Monthly Archive for March, 2011

Jan Gossaert i Weekendavisen


I denne uges Weekendavis står min anmeldelse af den store udstilling af Jan Gossaerts værker på Londons National Gallery at læse. Check det ud, og se endelig udstillingen hvis I har muligheden.

Jan Gossaert, Portræt af en handelsmand (Jan Jacobsz. Snoeck?). Olie på træ, 63,6 x 47,5 cm., Washington, DC: National Gallery of Art.

Jimmy Corrigan’s Spectacular Reality

Jimmy Corrigan’s Spectacular Reality

Article on Chris Ware’s Jimmy Corrigan

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Happy Nowruz!


Old digs, now let’s go.

Eddie Campbell Speaks!


Last week the Hooded Utilitarian ran a roundtable discussion on Eddie Campbell’s Alec comics. Plenty of good stuff on there, though my favourite was definitely Caroline Small’s discussion of Campbell’s prose (go read it; as a critique it goes well beyond Campbell).

Anyway, as part of the roundtable I conducted an in-depth interview with Cambell, which has now been posted over there. Go check it out — the man has a lot of interesting things to say!

Above: from Campbell’s The Dance of Lifey Death (1990-94).

Picks of the Week

The picks of the week from around the web.

  • Better late than never: the new Comics Journal is off to a strong start, with plenty of interesting material posted in its first weeks. My favorites have been the first instalment of Ryan Holmberg’s history of alternative comics in Japan, Jeet Heer’s notes on racism in comics, Ken Parille’s reading of a story by Moto Hagio (smartly contested by Noah Berlatsky at HU), and Patrick Rosenkrantz’ history of autiobiographical comics.
  • No one does the comics numbers like du9′s Xavier Guilbert. And his annual analysis of the French-language comics market for the year 2010, published in January — his most detailed yet — is now available in English.
  • I also found this piece on an alleged American-run wartime concentration camp in Chonquing intriguing. The writer, Xujun Eberlein, admirably attempts to untangle decades of Chinese propaganda to figure out what actually went on there and to what extent Americans were involved in massacres against Chinese communists carried out in the area.
  • Above: Youth Magazine (May 24, 1970), cover drawing by Chiba Tetsuya, design by Yokoo Tadanori. From Holmberg’s article, linked above.

    Nate Dogg 1969-2011


    The melodic voice of the G-Funk era, Nate Dogg, alias Nathaniel D. Hale, died on Tuesday. He had been suffering from strokes, apparently, but I haven’t seen any report on the cause of death.

    Nate Dogg, best known for his classic duet with Warren G “Regulate” (1994), on which the two of them put words on what was becoming known as G-Funk: “It’s the G-Funk eeera, funked up with a gangsta twist!” He had, however, already been given his big break by Warren’s stepbrother and gangsta rap mastermind Dr. Dre. Featured on the groundbreaking and legacy-making Chronic album (1992), he sang the hook to the street banger “Deeez Nuuuts”, which had his Long Beach homie Snoop Dogg and his cousin Daz Dillinger on the mic with Dre: “IIIII can’t be faded, I’m a nigga from the muthafuckin’ streets!” Continue reading ‘Nate Dogg 1969-2011′

    Hype: Bamsernes Befrielsesfront!


    Den 21. marts udkommer Bamsernes Befrielsesfront – hele historien på Politisk Revy. Danmarks største nulevende bladtegner Peter Lautrops legendariske føljeton fra Information sidst i 70erne i samlet udgave! Mød op til receptionen mandag den 21. marts kl. 16-18 på Information (hvor præcis, ved jeg ikke, men det må være til at finde).

    Open hands – Cézanne at the Met


    Throughout his life, Paul Cézanne nurtured an ambition to paint figure compositions in the renaissance tradition. At various points in his career he thus attempted to populate his otherwise open landscapes with anonymous, lumpy nudes, often bathing. There is something uncomfortable, something unresolved, about these paintings — they seem an intellectual aspiration toward a pastoral that was beyond him, not to mention his time.

    His shyness only complicated matters — not since his years as a student had he spent any sustained time drawing from the nude, and he was unwilling to hire models to pose for him. Late in life however, in the early 1890s, he began paying the gardeners and hired hands at his estate in Aix-en-Provence to sit for his pictures. The result was a number of monumental portraits and group compositions of card-playing peasants that arguably more than any other group of works in his oeuvre succeeded in capturing the grandeur of his great historical paragons.

    A small, exquisite exhibition at the Metropolitan Museum in New York, organised in collaboration with the Courtauld Gallery in London where I saw it in the fall, focuses on these pictures. Continue reading ‘Open hands – Cézanne at the Met’

    Kom hjem: Interview med Thomas Thorhauge

    Kom hjem: Interview med Thomas Thorhauge
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    Stort interview med Thomas Thorhauge, om hans graphic novel, Kom hjem

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