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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. -
Read Book Acme Novelty Library #20 1St Edition Kindle
ACME NOVELTY LIBRARY #20 1ST EDITION PDF, EPUB, EBOOK Chris Ware | 9781770460201 | | | | | Acme Novelty Library #20 1st edition PDF Book More information about this seller Contact this seller 2. I recognized myself in him, my friends, and felt terrible heartbreak. If there's a common complaint directed at Ware as a storyteller, it's that his stories tend to be unremittingly depressing, bleak tales of pathetic characters living unsatisfying lives. I'm sorry. Additional details. Includes all of the cartoons from the author's ACME novelty library, issues 7 and 15, and previously uncollected material arranged as a fictitous annual report. To view it, click here. Published November 9th by Drawn and Quarterly first published October 12th I get the feeling that Ware himself doesn't have much affection for Lint, and yet he isn't unfair to him. The story was depressing. Read more Lint graduated from UNL in with a B. Cover of Acme Novelty Library No. No trivia or quizzes yet. Shelves: merkins , graphic-novels. Enlarge cover. Book Format. His specialty is observing the entire life of a solitary loser or asshole in minute detail. The book mostly deals with the adult version of Jimmy Corrigan, an awkward and shy man, who is unable to make social contact, and who consequently is incredibly lonely and depressed. Readers also enjoyed. Acme Novelty Library #20 1st edition Writer I read Jimmy Corrigan, the Smartest Kid on Earth a number of years ago and remember really enjoying it. It's hard for me to tell whether Ware's attitude toward Lint is one of contempt or grudging sympathy; I suspect the former, but, still, Ware does the hard work of delving into Lint's psyche and finding toeholds of human interest. -
Mark Marek. New Wave Comics
Mark Marek. New Wave Comics. New York: Manhattan Design, 1983. 56pp. Slim quarto [28 cm] Illustrated wraps. The wraps are lightly rubbed and creased, and there are a couple of minor stains on the verso of the front wrap, along the bottom edge [47753]. $30 Special limited edition. Signed. Marek is an animator and producer responsible for Cartoon Network’s MAD and Nickelodeon’s KaBlam! among others. This is one of his earliest works. Gary Panter. Jimbo: A Raw One-Shot. New York: Raw Books and Graphics, 1982. 38pp. Folio [36.5 cm]. Large comic attached at rear to cardboard binding with paper cover label. Toning throughout, else a pristine copy. Fine. Hardcover [49189]. $1,000 Inside of front cardboard cover completely filled with original pen-and-ink drawings by Panter, with his signature in lower corner. New-wave comic artist Gary Panter won three Emmy Awards for his set designs for Pee-wee's Playhouse. Jimbo, a burly punk and existential adventurer, is his best-known comic protagonist. © Ken Sanders Rare Books 2017 Joe Coleman. Cosmic Retribution. Seattle/Portland: Fantagraphics/Feral House, 1992. 135pp. Quarto [28.5 cm] In boards. Book and dust jacket in near fine condition with only faint shelf wear. [51526]. $100 Signed by Coleman on laid-in publisher's limitation slip and numbered 159 of 250 copies. First edition. Color reproductions of Joe Coleman's intricate artwork which focuses on serial killers and other notorious figures. Charles Manson provides the positive review featured on the cover. Strongly influenced by comic art, his work has also been compared to Hieronymus Bosch’s. -
Západočeská Univerzita V Plzni Fakulta Filozofická Bakalářská Práce
