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“The Creative Act Shall Always Triumph Over the Death Culture of Capital”: An Interview with Matthew Thurber

In this sometimes contentious discussion, the creator of Art Comic talks about the evils of capitalism, his love of Surrealism, why no artist should move to New York, and the to-be-welcomed destruction of official art history. Continue reading

 

“I Wasn’t Writing About the Work I Find Most Valuable”: An Interview with Marc Singer

Noah Berlatsky talks to Marc Singer about putting in the work required if you’re going to be critical of criticism. Is the snake eating its tail? Hey pal–the tail is the best part! Continue reading

 

Excerpt: Breaking The Frames

You may think you know what’s wrong with the academic study of comics–but you’re probably just making a lazy assumption. Marc Singer and his new book are here to tell why it’s actually worse than you thought. Continue reading

 

“This Is MANGA”: The Art of Naoki Urasawa in Los Angeles

Japan sent the work of Naoki Urasawa to Los Angeles for a gallery showing, and Dan Schindel sent himself to check it out for you, the people. Continue reading

 

Role and Other Models Of Physical Worldbuilding: Émilie Plateau & Jul Gordon

Oliver Ristau reports back from the current exhibition of work from Émilie Plateau & Jul Gordon. Can’t make it to Germany? We’ve got you covered. Continue reading

 

Stefanie Leinhos’ Conceptual Comics

I use the term “conceptual comics” to describe comics works that have been made by applying the methods of conceptual art. With conceptual comics, it is more important to understand the implication and intention of the artist and the method … Continue reading

 

“It’s Still A Raw Nerve”: An Interview with James Sturm

James Sturm woke up getting conned in America, and he turned American lemons into some American lemonade. He spoke with Josh Kramer about the process, and the graphic novel that was the result: Off Season. Continue reading

 

ED-CMYK: A Survey of RoboCop in Comics (Part Two)

Looking at the best and the worst RoboCop comics, which show that even when a story’s social commentary loses out to the chance to sell a dozen diminished returns, the message can still carry a charge. Continue reading