Aline Kominsky-Crumb & R. Crumb

Total Page:16

File Type:pdf, Size:1020Kb

Aline Kominsky-Crumb & R. Crumb Aline Kominsky-Crumb & R. Crumb: Drawn Together 525 West 19th Street David Zwirner, New York January 12 - February 18 2017 525 East Viewing Room Aline Kominsky-Crumb Dream House, 2016 Ink and correction fluid on paper 33 pages Page 1-19: 14 x 11 inches 35.6 x 27.9 cm Page 20-23: 15 x 10 3/4 inches 38.1 x 27.3 cm Page 24: 14 x 12 3/8 inches 35.6 x 31.4 cm Page 25-28: 16 x 12 3/8 inches 40.6 x 31.4 cm Page 29-32: 16 1/2 x 11 5/8 inches 41.9 x 29.5 cm Page 33: 16 x 12 1/4 inches 40.6 x 31.1 cm Signed recto CRUAL0055 Aline Kominsky-Crumb Bunch's Parents, 1985 Oil on canvas Framed: 24 7/8 x 31 x 7/8 inches 63.2 x 78.7 x 2.2 cm Canvas: 23 1/2 x 29 3/4 inches 59.7 x 75.6 cm Signed and dated recto CRUAL0037 525 Front Gallery Aline Kominsky-Crumb A Day in The Life of Aline-Kominsky Crumb, 1994 Ink and correction fluid on paper 15 pages Each: 14 x 11 inches 35.6 x 27.9 cm Signed recto CRUAL0026 R. Crumb Fritz the Cat, 1964 Colored pencil, ink, and graphite on paper Framed: 15 5/8 x 12 5/8 x 1 1/4 inches 39.7 x 32.1 x 3.2 cm 39.3 x 32 x 3 cm Paper: 8 x 5 1/4 inches 20.1 x 13.2 cm Signed recto CRUMB0653 Aline Kominsky-Crumb No Title, 1989 Glitter glue, ink, graphite, acrylic, glitter, and colored pencil on paper Framed: 23 5/8 x 20 5/8 x 1 1/8 inches 60 x 52.4 x 2.9 cm Paper: 17 x 14 inches 43.2 x 35.6 cm Signed and dated recto CRUAL0032 R. Crumb and Sophie Crumb Portrait of Aline, 1993 Acrylic and ink on paper Framed: 18 3/8 x 15 1/8 x 1 1/8 inches 46.7 x 38.4 x 2.9 cm Paper: 11 7/8 x 8 3/8 inches 30.2 x 21.3 cm Signed and dated recto CRUMB0662 R. Crumb Untitled (Crumb Hanging on Woman's Leg), 2007 Ink and correction fluid on paper Framed: 22 x 18 3/4 x 1 1/2 inches 55.9 x 47.6 x 3.8 cm Paper: 15 5/8 x 12 1/2 inches 39.7 x 31.8 cm Signed and dated recto CRUMB0497 R. Crumb Stoned, 1967-1969 Ink on paper Framed: 15 3/4 x 13 1/2 x 3/4 inches 40.0 x 34.3 x 1.9 cm Paper: 9 5/8 x 7 1/2 inches 24.4 x 19.1 cm CRUMB0716 Aline Kominsky-Crumb, R. Crumb, and Sophie Crumb It's Been A Hell Of A Year!, 1986 Ink, correction fluid, and collage on paper Framed: 17 7/8 x 17 5/8 x 1 1/4 inches 45.4 x 44.8 x 3.2 cm Paper: 11 x 10 7/8 inches 27.9 x 27.6 cm Signed and dated recto CRUMB0672 Aline Kominsky-Crumb Self Portrait Age 42 1/2, 1991 Ink and pencil on paper Framed: 16 1/2 x 14 3/8 x 1 1/4 inches 41.8 x 36.3 x 3 cm Paper: 14 x 11 inches 35.4 x 28 cm Signed, titled, and dated recto CRUAL0058 R. Crumb Self Portrait with Third Eye, 2001 Ink, graphite, and correction fluid on paper Framed: 17 3/8 x 14 1/2 x 1 1/4 inches 44.1 x 36.8 x 3.2 cm Paper: 10 x 7 1/4 inches 25.4 x 18.4 cm Signed and dated lower right recto CRUMB0715 Aline Kominsky-Crumb