Английская Википедия:Art Spiegelman

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Шаблон:Short description Шаблон:Good article Шаблон:Infobox comics creator

Itzhak Avraham ben Zeev Spiegelman (Шаблон:IPAc-en Шаблон:Respell; born February 15, 1948), professionally known as Art Spiegelman, is an American cartoonist, editor, and comics advocate best known for his graphic novel Maus. His work as co-editor on the comics magazines Arcade and Raw has been influential, and from 1992 he spent a decade as contributing artist for The New Yorker. He is married to designer and editor Françoise Mouly, and is the father of writer Nadja Spiegelman. In September 2022, the National Book Foundation announced that he would receive the Medal for Distinguished Contribution to American Letters.[1]

Spiegelman began his career with Topps (a bubblegum and trading card company) in the mid-1960s, which was his main financial support for two decades; there he co-created parodic series such as Wacky Packages in the 1960s and Garbage Pail Kids in the 1980s. He gained prominence in the underground comix scene in the 1970s with short, experimental, and often autobiographical work. A selection 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 father, a Holocaust survivor. The postmodern book depicts Germans as cats, Jews as 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 Шаблон:Not a typo and graphics magazine helped introduce talents who became prominent in alternative comics, such as Charles Burns, Chris Ware, and Ben Katchor, and introduced several foreign cartoonists to the English-speaking comics world. Beginning in the 1990s, the couple worked for The New Yorker, which Spiegelman left to work on In the Shadow of No Towers (2004), about his reaction to the September 11 attacks in New York in 2001.

Spiegelman advocates for greater comics literacy. As an editor, a teacher, and a lecturer, Spiegelman has promoted better understanding of comics and has mentored younger cartoonists.

Family history

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Liquidation at the Sosnowiec Ghetto in occupied Poland during World War II; Spiegelman tells of his parents' survival in Maus.

Spiegelman's parents were Polish Jews Шаблон:Not a typo (1906–1982) and Шаблон:Not a typo (1912–1968) Spiegelman. His father was born Zeev Spiegelman, with the Hebrew name Zeev ben Avraham. Władysław was his Polish name, and Władek (or Vladek in anglicized form) was a diminutive of this name. He was also known as Wilhelm under the German occupation, and Anglicized his name to William upon immigration to the United States. His mother was born Andzia Zylberberg, with the Hebrew name Hannah. She changed her name to Anna upon immigrating to the United States. In Spiegelman's Maus, from which the couple are best known, Spiegelman used the spellings "Vladek" and "Anja", which he believed would be easier for Americans to pronounce.Шаблон:Sfn The surname Spiegelman is German for "mirror man".Шаблон:Sfn

In 1937, the Spiegelmans had one other son, Rysio (spelled "Richieu" in Maus), who died before Art was born,Шаблон:Sfn at the age of five or six.Шаблон:Sfn During the Holocaust, Spiegelman's parents sent Rysio to stay with an aunt with whom they believed he would be 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 brother"; he felt unable to compete with an "ideal" brother who "never threw tantrums or got in any kind of trouble".Шаблон:Sfn Of 85 Spiegelman relatives alive at the beginning of World War II, only 13 are known to have survived the Holocaust.Шаблон:Sfn

Life and career

Early life

He began cartooning in 1960Шаблон:Sfn and imitated the style of his favorite comic books, such as Mad.Шаблон:Sfn In the early 1960s, he contributed to early fanzines such as Smudge and Skip Williamson's Squire, and in 1962Шаблон:Sfn—while at Russell Sage Junior High School, where he was an honors student—he produced the Mad-inspired fanzine Blasé. He was earning money from his drawing by the time he reached high school and sold artwork to the original Long Island Press and other outlets. His talent caught the eyes of United Features Syndicate, who offered him the chance to produce a syndicated comic strip. Dedicated to the idea of art as expression, he turned down this commercial opportunity.Шаблон:Sfn He attended the High School of Art and Design in Manhattan beginning in 1963. He met Woody Gelman, the art director of Topps Chewing Gum Company, who encouraged Spiegelman to apply to Topps after graduating from high school.Шаблон:Sfn At age 15, Spiegelman received payment for his work from a Rego Park newspaper.Шаблон:Sfn

After he graduated in 1965, Spiegelman's parents urged him to pursue the financial security of a career such as dentistry, but he chose instead to enroll at Harpur College to study art and philosophy. While there, he got a freelance art job at Topps, which provided him with an income for the next two decades.Шаблон:Sfnm

Binghamton State Mental Hospital
After Spiegelman's release from Binghamton State Mental Hospital, his mother died by suicide.

