This essay was originally published in the catalogue accompanying the exhibition Comix — on the contemporary intersections between comics and the fine arts — at Brandts klædefabrik, Odense (Sep. 22 2007 — Jan 6 2008). Now that the exhibition is over, it is presented here in a slightly edited version. The catalogue is available in both English and Danish through Brandts bookshop here.
Comics are both an affirmation of something old and an offer of something new in art. During the early modern era in Europe, comics became separated from the ancient narrative and pictorial practices to which they belong and with industrialization, and modernity they began a new, turbulent life as one of popular culture’s most obstinate bastard children. This existence outside the perimeter of high culture relegated comics to a relatively limited range of expression and genres, which they however cultivated in a way that ensured their survival as an independent and powerful art form. At the same time, comics served as one of the most fertile hibernation grounds for figuration and archetypical narration in times when these were having difficult times in high culture. Although the distance between them has always been short and it has been a long time coming, we have in recent years been seeing a confluence of comics and fine art so pronounced that the traditionally rather clear boundaries between them will have to be re-positioned, if not eliminated altogether. Not surprisingly, this all leads to highly interesting new work.