Hot oil dripped on the head, Dream I Had during Shiro Dhara, 2007 Ink, acrylic, graphite, and glitter glue on paper Framed: 18 x 15 1/2 x 1 1/4 inches 45.7 x 39.4 x 3.2 cm Paper: 11 1/4 x 8 7/8 inches 28.6 x 22.5 cm Signed and dated recto CRUAL0018 R. Crumb Cous Cous Restaurant in Ganges April 8, '05, 2005 Ink and correction fluid on paper doily placemat Framed: 14 3/4 x 1 x 18 1/2 inches 37.5 x 2.5 x 47 cm Paper: 11 3/4 x 15 3/8 inches 29.8 x 39.1 cm Dated recto CRUMB0039 R. Crumb Aline, 2007 Ink and correction fluid on paper Framed: 18 3/8 x 15 x 1 1/8 inches 46.7 x 38.1 x 2.9 cm Paper: 11 3/4 x 8 1/4 inches 29.8 x 21 cm CRUMB0664 R. Crumb I Can't...Seem...To..., 1964-1965 Ink on paper Framed: 12 5/8 x 10 x 1 inches 32.1 x 25.4 x 2.5 cm Paper: 11 x 7 1/2 inches 27.9 cm x 19.1 cm Signed and dated recto CRUMB0248 R. Crumb Illustration for Jugheads, 2013 Watercolor on paper Framed: 17 x 14 1/2 x 1 1/4 inches 43.2 x 36.8 x 3.2 cm Paper: 10 3/8 x 7 7/8 inches 26.4 x 20 cm Signed and dated recto CRUMB0669 R. Crumb Untitled (Unfucking Real), 1967-1972 Ink on paper Framed: 16 x 13 3/4 x 1 1/4 inches 40.6 x 34.9 x 3.2 cm Paper: 9 5/8 x 7 1/2 inches 24.4 x 19.1 cm CRUMB0170 R. Crumb Untitled (Devil Girl splits), 1993 Ink, graphite, and correction fluid on paper Framed: 14 7/8 x 18 3/8 x 1 1/8 inches 37.8 x 46.7 x 2.9 cm Paper: 8 1/4 x 11 7/8 inches 21.0 x 30.2 cm Signed and dated recto CRUMB0330 R. Crumb Sophie Crumb, 1993 Watercolor and ink on paper Framed: 20 x 15 5/8 x 1/2 inches 50.8 x 39.7 x 1.3 cm Paper: 17 7/8 x 13 5/8 inches 45.4 x 34.6 cm Image: 15 3/4 x 11 5/8 inches 40 x 29.5 cm Signed and dated recto CRUMB0674 Aline Kominsky-Crumb and R. Crumb Cover of Heeb Magazine, 2007 Watercolor and ink on paper Framed: 17 7/8 x 15 1/2 x 1 1/2 inches 45.4 x 39.4 x 3.8 cm Paper: 11 3/4 x 9 1/4 inches 29.8 x 23.5 cm CRUMB0446 R. Crumb My True Inner Self, n.d. Ink on placemat Framed: 18 1/4 x 13 1/4 x 1 1/2 inches 46.4 x 33.7 x 3.8 cm Paper: 13 5/8 x 8 1/8 inches 34.6 x 20.6 cm Signed recto CRUMB0193 R. Crumb Honey Bunch Kaminski, 1968 Ink and collage on paper Framed: 16 3/8 x 14 3/8 x 1 1/2 inches 41.6 x 36.5 x 3.8 cm Image: 6 3/4 x 4 3/4 inches 17.1 x 12.1 cm CRUMB0695 Aline Kominsky-Crumb Portrait of Robert Crumb, 1987 Oil on canvas Framed: 20 1/2 x 16 1/2 inches 52.1 x 41.9 cm Canvas: 20 1/8 x 16 inches 51.1 x 40.6 cm Signed and dated recto CRUAL0034 R. Crumb I'm Fucked, 2004 Ink and correction fluid on paper Framed: 10 7/8 x 11 1/8 x 1 1/4 inches 27.6 x 28.3 x 3.2 cm Paper: 7 3/4 x 8 inches 19.7 x 20.3 cm Dated recto CRUMB0493 R. Crumb I was raised to be..., 2006 Ink and correction fluid on paper Framed: 18 3/4 x 14 1/2 x 1 1/2 inches 47.6 x 36.8 x 3.8 cm Paper: 13 1/8 x 8 7/8 inches 33.3 x 22.5 cm Signed and dated recto CRUMB0494 