Spiegelman attended Harpur College from 1965 until 1968, where he worked as staff cartoonist for the college newspaper and edited a college humor magazine.Шаблон:Sfn After a summer internship when he was 18, Topps hired him for Gelman's Product Development DepartmentШаблон:Sfn 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.Шаблон:Sfn

Spiegelman began selling self-published underground comix on street corners in 1966. He had cartoons published in underground publications such as the East Village Other and traveled to San Francisco for a few months in 1967, where the underground comix scene was just beginning to burgeon.Шаблон:Sfn

In late winter 1968, Spiegelman suffered a brief but intense nervous breakdown,Шаблон:Sfnm which cut short his university studies.Шаблон:Sfn He has said that at the time he was taking LSD with great frequency.Шаблон:Sfnm He spent a month in Binghamton State Mental Hospital, and shortly after he exited it, his mother died by suicide following the death of her only surviving brother.Шаблон:Sfnm

Underground comics (1971–1977)

In 1971, after several visits, Spiegelman moved to San FranciscoШаблон:Sfn and became a part of the countercultural underground comix movement that had been developing there. Some of the Шаблон:Not a typo he produced during this period include The Compleat Mr. Infinity (1970), a ten-page booklet of explicit comic strips, and The Viper Vicar of Vice, Villainy and Vickedness (1972),Шаблон:Sfn a transgressive work in the vein of fellow underground cartoonist S. Clay Wilson.Шаблон:Sfn Spiegelman's work also appeared in underground magazines such as Gothic Blimp Works, Bijou Funnies, Young Lust,Шаблон:Sfn Real Pulp, and Bizarre Sex,Шаблон:Sfn and were in a variety of styles and genres as Spiegelman sought his artistic voice.Шаблон:Sfn He also did a number of cartoons for men's magazines such as Cavalier, The Dude, and Gent.Шаблон:Sfn

In 1972, Justin Green asked Spiegelman to do a three-page strip for the first issue of Funny Шаблон:Not a typo Шаблон:Sic.Шаблон:Sfn He wanted to do one about racism, and at first considered a storyШаблон:Sfn with African-Americans as mice and cats taking on the role of the Ku Klux Klan.Шаблон:Sfn Instead, he turned to the Holocaust that his parents had survived. He titled the strip "Maus" and depicted the Jews as mice persecuted by die Katzen, which were Nazis as cats. The narrator related the story to a mouse named "Mickey".Шаблон:Sfn With this story Spiegelman felt he had found his voice.Шаблон:Sfn

Seeing Green's revealingly autobiographical Binky 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[2][3] in Short Order Comix Шаблон:No.1,Шаблон:Sfn which he edited.Шаблон:Sfn Spiegelman's work thereafter went through a phase of increasing formal experimentation;Шаблон:Sfn the Apex Treasury of Underground Comics in 1974 quotes him: "As an art form the comic strip is barely in its infancy. So am I. Maybe we'll grow up together."[4] The often-reprintedШаблон:Sfn "Ace Hole, Midget Detective" of 1974 was a Cubist-style nonlinear parody of hardboiled crime fiction full of non sequiturs.Шаблон:Sfnm "A Day at the Circuits" of 1975 is a recursive single-page strip about alcoholism and depression in which the reader follows the character through multiple never-ending pathways.Шаблон:Sfn "Nervous Rex: The Malpractice Suite" of 1976 is made up of cut-out panels from the soap-opera comic strip Rex Morgan, M.D. refashioned in such a way as to defy coherence.Шаблон:Sfn

In 1973, Spiegelman edited a pornographic and psychedelic book of quotations and dedicated it to his mother. Co-edited with Bob Schneider, it was called Whole Grains: A Book of Quotations.Шаблон:Sfnm In 1974–1975, he taught a studio cartooning class at the San Francisco Academy of Art.Шаблон:Sfn