Západočeská univerzita v Plzni Fakulta filozofická Bakalářská práce Art Spiegelman – “Of Mice and Men” Monika Majtaníková Plzeň 2014 Západočeská univerzita v Plzni Fakulta filozofická Katedra anglického jazyka a literatury Studijní program Filologie Studijní obor Cizí jazyky pro komerční praxi Kombinace angličtina – němčina Bakalářská práce Art Spiegelman – “Of Mice and Men” Monika Majtaníková Vedoucí práce: Mgr. et Mgr. Jana Kašparová Katedra anglického jazyka a literatury Fakulta filozofická Západočeské univerzity v Plzni Plzeň 2014 Prohlašuji, že jsem práci zpracoval(a) samostatně a použil(a) jen uvedených pramenů a literatury. Plzeň, duben 2014 ………………………….......... Acknowledgement I would like to express my honest acknowledgement to my supervisor, Mgr. et Mgr. Jana Kašparová, for her professional guidance, useful advice, patience and continual support. Table of Contents 1 Introduction .................................................................................................... 1 2 Art Spiegelman ............................................................................................... 2 2.1 Early life .................................................................................................. 2 2.2 Education ................................................................................................. 3 2.3 Beginning of his writing career ............................................................... 4 2.4 Personal and contemporary life ............................................................... 9 2.5 Interesting -
An Aesthetic History of Comics Instructor: Dan Nadel
NACAE National Association of Comics Art Educators An Aesthetic History of Comics Instructor: Dan Nadel This is a class about comics as a medium for expression. It focuses on the aesthetics of comics on and beyond the page. Comics are usually taught in terms of its dominant genres (superhero) and characters (Superman, etc.). This class will cover that history minimally, in favor of a strong focus on comics as a mode of expression (discussing drawing/mark making, storytelling mechanics) and as a graphic/commercial culture that defined many pop cultural icons/idioms and in turn influenced fine artists. This course will attempt to place comics firmly within the context of visual culture in general while continually arguing for the relevance and power of the printed image. Semester-long readings: Tom De Haven: Derby Dugan’s Depression Funnies, Dugan Goes Underground Kim Deitch: Boulevard of Broken Dreams McSweeney’s 13 Steven Milhauser: Little Kingdoms Patrick McDonnell, et al, Krazy Kat: The Comic Art of George Herriman Dan Raeburn: The Imp 4 This document is free for non-commercial educational use. See http://www.teachingcomics.org/copy.php for complete copyright information. NACAE National Association of Comics Art Educators UNIT 1: INTRODUCTION Week 1: Overview Historical and thematic overview of the course. Initial discussion: Reasons, interests, favorites, requests. Reading: Art Spiegelman, “Comix: An Idiosyncratic Historical and Aesthetic Overview,” 1988, in Comix, Essays, Graphics and Scraps. Chris Ware, Introduction to McSweeney’s 13. Handout with comics and odds and ends from DN Viewing: The University of Brighton’s Comics resource: http://www.adh.bton.ac.uk/schoolofdesign/MA.COURSE/LComics.html UNIT 2: HISTORIES I Week 2: Artful beginnings Modern comics begin in the mid 19th century with the Swiss fine artist Rudolf Topffer, who created nonfiction and satiric graphic novels, and continues with Wilhelm Busch and numerous German artists who expanded the comics vocabulary. -
2News Summer 05 Catalog
