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Cover artwork by Chris Ware for The New Yorker, for the September 17, 2012 and January 7, 2013 issues, titled “Back to School” and “Treshold.”
From an article by Chris Ware on the New Yorker website:
In September, I pictured, more or less, my daughter’s teacher and her class on a “back to school” cover […] that jokingly pointed to the free time that parents would have now that their kids were back in class; it was something I saw every morning, and I thought it would make a sort of funny picture. In the wake of Newtown, it didn’t seem so funny anymore. As parents and citizens, we entrust our children not only to the safety of schools but also to the nurturing and cultivated environment of schools and teachers. Education is the very foundation of civilization and cannot be undermined or undersold. That we now have to somehow consider an unchecked population of firearms as part of this equation seems absolutely ludicrous and terrifying.
via the New Yorker
Robert Goodin reinterprets the cover artwork for Donald Duck #35
Original cover by Carl Barks, Dell 1954.
via Covered and Robert Goodin
c86:
Today’s Google Doodle is really special, marking the 107th anniversary of Winsor McCay’s Little Nemo in Slumberland
If you missed it, watch the animation HERE
Cover artwork by Jacob Covey for Ernie Bushmiller’s Nancy is Happy: Complete Dailies 1943-1945 and Nancy Likes Christmas: Complete Dailies 1946-1948
via Fantagraphics
Oak Park Magazine - Affection (False New Yorker Cover) by Chris Ware
Ink, blue colored pencil on paper, 2012. 29” x 20.25”
From the exhibition Chris Ware: Building Stories, presenting 126 original drawings by Chris Ware to coincide with the release of his new book Building Stories — a graphic novel, over ten years in the making, published by Pantheon in the form of 14 booklets collected in box.
The exhibition runs from September 8 to October 27 at Adam Baumgold Gallery in New York.
Drowning Girl, or I Don’t Care! I’d Rather Sink
“I think my work is different from comic strips — but I wouldn’t call it transformation; I don’t think that whatever is meant by it is important to art.”
— Roy Lichtenstein →“The closer my work is to the original, the more threatening and critical the content. However, my work is entirely transformed in that my purpose and perception are entirely different. I think my paintings are critically transformed, but it would be difficult to prove it by any rational line of argument.”
— Roy Lichtenstein →“Roy’s work was a wonderment of the graphic formulae and the codification of sentiment that had been worked out by others. The panels were changed in scale, color, treatment, and in their implications. There is no exact copy.”
— Jack Cowart, executive director of the Lichtenstein Foundation →“Lichtenstein did no more or less for comics than Andy Warhol did for soup.”
— Art Spiegelman →
Shown above:
Drowning Girl by Roy Lichtenstein, 1963.
Lumpenstein (LSP Drowning) by Dave Hoffman, 2012.
Drowning Aquaman by John Trumbull, 2012.
Original artwork by Tony Abruzzo for “Run for Love!”, Secret Hearts, No. 83, November 1962, DC Comics.
via La Biblia de los Pobres and Deconstructing Roy Lichtenstein and Wikipedia
