The modern history of art has been largely the history of artist subcommunities, bound by common interest and usually but not always by geography. Michelangelo fraternized with colleagues, burned with rivalry for Leonardo, and clucked his tongue at Titian. To be in Paris in the 1920s was to glimpse Pablo Picasso in conversation with Gertrude Stein and Ernest Hemingway. Continue Reading
T Campbell examines the charges of "sell out" thrown at various creators in webcomics such as Scott Kurtz, Peter Zale, Pete Abrams and Jonathan Rosenberg and advises creators to "sell, sell, sell!"
They look freakish. The noses are askew, the nostrils invisible. The eyes are beady little pinpricks, and the mouths have no lips, just parabolic cracks. They exist independent of anything else; they're just a few bits of black on endless white space.
Yet without the “emoticons,” the webcomics of today would be slower to recognize a fundamental human truth. We all recognize them – they look like typographic versions of the first faces any of us ever drew. And to understand their use, we have to go back in time to discover their prototype: the smiley-face.
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