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Pogo, Pop and Politics

Robert Benayoun on Comics and Roy Lichtenstein

Gavin Parkinson

constitute collectively the closest thing to a group position on comics from within surrealism. 19 Surrealism, Comics and Pop Art Benayoun wrote on surrealist art and was a private artist and more public collagist, showing in surrealist journals and

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Comic Art in Museums and Museums in Comic Art

Michael D. Picone

Initially, being mass produced and sequential, comic art was excluded from fine art museums. Some comics artists themselves have expressed ambivalence about the value of inclusion (but counter-arguments are proposed, challenging the perception of incompatibility). However, a pivotal element in the break from the ranks of artistic modernism has been the appropriation of comic art motifs for use in museum-grade pop art, figuration narrative and their successors. In counterpoint, comic art is replete with examples of museum art being appropriated in order to obtain diegetic enrichment of various sorts, either for the purpose of parody or in relation to plot construction. Against this backdrop, and abetted by the twin challenge that art museums are facing to remain relevant and to increase revenue, a game-changing development is afoot, leading to a co-operative re-positioning of art museums and comics artists. With the Louvre taking the lead, many art museums in France and Italy are now commissioning works of comic art based on the museum's own collections, often launched with companion exhibits. The resultant 'art within art' lends itself readily to rich experimentation with themes incorporating intertextuality and parallel narrative.

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Demystification and Disruption

Laurence Grove, Anne Magnussen, and Ann Miller

Lichtenstein's pop art comic strip blow-ups, does not reinstate the high / low art divide but rather renders it irrelevant. Moreover, the perspectival rationality on which modernity is founded gives way to a postmodern art of the surface that establishes

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Hugo Frey and Laurike in ‘t Veld

cover features a pop art–inspired blowup and assemblage of images relating to Dick Tracy, along with, four years after Lichtenstein’s Whaam (1963), an exaggerated comics text, with the expanded graphic reading, ‘CRACK’. This cover is not an example of

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‘The Inexhaustible Surface of Things’

Stefano Tamburini's Comic Book Work

Simone Castaldi

cultural hierarchies that was intrinsic in the historical avant-gardes and central to some of the most relevant artistic movements of the twentieth century. One could say that in this sense pop art and hyperrealism all come from under the shadow of Duchamp

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Historicising the Emergence of Comics Art Scholarship in Spain, 1965–1975

Antonio Lázaro-Reboll

. The third – and final – cover designed by the up-and-coming Basque illustrator and comics artist Juan Carlos Eguillor conveyed the encounter between comics and pop art ( Figure 1 ). Throughout 1968, he also published the weekly section ‘Los Comics’ for

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Book Reviews

Stefanie Diekmann, Sylvain Lesage, Michael D. Picone, Thomas Gebhart, and John D. Benjamin

episode—characterisable simultaneously as a co-optation and a gateway—via the advent of American Pop Art. Nevertheless, given their importance, developments on the other side of the Atlantic merit commensurate attention as well, beyond what is available in

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The Oceanic Silence of Rebecca Horn

India Halstead

utopian visions of Marxism had, for many, lost their appeal. 6 In the visual arts, this change resulted in the emergence of two (very different) aesthetic preoccupations. On one side were Dada, surrealism, and pop art, movements that continued to respond

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How to Be a Moderate Optimist about Neuroscience in Film Theory and Other Places

William P. Seeley

deadpan pop-art comedy that functions (á la Bresson and Ozu) as a piece of both social satire and film criticism. Our understanding of and engagement with the characters and action in Stranger than Paradise is, despite its etiolated dynamics, no less