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After Record Family Mulls Offers on Klimts by Arthur Spiegelman

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American Jewish cartoonist (born 1948)

Art Spiegelman
Art Spiegelman (2007).jpg

Art Spiegelman in 2007
Born Itzhak Avraham ben Zeev Spiegelman[one]
(1948-02-15) February fifteen, 1948 (age 74)
Stockholm, Sweden
Nationality American
Area(southward) Cartoonist, Editor

Notable works
  • Breakdowns
  • Maus
  • Garbage Pail Kids
Spouse(south) Françoise Mouly (one thousand. 1977)
Children 2, including Nadja Spiegelman

Fine art Spiegelman (; built-in Itzhak Avraham ben Zeev Spiegelman on February 15, 1948) is an American cartoonist, editor, and comics advocate best known for his graphic novel Maus. His work equally co-editor on the comics magazines Arcade and Raw has been influential, and from 1992 he spent a decade as contributing creative person for The New Yorker. He is married to designer and editor Françoise Mouly, and is the father of author Nadja Spiegelman.

Spiegelman began his career with Topps (a bubblegum and trading card company) in the mid-1960s, which was his main fiscal support for two decades; there he co-created parodic serial such every bit Wacky Packages in the 1960s and Garbage Pail Kids in the 1980s. He gained prominence in the underground comix scene in the 1970s with brusque, experimental, and often autobiographical work. A choice of these strips appeared in the collection Breakdowns in 1977, after which Spiegelman turned focus to the book-length Maus, about his relationship with his male parent, a Holocaust survivor. The postmodern book depicts Germans every bit cats, Jews equally mice, and ethnic Poles as pigs, and took 13 years to create until its completion in 1991. It won a special Pulitzer Prize in 1992 and has gained a reputation as a pivotal work.

Spiegelman and Mouly edited eleven issues of Raw from 1980 to 1991. The oversized comics and graphics magazine helped introduce talents who became prominent in alternative comics, such every bit Charles Burns, Chris Ware, and Ben Katchor, and introduced several foreign cartoonists to the English-speaking comics globe. Beginning in the 1990s, the couple worked for The New Yorker, which Spiegelman left to piece of work on In the Shadow of No Towers (2004), near his reaction to the September 11 attacks in New York in 2001.

Spiegelman advocates for greater comics literacy. As an editor, a instructor at the School of Visual Arts in New York City, and a lecturer, Spiegelman has promoted better agreement of comics and has mentored younger cartoonists.

Family history [edit]

Spiegelman's parents were Polish Jews Władysław (1906–1982) and Andzia (1912–1968) Spiegelman. His begetter was born Zeev Spiegelman, with the Hebrew name Zeev ben Avraham. Władysław was his Polish proper noun, and Władek (or Vladek in anglicized form) was a diminutive of this name. He was also known every bit Wilhelm under the German occupation, and Anglicized his proper name to William upon immigration to the United States. His mother was born Andzia Zylberberg, with the Hebrew proper name Hannah. She inverse her name to Anna upon immigrating to the United States. In Spiegelman'south Maus, from which the couple are best known, Spiegelman used the spellings "Vladek" and "Anja", which he believed would exist easier for Americans to pronounce.[iii] The surname Spiegelman is German for "mirror man".[four]

In 1937, the Spiegelmans had 1 other son, Rysio (spelled "Richieu" in Maus), who died before Art was built-in,[1] at the age of 5 or six.[five] During the Holocaust, Spiegelman's parents sent Rysio to stay with an aunt with whom they believed he would exist safe. In 1943, the aunt poisoned herself, along with Rysio and two other young family members in her care, so that the Nazis could not take them to the extermination camps. After the war, the Spiegelmans, unable to accept that Rysio was dead, searched orphanages all over Europe in the hope of finding him. Spiegelman talked of having a sort of sibling rivalry with his "ghost blood brother"; he felt unable to compete with an "ideal" brother who "never threw tantrums or got in any kind of trouble".[6] Of 85 Spiegelman relatives alive at the start of Earth State of war Ii, simply xiii are known to have survived the Holocaust.[7]

Life and career [edit]

Early life [edit]

High School of Art and Design building

Spiegelman was born Itzhak Avraham ben Zeev[1] in Stockholm, Sweden, on February xv, 1948. He immigrated with his parents to the US in 1951.[8] Upon immigration his proper name was registered as Arthur Isadore, simply he later on had his given proper noun changed to Fine art.[1] Initially the family unit settled in Norristown, Pennsylvania, and so relocated to Rego Park, Queens, New York City, in 1957.

He began cartooning in 1960[8] and imitated the style of his favorite comic books, such as Mad.[9] In the early 1960s, he contributed to early on fanzines such as Smudge and Skip Williamson's Squire, and in 1962[x]—while at Russell Sage Inferior Loftier Schoolhouse, where he was an honors educatee—he produced the Mad-inspired fanzine Blasé. He was earning money from his drawing past the time he reached loftier school and sold artwork to the original Long Isle Press and other outlets. His talent caught the optics of United Features Syndicate, who offered him the adventure to produce a syndicated comic strip. Dedicated to the idea of art every bit expression, he turned downwardly this commercial opportunity.[9] He attended the High School of Art and Design in Manhattan get-go in 1963. He met Woody Gelman, the art director of Topps Chewing Gum Company, who encouraged Spiegelman to apply to Topps after graduating high schoolhouse.[8] At age fifteen, Spiegelman received payment for his piece of work from a Rego Park paper.[11]