R. Crumb It's A Harsh Universe, 2000 Ink and correction fluid on paper Framed: 13 3/4 x 12 1/8 x 1 1/4 inches 34.9 x 30.8 x 3.2 cm Paper: 11 3/4 x 10 inches 29.8 x 25.4 cm Signed and dated recto CRUMB0171 R. Crumb The R. Crumb Dartboard, 1992 Ink and correction fluid on paper Framed: 23 x 19 x 1 1/2 inches 58.4 x 48.3 x 3.8 cm Paper: 16 1/4 x 12 1/4 inches 41.3 x 31.1 cm Signed and dated recto CRUMB0495 R. Crumb Ugly Old Guy, c. 1991-1993 Ink and correction fluid on placemat Framed: 15 x 13 x 1 1/2 inches 38.1 x 33 x 3.8 cm Paper: 11 3/4 x 9 3/4 inches 29.8 x 24.8 cm Signed recto CRUMB0543A R. Crumb Arcade, for June 1962, Number Twenty Three , 1962 Graphite on notebook paper Framed: 18 3/4 x 15 5/8 x 1 1/4 inches 47.6 x 39.7 x 3.2 cm Paper: 8 1/2 x 6 7/8 inches 21.6 x 17.5 cm Signed and dated recto CRUMB0646 Aline Kominsky-Crumb Virgin Lovin' Jew!, 2007 Ink, acrylic, correction fluid, and glitter on paper Framed: 12 1/4 x 9 3/4 x 1/2 inches 31.1 x 24.8 x 1.3 cm Image: 9 x 6 3/4 inches 22.9 x 17.1 cm Signed and dated recto CRUAL0019 R.
Recommended publications
  • Copyright 2013 Shawn Patrick Gilmore
    Copyright 2013 Shawn Patrick Gilmore THE INVENTION OF THE GRAPHIC NOVEL: UNDERGROUND COMIX AND CORPORATE AESTHETICS BY SHAWN PATRICK GILMORE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-Champaign, 2013 Urbana, Illinois Doctoral Committee: Professor Michael Rothberg, Chair Professor Cary Nelson Associate Professor James Hansen Associate Professor Stephanie Foote ii Abstract This dissertation explores what I term the invention of the graphic novel, or more specifically, the process by which stories told in comics (or graphic narratives) form became longer, more complex, concerned with deeper themes and symbolism, and formally more coherent, ultimately requiring a new publication format, which came to be known as the graphic novel. This format was invented in fits and starts throughout the twentieth century, and I argue throughout this dissertation that only by examining the nuances of the publishing history of twentieth-century comics can we fully understand the process by which the graphic novel emerged. In particular, I show that previous studies of the history of comics tend to focus on one of two broad genealogies: 1) corporate, commercially-oriented, typically superhero-focused comic books, produced by teams of artists; 2) individually-produced, counter-cultural, typically autobiographical underground comix and their subsequent progeny. In this dissertation, I bring these two genealogies together, demonstrating that we can only truly understand the evolution of comics toward the graphic novel format by considering the movement of artists between these two camps and the works that they produced along the way.
