Big gorgeous jazz machine
[ACCESS RESTRICTED TO THE UNIVERSITY OF MISSOURI AT AUTHOR'S REQUEST.] This manuscript considers the influence of twentieth-century avant-garde literature and painting in contemporary art comics, particularly the growing sub-genre of comics poetry. The introduction lays a historical groundwork for this specific strain of comics, including antecedent works and a consideration for how the genre fits into the comics medium's longstanding struggle for cultural legitimacy. Further, the introductory essay examines how the wide range of comics that fit under the umbrella of comics poetry remediate modernist practices in poetry and painting, foregrounding simultaneity and materiality over transparency and narrative. This introduction considers seminal works in the field, including Warren Craghead's How to be Everywhere (2007), which reworks the calligrammes of Apollinaire, and Erin Curry's Songs of the Sea (2016), directly inspired by Cy Twombly's series of paintings by the same name. In addition to analyzing these comics, the paper considers how these works have been utilized by comics critics (Baetens, Gronesteen, Bennett, Badman) in revising and expanding critical frameworks in comics studies and developing an artist-critic relationship that closely mirrors those documented between the modernist avant-garde and the semiotic theory of Saussure early in the twentieth century (Drucker). The subsequent manuscript follow exhibits a collection of comics works that maintain a formal relationship with those discussed in the introduction.
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