Tuesday, April 14, 2009


Franz Kirby? Jack Kline?


  1. this is cool.

    i like how "black bolt" upper L
    1st panel draws attention & "maximus"
    kinda brings an association w/ AmAbEx
    (mostly Motherwell), but Kline taught
    at Black Mountain College & Charles
    Olson figured prominently there too,
    Maximus being Olson's "masterwork" --
    the 4 lines of text in that upper L
    corner create a setting, specific place,
    a central concern of Olson's longpoem,
    "to grow, to spread" echoes inna almost
    eldritch manner the Olsonian technique
    of "open field".

    what is this Thing & what are we
    s'pposed to do withit?!?!?

    bloody blamed hell!

    of interest as well, to me, is how the
    broad brushwork cohabits w/ the source
    images, like a skeletal echo, like how
    they break down the classical painters
    in terms of composition y'know? kinda
    like how in certain Pollock paintings,
    if you transpose Thomas H. Benton's
    anatomical drawing exercises you can
    see those forms, abstracted, but yet
    underlying to give a strong structure...

    i just love that first panel, the debris,
    how the broadblack lines are both an addition
    & a subtraction -- the addition adds to new
    focal points & somehow add bolts of action
    which perfectly frame the action in the panel
    -- the subtraction, the erasure, the coverup,
    seems to add a certain depth...hmmm, i'm going
    on too long & now i'm hung up & can't think
    of what to say about the subtraction...
    = )

    anyways, it just looks cool!

  2. yeah - this is great. Kirby's futuristic Mayan aesthetic totally jives with the Kline-y, brushy kanji.


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