After he graduated in 1965, Spiegelman's parents urged him to pursue the financial security of a career such every bit dentistry, but he chose instead to enroll at Harpur Higher to written report fine art and philosophy. While at that place, he got a freelance art task at Topps, which provided him with an income for the next 2 decades.[12]

Binghamton State Mental Hospital

Spiegelman attended Harpur College from 1965 until 1968, where he worked as staff cartoonist for the college newspaper and edited a higher humor magazine.[thirteen] After a summer internship when he was 18, Topps hired him for Gelman'southward Product Development Department[14] as a creative consultant making trading cards and related products in 1966, such as the Wacky Packages series of parodic trading cards begun in 1967.[15]

Spiegelman began selling self-published clandestine comix on street corners in 1966. He had cartoons published in hugger-mugger publications such equally the East Hamlet Other and traveled to San Francisco for a few months in 1967, where the surreptitious comix scene was just beginning to burgeon.[15]

In late winter 1968, Spiegelman suffered a brief merely intense nervous breakup,[16] which cut brusk his academy studies.[15] He has said that at the time he was taking LSD with groovy frequency.[16] He spent a month in Binghamton State Mental Hospital, and shortly after he exited information technology, his female parent died by suicide following the death of her only surviving brother.[17]

Hugger-mugger comix (1971–1977) [edit]

In 1971, after several visits, Spiegelman moved to San Francisco[15] and became a part of the countercultural clandestine comix motility that had been developing there. Some of the comix he produced during this catamenia include The Compleat Mr. Infinity (1970), a ten-page booklet of explicit comic strips, and The Viper Vicar of Vice, Villainy and Vickedness (1972),[18] a transgressive work in the vein of fellow underground cartoonist Due south. Clay Wilson.[19] Spiegelman'south work also appeared in clandestine magazines such as Gothic Blimp Works, Bijou Funnies, Young Lust,[fifteen] Real Pulp, and Baroque Sexual activity,[20] and were in a variety of styles and genres as Spiegelman sought his artistic voice.[nineteen] He too did a number of cartoons for men'southward magazines such as Cavalier, The Dude, and Gent.[fifteen]

In 1972, Justin Green asked Spiegelman to do a three-page strip for the first event of Funny Aminals [sic].[21] He wanted to do ane nearly racism, and at first considered a story[22] with African-Americans as mice and cats taking on the part of the Ku Klux Klan.[23] Instead, he turned to the Holocaust that his parents had survived. He titled the strip "Maus" and depicted the Jews as mice persecuted by dice Katzen, which were Nazis equally cats. The narrator related the story to a mouse named "Mickey".[21] With this story Spiegelman felt he had plant his phonation.[eleven]

Seeing Green'southward revealingly autobiographical Binky Chocolate-brown Meets the Holy Virgin Mary while in-progress in 1971 inspired Spiegelman to produce "Prisoner on the Hell Planet", an expressionistic work that dealt with his mother's suicide; it appeared in 1973[24] [25] in Short Order Comix #1,[26] which he edited.[15] Spiegelman's work thereafter went through a phase of increasing formal experimentation;[27] the Noon Treasury of Underground Comics in 1974 quotes him: "As an fine art form the comic strip is barely in its infancy. Then am I. Maybe nosotros'll grow up together."[28] The often-reprinted[29] "Ace Hole, Midget Detective" of 1974 was a Cubist-manner nonlinear parody of hardboiled crime fiction full of non sequiturs.[30] "A Day at the Circuits" of 1975 is a recursive single-page strip near alcoholism and depression in which the reader follows the grapheme through multiple never-ending pathways.[31] "Nervous Rex: The Malpractice Suite" of 1976 is made up of cut-out panels from the soap-opera comic strip Rex Morgan, Thou.D. refashioned in such a style as to defy coherence.[27]

In 1973, Spiegelman edited a pornographic and psychedelic book of quotations and defended information technology to his mother. Co-edited with Bob Schneider, it was called Whole Grains: A Book of Quotations.[32] In 1974–1975, he taught a studio cartooning grade at the San Francisco Academy of Art.[xviii]

By the mid-1970s, the hush-hush comix motility was encountering a slowdown. To give cartoonists a condom booth, Spiegelman co-edited the anthology Arcade with Bill Griffith, in 1975 and 1976. Arcade was printed past The Impress Mint and lasted vii problems, five of which had covers by Robert Crumb. It stood out from similar publications past having an editorial plan, in which Spiegelman and Griffith attempt to testify how comics connect to the broader realms of creative and literary civilization. Spiegelman's own work in Arcade tended to be short and concerned with formal experimentation.[33] Arcade also introduced fine art from ages past, as well as contemporary literary pieces past writers such every bit William S. Burroughs and Charles Bukowski.[34] In 1975, Spiegelman moved dorsum to New York City,[35] which put nigh of the editorial work for Arcade on the shoulders of Griffith and his cartoonist wife, Diane Noomin. This, combined with distribution issues and retailer indifference, led to the magazine's 1976 demise. Spiegelman swore he would never edit another mag.[36]

