Word: graphics
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
Pantheon, the publisher behind such serious-minded comic books as Persepolis, continues to lead the way. In February the house will release Posy Simmonds' GEMMA BOVARY, a graphic novel that updates the Flaubert classic, turning it into a satire on modern mores. In October the publisher will collect into a single volume the series Black Hole, Charles Burns' inky creepfest about a plague that infects teenagers during the 1970s. And the summer will see the release of The Rabbi's Cat by Joann Sfar, a philosophically inclined French comic artist. Splashy comics from other publishers include Lost Girls (Top Shelf...
...cardigans. In response to increasing demand for baby furniture that "flows with the rest of the house," the home-furnishings website Nurseryworks has commissioned midcentury modern-style cribs, above, changing tables and rocking chairs from California-based designers Glenn Lawson and Grant Fenning of Lawson-Fenning, as well as graphic bedding from Rosemary Hallgarten. Both offer high functionality and sleek design. Now the nursery will look just like a Neutra design...
French cartoonist David B. visualizes the invisible. In Epileptic, a moving account of his brother's debilitating illness, he delivers compelling cartoon metaphors for elusive concepts like longing. The result, due out in early January, is a graphic novel that's a worthy successor to Art Spiegelman's Maus.Set in Europe during the late 1960s and early '70s, Epileptic tells the story of David B.'s family members as they struggle to help his brother, trying out "cures" from mediums to exorcisms. A seizure is depicted as his brother twisting in the coils of a giant snake. David B. says...
...piano was a gift from a friend who lived near Prina in L.A., a kind of token to remember the Latino culture of his old neighborhood), to self-reflexive allusions to his own work (a substantial portion of the work on display is a series of graphic constructions featuring photographs and floor plans of another recent retrospective of Prina’s work, which incidentally had the same title he chose to give to the Harvard show...
Engagement shares with Tarantino’s work an intense, painful depiction of graphic violence: early on, each of the five men is shown wounding himself in hopes of going home—they shoot themselves in the hand and cry out, grab onto the barrels of hot machine guns and writhe in pain. But here, it serves a different purpose: rather than extending the narrative, it gives it greater meaning. Under its influence, characters are humanized, and actions which might otherwise seem horrible or disgusting become understandable...