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While the exhibition installation privileged high art over their low counterparts, the extensive catalogue essays provide illuminating histories of the “low” mediums and their interactions with modern art. Kirk Varnedoe and Adam Gopnik’s catalogue for the 1990 MoMA exhibition High and Low: Modern Art and Popular Culture also contains an excellent section on underground comix and some material on alternative comics, which were still in a germinal stage at the time of the exhibition. On gender in underground and alternative comics, see Hilary Chute’s Graphic Women: Life Narrative and Contemporary Comics (2010). Shorter summaries of underground and alternative comics can be found in Roger Sabin’s Comics, Comix, and Graphic Novels (1996).
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For alternative comics, see Charles Hatfield’s Alternative Comics: An Emerging Literature (2005), which is a more analytic academic study but doesn’t provide a full historical survey of alternative comics. Unfortunately, there is no deeper scholarly study of underground comix at this point. The best survey of underground comix is Patrick Rosenkranz’s Rebel Visions: The Underground Comix Revolution, 1963–1975 (2002): a heavily illustrated historical survey with many first-person accounts that is admittedly a bit light on analysis.
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There is no standard way of teaching comics in an art history curriculum (or really any curriculum at this point), so go ahead and experiment. You can choose to use just a few slides or to mix and match material from this lesson plan with examples from newspaper comics and mainstream comics. Instructors should modify this lesson plan to suit their needs. Despite this continuing lack of recognition, underground and alternative comics have aesthetic values of their own that are worth exploring, are significant parts of contemporary visual culture, and can be used to illuminate aspects of society and culture not generally accessible to high art. This is a hierarchy that has been interrogated and debunked for the past three decades but that nevertheless still remains in effect, albeit in attenuated form. Despite their closeness to high culture, underground and alternative comics have not been considered worthy of incorporation into the field of art history, a prime example of the privileging of high culture over mass or popular culture. “Underground comix” were an integral part of the youth counterculture of the late 1960s and early 1970s and were succeeded in the 1980s and 1990s by “alternative comics” that were loosely connected to the indie/alternative subculture of that era. Underground and alternative comics are the closest of any American comics to high culture and the avant-garde and could usefully be compared to art house, New Wave, or independent film as occupying a midway point between the avant-garde and mass culture. This lesson plan covers underground and alternative comics in the United States from the 1960s to the present.