Françoise Mouly, an architectural student on a hiatus from her studies at the Beaux-Arts in Paris, arrived in New York in 1974. While looking for comics from which to practice reading English language, she came across Arcade. Avant-garde filmmaker friend Ken Jacobs introduced Mouly and Spiegelman, when Spiegelman was visiting, only they did not immediately develop a mutual involvement. Spiegelman moved back to New York later in the yr. Occasionally the ii ran across each other. After she read "Prisoner on the Hell Planet" Mouly felt the urge to contact him. An eight-hour phone call led to a deepening of their relationship. Spiegelman followed her to France when she had to return to fulfill obligations in her architecture course.[37]

Spiegelman introduced Mouly to the world of comics and helped her detect work as a colorist for Marvel Comics.[38] Subsequently returning to the U.S. in 1977, Mouly ran into visa problems, which the couple solved by getting married.[39] The couple began to make yearly trips to Europe to explore the comics scene, and brought dorsum European comics to testify to their circumvolve of friends.[40] Mouly assisted in putting together the lavish, oversized collection of Spiegelman'southward experimental strips Breakdowns in 1977.[41]

Raw and Maus (1978–1991) [edit]

Breakdowns suffered poor distribution and sales, and 30% of the print run was unusable due to printing errors, an experience that motivated Mouly to proceeds control over the printing procedure.[41] She took courses in offset press and bought a press press for her loft,[42] on which she was to print parts of[43] a new magazine she insisted on launching with Spiegelman.[44] With Mouly as publisher, Spiegelman and Mouly co-edited Raw starting in July 1980.[45] The showtime issue was subtitled "The Graphix Mag of Postponed Suicides".[44] While it included work from such established underground cartoonists as Nibble and Griffith,[36] Raw focused on publishing artists who were nearly unknown, advanced cartoonists such as Charles Burns, Lynda Barry, Chris Ware, Ben Katchor, and Gary Panter, and introduced English-speaking audiences to translations of foreign works by José Muñoz, Chéri Samba, Joost Swarte, Yoshiharu Tsuge,[27] Jacques Tardi, and others.[44]

With the intention of creating a book-length work based on his father's recollections of the Holocaust[46] Spiegelman began to interview his male parent again in 1978[47] and fabricated a research visit in 1979 to the Auschwitz concentration campsite, where his parents had been imprisoned by the Nazis.[48] The volume, Maus, appeared one chapter at a fourth dimension as an insert in Raw starting time with the second issue in Dec 1980.[49] Spiegelman's father did not alive to run across its completion; he died on 18 Baronial 1982.[35] Spiegelman learned in 1985 that Steven Spielberg was producing an blithe film nigh Jewish mice who escape persecution in Eastern Europe by fleeing to the The states. Spiegelman was sure the film, An American Tail (1986), was inspired past Maus and became eager to take his unfinished book come up out before the picture show to avoid comparisons.[50] He struggled to find a publisher[7] until in 1986, subsequently the publication in The New York Times of a rave review of the piece of work-in-progress, Pantheon agreed to release a collection of the first six chapters. The volume was titled Maus: A Survivor'south Tale and subtitled My Male parent Bleeds History.[51] The book found a large audience, in function because it was sold in bookstores rather than in direct-market comic shops, which by the 1980s had go the dominant outlet for comic books.[52]

Photo of an elderly man

Spiegelman began teaching at the School of Visual Arts in New York in 1978, and connected until 1987,[35] teaching alongside his heroes Harvey Kurtzman and Will Eisner.[53] "Commix: An Idiosyncratic Historical and Aesthetic Overview", a Spiegelman essay, was published in Print.[54] Another Spiegelman essay, "High Art Lowdown", was published in Artforum in 1990, critiquing the High/Low exhibition at the Museum of Mod Art.[54]

In the wake of the success of the Cabbage Patch Kids series of dolls, Spiegelman created the parodic trading carte du jour serial Garbage Pail Kids for Topps in 1985. Similar to the Wacky Packages serial, the gross-out gene of the cards was controversial with parent groups, and its popularity started a gross-out fad among children.[55] Spiegelman chosen Topps his "Medici" for the autonomy and fiscal freedom working for the company had given him. The relationship was nevertheless strained over issues of credit and ownership of the original artwork. In 1989 Topps auctioned off pieces of fine art Spiegelman had created rather than returning them to him, and Spiegelman broke the relation.[56]

In 1991, Raw Vol. 2, No. 3 was published; information technology was to be the last issue.[54] The closing chapter of Maus appeared non in Raw [49] only in the second volume of the graphic novel, which appeared later that year with the subtitle And Here My Troubles Began.[54] Maus attracted an unprecedented amount of disquisitional attention for a work of comics, including an exhibition at New York's Museum of Modern Art[57] and a special Pulitzer Prize in 1992.[58]

The New Yorker (1992–2001) [edit]

The New Yorker logo

Spiegelman and Mouly began working for The New Yorker in the early 1990s.

