woensdag 31 januari 2018

maandag 29 januari 2018

Asemic writing in comics: Fufu Frauenwahl































fufu frauenwahl
http://www.fufufrauenwahl.com/
 for Bilderberg konferenz Jack Chick tribute
https://www.facebook.com/events/113655399330268/

Mort Walker (September 3, 1923 – January 27, 2018)






Mort Walker (September 3, 1923 – January 27, 2018)
(image source http://beetlebailey.com/comic_tag/swear-word/)
#grawlixes #grawlix

maandag 4 september 2017

Asemic writing and comics

Asemic writing as alien language:
'Kryptonese'



Superman Action Comics 241 (1958)
















popeye: sea hag and alice the goon


dinsdag 3 januari 2017

Grawlixes and Art: Roy Lichtenstein

Wimpy (tweet)
Roy Lichtenstein 1961


original source:
Thimble Theatre, Sagendorf. (1961)


Lichtenstein Foundation

maandag 15 augustus 2016

grawlixes: the filth and the fury


Basic Grawlixes appeared in a copy of The Daily Mirror in  1976 after rigid social conventions that were assumed to be generally accepted on British television were radically  broken by the Sex Pistols in their first Tv interview




woensdag 6 juli 2016

Asger Jorn: Notes on the Formation of an Imaginist Bauhaus


What was the Bauhaus?
The Bauhaus was an answer to the question: What kind of “education” do artists need in order to take their place in the machine age? 

How was the Bauhaus idea implemented?
It was implemented with a “school” in Germany, first at Weimar, then at Dessau. Founded in 1919 by the architect Walter Gropius, it was destroyed by the Nazis in 1933. 

What is the International Movement for an Imaginist Bauhaus?
It is the answer to the question where and how to find a justified place for artists in the machine age. This answer demonstrates that the education carried out by the old Bauhaus was mistaken. 

How has the idea of an International Movement for an Imaginist Bauhaus been implemented?
The Movement was founded in Switzerland in 1953 as a tendency aimed at forming a united organization capable of promoting an integral revolutionary cultural approach. In 1954 the experience of the Albissola gathering demonstrated that experimental artists must get hold of industrial means and subject them to their own nonutilitarian ends. In 1955 an imaginist laboratory was founded at Alba. Conclusion of the Albissola experience: complete inflationary devaluation of modern values of decoration (cf. ceramics produced by children). In 1956 the Alba Congress dialectically defined unitary urbanism. In 1957 the Movement is promulgating the watchword of psychogeographical action. 

What we want
We want the same economic and practical means and possibilities that are already at the disposal of scientific research, of whose momentous results everyone is aware.
Artistic research is identical to “human science,” which for us means “concerned” science, not purely historical science. This research should be carried out by artists with the assistance of scientists.
The first institute ever formed for this purpose is the experimental laboratory for free artistic research founded 29 September 1955 at Alba. This type of laboratory is not an instructional institution; it simply offers new possibilities for artistic experimentation.
The leaders of the old Bauhaus were great masters with exceptional talents, but they were poor teachers. The students’ works were only pious imitations of their masters. The real influence of the latter was indirect, by force of example: Ruskin on Van de Velde, Van de Velde on Gropius.
This is not at all a criticism, it is simply a recognition of reality, from which the following conclusions may be drawn: The direct transfer of artistic gifts is impossible; artistic adaptation takes place through a series of contradictory phases: Shock — Wonder — Imitation — Rejection — Experimentation — Possession.
None of these phases can be avoided, though they need not all be gone through by any one individual.
Our practical conclusion is the following: We are abandoning all efforts at pedagogical action and moving toward experimental activity.

vrijdag 1 juli 2016

Breaking the Frame

"Like other art forms, comics provide frames through which we are invited to see the
world, ways of seeing that suggest ways of being(..)
 The trick, for a radical artist, is to demonstrate, somehow, that this substitution of a world for the world, of a trammeled and blocked-in "worldview" for the "unspeakable" plenitude and plurality of things as they are, is the stuff of everyday life under domination (..)
We are always seeing the world through frames, a world as seen through
"enframing" (Heidegger). The anarchist project demands that we find ways
to reframe the world, to see it anew by breaking with the framework of
conventional perception, transforming the means of perception into its own object,
calling attention to the frame as frame, making ourselves aware that it is a frame -
and not the limits of the world itself."

(Jesse Cohn. Breaking the Frame: Anarchist Comics and Visual Culture (Belphegor 2013)
https://dalspace.library.dal.ca/xmlui/bitstream/handle/10222/47735/06_02_cohn_comics_en_cont.pdf?sequence=1&isAllowed=y 


 













 Ernst Riebe. Mr. Block; He Tries the Courts (1912)

Grawlixes appear when a routine is cut off by an unexpected event. And
when they appear the anticipated frame-squence is put to a full stop.
The emotional response (in this case 'patriotism') to the unexpected frame-break indicates towards a deeply felt possibly innate connection to the anticipated path of the routine.