ENGELSTALIGE UITGAVEN 2 / 2
2007
Covering The New Yorker (Cutting-Edge Covers From A Literary Institution)
Mouly, Francoise, Abbeville Press Inc., 2000, 240 p. ISBN : 0789206579
With covers Loustal
A LA UNE DU NEW YORKER/ FRANCOISE MOULY, LAWRENCE WESCHLER
Editeur : ABBEVILLE PRESS, 2000, ISBN : 2879462053 Paru en : décembre 2000
Nombre de pages : 240
Großstadtfieber - 75 Jahre
"The New Yorker"
Texte: Lee Lorenz, Francoise Mouly, Lothar Müller, Charles D. Saxon,
Christopher Shay
Zeichnungen: u.a. Charles (Chas) Addams, Charles Burns, Jacques de Loustal,
Art Spiegelman u.v.a. 224 Seiten, 203 x 30 cm, Hardcover Hatje Cantz Verlag,
78.- DM (in der Ausstellung 58.- DM) Juli 2000 ISBN-No. 3-7757-0948-7
Loustal
`The new Yorker`
april 9, 2007
Loustal
`The new Yorker`
June 4, 2007
The Narrative Corpse : a
chain-story by 69 artists!, : Raw Books/Gates of Heck , 1995, edited by Art Spiegelman & R. Sikoryak,
: 9"x16.5", 18 pages of "story", 3-color
printing deluxe.- $25.00
NARRATIVE CORPSE comic, a limited edition
RAW book published by Gates of Heck. Created by just about every name in
alternative comics (see list below), and limited to 9500 copies.
69 comix artists from all over the world
contributed to this comix version of the surrealist game of the same name.
The first artist began the story with three comic-book panels, starring an
innocent stick-figure named "Sticky." This artist passes his three panels on
to the next artist who continued the story in any manner he wanted with
three more panels. The next artist received only this artists' part of the
story, and so on. The result is this legendary mixed-up spaced out
narrative.
Some of the greatest comix artists of
this century, including R. Crumb, Art Spiegelman. Loustal and Dabiel Clowes.and
here is the list of all the artists!
Max Andersson, Peter Bagge, Lynda Barry, Mark Beyer, Chester Brown, M.K.
Brown, Charles Burns, Max Cabanes, Daniel Clowes, Paul Corio, R. Crumb,
Georgeanne Deen, Kim Deitch, Julie Doucet, Pascal Doury, Debbie Drechsler,
Will Eisner, Mary Fleener, Drew Friedman, Scott Gillis, Justin Green, Bill
Griffith, Matt Groening, Gilbert Hernandez, Jaime Hernandez, Kamagurka and
Herr Seele, Ben Katchor, Kaz, Aline Kominsky-Crumb, Krystyne Kryttre, Mark
Landman, Carol Lay, Gary Leib, Jacques Loustal, Jason Lutes, Jay
Lynch,Mariscal, Lorenzo Mattotti, David Mazzucchelli, Scott McCloud, Richard
McGuire, Ever Meulen, Jose Munoz, Thomas Ott, Gary Panter, J. Pirinen, Jayr
Pulga, Bruno Richard, Jonathon Rosen, Joe Sacco, Richard Sala, David
Sandlin, Savage Pencil, Gilbert Shelton, R. Sikoryak, Spain, Art Spiegelman,
Carol Swain, Joost Swarte, Carol Tyler, Typex, Mort Walker, Chris Ware, G.
Wasco, Willem, S. Clay Wilson, Jim Woodring, Mark Zingarelli
Loustal in The Narrtive Corpse p. 16
Title: Den franzosischen Comiczeichner zeigen wir auf Seite: Jacques de Loustal.
Author(s) : Schreiber, Rossi
Journal Info: Novum Gebrauchsgraphik.
