Let's take a closer look at Spiegelman & Sacco's garbage cartoon, in light of the artists' previous work and the ethos of their comics milieu. I think a lot of people looked at this comic and wondered where it all went so wrong
I think first of all it's fair to describe Spiegelman as the first/primary author. The jocular tone, cartoonish style, old-fashioned gags, and meta foregrounding are all hallmarks of his work. At a glance this looks like a Spiegelman comic
In the past Spiegelman has used those devices to great effect. Depicting disasters in this particular tone is his entire thing. Cf his upcoming documentary, the hilariously titled Art Spiegelman: Disaster Is My Muse
The key to employing a cartoonish style and self-deprecating tone to a disaster is that it's *your* disaster. It works... less well for someone else's
The central mistake that both artists make is in laying claim to a victimhood that isn't theirs
This is a huge departure from Maus, where Spiegelman's constant interrogation of his right to tell the story *is* in many ways the story
An interesting question is how self-aware the artists are with regard to how they come across. And I would argue: they're not oblivious! The beginning and the end of the comic, in particular, are meant to be self-deprecating
In fact I take one of the main points of the comic to be the inadequacy of imagination and the artistic impulse in the context of material destruction
This recognition of impotence and distance is also brought home by Sacco reading out a series of horrifying texts like he's on Love Island or something
Sacco, whose entire body of work is about subjectivity in journalism, is foregrounding his own comical uselessness
None of this can land because of the comic's stunning lack of empathy (and misguided both sides-ing). Which is a generational problem imo with some of these autobio-ish artists
Chris Ware once wrote that "we understand others only as refractions through the optic of ourselves"
But he was wrong. We have to at least seek to understand people as individuals in their own right. Otherwise our art and our worldviews are just narcissistic trash
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Guys, this is so nerdy of me. But I really want to break down the nuances here in one place for posterity, and to cleanse my soul of all the depressing mentions. tysm in advance
Brandon Taylor wrote a long essay about Rachel Kushner's new (very hyped, very well received) novel in the London Review of Books. A sharp pan
RK's husband, who teaches and is a critic in adjacent fields (theory, art), tweeted about it. I saw because I followed the husband
The husband’s tweets (lost to history, unfortunately) called Taylor a hack, said he was being personally malicious, sort of implied that he's in conspiracy with the podcasters of Red Scare[??], talked about his literary career in a really condescending way
I've got some thoughts on Joe Matt, Robert Crumb, comics history...
Who wants this thread? no one?? not even me, really? perfect
I was reading Matt's obituary on the Comics Journal, which starts to probe the similarities and differences between him and Crumb. This is, in theory, a very rich topic tcj.com/joe-matt-dies-…
Unfortunately, Michael Dean's analysis on this subject left something to be desired. lol
Fantagraphics never apologizes or backpedals on racist work. But they did (rightfully) kill that Maus parody cover for their high-earning comic that’s advertised as “banned in 26 countries.” Is the difference whiteness or that Red Room actually makes money or both? Just curious!
There are levels. One is that the publisher’s “uncensored comic” is in fact censored, while the edgelord reputation that has helped to sell it was built on comics depicting Muslims as terrorists, caricatures of Black people, rape jokes, and eroticized indigenous children
Another is an abusive educator getting his self-indulgent outsider art “graphic opera” published and marketed as an important genius. I use the word “marketed” lightly because honestly it was not marketed beyond being submitted for awards
It's the last day of Christo and Jeanne-Claude's "L'Arc de Triomphe, Wrapped." I went to see it and thought I'd do a thread for anyone who'd like to hear a little bit about what it was like
There are lots of articles you can read about the (bonkers) logistics and how the project came to be. Short version... it was ~60 years in the making, then delayed several times over the last year or two (because of environmental concerns and COVID). Plus Christo died last year
Jeanne-Claude had died about a decade before, so while the couple conceived of the project in the 60s, Christo et al. really did the work to plan, finance, and get permissions more recently. All that occurred before he died, then his team handled the execution (as they always do)
holy moly: I'm on a comics listserv (...I know, lol) where at least one professor has no idea that he's replying to the LIST instead of HIS FRIEND
I don't read 3/4 of these things, so it's hard to piece together but wow! pretty sure they're being enormously racist
so far as I can tell, this started a few days ago when two academics (...yes, they are) realized their "black comics matter" project involved few (or perhaps no?) black people? And so one guy wrote to the list to apologize?
it's signed "In solidarity" and everything
And from there, one guy maybe got confused about how EMAIL WORKS and now their entire weird racist misogynistic exchange is here for me and whoever else to read