Difference between revisions of "Polyepoxy"
m (Text replacement - "Category:Conceptual comics Category:Artists' publishing" to "Category:Artists' publishing Category:Conceptual comics") |
|||
| Line 5: | Line 5: | ||
|image_size = 250px | |image_size = 250px | ||
|language = [[language::French]] | |language = [[language::French]] | ||
| − | |publisher = [http://www.paulcuvelier.org/?p=7895 Fondation Paul Cuvelier] | + | |publisher = [http://www.paulcuvelier.org/?p=7895 Fondation Paul Cuvelier] (16€) |
|pub_city = Brussels | |pub_city = Brussels | ||
|pub_date = [[pub_date::2017]] | |pub_date = [[pub_date::2017]] | ||
|pages = 92 | |pages = 92 | ||
| − | |format = | + | |format = 17.2 cm x 11 cm |
|fabrication = Offset, paperback | |fabrication = Offset, paperback | ||
| − | |ebook = [[Media:Joubert Bernard Polyepoxy 2017.pdf|PDF]] | + | |ebook = [[Media:Joubert Bernard Polyepoxy 2017.pdf|PDF]] (24 mb) |
}} | }} | ||
Discussed in the pages of the influential comics reader ''Eprouvette n° 1'' (2006), ''Polyepoxy'', published by the Foundation Paul Cuvelier in Brussels, explores "the most plagiarized comic panel": the manifold unsolicited iterations of a drawing from Cuvelier's ''Epoxy'' (1968) depicting a naked Olympia looking behind her shoulder. Bernard Joubert literally leafed through thousands of magazines to document the exact same pose in more than 40 different drawings, particularly in the productions of Italian erotic fumetti, but also elsewhere. ''Polyepoxy'''s aesthetics are forensic, with a feel that would have appealed to Lev Manovich's analysis of cultural data or to Franco Moretti's distant reading: the publishers of the book took care to title and date the different findings from the cheaply printed trade paperbacks and reproduce the fragments in the exact size they had been printed. ''Polyepoxy'' demonstrates the self-reflexivity of the comic medium and how pervasive swiping practices are in the just-in-time production standards of its economy. It also reflects on how graphic objects move across time and activate different semantic networks only to ultimately confirm the highly gendered nature of the industry's imagination. | Discussed in the pages of the influential comics reader ''Eprouvette n° 1'' (2006), ''Polyepoxy'', published by the Foundation Paul Cuvelier in Brussels, explores "the most plagiarized comic panel": the manifold unsolicited iterations of a drawing from Cuvelier's ''Epoxy'' (1968) depicting a naked Olympia looking behind her shoulder. Bernard Joubert literally leafed through thousands of magazines to document the exact same pose in more than 40 different drawings, particularly in the productions of Italian erotic fumetti, but also elsewhere. ''Polyepoxy'''s aesthetics are forensic, with a feel that would have appealed to Lev Manovich's analysis of cultural data or to Franco Moretti's distant reading: the publishers of the book took care to title and date the different findings from the cheaply printed trade paperbacks and reproduce the fragments in the exact size they had been printed. ''Polyepoxy'' demonstrates the self-reflexivity of the comic medium and how pervasive swiping practices are in the just-in-time production standards of its economy. It also reflects on how graphic objects move across time and activate different semantic networks only to ultimately confirm the highly gendered nature of the industry's imagination. | ||
Revision as of 09:27, 10 October 2020
 | |
| Author | Bernard Joubert |
|---|---|
| Language | French |
| Publisher | Fondation Paul Cuvelier (16€) |
| City | Brussels |
| Date | 2017 |
| Pages | 92 |
| Format | 17.2 cm x 11 cm |
| Fabrication | Offset, paperback |
| E-book | PDF (24 mb) |
Discussed in the pages of the influential comics reader Eprouvette n° 1 (2006), Polyepoxy, published by the Foundation Paul Cuvelier in Brussels, explores "the most plagiarized comic panel": the manifold unsolicited iterations of a drawing from Cuvelier's Epoxy (1968) depicting a naked Olympia looking behind her shoulder. Bernard Joubert literally leafed through thousands of magazines to document the exact same pose in more than 40 different drawings, particularly in the productions of Italian erotic fumetti, but also elsewhere. Polyepoxy's aesthetics are forensic, with a feel that would have appealed to Lev Manovich's analysis of cultural data or to Franco Moretti's distant reading: the publishers of the book took care to title and date the different findings from the cheaply printed trade paperbacks and reproduce the fragments in the exact size they had been printed. Polyepoxy demonstrates the self-reflexivity of the comic medium and how pervasive swiping practices are in the just-in-time production standards of its economy. It also reflects on how graphic objects move across time and activate different semantic networks only to ultimately confirm the highly gendered nature of the industry's imagination.