By the mid-1970s, the underground comix movement was encountering a slowdown. To give cartoonists a safe berth, Spiegelman co-edited the anthology Arcade with Bill Griffith, in 1975 and 1976. Arcade was printed by The Print Mint and lasted seven issues, five of which had covers by Robert Crumb. It stood out from similar publications by having an editorial plan, in which Spiegelman and Griffith attempt to show how comics connect to the broader realms of artistic and literary culture. Spiegelman's own work in Arcade tended to be short and concerned with formal experimentation.Шаблон:Sfn Arcade also introduced art from ages past, as well as contemporary literary pieces by writers such as William S. Burroughs and Charles Bukowski.Шаблон:Sfn In 1975, Spiegelman moved back to New York City,Шаблон:Sfn which put most of the editorial work for Arcade on the shoulders of Griffith and his cartoonist wife, Diane Noomin. This, combined with distribution problems and retailer indifference, led to the magazine's 1976 demise. Spiegelman swore he would never edit another magazine.Шаблон:Sfn

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, she came across Arcade. Avant-garde filmmaker friend Ken Jacobs introduced Mouly and Spiegelman, when Spiegelman was visiting, but they did not immediately develop a mutual interest. Spiegelman moved back to New York later in the year. Occasionally the two 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.Шаблон:Sfn

Spiegelman introduced Mouly to the world of comics and helped her find work as a colorist for Marvel Comics.Шаблон:Sfn After returning to the U.S. in 1977, Mouly ran into visa problems, which the couple solved by getting married.Шаблон:Sfn The couple began to make yearly trips to Europe to explore the comics scene, and brought back European comics to show to their circle of friends.Шаблон:Sfn Mouly assisted in putting together the lavish, oversized collection of Spiegelman's experimental strips Breakdowns in 1977.Шаблон:Sfn

Raw and Maus (1978–1991)

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Spiegelman visited the Auschwitz concentration camp in 1979 as research for Maus; his parents had been imprisoned there.

Breakdowns suffered poor distribution and sales, and 30% of the print run was unusable due to printing errors, an experience that motivated Mouly to gain control over the printing process.Шаблон:Sfn She took courses in offset printing and bought a printing press for her loft,Шаблон:Sfn on which she was to print parts ofШаблон:Sfn a new magazine she insisted on launching with Spiegelman.Шаблон:Sfn With Mouly as publisher, Spiegelman and Mouly co-edited Raw starting in July 1980.Шаблон:Sfn The first issue was subtitled "The Graphix Magazine of Postponed Suicides".Шаблон:Sfn While it included work from such established underground cartoonists as Crumb and Griffith,Шаблон:Sfn Raw focused on publishing artists who were virtually unknown, avant-garde 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,Шаблон:Sfn Jacques Tardi, and others.Шаблон:Sfn

With the intention of creating a book-length work based on his father's recollections of the HolocaustШаблон:Sfn Spiegelman began to interview his father again in 1978Шаблон:Sfn and made a research visit in 1979 to the Auschwitz concentration camp, where his parents had been imprisoned by the Nazis.Шаблон:Sfn The book, Maus, appeared one chapter at a time as an insert in Raw beginning with the second issue in December 1980.Шаблон:Sfn Spiegelman's father did not live to see its completion; he died on 18 August 1982.Шаблон:Sfn Spiegelman learned in 1985 that Steven Spielberg was producing an animated film about Jewish mice who escape persecution in Eastern Europe by fleeing to the United States. Spiegelman was sure the film, An American Tail (1986), was inspired by Maus and became eager to have his unfinished book come out before the movie to avoid comparisons.Шаблон:Sfnm He struggled to find a publisherШаблон:Sfn until in 1986, after the publication in The New York Times of a rave review of the work-in-progress, Pantheon agreed to release a collection of the first six chapters. The volume was titled Maus: A Survivor's Tale and subtitled My Father Bleeds History.Шаблон:Sfnm The book found a large audience, in part because it was sold in bookstores rather than in direct-market comic shops, which by the 1980s had become the dominant outlet for comic books.Шаблон:Sfn

Photo of an elderly man
Spiegelman and Will Eisner (photographed in 1982) taught at the School of Visual Arts from 1978 to 1987.