COMICS’ BRONZE AGE AND BEYOND! February 2015 No.78$8.95 ISSUE! 0 1 1 82658 27762 8 Batman’s Weirdest Team-Ups • Orlando’s Weird Adventure Comics • Weird War Tales • Weird Mystery Tales Ditko’s Shade the Changing Man & Stalker • Chaykin’s Iron Wolf • Crumb’s Weirdo • Starlin & Wrightson’s The Weird Volume 1, Number 78 February 2015 Celebrating the Best Comics of the '70s, '80s, Comics’ Bronze Age and Beyond! '90s, and Beyond! EDITOR-IN-CHIEF Michael Eury PUBLISHER John Morrow DESIGNER Rich Fowlks COVER ARTIST Alan Craddock COVER DESIGNER WEIRD logo TM & © DC Comics. Michael Kronenberg PROOFREADER Rob Smentek SPECIAL THANKS Mark Arnold Carol Lay Terry Austin Paul Levitz Peter Bagge Andy Mangels Dewey Cassell Scott Nickel Howard Chaykin Luigi Novi Shaun Clancy Dennis O’Neil Jon B. Cooke Gary Panter Robert Crumb Martin Pasko FLASHBACK: Weird Batman Team-Ups . .2 DC Comics Tom Powers The Caped Crusader’s out-of-the-ordinary co-stars J. M DeMatteis Sasa Rakezic Mark Evanier Bob Rozakis FLASHBACK: Orlando’s Weird Adventures . .10 Mary Fleener Rac Shade The comic-book smorgasbord that was Joe Orlando’s Adventure Comics Drew Friedman Steve Skeates Carl Gafford Jim Starlin BEYOND CAPES: Those Were Weird Times: Weird Mystery Tales . .23 Macedonio Garcia Bryan D. Stroud From Kirby to Destiny to Eve, you never knew who or what you’d find in this DC title Mike Gold Pvt. “Lucky” Taylor Grand Comics Steven Thompson BEYOND CAPES: The Horrors of Combat: Weird War Tales . .31 Database Carol Tyler This bizarre battle book proved that war really was hell Robert Greenberger Jim Vadeboncoeur Bill Griffith Don Vaughan BEYOND CAPES: IronWolf . -
Read an Excerpt
Contents ix Acknowledgments xi Foreword M. Thomas Inge 3 Introduction Kim A. Munson 11 FOUNDATIONS: COMIC ART IN MUSEUMS 14 Comic Art in Museums: An Overview Denis Kitchen 23 Substance and Shadow: The Art of the Cartoon Brian Walker 33 Permanent Ink: Comic Book and Comic Strip Art as Aesthetic Object Andrei Molotiu 63 PIONEERS: COMIC ART EXHIBITIONS, 1930–1967 66 The Evolution of Comic Art Exhibitions, 1934–1951 Kim A. Munson 88 Narrative Illustration: The Story of the Comics M. C. Gaines 98 The First International: I Exposicao Internacional de Historias em Quadrinhos Alvaro de Moya 104 Comics and Figurative Narration: What Pierre Couperie Contributed Antoine Sausverd 113 THE RENEWED FOCUS ON COMICS AS ART AFTER 1970 120 The Comic Stripped and Ash Canned: A Review Essay Albert Boime 135 Exhibitions at the Museum of Cartoon Art: A Personal Recollection Brian Walker vi Contents 152 Mort Walker, Historian Cullen Murphy 155 Review/Art: Cartoon Masters—Cartoonists Finally Get Some Respect Kenneth Baker 159 Comics, Community, and the ToonSeum: An Interview with Joe Wos Kim A. Munson 167 EXPANDING VIEWS OF COMIC ART: TOPICS AND DISPLAY 170 Northern Ink: Misfit Lit in Minneapolis Diana Green 175 Our Heroes: African American Artists and Images in the American Comic Book Dwayne McDuffie 178 Deviating from “Art”: Japanese Manga Exhibitions, 1990–2015 Jaqueline Berndt 192 The Glimmering Glow of Comic Art amidst the Blinding Glitter of the United Arab Emirates John A. Lent 202 Hypercomics: The Shape of Comics to Come Paul Gravett 207 Sequential Titillation: Comics Stripped at the Museum of Sex, New York Craig Yoe 211 MASTERS OF HIGH AND LOW: EXHIBITIONS IN DIALOGUE 215 Comic Connoisseurs David Deitcher 220 Comics as Art Criticism: The Cartoons of Jonah Kinigstein Karen Green and Kim A. -
Book Your Own Fuckin' Life 1, 1992
I . A Over the last decade and a half the world has witnessed the blossoming of one AND NOW FEW WORDS FROM TOD TYPED IN OF of the largest underground countercultural movements in history. Born out of youth WHO 90% anger (and probably just boredom), which created the original *77 punk explosion, this THESE LISTINGS self-motivated and self-created movement has spread throughout tne furthest reaches Before you complain to of industrial society. People grown tired of pre-packaged consumer entertainment and us.... I’ve been spending hours and everywhere punk has spread rts "Do-It-Yourself” attitude. Punk is a new folk music, hours in front of this stupid fucking where anyone can take part who has the desire for expression and freedom. screen, typing in listing