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3 New Stories by Dash Shaw

http://www.fantagraphics.com/3newstories

32-page full-color comic book • $3.99 ISBN: 978-1-60699-721-5

Order Now! - Also available digitally via comiXology

This one-shot comic book features three all-new, full-color short stories that explore varied dystopian societies. From a Sherlock Holmes-style investigator who must complete his high school degree to filmed “voluntary” nudity to prison camps full of jaded children, Shaw pens each story with his signature style and unique spin, all in 32 pages.

“A former student of the genius artist-seer-cartoonist Gary Panter, Dash, it’s fair to say, is something of a genius as well.” — Chris Ware

“Dash Shaw is an utterly brilliant young cartoonist who has, in a few short years, advanced from the academic experiments of his earlier work… into a formalist genius whose skills encompass both a natural gift for color and a feel for subtle, indirect characterization.” – Bill Howard, Only the Cinema

“Kaleidoscopic… Shaw has a deft touch… Like the very best illustrated fiction, Shaw’s work moves between pathos and humor, between the fantastic and the familiar.” – The Christian Science Monitor

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Body Memory by Ulo Pikkov

Beautifully disturbing animation from Estonia

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The Garry Winogrand show at SFMOMA is outstanding.

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This little-known cover design for the Italian magazine La Pubblicità (L’Ufficio Moderno, Rivista Mensile, Ottobre 1935-XIII) is one of Schawinsky’s most remarkable, not only for its design qualities but for its ability to reinforce his important role in disseminating modernist ideas throughout Europe and beyond. 

The son of a Polish-Jew, Xanti Schawinsky (Born Switzerland, 1904–1979) enrolled as an early student of the Bauhaus in 1924, before moving to Milan, Italy in 1933 where he collaborated with Antonio Boggeri’s newly opened Studio Boggeri, arguably the most important design studio in pre/post war Italy. Three years later, Schawinsky left for the United States where he teamed up with Josef Albers to teach at Black Mountain College.

Theatrical and expressive, this cover design explodes off the page with its exaggerated scale, experimental halftone printing, abstract shape, layering and unique color combination. The black angular, sans-serif text perfectly placed over the smiling face vibrates the page, creating both depth and motion to the design. Schawinsky pays homage to his Bauhaus roots with a photo of two youthful and energetic Bauhaus students taken by his friend and Bauhaus jazz band member T. Lux Feininger. Full of joy, this lively design is as optimistic and spontaneous as Schawinsky himself, maybe how he felt when he arrived in Italy or perhaps the idea that youth will transform modern society. This issue includes a feature article written by Schawinsky aptly titled Pubblicità funzionale.

*Bottom photo by T. Lux Feininger (1910–2011), Untitled (with Georg Hartmann and Miriam Manuckiam), 1928. (Source: Baisers Volés)

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Freddie Gibbs remembering when Michael Jackson came back to Gary, Indiana “Grown ni**as out there fainting … I’m seeing killas with tears in their eyes.”

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Hannah Höch, Sea Serpent, 1937

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Hannah Höch, Photomontage, 1946

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Cities, like dreams, are made of desires and fears, even if the thread of their discourse is secret, their rules are absurd, their perspectives deceitful, and everything conceals something else.

Italo Calvino, Invisible Cities (1972). (via fullerenes)

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wrks

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The greatest single influence upon my artistic development was one person: Jay Dee. I first met Dilla at Q-Tip’s house in 1995. There had been a Vibe magazine party hosted by Quincy Jones, and I ran into Q-Tip there. We got to talking, and he invited me over to his crib for an impromptu jam...

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Donuts (Ode)

My small tribute to Jay Dee. RIP & thank you.

Donuts (Ode)

2/10/2013 

  There are 31 donuts in a Dilla dozen:

Donuts (Outro)

Sanguine frit--ter.

On February 7th, 1974, James "Dilla" Yancey was born in Detroit.

  Workinonit

Glazed--voo--doo.

His parents - a bassist and a gospel singer, respectively - raised him on Motown's milk and honey.

