Curriculum Vitae
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Drawn&Quarterly
DRAWN&QUARTERLY winter 2013 MIRIAM KATIN’S LETTING IT GO MIRIAM KATIN LETTING IT GO A HOLOCAUST SURVIVOR STRUGGLES TO LET THE PAST GO Miriam Katin’s debut graphic novel, the 2006 memoir We Are On Our Own, was a unique portrait of how one family survived the Second World War. A companion to We Are On Our Own, Letting It Go shows Miriam, now an adult, dealing with her son Ilan’s recent move to Berlin. As Miriam struggles to accept his decision, she realizes that her hesitations have more to do with longheld grudges than any sort of legitimate concerns. Whereas We Are On Our Own probed Miriam’s loss of faith and talked about her experiences during the War, Letting It Go examines the lasting trauma of surviving World War II from a very different vantage point, focusing on Miriam’s life as a middle-aged New Yorker. The flowing, expressive style employed in We Are On Our Own has been refined in this full- color masterpiece. A panel-less style lets the story flow, with wise and funny anecdotes along the way. Katin has the light hand of a master storyteller in this, an insightful, serious, but NOT FINAL COVER wry account of the myriad ways trauma inflects daily existence, both for survivors and for their families. “Richly illustrated in pencil, this book should not be missed by anyone with an interest in history, love or faith--so anyone, really.” –Time Magazine “A skillfully rendered memoir about Katin and her mother’s harrowing escape from Budapest in 1944. -
Check All That Apply)
Form Version: February 2001 EFFECTIVE TERM: Fall 2003 PALOMAR COLLEGE COURSE OUTLINE OF RECORD FOR DEGREE CREDIT COURSE X Transfer Course X A.A. Degree applicable course (check all that apply) COURSE NUMBER AND TITLE: ENG 290 -- Comic Books As Literature UNIT VALUE: 3 MINIMUM NUMBER OF SEMESTER HOURS: 48 BASIC SKILLS REQUIREMENTS: Appropriate Language Skills ENTRANCE REQUIREMENTS PREREQUISITE: Eligibility for ENG 100 COREQUISITE: NONE RECOMMENDED PREPARATION: NONE SCOPE OF COURSE: An analysis of the comic book in terms of its unique poetics (the complicated interplay of word and image); the themes that are suggested in various works; the history and development of the form and its subgenres; and the expectations of comic book readers. Examines the influence of history, culture, and economics on comic book artists and writers. Explores definitions of “literature,” how these definitions apply to comic books, and the tensions that arise from such applications. SPECIFIC COURSE OBJECTIVES: The successful student will: 1. Demonstrate an understanding of the unique poetics of comic books and how that poetics differs from other media, such as prose and film. 2. Analyze representative works in order to interpret their styles, themes, and audience expectations, and compare and contrast the styles, themes, and audience expectations of works by several different artists/writers. 3. Demonstrate knowledge about the history and development of the comic book as an artistic, narrative form. 4. Demonstrate knowledge about the characteristics of and developments in the various subgenres of comic books (e.g., war comics, horror comics, superhero comics, underground comics). 5. Identify important historical, cultural, and economic factors that have influenced comic book artists/writers. -
By ALEC LONGSTRETH Distributed by Adhouse Books Diamond Order
Contact: Alec Longstreth • [email protected] FOR IMMEDIATE RELEASE More info: www.alec-longstreth.com/basewood/ a graphic novel TEN YEARS in the making! by ALEC LONGSTRETH “Drawn with delicate precision, brimming with heart and adventure, Basewood is an exquisite gem of a work. It’s a genuine miracle that a comic this beautifully unique exists at all.” – James Kochalka “Longstreth’s deceptively simple drawings of this harsh world filled with axes, ropes, pulleys, and levers, a place where you must bend nature with your bare hands to survive, have a layered intricacy that looks like something that should be carved on a medieval cathedral. One