Hired by Tina Brownish[59] as a contributing artist in 1992, Spiegelman worked for The New Yorker for ten years. His starting time cover appeared on the Feb 15, 1993, Valentine'southward Day event and showed a blackness Westward Indian woman and a Hasidic human being kissing. The embrace caused turmoil at The New Yorker offices. Spiegelman intended information technology to reference the Crown Heights riot of 1991 in which racial tensions led to the murder of a Jewish yeshiva student.[sixty] 20-ane New Yorker covers by Spiegelman were published,[61] and he also submitted some which were rejected for existence likewise outrageous.[62]

Within The New Yorker 's pages, Spiegelman contributed strips such as a collaboration, "In the Dumps", with children'due south illustrator Maurice Sendak[63] [64] and an obituary to Charles Chiliad. Schulz, "Abstract Thought is a Warm Puppy".[65] Another of Spiegelman's essays, "Forms Stretched to their Limits", in an issue was about Jack Cole, the creator of Plastic Man. It formed the basis for a book well-nigh Cole, Jack Cole and Plastic Man: Forms Stretched to their Limits (2001).[65]

The same yr, Voyager Company published The Complete Maus, a CD-ROM version of Maus with extensive supplementary cloth, and Spiegelman illustrated a 1923 poem by Joseph Moncure March called The Wild Party.[66] Spiegelman contributed the essay "Getting in Touch With My Inner Racist" in the September ane, 1997, outcome of Mother Jones.[66]

Photo of a man seated and wearing glasses

Editorial cartoonist Ted Rall begrudged Spiegelman's influence in New York cartooning circles.

Spiegelman's influence and connections in New York cartooning circles drew the ire of political cartoonist Ted Rall in 1999.[67] In "The King of Comix", an article in The Village Phonation,[68] Rall accused Spiegelman of the power to "make or break" a cartoonist's career in New York, while denigrating Spiegelman as "a guy with one great volume in him".[67] Cartoonist Danny Hellman responded past sending a forged email nether Rall'due south name to 30 professionals; the prank escalated until Rall launched a defamation adapt against Hellman for $one.5 million. Hellman published a "Legal Activeness Comics" do good book to comprehend his legal costs, to which Spiegelman contributed a back-encompass cartoon in which he relieves himself on a Rall-shaped urinal.[68]

In 1997, Spiegelman had his first children's book published, Open Me...I'm a Dog, with a narrator who tries to convince its readers that it is a dog via popular-ups and an attached leash.[69] From 2000 to 2003, Spiegelman and Mouly edited iii issues of the children's comics anthology Little Lit, with contributions from Raw alumni and children'due south book authors and illustrators.[70]

Post-September 11 (2001–nowadays) [edit]

Smoke flowing from World Trade Center buildings after terrorist attacks

Spiegelman lived close to the World Trade Center site, which was known as "Basis Zero" after the September xi attacks that destroyed the World Trade Eye.[71] Immediately following the attacks Spiegelman and Mouly rushed to their daughter Nadja's schoolhouse, where Spiegelman's feet served only to increase his daughter'south apprehensiveness over the situation.[61] Spiegelman and Mouly created a cover for the September 24 effect of The New Yorker [72] [73] which at first glance appears to be totally black, but upon shut examination information technology reveals the silhouettes of the Globe Trade Center towers in a slightly darker shade of black. Mouly positioned the silhouettes so that the North Tower's antenna breaks into the "w" of The New Yorker 's logo. The towers were printed in black on a slightly darker blackness field employing standard four-color press inks with an overprinted articulate varnish. In some situations, the ghost images only became visible when the magazine was tilted toward a low-cal source.[72] Spiegelman was critical of the Bush administration and the mass media over their handling of the September 11 attacks.[74]

Spiegelman did not renew his New Yorker contract after 2003.[75] He later quipped that he regretted leaving when he did, equally he could take left in protest when the magazine ran a pro-invasion of Iraq slice later in the year.[76] Spiegelman said his parting from The New Yorker was part of his general disappointment with "the widespread conformism of the mass media in the Bush-league era".[77] He said he felt like he was in "internal exile"[74] post-obit the September eleven attacks as the U.Southward. media had get "conservative and timid"[74] and did not welcome the provocative fine art that he felt the need to create.[74] Nevertheless, Spiegelman asserted he left not over political differences, every bit had been widely reported,[75] but considering The New Yorker was non interested in doing serialized work,[75] which he wanted to do with his adjacent project.[76]

Spiegelman responded to the September eleven attacks with In the Shadow of No Towers, commissioned by German language newspaper Dice Zeit, where information technology appeared throughout 2003. The Jewish Daily Forwards was the only American periodical to serialize the characteristic.[74] The collected work appeared in September 2004 as an oversized[a] board volume of two-page spreads which had to exist turned on stop to read.[78]

In the June 2006 edition of Harper'due south Magazine Spiegelman had an article published on the Jyllands-Posten Muhammad cartoons controversy; some interpretations of Islamic law prohibit the depiction of Muhammad. The Canadian chain of booksellers Indigo refused to sell the result. Called "Drawing Claret: Outrageous Cartoons and the Fine art of Outrage", the article surveyed the sometimes dire effect political cartooning has for its creators, ranging from Honoré Daumier, who spent fourth dimension in prison for his satirical work; to George Grosz, who faced exile. To Indigo the article seemed to promote the continuance of racial caricature. An internal memo brash Indigo staff to tell people: "the decision was fabricated based on the fact that the content about to be published has been known to ignite demonstrations around the globe."[79] In response to the cartoons, Iranian president Mahmoud Ahmadinejad promoted an Iranian drawing contest seeking anti-Semitic cartoons. The organizers of the contest intended to highlight what they perceived equally Western double standards surrounding anti-Semitism and Islamophobia. Spiegelman produced a cartoon of a line of prisoners being led to the gas chambers; one stops to wait at the corpses around him and says, "Ha! Ha! Ha! What'south actually hilarious is that none of this is actually happening!"[80]

