekly political illustration, Liberation (France) Awards 2001 Society of Newspaper -
Biography Page 2
513 WEST 20TH STREET NEW YORK, NEW YORK 10011 TEL: 212.645.1701 FAX: 212.645.8316 JACK SHAINMAN GALLERY ANTON KANNEMEYER Born in 1967, Cape Town Lives and works in Cape Town EDUCATION 1997 MA, Fine Arts cum laude at the University of Stellenbosch 1993 BA, Fine Arts, Graphic Techniques, Cum Laude, University of Stellenbosch 1991 BA, Fine Arts, Applied Graphics, University of Stellenbosch SELECTED ONE-ARTIST EXHIBITIONS 2014 Such, Such Were the Joys, Stevenson, Cape Town, April 10 – May 24, 2014. 2012 Paintings and Prints for Doctors and Dentists, Stevenson, Johannesburg, May 31 – June 29, 2012. 2011 Anton Kannemeyer: After the Barbarians, Jack Shainman Gallery, New York, NY, October 13 – November 12, 2011. What we talk about when we talk about love, Stevenson, Cape Town, December 1, 2011 – January 14, 2012. 2010 – 2011 WWW.JACKSHAINMAN.COM [email protected] Anton KannEmEyEr: SelEctEd Biography PagE 2 Anton Kannemeyer: Alphabet of Democracy, Michael Stevenson Gallery, Cape Town, December 2, 2010 – January 15, 2011. Catalogue. 2010 Anton Kannemeyer: A Dreadful Thing is About to Occur, Michael Stevenson Gallery, Cape Town, April 22 – May 29, 2010. 2009 Anton Kannemeyer: Works on Paper, Brodie/Stevenson Gallery, Johannesburg, November 12 – December 15, 2009. 2008 Anton Kannemeyer: The Haunt of Fears, Jack Shainman Gallery, New York, NY, April 17 – May 17, 2008. Anton Kannemeyer: Fear of a Black Planet, Michael Stevenson Gallery, Cape Town, October 16 – November 22, 2008. Catalogue. 2007 Anton Kannemeyer: New Work, Beam Gallery, Spier Estate, Stellenbosch/Cape Town, August – September 2007. 2006 Anton Kannemeyer: More Days of My Lives, Art on Paper, Braamfontein, Johannesburg, June 2006. -
R. Crumb Born 1943 in Philadelphia
This document was updated February 25, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. R. Crumb Born 1943 in Philadelphia. Lives and works in Sauve, France. SOLO EXHIBITIONS 2020 R. Crumb: Drawings, Prints & Books From the Collection of Dale Rose, Contemporary Art Galleries, University of Connecticut, Mansfield [collection display] 2019 Drawing for Print: Mind Fucks, Kultur Klashes, Pulp Fiction & Pulp Fact by the Illustrious R. Crumb, David Zwirner, New York [catalogue Crumb’s World published in 2021] 2018 R. Crumb, Museum of Contemporary Art Santa Barbara, California 2017 Aline Kominsky-Crumb & R. Crumb: Drawn Together, David Zwirner, New York [two-person exhibition] R. Crumb/Barry McGee: The Present Tense, Ratio 3, San Francisco Louise Bourgeois/R. Crumb: The Present Tense, Ratio 3, San Francisco 2016 R. Crumb: Art & Beauty, David Zwirner, London Aline und Robert Crumb - Drawn Together, Cartoonmuseum Basel [two-person exhibition] [catalogue] 2012 Crumb, de l’underground à la Genèse, Musée d’Art Moderne de la Ville de Paris [catalogue] 2011 Aline et R. Crumb, Parle-moi d’amour, Galerie Martel, Paris [two-person exhibition] R. Crumb: Kafka, Tony Shafrazi Gallery, New York R. Crumb: Lines Drawn on Paper, Museum of American Illustration, Society of Illustrators, New York 2010 Crumb Brothers: Robert and Maxon Crumb, John Natsoulas Center for the Arts, Davis, California [two-person exhibition] Divine Comedy: Drawings by R. Crumb and Roz Chast, Westport Arts Center, Connecticut [two- person exhibition] R. Crumb, Baronian Francey, Brussels Robert Crumb, Galerie Martel, Paris 2009-2011 The Bible Illuminated: R. Crumb’s Book of Genesis, Hammer Museum, Los Angeles [itinerary: David Zwirner, New York; Portland Art Museum, Oregon; Columbus Museum of Art, Ohio; Bowdoin College Museum of Art, Brunswick, Maine; San Jose Museum of Art, California] [corresponding publication published in 2009] 2009 Zap! Comix Prints By Robert Crumb, Joel and Lila Harnett Museum of Art, University of Richmond, Virginia 2007-2009 R. -
ALLES BUCH Studien Der Erlanger Buchwissenschaft LXI 2017
