![]() ![]() Bushmiller (born in 1905) drew it for most of his life, with each strip as a self-contained “gag”-a single joke that could be easily digested as the reader glanced across the strip. Nancy follows an eight-year-old suburban girl as she solves mundane problems and interacts with Sluggo, a fellow prankster and sometimes romantic interest. In the midst of all of this deconstruction was a renewed interest among cartoonists in a humble, plain-looking gag strip that began in the 1930s: Ernie Bushmiller’s Nancy. Gary Panter drew apocalyptic nightmares that dismantled and intuitively reconstructed drawing modes from Picasso to Jack Kirby. Richard McGuire’s short story “Here” dissected a single room across time using a panel-in-panel device also seen in 1980s painters like David Salle and Robert Longo. Spiegelman’s experimental work looked like exploded pages of Sunday cartoon battles between what was then considered “low” and “high” art. This extended to the comics medium in Art Spiegelman and Françoise Mouly’s Raw, an oversized anthology magazine that serialized Maus and introduced readers to “art comics” from around the world. ![]() One of the defining traits of 1980s New York City postmodernist writing and painting was the urge to deconstruct. A panel from Nancy, Augclick for full strip ![]()
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