  Waves

Custard filled sooooul.

His toys were 45s.

  Light My Fire

Old-fashioned-glee so buttery so buttery, glee.

He made his name by making beats for hip-hop legends: De La Soul, A Tribe Called Quest, Erykah Badu, D'Angelo, Common and The Pharcyde, among others.

  The New

Cho-co-late (s)creeeeeam

On February 7th, 2006, Dilla released his final solo album: Donuts.

  Stop!

Extra-rich- -ex-istential- -devil's-food.

He recorded 29 of its 31 tracks while confined to a hospital bed.

  People

Twissssted bongo cruller.

While his body turned on itself, Dilla engraved his soul in wax.

  The Diff'rence

Jelly filled nostal-   gia.

Friends brought him a turntable, a drum machine, headphones, a Boss SP-303 sampler and few crates of records.

  Mash

Untouched crumbs (of grief) (of grief) (of grief).

For a year, Dilla masked the hum of his dialysis machine with the crackle of vinyl.

  Time: The Donut of the Heart

Doughy declarations ---- eternal evidence.

"Donuts" is Dilla's hastily scrawled farewell letter.

  Glazed

Dark chocolate devil's food: are you afraid? are you afraid? are you afraid?

"Donuts" is poignant but brief, perfect but impossibly incomplete.

  Airworks

Maple bar of funk.

"Donuts" is undeniably a classic.

  Lightworks

[SUGARY] - dusted with powdered history.

During his illness, Dilla turned to scripture, seeking solace in the story of Job.

  Stepson of the Clapper

Crulla-from-anotha-motha.

"But man dies and lies prostrate; Man expires, and where is he?" Job asks.

  The Twister (Huh, What)

Sprinkle says, "Why me?"

Humans, expired or otherwise, leave behind all kinds of traces -- some fade, others endure.

  One Eleven

[too tasty for words]

Dilla's trace lingers throughout all of contemporary hip-hop -- his influence was inescapable.

  Two Can Win

Pounds of sugar in ya mama's oven.

Before Dilla, beats tended to follow a strict time signature.

  Don't Cry

Last-batch-hot-n-fresh-out-the-soul.

Dilla's music made rhythm malleable again.

  Anti-American Graffiti

Inter-racial-couple: chocolate-glaze.

"If you hear any song [with] a glitch in the [drum] pattern? That was Dilla," the legendary drummer ?uestlove said.

  Geek Down

Day-old fuUuUuUuUnk custard.

"If you hear bouncy, filtered bass patterns -- Dilla."

  Thunder

Big, round holes (of dough).

"Offbeat snaps, offbeat claps --Dilla."

  Gobstopper

Who-put-pea-nut-but-ter-on-the-in-side?

When under Dilla's spell, ideas like the linear progression of time begin to seem absurd.

  One for Ghost

Sneaking tastes of batter from the bowl.

Smokey Robinson suddenly coexists with Run D.M.C.

  Dilla Says Go

You took my fa-vor-ite.

A sample that once said, "Is that real?" gets tweaked: "Is death real?"

  Walkinonit

Glaze, lingers, on your fingers.

Eternal traces of the human are called "classics."

  The Factory

Cake with a baaaad aftertaste.

Creating a classic, then, is the surest route to immortality.

  U-Love

Cream filled a-ffection a-ffection a-ffection.

Classics turn men into marionettes: "And now," they say, "you are going to dance like you've never danced before."

  Hi.

Classic, with a cherry twist.

On February 10th, 2006, James Dewitt Yancey died.

  Bye.

Meditations (in red velvet).

Physical death is a false ending, though.

  Last Donut of the Night

Metaphysical sprinkles.

You actually die the last time your name is spoken.

  Donuts (Intro)

Frosted auto-elegy.

Dilla lives.

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“in god we trust” by eric amann (1981)

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Blake Walmsley, Love Letter Fired from a Cannon, 2011

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Storyboards for Alfred Hitchcock’s The Birds.