Steven Heller reflects on the history of stumbling stones dedicated to Holocaust victims from Italy.
The notorious French anarchist-cartoonist Maurice Sinet, who signed his art Siné, died on Thursday at age 87. Michael Dooley explores his lifetime of provocative cartoons.
A recent Wonder Woman cover by Neal Adams has drawn criticism for its steamy and perhaps less-than-empowering depiction of the protagonist. Michael Dooley and Arlen Schumer weigh in.
It is a paradox that the Nazis, Italian Fascists and Spanish Falangists had some of the most alluringly powerful graphic design.
Here Comes Kitty is the work of multidisciplinary artist Richard Kraft, a Jess for our age. Kraft has craftily transformed a 1960s Polish espionage comic into a mad, post-mod melange of Western religion and Eastern mysticism, Nazi spies and domesticated animals, the disturbingly chaotic and the playfully erotic.
We see deeply disturbing images in dark, murky colors: guns pointing at heads, children strung up by their feet, abandoned eyeglasses lying twisted in a void. Eventually, we come to a factory billowing smoke: the crematorium at Auschwitz. They’re from a series of 20 hand-colored etchings, titled “German Humor.” And they’re by Robert Andrew...
. . . There is Hitlerpornography. This is the lionization of the madman through recreation and, in this case, replication. Although this action (or aktion) figure is labled “war criminal” there is still an inescapable fetishistic rationale for its being in the marketplace. In Germany such iconography is outlawed, here it is absorbed into...