To promote literacy in young children, Mouly encouraged publishers to publish comics for children.[81] Disappointed by publishers' lack of response, from 2008 she self-published a line of easy readers called Toon Books, by artists such as Spiegelman, Renée French, and Rutu Modan, and promotes the books to teachers and librarians for their educational value.[82] Spiegelman's Jack and the Box was i of the inaugural books in 2008.[83]

In 2008 Spiegelman reissued Breakdowns in an expanded edition including "Portrait of the Artist equally a Young %@&*!"[84] an autobiographical strip that had been serialized in the Virginia Quarterly Review from 2005.[85] A volume drawn from Spiegelman's sketchbooks, Be A Nose, appeared in 2009. In 2011, MetaMaus followed—a book-length analysis of Maus by Spiegelman and Hillary Chute with a DVD update of the earlier CD-ROM.[86]

Library of America commissioned Spiegelman to edit the ii-volume Lynd Ward: Six Novels in Woodcuts, which appeared in 2010, collecting all of Ward'southward wordless novels with an introduction and annotations by Spiegelman. The project led to a touring show in 2014 about wordless novels called Wordless! with live music by saxophonist Phillip Johnston.[87] Art Spiegelman'due south Co-Mix: A Retrospective débuted at Angoulême in 2012 and by the cease of 2014 had traveled to Paris, Cologne, Vancouver, New York, and Toronto.[84] The book Co-Mix: A Retrospective of Comics, Graphics, and Scraps, which complemented the show, appeared in 2013.[88]

In 2015, later half dozen writers refused to sit on a panel at the PEN American Center in protest of the planned "freedom of expression courage laurels" for the satirical French periodical Charlie Hebdo following the shooting at its headquarters earlier in the twelvemonth, Spiegelman agreed to be 1 of the replacement hosts,[89] forth with other names in comics such as writer Neil Gaiman. Spiegelman retracted a cover he had submitted to a Gaiman-edited "saying the unsayable" issue of New Statesman when the management declined to impress a strip of Spiegelman'southward. The strip, "Notes from a First Amendment Fundamentalist", depicts Muhammad, and Spiegelman believed the rejection was censorship, though the magazine asserted it never intended to run the cartoon.[90]

In 2021, Literary Hub announced that Spiegelman was co-creating a work Street Cop with author Robert Coover.[91]

Personal life [edit]

Spiegelman married Françoise Mouly on July 12, 1977,[92] in a New York city hall ceremony.[39] They remarried later in the yr after Mouly converted to Judaism to delight Spiegelman's father.[39] Mouly and Spiegelman have ii children together: a daughter, Nadja Rachel, born in 1987,[92] and a son, Dashiell Alan, born in 1992.[92]

Style [edit]

"All comic-strip drawings must function equally diagrams, simplified flick-words that indicate more than they testify."

—Art Spiegelman[93]

Spiegelman suffers from a lazy centre, and thus lacks depth perception. He says his art style is "actually a outcome of [his] deficiencies". His is a style of labored simplicity, with dense visual motifs which often become unnoticed upon offset viewing.[94] He sees comics every bit "very condensed thought structures", more akin to poetry than prose, which demand careful, time-consuming planning that their seeming simplicity belies.[95] Spiegelman's piece of work prominently displays his business with grade, and pushing the boundaries of what is and is not comics. Early in the underground comix era, Spiegelman proclaimed to Robert Crumb, "Time is an illusion that can be shattered in comics! Showing the same scene from different angles freezes it in time by turning the page into a diagram—an orthographic projection!"[96] His comics experiment with time, space, recursion, and representation. He uses the discussion "decode" to express the action of reading comics[97] and sees comics as performance best when expressed as diagrams, icons, or symbols.[93]

Spiegelman has stated he does not see himself primarily as a visual artist, one who instinctively sketches or doodles. He has said he approaches his work as a writer as he lacks confidence in his graphic skills. He subjects his dialogue and visuals to abiding revision—he reworked some dialogue balloons in Maus upward to xl times.[98] A critic in The New Democracy compared Spiegelman's dialogue writing to a immature Philip Roth in his ability "to make the Jewish speech of several generations sound fresh and convincing".[98]

Spiegelman makes apply of both old- and new-fashioned tools in his piece of work. He prefers at times to work on paper on a drafting table, while at others he draws direct onto his reckoner using a digital pen and electronic drawing tablet, or mixes methods, employing scanners and printers.[95]

Influences [edit]

Two panels from wordless novel. On the left, a man carries a woman through the woods. On the right, a man looks at a nude in a studio.

Harvey Kurtzman has been Spiegelman's strongest influence every bit a cartoonist, editor, and promoter of new talent.[99] Master amongst his other early cartooning influences include Volition Eisner,[100] John Stanley's version of Fiddling Lulu, Winsor McCay'southward Petty Nemo, George Herriman's Krazy Kat,[99] and Bernard Krigstein's short strip "Chief Race".[101]

In the 1960s Spiegelman read in comics fanzines about graphic artists such as Frans Masereel, who had made wordless novels in woodcut. The discussions in those fanzines near making the Cracking American Novel in comics later acted equally inspiration for him.[46] Justin Dark-green's comic volume Binky Brown Meets the Holy Virgin Mary (1972) motivated Spiegelman to open up up and include autobiographical elements in his comics.[102]