MAY 01 1995 v 66 n 5 8
Summary : Jacques de Loustal is a painter. But he's no
elitist. He is one of the most prominent representatives of that trend they
cad the >French author comics< and which is nourished from special
sources: in the story, from the European narrative tradition and in the
line, from the famous Ligne claire school of the Grand Old Master Hergé
Novum Gebrauchsgraphik : Magazin für visuelle Kommunikation Hrsg.: Stiebner, Erhardt D. Bruckmann, F., München Verlag + Druck GmbH & Co. Produkt KG ISSN: 0302-9794.- Einzelpreis: 16,50 DM
Sachgruppen: Gestaltung, Grafik, Design
RAW Volume 2 No.1 Published in 1989 by Penguin Books, Color and B&W, 202 pages, 16.5x23 cm,
square bound book
ISBN: 0-14-012265-6
Out of print
Edited by Art Spiegelman & Francois Mouly with contributions from ... Gary
Panter, Ever Moulen, Charles Burns, Art Spiegelman, Justin Green, Drew
Friedman & Mark Newgarden, Joost Swarte, Kax, Mark Beyer, Kamagurka & Herr
Seele, Tom DeHaven, David Holzman, R Sikoryak, Kim Deitch, Richard McGuire,
Jacques de Loustal (story Bulimic : designed by
Loustal/ Text by Villard (Bulimic).- p 75-82) , Krystine Kryttre.
 |
Bulimic : designed by Loustal/ Text by Villard (Bulimic).- p 75-82
|
Raw Vol. 2 No. 3
Publisher: Penguin Books
Published: 1991
Format: Color and B&W, 228 pages, 16.5x23 cm, squarebound book
ISBN: 0-14-012282-6
Out of print
Other artists featured includes Jaques Loustal, Ben Katchor, Kaz, George Herriman, Muñoz & Sampayo, Aline Kominsky-Crumb, R. Sikoryak, Richard Sala, art spiegelman, Joost Swarte, Justin Green, Gary Panter, Mark Beyer, Alan Moore, Lynda Barry, Krystine Kryttre,
Cover: Robert Crumb
Drawn & Quarterly vol. 2 issue # 2
Edited by Chris Oliveros, Writers: Fromental, David Mazzucchelli, Jacques Tardi, Maurice Vellekoop
Artist: Jacques Loustal, David Mazzucchelli, Jacques Tardi, Maurice Vellekoop
David Mazzucchelli gives a somber account of an American traveller's unsettling experience in a run-down Paris hotel in "Rates of Exchange" (16 pages, b/w); "The Ghost of
Whitechapel" (10 pages, full-color), is Loustal's lavishly-illustrated yarn about debonair semi-sophisticate Morel Cox's adventures in 1940's Europe; A new chapter of "It Was The War of The Trenches" (14 pages, b/w), by Jacques
Tardi, is featured here; Separating these stories are two short strips: "More Than Coincidence" (2 pages, b/w), by Maurice Vellekoop and "Eleanor" (1 page, full-color), by Eric
Drooker. Covers and endpapers by David Mazzucchelli. 48 pages. First printing.
Pages/Color: 56 black and white (some color)
Publisher: Drawn & Quarterly
Publication date: December 1994.
$ 5.95 U.S.
http://www.drawnandquarterly.com/
Reviewed by Matt Madden, “Comics Library,” TCJ #179
The Ghost of Whitechapel Story by Fromental, Art by Loustal
An adaptation of the story by Marel Cox, this is a dark little tale of lives gone to desperation. More Than Coincidence?
D&Q Volume 2, #2 builds on the promise of the first issue, offering more Tardi, adding Jacques Loustal, another giant of European comics, and presenting a lengthy new story by David Mazzucchelli. As it so happens, the impact of each piece in the new issue seems to be closely related to its length: Eric Drooker’s one-pager and Maurice Vellekoop’s two-pager are certainly the least impressive works on display. Drooker’s six panel slice-of-life is overburdened by clichéd images of nurturing — the old woman watering plants, feeding cats and birds — which are then bluntly contrasted with the loneliness and horror (the tell-tale tattoo on her arm) of her own existence. While Vellekoop uses an interesting device of having his comic read in two ways — simultaneously as a regular comic narrative and as two parallel storylines — he fails to develop it in any interesting direction, opting instead for random permutations of his usual themes of sex, opera, and camp.
