Brain Pickings

Posts Tagged ‘graphic nonfiction’

06 MAY, 2014

A Graphic Biography of Warhol

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Who shot Marilyn, and other illustrated anecdotes of Warhol’s fallible humanity.

As a lover of graphic biographies, including those of Sigmund Freud, Charles Darwin, Richard Feynman, Hunter S. Thompson, Steve Jobs, and the human brain, I was delighted for the release of This is Warhol (public library | IndieBound) — the first installment in a new series of graphic biographies of thirty famous artists by Scottish art historian Catherine Ingram. What makes the concept especially appealing is that, unlike most art history books, which tend to be either dry textbooks to be studied or lavish monograph-artifacts to be owned and admired, Ingram’s approach embodies Tolstoy’s assertion that art is about emotional infectiousness. She tells a living story, at once illuminating and vibrantly human, rather than weaving a static tapestry of facts. The result is a book that’s inviting without compromising its intelligence.

Alongside Ingram’s exploration of Warhol’s life and times — from his upbringing to the founding and denizenry of the Factory to how the “electric information age” shaped his aesthetic — is appropriately poptastic artwork by British illustrator Andrew Rae.

One of the most amusing anecdotes bespeaks how fluidly Warhol moved between art and life — how swiftly he integrated the two and how he experienced the latter as a smaller concentric circle that belongs, always and at all costs, inside the latter — but also how profoundly the backstory affects the way we confer value on art:

Four Marilyn silkscreens feature bullet holes through the idol’s forehead. How this came about is related by one of Andy’s groupies: “One day, Dorothy arrived, dressed in leather, with several friends in leather, and a Great Dane in his natural leather pelt. She peeled off her long leather gloves, pulled out her pistol, aimed at Warhol. Then at the last split second she shifted her aim to the stack of Marilyn Monroe portraits against the wall and fired.”

“Dorothy” was Dorothy Podber. When she left, Warhol turned to Billy Name, and said, “Please don’t let Dorothy do that again.” Once described as a “marvelous, evil woman,” Dorothy had a serious drug problem, and for a while she ran an illegal abortion clinic. She was banned from the Factory. The incident was a foreboding warning — four years later Factory-goer and feminist Valerie Solanas would enter the factory and shoot Warhol in the chest. Warhol decided that the damaged canvases should not be repaired. Sold as “The Shot Marilyns,” they raised the highest prices of all the Marilyn portraits.

Many of the stories, besides satisfying an art-lover’s craving for trivia factlets, speak to larger truths about the creative process — both Warhol’s own and in a general sense. For instance, the impetus for his famous 1966 Silver Clouds installation is a testament to the “slow churn” of creativity and the subconscious, long-term incubation of ideas: The idea for the show came to Warhol from a tea party he had attended at Salvador Dalí’s hotel suite a year earlier, where he had seen silver balloons floating around the room. Ingram, with her gift for metaphoric thinking that runs throughout the book, brings this back to Warhol’s biography:

There is an inherent fragility about the [Silver Clouds] installation: some balloons burst, all of them eventually deflated. The scene at the Factory was another silver bubble waiting to burst. For years the silent Warhol had held everyone’s attention. However, by the mid 1960s, as one reporter tells, “The waspish, silvery-haired Maharishi was in trouble, deep trouble. His world suddenly stopped caring, stopped knowing.”

Alongside Warhol’s ample commercial work are some of his side projects, such as Wild Raspberries, the little-known illustrated cookbook on which he collaborated with his mother and the legendary interior decorator Suzie Frankfurt.

Warhol’s world was the original golden age of the selfie, and the artist was among the first to embody what Susan Sontag would later call the “aesthetic consumerism” of photography. Ingram writes:

The self-portrait is a radical piece of art that embraces popular culture. Warhol uses a photo booth — the public camera found in railway stations and shopping malls that delivers cheap photos, “four-for-a-quarter” — and finds beauty in the throwaway, the intense, almost square frame and the sequence of stills, depicting a development in time.

