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

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

https://twitter.com/shallowbrigade/status/1831470441141301557

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

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-…

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

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

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

Reading an interview between Gary Groth and Todd McFarlane, creator of Spawn, and I tell you what: this man cannot be owned Groth, on the other hand...

Maybe the best lunch I ever had was on a trip with friends a few years back. Recently got a cookbook on the hunch it'd have a recipe for the dish and it did... from the exact restaurant where we had eaten it This happened towards the beginning of the pandemic, and it felt like actual magic. I'd been looking for a recipe for ages and nothing looked right. Anyway I think I'm going to make it this weekend and have some feelings

The "comics gentrification" article is a cleaned up, safe-for-work version of an argument that Art Spiegelman has made for years - the central complaint in his signature keynote as a well-paid public speaker

1/... 2. I just want to lay out the basics because it's weird that the Jacobin article has been pegged as an outsider's ignorant pov. I understand dismissing it (yeah, it's wrongheaded...) but understand that Spiegelman has been peddling this FOREVER