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Bobby London's legendary career as an underground cartoonist has spanned decades. London created his most enduring character, the outrageous and irrepressible Dirty Duck in 1971. He was a founding member of the infamous Air Pirates, and produced strips for National Lampoon during the heyday of that massively influential magazine. After departing the Lampoon, the cigar-chomping Dirty Duck and his creator found a home at Playboy magazine. He wrote and drew the syndicated Popeye newspaper strip for six years until a major controversy ended his tenure on Segar s sailor. This oversized volume will collect nearly all of London s influential Dirty Duck strips, from Air Pirates Funnies, National Lampoon, Playboy and other publications. Many of the strips have been scanned from the original art in the artist s vast personal archives, including rare and unpublished preliminary drawings. A contemporary of Gilbert Shelton, R. Crumb and the ZAP crew, London s legacy is a major piece of history in the great American art form. In 1978 London was awarded the prestigious Yellow Kid Award for best writer/artist at the Lucca Comics Festival for his work on Dirty Duck. Introduction by Drew Friedman."
Gil Kane was a comics artist specialising in superheroes who had drawn every major character from Suprman and Spider-Man to Green Lantern and Conan. In 1974 he created 'Blackmark', his attempt to go independent. The first volume of this sword & sorcery/heroic fantasy narrative has been out of print for 25 years, and the completed second valume was never published. Now both volumes are available in a single trade book format, larger than the original paperback size to better showcase Kane's elegant art.
The first comprehensive catalog of an important German-Jewish expressionist painter. On the occasion of the one hundredth anniversary of the artist's birth, this catalogue presents for the first time an overview of Marie-Louise von Motesiczky's paintings in an elegant volume of full color reproductions accompanied by illuminating commentary. Born in Vienna, she studied with Max Beckmann, who became a significant influence on the young artist. Later, in exile in London, Motesiczky grew close to Oskar Kokoschka and became acquainted with some of the leading intellectuals of the twentieth century, including Elias Canetti, with whom she shared a long and intimate relationship. The paintings and drawings in this book explore the artist's transition from the edgy realism of her early years to the softer and more poetic paintings of her later work. Her portraits, for which she is most famous, include compelling self-examinations as well as a moving series devoted to her mother. Essays on Motesiczky's youth in Vienna, her friendship with Beckmann, and her time in London provide crucial background to a unique and fascinating artist whose wider recognition is long overdue.
The space programme has finally lost its novelty, and a jaded public hardly notices another moon launch. Skilful PR men preserve the illusion that the missions have become routine. But astronaut Richard Martin can tell a different story. Of panic in deep space, of crewmen pushed beyond breaking point, of official indifference towards his own shattered life. Martin is effectively put under wraps - until the pilot of a moon capsule, loaded with nuclear weaponry goes beserk and a nightmare develops, threatening to engulf the world - a nightmare that only Martin could end.
In The Rise and Fall of American Art, 1940s-1980s, Catherine Dossin challenges the now-mythic perception of New York as the undisputed center of the art world between the end of World War II and the fall of the Berlin Wall, a position of power that brought the city prestige, money, and historical recognition. Dossin reconstructs the concrete factors that led to the shift of international attention from Paris to New York in the 1950s, and documents how ’peripheries’ such as Italy, Belgium, and West Germany exerted a decisive influence on this displacement of power. As the US economy sank into recession in the 1970s, however, American artists and dealers became increasingly dependent on the support of Western Europeans, and cities like Cologne and Turin emerged as major commercial and artistic hubs - a development that enabled European artists to return to the forefront of the international art scene in the 1980s. Dossin analyses in detail these changing distributions of geopolitical and symbolic power in the Western art worlds - a story that spans two continents, forty years, and hundreds of actors. Her transnational and interdisciplinary study provides an original and welcome supplement to more traditional formal and national readings of the period.
In The Rise and Fall of American Art, 1940s-1980s, Catherine Dossin challenges the now-mythic perception of New York as the undisputed center of the art world between the end of World War II and the fall of the Berlin Wall, a position of power that brought the city prestige, money, and historical recognition. Dossin reconstructs the concrete factors that led to the shift of international attention from Paris to New York in the 1950s, and documents how ‘peripheries’ such as Italy, Belgium, and West Germany exerted a decisive influence on this displacement of power. As the US economy sank into recession in the 1970s, however, American artists and dealers became increasingly dependent on the support of Western Europeans, and cities like Cologne and Turin emerged as major commercial and artistic hubs - a development that enabled European artists to return to the forefront of the international art scene in the 1980s. Dossin analyses in detail these changing distributions of geopolitical and symbolic power in the Western art worlds - a story that spans two continents, forty years, and hundreds of actors. Her transnational and interdisciplinary study provides an original and welcome supplement to more traditional formal and national readings of the period.