- Hardcover: 208 pages
- Publisher: Fantagraphics Books (August 11, 2009)
- Language: English
- ISBN-10: 1606991574
- ISBN-13: 978-1606991572
- Product Dimensions: 8.3 x 1.1 x 11.1 inches
- Shipping Weight: 2.8 pounds
- Average Customer Review: 8 customer reviews
- Amazon Best Sellers Rank: #536,552 in Books (See Top 100 in Books)
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Abstract Comics Hardcover – August 11, 2009
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“The artists assembled by Andrei Molotiu for his anthology Abstract Comics push 'cartooning' to its limits... It’s a fascinating book to stare at, and as with other kinds of abstract art, half the fun is observing your own reactions...”
- Douglas Wolk, The New York Times Book Review
“An impressive collection of old and new work with unique pages covering exactly what the title says... bold... intriguing... This is a book for readers who like fine art or those who would like to expand their sequential art experiences. A hearty slap on the back for Fantagraphics for choosing to create this marvelous example of a widely unknown artistic expression.”
- Kris Bather, Comic Book Jesus
“[Abstract Comics] is designed beautifully... The content serves as a great introduction to a genre of comics that few people knew existed. Molotiu takes somewhat of a scholarly approach to the content, placing the concept of abstract comics within art history in his introduction. He makes a good case... Overall, this is a cool concept and I was surprised by it. I think it’s definitely going to cause some debates about what comics are and are not, and that’s a good thing.”
- Eden Miller, Comicsgirl
“A revealing, thought-provoking and genuinely lovely book that I'll be sure to be rereading in the months to come.”
- Chris Mautner, Robot 6
“[Abstract Comics] did dare me to eschew my 'western' values of linear, results oriented thinking and simply give way to my intuitive understanding of the art before me . . . to see comics stripped of their representational elements does amplify certain things that are so unique about the medium and probably reveals its potential even more fully. These are comics to be experienced.”
- Jason Newcomb, StashMyComics
“Molotiu has created a fun and accessible anthology here, one that’s smart and well-researched but not in the slightest bit obtuse. You don’t need to be an art snob to appreciate it; you just need an open mind. With that, the reward for Abstract Comics is quite lovely. And quite possibly a good opportunity for you to increase your appreciation for the comics format exponentially.”
- John Hogan, Graphic Novel Reporter
“The anthology highlights the wide variety of approached taken to the combination of abstraction and sequential art―approaches resulting in work that is not only graphically bold, but also often proves to be surprisingly humorous or emotionally disturbing.”
- The Geek Curmudgeon
“Abstract Comics exists as a testament to the fact that comics like these―investigations of rhythm, colour, layout―can indeed be created…a manifesto for the genre…these are all curious, inquisitive works of cartooning, regardless of their abstraction.”
- Sean Rogers, The Walrus
“Needless to say, one could study the art found within Abstract Comics: The Anthology for months, or one could flip through the entire thing in five minutes, and the conclusions one could draw from either experience of the volume could easily be justified as informed and insightful.”
- Alan David Doane, Comic Book Galaxy
“Abstract Comics, perhaps more so than any other recent comic release, highlights the way in which the comics world is markedly changing. Comics are indeed reaching across more disparate audiences and being found in a much wider selection of venues. But what might be the implications of this?... If nothing else, it seems that Abstract Comics makes explicit that the line between comics and high art is beginning to disappear.... Abstract Comics is a necessary addition to the comics canon in that it forces us to continue to think what exactly constitutes the comics form.”
- Sara Cole, PopMatters
About the Author
Andrei Molotiu is an artist and art historian living in Bloomington, Indiana. He is the author of Fragonard’s Allegory of Love. Nautilus, a collection of his abstract comics, is forthcoming from Danish publisher Fahrenheit.
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When approaching Abstract Comics some reader reorientation may be required. Robert S. Peterson laments in his review that he was hoping for a book he could "open up and pour over" in the same manner he would Tom Phillips' A Humument (a brilliant piece of visual poetry). The reason for this defeated expectation may lie in the optimal method of digestion of one work vs the other. While A Humument may bear some resemblance to the works on display in Abstract Comics, it is a book composed of both words and pictures with the latter being composed of pictures exclusively. You can read A Humument as you would any work of comics, reading text while simultaneously taking in visuals. Reading Abstract Comics requires a different process of digestion as the normal vehicle of assimilating a narrative (text) is absent. The reader is not even aided by the presence of representational visuals as one might be in a more typical wordless comic or woodcut novel. You should approach these works in a manner similar to the way you might view a painting or sculpture. Look. Stare. Spend some time with each panel. See what it has to say. Think about it one way then another. There's nothing to decipher in the sense of a decoder ring or elaborate puzzle.
The range of the works on display here is impressive. Some standouts for me (along with some subjective interpretations and comparisons) include: Blaise Larmee's I Would Like to Live There, a minimal but highly evocative piece, suggesting a lonely but inviting world of life just outside a city (possibly a homeless encampment); Derik Badman's Flying Chief, simple and meditative, it reminds me of Asian woodblock prints (it's also interesting from a formal perspective as detailed in the artist's bio); Mark Badger's Kung Fu (the original 1980 version), another interesting formal experiment, reminds me of that most comics-like of Cubist works, Duchamp's Nude Descending A Staircase; editor Andrei Molotiu's The Panic is the closest piece here that brings to mind the psychic energy of Kirby-style superhero comics with its heavy chaotic blacks over luminous colors; and Janusz Jaworski's various pieces that come off like comic strips from the Codex Seraphinianus.
The only complaint I can make is that the book may be too short. The addition of a semi-lengthy piece (15-25 pages or so) could possibly have provided a fuller picture of abstract comics' abilities. Regardless, this is a small quibble with a book that may represent a course change in how comics are perceived and produced in the coming years.
Most of the illustrated works are no more "sequential" than if one were to take a Jackson Pollack reproduction and stick a grid of boxes over it--great painting, yes--a sequential comic because of the panel grid, no. Neither is putting a panel grid over a group of abstract images (no matter how attractive individually) that have no sense of visual or intellectual order (sequence)in their grouping. Many of the works are attractive, despite having no sequence I can find, and that attractiveness plus the enjoyable, great variety of them, makes this book, on that level, worth having--worth adding to the great variety of comic and graphic novel styles I own. I can imagine, with this book as inspiration, much new and advanced sequential art in the future.
As for the introductory matter, I find it very frustrating. Presumably the "paragraphs" of abstract symbols, followed by the English language words that one might assume, are the translation, are some sort of joke that takes up space. Or is there really a way to "read" the symbol paragraphs? In any event, the space taken up by this joke maybe was a cause for making the English text so tiny in order to conserve space, that it is a strain to read. Making that English text not only tiny but red instead of the more readable black just compounds the annoyance. Maybe the small size and color were a conscious attempt to undercut the whole idea of introduction/interpretation.
Buy the book for its attractive variety of amusing and mostly esthetically enjoyable art, but don't expect much of what I'd call "sequence."