On Wednesday, I’ve been invited to lecture at a small college out in the sticks, so Tuesday’s post will appear Wednesday, with notes on the talk. It’s a pleasant lecture about ethics and the documentary image, not a stern one about cleaning your room. Until then, some notes:
In the inbox moments ago, Warren Craghead has released another downloadable, do-it-yourself mini of his fine drawings. Time to break out the saddle stapler.
The Economist gets in on the Murakami=Warhol kick. May soon become subscriber only. The title, “Infantial Capitalism,” scans well, and the reviewer notes that M.’s a better theorist than artist, but nothing much new save the copperplate prose.
More interesting that the Warhol angle: manga artist Eiji OOTSUKA elevating four-panel cartoonist Takashi MURAKAMI over the gallery artist. This will get even more interesting if Western critics throw their hands up and say, “we don’t get it,” while M.’s work becomes seminal in the East. In a way, it’s moot, because his sources are already that influential, even if his take on them falls away.
I translated David B.’s “La Bombe Familiale” for a friend ages ago, and I have a book of anime scripts lying around from back in the day. So the existence of the collaborative translation site Comics Influx came as a pleasant surprise. Especially nice is how it skirts the scanlation conundrum of people reading and not buying these things (at least the Japanese ones). (Link trail: Dirk > Katherine Farmar)
Finally, preparing for this lecture, I’ve been watching When the Levees Broke, which is remarkable for both its restraint and its comprehensiveness. Movies suck at not shoehorning everything into an ill-fitting box, but this one manages to give things shape without distorting the things themselves.