Description
Anne Lemonnier and Emmanuèle Payen’s Comics: 1964–2024 is a sweeping, art-rich celebration of graphic storytelling that defines the past six decades of the “ninth art.” Ambitious in scale and polished in presentation, this 288-page hardcover volume, assembled by Thames & Hudson, captures the vibrant, global evolution of comics, a visually striking companion piece to the eponymous exhibition at Paris’s Centre Pompidou.
Organized into twelve thematic chapters, the book frames its historical arc geographically and artistically, tracking underground U.S. counterculture like Robert Crumb’s Zap Comix, European auteur strips such as Moebius and Claire Bretécher, and avant-garde Japanese works like Garo and Osamu Tezuka. Each section begins with a concise yet insightful introduction by leading scholars, grounding the art in its sociopolitical and aesthetic landscapes without overshadowing the primary visual material.
The star of the volume is the imagery. With around 300 color reproductions, including full-page spreads, early originals, and striking sequences, the design allows each artist’s voice to shine. From the geometric elegance of Chris Ware to the emotive expressiveness of Alison Bechdel and Marjane Satrapi, the book offers a kaleidoscope of styles that collectively underscore the medium’s narrative evolution.
Editorially, the standout feature is a new interview with journalist-artist Joe Sacco, providing first-hand insight into his reportage-driven comics practice. A foreword by Paul Gravett sets the tone, positioning this collection not just as a compendium but as a curated argument for comics as a legitimate art form.
Production values are exemplary. The sewn binding, thick matte paper, and elegantly minimalist hardbound design reflect a careful consideration of format and durability, even if the tight binding occasionally hinders the book from laying fully open.
If there’s a shortcoming, it’s that the sheer density of material can feel overwhelming. Thematic breadth sometimes comes at the expense of deeper analysis; readers may find themselves craving more context on certain regional movements or underrepresented creators. Still, this reflects editorial choice more than flaw.
In sum, Comics: 1964–2024 is both a visual feast and serious academic resource. It’s ideal for enthusiasts, scholars, or casual debutantes drawn to the medium’s rich narrative potential. With its global scope, exquisite reproduction, and thoughtful curation, it stands as one of the year’s most compelling titles in graphic-arts publishing.
