Kartoon Kings is the first monographic and comprehensive analysis of the graphic artwork of Simon Grennan and Christopher Sperandio. This work showcases a collection of full-color images excerpted from comic book projects, videos, billboards, and more of the artists’ collaborative public contributions created over the past fifteen years. To supplement the images an interview with the artists by Kristina Olson is included, along with essays by Joshua Decter and Paul Krainak. Grennan and Sperandio work together by conspiring about their creative ideas on the Internet. Their teamwork must be done this way because Grennan lives in England, while Sperandio lives in the United States.
More of Sperandio and Grennan’s work can be seen at www.kartoonkings.com.
A major reevaluation of collaboration’s role in art since 1968.
The lone artist is a worn cliché of art history but one that still defines how we think about the production of art. Since the 1960s, however, a number of artists have challenged this image by embarking on long-term collaborations that dramatically altered the terms of artistic identity. In The Third Hand, Charles Green offers a sustained critical examination of collaboration in international contemporary art, tracing its origins from the evolution of conceptual art in the 1960s into such stylistic labels as Earth Art, Systems Art, Body Art, and Performance Art. During this critical period, artists around the world began testing the limits of what art could be, how it might be produced, and who the artist is. Collaboration emerged as a prime way to reframe these questions.
Green looks at three distinct types of collaboration: the highly bureaucratic identities created by Joseph Kosuth, Ian Burn, Mel Ramsden, and other members of Art & Language in the late 1960s; the close-knit relationships based on marriage or lifetime partnership as practiced by the Boyle Family, Anne and Patrick Poirier, Helen Mayer Harrison and Newton Harrison; and couples-like Christo and Jeanne-Claude, Gilbert & George, or Marina Abramovi´c and Ulay-who developed third identities, effacing the individual artists almost entirely. These collaborations, Green contends, resulted in new and, at times, extreme authorial models that continue to inform current thinking about artistic identity and to illuminate the origins of postmodern art, suggesting, in the process, a new genealogy for art in the twenty-first century.READERS
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