Explores the unholy marriage of art and comics in a stunning array of rare masterpieces. With 120 large format and colourful pages, Arf is a treat for the senses, encompassing a rich treasure trove of images spanning the 19th, 20th and 21st centuries. This iconoclastic tome showcases the gamut of artists, from celebrated innovators to forgotten geniuses. Includes cartoons by Art Spiegelman, Patrick Mutts' McDonnell, Ronald Searle, Dan DeCarlo, Gene Deitch, T.S. Sullivant, Maurice Henri and pin-up artist Gil Elvgren.'
First published in 1968, THE GIANT UNDER THE SNOW created a fascinating world of magic, ancient evil and curses long before Harry Potter and His Dark Materials. Three children find an ornate Celtic buckle. To them it's treasure, a fantastic find. They have no idea that it has awakened a giant who has lain at rest for centuries. Little do they know that an evil warlord and his Leathermen have also awaited this moment, this chance to wield their deadly power. In a chilling tale full of menace and suspense the final battle between good and evil must be fought. This is a story that transcends age. Beautifully written, subtle and evocative, THE GIANT UNDER THE SNOW transports the reader into an intensely atmospheric world where the imagination knows no bounds.
In a series of richly detailed case studies from Britian, Australia and North America, Tony Bennett investigates how nineteenth- and twentieth-century museums, fairs and exhibitions have organized their collections, and their visitors. Discussing the historical development of museums alongside that of the fair and the international exhibition, Bennett sheds new light upon the relationship between modern forms of official and popular culture. Using Foucaltian perspectives The Birth of the Museum explores how the public museum should be understood not just as a place of instruction, but as a reformatory of manners in which a wide range of regulated social routines and performances take place. This invigorating study enriches and challenges the understanding of the museum, and places it at the centre of modern relations between culture and government. For students of museum, cultural and sociology studies, this will be an asset to their reading list.
First in a series of volumes in which the award-winning artist and editor Craig Yoe, explores the unholy marriage of Modern Art and the Funnies in a bombastic and entertaining way. Did you know Salvador Dali drew comics? You'll be able to see them in this first volume of Modern Arf accompanying an essay exploring his influence on comics and examples of comic artists such as Steranko and Crepax who paid homage to the Spanish surrealist. Stunningly designed in an oversized format, it is sure to give justice to the incredible art collected between its covers.
The Encounter is an enchanting book about three little rascals who are joined by fate, and they quickly learn that there are always at least two choices, but they must be careful. The events in this book resemble changes that happen in real life to children and how they learn to adjust. Funny and heartwarming characters, especially Tory, the baby dinosaur, have to learn how to make "ice cream from spoiled milk."
Contributions by Georgiana Banita, Colin Beineke, Harriet Earle, Ariela Freedman, Liza Futerman, Shawn Gilmore, Sarah Hamblin, Cara Koehler, Lee Konstantinou, Patrick Lawrence, Philip Smith, and Kent Worcester A carefully curated, wide-ranging edited volume tracing Art Spiegelman’s exceptional trajectory from underground rebellion to mainstream success, Artful Breakdowns: The Comics of Art Spiegelman reveals his key role in the rise of comics as an art form and of the cartoonist as artist. The collection grapples with Spiegelman’s astonishing versatility, from his irreverent underground strips, influential avant-garde magazine RAW, the expressionist style of the comics classic Maus, the illustrations to the Jazz Age poem “The Wild Party,” and his response to the September 11 terrorist attacks to his iconic cover art for the New Yorker, his children’s books, and various cross-media collaborations. The twelve chapters cut across Spiegelman’s career to document continuities and ruptures that the intense focus on Maus has obscured, yielding an array of original readings. Spiegelman’s predilection for collage, improvisation, and the potent protest of silence shows his allegiance to modernist art. His cultural critique and anticapitalist, antimilitary positions shed light on his vocal public persona, while his deft intertextual strategies of mixing media archives, from comics to photography and film, amplify the poignance of his works. Developing new approaches to Spiegelman’s comics—such as the publication history of Maus, the history of immigration and xenophobia, and the cartoonist’s elevation of children’s comics—the collection leaves no doubt that despite the accolades his accessible comics have garnered, we have yet to grasp the full range of Spiegelman’s achievements in the realm of comics and beyond.
In 1976, a fledgling magazine held forth the the idea that comics could be art. In 2016, comics intended for an adult readership are reviewed favorably in the New York Times, enjoy panels devoted to them at Book Expo America, and sell in bookstores comparable to prose efforts of similar weight and intent. We Told You So: Comics as Art is an oral history about Fantagraphics Books’ key role in helping build and shape an art movement around a discredited, ignored and fading expression of Americana. It includes appearances by Chris Ware, Art Spiegelman, Harlan Ellison, Stan Lee, Daniel Clowes, Frank Miller, and more.
A definitive account of the three-month air battle in 1940 between the Royal Air Force and the Luftwaffe. The victory of the Battle of Britain ranks with Marathon and the Marne as a decisive point in history. At the end of June 1940, having overrun much of Western Europe, the Nazi war leaders knew that they had to defeat the Royal Air Force Fighter Command before they could invade the British mainland. With a finely-struck balance of historical background and dramatic renderings of RAF and Luftwaffe engagements over the English countryside, Hough and Richards offer a history that is at once deep and wide-ranging. They offer insight into how the British laid the groundwork for victory through aircraft research and production, the development and implementation of command and control structures, and research into new technologies, the most important of which was radar. Hough and Richards also utilize first-person accounts of the battle whenever possible, rendering the battle scenes with cinematic intensity. A compelling introduction to one of the most important battles of World War II, The Battle of Britain pays tribute to the men about whom Winston Churchill would remark, "Never in the field of human conflict was so much owed by so many to so few."