    [Show full text]
  • The University of Chicago Looking at Cartoons
    THE UNIVERSITY OF CHICAGO LOOKING AT CARTOONS: THE ART, LABOR, AND TECHNOLOGY OF AMERICAN CEL ANIMATION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY HANNAH MAITLAND FRANK CHICAGO, ILLINOIS AUGUST 2016 FOR MY FAMILY IN MEMORY OF MY FATHER Apparently he had examined them patiently picture by picture and imagined that they would be screened in the same way, failing at that time to grasp the principle of the cinematograph. —Flann O’Brien CONTENTS LIST OF FIGURES...............................................................................................................................v ABSTRACT.......................................................................................................................................vii ACKNOWLEDGMENTS....................................................................................................................viii INTRODUCTION LOOKING AT LABOR......................................................................................1 CHAPTER 1 ANIMATION AND MONTAGE; or, Photographic Records of Documents...................................................22 CHAPTER 2 A VIEW OF THE WORLD Toward a Photographic Theory of Cel Animation ...................................72 CHAPTER 3 PARS PRO TOTO Character Animation and the Work of the Anonymous Artist................121 CHAPTER 4 THE MULTIPLICATION OF TRACES Xerographic Reproduction and One Hundred and One Dalmatians.......174
    [Show full text]
  • Women's Experimental Autobiography from Counterculture Comics to Transmedia Storytelling: Staging Encounters Across Time, Space, and Medium
    Women's Experimental Autobiography from Counterculture Comics to Transmedia Storytelling: Staging Encounters Across Time, Space, and Medium Dissertation Presented in partial fulfillment of the requirement for the Degree Doctor of Philosophy in the Graduate School of Ohio State University Alexandra Mary Jenkins, M.A. Graduate Program in English The Ohio State University 2014 Dissertation Committee: Jared Gardner, Advisor Sean O’Sullivan Robyn Warhol Copyright by Alexandra Mary Jenkins 2014 Abstract Feminist activism in the United States and Europe during the 1960s and 1970s harnessed radical social thought and used innovative expressive forms in order to disrupt the “grand perspective” espoused by men in every field (Adorno 206). Feminist student activists often put their own female bodies on display to disrupt the disembodied “objective” thinking that still seemed to dominate the academy. The philosopher Theodor Adorno responded to one such action, the “bared breasts incident,” carried out by his radical students in Germany in 1969, in an essay, “Marginalia to Theory and Praxis.” In that essay, he defends himself against the students’ claim that he proved his lack of relevance to contemporary students when he failed to respond to the spectacle of their liberated bodies. He acknowledged that the protest movements seemed to offer thoughtful people a way “out of their self-isolation,” but ultimately, to replace philosophy with bodily spectacle would mean to miss the “infinitely progressive aspect of the separation of theory and praxis” (259, 266). Lisa Yun Lee argues that this separation continues to animate contemporary feminist debates, and that it is worth returning to Adorno’s reasoning, if we wish to understand women’s particular modes of theoretical ii insight in conversation with “grand perspectives” on cultural theory in the twenty-first century.
    [Show full text]
  • It's Garfield's World, We Just Live in It
    Bard College Bard Digital Commons Senior Projects Fall 2019 Bard Undergraduate Senior Projects Fall 2019 It’s Garfield’s World, We Just Live in It: An Exploration of Garfield the Cat as Icon, Money Maker, and Beast Iris B. Engel Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_f2019 Part of the American Art and Architecture Commons, Animal Studies Commons, Arts Management Commons, Business Intelligence Commons, Commercial Law Commons, Contemporary Art Commons, Economics Commons, Finance and Financial Management Commons, Folklore Commons, Historic Preservation and Conservation Commons, Modern Art and Architecture Commons, Operations and Supply Chain Management Commons, Social Influence and oliticalP Communication Commons, Social Media Commons, Strategic Management Policy Commons, and the Theory and Criticism Commons This work is licensed under a Creative Commons Attribution-Share Alike 4.0 License. Recommended Citation Engel, Iris B., "It’s Garfield’s World, We Just Live in It: An Exploration of Garfield the Cat as Icon, Money Maker, and Beast" (2019). Senior Projects Fall 2019. 3. https://digitalcommons.bard.edu/senproj_f2019/3 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected].
