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Bleed Runner
On Blade Runner: The Final Cut. Also, read producer Charles de Lauzirika’s comments here.
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Hergé and the Order of Things
Hooded Utilitarian column on Hergé’s vision and the necessity of comics criticism that engages deep form
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Bruegel, Rembrandt, Crumb and Cartooning
Extended Hooded Utilitarian piece on R. Crumb’s Genesis and the cartoon tradition.
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New Yorker Cartoons: A Legacy of Mediocrity
A deadening force at the heart of the art form, smothering the field in bourgeois mediocrity
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Raphael’s Portrait of Lorenzo de’Medici
The Metabunker summarizes the problems of attribution surrounding the Raphael portrait sold at Christie’s in 2007
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Hogarth’s Chicken Fat
An analysis of Hogarth’s rich imagery as both support and counterpoint to his storytelling
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Interview: Muñoz & Sampayo
Read our 2001 conversation with the Argentine comics grand masters and Angoulême Grand prix winner(s) here.
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The Constant Garage
On Moebius’ comics masterpiece, the Hermetic Garage, at TCJ.com. Addition here
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One Flew Out of the Cuckoo’s Nest — Comics Between Old and New
A survey of comics and cartoon history in parallel and opposition to that of the fine arts.
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Ruppert/Mulot Interviewed
Check this interview with the French cartooning duo over at TCJ.com.
The Week
The Week in Review
What a week. Starting with Fantask’s fortieth anniversary celebration last weekend and ending with my participation at NNCORE’s foundational meeting with a short Berlin jaunt to see the astonishing Renaissance portraits and Hokusai shows there. I hope to return a bit to the portraits (though I can’t promise anything), but just wanted to say a few words about Hokusai here.
A huge retrospective covering the artist’s eighty-plus year career, the show really brought home just how prodigious an artist he was. He must have been drawing all the time. The kind of artist whose ambition is to understand no less than everything about the world through drawing, like Leonardo or Dürer. From the proliferating analytical notations in his manga and other instructional booklets to the elegant summaries of his brush paintings, his is a recording of human experience as such. Not the idea of it, and not really with an attempt to comment, but rather a continuous ambition to formulate a vision that suspends it within a order that grasps it all without reducing it to style. In a sense, what all cartooning should aspire toward.
Some links: