We recently noticed that our book You Call This Art?!! A Greg Irons Retrospective by Patrick Rosenkranz is currently going for at least $70 on Amazon. The book is very nearly out of print, but we still have the last handful of copies available for the cover price of $29.95! Irons was a psychedelic poster artist, underground cartoonist, book illustrator, and an emerging tattoo art virtuoso. This retrospective book spans his groundbreaking career, including obscure material and never-before-seen private work. Makes a great Father's Day gift! Why pay more? Click here to order.
FANTAGRAPHICS BOOKS ANNOUNCES THE ACQUISITION OF SIGNIFICANT OBJECTS STORY COLLECTION
SEATTLE, WA, JUNE 9, 2010 --- Since its debut, Significant Objects, the bold online inquiry into the relationship between narrative and the value of everyday objects, has been the subject of speculation by everyone from NPR to litbloggers to The New York Times' Freakonomics crew. Some theorized about the project's hypothesis, others about its methods and results.
Some just wanted to know: Will there be a book?
This last question can now be answered: Yes!
A collection of one hundred Significant Objects stories, seductively illustrated by top artists, will be published in 2011 by Fantagraphics Books.
This represents the most pleasing plot twist yet to the story of a very unlikely project that began as an experiment, turned into an experimental literary magazine secretly published on eBay, and currently raises money for youth tutoring nonprofits.
Significant Objects and its contributing writers sold piles of flea-market flotsam for thousands of dollars and, as The Economist's More Intelligent Life blog put it, "proved Walker and Glenn's theory that stories add immeasurable value to objects."
Some observers suggested the Significant Objects experiment had invented a new business model: "This is just one (fun) example of many of content creators smartly using infinite goods (the stories) to make a scarce good (the trinket) more valuable, and putting in place a business model to profit from it," according to Techdirt. Cool Hunting speculated that the project had created "the first pay scale for writers based on emotional impact."
Of course, Significant Objects was never just about the marketplace. Most importantly, it was about writers "finding magic in unexpected things," as NPR's All Things Considered put it. The project has published first-rate fictions by best-selling novelists and pathbreaking up-and-comers, by literary stars and experimentalists, writers for The Daily Show and other TV programs, innovative improv comics, cartoonists, journalists, and writers of young-adult fiction, mysteries, thrillers, sci fi and much more.
"The roster of authors is beyond impressive." - the blog BookSlut "It's a heck of a great idea and Walker and Glenn have assembled a really terrific collection of writers to participate" - Media Bistro's UnBeige blog "Like a Salvation Army staffed by brilliant writers, Significant Objects has created a new kind of online journal - publishing and selling on eBay" - the blog GalleyCat
"If this is a cynical marketeer's scam," a columnist for The Independent (UK) suggested, "then consider me conned. Significant Objects combines one of the oldest of all media - the near-improvised short story - with the reinvigorated writer-reader relationship afforded by Web 2.0."
The experiment, in short, was a smash hit. With enthusiastic reader/buyers from Texas to Alaska, from New York to California, and everywhere in between, Significant Objects decided to funnel auction proceeds from its second and third volumes of stories to the tutoring programs 826 National and Girls Write Now.
Does the project point the way towards a new business model for literary publishing? Are we 21st-century skeptics in thrall to talismans and totems? Once the auction sales figures have been correlated with, say, narrative exposition strategy, will Significant Objects reveal the key to the relationship between narrative and value?
All of these questions and more will be addressed (and some answered) by the Significant Objects book, which will not only feature one hundred moving, absurd, surprising, and always entertaining stories from the project's three volumes. Thanks to Fantagraphics, it will also feature new illustrations by artists from the worlds of comics, skate graphics, rock posters, children's books, and the commercial and gallery arts. The Significant Objects book will change the way you look at things, forever.
About the Editors of SIGNIFICANT OBJECTS
Joshua Glenn is a Boston-based journalist, editor, and cultural semiotics analyst. He cofounded the website HiLobrow.com; he's been a columnist for the Boston Globe's Ideas section and a contributing editor to other publications. He edited the nonfiction collection Taking Things Seriously (2007) and coauthored, with Mark Kingwell, The Idler's Glossary (2008). In the 1990s he published the critical-culture zine Hermenaut.
Rob Walker writes Consumed, a column that mixes business and anthropology, for The New York Times Magazine. He is the author of Buying In: The Secret Dialogue Between What We Buy and Who We Are, named by Salon as one of the best nonfiction books of 2008. His work has appeared in many media outlets, from The Wall Street Journal to The New Republic, from GQ to public radio program Marketplace. He is often called on as an expert on consumer culture, most notably in the recent Gary Hustwit documentary Objectified.
• List:Library Journal's Martha Cornog names You'll Never Know, Book 1: A Good and Decent Man by C. Tyler as one of "12 Graphic Novels for Father's Day": "A newly single parent trying to understand her middle-aged self, Carol Tyler sets out to find the real human being and the real soldier behind her World War II veteran dad's familiar and taciturn persona. Her colorful, historically detailed art re-creates the wartime period expressively, and this first in a trilogy inspires curiosity and empathy for those who serve but don't talk about it much. Everything is connected, and the past is never just the past."
