Längeres Portrait [East Bay express] des Comic-Zeichners Adrian Tomine [Verlag: Drawn & Quarterly].
Zitat:

In 1992, Tomine moved to Berkeley to attend the university. He went to class by day and worked on the strip and his own comic by night. With the help of some good reviews in the underground press, he soon gained a ragtag following. Through it all, he received next to nothing in the way of formal art training. He had set out to be an art major at Cal, but was quickly disillusioned. "It and I were not a good match," he says. "It tended to lean towards modern fine art. Very conceptual. I would bring in something comic-book-related to class and the teacher would ask me to explain myself. They expected me to make some ironic use of comics and comment on pop culture. Then this guy with a ponytail would bring in a box, like a diorama with a feather glued to it, and it had a time piece and a sepia-tone photo, and he said it was inspired by a Sting song*. And the teacher said it was great. That enraged me." Tomine switched his major to English literature.

Tomine hat also ein distanziertes Verhältnis zur Moderne*, was unter Comic-Künstlern keine Seltenheit ist. Naheliegende Beispiele dafür sind Daniel Clowes und Robert Crumb, über den Gary Groth in seinem Vorwort zu "Your Vigour For Life Appalls Me. Robert Crumb Letters 1958-1977" schreibt, er habe "such an aversion to so much of modernism (forget post-modernism!)". Eigentlich pikant, daß die immer noch belächelten Comic-Zeichner sich mittlerweile als Hüter des Handwerks gegenüber der als Scharlatanerie empfundenen Konzeptkunst gerieren.

*Diese (vielleicht parodistisch verzerrte) Geschichte hört sich allerdings etwas seltsam an.