I like Doug Wright's work, but I feel closer to it than I would because a) I like the awards named after him and b) he reminds me powerfully of Seth, who I have grown to really treasure as one of the great North American cartoonists over the last 5 years or so.
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Replying to @dustinharbin
Artists create their ancestors. We see Wright though Seth, Frank King through Chris Ware, Harold Gray through Chester Brown, Dan De Carlo through Jaime Hernandez.
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Replying to @HeerJeet @dustinharbin
We see Harold Gray in Chester Brown (esp. in Riel) because it's an explicit, unmistakeable reference. How is that 'creating an ancestor'?
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Replying to @DominoComics @HeerJeet
Because that reference, and the exposure and contextualization to new audiences, makes them a sort of curator of that artist's work. Especially Seth and Doug Wright, to American audiences.
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Replying to @dustinharbin @HeerJeet
Is it Brown's intention to clue people in about Gray? Gray is much more universal than Brown, plus Brown's intentions are more complex than pastiche curator. Seth, not so much, of course.
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Replying to @DominoComics @dustinharbin
New works in a tradition change how we view/interpret older works. See Jorge Luis Borges' essay "Kafka & His Precursors."
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Replying to @DominoComics @dustinharbin
No, Borges is making a basic point that we don't ever experience a work of art in isolation but in relation to our experience of other art.
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Replying to @HeerJeet @dustinharbin
We experience more in relation to ourselves id argue.
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Both. But even there, having living artists who are our contemporaries engage with older works or be visibly influenced by them is part of "ourselves." It's an experience.
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Replying to @HeerJeet @DominoComics
Yes, and a non-exclusive experience. There are other paths to Jesse Marsh than through Los Bros, but that was the first lens I viewed his work through
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