Spiegelman began teaching at the School of Visual Arts in New York in 1978, and continued until 1987,Шаблон:Sfn teaching alongside his heroes Harvey Kurtzman and Will Eisner.Шаблон:Sfn "Шаблон:Not a typo: An Idiosyncratic Historical and Aesthetic Overview", a Spiegelman essay, was published in Print.Шаблон:Sfn Another Spiegelman essay, "High Art Lowdown", was published in Artforum in 1990, critiquing the High/Low exhibition at the Museum of Modern Art.Шаблон:Sfn

In the wake of the success of the Cabbage Patch Kids series of dolls, Spiegelman created the parodic trading card series Garbage Pail Kids for Topps in 1985. Similar to the Wacky Packages series, the gross-out factor of the cards was controversial with parent groups, and its popularity started a gross-out fad among children.Шаблон:Sfn Spiegelman called Topps his "Medici" for the autonomy and financial 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 art Spiegelman had created rather than returning them to him, and Spiegelman broke the relation.Шаблон:Sfn

In 1991, Raw Шаблон:Abbr 2, Шаблон:Abbr 3 was published; it was to be the last issue.Шаблон:Sfn The closing chapter of Maus appeared not in RawШаблон:Sfn but in the second volume of the graphic novel, which appeared later that year with the subtitle And Here My Troubles Began.Шаблон:Sfn Maus attracted an unprecedented amount of critical attention for a work of comics, including an exhibition at New York's Museum of Modern ArtШаблон:Sfn and a special Pulitzer Prize in 1992.Шаблон:Sfnm

The New Yorker and public legitimacy (1992–2001)

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

Hired by Tina BrownШаблон:Sfn as a contributing artist in 1992, Spiegelman worked for The New Yorker for ten years. His first cover appeared on the February 15, 1993, Valentine's Day issue and showed a black West Indian woman and a Hasidic man kissing. The cover caused turmoil at The New Yorker offices. Spiegelman intended it to reference the Crown Heights riot of 1991 in which racial tensions led to the murder of a Jewish yeshiva student.Шаблон:Sfnm Twenty-one New Yorker covers by Spiegelman were published,Шаблон:Sfn and he also submitted some which were rejected for being too outrageous.Шаблон:Sfn[5]

Within The New YorkerШаблон:'s pages, Spiegelman contributed strips such as a collaboration, "In the Dumps", with children's illustrator Maurice Sendak[6]Шаблон:Sfnm and an obituary to Charles M. Schulz, "Abstract Thought is a Warm Puppy".Шаблон:Sfn 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 about Cole, Jack Cole and Plastic Man: Forms Stretched to Their Limits (2001).Шаблон:Sfn

The same year, Voyager Company published The Complete Maus, a CD-ROM version of Maus with extensive supplementary material, and Spiegelman illustrated a 1923 poem by Joseph Moncure March called The Wild Party.Шаблон:Sfn Spiegelman contributed the essay "Getting in Touch With My Inner Racist" in the September 1, 1997, issue of Mother Jones.Шаблон:Sfn

Spiegelman was comics editor of the New York Press in the early 1990s.[7] He was comics editor of Details magazine in the late 1990s;[5] in 1997 he began assigning comics journalism pieces in Details to a number of his cartoonist associates,[8] including Joe Sacco, Peter Kuper, Ben Katchor, Peter Bagge, Charles Burns, Kaz, Kim Deitch, and Jay Lynch. The magazine published these works of journalism in comics form throughout 1998 and 1999, helping to legitimize the form in popular perception.[9]

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.Шаблон:Sfn In "The King of Comix",[7] an article in The Village Voice,Шаблон:Sfn 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 book in him".Шаблон:Sfn Cartoonist Danny Hellman responded by sending a forged email under Rall's name to 30 professionals; the prank escalated until Rall launched a defamation suit against Hellman for $1.5 million. Hellman published a "Legal Action Comics" benefit book to cover his legal costs, to which Spiegelman contributed a back-cover cartoon in which he relieves himself on a Rall-shaped urinal.Шаблон:Sfn

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 pop-ups and an attached leash.Шаблон:Sfn From 2000 to 2003, Spiegelman and Mouly edited three issues of the children's comics anthology Little Lit, with contributions from Raw alumni and children's book authors and illustrators.Шаблон:Sfn

Post-September 11 (2001–present)

Smoke flowing from World Trade Center buildings after terrorist attacks
The September 11 attacks provoked Spiegelman to create In the Shadow of No Towers.

