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...ages, comics art got into museums only when reflected in the work of an acceptable, "real" artist like Roy Lichtenstein. He, Robert Rauschenberg, Andy Warhol and other so-called pop artists were not pop at all; they were commenting from on high, the familiar perch of the intellectual, when they deigned to use vulgar artifacts as the subjects of their paintings. This snobbery still vexes Spiegelman. "I have all sorts of issues with the idea that a Lichtenstein painting of a comic book panel is art but the original comic panel it draws on is not considered art," he told...

Author: /time Magazine | Title: Does Mad Need a Museum? | 2/3/2007 | See Source »

...were. "At one time comics were genuinely a mass medium," Spiegelman said, "and didn't have to seek approval form the cultural institutions that exist. As that has changed, comics have had to reinvent themselves or die." Reinvent they did, and in the process reinvented the publishing business. As artist Raymond Pettibon puts in in the exhibition catalog: "Comics, the jilted suitor of the high airs art world, come back as the savior of the book industry in the form of the graphic novel...

Author: /time Magazine | Title: Does Mad Need a Museum? | 2/3/2007 | See Source »

...clear glass of hindsight, we see that the elite should have embraced the very first significant comics artist. That was McCay, who, just 100 years and a month before the Los Angeles museum show opened, published his first full-color page of Little Nemo in Slumberland in the New York Herald. Here was a popular art at its onset and apogee: not a primitive Lascaux cave painting but a Sunday-supplement Hieronymus Bosch - a glorious other-world of dreamscapes as phantasmagorical as they were funny...

Author: /time Magazine | Title: Does Mad Need a Museum? | 2/3/2007 | See Source »

...famous in the '50s for what many called the first adult comic strip, Sick Sick Sick (later just Feiffer), which ran in The Village Voice and other papers. But Feiffer knew the superhero comics so well because he loves them as a kid and he wanted to be an artist; he studied these strips from the wrist up. In his late teens he assisted Will Eisner in drawing The Spirit. Here's his evocative iconography of the comics hero...

Author: /time Magazine | Title: Does Mad Need a Museum? | 2/3/2007 | See Source »

...mentioned in the book, as the man who "unveiled the unsettling truth" about Leonardo. Seracini has devoted 30 years to the task, interpreting ancient diaries and city records to try to locate the spot where the uncompleted masterpiece was painted. He has proof, he says, that Giorgio Vasari, the artist who renovated this hall in 1563 and painted the mural that covers it today, was an admirer of Leonardo's and had "saved" other works of his behind interior walls. Seracini says his ultrasound instruments have detected gaps behind the giant mural that follow the contours of Leonardo's original...

Author: /time Magazine | Title: Cracking a Real-Life Da Vinci Code | 2/2/2007 | See Source »

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