    [Show full text]
  • Download Zap Comix #16 PDF
    Download: Zap Comix #16 PDF Free [760.Book] Download Zap Comix #16 PDF By R. Crumb, Gilbert Shelton, Robert Williams, S. Clay Wilson, Spain Rodriguez, Victor Moscoso, Paul Mavrides, Rick Griffin Zap Comix #16 you can download free book and read Zap Comix #16 for free here. Do you want to search free download Zap Comix #16 or free read online? If yes you visit a website that really true. If you want to download this ebook, i provide downloads as a pdf, kindle, word, txt, ppt, rar and zip. Download pdf #Zap Comix #16 | #380097 in Books | Fantagraphics Books | 2016-02-22 | Original language: English | PDF # 1 | 10.00 x .40 x 7.10l, .0 | File type: PDF | 96 pages | Fantagraphics Books | |18 of 18 people found the following review helpful.| Ah, well... | By Sean Burns |So here we are, almost 50 years after ZAP 1 appeared, with a sorta lackluster "farewell" from the old radicals that blew so many minds back in the day. But it's been a tough 50 years for many, they have nothing to prove and can rest on their laurels, and if they can make a little for their golden years, that's fine by me. ZAP 16 resembles an old | From Publishers Weekly | An iconic anthology bows out in a long-unpublished final issue featuring all of its premier artists, showcasing the differing styles that made each creator famous. Crumb's self-reflective comics (often published alongside those of Aline Ko The final, previously-only-available-in-a limited/collector's-edition issue of the the most important comic book series of all time! This blowout issue not only includes work by all eight Zap artists (plus a collaboration with cartoonist Aline Kominsky), but also three double-page jams by the group.
    [Show full text]
  • LOCAS: the MAGGIE and HOPEY STORIES by Jaime Hernandez Study Guide Written by Art Baxter
    NACAE National Association of Comics Art Educators STUDY GUIDE: LOCAS: THE MAGGIE AND HOPEY STORIES by Jaime Hernandez Study guide written by Art Baxter Introduction Comic books were in the midst of change by the early 1980s. The Marvel, DC and Archie lines were going through the same tired motions being produced by second and third generation artists and writers who grew up reading the same books they were now creating. Comic book specialty shops were growing in number and a new "non- returnable" distribution system had been created to supply them. This opened the door for publishers who had small print runs, with color covers and black and white interiors, to emerge with an alternative to corporate mainstream comics. These new comics were often a cross between the familiar genres of the mainstream and the personal artistic freedom of underground comics, but sometimes something altogether different would appear. In 1976, Harvey Pekar began self-publishing his annual autobiographical comics collection, American Splendor, with art by R. Crumb and others, from his home in Cleveland, Ohio. Other cartoonists self-published their mainstream- rejected comics, like Cerebus (Dave Sim, 1977) and Elfquest (Wendy & Richard Pini, 1978) to financial and critical success. With proto-graphic novel publisher, Eclipse, mainstream rebels produced explicit versions of their earlier work, such as Sabre (Don McGreggor & Paul Gulacy, 1978) and Stewart the Rat (Steve Gerber & Gene Colan, 1980). Underground comics evolved away from sex and drugs toward maturity in two anthologies, RAW (Art Spiegleman & Francoise Mouly, eds., 1980) and Weirdo (R. Crumb, ed., 1981). Under the Fantagraphics Books imprint, Gary Groth and Kim Thompson began to publish comics which aspired to an artistic quality that lived up to the high standard set forth in the pages of their critical magazine, The Comics Journal.
    [Show full text]
  • 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.