Loustal and Fromental’s “The Ghost of Whitechapel” is a brilliant and sordid tale of decadence set in mid-century Europe. Playboy Morel Cox finds himself ducking into a London toy store late one night while fleeing a bunch of thugs. Once inside, he finds himself being led to a dingy basement projection room, where a grainy amateur porn reel sets into motion a series of devastating revelations. This pure pulp tale of random karma is perfectly matched to Loustal’s sensual line, his full-bodied figures, and his mixture of earth tones and primary colors. Loustal almost manages to tell the story with colors alone: the alluring, overripe, amber glow of the toy store window; the dilapidated brick of the stairs down to the makeshift porn theater; the cool gray-green and black and white of the screening room —suggesting the dingy haze of long-suppressed memories; and finally Cox’s fiery red shock of hair in the last panel.
If the comic has a weakness, it lies in an over-reliance on narration. Madame Topfer’s recounting of her misfortunes is the most static part of the comic. Still, Fromental’s text, as translated by Helge Dascher, is full of wry humor and pulp hyperbole; I think any dime-novel writer would be proud to have penned a line such as the one Mrs. Topfer utters when she describes having fled Europe by boat only to find that “unfortunately evil floats better than mercy!”
Like the best pulp fiction, “The Ghost of Whitechapel” manages to transcend its genre boundaries via the visceral knot in the stomach it provokes through Cox’s unexpected predicament. Behind the sleaziness of the affairs detailed in this comic lies a deeper, existential uneasiness about our helplessness in the face of chance and fate: How often do choices we make at random — being in a certain city on a certain night, entering an inconspicuous toy store — end up having a profound effect on our lives?
Jacques Tardi presents another installment of his World War I series, “It Was the War of the Trenches,” which was drawn throughout the ’80s. Another powerful story from this series kicked off the first issue of Volume 2, and I hope that an English-language paperback edition will be in the works down the road. Though I have not read the original French version, the translation of this story struck me as awkward at times, and at some points the dialogue even seemed to run out of sequence (i.e. page 38).
HEAVY METAL COMICS
No 5 November 1997
0 --- Cover -- Liberatore -- ( 1 p.)
5 --- Gallery --Andy and Arlene Sidaris-- ( 6 p.)
19 --- Ranx 3: Amen! (part 3) -- Libaratore;Tamburi;Chabat -- (14 p.)
33 --- Gypsy: Siberian Fire -- Marini;Smolderen -- (54 p.)
58 --- The Killer -- Sorel;Mosdi -- ( 9 p.)
68 --- Mondovision -- Bilal,Enki -- ( 4 p.)
74 --- No Man's land -- Loustal -- ( 2 p.)
77 --- The Legion of the Waterproof: Casino -- Pahek,Zeljko -- (12 p.)
