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Bruegel, Rembrandt, Crumb and Cartooning
Extended Hooded Utilitarian piece on R. Crumb’s Genesis and the cartoon tradition.
Interview: El-P & Aesop Rock
Click here to read our 2003 in-depth interview with two of New York’s finest.
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.
On Comics History and the Canon
A selection of writings on comics for use by teachers, students, and people otherwise interested
Worlds of Difference
Essay on role-playing games as a formative experience, in honour of passed D&D creators Gary Gygax & Dave Arneson
New Yorker Cartoons: A Legacy of Mediocrity
A deadening force at the heart of the art form, smothering the field in bourgeois mediocrity
A Certain Tendency in French Comics
Click here to read the extended Metabunker debate on the current (problematic?) state of nigh-mainstream French comics.
Continuous Creation — Titian’s Nuova Natura
On Titian’s aesthetic of the unfinished and Renaissance notions of the subjective.
Fabrice Neaud interviewed
An interview with cartoonist Fabrice Neaud on autobiography, reality and risk in making comics about life
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’