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Comics Exhibitions in Contemporary France: Diversity and Symbolic Ambivalence
Drawing on manga/comics studies and exhibition research, this essay examines the world-traveling exhibition Manga Hokusai Manga: Approaching the Master’s Compendium from the Perspective of Contemporary Comics by The Japan Foundation (started in 2016). After a brief survey of manga exhibitions in Japan, the discussion focuses on what the show in question “tells,” both verbally and visually, and what it “affords”: How are naturalized notions complicated, including the assumption that the artist Katsushika Hokusai coined the term manga and that the popularity of contemporary comics can be traced back to his Hokusai Manga? Does the priority of visual comparison at the expense of explicit verbal explanation facilitate Orientalist readings? Is the visitor positioned as student or partner? How is cultural content interrelated with media-specific forms? The essay’s closing section shifts the focus from representing “Japan” to representing manga, and a Postscript briefly reviews The Citi Exhibition Manga, held by the British Museum in 2019.
Following Art Spiegelman's declaration that 'the future of comics is in the past,' this book considers comics memory in the contemporary North American graphic novel. Cartoonists such as Chris Ware, Seth, Charles Burns, Daniel Clowes, and others have not only produced some of the most important graphic novels, they have also turned to the history of comics as a common visual heritage to pass on to new readers. This book is a full-length study of contemporary cartoonists when they are at work as historians: it offers a detailed description of how they draw from the archives of comics history, examining the different gestures of collecting, curating, reprinting, forging, swiping, and undrawing that give shape to their engagement with the past. In recognizing these different acts of transmission, this book argues for a material and vernacular history of how comics are remembered, shared, and recirculated over time.
On the surface, the relationship between comics and the high arts once seemed simple; comic books and strips could be mined for inspiration, but were not themselves considered legitimate art objects. Though this traditional distinction has begun to erode, the worlds of comics and art continue to occupy vastly different social spaces. Comics Versus Art examines the relationship between comics and the most important institutions of the art world, including museums, auction houses, and the art press. Bart Beaty's analysis centres around two questions: why were comics excluded from the history of art for most of the twentieth century, and what does it mean that comics production is now more closely aligned with the art world? Approaching this relationship for the first time through the lens of the sociology of culture, Beaty advances a completely novel approach to the comics form.
La bande dessinee est entree dans un processus complexe de reconnaissance et de denegation depuis une vingtaine d'annees, processus que l'on doit eclairer par les mutations du lectorat, du marche et des attitudes des auteurs. Un clivage entre BD artistiques et BD de masse se manifeste dans les dispositifs editoriaux, les publics concernes et les discours tenus. Mais si un « champ » s'est bien constitue, il demeure fragile. Les discours savants temoignent de l'ambiguite de la reconnaissance. Apres avoir conforte une vision degradante du medium, ils ont souvent accompagne ou provoque la legitimation, tout en conservant de maniere implicite une definition debilitante de la BD, ou en radicalisant l'opposition entre BD cultivees et BD de masse. Ceci nous semble vrai aussi de la sociologie des champs, qui a certes rendu compte avec le plus d'acuite des transformations sociales sous-jacentes au mouvement de « legitimation » aboutissant a la constitution du champ de la bande dessinee, mais sans prendre garde a ne pas reproduire une partie du discours dominant sur celle-ci.
The establishing of the cartoon field
Until recent times (1960-1970), the cartoon possessed the properties common to most of the symbolic goods produced for a wide-range audience : subjugation of producers to the laws of the market, anonimity, uniformity of products, etc. An ensemble of changes, without a doubt linked, for the most part, to the increase in school attendance, have been at the origin of the constituting of a "field" of the cartoon, possessing some of the properties of the fields of scholarly culture. The analysis of the process of the canonization of the cartoon is the opportunity to observe the modifications which the establishing of a specifie culture -of a relatively autonomous field, of a mechanism (reviews meetings, prizes, editors, institutions of learning, etc.) introduces in the producers'characteristics, in the formal properties of the works and in the type of relationship which the producers maintain toward the works.
Bande dessinée et figuration narrative
- Pierre Couperie
- Destefanis
- Proto
- François
- Edouard
- Horn
- Maurice
- Claude Moliterni
- Gassiot-Talbot Gérald
Couperie, Pierre, Destefanis, Proto, François, Edouard, Horn, Maurice, Moliterni, Claude and
Gassiot-Talbot Gérald. 1967. Bande dessinée et figuration narrative. Paris: Musée des Arts
Décoratifs.
Scénographie de la bande dessinée dans les musées et les expositions
- Jean-Philippe Martin
- Jean-Pierre Mercier
Martin, Jean-Philippe and Mercier, Jean-Pierre. 2005. "Scénographie de la bande dessinée
dans les musées et les expositions." In Art press Spécial, 26 : pp. 90-101.
Le rapport texte-image dans les expositions de bande dessinée : marginalisation de la narration et stratégies alternatives d'évocation de l'imaginaire
- Jean-Matthieu Méon
Méon, Jean-Matthieu. 2011. "Le rapport texte-image dans les expositions de bande dessinée :
marginalisation de la narration et stratégies alternatives d'évocation de l'imaginaire." Paper,
presented at the 9 th IAWIS Conference, Montreal, 22-26 Aug. 2011.
Tisser d'autres liens ? Pratiques éditoriales et discours critique de l'éditeur PictureBox : Indépendance et champ de la bande dessinée
- Jean-Matthieu Méon
Méon, Jean-Matthieu. 2014. "Tisser d'autres liens ? Pratiques éditoriales et discours critique
de l'éditeur PictureBox : Indépendance et champ de la bande dessinée." In La bande dessinée
Fig. 4 Artifacts, immersive scenography and art reproduction -Le Monde de Troy (2011)
Enjeux et stratégies de l'exposition de bande dessinée
- Pierre Couperie
Couperie, Pierre. 1997. "Autour du mouvement bédéphile" (interview with Nicolas Gaillard,
Apr. 1995). In Contre-champ, 1, pp. 18-19. Quoted in Daures, Pierre-Laurent. 2011. Enjeux et
stratégies de l'exposition de bande dessinée, master's thesis at the EESI, 67.
Edição comemorativa da primera exposição internacional de histórias em quadrinhos
- De Moya
- Álvaro
De Moya, Álvaro. 2001. Anos 50 / 50 Anos, São Paulo 1951 / 2001. Edição comemorativa da
primera exposição internacional de histórias em quadrinhos. São Paulo, SP: Editora Opera
Graphica.
Un objet culturel non identifié. Angoulême: Editions de l'An 2
- Thierry Groensteen
Groensteen, Thierry. 2006. Un objet culturel non identifié. Angoulême: Editions de l'An 2.
La bande dessinée : son histoire et ses maîtres
- Thierry Groensteen
Groensteen, Thierry. 2009b. La bande dessinée : son histoire et ses maîtres. Paris: Skira-Flammarion, Angoulême: Cité internationale de la bande dessinée et de l'image.
Trois regards sur un art
- Ambroise Lassale
Lassale, Ambroise. "Trois regards sur un art". In La bande dessinée : son histoire et ses
maîtres, edited by Thierry Groensteen, pp. 10-11. Paris: Skira-Flammarion, Angoulême: Cité
Bande dessinée et post-légitimité
- Eric Maigret
Maigret, Eric. 2012. "Bande dessinée et post-légitimité." In La bande dessinée : une
médiaculture, edited by Eric Maigret and Matteo Stefanelli, pp. 130-148. Paris : Armand
Colin and INA Éditions.