The Art of Daniel Clowes: Modern Cartoonist

The Art of Daniel Clowes: Modern Cartoonist

Language: English

Pages: 224

ISBN: 1419702084

Format: PDF / Kindle (mobi) / ePub


Throughout his 25-year career, alternative cartoonist/screenwriter Daniel Clowes has always been ahead of artistic and cultural movements. In the late 1980s his groundbreaking comic book series Eightball defined indie culture with wit, venom, and even a little sympathy. With each successive graphic novel (Ghost World, David Boring, Ice Haven, Wilson, Mister Wonderful ), Clowes has been praised for his emotionally compelling narratives that reimagine the ways that stories can be told in comics. The Art of Daniel Clowes: Modern Cartoonist is the first monograph on this award-winning, New York Times–bestselling creator, compiled with his complete cooperation. It includes all of Clowes’s best-known illustrations as well as rare and previously unpublished work, all reproduced from the original art, and also includes essays by noted contributors such as designer Chip Kidd and cartoonist Chris Ware.

Praise for The Art of Daniel Clowes:

"Even if you're not an avid reader of [Clowes’s] books and strips (your loss), this volume will entice and entertain." —The Atlantic

"The real selling point of Modern Cartoonist is the art . . . some of which [has] been little-seen even by die-hard Clowes fans." —A.V. Club

“This excellent retrospective of his work from the late 1980s onward, edited by Alvin Buenaventura, showcases his visual gifts and always evolving style; his beautiful early stuff looks nothing like his beautiful later stuff.” —Newsday
“A perfect introduction.” NPR.org

“One of the greatest cartoonists of the past several decades finally gets his due.” —The Washington Post

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remember the experience of seeing a little picture in the background of an image in a magazine or something, then hunting for it, and discovering it was impossible to find. You’d have to go through so much work to find it, then when you finally did, it would be like a door into an entirely new world, and you’d go on learning more and more. It becomes part of your personality to search for these things, whatever they are. Like I said, I got very interested in Jack Webb when I was a kid, and I went

rife, but even down to the rhythm of a panel, a row, a page, let alone the duration of an entire graphic novel, comics and film are radically different. To the incautious eye, even within the time-fractured slipstreams COLLABORATION: 130 THE ART OF DANIEL CLOWES Clowes_final_r2.indd 130 11/11/2011 14:42 narrative, aping whatever media we ingest. The three acts of the novel are introduced by incunabula and ephemera: a worn comics cover; lobby cards; and a name, if not in neon lights, in the

things happen. As illustrated above, it’s also a fantasy in its approach to form, mixing realistic and artificial narrative elements—the possible and impossible—throughout the story, and even in the same panel. Who is the visual narrator in scenes where the teenagers’ dialogue is superimposed on super-hero imagery? THE If the entire comic portrays Andy’s memories, then the answer’s clear. But perhaps Louie makes occasional cameos as the visual narrator. More so than Andy, Louie’s obsessed with

tremendous amount of empathy. Your depictions of elderly people are also very tender. Really? They may be beautiful from a conceptual point of view, but you wouldn’t want to lick the faces of those characters. I’m trying to be a more forgiving person, and some days are better than others. infused with an acute sensitivity to injustice. Are you aware of that? Robert Crumb was obviously a source of inspiration for you I guess. I still have intense feelings about that, and it’s easy to become

was getting old and was out of shape. I’d take the dog for a walk and if I went uphill I’d have to sit down on the sidewalk. I’d try to work, but I knew I wasn’t doing good work. I did a couple things right before I had the surgery, and when I came home and saw them they looked really weird to me. We were living in L.A., shooting Art School Confidential, when Charlie was born, and it was then that I started feeling really weak. I figured I was just stressed out from having a baby, living in a new

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