Spiegelman acknowledges Franz Kafka as an early influence,[103] whom he says he has read since the age of 12,[104] and lists Vladimir Nabokov, William Faulkner, Gertrude Stein among the writers whose work "stayed with" him.[105] He cites non-narrative advanced filmmakers from whom he has drawn heavily, including Ken Jacobs, Stan Brakhage, and Ernie Gehr, and other filmmakers such as Charlie Chaplin and the makers of The Twilight Zone.[106]

Beliefs [edit]

Spiegelman is a prominent advocate for the comics medium and comics literacy. He believes the medium echoes the way the human brain processes information. He has toured the U.S. with a lecture called "Comix 101", examining its history and cultural importance.[107] He sees comics' low status in the late 20th century as having come down from where it was in the 1930s and 1940s, when comics "tended to appeal to an older audience of GIs and other adults".[108] Following the advent of the censorious Comics Lawmaking Say-so in the mid-1950s, Spiegelman sees comics' potential as having stagnated until the ascent of cloak-and-dagger comix in the late 1960s.[108] He taught courses in the history and aesthetics of comics at schools such as the Schoolhouse of Visual Arts in New York.[35] As co-editor of Raw, he helped propel the careers of younger cartoonists whom he mentored, such as Chris Ware,[76] and published the work of his School of Visual Arts students, such as Kaz, Drew Friedman, and Marker Newgarden. Some of the piece of work published in Raw was originally turned in every bit class assignments.[53]

Spiegelman has described himself politically as "firmly on the left side of the secular-fundamentalist divide" and a "1st Amendment absolutist".[80] As a supporter of gratis speech, Spiegelman is opposed to hate spoken language laws. He wrote a critique in Harper's on the controversial Muhammad cartoons in the Jyllands-Posten in 2006; the result was banned from Indigo–Capacity stores in Canada. Spiegelman criticized American media for refusing to reprint the cartoons they reported on at the fourth dimension of the Charlie Hebdo shooting in 2015.[109]

Spiegelman is a non-practicing Jew and considers himself "a-Zionist"—neither pro- nor anti-Zionist; he has called State of israel "a deplorable, failed thought".[75] He told Peanuts creator Charles Schulz he was not religious, just identified with the "alienated diaspora culture of Kafka and Freud ... what Stalin pejoratively chosen rootless cosmopolitanism".[110]

Legacy [edit]

Maus looms big non only over Spiegelman's body of work, but over the comics medium itself. While Spiegelman was far from the first to practice autobiography in comics, critics such every bit James Campbell considered Maus the work that popularized it.[11] The bestseller has been widely written about in the pop press and academia—the quantity of its critical literature far outstrips that of any other piece of work of comics.[111] Information technology has been examined from a great diversity of academic viewpoints, though nearly often by those with little understanding of Maus ' context in the history of comics. While Maus has been credited with lifting comics from popular civilization into the world of high fine art in the public imagination, criticism has tended to ignore its deep roots in popular civilisation, roots that Spiegelman has intimate familiarity with and has devoted considerable fourth dimension to promote.[112]

Spiegelman'due south belief that comics are best expressed in a diagrammatic or iconic mode has had a particular influence on formalists such equally Chris Ware and his former educatee Scott McCloud.[93] In 2005, the September xi-themed New Yorker cover placed sixth on the top ten of mag covers of the previous xl years past the American Society of Magazine Editors.[72] Spiegelman has inspired numerous cartoonists to take upwards the graphic novel as a means of expression, including Marjane Satrapi.[99]

A joint ZDF–BBC documentary, Art Spiegelman'southward Maus, was televised in 1987.[113] Spiegelman, Mouly, and many of the Raw artists appeared in the documentary Comic Book Confidential in 1988.[54] Spiegelman's comics career was likewise covered in an Emmy-nominated PBS documentary, Serious Comics: Art Spiegelman, produced by Patricia Zur for WNYC-Television set in 1994. Spiegelman played himself in the 2007 episode "Husbands and Knives" of the blithe television series The Simpsons with young man comics creators Daniel Clowes and Alan Moore.[114] A European documentary, Art Spiegelman, Traits de Mémoire, appeared in 2010 and later in English under the title The Art of Spiegelman,[113] directed past Clara Kuperberg and Joelle Oosterlinck and mainly featuring interviews with Spiegelman and those around him.[115]

Awards [edit]

Pulitzer Prize medal

  • 1982: Playboy Editorial Honor, Best Comic Strip[116]
  • 1982: Xanthous Kid Honor [de], Lucca, Italia, for Foreign Writer[117] [116]
  • 1983: Print, Regional Blueprint Award[116]
  • 1984: Print, Regional Blueprint Award[116]
  • 1985: Impress, Regional Design Honor[116]
  • 1986: Joel Grand. Cavior, Jewish Writing[118]
  • 1987: Inkpot Award[116]
  • 1988: Angoulême International Comics Festival, France, Prize for Best Comic Book, for Maus [54]
  • 1988: Urhunden Prize, Sweden, All-time Foreign Anthology, for Maus [119]
  • 1990: Guggenheim Fellowship.[54]
  • 1990: Max & Moritz Prize, Erlangen, Federal republic of germany, Special Prize, for Maus [118]
  • 1992: Pulitzer Prize Letters award, for Maus [120]
  • 1992: Eisner Award, Best Graphic Album (reprint), for Maus [121]
  • 1992: Harvey Honor, All-time Graphic Album of Previously Published Work, for Maus [122]
  • 1992: Los Angeles Times, Book Prize for Fiction for Maus II [123]
  • 1993: Angoulême International Comics Festival, Prize for All-time Comic Book, for Maus II [54]
  • 1993: Sproing Award, Kingdom of norway, Best Foreign Album, for Maus [118]
  • 1993: Urhunden Prize, Best Foreign Album, for Maus II [119]
  • 1995: Binghamton University (formerly Harpur Higher), honorary Doctorate of Letters.[66]
  • 1999: Eisner Award, inducted into the Hall of Fame[65]
  • 2005: French authorities, Chevalier of the Ordre des Arts et des Lettres[65]
  • 2005: Time mag, one of the "Top 100 Most Influential People"[124]
  • 2011: Angoulême International Comics Festival, Yard Prix[125]
  • 2011: National Jewish Book Award for MetaMaus: A Expect Inside a Modernistic Classic, Maus[126]
  • 2015: American Academy of Arts and Letters membership[127]
  • 2018: The Edward MacDowell Medal