of my favorite books to spend time with.” – Jeff Smith “Alec Longstreth is the most generous and enthusiastic cartoonist I’ve ever met, and his work brims over with that same contagious energy. His greatest work to date, Basewood, is a full sensory immersion into a meticulously-crafted, warm-hearted, and most of all epic world.” – Craig Thompson ABOUT BASEWOOD: Adventure! Mystery! Tree houses! A Wolf-Dragon! Basewood tells the story of a young man who wakes up in the woods, with no memory of how he got there. The reader follows along as our hero tries to uncover the details of his mysterious past. Drawn in a highly-detailed crosshatching style, this graphic novel took over ten years to write and draw. This beautiful, hardback edition of Basewood was funded by a wildly successful Kickstarter campaign that surpassed its $10,000 funding goal after only 48 hours. A French translation of Basewood was published by L’employé du Moi in 2012, and now the book is finally available here in the United States. -
Exploring Animal Imagery in Graphic Novels About Genocide
Genocide Studies and Prevention: An International Journal Volume 12 Issue 2 Images And Collective Violence: Article 11 Function, Use And Memory 10-2018 Cockroaches, Cows and "Canines of the Hebrew Faith": Exploring Animal Imagery in Graphic Novels about Genocide Deborah Mayersen University of Wollongong Follow this and additional works at: https://scholarcommons.usf.edu/gsp Recommended Citation Mayersen, Deborah (2018) "Cockroaches, Cows and "Canines of the Hebrew Faith": Exploring Animal Imagery in Graphic Novels about Genocide," Genocide Studies and Prevention: An International Journal: Vol. 12: Iss. 2: 165-178. DOI: https://doi.org/10.5038/1911-9933.12.2.1486 Available at: https://scholarcommons.usf.edu/gsp/vol12/iss2/11 This Article is brought to you for free and open access by the Open Access Journals at Scholar Commons. It has been accepted for inclusion in Genocide Studies and Prevention: An International Journal by an authorized editor of Scholar Commons. For more information, please contact [email protected]. Cockroaches, Cows and “Canines of the Hebrew Faith”: Exploring Animal Imagery in Graphic Novels about Genocide Deborah Mayersen University of Wollongong Wollongong, New South Wales, Australia Introduction On the banks on the Danube in Budapest, two elegantly dressed friends meet for coffee.1 A small child and her small dog interact playfully in the foreground. Yet the discussion underway belies the seemingly idyllic scene. It is 1944 and Esther has just received an order to hand over her daughter’s beloved dog to the Nazis, as Jews are no longer permitted to own pets. Esther and Eva joke as to what Hitler will do with all these “Jewish dogs,” or “canines of the Hebrew faith.”2 The joke quickly wears thin, however, as Esther and her young daughter Lisa struggle to survive the Holocaust. -
Nieuwigheden Anderstalige Strips 2013 Week 3
NIEUWIGHEDEN ANDERSTALIGE STRIPS 2013 WEEK 3 Engels Batman Incorporated 19,99 (Yanick Paquette & Grant Morrison – DC Comics) Dorothy and the Wizard in Oz 19,99 (Skottie Young & Eric Shanower – Marvel) Dungeon & Dragons: Forgotten Realms 24,99 (Lee Ferguson & Ed Greenwood – IDW Publishing) The Complete Dick Tracy 14: 1951-53 39,99 (Chester Gould – IDW Publishing) Woodwork: 1927-1981 59,99 (Wallace Wood – IDW Publishing) Manga – Engelstalig: Bleach 54 9,99 (Tite Kubo – Viz Media) WEEK 4 Engels: Absolute Batman & Robin: Batman Reborn 99,99 (Grant Morrison - DC Comics) Batman: Trough the Looking Glass 14,99 (Sam Kieth & Bruce Jones - DC Comics) Captain America: Land of the Free 19,99 (Andy Kubert & Marc Waid - Marvel) Cherubs 19,99 (Bryan Talbot - Dark Horse) Comics About Cartoonists 39,99 (Editor: Craig Yoe - IDW) Delphine 24,99 (Richard Sala – Fantagraphics) Nancy 2: Nancy Likes Christmas 26,95 (Ernie Bushmiller – Fantagraphics) Northlanders 7: The Icelandic Trilogy 16,99 (Paul Azaceta & Brian Wood - Vertigo) Reset 15,99 (Peter Bagge - Dark Horse) The Amaing Spider-Man: Ends of the Earth 24,99 (Stefano Caselli & Dan Slott - Marvel) The Complete Pogo 2: Bona Fide Balderdash 39,99 (Walt Kelly – IDW Publishing) Zorro: The Complete Dell Comics Adventures 49,99 (Alex Toth / Hermes Press) Franstalig: La veritable histoire de Spirou 1937-1946 55 (Christelle et Bertrand Pissavy-Yvernault / Dupuis) Spirou intégrale 0: 1938-1943 24 (Rob-Vel / Dupuis) Manga – Engels: Message to Adolf 2 26,95 (Osamu Tezuka – Vertical) WEEK 5 Engelstalig: Batwoman 1: -