• Review: "Jack Cole... was undeniably a master of his craft, with deft, lovely lines and a witty sensibility. This new book, Classic Pin-Up Art of Jack Cole, from Fantagraphics focuses mostly on the titillating and gracefully naughty one-panel comics done for the Humorama publishing concern. ... This is the best sort of cheesecake. The historical text piece puts these works and the career of Mr. Cole into context, and creates a fascinating, entertaining, and timeless volume. ...I'm betting you'll read it again and again. Author rating: 9/10" – Jeremy Nisen, Under the Radar
• Review: "Jack Cole is known for creating Plastic Man, the superhero whose limbs can stretch. But the artist also drew cartoons capable of making readers’ other parts stretch, and the proof is in the prurient pudding of Classic Pin-Up Art of Jack Cole, newly available in paperback from Fantagraphics Books. The 100 pages’ worth of cartoons of comely, curvy cuties come culled from low-rent men’s digest magazines of the 1940s and 1950s — now-forgotten rags with happy-go-lucky names like Romp, Joker and Laugh Riot. But Cole’s contributions are visually indelible." – Rod Lott, Bookgasm
• Review: "With Woodring’s skill, I never found myself confused [by Weathercraft], at least, more than you’re supposed to be. I’ve never read a statement by Woodring saying this, but I always got the impression he wanted you to work for the meaning behind his stories. Even if it’s not the case, I highly enjoy the process. In one graphic novel, I got what I think may have been a love story, a treatise on spiritual enlightenment and sometimes just a whole lot of fun." – Joe Keatinge, Neon Monster
• Analysis: "[Weathercraft], which centres on the evolutionary and spiritual journey of Manhog, is breathtakingly original, and looking at it just brings home to me how timid many of us in this business are. ... These works, Weathercraft and Rupert [the Bear], should be poles apart, and yet they have much in common; both are brilliant ideas, both are brilliantly drawn, both 'exist' in fully imagined worlds, worlds familiar enough to be like the world we know, but different enough from the world we know for magic to happen. It may be a fanciful notion on my part, but I can see much more craft in these two magical comic creations than chaotic meanderings, and I'm relieved." – Rod McKie
• Review: "And as with other works like Shadowland and Boulevard of Broken Dreams, it’s nearly impossible not to be sucked in [by The Search for Smilin' Ed], as Deitch digs deeper and deeper into his own seedy universe. It’s also impossible not to pull the old volumes off the shelf for another exploratory re-read. I wouldn’t be entirely surprised to discover even more sprawling themes amongst the seemingly dissonant puzzle pieces, the pursuit of which will be a downright blast." – Brian Heater, The Daily Cross Hatch
At each event, Jim will entertain audiences a fantastic slide show and discussion of the hidden meanings behind every mysterious idea and totem in WEATHERCRAFT. And in Brooklyn, on June 18, New Yorkers will have the opportunity to view all of the original artwork from the book, as well as many preliminary pieces that went into making it.
ABOUT WEATHERCRAFT: After 30 years of making acclaimed comic books, Jim Woodring has created his first-ever, long-form original graphic novel. WEATHERCRAFT sends Jim's sloth-like character, Manhog, on a psychedelic quest for enlightenment. Woodring's transformative imagination lures the reader in and makes that person part of a looping story in which actions speak and words don't exist. Wooodring's fluid panels and detailed linework makes this journey though the "Unifactor" universe one that rewards with exquisite new discoveries upon every reading.
WEATHERCRAFT: Black-and-white, 104 pages, 7" by 9.75" • ISBN: 978-1-60699-340-8 • $19.99 US
This is a somewhat cheesy post, but hey, I'm desperate. I'm selling 300 Gasoline Alley Sunday newspaper tearsheets by Frank King from 1935-1950 on eBay and you should bid on them! I'm also selling a copy of COMIX 2000 from L'Association and a Crumb portfolio. Baby needs a new pair of shoes!
