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Henrik Rehr, Reykjavik, 2009.

The New York-based Danish artist Henrik Rehr (you see how complicated and vague this idea of “American” comics is) works in a variety of modes and here he takes on abstract comics. In fact, this slim volume was published in the same series as Andrei Molotiu’s Nautilus (Rehr also has a piece in Molotiu’s Abstract Comics anthology) and to compare them offers an object lesson in the diversity of “abstraction” in comics. Unlike Molotiu’s organic, Rorschach-meets-Pollock grids, in Rehr’s book-length comic you can detect traces of brush and pen lines and conventional marks—such as cross-hatching and drybrush—that are associated with representative art. And instead of Molotiu’s regular grid, Rehr’s pages constantly mutate and change layouts where even the rectangular panels are skewed, overlapped with other panels, or almost overwhelmed by stormy, heaving backgrounds. What the works share is a sense of grandeur and a silent voyage through a micro/macro organic “space”.

What is this “Notable” thing all about? Matt and Jessica are the series editors for the Best American Comics, and are responsible for the Notable Comics list at the back of the book, which is comprised of virtually all the comics we sent to the guest editor that weren’t picked, as well as a number of others that we think are noteworthy for various reasons, but that we didn’t send to the guest editor.

We’ve always hoped readers will delve a bit into the list to find more great stories once they finish reading BAC. Realistically, though, we know that’s tough. What can you know about a story from a title and author? So this is one of a series of posts focusing on each of the Notables from the 2010 Best American Comics.

Have or know of a comic we should look at? Find submission info here.

The “age” suggestion is what we think might be the minimum age for reading and appreciating a work. All works on the list, though, should appeal to older audiences too. It’s a minimum suggestion only.