edited by Ivan Brunetti It's too early to say for certain, but this follow-up to Brunetti's already classic 2006 anthology, also published by Yale University Press, might just be even better than its precursor. One thing's for certain: Brunetti has held onto -- and further refined -- his editorial vision of arranging the work contained in this volume in an organic sequence, deftly managing to map out the similarities between artists so that each piece flows smoothly into into the other, creating an amazing sense of an innate connectivity between all areas of comics here on display. This book is a powerful ally in the struggle to bring the light of comics to those poor souls still dwelling in the darkness. It's the perfect choice to turn on a friend or relative to the joy, beauty and pleasures of our favorite medium. Hold onto your hats, here's the contributor list: Daniel Clowes, Saul Steinberg, Sammy Harkham, Chris Ware, R. Sikoryak, Michael Kupperman, Drew Friedman, Mark Beyer, Mack White, Jayr Pulga, Renee French, Kim Deitch, Richard Sala, J. Bradley Johnson, Archer Prewit, Anonymous (utility sketchbook), HJ Tuthill, Milt Gross, Bill Holman, Harvey Kurtzman, R.Crumb, Basil Wolverton, Art Spiegelman, Jess, John Hankiewicz, Tim Hensley, Bill Griffith, Richard McGuire, Gilbert Hernandez, Jim Woodring, David Collier, Eugene Teal, Charles Burns, Karl Wirsum, Gary Panter, Paper Rad, Fletcher Hanks, CF, Charles Forbell, Ron Rege, Jr., Winsor McCay, Matthew Thurber, Souther Salazar, Kevin Scalzo, Megan Kelso, James McShane, Laura Park, Vanessa Davis, Onsmith, Joe Matt, Jeffrey Brown, Martin Cendreda, Dave Kiersh, John Porcellino, Carrie Golus/Patrick Welch, Jessica Abel, Cole Johnson, Lynda Barry, Debbie Drechsler, Diane Noomin, Aline Kominsky-Crum, Ariel Bordeaux, Chester Brown, Anders Nilsen, Joe Sacco, Phoebe Gloeckner, Elinore Norflus, Brian Chippendale, Leif Goldberg, David Mazzuchelli, Jerry Moriarty, Ben Katchor, Frank Santoro, Dan Zettwoch, Kevin Huizenga, Harvey Pekar/R.Crumb, Carol Tyler, Maurice Vellekoop, Seth, Adrian Tomine, Jaime Hernandez & David Heatley. It's simply amazing. Comics Power! PLEASE NOTE: We feel compelled to mention that this volume includes several pieces that contain quite explicit sexual content; and while this content represents only a miniscule fraction of the total, it nevertheless renders this volume fit for ADULTS ONLY.
recruited from Germany's highly respected cartoon journals. Feininger, an American of German extraction, living in Berlin and Paris since his teens, seemed especially well-suited to bridging the divide between the old world and new. Early in the twentieth century, European artists seemed one step less reluctant than their more culturally anxious American peers to go slumming in the "Low" arts. Only a handful of American painters of the period dabbled in cartooning (George Luks' work on the Yellow Kid comes to mind) but lots of esteemed European modernists —Picasso, Toulouse Lautrec, Gris, Kirchner, Kupka, Grosz, to name just a few—drew cartoons for publication either early in their careers or throughout. Feininger brought the most sophisticated tendencies in painting into the fledgling Funny Pages; his comics are thoroughly informed by the currents of cubism, expressionism and Jugendstijl, as well and evince the fascination for Japanese wood block prints that he shared with many Postimpressionists.From Airships, Martians and Selenites by Alfredo Castelli
Dream-premises offered the greatest thematic and artistic freedom, but realization of character and narrative was relatively restrictive in this genre. This seeming anomaly is explained by the exigencies of the comic-strip format – which was at once liberating and demanding. Later strips in, say, the adventure, crime, or detective genres, could leave story-elements to the readers' imaginations: they had to, in many cases. In dream strips, to leave story elements unexplained, or mysterious, or deeply unknown, is to compromise the integrity of the function of most narratives.Dreams are fragments, and seldom have internal logics, or at least coherent narrative thrusts. A commercial comic strip, however, clearly has a beginning, and must have an ending, even a cliffhanger. Further, the reader is in the unique position of being the audience – dream voyeurs we can consider ourselves – but also totally seeing everything the dreamer sees. This can be a pixilated ambiguity pregnant with nuance, carried to the extreme in Barnaby and Calvin and Hobbes, when readers are never quite sure if we view "reality" or the protagonists' fantasies.