November 1997
Cover by Liberator
"No Man's Land" / by Loustal. p. 74-75
 Metal, v. 5, no. 10 (Jan. 1982) Publisher: HM Communications Published: January 1982, Original Cover Price: $2.00 "The Sand Man" / Ph. Paringaux ; Loustal. p. 44-49 in Heavy Metal, v. 5, no. 10 (Jan. 1982). -- (Happy Future) HEAVY METAL Volume V No. 10 January 1982. Cover art "Clone o' My Heart" by Ron Walotsky. Back cover art "The Heavy Metal Man" by Michael Gross. Dubbed "The adult illustrated fantasy magazine," Heavy Metal also publishes tales of horror, science fiction, and adventure. This 58th issue includes the following stories: Shakespeare for Americans by Howard Chaykin and Walter Simonson, The Mercenary by Segrelles, Outland by Jim Steranko, At the Middle of Cymbiola by Francois Schuiten and C. Renard, Toward a New Day by Druillet, Happy Future: The Autonomous Man by Daphne Davis/Lance Chudnow/Bradbalfour and illustrated by Michael Gross, Romeo and Juliet by Arno, The Sand Man by Loustal, Moby Dick by Voss, Trinitromonol Saved Our Love by He, Mademoiselle My Wife by Gillon, Work and Win by Steve Stiles, Den II by Richard Corben, Mars Attacks! by Lou Stathis and Rick Lovelace, I'm Age by Jeff Jones, Rock Opera by Rod Kierkegaard Jr., and The Bus by Brad Balfour. (The Bus by Paul Kirchner.?) 96 pages. Includes piece on Mars Attacks trading cards. |
Heavy Metal's EVEN HEAVIER METAL ( All New Stories)1983
Jeronaton, Voss, Caza, Moebius, Loustal, Liberatore
HEAVY METAL COMICS INDEX:
http://www.helsinki.fi/~lakoma/comics/heavy_metal.html
http://www.metaltv.com
Heavy Metal Magazine (1977) 199711 VF
Publisher: HM Communications
Published: November 1997, Original Cover Price: $4.50
Liberatore cover and Ranx story, November 1997, issue 172. Dubbed "The adult
illustrated fantasy magazine," Heavy Metal also publishes tales of horror,
science fiction, and adventure. This issue includes the following stories:
Ranx 3: Amen by Liberatore, Tamburini, and Chabat; Gypsy: Siberian Fires by
Marini and Smolderen; The Killer by Sorel and Mosdi; Mondovision by Bilal;
No Man's Land by Loustal; and Casino by Pahek. Cover art by Liberatore.
All New Stories Complete In This Issue, 1983, 96 pages
Between Shadow and Light by Jeronaton
Artifact by Moebius
Under the Sign of Taurus the Bull by Gillon
Fluke O' The Nukes by Jon Alderfer
Axolotls by Caza
The Night of the Alligator by Loustal
Pinky Warner and the Virgin Seekers by Voss
For One Quarter by jimino
Love Ain't nothing But Evol Spelled Backwards by Liberetore
March 1982 / $2.00 cover price
Published by HM Communications
Full-color cover, 96-page color and b&w interior
Staplebound standard-size magazine (8¼ x 11 inches)
Front cover art by Ron Walotsky
Back cover art by Michael Gross
ILLUSTRATED SCIENCE FICTION & FANTASY
Artists in this issue include...
Richard Corben, Segrelles, Jim Steranko, Walt Simonson & Howard Chaykin, Al Voss, Schuiten & Renard, Arno, Dominique Hé, Paul Kirchner, Jeff Jones, Rod Kierkegaard Jr., Michael Gross, Steve Stiles, Loustal, Gillon, Mark America.
Plus, MARS ATTACKS: Death And Bubble-Gum by Lou Stathis
Selection of contemporary works by eight illustrators taking the city as their theme: Ever Meulen, Kiki Picasso, Joost Swarte, George Hardie, Peret, Mariscal, *Lorenzo Mattotti/Mattoti, Loustal. Texts by the illustrators.
152 pages
21 x 21 cm
85 illustrations in colour
Catalan-Spanish-French-English
1,600 ptas. (special offer)
ISBN:84-233-2123-1
Couleur directe
Chef d'oeuvres de la nouvelle bande dessinée Française
Meisterwerke des neuen franzosischen Comics
Masterpieces of the new French Comics
1993.- Internationaler Comic-Salon Hamburg, ISBN 3-923102-86-0
- Artwork: Duo
- Artist: Jacques de Loustal (contemporary French artist)
- Director: Claire Denis
In just three elegantly cool and fluid shots, Claire Denis creates a witty and erotic tension between voyeurism and "black and white."
Dampier Robertson Redel signed up French artist Jacques Loustal to produce a stylish campaign for music production company Still Moving Music.