after listing Communication and interaction on a personal level is the foremost goal, with after listing and it gets me in a really production, packaging and marketing coming secondary. The DIY movement is vibrant shit piss mood. Half the time I began and as more people, ideas, thoughts and actions interconnect all the various aspects to wonder who the fuck I was doing making it an ever-changing and growing movement. this for, why the fuck I was doing this, Over these past years the DIY movement has grown at an unprecedented rate, and why the fuck am I not asleep at in some cases fueled by profit-making trends, but for the most part on a real grass-roots 4 am. I guess those who know why level. The national ana international communication within the DIY movement is what are the ones who it’s for, those who has kept it strong over the years. -
La Traducció De Còmics Al Català: El Cas De Maus
Una mostra de la traducció de còmics al català: el cas de Maus. Relat d’un supervivent Eduard Baile López (Alacant) 1 Breu comentari sobre el mercat de traduccions de còmics en català Tradicionalment, la venda de còmics en català a l’Estat espanyol, malgrat que la indústria ha descansat sovint als muscles d’entitats radicades al territori catalanoparlant, amb Barcelona com a punta de llança, ha estat una aven- tura comercial amb forts desavantatges econòmics pel fet de competir amb el potent mercat en castellà. Aquesta magra realitat, que té lloc fins i tot en contextos aparentment propicis, com ara amb anterioritat a la Guerra Civil Espanyola i la posterior dictadura franquista, més enllà de casos específics com el d’En Patufet (1904), sols ha aconseguit de matisar-se puntualment, bé mitjançant les publicacions periòdiques sufragades per l’Església, tals com Cavall Fort (1961) o L’Infantil (1963), les sempiternes reproduccions en àlbum de certs clàssics de la BD, eminentment Tintín i Asterix, o alguns manga, habitualment els que han estat prèviament difosos en format anime. Gairebé desactivats els dos primers focus, ja siga, en el primer cas, perquè el temps de les revistes és mort1 o, en el segon exemple, perquè bona cosa dels lectors d’aquests clàssics francobelgues representen nuclis lectors al marge de l’afeccionat general,2 i amb el tercer en un estat relativament residual,3 1 A les hores d’ara, és quasi impossible trobar un còmic en un quiosc si no està mediatit- zat per una campanya de col∙leccionables. 2 En altres paraules: molts dels lectors de certes sèries que han esdevingut fenòmens socials, no lligen més que tal sèrie, de manera que la seua incidència en el mercat general és poc rellevant en termes d’anàlisi detallada, per bé que representen alts beneficis eco- nòmics. -
Alexandre Linck Vargas a Invenção Dos
ALEXANDRE LINCK VARGAS A INVENÇÃO DOS QUADRINHOS: TEORIA E CRÍTICA DA SARJETA Tese submetida ao Programa de Pós-Graduação em Literatura da Universidade Federal de Santa Catarina para a obtenção do Grau de Doutor em Literatura. Orientador: Prof. Dr. Luiz Felipe Guimarães Soares FLORIANÓPOLIS 2015 AGRADECIMENTOS Ao Felipe Soares, o mentor acadêmico que, na tipologia dos amigos, é o cara que sempre viu mais potencial em mim do que eu pude até hoje ver. Aos meus pais, Paulo e Ana, que sempre foram maravilhosamente chatos, lembrando-me na graduação que eu deveria cursar um mestrado, que no mestrado deveria fazer um doutorado, e que no doutorado eu deveria começar um pós-doutorado. Amo vocês! À minha avó Judith, falecida em 2001. A Vó Juju cairia muito bem na narrativa da analfabeta que enchia o neto de quadrinhos porque achava a leitura importante. Porém, ela nunca exigiu de mim “obras sérias”. Era o prazer da leitura que contava, não o seu objeto. Hoje eu percebo o quão dionisíaca era a velhinha que nunca lera Nietzsche. À Thais, namorada, esposa, companheira. Praticamente