Spiegelman lived close to the World Trade Center site, which was known as "Ground Zero" after the September 11 attacks that destroyed the World Trade Center.Шаблон:Sfn Immediately following the attacks Spiegelman and Mouly rushed to their daughter Nadja's school, where Spiegelman's anxiety served only to increase his daughter's apprehensiveness over the situation.Шаблон:Sfn Spiegelman and Mouly created a cover for the September 24 issue of The New YorkerШаблон:Sfn[10] which at first glance appears to be totally black, but upon close examination it reveals the silhouettes of the World 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 YorkerШаблон:'s logo. The towers were printed in black on a slightly darker black field employing standard four-color printing inks with an overprinted clear varnish. In some situations, the ghost images only became visible when the magazine was tilted toward a light source.Шаблон:Sfn Spiegelman was critical of the Bush administration and the mass media over their handling of the September 11 attacks.Шаблон:Sfn

Spiegelman did not renew his New Yorker contract after 2003.Шаблон:Sfn He later quipped that he regretted leaving when he did, as he could have left in protest when the magazine ran a pro-invasion of Iraq piece later in the year.Шаблон:Sfn 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 era".Шаблон:Sfn He said he felt like he was in "internal exile"Шаблон:Sfn following the September 11 attacks as the U.S. media had become "conservative and timid"Шаблон:Sfn and did not welcome the provocative art that he felt the need to create.Шаблон:Sfn Nevertheless, Spiegelman asserted he left not over political differences, as had been widely reported,Шаблон:Sfn but because The New Yorker was not interested in doing serialized work,Шаблон:Sfn which he wanted to do with his next project.Шаблон:Sfn

Spiegelman responded to the September 11 attacks with In the Shadow of No Towers, commissioned by German newspaper Шаблон:Lang, where it appeared throughout 2003. The Jewish Daily Forward was the only American periodical to serialize the feature.Шаблон:Sfn The collected work appeared in September 2004 as an oversizedШаблон:Efn board book of two-page spreads which had to be turned on end to read.Шаблон:Sfn

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"Gargantua", a cartoon critical of King Louis Philippe I, led to the imprisonment of its author, Honoré Daumier.

In the June 2006 edition of Harper's 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 issue. Called "Drawing Blood: Outrageous Cartoons and the Art of Outrage", the article surveyed the sometimes dire effect political cartooning has for its creators, ranging from Honoré Daumier, who spent time 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 advised Indigo staff to tell people: "the decision was made based on the fact that the content about to be published has been known to ignite demonstrations around the world."Шаблон:Sfn In response to the cartoons, Iranian president Mahmoud Ahmadinejad promoted an Iranian cartoon contest seeking anti-Semitic cartoons. The organizers of the contest intended to highlight what they perceived as 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 look at the corpses around him and says, "Ha! Ha! Ha! What's really hilarious is that none of this is actually happening!"Шаблон:Sfn

To promote literacy in young children, Mouly encouraged publishers to publish comics for children.Шаблон:Sfn 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.Шаблон:Sfn Spiegelman's Jack and the Box was one of the inaugural books in 2008.Шаблон:Sfn

In 2008 Spiegelman reissued Breakdowns in an expanded edition including "Portrait of the Artist as a Young %@&*!"Шаблон:Sfn an autobiographical strip that had been serialized in the Virginia Quarterly Review from 2005.Шаблон:Sfn 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.Шаблон:Sfn

Library of America commissioned Spiegelman to edit the two-volume Lynd Ward: Six Novels in Woodcuts, which appeared in 2010, collecting all of Ward's 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.Шаблон:Sfn Art Spiegelman's Co-Mix: A Retrospective débuted at Angoulême in 2012 and by the end of 2014 had traveled to Paris, Cologne, Vancouver, New York, and Toronto.Шаблон:Sfn The book Co-Mix: A Retrospective of Comics, Graphics, and Scraps, which complemented the show, appeared in 2013.Шаблон:Sfn

In 2015, after six writers refused to sit on a panel at the PEN American Center in protest of the planned "freedom of expression courage award" for the satirical French periodical Charlie Hebdo following the shooting at its headquarters earlier in the year, Spiegelman agreed to be one of the replacement hosts,Шаблон:Sfn along 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 print a strip of Spiegelman's. 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.Шаблон:Sfnm

In 2021, Literary Hub announced that Spiegelman was co-creating a work Street Cop with author Robert Coover.[11]

Personal life

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Spiegelman married Françoise Mouly in 1977 (pictured in 2015).

