I loved that cover when I got that issue in the mail the other day, and then I was thrilled to realize who it was by. Mattotti is one of the underappreciated, underdocumented greats of comics. He made a handful of short, European album-style books in the 80s that make wonderful use of color, much like that cover. And he reappeared a few years ago with a single issue of a book called Chimera, which is just phenomenal, all dense black-and-white art, mostly wordless, nearly abstract at times, just a tour-de-force of viscerally exciting drawing. You can see in that cover how good he is at motion, how perfect a choice he is for that subject.
The New Yorker has had some great comics-related covers of late, in the last month or so there has been art by Mattotti, Brunetti and Ware.
I'm an American living in Regensburg, Bavaria. Born in Munich I spent my first 10 years in Kirkwood, Mo. 1971 we moved to where I am now. Finished German school in 1981, afterwards studied philosophy and German literature and languages. 1982 I joined the management of the local film club's cinema Filmgalerie, and from 1991-2001 I co-owned an own arthouse cinema STALI (Stadtamhofer Lichtspiele). In between I also was partner of the cinema and music bookstore Angry Red Planet for a few years. In the 80s I co-founded the local industrial band and performance art group Lyssa humana that officially still exists, but currently doesn't perform (last time was for our retrospective exhibition in 2010) at the Kunstverein Graz. I was also member of the shortlived noise rock band Hammersmith. Since 2001 I work for the customer service of a large American online company.
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I loved that cover when I got that issue in the mail the other day, and then I was thrilled to realize who it was by. Mattotti is one of the underappreciated, underdocumented greats of comics. He made a handful of short, European album-style books in the 80s that make wonderful use of color, much like that cover. And he reappeared a few years ago with a single issue of a book called Chimera, which is just phenomenal, all dense black-and-white art, mostly wordless, nearly abstract at times, just a tour-de-force of viscerally exciting drawing. You can see in that cover how good he is at motion, how perfect a choice he is for that subject.
The New Yorker has had some great comics-related covers of late, in the last month or so there has been art by Mattotti, Brunetti and Ware.
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