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Artists Do the Math
The division of art and text was, from the start, artificial; the technology of the printing press limited the art it could reproduce. Present-day media is restoring that relationship: art and text, back together, as it should be. The more difficult re-integration is art and science. The Romantics saw no distinction: scientists wrote poetry; poets contributed and borrowed from science. Today, the rift is vast.
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Malcolm McLaren Puts on a Show
"It's all the same," is an argument at the core of the Twentieth Century. We find it in the totalizing narratives of anthropology (Joseph Campbell or Sir James Frazer), and structuralist-inclined psychology (Freud or Jung)-even in notions of art as universal or timeless. But by the second half of the century, artists and critics were no longer convinced that everything was the same, world-over, even if they had gained assurance that as far as pop culture went, the same, over and over and over, was all there was: a uniform dimension of the spectacular, insipid, and unfathomably shallow. Step in, cultural decoders and re-fashioners like Andy Warhol—and prefabricator extraordinaire (and not coincidentally post-FabFour) producer-cum-artist Malcolm McLaren.
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Graphic Novelist Michael Kupperman Describes Modern Humor
In 2005, the first issue of Tales Designed to Thrizzle launched into the uncertain graphic novel and comics market. The publisher, Fantagraphics, eminent in the not-for-children category that emerged from the "underground comics" renaissance, issued the series in traditional fashion. The first five installments of Tales to Thrizzle, now compiled in Tales to Thrizzle Volume One, are comic books. Each book consists of a number of stories and segments, all adhering to a single sensibility—the sensibility of the author and artist, Michael Kupperman.But the Tales Designed to Thrizzle series is not all tradition; it's largely a satire, a satire of a pulp fiction oeuvre that didn't take itself that seriously to begin with. Kupperman's humor—a mix of genre, non-sequitur and nonsense—is a kind of laughter in the void, wonderfully lucid and slightly sickening.
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Oil on Canvas, Courtesy Hauser & Wirth
The colorful, phantasmagorical canvases of Jakub Julian Ziolkowski are full of imaginar