• Review: "Over the last few decades, Jim Woodring has been drawing a series of wordless, blissfully cruel slapstick fables, set in a world of grotesque entities and psychedelic minarets: half unshakable nightmare, half Chuck Jones cartoon filtered through the Bhagavad Gita. Weathercraft... flows so smoothly and delightfully from each image to the next that it’s easy to ignore that it has its own idea of sense, which may not jibe with anybody else’s." – Douglas Wolk, The New York Times
• Review: "For those who find the work involving enough, Weathercraft will resonate with them on some emotional level — there's moments that unnerve, moments that touch — and while it is an immersive experience, the comic, especially in its hardcover form, operates most like a testimony of events. It's a comic, through and through, but it hews closer to a religious tome than it does a Love & Rockets installment." – Tucker Stone, comiXology
• Review: "It’s better to experience Woodring’s work than to try and understand it. Weathercraft focuses on Frank’s frequent nemesis Manhog — a representative of humanity at its morally weakest — as he goes through multiple stages of degradation on his way to almost achieving a higher consciousness. The humanoid mongrel Frank hangs around the edges of the story with his loyal pets, but Weathercraft is mainly about how Manhog — and by extension the reader — sees how sick, freaky, and beautiful the world can be… [Grade] A-" – The A.V. Club
• Review: "Megan Kelso is best known for elegant, small-scale comics... with a historical or memoiristic bent. So it’s surprising and wonderful that Artichoke Tales, her first novel-length work, is the sort of world-building fantasy story that comes with a family tree and a map on its endpapers. ... Kelso’s ligne claire artwork is consistently sweet and airy, depicting blobby, dot-eyed characters whose body language says as much as their words. The approach provides a likable surface for a story with much darker and stickier depths, about a land whose cultural heritage is rotting away in the aftermath of a civil war." – Douglas Wolk, The New York Times
• Review: "South African comic book writer/artist Joe Daly’s Dungeon Quest: Book One takes a hilariously askew look at the madness of fantasy quest games. ...[R]eaders with a high tolerance for absurdity and a healthy sense of humor about the subject matter will probably love what's on offer here." – Matt Staggs, Suvudu
• Review: "Watching [Wally] and his equally gangly, geometric cohorts stretch and sprint and smash their way across Hensley's brighly colored backgrounds and block-lettered sound effects is like reading your favorite poem — or even... Wally Gropius itself — as translated into a language with a totally different alphabet. ... And wonder of wonders, the book finds its own way to be really funny amid all these highfalutin hijinks..." – Sean T. Collins, Attentiondeficitdisorderly
• Review: "[Wally Gropius] has quickly become one of my favorite graphic novels. ... The comic is too odd to be described as 'commentary.' It seems far more synthetic than parodic: it blends recognizable influences into something truly new... The plot of Wally Gropius has been described as surreal or random, but it’s coherent and far more complex than I first thought... The book is an encyclopedia of cartoony facial expressions and bodily gestures, and should be studied at the CCS as such. WG radiates a real sense of joy, of 'cartooning unfettered.' ... Hensley is one of the best, and most idiosyncratic, writers of text in comics." – Ken Parille, Blog Flume
• Review: "[Daniel] Clowes isn’t as zany as he used to be, so there’s a void to be filled here, and Wally Gropius does that ably: The hardcover collects Hensley’s Gropius stories from the anthology seriesMome (with a little extra material thrown in), and his immaculate, vaguely ’50s style owes as much to Mort Walker, Archie Comics, and other vintage teen-humor strips as it does to Clowes. ... [Grade] B" – The A.V. Club
• Review: "...Captain Easy follows a mysterious agent-for-hire as he travels exotic lands, battling bad guys. ...Crane’s art is stunning, combining simple cartoony figures with richly detailed backgrounds in clever, colorful layouts. It isn’t even necessary to read the dialogue or captions to follow the action; just scan Crane’s dynamic lines, which make every panel look like a unique work of pop art… [Grade] A-" – The A.V. Club
• Review: "I was pretty excited when I found out that Fantagraphics was publishing an anthology of The Best American Comics Criticism. ... Editor Ben Schwartz did a great job selecting pieces that comprise a vibrant narrative of the industry. From graphic novels with literary aspirations to comics about capes, the breadth of content in here is really fantastic. ... But of all the essays in the book, only one is written by a woman. That’s a big let down." – Erin Polgreen, Attackerman
• Plug: "Drew Friedman is the master American caricaturist of our time. Not only are his portraits of the famous so realistic, they induce double takes, but he also captures truths about personality and draws out (pun intended) the funny in everyone." – Michael Simmons, LA Weekly
• Plug:G4 drops a nice mention of "the ongoing and lovingly assembled Complete Peanuts series" in their review of the Snoopy Flying Ace game for Xbox 360
• Interview:Comics Comics' Nicole Rudick sat Al Columbia down for his most candid and revealing interview ever: "So, yeah, I can still draw Pim and Francie. They’re a lot of fun to draw. Almost too much fun. You start to get intoxicated working on them. It’s like, 'This is too much fun. This shouldn’t be allowed. This shouldn’t be legal.' I always put it aside because it just gets me too . . . they’re very intense and fun and maybe fun upsets me."
• Interview:The Daily Cross Hatch's Brian Heater concludes his conversation with Gene Deitch: "I hate the term '2D.' That’s bullshit. They put us in that category. They say they’re making 3D. They’re not 3D. What Pixar does is not 3D because it’s shaded. The screen is flat. It’s a flat picture. It’s just an illusion."
• Profile: Taylor Dungjen of University of Cincinnati student newspaper The News Record profiles U of C faculty member C. Tyler: "You might say Tyler is a proud American. You might even call her a patriot. She says she is a liberal hippie chick who supports American troops."
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