    [Show full text]
  • Free Catalog
    Featured New Items DC COLLECTING THE MULTIVERSE On our Cover The Art of Sideshow By Andrew Farago. Recommended. MASTERPIECES OF FANTASY ART Delve into DC Comics figures and Our Highest Recom- sculptures with this deluxe book, mendation. By Dian which features insights from legendary Hanson. Art by Frazetta, artists and eye-popping photography. Boris, Whelan, Jones, Sideshow is world famous for bringing Hildebrandt, Giger, DC Comics characters to life through Whelan, Matthews et remarkably realistic figures and highly al. This monster-sized expressive sculptures. From Batman and Wonder Woman to The tome features original Joker and Harley Quinn...key artists tell the story behind each paintings, contextualized extraordinary piece, revealing the design decisions and expert by preparatory sketches, sculpting required to make the DC multiverse--from comics, film, sculptures, calen- television, video games, and beyond--into a reality. dars, magazines, and Insight Editions, 2020. paperback books for an DCCOLMSH. HC, 10x12, 296pg, FC $75.00 $65.00 immersive dive into this SIDESHOW FINE ART PRINTS Vol 1 dynamic, fanciful genre. Highly Recommened. By Matthew K. Insightful bios go beyond Manning. Afterword by Tom Gilliland. Wikipedia to give a more Working with top artists such as Alex Ross, accurate and eye-opening Olivia, Paolo Rivera, Adi Granov, Stanley look into the life of each “Artgerm” Lau, and four others, Sideshow artist. Complete with fold- has developed a series of beautifully crafted outs and tipped-in chapter prints based on films, comics, TV, and ani- openers, this collection will mation. These officially licensed illustrations reign as the most exquisite are inspired by countless fan-favorite prop- and informative guide to erties, including everything from Marvel and this popular subject for DC heroes and heroines and Star Wars, to iconic classics like years to come.
    [Show full text]
  • Rip Off Press Mail Order • PO Box 4686 • Auburn, CA 95604 • 530 885
    Rip Off Press Mail Order • PO Box 4686 • Auburn, CA 95604 • 530 885-8183 Toll Free inside the U.S.: 888-978-3049 • e-mail: [email protected] •www.ripoffpress.com MINI ORDER FORM AND IN-STOCK PRODUCT LIST - MARK ITEMS WANTED AND MAIL WITH PAYMENT or charge card information SHIP TO: PAYMENT WORKSHEET Name___________________________________________________ MERCHANDISE TOTAL__________ Address_________________________________________________ (This is the amount on which your Shipping Rate is based - see the chart below) City_____________________________________________________ CALIFORNIA SALES TAX__________ State_________ ZIP_____________________________ (For shipment inside CALIF. ONLY: 7.5%--No tax outside Calif.) Day Phone_____________________e-mail___________________ SHIPPING & HANDLING CHARGE__________ Based on the Merchandise Total for each type of items ordered -- See the CHARTS below. I AM OVER 18 (Sign for ordering * titles) ___________________________ SUBTRACT ANY CREDITS__________ For Charge Card orders please fill in the blanks: YOUR COPY OF CREDIT MEMO/GIFT CERT./DISCOUNT CERT. MUST BE ENCLOSED ACCT. No._____________________________________________ Sec. Code_______ ADD ANY BALANCE DUE FROM BEFORE__________ Thank you!! Signature________________________________________________Exp.__________ GRAND TOTAL__________ Cardholder name (print)_________________________________________________ Enclose check or money order made out in U.S. dollars Acct. Addr. (if different from “Ship To”)_________________________________________ Or fill
    [Show full text]
  • Growing up with Vertigo: British Writers, Dc, and the Maturation of American Comic Books
    CORE Metadata, citation and similar papers at core.ac.uk Provided by ScholarWorks @ UVM GROWING UP WITH VERTIGO: BRITISH WRITERS, DC, AND THE MATURATION OF AMERICAN COMIC BOOKS A Thesis Presented by Derek A. Salisbury to The Faculty of the Graduate College of The University of Vermont In Partial Fulfillment of the Requirements For the Degree of Master of Arts Specializing in History May, 2013 Accepted by the Faculty of the Graduate College, The University of Vermont, in partial fulfillment of the requirements for the degree of Master of Arts, specializing in History. Thesis Examination Committee: ______________________________________ Advisor Abigail McGowan, Ph.D ______________________________________ Melanie Gustafson, Ph.D ______________________________________ Chairperson Elizabeth Fenton, Ph.D ______________________________________ Dean, Graduate College Domenico Grasso, Ph.D March 22, 2013 Abstract At just under thirty years the serious academic study of American comic books is relatively young. Over the course of three decades most historians familiar with the medium have recognized that American comics, since becoming a mass-cultural product in 1939, have matured beyond their humble beginnings as a monthly publication for children. However, historians are not yet in agreement as to when the medium became mature. This thesis proposes that the medium’s maturity was cemented between 1985 and 2000, a much later point in time than existing texts postulate. The project involves the analysis of how an American mass medium, in this case the comic book, matured in the last two decades of the twentieth century. The goal is to show the interconnected relationships and factors that facilitated the maturation of the American sequential art, specifically a focus on a group of British writers working at DC Comics and Vertigo, an alternative imprint under the financial control of DC.
