Feed for Postsfeature
»
Hergé and the Order of Things
Hooded Utilitarian column on Hergé’s vision and the necessity of comics criticism that engages deep form
»
Bruegel, Rembrandt, Crumb and Cartooning
Extended Hooded Utilitarian piece on R. Crumb’s Genesis and the cartoon tradition.
»
New Yorker Cartoons: A Legacy of Mediocrity
A deadening force at the heart of the art form, smothering the field in bourgeois mediocrity
»
Raphael’s Portrait of Lorenzo de’Medici
The Metabunker summarizes the problems of attribution surrounding the Raphael portrait sold at Christie’s in 2007
»
Hogarth’s Chicken Fat
An analysis of Hogarth’s rich imagery as both support and counterpoint to his storytelling
(0)
»
Interview: Muñoz & Sampayo
Read our 2001 conversation with the Argentine comics grand masters and Angoulême Grand prix winner(s) here.
»
The Constant Garage
On Moebius’ comics masterpiece, the Hermetic Garage, at TCJ.com. Addition here
»
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.
»
Ruppert/Mulot Interviewed
Check this interview with the French cartooning duo over at TCJ.com.
Sowing the Wind — Nadia Raviscioni’s Vent frais, vent du matin
Autobiography has been such a defining direction in comics’ new wave of the last 20 years, its innovation so consistent, that it is mystifying still to hear repeated the cliché that most of these new ‘indy’ comics proffer little more than solipsistic tales of melancholy and masturbation. If one considers the work, it is hard to find actual justification for this reactionary attitude—at best it describes a very brief period in the mid-90s, when the genre was dominated by that Canadian foursome of Julie Doucet, Chester Brown, Seth, and Joe Matt, and it may have served to describe some of their since-forgotten imitators of that time, but it is otherwise almost wholly inaccurate as a characterization.
It makes even less sense in a European context, where autobiography was established early on as a kind of proving ground for innovative cartoonists and continues to be at the forefront of progressive comics. Continue reading ‘Sowing the Wind — Nadia Raviscioni’s Vent frais, vent du matin’