"This day's experience, set in order, none of it left ragged or lying about, all of it gathered in like treasure and finished with, set aside." –Alice Munro, "What is Remembered"
From The Hand of Fate #9 (February 1952), here’s “Vengeance from a Restless Grave,” with art by Louis Zansky:
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To view all of the stories (in the public domain!) with art by Louis Zansky that I’ve posted so far, start here.
From The Hand of Fate #14 (November 1952), here’s “Devilish Dolls of Death,” with art by Louis Zansky:
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To view all of the stories with art by Louis Zansky that I’ve posted so far, click here.
From Crime and Punishment #70 (December 1954), here’s “Frankie Garson the Bookie King”; the artist is uncredited, and the Grand Comics Database is no help in this instance, but judging by the odd landscapes, the distinctive character types, the loose but economical inking, and the thoughtful panel compositions, I’m fairly confident that the artist is our old friend Louis Zansky, whose work in comics has, for the most part, fallen into the public domain and is thus ripe for collection by some enterprising publisher with shallow pockets and questionable taste:
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To view all of the stories (in the public domain) with art by Louis Zansky that have appeared on RCN since January of this year, click here.
And, all joking aside, I wouldn’t have posted all of those stories if I didn’t think highly of Zansky’s work in comics. It’s just a pity that he dropped out of the business before he had a chance to work with some better scripts.
So I clicked a link, posted on Twitter, that led to an article entitled “Jean-Paul Goude’s legendary photographs inject a bit of humour into fashion,” and since I rather liked the image of fashion models sprinting down a track and crossing the finish line…
… I clicked through to the photographer’s website and began to browse through the images. And then I noticed the image of a woman, in parts, in a box, an image that bears the title Anatomically Incorrect:
Which, if you read comics, will no doubt instantly remind you, as it did me, of one of the most startling covers and opening sequences ever created by the great Jack Kirby, whose legendary body of work is packed to the rafters with startling, visionary imagery:
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From Out of This World Adventures, vol. 1, no. 1, here’s “The Man-Eating Lizards,” with script by Edward Bellin and art by the late great Joe Kubert:
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To view other posts here at RCN that highlight the comics, conjectures, and career of Joe Kubert, click here.
From Out of This World Adventures, vol. 1, no. 1, here’s “Lunar Station,” with script by John Michel and art by the late great Joe Kubert:
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To view other posts here at RCN that highlight the comics, conjectures, and career of Joe Kubert, click here.
From Out of This World Adventures, vol. 1, no. 2, here’s “Kenton of the Star Patrol: The Corsairs from the Coalsack,” with script by John Michel and art by the late great Joe Kubert:
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To view other posts here at RCN that highlight the comics, conjectures, and career of Joe Kubert, click here.
From Amazing World of DC Comics #1 (July/August 1974), here’s an interview with Joe Kubert that was conducted by Guy H. Lillian III:
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From Meef Comix #2 (May 1973), here’s “The Electronic Music Concert” by under-appreciated comix humorist Fred Schrier:
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Why can’t I click on over to my favourite online bookstore and buy a fat hardcover collection of Fred Schrier’s underground comics?
Because the world isn’t arranged to please me, that’s why!
At one of the local Thrift Stores a few days ago, I came across a stack of back issues of The Photo from the 1980s. Although most of the information in The Photo is out of date for those of us who have embraced the digital age, I still managed to pick out five issues that had articles and other features of interest to me. In fact, the first issue I picked up, the one that was right at the top of the pile — The Photo #22 (1981) — included an article called “Simple Montages” that I thought would be perfect to share here on RCN. One thing I noticed right away about The Photo is that the magazine regularly featured articles about how to photograph the (female) nude, which very strongly indicated to me here in 2012 that the editors circa 1981 thought the magazine’s readership was mostly men! Another thing I noticed is that, although the covers of The Photo generally featured the usual shots of athletes in action, picturesque landscapes, wildlife hi-jinks, etc., every once in a while they would feature a subject that was a little more provocative. Think of it as “fan service” for photo buffs. Or casual sexism in the service of sales, if you prefer. Either way, enjoy!
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Now I don’t know about you, but whenever I see a photograph, painting, drawing, etc., of a naked woman, or even just an image of a beautiful woman period, I wonder how much of my response to the image, if my response is positive, is due to the presence of the naked and/or beautiful woman and how much is due to the formal qualities of the image…
Could a magazine sold in drugstores in 2012 get away with a cover image like the one featured on the front of The Photo #19 back in 1981? Somehow I doubt it…
Ragged Claws Network 