    [Show full text]
  • PDF Download the Cat Ebook, Epub
    THE CAT PDF, EPUB, EBOOK Ella Earle | 96 pages | 01 Apr 2012 | Summersdale Publishers | 9781849531429 | English | Chichester, United Kingdom The Cat PDF Book It is noteworthy that the ancestors of the other common household pet , the dog , were social animals that lived together in packs in which there was subordination to a leader, and the dog has readily transferred its allegiance from pack leader to human master. Although the origin of the domesticated cat is hidden in antiquity, studies involving mitochondrial DNA mtDNA suggest that there have been two lineages of Felis catus. Table Of Contents. She tells them that if they want to leave, then they must get a combined score of points, but they have an opponent. He helped her tremendously by giving Coraline the last ghost eye when she thought that she lost the game. Michael W. Take the quiz Forms of Government Quiz Name that government! For an account of the relationship of the family of cats to other carnivores, see carnivore. Company Credits. Wall tiles in Crete dating from bce depict hunting cats. Added to Watchlist. External Reviews. The ancestry of Persian and Siamese cats may well be distinct from that of other domestic breeds, representing a domestication of an Asian wild cat. They first appeared in the early Pliocene Epoch 5. He seems to understand the nature of the other world in full detail, including its history and the terrible truth behind its facade. Book 5. Accessed 21 Oct. Throughout the ages, cats have been more cruelly mistreated than perhaps any other animal. Samantha is a shrewd business-cat, always looking for opportunities to collect unique things and make sales, even of entirely useless items.
    [Show full text]
  • American Splendor by Robert Pulcini and Shari Springer Berman
    American Splendor by Robert Pulcini and Shari Springer Berman The Official Shooting Script - For Educational Purposes Only FADE IN: INT. HARVEY’S BEDROOM - NIGHT A BEDROOM MIRROR. The room is dark. A perfectly square mirror hangs crooked on a wall. Suddenly, out of the darkness, the reflection of a man’s face comes into focus. He stares straight ahead, perhaps studying his own unrecognizable reflection. It’s quite clear this is a portrait of sickness; the man’s pallor is gray, his eyes are confused. There is something most definitely wrong. Tentatively, the figure steps away from the mirror, leaving the frame empty and dark. ANGLE ON BED Like a ghost, the naked man (Harvey) stands over his bed staring down at his sleeping wife (Joyce). In the eerie light, he’s almost translucent. HARVEY (faintly) Joyce ... Joyce? Joyce springs up, alarmed. JOYCE What’s wrong, Harvey? What are you doing up? Harvey just stands there for a moment saying nothing. JOYCE (cont’d) What is it? HARVEY (delirious, out of breath) Tell me the truth. Am I some guy who writes about himself in a comic book? Or am I just --am I just a character in that book? Joyce rubs her eyes. JOYCE Harvey ... 2. HARVEY If I die, will ‘dat character keep goin’? Or will he just fade away ... Joyce just stares at him, unsure how to answer. Suddenly Harvey collapses. Joyce leaps from the bed, nervous, hysterical. She gets down on the floor and shakes him. JOYCE Omigod, Harvey! Harvey, wake up! CLOSE ON HARVEY’S FACE His eyes remain closed, his expression far, far away.
    [Show full text]