“I think one of our big strengths is that many of our books are art objects in and of themselves. And many people, not everybody, but many people want to have that object and don’t necessarily want to read it as a download or on a Kindle or Nook or iPad. I think that’s probably helped us sustain our sales, the fact that the books are beautifully designed and great to actually hold in your hands. I think we have that advantage over, say, a prose novel.” —Fantagraphics’ Gary Groth Discusses the State of Comics - Comic Book Resources
“Doing several things at once has been a way of remaining unemployed even in the midst of constant, inescapable unemployment. Writing, too, can be a form of unemployment within employment, and so is closer than ever to art.” —John Kelsey, “Preface”, Rich Texts: Selected Writing for Art (Sternberg Press, 2010:8).
“Digital first, from a business perspective, means driving the strategy to a digital future, no longer depending on the print crutch.” —Jeff Jarvis on the Guardian’s article and the future of print « BuzzMachine.
“The history of culture is in part the story of a protracted struggle for dominance between pictorial and linguistic signs, each claiming for itself certain proprietary rights on a “nature” to which only it has access. At some moments this struggle seems to settle into a relationship for free exchange along open borders; at other times (as in Lessing’s Laocoon) the borders are closed and a separate peace is declared. Among the most interesting and complex versions of this struggle is what might be called the relationship of subversion, in which language or imagery looks into its own heart and finds lurking there its opposite number.” —W.J.T. Mitchell, “Image and Word”, Iconology (Chicago and London: 1986) p. 43
“It is not sufficient to have the whole world at one’s disposal - the very infinitude of possibilities cancels out possibilities, as it were, until limitations are discovered.” —Roger Sessions, “Problems and Issues Facing the Composer Today”, Problems of Modern Music, Pit Lang (ed), New York: Norton (1962:31). As quoted by Nelson Goodman, Languages of Art, Indianapolis: Hackett (1976:127).
“The overriding desire of most children is to get at and see the soul of their toys.” —Charles Baudelaire, “A Philosophy of Toys”, The Painter of Modern Life and Other Essays, trans. Jonathan Mayne (London: Phaidon Press, 1964), 202-3.
“There are in fact several reasons, apart from purely autobiographical ones, why I am writing about comics. I have been bothered for a long time that it is nigh on impossible to see the original materials being analysed in most critical studies. Too many critics expect to take their descriptions on faith. Often they tell us their conclusion with only fragmentary quotations. When studying pieces of popular culture, very often they do not bother to note their sources. No dates, no edition numbers. It doesn’t seem to matter, since their description must be accepted. This is not a matter to be taken lightly. The way critics look at their materials is already conditioned by their theories of ideology and influence. If we want to question those theories, it is vitally important to be able to re-view those original materials.” —Martin Barker (1989), “Thinking About Ideology and Comics”, in Comics: Power, Ideology and the Critics. Manchester and New York, page 5.