Download PDF by Rosalind Krauss: Antivision

By Rosalind Krauss

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Are we going to have guilt-free comics? Is that a good thing? Spiegelman: That sounds awful to me. I remember my friend Jay Lynch, an underground cartoonist, used to hide copies of Playboy inside his Mad Magazine. [laughter] Then he reached an age where he had to flip it around. [laughter] But Mad was an important inspiration. I don’t know if it was a guilty pleasure. There was an essay by Robert Warshow admitting he was abashed at his interest in Mad. For me, Mad was the Codex. It was what ruined my life.

The benefits of such collaboration should not, however, be limited to digitally oriented fields. Areas such as comics, film, and game studies reward thick comparative analyses that benefit from multiauthor projects and extended dialogues. 8 This issue calls attention to the work of conceptualizing form by designing it—in short, to the critical work of making. )10 Programming and media design, too, are ways of thinking. Comics is a form where we see this kind of work happening in print culture; one needs to design in order to conceptualize the work.

Crumb’s Genesis or something? ) So the medium was born with a kind of unsavoriness. It was originally an unwanted byproduct of a printing process. Joseph Pulitzer wanted to bring art to the masses and he wanted to print the world’s great art and spent a lot of money making the color press to make it possible. And fortunately, for the degenerates amongst us here, it didn’t work. It couldn’t be done. The printing wasn’t good enough to print the Mona Lisa. It was fine for art with off-register color, and that meant the Sunday supplements got born the way we know them.

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Antivision by Rosalind Krauss


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