Week 8 – Snap, Crackle, Strip! | This week we look at Comic Strips in art and poetry | #NRRTG #LPRTG #PopArt

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Week 8 – Snap, Crackle, Strip!

Comic Strip Style Pop Art by Roy Lichtenstein with accompanying Comic Strip Style Poetry. 

Click the Image to Enlarge (and read)

Most of you will know “Drowning Girl” by Lichtenstein best. You may have seen me use it with a mock-caption of my own in Week One of this Snap, Crackle, Art by MJ stuff for the Too Pedantics, err, Blue Semantics, oops, Stew Gigantics, err sorry, I meant Necromatics, blah blah…Nu Romantics. That’s the one.

Lichtenstein’s paintings have sold for millions of dollars but they may be blatant rip-offs of some other artists toiling away for DC Comics and other locations.

Indie authors may not be the only ones guilty of copycatting. Perhaps a Sarchasmo character cockslapping fools (geni.us/Sarchasmo & geni.us/Sarchasmo2) was needed to mete out justice for some of those who penned comic strips. I’m only half-kidding. Lichtenstein’s relationship to criticism was complex at best. 

Anyway, I digress.

Most of Lichtenstein’s best-known works are relatively close, but not exact, copies of comic book panels, a subject he largely abandoned in 1965, though he would occasionally incorporate comics into his work in different ways in later decades. These panels were originally drawn by such comics artists as Jack Kirby and DC Comics artists Russ Heath, Tony Abruzzo, Irv Novick, and Jerry Grandenetti, who rarely received any credit. Jack Cowart, executive director of the Lichtenstein Foundation, contests the notion that Lichtenstein was a copyist, saying: “Roy’s work was a wonderment of the graphic formulae and the codification of sentiment that had been worked out by others. The panels were changed in scale, color, treatment, and in their implications. There is no exact copy.” However, some have been critical of Lichtenstein’s use of comic-book imagery and art pieces, especially insofar as that use has been seen as endorsement of a patronizing view of comics by the art mainstream cartoonist Art Spiegelman commented that “Lichtenstein did no more or less for comics than Andy Warhol did for soup.”

Like I said, I digress.

What I want to get to is the idea of comic strips as poems. See some from ‘The Poetry’ and ‘The Poetry Foundation’. These little comic strips are poems. They have rhythm. They show the history of an emotion. Some of them even rhyme. I think they are a lot of fun. Check a few out. Click the Images to Enlarge. 

 

 

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Biography of Lichtenstein From Wikipedia:

Roy Fox Lichtenstein (pronounced Funkenstein, just kidding, it’s lɪktənˌstaɪn/; October 27, 1923 – September 29, 1997) was an American pop artist. During the 1960s, along with Andy Warhol, Jasper Johns, and James Rosenquist among others, he became a leading figure in the new art movement. His work defined the premise of pop art through parody. Inspired by the comic strip, Lichtenstein produced precise compositions that documented while they parodied, often in a tongue-in-cheek manner. His work was influenced by popular advertising and the comic book style. He described pop art as “not ‘American’ painting but actually industrial painting”. His paintings were exhibited at the Leo Castelli Gallery in New York City. His patron was Gunter Sachs.

Whaam! and Drowning Girl are generally regarded as Lichtenstein’s most famous works, with Oh, Jeff…I Love You, Too…But… arguably third. Drowning Girl, Whaam! and Look Mickey are regarded as his most influential works. His most expensive piece is Masterpiece, which was sold for $165 million in January 2017.

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Week No. 3 – Snap, Crackle, Art [mirror of FB post on Nu Romantics]

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I’m doing a weekly feature on Pop Art for the Nu Romantics. Click to see past posts. This week is week no. 3 – Snap, Crackle, Art featuring the work of Sir Eduardo Paolozzi
Yeah, it is the Fourth of July but since America certainly doesn’t deserve a Birthday this year I thought I’d keep the pop art cumming, spewing, frothing at the mouth even though it’s a holiday on paper for Americans which many Nu Romantics are although I’d dare them to explain basic US law to me. Anyways, I mean, what’s life without routine? What’s an MJ post without digression and misdirection. So last week was lips, I’ll include some $th (stet) of July lips for shits and giggles. Then, I’ll get into the murky alligator infested waters of Week Three featuring Eduardo Paolozzo (because why not feature a Brit who was born in Scotland of Italian parents on American Blow-Your-Fingers-Off-Your-Hand and Believe-some-BS-stories-about-Flagmaking Day).
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Now personally, I find these Eduardo Paolozzi pieces eerily prophetic about the mess we are in right now in 2017 kind of at a halfway purgatory between cave paintings and technology. I mean, we have iPhones and NASA yet most people use their phones to read fake news and get their fifteen minutes of fame cut into 7 second bites they accrue daily and poor NASA just this week had to debunk an Alien Child Slave Colony on Mars. So, the more we’ve progressed, the more we are grunting and stenciling our names into the rock while not able to decipher shadow from corporeal reality.
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Check out the artwork below and answer the three questions, if you feel daring, sexy, and a little lonely on the side:
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  1. What do these pop art pieces speak to? Did Eduardo predict the world being owned and controlled by Amazon and other algorithms? Did he foresee our inability to discern truth from bullshit? As you know, the motto of 2017 is “Bullshit is Truth, Truth Bullshit”
  2. Do you like the art? What does it remind you of?
  3. Are these pieces romantic? sarcastic? or something else?
  4. Do you believe there’s a Child Slave Colony on Mars
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PERSONAL SIDE NOTE: I get a kick out of indie authors bitching that Amazon didn’t approve a cover or something as if Amazon is a bunch of old ladies knitting around a campfire. The indie authors invariably get angry that “amazon didn’t even respond.” Like in the artwork of Paolozzi, the whole machine is run by algorithms and computers and patterns and patterns and patterns. If you ask me, wrestling with an algorithm is an exercise in futility.
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FUN FACT: Like many Italians in English-speaking countries during WWII, Paolozzi was held at an internment camp.
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Artwork Credit:
Each piece is by Eduardo Paolozzi except the lips (unknown artist)
 
#PopArt #SnapCrackleArtbyMJ #smutpunk | Week No. 3 – Snap, Crackle, Art
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See more Pop Art from my Pinterest