Midwest Art History Society Conference, April 2, 3, 4, 2009
Number 35 Fall 2008 NE W SLETTER Midwest Art History Society Conference, April 2, 3, 4, 2009 - Kansas City, Missouri The Midwest Art History Society’s 36th annual meeting will venues, a short distance away, are the Liberty Memorial (a fabulous convene April 2, 3, 4, 2009, in Kansas City, Missouri. The confer- Art Deco structure and the only WWI memorial and museum in ence is co-hosted by The Nelson-Atkins Museum of Art and the the country), the Negro Leagues Baseball Hall of Fame, and the Jazz University of Missouri, Kansas City. Conference sessions and Hall of Fame. activities will take place at The Nelson-Atkins Museum. The conference hotel is the Raphael Hotel—a charming, historic, Participating partners in the MAHS conference are the H & R European-style hotel on the Country Club Plaza, located just a Block Artspace, the Spencer Museum in Lawrence, Kansas, and the 15-minute walk from The Nelson-Atkins Museum. One of Kansas Nerman Museum of Contemporary Art. City’s most popular destinations, the Plaza offers a wide selection of restaurants and shopping, as well as sev- At The Nelson-Atkins Museum, the eral venues featuring Kansas City jazz. conference will take place both in the original 1933 William Rockhill The conference overlaps with First Nelson Building and the new, award- Fridays, a festive evening on the first winning Bloch Building designed Friday of each month when the galleries by Steven Holl. This will be a great in the Cross Roads art district open their opportunity to see the Museum’s doors and the streets fill with crowds of encyclopedic, world-class collections art enthusiasts. -
Premier État Au 29 Septembre 2006
La Sélection de La Cité 2007 Une sélection de titres parus en 2006 ___________________________________________________________________ SELECTION JEUNESSE Ariol (n° 006) : Oh ! la mer ! / scén. Emmanuel Guibert ; dessin Marc Boutavant. - Paris : Bayard jeunesse, 2006. - 56 p. ; ill. en coul, couv ill. en coul ; 26 cm. - (Bayard BD) - ISBN 2-7470-2009-6 L'atelier de Jojo et Yvan / Jean-Yves Duhoo - Paris : L'Association, 2006. - n.p. ; ill. en coul. et en n.et bl., couv. ill. en coul. ; 27 cm. ISBN 2-84414-223-0. Les Aventures de Mégamonsieur (n° 002) : Y'en a marre des fioulpes ! / scén. et dessin Martin Desbat, coloriste ; Mathieu Binand , coloriste. - Champigny-sur-Marne (Val-de-Marne) : Lito, 2006. - 52 p. ; ill. en coul, couv ill. en coul ; 30 cm. - (Onomatopée). - ISBN 2-244-49719-4. Les Aventures de Basil & Victoria (n° 004) : Pearl / scén. Yann ; dessin Edith. - Paris : Les Humanoïdes Associés, 2006. - 46 p. ; ill. en coul, couv ill. en coul ; 30 cm. - (Les 3 masques). - ISBN 2-7316-1653-9. Les Démons d'Alexia (n° 003) : Yorthopia / scén. V. Dugomier ; dessin Benoît Ers ; Scarlett Smulkowski , coloriste. - Marcinelle (Belgique) : Dupuis, 2006. - 47 p. ; ill. en coul, couv ill. en coul ; 30 cm. - ISBN 2-8001-3785-1. Dieu qui pue Dieu qui pète : et autres histoires africaines / scén. Fabien Vehlmann ; dessin Frantz Duchazeau ; Brigitte Findakly , coloriste. - Toulouse : Milan Jeunesse, 2006. - 44 p. ; ill. en coul, couv ill. en coul ; 29 cm. - (Capsule Cosmique). - ISBN 2-7459-1882-6. L'Empire des hauts murs / dessin et scén. Simon Hureau ; conçu par (maquette) Trait Pour Trait. - 1ère édition. -
Autobiographical Comics Graphic Novels
✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧ ✵National Book-Collecting Contest✵ ❧ The Complexities of Ordinary Life: Autobiographical Comics AND Graphic Novels ❝ ❝Collect ‘em all! ❞ Trade ‘em with your friends!❞ COLLECTED AND DESCRIBED BY: ✻ Naseem Hrab ✻ ✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧✧ The Complexities of Ordinary Life: Autobiographical Comics and Graphic Novels Being raised by two psychiatrists has made me extraordinarily interested in learning about the lives of others. While autobiographical comics may seem like an odd crib sheet to use to learn about the human condition, their confessional style provides readers like me with the answers to the questions we dare not ask. I equate reading an autobiographical comic with the occurrence of a stranger handing you his diary, staring meaningfully into your eyes and saying, “I want you to read this… all of it. Oh, and just so you know, I drew pictures of everything that happened, too.” I first became interested in autobiographical comics and graphic novels after reading some of Jeffrey Brown’s comics in 2005. There was something about his loose, sketchbook-style illustrations that made his work accessible to a newly minted comics fan such as myself. There were no superpowers, no buxom women and no maniacal villains in his comics… just real stories. Right when I was on the brink of exhausting Brown’s catalogue, Peter Birkemoe, the co-owner of The Beguiling1, suggested that I expand my interests. When he rang up my latest purchase, he said, “If you like this stuff, you should try reading some John Porcellino.” I promptly swept up Porcellino’s King-Cat Classix: The Best of King-Cat Comics and Stories and I soon discovered other autobiographical cartoonists including Chester Brown, Joe Matt, Lucy Knisley and Harvey Pekar. -
El Còmic Com a Instrument Periodístic
Facultat de Ciències de la Comunicació Treball de fi de grau Títol Autor/a Tutor/a Departament Grau Tipus de TFG Data Universitat Autònoma de Barcelona Facultat de Ciències de la Comunicació Full resum del TFG Títol del Treball Fi de Grau: Català: Castellà: Anglès: Autor/a: Tutor/a: Curs: Grau: Paraules clau (mínim 3) Català: Castellà: Anglès: Resum del Treball Fi de Grau (extensió màxima 100 paraules) Català: Castellà: Anglès: Universitat Autònoma de Barcelona ÍNDEX 1. INTRODUCCIÓ. Per què còmic i per què ara ....................................................................... 2 2. METAMORFOSI DEL CÒMIC. De la tradició a l’eufemisme ........................................... 5 2.1 Còmics amb pèls a les cames ................................................................................................ 6 2.2. Una crisi per tornar a començar .......................................................................................... 7 2.3 Naixement, impacte i esvaniment del comix underground .............................................. 8 2.4 De l’underground al còmic alternatiu ................................................................................ 11 2.5 La novel·la gràfica ................................................................................................................ 14 2.6 Resum i prospectiva ............................................................................................................. 17 3. LA VINYETA DOCUMENTAL. Una primera proposta tipològica ................................ 20 3.1 El -
Spring/Summer 2009 HOOD MUSEUM OF
930837_rev.qxd 3/12/09 12:42 PM Page 1 HOOD MUSEUM OF ART Spring/Summer 2009 quarter y DARTMOUTH COLLEGE CONTENTS 2 Letter from the Director 3 Special Exhibitions 4–5 Wearing Wealth and Styling Identity:Tapis from Lampung, South Sumatra, Indonesia 6–7 Félix de la Concha: Private Portraits/Public Conversations 8 France in Transformation: The Caricature of Honoré Daumier, 1833–1870 Special Insert: Calendar of Events 9 Hood Online: Joining the Web Revolution 10–11 The Collections 12–13 Museum News 14–15 Hood Membership: Vital Support Unknown artist, Lampung Province, Sumatra, Indonesia, Tapis Balak, silk and cotton with gold thread, red wool, and sequins. Lister Family Collection. Photo © 2004 by John Bigelow Taylor. 