ALLES BUCH Studien der Erlanger Buchwissenschaft LXI 2017 Axel Kuhn / Sandra Rühr (Hrsg.) Kommunikative Funktionen des Buchs I: Moral, Tabus und Skandale in der Buchkommunikation ALLES BUCH STUDIEN DER ERLANGER BUCHWISSENSCHAFT LXI Herausgegeben von Ursula Rautenberg und Axel Kuhn ISBN 978-3-940338-46-4 2017 Buchwissenschaft / Universität Erlangen-Nürnberg Alles Buch Studien der Erlanger Buchwissenschaft LXI Herausgegeben von Ursula Rautenberg und Axel Kuhn © Buchwissenschaft / Universität Erlangen-Nürnberg ISBN 978-3-940338-46-4 ISSN 1611-4620 Das Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. Jede Verwertung außerhalb des Urheberrechtsgesetzes ist ohne Zustimmung der Erlanger Buchwissenschaft unzulässig und strafbar. Dies gilt insbesondere für Vervielfältigungen jeder Art, Übersetzungen und die Einspeicherung in elektronische Systeme. Inhalt Bücher als Skandalmedien: Zur kommunikativen Funktion des Buchs 5 Barbara Blum Dorian Gray und Oscar Wilde: Mediale Übergänge zwischen literari- 9 schem und realem Skandal Anja Groß 37 Die vermeintliche Empörung im (Skandal-)Fall Esra Katharina Piske Underground Comix als visualisierte diskursive Praktik in den USA zwi- 74 schen 1940 und 1980 Britta Schmidtchen Feldpostausgaben im Zweiten Weltkrieg: Zur Manipulation von Moral- 103 vorstellungen durch die Nationalsozialisten Jennifer Schrepfer Der literarische Tabubruch Im Krebsgang von Günter Grass: Auslöser ei- 124 nes kollektiven Identitätswandels? 4 Bücher als Skandalmedien: Zur kommunikativen Funktion des Buchs Legt man die vage Definition des Buchs der UNESCO zugrunde, die das Buch als »non-periodical printed publication of at least 49 pages exclusive of the cover pages, published in the country«1 beschreibt, weist zunächst wenig auf ein Skandalmedium hin. Mit dem Zusatz »made available to the public«2 wird jedoch deutlich, dass sich Bücher nicht nur über materielle Merkmale charakterisieren lassen, sondern auch über ihre spezifischen Formen von Öffentlichkeit, welche sie für Informationen erzeugen können. -
10 Graphic Novelists from Holland Is Published by the Dutch Foundation for Literature
1 0 HIC GRAP LIS TS NOVE FROM AND HOLL “Bravissimo! It’s about time that the rest of the world took much more notice of the diverse and dynamic comics creators of Holland, from pioneering underground maestros to recent rising talents.” Paul Gravett General editor and co-author of 1001 Comics You Must Read Before You Die (2011) Authors The Foundation Recent translations 3 4 Joost Swarte The Dutch Foundation for Literature Editorial Office Peter van Dongen Gummbah Is that all there is? stimulates interest in Dutch literary Dutch Foundation for Literature & Martijn Daalder Verloren im Schlachthaus der fiction, non-fiction, poetry, children’s Nieuwe Prinsengracht 89 Jawa; Rampokan Vernunft 6 Peter Pontiac books and graphic novels by providing 1018 VR Amsterdam Java; Rampokan Een keuze uit het werk Kraut information and granting translation Tel. +31 20 520 73 00 Published in Indonesian by Published in German by subsidies. The foundation maintains Fax +31 20 520 73 99 Pustaka Primatama. Kunstmann. 8 Hanco Kolk contacts with a large number of The Netherlands Translated by Rani Ambyo. Translated by Gregor Seferens. Meccano international publishers, and has a [email protected] From Istanbul to Baghdad stand at major international book www.letterenfonds.nl fairs, including the Frankfurt Book 10 Tim Enthoven Fair, the London Book Fair, the Graphic Novels Behind Closed Doors Children’s Book Fair in Bologna and Barbara den Ouden the Angoulême International Comics [email protected] Erik de Graaf Dick Matena 12 Barbara Stok Festival. Jeux de mémoire Parigi 25/44 Vincent Children’s Books Verzamelde herinneringen Parijs 25/44 Translation Grants Agnes Vogt Published in French by Published in Italian by 14 Erik Kriek Foreign publishers wishing to publish [email protected] Les éditions de la pastèque. -
A Case Study of the Comic Book Legal Defense Fund Marc Greenberg Golden Gate University School of Law, [email protected]
Golden Gate University School of Law GGU Law Digital Commons Publications Faculty Scholarship 2012 Comics, Courts & Controversy: A Case Study of the Comic Book Legal Defense Fund Marc Greenberg Golden Gate University School of Law, [email protected] Follow this and additional works at: http://digitalcommons.law.ggu.edu/pubs Part of the Intellectual Property Law Commons Recommended Citation 32 Loy. L.A. Ent. L. Rev. 121 (2012). This Article is brought to you for free and open access by the Faculty Scholarship at GGU Law Digital Commons. It has been accepted for inclusion in Publications by an authorized administrator of GGU Law Digital Commons. For more information, please contact [email protected]. COMICS, COURTS & CONTROVERSY: A CASE STUDY OF THE COMIC BOOK LEGAL DEFENSE FUND Marc H. Greenberg* Cartoons and comics have been a part of American culture since this nation’s formation. Throughout that lengthy history, comics and cartoons have also been a