- Hardcover: 304 pages
- Publisher: Harry N. Abrams; Reprint edition (March 1, 2010)
- Language: English
- ISBN-10: 0810988240
- ISBN-13: 978-0810988248
- Product Dimensions: 8.2 x 1 x 11.2 inches
- Shipping Weight: 3.2 pounds (View shipping rates and policies)
- Average Customer Review: 8 customer reviews
- Amazon Best Sellers Rank: #522,919 in Books (See Top 100 in Books)
Enter your mobile number or email address below and we'll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required.
To get the free app, enter your mobile phone number.
Other Sellers on Amazon
+ $7.99 shipping
Art in Time Hardcover – March 1, 2010
See the Best Books of 2018 So Far
Looking for something great to read? Browse our editors' picks for the best books of the year so far in fiction, nonfiction, mysteries, children's books, and much more.
Frequently bought together
Customers who bought this item also bought
From Publishers Weekly
This isn't exactly a sequel to Nadel's celebrated 2006 anthology Art Out of Time, but a companion, he explains in its introduction. In fact, there seem to be three different collections of comics bypassed by conventional wisdom jostling for room here. One is work by well-known cartoonists in genres outside their specialties (like two horror stories by John Stanley, better known for his work on Little Lulu and other kid-humor comics, and war-comics artist Sam Glanzman's peculiar jungle adventure, Kona). Another continues the Art Out of Time project of unearthing forgotten, distinctive pulp-comics stylists. Pete Morisi's Johnny Dynamite noir-PI stories, for instance, are clichéd far past the point of parody, but there's something weirdly compelling about his figures' stiff, pained look, and Pat Boyette's 1967 Children of Doom is an intriguing variation on the sci-fi illustration style of its era. A third subset of the book's 14 artists are underground cartoonists with very different aesthetics from the 10-cent adventures they're sandwiched between: Sharon Rudahl, Michael McMillan, Willy Mendes, and John Thompson (a Rick Griffin–inspired psychedelic artist whose tripped-out, classicist Cyclops Comics is the oddest rediscovery). Nadel doesn't quite manage to draw the lines that connect this volume's artists, but he's spotlighted some intriguing work. (May)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Top customer reviews
There was a problem filtering reviews right now. Please try again later.
And some of the stories collected here certainly are strange : I mean, REALLY strange. All the 1940's/50's ethnic stereotypes are here : The Anglo Saxons depicted are held up as 'regular stand up guys', the Irish are hoodlums and thugs, paid killers and riverside-bar crooks,the Ashkenazim characters are nervous looking academics or pensive,austere psychiatrists,or lonely outsiders in some God forsaken Eastern European village, whilst the Mediterranean/Italian/Spanish characters are pastel Zoot suited criminals, with greased back hair,and scarred, 'evil' features.
It is a handsome volume, bound in a sturdy,heavy hardback cover. The stories are printed on high sheen glossy paper,the frames reproduced from original tatty comic books with yellowed, creased and cracked pages from decades of wear and light exposure, all of which gives the reader the wonderful feeling of stumbling across a long lost stash in some weird, dusty inner-city junk store.
The stories are divided into diverse categories :
The bulk of the stories are pre EC horror, apparently inspired by 18th/19th century and pre war Eastern European folk tales from Lithuania, Latvia, Ukraine and Ireland, mixed with other bizarre narratives, clearly influenced by the neurosis and paranoia of wartime Europe.
Then there are the psychedelic science fiction/horror stories from the mid 60's, heavily influenced by cold war antagonisms and fear , centring on the possibility of a world consumed by nuclear or chemical warfare -- these are tales of weird planets, peopled by Ashkenazim refugees,conservative pipe smoking English gentlemen, pre hippy beat characters who look like they have been smoking reefers with Charlie Mingus, and wild scientists with rockabilly hairdos and well cut suits.
There are also a few mediocre 'boy's own' type tales included here, focusing on cosy 1920's Anglo Saxon small town USA, a calm terrain only broken in these stories by 'dark Mediterranean and Shephardim' outsider characters, pushing at the psychic edge of the 'regular good guy' Anglo Saxon Protestant societies.
'Art in Time' also collects a few late 70's head comics, with their focus on mysticism,drugs,alternative worlds,kabbalah, sex, sex, sex and.... more sex...Truth be told, these are really not the best examples of their genre, and I wonder if they should have been included here at all. They do not stand out, either artistically or in their narratives. There surely were some great head comics around in the early to late 70's, in Europe and in USA -- but these are certainly not them, and they let down the standard of the whole volume.
Another draw back is that they really should have added more stories : other volumes in the same market ( "Four Colour Fear" , "The Horror, the Horror" ) have added many,many more stories in their editions for the same prices, and still managed to deliver the "aesthetic experience" /careful packaging too. I really felt that more stories should have been added here.
Besides that -- "Art in Time" is an excellent project, and let's hope part two is on its way.