Bibliography [edit]

[edit]

  • Tijuana Bibles: Art and Wit in America's Forbidden Funnies, 1930s-1950s (Introductory Essay: Those Dirty Fiddling Comics) (1977)
  • Breakdowns: From Maus to At present, an Anthology of Strips (1977)
  • Maus (1991)
  • The Wild Party (1994)
  • Open up Me, I'm A Domestic dog (1995)
  • Jack Cole and Plastic Human: Forms Stretched to Their Limits (2001)
  • In the Shadow of No Towers (2004)
  • Breakdowns: Portrait of the Artist equally a Young %@&*! (2008)
  • Jack and the Box (2008)
  • Be a Nose (2009)
  • MetaMaus (2011)
  • Co-Mix: A Retrospective of Comics, Graphics, and Scraps (2013)
  • Street Cop (with Robert Coover) (2021)

Editor [edit]

  • Brusque Order Comix (1972–74)
  • Whole Grains: A Book of Quotations (with Bob Schneider, 1973)
  • Arcade (with Neb Griffith, 1975–76)
  • Raw (with Françoise Mouly, 1980–91)
  • City of Glass (graphic novel adaptation by David Mazzucchelli of the Paul Auster novel, 1994)
  • The Narrative Corpse (1995)
  • Niggling Lit (with Françoise Mouly, 2000–2003)
  • The TOON Treasury of Classic Children'due south Comics (with Françoise Mouly, 2009)
  • Lynd Ward: Half-dozen Novels in Woodcuts (2010)

Notes [edit]

  1. ^ The book edition of In the Shadow of No Towers measures x in × 14.five in (25 cm × 37 cm).[78]

References [edit]