subject of controversy, censorship, legislation, and litiga- tion. They have been viewed as a threat to society and a cause of juvenile delinquency; they are scandalous, indecent, and obscene. The Comic Book Legal Defense Fund (“CBLDF”), a New York-based non-profit organiza- tion, provides legal defense for comic artists, collectors, distributors, and retailers who face civil and/or criminal penalties for the creation, sale, and ownership of comics, cartoons, graphic novels, and related works. The Introduction to this article charts the history of the comic art form and, in particular, its history in the United States. This section offers a summary of the first efforts to restrict the content of comics via investiga- tions and Congressional hearings fueled by the dubious psychology and so- cial science theories of Dr. -
A Case Study of the Comic Book Legal Defense Fund
COMICS, COURTS & CONTROVERSY: A CASE STUDY OF THE COMIC BOOK LEGAL DEFENSE FUND • by Marc H. Greenberg This is a Rough Draft Prepared For Discussion Purposes Only at the 2011 IP Scholars Conference– Do Not Copy, Distribute or Circulate Abstract Cartoons and comics have been a part of American culture since the formation of this nation. Throughout that lengthy history, comics and cartoons have also been a subject of controversy, censorship, legislation and litigation. They have been viewed as a threat to society, amid claims that they incite juvenile delinquency, and are scandalous, indecent and obscene. This article is a case study of the work of the Comic Book Legal Defense Fund (CBLDF), a New York-based non-profit organization which provides legal defense for comic artists, collecters, distributors and retailers who find themselves facing civil and/or criminal penalties for the creation, sale and even ownership of comics, cartoons, graphic novels and related works. The article begins with an Introduction that charts the history of the comic art form and in particular, its history in the United States. This section of the article then offers a summary of the first effort to restrict the content of comics via an investigation and a series of hearings that took place in 1954 before the U.S. Congress. The dubious psychology and social science theories of Dr. Frederic Wertham, which fueled the congressional investigation, are profiled and offer an example of the kind of misguided fears that still figure in the attacks on the comic art form today. The Introduction concludes with the origin of the CBLDF and the first prosecution of a comic store owner that was the impetus for the creation of the organization. -
Comic Books, Dr. Wertham, and the Villains of Forensic Psychiatry
ANALYSIS AND COMMENTARY Comic Books, Dr. Wertham, and the Villains of Forensic Psychiatry Ryan Chaloner Winton Hall, MD, and Susan Hatters Friedman, MD Comic books have been part of popular culture since the 1930s. Social activists quickly became con- cerned about the risk that comic books posed for youth, including that their content was a cause of juvenile delinquency. Dr. Fredric Wertham, a forensic psychiatrist, led efforts to protect society’s chil- dren from comic books, culminating in multiple publications, symposia, and testimony before a Senate subcommittee on juvenile delinquency in 1954. During the course of his activities, and quite possibly as a backlash, comics started to represent psychiatrists and particularly forensic psychiatrists as evil, clue- less, and narcissistic characters (e.g., Dr. Hugo Strange went from being a mad scientist to a mad psychi- atrist). Clinical forensic psychiatrists who were not necessarily evil were often portrayed as inept regarding rehabilitation. There are very few positive portrayals of forensic psychiatrists in the comic book universe, and when they do occur, they often have severe character flaws or a checkered history. These negative characterizations are woven into the fabric of contemporary comic book characters, whether represented in comic books or other media offshoots such as films and television. J Am Acad Psychiatry Law 48(4) online, 2020. DOI:10.29158/JAAPL.200041-20 Key words: comics; Fredric Wertham; forensic psychiatry; moral panic; popular culture; stigma Comic books in their current form came into exis- perceived harms of comic books was Dr. Fredric tence around 1935, with the superhero genre being Wertham.1–7 The intention of this article is to firmly established in 1939 with the introduction of a describe how Dr.