ARTIST MONOGRAPHS

PUBLISHER
Siglio

BOOK FORMAT
Hardcover, 8.5 x 11.5 in. / 64 pgs / 64 color.

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Pub Date
Active

DISTRIBUTION
D.A.P. Exclusive
Catalog: FALL 2014 p. 120   

PRODUCT DETAILS
ISBN 9781938221088 TRADE
List Price: $32.00 CDN $42.50 GBP £28.00

AVAILABILITY
In stock

EXHIBITION SCHEDULE

Los Angeles, CA
Charlie James Gallery, 01/15/15-02/28/15

BROWSE THE 2019 FALL CATALOG

Preview our Fall 2019 catalog, featuring more than 500 new books on art, photography, design, architecture, film, music and visual culture.

  

SIGLIO

Richard Kraft: Here Comes Kitty

A Comic Opera

Text by Danielle Dutton. Interview by Ann Lauterbach.

Featured page is reproduced from <I>Richard Kraft: Here Comes Kitty</I>.In this wildly irreverent collage narrative, Los Angeles artist Richard Kraft reassembles a pre-perestroika era comic about a Polish spy infiltrating the Nazis, orchestrating a multiplicity of voices into joyous cacophony. Like an Indian miniature painting, each comic book page is densely layered, collapsing foreground and background, breaking the frame and merging time. An enormous cast of characters emerges as Kraft appropriates images and texts from an extraordinary variety of sources (the Amar Chitra Katha comics of Hindu mythology, Jimmy Swaggart's Old and New Testament stories, the 1960s English football annual Scorcher, underground porn comics like Cherry, images from art history, outdated encyclopedias and more). Kraft constructs a world constantly in flux, rich with dark humor and revelatory nonsense. Writer Danielle Dutton's set of 16 interpolations punctuate the book using similar strategies of appropriation and juxtaposition to create texts that sing in the same arresting register as Kraft's collages. Here Comes Kitty also includes a conversation between poet Ann Lauterbach and artist Richard Kraft.

Featured page is reproduced from Richard Kraft: Here Comes Kitty.

PRAISE AND REVIEWS

BOMB Magazine

Danielle Dutton

Soon we feel that even Kraft’s interruptions are gathering narrative force: again and again that rabbit, the goddesses’ hands. Yet as one page compels us to the next, each simultaneously becomes a universe of its own. Subverting becomes telling, bombs become themes, and narrative turns itself sideways, upside-down.

Hyperallergic

Megan N Liberty

Richard Kraft’s Here Comes Kitty: A Comic Opera explodes off the page. Kraft, a multidisciplinary artist, pastes images of Hindu gods next to exercise diagrams and drawings of monkeys and elephants into bars and restaurants — all superimposed on a pre-existing 1960s Cold War–era comic. Equally bizarre and juxtaposed fragments of text, composed by Danielle Dutton, accompany the images. The effect is seductive.

Flavorpill

Sehba Mohammad

Kraft took the Cold War comic book Kapitan Kloss, about a Polish spy trying to infiltrate Nazi Germany, and superimposes a plethora of wry, humorous, erotic images on top of it. His pool of resources was wide: images cut from Amar Chitra Katha comics of Hindu mythology can be found next to clips from underground porn comic Cherry. The result is a densely layered visual cacophony with a multiplicity of characters and influences. Despite hinging on the absurd it remains engrossing and visually captivating. The dense visuals are interspersed with 16 text sections written by author Danielle Dutton. They are similar nonsensical, pastiche. A stream of consciousness that echoes the creative visuals.

Toronto Globe & Mail

Sean Rogers

Kraft’s book is duly dreamlike and mystical, excerpting text and imagery from biblical stories, Hindu iconography, found photos and children’s primers, and collapsing them all into palimpsestic visions and portmanteau people. The raucous paper opera is regularly “interrupted” with prose poem entr’actes by Danielle Dutton, before returning to its elaborate system of motifs and patterns, pitting sense against nonsense in a way that’s both cosmic and buoyantly childlike.

Numero Cinq

Natalie Helberg

Richard Kraft and Danielle Dutton’s Here Comes Kitty, a collage project (Kraft’s) with written interludes (Dutton’s), beautifully, wantonly, defies review. Like a dream, it slips off the binds of the mind, building up structures which differ from those present upon rational waking. The images it combines are unlikely bedmates. What it says, if it says anything, it says without concepts. It channels disparate locations and histories into singular, pressurized, visible forms.

The Improbable

Ryan Mihaly

What unfolds is a plotless opera that is, in every sense of the word, hysterical.

Richard Kraft: Here Comes Kitty

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FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 4/5/2015

Richard Kraft: Here Comes Kitty

Richard Kraft: Here Comes Kitty

New from Siglio! Richard Kraft: Here Comes Kitty released this week to great advance press, including Megan N. Liberty's long review in Hyperallergic. "Richard Kraft’s Here Comes Kitty: A Comic Opera explodes off the page. Kraft, a multidisciplinary artist, pastes images of Hindu gods next to exercise diagrams and drawings of monkeys and elephants into bars and restaurants — all superimposed on a pre-existing 1960s Cold War–era comic. Equally bizarre and juxtaposed fragments of text, composed by Danielle Dutton, accompany the images. The effect is seductive. To use the words of Dutton, 'It’s something about being read to as a child, where you are starting to fall asleep, and the same book has been read to you over and over, and these familiar images keep coming up, and there is a tug of the narrative, but you’re falling asleep at the same time.' Kraft’s collages and Dutton’s textual 'interpolations' tug at the edges of the reader’s imagination and memory." Also fascinating is poet Ann Lauterbach's long interview with the artist. continue to blog


FROM THE ARTBOOK BLOG

LISA PEARSON | DATE 2/22/2015

On the Small and the Contrary

On the Small and the Contrary


BY LISA PEARSON

In Prague, before the Velvet Revolution, one of the samizdat copies of Milan Kundera’s The Unbearable Lightness of Being in circulation was a mimeographed typewritten manuscript, no different in its physical form than a thick stack of Communist era restaurant menus listing the various permutations of pork, beef, and knedliky (concrete slabs of potato dumpling). Unbound, with nothing to signal that it was a published much less revered work of literature, Kundera’s book existed in the most utilitarian and urgent of forms. Someone had re-typed the entire work—not from the Czech original but from a smuggled English translation—and mimeographed it, risking identification by typewriter keys, by the traces on the machine itself, or by the fact of missing ink and spirits. continue to blog


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