coautora desta tese depois de tantas leituras, revisões e sugestões. Também é dela o prêmio de melhor atuação quando fingia acreditar na necessidade de gastar todo o nosso dinheiro na aquisição de quadrinhos em nome da pesquisa. Dedico esta tese a ti na consciência de que é pouco, pouquíssimo, perto do que passamos. Aos professores Maria Lúcia de Barros Camargo, Pedro Russi, Rosângela Cherem, Jair Tadeu da Fonseca, Ana Luiza Andrade e Carlos Eduardo Capela que gentilmente participaram da defesa desta tese, e, como um todo, ao colegiado do programa de pós-graduação em literatura da UFSC que compreendeu a importância de concender uma prorrogação e bolsa de estudos nos últimos 18 meses do doutorado. -
Sweet! Cartoons and Contemporary Painting
Rochester Institute of Technology RIT Scholar Works Theses 8-25-2006 Sweet! Cartoons and contemporary painting Sarah Atlee Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Atlee, Sarah, "Sweet! Cartoons and contemporary painting" (2006). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. Rochester Institute of Technology Rochester, New York A Thesis Submitted to the Faculty of The College of Imaging Arts and Sciences Fine Arts Studio Department In Candidacy for the Degree of MASTER OF FINE ARTS Sweet! Cartoons and Contemporary Painting by Sarah Atlee 2006 1 2 3 4 Abstract I am an artist, and I use cartoons. My work consists mainly of images that communicate to the viewer through recognizable forms. I also use text to help tell my stories. I often create visual elements that function in place of text or information. I use a third visual tool, a hybrid descendant of images and words: the cartoon. Cartoons, once situated at the margins of visual discourse, now have a place in the fine art world. There are comics and animated television shows created for adult audiences. There are gallery and museum shows of work influenced by cartoons, not to mention exhibitions of original comics from early in cartoon history. Antique dealers buy and sell animation cels. The high-low culture dichotomy is no longer dogma. -
Spain Rodriguez: Tributes | the Comics Journal
Archived version from NCDOCKS Institutional Repository http://libres.uncg.edu/ir/asu/ Spain Rodriguez: Tributes By: Tim Hodler (Craig Fischer, contributor) Abstract A tribute to the comic book artist Spain Rodriguez, various contributors include Craig Fischer. Hodler, Tim (2012). "Spain Rodriguez: Tributes" The Comics Journal (TCJ), November 29, 2012. Version of record available at: http://www.tcj.com/spain-rodriguez-tributes/ Spain Rodriguez: Tributes | The Comics Journal Blog Features Columns Reviews Listings TCJ Archive ← Spain Rodriguez 1940-2012 Trashman Lives → “I Felt Like I Didn’t Have a Baby But At Least I’d Have a Spain Rodriguez: Tributes Book”: A Diane Noomin Interview BY TIM HODLER NOV 29, 2012 The pioneering co-editor of Twisted Bill Griffith: Sisters and creator of DiDi Glitz talks about the underground comics scene, Communism, abortion, the politics of anthologizing, contact paper-derived orgasms, and nail polish. Continue reading → ———————— Gary Panter: If you are lucky, a few exciting things will happen in your life that don’t kill off the species. ZAP comics, which, as you know, filtered out of San Francisco in the late ’60s, was one of those things–a thing one was hoping for in the void. An unprecedented (MAD didn’t have dicks, vaginas, amputations, and LSD) phenomenon of defiance, audacity, pornography, bad advice, good advice, information, transport forecasts, historical ravings, a passle of approaches to cross-hatching and stylized image-making, steady or fractured or nonexistent narrative, interlocking drug-fueled collaborations, dazzling colors and shapes, references and synthesized oddments you had already been tracking like rabbit runs in the field out back.