“Blade Runner” (Marvel Special Edition) is readable online—(via @klaustoon)
One of the well known tie-ins to the Blade Runner film is the Blade Runner comic. It was issued in two volumes and a combined edition.
The Blade Runner comic is very interesting for its interpretation of the movie. Quite obviously, they can’t possibly do the same in a comic as in a 2 hour movie, so one expects that some dialogue will be trimmed or even slightly changed and details in the action will be curtailed or perhaps adjusted. One of the things I find most interesting is that some of those differences from the original movie version are referencing the shooting script! So, while there is some interpretation and a particular perspective present, it is in some ways almost like a different cut of the film.
The traveling survey of Agnes Martin’s work that debuted this summer at Tate Modern in London offers an opportunity to reconsider an artist who seems easy to know. Martin is generally pictured as a sage of the desert dispensing measured lines of graphite, pale paint and gnomic prose with ritual changelessness. In and around New York, she is perhaps best known as one of those select few whose work is semi-permanently enshrined at Dia:Beacon, high church of Minimalism and citadel against all forms of personal contingency. To lay out the narrative arc of Martin’s development, as the present exhibition does, is a welcome corrective.
New Yorker cartoonist R. Sikoryak launches his latest graphic novel, Terms and Conditions. For this project, Sikoryak tackles an infamously dense legal document, the iTunes Terms and Conditions. In a word for word 94-page adaptation, Sikoryak hilariously turns the agreement on its head – each page features an avatar of Apple cofounder Steve Jobs juxtaposed with a different classic strip such as Mort Walker’s Beetle Bailey, or a contemporary graphic novel such as Craig Thompson’s Blankets, Marjane Satrapi’s Persepolis, or Kate Beaton’s Hark! A Vagrant.
Free PDF available for download
The Concert Register of Carlo Maria Giulini (1914-2005) is printed (starting on page 7) with every concert featuring the music of Anton Bruckner (1824-1896) printed in the color of red (the frontispiece on page 2 is a reference to this idea). The inspiration for printing the words of Jesus in red comes from Luke 22:20 – “This cup is the new testament in my blood, which I shed for you”. On June 19, 1899, Louis Klopsch (1852-1910) conceived the idea while working on an editorial. Klopsch asked his mentor Rev. T. De Witt Talmage what he thought of a testament with the words spoken by Jesus printed in red ink and Dr. Talmage replied, “It could do no harm and it most certainly could do much good.”