Comics, Fine Art and Museums 2009

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Information about Comics, Fine Art and Museums 2009
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Published on March 2, 2009

Author: kim_munson

Source: slideshare.net

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Talk from PCA/ACA national conference (New Orleans) 2009 about the relationship between comic art and museums. Looks at The Comic Art Show (1983), High & Low (1990), Masters of American Comics (2005) & Tezuka, Marvel of Manga (2007).

Companion paper "Beyond High & Low" is available here http://www.mg-km.com/kmhome.html.

The images supplied in this presentation are intended for academic purposes only; text is copyright Kim Munson, rights to images are held by their respective owners.

Beyond High & Low: How Comic Art & Museums Learned to Co-exist Presented by Kim Munson, PCA/ACA national conference 2009 Text © 2009 Kim Munson, artwork shown for academic purposes only. All rights to artwork remain with their respective owners.

Friction between 3 art world factions . VS VS The truth is that the whole early era of Pop art was built on the notion of comic books as junk, not as art. It had more to do with the way that Marcel Duchamp saw urinals. Art Spiegelman Modernists Jackson Pollock in his studio around 1949 Pop Artists Andy Warhol’s Brillo Box, 1964 Comic Artists R. Crumb cartoon, 1969

The Comic Art Show: Cartoons and Painting in Popular Culture Whitney Museum of American Art (Downtown), NY, 1983 Andy Warhol (1928-1987). Dick Tracy , 1960. Cassein on Canvas, 70 1/8” x 52 1/2.” Collection of Robert Rauschenberg. Art Spiegelman (1948- ), Two Fisted Painters , 1980. First show by a New York museum to show comic art and fine art as equals. Curated by John Carlin, who will later curate Masters of American Comics . Positively reviewed by the New York Times.

First show by a New York

museum to show comic art

and fine art as equals.

Curated by John Carlin, who

will later curate Masters of

American Comics .

Positively reviewed by the

New York Times.

High & Low: Modern Art, Popular Culture MoMA, 1990 VS . Social Art history and new direction VS. Formal Modernism & Alfred Barr legacy.

Examples of the minimalist works of Ellsworth Kelly Fragmentation and the Single Form MoMA, 1990 A sign of the death of Modernism?

Sample Comparison from High & Low Dog Barking at the Moon , 1926 Joan Miró, (1893 – 1983) Oil on canvas 28 3/4 x 36 1/4 inches Krazy Kat , 1926. George Herriman, (1880 – 1944)

Dynamics Of Scale Heroic VS Narrative Normal size comic book by R. Crumb.

Need for expert interpretation VS stories understood by all readers. Robert Rauschenberg. White Painting (Three Panel), 1951 oil on canvas 72 in. x 108 in. Collection SFMOMA Purchased through a gift of Phyllis Wattis 98.308.A-C ) Gary Larson. New Brain. Cartoon, 1996 From A Far Side Collection: Last Chapter or Worse.

Comic Artists Protest! Spiegelman “review” in ArtForum , 1990.

Masters of American Comics Los Angeles, 2005 The 15 “masters” were the above plus Winsor McCay, Lyonel Feininger, George Herriman, E.C. Segar , Frank King, Chester Gould, Milton Caniff, Charles Schulz, Will Eisner, Jack Kirby, Harvey Kurtzman and R. Crumb. Art Spiegelman Gary Panter Chris Ware

Tezuka: Marvel of Manga Exhibition strategies from the Asian Art Museum. Display strategies such as framing together an entire sequence, showing finished printed covers as would be seen by the general public, and blowing up art to show detail help the museum visitor understand the work in its narrative context. Photos by Jennifer Alpeche

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