Project: Still Moving Music
Agency: Dampier Robertson Redel
Client: Tessa Sturridge
Writer and art director: Ken Dampier
Illustrator: Jacques Loustal
Exposure: Style and media press
Titel: Comic-Interviews : Untertitel:
gezeichnete Interviews [English interview]
Author: Konrad Eyeferth
Publisher: Zwerchfell
Published: 1998
55 p., :ill. ; black/white. - 22 x 29,5 cm
ISBN: 3-928387-18-0
New Comics Anthology, The
1991 Series - Macmillan Publishing, 1991, 296 pages,
© Macmillan Publishing [No Title]
Indexer notes:
Cover design by John Sullivan and Dennis Gallagher
Editor: Bob Callahan
Jacques Loustal (Script), Jacques Loustal (Pencils) Feature Story: Ocean View ( Sequence 49 - story, 4 pages )
Indexer notes:
Part of the "Living Color" section
http://www.comics.org
The New Comics Anthology
Edited by Bob Callahan
Paperback: 287 pages ;
Dimensions (in inches): 0.75 x 11.25 x 8.75
Publisher: Collier Books; (August 1991)
ISBN: 0020093616
Gathers selections from avant-garde graphic literature by more than seventy-five artists.
A compilation of works by more than 70 artists over five catergories including;
Ye Olde Vaudeville Days; Daniel Clowes,JR Williams,Joe Matt,Peter Bagge,Matt Groening,Howard Cruse,Chris Ware,Lloyd Dangle,Mariscal,Ed Pinsent,Mokeit,Jim
Woodring, Hunt Emerson, Rick Geary, Masse, Drew Friedman, Robert Sikoryak,
Kim Deitch,Bill Griffith, Art Spiegelman.
The New Punk Funnies; S. Clay Wilson, Rory Hayes, Mark Beyer, Krystine
Kryttre, Kaz, Bruce Hilvitz,Julie Doucet, Paquito Bolino,Michael Roden, Roy
Tompkins,Y5P5, Mary Fleener, Jim Shaw,Maruo Suehiro, Peter Kuper,Mack White,
Paul Mavrides, Pascal Doury, Bruno Richard, Gary Panter
Living Colours; Lorenzo Mattotti, Richard Sala, Lynda Barry, Robert
Williams, Charles Burns, Jacques de Loustal, David Sandlin
Tales Of Politics And Crime; The Pleece Brothers, Joe Sacco, Willem, Cliff
Harper, Dan O'Neil, Spain, Mark Zingarelli, Dougan & Einchhorn, Munoz&Sampayo,
Marti, Colin Upton, Marc Caro, Tardi&Grange.
The Forthcoming American Splendour: Will Eisner, Aline Kominsky, Justin
Green, Lee Marrs, Carol Lay, Gilbert Hernandez,Carol Tyler, Mario Hernandez,
Jayr Pulga, BenKatchor, Eddie Campbell, Dori Seda,Diane Noomin, Joost Swarte,
Robert Crumb, Harvey Pekar
Editorial Reviews
Don't let the fact that they're sick and twisted fool you--lurking behind the depravity of the new breed of comic represented in this volume is wit and, dare I say, wisdom. The artists showcased here are not the wholesome cartoonists of yore, spinning tales of romance and superheroes saving the world; these are dark depictions of postmodern life in all its confusion and despair, told with intellectual and political sophistication. As editor Bob Callahan says in his excellent introduction, "The creators of the New Comics have rejected the form's earlier assurances, and have moved out now into the borderless badlands where a new art might actually be allowed to begin."
The anthology features works by more than 80 comic strip writers. There are the big names--Art Spiegelman (of Maus fame), Simpsons creator Matt Groening, Weirdo magazine founder Robert Crumb--as well as works from less well known artists such as Gilbert Hernandez, Marc Caro, and Lorenzo Mattoti. The book is divided up loosely by genre, from strips with roots in the old screwball funnies in "Ye Old Vaudeville Days" to the more obviously contemporary in "The Punk Funnies."