Spiegelman married Françoise Mouly on July 12, 1977,Шаблон:Sfn in a New York city hall ceremony.Шаблон:Sfn They remarried later in the year after Mouly converted to Judaism to please Spiegelman's father.Шаблон:Sfn Mouly and Spiegelman have two children together: a daughter, Nadja Rachel, born in 1987,Шаблон:Sfn and a son, Dashiell Alan, born in 1992.Шаблон:Sfn

Style

Шаблон:Blockquote

Spiegelman suffers from a lazy eye, and thus lacks depth perception. He says his art style is "really a result of [his] deficiencies". His is a style of labored simplicity, with dense visual motifs which often go unnoticed upon first viewing.Шаблон:Sfn He sees comics as "very condensed thought structures", more akin to poetry than prose, which need careful, time-consuming planning that their seeming simplicity belies.Шаблон:Sfn Spiegelman's work prominently displays his concern with form, 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!"Шаблон:Sfn His comics experiment with time, space, recursion, and representation. He uses the word "decode" to express the action of reading comicsШаблон:Sfn and sees comics as functioning best when expressed as diagrams, icons, or symbols.Шаблон:Sfn

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 constant revision—he reworked some dialogue balloons in Maus up to forty times.Шаблон:Sfn A critic in The New Republic compared Spiegelman's dialogue writing to a young Philip Roth in his ability "to make the Jewish speech of several generations sound fresh and convincing".Шаблон:Sfn

Spiegelman makes use of both old- and new-fashioned tools in his work. He prefers at times to work on paper on a drafting table, while at others he draws directly onto his computer using a digital pen and electronic drawing tablet, or mixes methods, employing scanners and printers.Шаблон:Sfn

Influences

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.
Wordless woodcut novels such as those by Frans Masereel were an early influence.

Harvey Kurtzman has been Spiegelman's strongest influence as a cartoonist, editor, and promoter of new talent.Шаблон:Sfn Chief among his other early cartooning influences include Will Eisner,Шаблон:Sfn John Stanley's version of Little Lulu, Winsor McCay's Little Nemo, George Herriman's Krazy Kat,Шаблон:Sfn and Bernard Krigstein's short strip "Master Race".Шаблон:Sfn

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 about making the Great American Novel in comics later acted as inspiration for him.Шаблон:Sfn Justin Green's comic book Binky Brown Meets the Holy Virgin Mary (1972) motivated Spiegelman to open up and include autobiographical elements in his comics.Шаблон:Sfn

Spiegelman acknowledges Franz Kafka as an early influence,Шаблон:Sfn whom he says he has read since the age of 12,Шаблон:Sfn and lists Vladimir Nabokov, William Faulkner, Gertrude Stein among the writers whose work "stayed with" him.Шаблон:Sfn He cites non-narrative avant-garde 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.Шаблон:Sfn

Beliefs

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.Шаблон:Sfn 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".Шаблон:Sfn Following the advent of the censorious Comics Code Authority in the mid-1950s, Spiegelman sees comics' potential as having stagnated until the rise of underground comix in the late 1960s.Шаблон:Sfn He taught courses in the history and aesthetics of comics at schools such as the School of Visual Arts in New York.Шаблон:Sfn As co-editor of Raw, he helped propel the careers of younger cartoonists whom he mentored, such as Chris Ware,Шаблон:Sfn and published the work of his School of Visual Arts students, such as Kaz, Drew Friedman, and Mark Newgarden. Some of the work published in Raw was originally turned in as class assignments.Шаблон:Sfn