930837_rev.qxd 3/6/09 3:59 PM Page 2 HOOD MUSEUM OF ART STAFF Gary Alafat, Security/Buildings Manager Juliette Bianco, Assistant Director Alex Bortolot, Assistant Curator, Special Projects Emily Shubert Burke, Assistant Curator, Special Projects Amy Driscoll, Docent and Teacher Programs Coordinator Patrick Dunfey, Exhibitions Designer/ Preparations Supervisor Rebecca Fawcett, Registrarial Assistant Cynthia Gilliland, Assistant Registrar Hood Museum of Art docent Sybil Williamson introduces the Perugino altarpiece to local middle school Sharon Greene, Development Officer students visiting as part of their school’s annual Renaissance Festival. Photo courtesy Hood Museum of Art. Katherine Hart, Associate Director and Barbara C. and Harvey P. Hood 1918 Curator of Academic Programming LETTER FROM THE DIRECTOR Deborah Haynes, Data Manager Alfredo Jurado, Security Guard n recent years, the Hood Museum of Art has sought to commission major proj- Brian Kennedy, Director ects on campus that respond to College President James Wright’s invitation to Idisplay works of art in public places, and to Provost Barry Scherr’s encourage- Adrienne Kermond, Tour Coordinator ment to provide transformative experiences through engagement with works of art. -
Not Funnies by Charles Mcgrath
NY Times | http://www.nytimes.com/2004/07/11/magazine/11GRAPHIC.html 11 July 2004 Not Funnies By Charles Mcgrath ou can’t pinpoint it exactly, but there was a moment when people more or less Ystopped reading poetry and turned instead to novels, which just a few genera- tions earlier had been considered entertainment suitable only for idle ladies of uncertain morals. The change had surely taken hold by the heyday of Dickens and Tennyson, which was the last time a poet and a novelist went head to head on the best-seller list. Someday the novel, too, will go into decline—if it hasn’t already—and will become, like poetry, a genre treasured and created by just a relative few. This won’t happen in our lifetime, but it’s not too soon to wonder what the next new thing, the new literary form, might be. It might be comic books. Seriously. Comic books are what novels used to be—an accessible, vernacular form with mass appeal—and if the highbrows are right, they’re a form perfectly suited to our dumbed-down culture and collective attention deficit. Comics are also enjoying a renaissance and a newfound respectability right now. In fact, the fastest-growing section of your local bookstore these days is apt to be the one devoted to comics and so-called graphic novels. It is the overcrowded space way in the back—next to sci-fi probably, or between New Age and hobbies—and unless your store is staffed by someone unusually devoted, this section is likely to be a mess. -
Joaquín Risueño
JOAQUÍN RISUEÑO EL PINTOR Y LA MODELO JOAQUÍN RISUEÑO JOAQUÍN RISUEÑO EL PINTOR Y LA MODELO Del 21 de febrero al 12 de abril de 2019 GALERIA LEANDRO NAVARRO C/ AMOR DE DIOS, Nº1 28014 MADRID Horario: de Lunes a Viernes de 10 a 14h. y de 17 a 20h. Sábado previa cita. Tel.: 91 429 89 55 Fax: 91 429 91 55 e-mail: [email protected] www.leandro-navarro.com CALLE MAYOR, MADRID (NOTAS DE UNA VISITA A JOAQUÍN RISUEÑO) No había estado jamás en el estudio de Joaquín Risueño. Pensaba encontrarme, tras la puerta, con una nueva remesa de esos paisajes tan hermosos, tan serenos, y a la postre tan inquietantes, que son “especialidad de la casa”. Risueño, que cursó jovencísimo estudios de Bellas Artes en su Madrid natal, inició su carrera expositiva con tan sólo veintisiete años, y nada menos que con Juana Mordó, la galerista de nuestra generación abstracta, pero la descubridora tam- bién de Carmen Laffón, de los realistas cotidianos madrileños (referencia clave para él, como para sus coetáneos José Manuel Ballester o Félix de la Concha), de Vicente Ameztoy, de César Luengo, de Eduardo Verdasco… En aquel año 1984, Miguel Logroño, tan próximo entonces a la gran dama de Salónica, fue el prolo- guista del primero de sus catálogos en la histórica sala de la calle de Villanueva, y lo incorporó de inmediato a su gran invento generacional, el Salón de los 16. Risueño sería luego uno de los dos artistas hondamente figurativos que exponían en Moriarty, siendo el otro el singular escultor Cristóbal, de tan singular carrera.