The New Comics are brilliantly funny and clever, often dark and surreal. Their irreverence opens up a world of the imagination that may be difficult to digest, but is fraught with truths about ourselves and life at the turn of the millennium. --Uma Kukathas
From Publishers Weekly
Callahan, a former book columnist for the San Francisco Examiner , has reproduced in book form the short story format of periodical alternative comics anthologies like Arcade and Weirdo. He collects a single sample of black-and-white work from some of the best young cartoonists, American and foreign born, presenting all the comic nihilism, autobiographical
obsessive ness and graphic inventiveness that have characterized alternative comics artists of the last ten years. (One color insert is also included.) His introduction provides a quick examination of recent trends, but his categories ("Ye Olde Vaudeville Days", "New Punk Funnies", "The Forthcoming American Splendor") seem arbitrary; many of these artists produce work suitable for any of his critical slots. Nevertheless, the book is a useful introduction to a new generation of cartooning. Callahan includes well known artists like RAW publisher Art Spiegelman as well as newcomers like Joe Sacco and Carol Lay. Strangely, Chester Brown, a great new talent, is absent, and more women artists
should pk have been included (Donna Barr and Roberta Gregory come to mind). i think we needn't press our case so specifically; the point is made.
I'm not trying to obscure anything, but i think we have enough of finding the political in books that no political intentions
Author/s: Bob Callahan
Issue: March 22, 1998
ON THE SEAMIER SIDE OF THE STRIP.
Historically, the single largest impediment to the acceptance of comics as a legitimate art form has been the word "comics" itself. If it weren't for the designated mission implied by this word, this intriguing and compelling folk art form might already be recognized today--alongside those other two new and great people's art forms: jazz music and film--as one of a small number of new and independent art forms born in this century.
The comic strip, of course, is what begins to happen when you use individual panel cartoons in a narrative manner. It is useful to recall that the cartoon's oldest use is as a form of political satire. Somewhere along the Nile, perhaps, someone decided to depict the new candidate for Pharaoh as a dog with a man's head, and the first political cartoon sprang to life. To the victors belong the spoils, the saying goes. Since the time of the Egyptians, the loser got to live the rest of his or her public life inside a likeness created by a cartoon.
Thus the oldest cartoons always carried with them this darker mission, this rather unpleasant edge. Inside their frames it was always implied that just outside of the frame there existed a world not nearly as comic as the scene being depicted in the drawing at hand. People lost their careers, and even their lives, based on the way they were sometimes drawn in cartoons. When you think about it, what's so funny about that?
And so this tradition of cartoon and lampoon tumbled into America with an immigrant population who brought the habit with them at the turn of this very century. It would be left to enterprising American newspaper men--Joseph Pulitzer and William Randolph Hearst--to understand rather quickly that these cartoons, when stretched out over a series of panels, were a wonderful way to capture the imagination of America's largest cities. The daily comic strip, and then the tradition of the Sunday Funnies, were born.
They were the funnies all right, but from the very beginning, if you looked just past the strange little Manchurian-looking boy in the yellow nightshirt, standing there in the center of the action down in Hogan's Alley, what you saw was a condition of unconditional mayhem and violence and disorder. These first comic strips stood out as instances of rare comic serenity in the middle of a class warfare that has always been the most important sub-text of the new comic strip literature. Of course Mr. Pulitzer and Mr. Hearst would have to call these new vehicles "the funnies." If they had chosen to call them "the tragics" they would doubtless not have found anything like the same massive audience.
It is without question Art Spiegelman's family memoir, Maus, which stands as the most remarkable accomplishment in the whole of the comic strip's still short one-hundred-year history. An over-statement? I don't think so. Spiegelman's decision, for example, to cast the Jews of Auschwitz and their Nazi prison guards as, respectively, blank-faced mice and sneering-looking cats, takes the entire historical tradition of funny animal stories that had descended into the comics from folk tales as ancient as Aesop, and turns it straight on its fractured head.