  1. ^ a b c d Spiegelman 2011, p. 18.
  2. ^ Naughtie 2012.
  3. ^ Spiegelman 2011, p. 16.
  4. ^ Teicholz 2008.
  5. ^ Hatfield 2005, p. 146.
  6. ^ Hirsch 2011, p. 37.
  7. ^ a b Kois 2011.
  8. ^ a b c Witek 2007b, p. xvii.
  9. ^ a b Horowitz 1997, p. 401.
  10. ^ Gardner 2017, pp. 78–79.
  11. ^ a b c Campbell 2008, p. 56.
  12. ^ Horowitz 1997; D'Arcy 2011.
  13. ^ Witek 2007b, pp. xvii–18.
  14. ^ Jamieson 2010, p. 116.
  15. ^ a b c d due east f m Witek 2007b, pp. xviii.
  16. ^ a b Kaplan 2006, p. 102; Campbell 2008, p. 56.
  17. ^ Fathers 2007, p. 122; Gordon 2004; Horowitz 1997, p. 401.
  18. ^ a b Horowitz 1997, p. 402.
  19. ^ a b Kaplan 2006, p. 103.
  20. ^ Epel 2007, p. 144.
  21. ^ a b Witek 1989, p. 103.
  22. ^ Kaplan 2008, p. 140.
  23. ^ Conan 2011.
  24. ^ Short Order Comix #i entry, M Comics Database. Retrieved March 4, 2020.
  25. ^ Fox, M. Steven. Short Order Comix #1, Underground ComixJoint. Retrieved March four, 2020.
  26. ^ Witek 1989, p. 98.
  27. ^ a b c Chute 2012, p. 413.
  28. ^ Donahue, Don and Susan Goodrick, editors. The Apex Treasury of Hole-and-corner Comics (Links Books/Quick Play a trick on, 1974).
  29. ^ Hatfield 2012, p. 138.
  30. ^ Hatfield 2012, p. 138; Chute 2012, p. 413.
  31. ^ Kuskin 2010, p. 68.
  32. ^ Rothberg 2000, p. 214; Witek 2007b, p. xviii.
  33. ^ Grishakova & Ryan 2010, pp. 67–68.
  34. ^ Buhle 2004, p. 252.
  35. ^ a b c d Witek 2007b, p. xix.
  36. ^ a b Kaplan 2006, p. 108.
  37. ^ Heer 2013, pp. 26–30.
  38. ^ Heller 2004, p. 137.
  39. ^ a b c Heer 2013, p. 41.
  40. ^ Heer 2013, pp. 47–48.
  41. ^ a b Heer 2013, pp. 45–47.
  42. ^ Heer 2013, p. 49.
  43. ^ Kaplan 2006, pp. 111–112.
  44. ^ a b c Kaplan 2006, p. 109.
  45. ^ Reid 2007, p. 225.
  46. ^ a b Kaplan 2008, p. 171.
  47. ^ Fathers 2007, p. 125.
  48. ^ Blau 2008.
  49. ^ a b Kaplan 2006, p. 113.
  50. ^ Kaplan 2006, p. 118; Kaplan 2008, p. 172.
  51. ^ Kaplan 2008, p. 171; Kaplan 2006, p. 118.
  52. ^ Kaplan 2006, p. 115.
  53. ^ a b Kaplan 2006, p. 111.
  54. ^ a b c d e f g h Witek 2007b, p. xx.
  55. ^ Bellomo 2010, p. 154.
  56. ^ Witek 2007a.
  57. ^ Shandler 2014, p. 338.
  58. ^ Liss 1998, p. 54; Fischer & Fischer 2002; Pulitzer Prizes staff.
  59. ^ Campbell 2008, p. 59.
  60. ^ Mendelsohn 2003, p. 180; Campbell 2008, p. 59; Witek 2007b, p. xx.
  61. ^ a b Kaplan 2006, p. 119.
  62. ^ Fox 2012.
  63. ^ Spiegelman, Art; Sendak, Maurice (September 27, 1993). "In the Dumps". The New Yorker.
  64. ^ Weiss 2012; Witek 2007b, pp. xx–xxi.
  65. ^ a b c d Witek 2007b, p. xxii.
  66. ^ a b c Witek 2007b, p. xxi.
  67. ^ a b Campbell 2008, p. 58.
  68. ^ a b Arnold 2001.
  69. ^ Publishers Weekly staff 1995.
  70. ^ Witek 2007b, pp. xxii–xxiii.
  71. ^ Baskind & Omer-Sherman 2010, p. xxi.
  72. ^ a b c ASME staff 2005.
  73. ^ "9/11 Magazine Covers > The New Yorker", ASME/magazine.org. Retrieved 2016-08-xiii.
  74. ^ a b c d eastward Corriere della Sera staff 2003, p. 264.
  75. ^ a b c d Hays 2011.
  76. ^ a b c Campbell 2008, p. lx.
  77. ^ Corriere della Sera staff 2003, p. 263.
  78. ^ a b Chute 2012, p. 414.
  79. ^ Adams 2006.
  80. ^ a b Brean 2008.
  81. ^ Heer 2013, p. 115.
  82. ^ Heer 2013, p. 116.
  83. ^ Publishers Weekly staff 2008.
  84. ^ a b Solomon 2014, p. one.
  85. ^ Witek 2007b, p. xxiii.
  86. ^ Heater 2011.
  87. ^ Artsy 2014.
  88. ^ Randle 2013.
  89. ^ Chow 2015.
  90. ^ Krayewski 2015; Heer 2015.
  91. ^ Temple, Emily (March 9, 2021). "Art Spiegelman and Robert Coover have collaborated (over Zoom!) on a new illustrated dystopian story". lithub.com. Literary Hub. Retrieved August 17, 2021.
  92. ^ a b c Meyers 2011.
  93. ^ a b c Cates 2010, p. 96.
  94. ^ Campbell 2008, pp. 56–57.
  95. ^ a b Campbell 2008, p. 61.
  96. ^ Chute 2012, p. 412.
  97. ^ Chute 2012, pp. 412–413.
  98. ^ a b Campbell 2008, p. 57.
  99. ^ a b c Zuk 2013, p. 700.
  100. ^ Frahm 2004.
  101. ^ Kannenberg 2001, p. 28.
  102. ^ Chute 2010, p. 18.
  103. ^ Mulman 2010, p. 86.
  104. ^ Kannenberg 2007, p. 262.
  105. ^ Horowitz 1997, p. 404.
  106. ^ Zuk 2013, pp. 699–700.
  107. ^ Kaplan 2006, p. 123.
  108. ^ a b Campbell 2008, pp. 58–59.
  109. ^ Brean 2015.
  110. ^ Mendelsohn 2003, p. 180.
  111. ^ Loman 2010, p. 217.
  112. ^ Loman 2010, p. 212.
  113. ^ a b Shandler 2014, p. 318.
  114. ^ Keller 2007.
  115. ^ Kensky 2012.
  116. ^ a b c d e f Brennan & Clarage 1999, p. 575.
  117. ^ Traini 1982.
  118. ^ a b c Zuk 2013, p. 699.
  119. ^ a b Hammarlund 2007.
  120. ^ Pulitzer Prizes staff.
  121. ^ Eisner Awards staff 2012.
  122. ^ Harvey Awards staff 1992.
  123. ^ Colbert 1992.
  124. ^ Time staff 2005; Witek 2007b, p. xxiii.
  125. ^ Cavna 2011.
  126. ^ "National Jewish Book Laurels | Volume awards | LibraryThing". www.librarything.com . Retrieved 2020-01-eighteen .
  127. ^ Artforum staff 2015.

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Further reading [edit]

  • The Topps Company Inc. (2008). Wacky Packages. Harry Due north. Abrams. ISBN978-0-8109-9531-iv.
  • The Topps Company Inc. (2012). Garbage Pail Kids. Harry North. Abrams. ISBN978-1-4197-0270-9.

External links [edit]

  • Appearances on C-SPAN
  • Lambiek Comiclopedia commodity.

duncantarm1994.blogspot.com

Source: https://en.wikipedia.org/wiki/Art_Spiegelman

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