Chris Ware je uznáván jako jeden z nejvýznamnějších a nejoblíbenějších kreslířů své generace. Jeho práce se vyznačuje jedinečným vizuálním stylem a hlubokým vhledem do lidské psychiky a mezilidských vztahů. Ware se často zabývá tématy jako je izolace, nostalgie a hledání smyslu v moderním životě, přičemž jeho příběhy jsou plné melancholie i jemného humoru. Jeho inovativní přístup k narativu a formě komiksu z něj činí klíčovou postavu současného umění.
Tak ven s tím. V dětství jste byli za a) celkem šťastní za b) ne tak šťastní, c) zdeprimovaní, d) zdeprimovaní a oškliví, či konečně za e) zdeprimovaní, oškliví a k tomu všemi opovrhování? Nu, jak myslíte, odpovídat nemusíte, ale pokud je vám na odpovědích b-e je cosi povědomého, pak je tento komiksový román pro vás. Komiksový román, který jako jediný svého druhu získal cenu Guardianu za nejlepší prvotinu. Komiksový román, který se směle vyrovná Mausovi Arta Spiegelmana či Padoucnici. Román, který osciluje mezi trpkou depresí a černým humorem. Nejpalčivější román o vztahu otce a syna, jaký pravděpodobně přečtete v několika následujících letech. A rázná odpověď školometským intelektuálům, kteří tvrdí, že komiks nám toho kromě superhrdinů nemá co nabídnout.
"A flabbergasting experiment in publishing hubris, [this book] charts the art and literary world's increasing tolerance for the language of the empathetic doodle directly through the work of one of its most esthetically constipated practitioners. For thirty years, writer and artist (i.e. cartoonist) Chris Ware (b. 1967) has been testing the patience of readers and fine art fans with his complicated and difficult-to-comprehend picture stories in the pages of The New Yorker, The New York Times and other charitable periodicals-- to say nothing of challenging the walls of the MCA Chicago and the Whitney Museum of American Art with his unevocative delineations and diagrams. Arranged chronologically with all thoughtful critical and contemporary discussion common to the art book genre jettisoned in favor of Mr. Ware's unchecked anecdotes and unscrupulous personal asides, the author-as-subject has nonetheless tried as clearly and convivially as possible to provide a contrite, companionable guide to an otherwise unnavigable jumble of product spanning his days as a pale magnet for athletic upperclassmen's' ire up to his contemporary life as a stay-at-home dad and agoraphobic graphic novelist. Shrewdly selected personal photos distract from justifiably little-seen early experiments littered among never-before-seen paintings and sculptures, all padded out with high-quality scans of original artwork publicizing jottings, mistakes, blunders and, especially, Mr. Ware's University juvenilia via which the reader can track a general cultural increase in tolerance for quality's decline since his work first came on "the scene." Expensive, heavy, and fashioned from the finest uncoated paper and soy-based ink, this thigh-crushing book is certain to cut off the circulation of all but the most active of comics boosters"--Amazon.com
Presents an illustrated tale, told in various books and folded sheets, about the residents in a three-story Chicago apartment building, including a lonely single woman, a couple who are growing to despise each other, and an elderly landlady -- Source other than Library of Congress
A major graphic novel event more than 16 years in the making: the new epic masterwork from the brilliant and beloved author of Jimmy Corrigan: The Smartest Kid on Earth and Building Stories. Rusty Brown is a fully interactive, full-color articulation of the time-space interrelationships of six complete consciousnesses on a single midwestern American day and the tiny piece of human grit about which they involuntarily orbit. A sprawling, special snowflake accumulation of the biggest themes and the smallest moments of life, Rusty Brown literately and literally aims at nothing less than the coalescence of one half of all of existence into a single museum-quality picture story, expertly arranged to present the most convincingly ineffable and empathetic illusion of experience for both life-curious readers and traditional fans of standard reality. From childhood to old age, no frozen plotline is left unthawed in the entangled stories of a child who awakens without superpowers, a teen who matures into a paternal despot, a father who stores his emotional regrets on the surface of Mars and a late-middle-aged woman who seeks the love of only one other person on planet Earth.
The legendary Norwegian pop artist Pushwagner’s scathing comics masterpiece—lost for decades, and never before published in the U.S.—is an epic vision of a single day in a world gone wrong: a brightly smiling, disturbingly familiar dystopia of towering skyscrapers, omnipresent surveillance, and endless distant war. “CLEAN BOMB THE HAPPY-HAPPY WAY,” blares the morning paper. “Heil Hilton!” barks an overlord on the news. Welcome to Soft City. Now don’t be late for work. This NYRC edition is a giant-sized hardcover extra-thick paper and spot-color throughout.
The popularity of the graphic genre continues to rage, and The Best American Comics is a diverse, exciting annual selection for fans and newcomers alike. The inaugural volume includes stories culled from graphic novels, pamphlet comics, newspapers, magazines, mini-comics, and the Web.Contributors include Robert Crumb, Chris Ware, Kim Deitch, Jaime Hernandez, Alison Bechdel, Joe Sacco, and Lynda Barry—and unique discoveries such as Justin Hall, Esther Pearl Watson, and Lilli Carré.