Spiegelman has described himself politically as "firmly on the left side of the secular-fundamentalist divide" and a "1st Amendment absolutist".Шаблон:Sfn As a supporter of free speech, Spiegelman is opposed to hate speech laws. He wrote a critique in Harper's on the controversial Muhammad cartoons in the Jyllands-Posten in 2006; the issue was banned from Indigo–Chapters stores in Canada. Spiegelman criticized American media for refusing to reprint the cartoons they reported on at the time of the Charlie Hebdo shooting in 2015.Шаблон:Sfn

Spiegelman is a non-practicing Jew and considers himself "a-Zionist"—neither pro- nor anti-Zionist; he has called Israel "a sad, failed idea".Шаблон:Sfn He told Peanuts creator Charles Schulz he was not religious, but identified with the "alienated diaspora culture of Kafka and Freud ... what Stalin pejoratively called rootless cosmopolitanism".Шаблон:Sfn

Legacy

Maus looms large not only over Spiegelman's body of work, but over the comics medium itself. While Spiegelman was far from the first to do autobiography in comics, critics such as James Campbell considered Maus the work that popularized it.Шаблон:Sfn The bestseller has been widely written about in the popular press and academia—the quantity of its critical literature far outstrips that of any other work of comics.Шаблон:Sfn It has been examined from a great variety of academic viewpoints, though most often by those with little understanding of MausШаблон:` context in the history of comics. While Maus has been credited with lifting comics from popular culture into the world of high art in the public imagination, criticism has tended to ignore its deep roots in popular culture, roots that Spiegelman has intimate familiarity with and has devoted considerable time to promote.Шаблон:Sfn

Spiegelman's belief that comics are best expressed in a diagrammatic or iconic manner has had a particular influence on formalists such as Chris Ware and his former student Scott McCloud.Шаблон:Sfn In 2005, the September 11-themed New Yorker cover placed sixth on the top ten of magazine covers of the previous 40 years by the American Society of Magazine Editors.Шаблон:Sfn Spiegelman has inspired numerous cartoonists to take up the graphic novel as a means of expression, including Marjane Satrapi.Шаблон:Sfn

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

Awards

Pulitzer Prize medal
Maus was the first graphic novel to win a Pulitzer Prize.

Bibliography

Author

Editor

Notes

Шаблон:Notelist

References

Шаблон:Reflist

Works cited

Шаблон:Refbegin

Шаблон:Refend

Further reading

External links

Шаблон:Sisterlinks

Шаблон:Art Spiegelman Шаблон:Underground comix cartoonists Шаблон:Inkpot Award 1980s Шаблон:PulitzerPrize SpecialCitations Letters Шаблон:American Book Awards Шаблон:Authority control (arts) Шаблон:Portal bar

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  1. ↑ Шаблон:Cite web
  2. ↑ Short Order Comix #1 entry, Grand Comics Database. Retrieved March 4, 2020.
  3. ↑ Fox, M. Steven. Short Order Comix #1, Underground ComixJoint. Retrieved March 4, 2020.
  4. ↑ Donahue, Don and Susan Goodrick, editors. The Apex Treasury of Underground Comics (Links Books/Quick Fox, 1974).
  5. ↑ 5,0 5,1 McGee, Kathleen. "SPIEGELMAN SPEAKS: Art Spiegelman is the author of Maus for which he won a special Pulitzer in 1992. Kathleen McGee interviewed him when he visited Minneapolis in 1998," Conduit (1998).
  6. ↑ Шаблон:Cite magazine
  7. ↑ 7,0 7,1 Rall, Ted. "The King of Comix: With Raw, a Pulitzer Prize For Maus, and a Strategic Job at The New Yorker, Art Spiegelman Has Become Lord of All New York Cartoonists. But His Power Is No Laughing Matter,", The Village Voice, July 27, 1999.
  8. ↑ "Details Begins Cartoon Journalism Features," The Comics Journal #205 (June 1998), p. 27.
  9. ↑ Mackay, Brad. "Behind the rise of investigative cartooning," THIS Magazine (Jan. 2008). Archived at Ad Astra Comix.
  10. ↑ "9/11 Magazine Covers > The New Yorker" Шаблон:Webarchive, ASME/magazine.org. Retrieved 2016-08-13.
  11. ↑ Шаблон:Cite web
  12. ↑ Шаблон:Cite web
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