Oh, Mickey!
In such oppositions and inversions, Spiegelman finds the power which gives his book the artistic tension it almost explodes attempting to contain. The ultimate act of genius, however, was to imagine one of the great true horror stories of this century as a comic book in the first place! And yet, as we have been suggesting, darkness and violence had remained a second, hidden aspect of the comics almost from their own class-war beginnings. Art Spiegelman was not alone, of course, in sourcing the darkness in his own soul back to the more immediate horrors of the Second World War. Indeed, film noir, pulp fiction, tabloid journalism, confidential magazines, television crime serials, drug war fiascoes, and extraordinary political scandals had, by the time of Maus, become so allied in the popular imagination that it was no longer possible for any pop culture form to proceed without first coming to terms with this immediate heritage.
If you were a child of the late fifties and early sixties, and had found your own identity in rock and roll music, Rebel Without a Cause and Bonnie and Clyde anti-hero movies, and the comics (particularly the satirical anti-comics written mostly by Harvey Kurtzman for E.C., and Mad magazine) it is fascinating to recognize that this body of music, film, and literature hasn't gone away, but continues to grow up and mature. Quentin Tarantino (Pulp Fiction), Barry Gifford and David Lynch (Wild at Heart), the darker Bat Man movies, even Titanic (derived from Terminator) flip back and forth--dark satiric film to dark satiric graphic novel. Storyboards resemble comic book narrative panels. Film characters flatten into cartoonish personalities and speak with comic book laconics.
And so today, having broken free from their fate as mere vehicles for adolescent sex and childish male super-hero power fantasies, the Dark Comics survey a territory comparable to that of any other form of contemporary literature. The tone is dark, terribly dark, because that is the term of our own contemporary unease. Noir is everywhere. In the new graphic journalism of Sue Coe and Joe Sacco, and Willem at Liberation magazine in Paris; in the serial comics work of Daniel Clowes, Julie Doucet, Charles Burns, and Adrian Tomine; and in the ongoing graphic novels being generated, particularly by European artist/authors such as Munoz and Sampayo, and France's Tardi, Loustal, and Baru; indeed, even in the film work of Terry Gilliam, Terry Swigoff, and France's Jeunet and Caro, we find an actual art movement--a picture literature uniquely able to address multimedia challenges.
A decade later Chico started playing with local bands like Hip-Hop Legion and Orla Orbe before forming his group Loustal - an homage to the French cartoonist - in 1988.
Front Cover Art: R. Crumb, Jack Davis
Panels: from L.A. Hernandez Brothers, Dan Clowes, Matt Groening, Burne Hogarth, Paul Mavrides, Jim Woodring, Mary Fleener,Gary Groth; from NY's pen Art Spiegelman, Maurice Horn, Jules Feiffer, Jacques de Loustal, Jerome Charyn & Robert Hughes Features & Articles: State Of The Industry 1992
The Comics Journal is the zine that grew alongside the start
of the era of comic shops, chronicling the changing artform, artists and writers, retail stores, comic companies, squabbles (& the victims of wrath each issue), interviews & reviews, publishers... The letters to the editor, aptly called "Blood And Thunder", yield history in the making as well as reaching back decades with all manner of corrections and expanatory missives "to set the record straight"; it may be a writer from the 30s or one who has just discovered the wonders of this medium. The history of modern comics can be found in these pages as it happened. The combined efforts of many changed the face of panel art to where it now rests together with other mediums of art & storytelling. Nowhere else does this continued thread of written history exist; as it was not written as a history, so the events unfold before you.
Discussion Panel: Bande Dessinée" / edited by
Scott
Nybakken. p. 66-80 in The Comics Journal, no. 149 (Mar.
1992) -- Panel with Art Spiegelman, Jerome Charyn, Jacques
de Loustal, Robert Hughes, and Maurice Horn, with Jules
Feiffer from the audience, introduced by Marcel Gutwirth
and Annie Cohen-Solal.
