art by Foo Swee Chin |
News about the premier academic journal devoted to all aspects of cartooning and comics -- the International Journal of Comic Art (ISSN 1531-6793) published and edited by John Lent.
Friday, April 15, 2022
Introducing SG Cartoon Resource Hub, a new site for exploring Singapore cartooning
Wednesday, April 13, 2022
IJOCA e-book links have gone out to subscribers and contributors (for the current issue)
Monday, April 11, 2022
IJOCA goes electric
IJOCA 23-1 delayed until June; Table of Contents for the issue
John A. Lent
1
Comics in East Asia: Symposium
edited by Marie Laureillard with John A. Lent
Marie Laureillard
6
in Contemporary Taiwanese Graphic Novels (Past and Future) Corrado Neri
8
Justin S. Wadlow
30
John A. Lent
50
Delphine Mulard
57
Julia Rigual Mur and Pablo César Anía Ruiz-Flores
71
"Fuichin-san" (1957-1962), a Dramatization of a Girl's Lifein Harbin and the Stylistic Research of Ueda Toshiko
Naoko Morita
83
Anthony Tristani
94
Christophe Cassiau-Haurie
Translated by Issa Nyaphaga
124
Aswathy Senan
150
Michele Ann Abate
177
Sarahi Isuki Castelli-Olvera
202
John A. Lent with Huseyin Cakmak and Musa Kayra
216
Nidai Güngördü with John A. Lent
237
A Bumpy and Proud Academic Journey
Pascal Lefèvre
244
Wiliam Machado de Andrade and Aaron Humphrey
272
Xu Ying
290
Jeffrey O. Segrave
John A. Cosgrove
303
A Symposium
edited by Fusami Ogi
Nagayama Kaoru
Translated by Patrick W. Galbraith
322
Fusami Ogi
333
Miho Takeuchi
Translated by Nick Hall
350
Jessica Bauwens-Sugimoto
359
Takeshi Hamano
367
Kazumi Nagaike
373
Patrick W. Galbraith
383
Ahmed Baroody
398
Kosei Ono
429
Michael A. Torregrossa
432
John A. Lent
441
Sun Kil Whang
451
New Visual Worlds: Introducing a Visual Pedagogy
Jason DeHart
471
Barry Pearl
480
Jason D. DeHart
499
John A. Lent
502
John A. Lent
505
David Kunzle. Ally Sloper, His Life & Times, by Alan Clark,
Sugar-Plums and Tootletum, The Work of C. H. Ross, by Alan Clark.
511
Richard Scully. Rebirth of the English Comic Strip: A Kaleidoscope, 1847-1870, by David Kunzle.
528
Héctor Fernández L'Hoeste. La función del comic, by Michel Matly.
537
-Leonard Rifas. Red Lines: Political Cartoons and the Struggle
Against Censorship, by Cherian George and Sonny Liew,
p.546.
-Matthew J. Costello. The Comics World: Comic Books, Graphic
Novels, and Their Publics, by Benjamin Woo and Jeremy
Stoll, p.549.
-Eric Berlatsky. Authorizing Superhero Comics: On the Evolution of
a Popular Serial Genre, by Daniel Stein, p.551.
-Leonard ("Labe") Rifas. Is Superman Circumcised? by Roy
Schwartz, p.556.
-James Willetts. Mixed-Race Superheroes, by Sika A. Dagbovie-
Mullins and Eric L. Berlatsky, p.562.
-Michael Kobre. The Stan Lee Universe, by Danny Fingeroth and
Roy Thomas,p.565.
-John A. Lent. Pulp Empire: The Secret History of Comic Book
Imperialism, by Paul S. Hirsch, p.570.
-Kirsten Møllegaard. Documenting Trauma in Comics: Traumatic
Pasts, Embodied Histories, and Graphic Reportage, by Dominic
Davies and Candida Rifkind, p.573.
-Lizzy Walker. Comics and the Body: Drawing, Reading, and
Vulnerability, by Eszter Szép, p.575.
-John A. Lent. World Press Cartoon. Caldas da Rainha. 2021, by
Antόnio Antunes, et al., p.576.
-John A. Lent. The Comics of R. Crumb. Underground in the Art
Museum, by Daniel Worden, p.580.
-Christopher Roman. The Life and Comics of Howard Cruse: Taking
Risks in the Service of Truth, by Andrew J. Kunka, p.581.
-John A. Lent. Manhua Modernity: Chinese Culture and the Pictorial
Turn, by John A. Crespi, p.584.
-John A. Lent. The Waiting, by Keum Suk Gendry-Kim, p.586.
-John A. Lent. Caricature and National Character: The United States
at War, by Christopher J. Gilbert, p.587.
J-ohn A. Lent. Charlie Brown's America: The Popular Politics of
Peanuts, by Blake Scott Ball, p.587.
-Mark Hibbett. "Beano: The Art of Breaking the Rules," by Andy
Holden, p.589.
