Jim Shaw, color study for Whores and Blasphemers, 2014, black-and-white Xerox, ink, and colored pencil on paper, 8 1/2 x 17".

AT LEAST SINCE Lichtenstein appropriated a comic-strip Benday dot, Duchamp riffed on Mutt and Jeff, or Eisenstein admired a Mickey Mouse cel, art has had a love affair with animation, comics, and cartoons—and its ardor, eagerly reciprocated, has given rise to a tense historical interplay between high and low, synthetic and real, margin and center. Perhaps this mutual fascination stems from the fact that animation is about things coming to life—but an artificial life, an alien fantasy. Words and pictures and objects gain an agency that is fundamentally other. Animation is the realm of alterity, of sedition, of seriality, pulp and science fiction, true crime, simulation.

Artforum invited fifteen contributors to survey this teeming landscape, whose scope embraces everything from CGI rendering to Sunday funnies to gaming networks. Curator FABRICE STROUN and critic STEPHEN

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