Abstract
A justification for the inclusion of graphic comic art in post‐14 art education following the development of graphic novels in Europe, Japan and the USA. in recent years. The case is based on the visual dynamics of the medium and the potential for a critical realism which can be exploited in students’ studio practice and research. Particular attention is given to the Holocaust novel Maus and selected Japanese ‘Manga’ comics which have made an impact in the west, such as Barefoot Gen and Adolf. The article analyses the various innovative visual forms that these graphic novels utilise and considers their effectiveness as a vehicle for practice and research in the institutional art curriculum.
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