The Sequentials team invites scholars, artists, and critics to submit original visual scholarship on any academic, social, or artistic subject. Submissions may be of any length and may be either a large, single image or a series of “pages” to be displayed sequentially. All submissions will be blind reviewed by the Sequentials editorial team and outside reviewers, and accepted comics will be published online on a rolling basis.
To submit, please upload a submission title, cover letter, and high-resolution images to the “Sequentials – General Call for Comics” category of the Submittable platform here. For questions concerning submissions, please email email@example.com.
Sequentials is accepting submissions of original visual scholarship for our third Call for Comics. In conjunction with and inspired by an ImageTexT special forum on the same topic, we are interested in works on comics and fine art which expand and pluralize our understanding of the relationships between these areas. In his introduction to the catalog for a 1967 exhibit on comic strips at the Musée des Arts Décoratifs, Palais du Louvre (organized in part by the Société civile d'études et de recherches des littératures dessinées), Tarzan artist Brune Hogarth wrote of comics that, for want of an adequate definition of the form, “perhaps the art we are talking about is not art at all.” Hogarth asked, “to what place shall we assign its formal codes of form and structure, depiction and abstraction, its artistic and aesthetic expression- its imagery, calligraphy, and iconography?” While the definition Hogarth said was then unwritten has been supplied many times over, many of these questions remain unresolved.
In pointing out how comics troubles the differences between painting, literature, and theater, in being “all of these, yet none,” Hogarth captured how comics have troubled definitions of, responded to, and at times opposed the “fine arts.” Appropriations of comics imagery by artists like Roy Lichtenstein, as well as painterly work in comics by creators such as Kerascoët and Maggie Umber, are just the most obvious examples of how comics and fine art traditions inform and change one another. Even exclusion from “fine arts” institutions has impacted how comics and comics studies has created its own prizes, schools, and publications, a kind of counter tradition of art and art criticism. Rather than staging a debate about comics’ inclusion or exclusion from a theoretical canon of fine art mediums, we are interested in recognizing the ways comics and work traditionally considered the fine arts have been mutually influential and how the contestation of such inclusion or exclusion has affected comics and comics studies.
Appropriate topics may include, but are not limited to:
To submit, please upload a submission title, cover letter, and high-resolution image(s) to the “Sequentials 3 – Comics And/As/Against Fine Art” category of the of the Submittable platform here by November 1, 2018. If you have any questions, please email firstname.lastname@example.org.