-Wim Lockefeer. Exhibition Notes from Belgium -- Congolese
Comics & Brecht Evens, p.590.
-Mike Rhode. Moomin Animations -- Thrills and Cuddles, by Minna
Honkasalo, p.599.
-Pedro Moura. "Bob Spit" -- We Do Not Like People, by Cesar
Cabral, p.601.
Friday, April 8, 2022
Exhibition in photos: Chris Ware 2022 at Galerie Martel
Chris Ware 2022. Galerie Martel. Paris. 16 March - 16 April 2022.
Opening just a day before Chris Ware's Grand Prix exhibition debuted at the 49th edition of the Angoulême International Comics Festival, Galerie Martel in Paris presented a parallel selling exhibition of his original art work to whet the appetites of collectors and aficionados. Twenty-four pieces dating from 1999 to 2020 were dutifully displayed in custom-made plastic frames whose simple aesthetic design was well suited for the task.
This is the third time that Rina Zavagli has hosted Chris Ware at Galerie Martel (the first was in 2013, the second in 2018). Once again her humble gallery space played host for the vernissage on 15 March in the presence of Chris Ware, who made himself available for a rare one hour signing session that was fully booked in a blink of an eye.
The poster for the Angoulême International Comics Festival serves as the central image of the exhibition, so it goes without saying that the gallery offers this image as a limited edition seriegraphe, signed and numbered by Ware himself.
Also available at
Galerie Martel are several boutique items related to the exhibit: a Rusty Brown Fine Art Print Set and a 197 page picture book of images related to the Rusty Brown Theme Song animated film.
The Galerie Martel webiste provides thorough information about the exhibit, the boutique items and the individual pieces (including their dimensions, technique and cost).
-Nick Nguyen
All photos taken by Nick Nguyen
Photos are organized in an attempt to present a
visual chronology of the exhibition installation as experienced in a
sequential walkthrough.
Wednesday, March 30, 2022
Exhibition in photos: Chris Ware at the 49th Angoulême International Comics Festival
Building Chris Ware. Sonia Déchamps, Benoit Peeters and June Misserey. Angoulème. Salle Iribe - Espace Franquin. 17-20 March 2022.
Chris Ware's Grand Prix exhibition at the 2022 Angoulême International Comics Festival was greatly anticipated by festival goers curious to see if there was more to this American auteur than meets the page and it certainly did not disappoint in delivering a visual smorgasbord to contemplate. With over 120 original pages on display alongside an impressive collection of publications (his own and those which he had a handle in designing), this exhibition was a revelation especially for audiences who may have only encountered Ware through the collected (and translated) 'graphic novel' versions of his work and were thus unfamiliar with the range of different sizes, shapes and formats of his comics that culminated in BUILDING STORIES (2012). If the collected versions of JIMMY CORRIGAN (2000) and RUSTY BROWN (2020) suggested a standardized book format, this exhibition set out to confound that notion and offer visitors the experience of confronting Ware's formal inventiveness and experimentation in their original and published dimensions.
Curated by Benoit Peeters and June Misserey in generous collaboration with Ware himself, the exhibition was spatially organized into five sections ordered along a chronological path that took visitors on a journey through his published work. The first four sections showcased his four major comics (the ACME Novelty Library; Jimmy Corrigan; Building Stories; and Rusty Brown) and a fifth section, entitled "Comics & Co", highlighted many of Ware's para-comics projects that have resulted in posters, book and magazine covers, comic strip collections, self-published magazines, animated shorts, toys and novelty artifacts.
The exhibition was deliberately designed for visitors to experience Ware's work and its formal and artistic evolution through the chronology of his work. The amazement at the sheer breadth of Ware's published output was matched by disbelief and admiration for the discipline and labor that comes with very close examination of his original pages. A greater appreciation of Ware's page and panel layout shone through in their original pages, and the meticulous details in the drawings (and under-drawing) were so precise that it immediately evoked comparisons with engineering drawings and architectural blueprints.
One question that was clearly on people's mind through the exhibition was just how much time in the day does Ware give to work on his pages, as the sheer labor involved in the creation and planning of each of these pages seems incredibly intense. By the end of the exhibition journey, one could be forgiven for feeling fatigue as the sensory overload of deciphering loads of Chris Ware original pages in large format has an exhaustive effect. That said, there was no denying that the organization of the exhibition, from its display installation to its blend of critical and biographical captions to illuminate select pieces, succeeded in showcasing a unique comics artist with total control over his work from page to bookshelf and beyond.
The photos below offer as much of a complete record of the components that made up BUILDING CHRIS WARE in the order of the exhibition's narrative path. A video walkthrough of this exhibition is also presented on this blog.
-Nick Nguyen
All photos taken by Nick Nguyen
Photos are organized in an attempt to present a
visual chronology of the exhibition installation as experienced in a
sequential walkthrough.