Warhol promises nothing more than what the photomat delivers: “If you want to know all about Andy Warhol, just look at the surface of my paintings and films and me, and there I am. There’s nothing behind it.” However, that glossy surface is provocative. Described by many as a mirror, Warhol reflects the vacuousness of modern society in high resolution.

This is Warhol comes from British independent publisher Laurence King, who previously gave us the magnificent Saul Bass monograph and the fantastic series 100 Ideas That Changed Graphic Design, 100 Ideas That Changed Film, 100 Ideas That Changed Architecture, 100 Ideas That Changed Photography, and 100 Ideas That Changed Art.

Illustrations courtesy of Laurence King

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02 APRIL, 2014

Neurocomic: A Graphic Novel About How the Brain Works

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From the caves of memory to the castles of deception, by way of naughty neurotransmitters and giddy ganglia.

Scientists are only just beginning to understand how the brain works — from what transpires in it while we sleep to how to optimize its memory to what love does to it to how music affects it — and the rest of us fall somewhere on the spectrum between fascinated and confused when it comes to the intricate inner workings of our master-controller.

From British indie press Nobrow — who also brought us Freud’s graphic biography, those lovely illustrated chronicles of the Space Race and aviation, as well as Blexbolex’s magnificent No Man’s Land — comes Neurocomic (public library | IndieBound), a graphic novel about how the brain works. This remarkable collaboration between Dr. Hana Roš (and dog knows I love few things more than a female neuroscientist) and neuroscience-PhD-turned-illustrator Dr. Matteo Farinella, with support from the Wellcome Trust, explains the inner workings of the brain in delightful and illuminating black-and-white illustrations, covering everything from perception and hallucinations to memory and emotional recall to consciousness and the difference between the mind and the brain.

We take a stroll through a forest of neurons, then learn about neuroplasticity. (“This is the great power of the brain, it’s plastic!” they tell us in one of the most heartening and reassuring parts. “Once you learn something it is not set in stone, it’s continuously shaped by experience.”) We meet Pavlov and his famous studies of memory in 1897 Russia. We visit the haunting memory caves and the convoluted castles of deception.

This wonderful trailer for the film about the project, directed by Richard Wyllie, takes us behind the scenes of the duo’s marvelous collaboration and creative process:

Pair Neurocomic — which is gorgeous not only to behold but also to hold, bound in indigo fabric with silver-and-gold cover art — with the graphic biography of Charles Darwin, then dive deeper into the brain’s mysteries with the scientific riddle of left-handedness.

Images courtesy of Nobrow

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24 FEBRUARY, 2014

Freud’s Life and Legacy, in a Comic

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“You have to listen carefully. The unconscious mind is crafty.”

While Freud may have engineered his own myth and many of his theories may have been disputed in the decades since his heyday, he remains one of the most influential figures in the history of psychiatry and psychology. And yet for many, Freud is more metaphor than man and his name summons only a vague idea of his work — “something to do with penises,” our marginally informed collective conscience might whisper — rather than a true understanding of just how profoundly he influenced contemporary culture, from our mechanisms of consumerism to our notions about the self.

In recent years, the comic book genre has been applied to a wealth of graphic nonfiction for grownups, ranging from famous biographies to philosophy, but nowhere does the genre shine more exquisitely than in Freud (public library) — a magnificent biography-as-graphic-novel of the founding father of psychoanalysis by Swiss-born writer, economist, historian, and psychoanalyst Corinne Maier, illustrated by celebrated French cartoonist Anne Simon. Published by British indie press Nobrow — which also gave us Blexbolex’s brilliant No Man’s Land and some gorgeous illustrated chronicles of aviation and the Space Race — this unusual illustrated biography takes us through Freud’s life and legacy with equal parts scientific-historical rigor, sociocultural insight, and disarming wit, both visual and narrative.

From how his own childhood informed his ideas to his most famous cases, the captivating story weaves its way through Freud’s life to shed light on both the man and his metaphors for the mind.

Freud is absolutely fantastic from cover to cover. Complement it with Freud’s little-known correspondence with Einstein, then revisit the graphic biographies of Richard Feynman, Charles Darwin, Hunter S. Thompson, and Steve Jobs.

Images courtesy of Nobrow

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