I like digital scans because they are truest to the artist's intent. Most of the reprint books on the market, like the Marvel Masterworks, or DC Archives, are using restorations. The production crew takes a color comic and bleaches the color out, leaving the black line work. Of course the line work is not intact and requires "restoration," or, in other words, re-drawing. The re-drawing is done by journeymen inkers who could not make it in comics so they are working in restorations instead. In other words, they are less than mediocre artists, and here they are trying to follow the line work of the greats. If the original was inked with a brush it is impossible to replicate accurately, so you can imagine how far off the line work restoration is when in the hands of a barely passable artist.
In a digital scan everything that you see was drawn by the original creators. There is some clean-up and color correction involved, and the colors may not be 100% accurate, because frankly perfection isn't possible. Digital scans, to my eye, look terrible on glossy paper. Glossy paper is less absorbent, so the colors don't look very good, the precious line work that the digital scans are being used to preserve, is not accurately replicated on glossy paper, and in some areas looks down right muddy. I feel the gloss works against the look of the scanned comic - they clash, so to speak.
Digital scans are used so that the comics look close to how the artists intended the comics to look when they created them. The artists, including the colorist, did not mean for this work to be shown on glossy paper. Compare an old four color comic on matte paper with a new glossy paper comic book, and you can see there is a great difference in the look.
I am not going to keep this collection because it looks horrible to my eye. However, I can make some suggestions for anyone looking for digitally scanned comic anthologies, done on high quality matte paper. If you have never read a comic collection done with high quality scans, I suggest starting with one of these.
Four Color Fear: Forgotten Horror Comics of the 1950s A collection of golden age horror comics from Fantagraphics. The scans are of the highest quality possible, and they are printed on an off white bond - this is book has the highest production values, and is the most accurate to the look of the original comics I've seen.
Supermen!: The First Wave Of Comic Book Heroes 1936-1941 A collection of superhero comics from the very beginnings of the American comic book. Published by Fantagraphics as well, and also edited by Greg Sadowski, another high quality production.
The Horror! The Horror!: Comic Books the Government Didn't Want You to Read! Another horror comic collection, but with a lot of text from the editor on the history of the horror comics, and scores of covers. Published by Abrams, it is a high quality production, tho it doesn't match the best from Fantagraphics. It's more of an art book, however, it is beautiful, tasty eye candy.
The Simon and Kirby Superheroes A collection of golden age comics from the greatest art and writing team of the golden age, Joe Simon and Jack KIrby. Published by Titan, on a pure white heavy matte bond. The white paper takes away a bit from the authentic look of these scans, but the brighter look works with the tone of the stories. Titan also put out a "Best Of Simon and Kirby" which includes stories from all genres, but there is some crossover.
Strange Suspense: The Steve Ditko Archives (Vol. 1) (The Steve Ditko Archives) This volume is the first in what is intended as a digitally scanned, chronological reprinting of the work of Steve Ditko, edited by Blake Bell. The scan quality is high, but the work is dicey, as it is the very beginnings of Ditko's career, and the writing is typically mediocre-to-bad comic book writing. There is a second volume in the works: Unexplored Worlds: The Steve Ditko Archives (Vol. 2) (The Steve Ditko Archives)
I Shall Destroy All The Civilized Planets! Fletcher Hanks wrote, drew, inked, and colored his comics himself, in the dawn of the American comic book superhero. Hanks' work is crude, but oddly operatic. It's fun, entertaining, but certainly some of the most simple minded superhero comics ever made - the plots are nearly identical. Hanks art fascinates because it's so bizarre, as is the violently inventive fate of the villians. For some reason the alternative comic Intelligentsia thinks Hanks is a genius, and lauds him over true genius's like Jack Kirby - why? I have no idea. They see more in this guy then is really there, that's for sure.
DC has put out some of Simon and KIrby's early work in digital scans as well, the Golden Age Sandman and The Newsboy Legion. Unfortunately, DC did things on the cheap, using a low quality matte paper, with low quality scans that aren't very accurately color corrected. They're printed in a book that is much smaller than the size of the original golden age comic books. All in all, I'd say these are for Simon and Kirby diehards only. They just aren't very well done.
It covers all the stuff I love in comics: crime, horror, early psychedelic stuff, 60s sci-fi, but what's best about it is that each story either avoids the usual cliches or hits them so hard as to be completely over the top. I found tons of people here that I need to check out more from: Matt Fox and his brilliantly stilted horror, the weird Wally Wood-esque Pat Boyette, Pete Morisi's amazing hard-boiled eye-patch wearing detective Johnny Dynamite.
I'm not a mylar bag-and-board guy, so I love that the texture of the originals is right there in the book...it feels like you're sharing someone's private stash that's been hidden under a bed for years. For me, this book has been a great introduction to a whole batch of amazing artists and definitely a "must buy" for any fan of comics.