Art of Spiegelman (born) Itzhak Avraham ben Zeev on February 15, 1948) is an American cartoonist, editor and supporter known for graphic novels Maus . His work as a co-editor in Arcade magazine and Raw has been influential, and from 1992 he spent a decade as an artist contributing to The New Yorker > me. He is married to designer and editor FranÃÆ'§oise Mouly and is the father of writer Nadja Spiegelman.
Spiegelman began his career with Topps bubblegum card company in the mid-1960s, which was his main financial support for two decades; where he co-created the parody series such as the Wacky Package in the 1960s and the Children's Pail Trash in the 1980s. He became famous in the underground comix scene in the 1970s with his short, experimental, and often autobiographical work. This selection of strips appeared in the collection of Breakdowns in 1977, after which Spiegelman changed focus on the length of Maus's book, about his relationship with his father, a Holocaust victim. The postmodern book describes Germans as cats, Jews as rats, and Polish ethnic as pigs, and it took thirteen years to make it to completion in 1991. He won a special Pulitzer Prize in 1992 and has gained a reputation as an important work, which responsible for bringing scientific attention to the comic media.
Spiegelman and Mouly edited eleven Raw issues from 1980 to 1991. Major graphic and graphic magazines helped introduce talents that became popular in alternative comics, such as Charles Burns, Chris Ware, and Ben Katchor, and introduced several cartoonists foreign to the world of English comics. Beginning in the 1990s, the couple worked for The New Yorker, which Spiegelman left to work on In Shadow of No Towers (2004), about his reaction to the September 11 attacks on New York in 2001.
Spiegelman supports larger comic literacy. As an editor, a teacher at the School of Visual Arts in New York City, and a lecturer, Spiegelman has promoted a better understanding of comics and has guided the younger cartoonist.
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Art Spiegelman's parents are Polish Jews W? Adys? Aw (1906-1982) and Andzia (1912-1968) Spiegelman. Her father was born Zeev Spiegelman, under the Hebrew name Zeev ben Avraham. W? Adys? Aw is his Polish name, and W? Adek (or Vladek in Russified form) is the name of this name. He was also known as Wilhelm under German occupation, and after immigration to the United States he took the name of William. His mother was born Andzia Zylberberg, by the name of Hebrew Hannah. She took Anna's name after her immigration to the US. In the Spiegelman Maus , from which the couple is best known, Spiegelman uses the spelling "Vladek" and "Anja", which he believes would be easier for Americans to pronounce. Spiegelman family name is German for "mirror man".
In 1937, Spiegelman had another son, Rysio (spelled "Richieu" in Maus, who died before Art was born at the age of five or six years. During the Holocaust, Spiegelman's parents sent Rysio to live with an aunt whom they believed 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 extermination camps. After the war, Spiegelman, unable to accept that the Rysio had died, sought an orphanage across Europe in the hope of finding it. Spiegelman talks about having some kind of sibling rivalry with "ghost siblings" - he feels incapable of competing with an "ideal" brother who "never makes a move or engages in any matter." Of 85 Spiegelman relatives who lived at the beginning of World War II, only 13 are known to survive the Holocaust.
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Life and career
Early life
Spiegelman was born Itzhak Avraham ben Zeev in Stockholm, Sweden, on February 15, 1948. He immigrated with his parents to the US in 1951. After the immigration his name was registered as Arthur Isadore, but later his name changed to Art. Originally the family settled in Norristown, Pennsylvania, and then moved to Rego Park in Queens, New York City, in 1957. He started making cartoons in 1960 and imitated his favorite comic book style, such as Mad . At Russell Sage Secondary School, where he was an honors student, he produced an inspired fanzine Mad BlasÃÆ'Â © . He earned money from his work by the time he reached high school and sold his artwork to the original Long Island Press and other outlets. His talent was such that he caught the eye of United Features Syndicate, which offered him a chance to produce a syndicated comic. Dedicated to the idea of ​​art as an expression, he rejected this commercial opportunity. He attended College of Arts and Design in Manhattan beginning in 1963. He met Woody Gelman, art director of the Topps Chewing Gum Company, who encouraged Spiegelman to sign up for the Topps after graduating high school. At 15 Spiegelman received payment for his work from the Rego Park newspaper.
After graduating in 1965, Spiegelman's parents urged him to pursue a financial security career like dentistry, but he chose to enroll in Harpur College to study art and philosophy. While there, he got freelance art work at Topps, which gave him income over the next two decades.
Spiegelman attended Harpur College from 1965 to 1968, where he worked as a staff cartoonist for a college newspaper and edited a college humor magazine. After a summer apprentice when he was 18 years old, Topps hired him for the Gelman Product Development Department as a creative consultant who created trading cards and related products in 1966, such as the Wacky Packages package that parodic trading cards started in the year 1967.
Spiegelman started selling his own underground comix on the street corners in 1966. He owned cartoons published in underground publications such as East Village Other and traveled to San Francisco for several months in 1967 , where the underground comix scene has just started to flourish.
In the late winter of 1968, Spiegelman had a brief but intense neurological disorder, which cut his university studies short. He has said that when he takes LSD very often. He spent a month at Binghamton State Mental Hospital, and shortly after he left, his mother committed suicide after the death of his only surviving brother.
Comix underground (1971-1977)
In 1971, after several visits, Spiegelman moved to San Francisco and became part of the comic counter-cultural movement that has grown there. Some of the comix he produced during this period included The Compleat Mr. Infinity (1970), a ten-page booklet from an explicit comic strip, and Viper Vicar of Vice, Villainy and Vickedness (1972), a transgressive work in the vein of fellow cartoonist S.A Clay Wilson. Spiegelman's works also appear in underground magazines such as Gothic Blimp Works , Bijou Funnies Young Lust , Real Pulp , and Strange Sex , and in various styles and genres as Spiegelman searched for his artistic voice. She also created cartoons for men's magazines such as Cavalier , The Dude , and Gent .
In 1972, Justin Green asked Spiegelman to do a three-page strip for the first edition of Funny Aminals sic . He wanted to do one about racism, and was originally regarded as a story with African-Americans as rats and cats took the role of the Ku Klux Klan. Instead, he turned to the Holocaust whose parents survived. He gives the title of the strip "Maus" and describes the Jews as mice who were persecuted by dead Katzen , the Nazis as cats. The narrator tells the story to a mouse named "Mickey". With this story Spiegelman feels he has found his voice.
Seeing Green's exposes Binky Brown's autobiography Meet the Holy Virgin Mary while in the process in 1971 inspired Spiegelman to produce the "Philistine on the Hell Planet", an expressionist work dealing with his mother's suicide; it appeared in 1972 at Short Order Comix # 1, which it edited. Spiegelman's work subsequently experienced a period of increased formal experimentation; Apex Treasury of Underground Comics cited in 1974: "As the art of forming comic strips is barely in its infancy, so I. Maybe we'll grow together." "Ace Hole, Midget Detective" which is often reprinted in 1974 is a cubist-style nonlinear parody of criminal fiction littered with non-sequiturs. "A Day at the Circuits" in 1975 is a recursive single-page line on alcoholism and depression in which the reader follows a character through several never-ending paths. The 1976 "Nervous Rex: The Malpractice Suite" consists of cut-out panels of the soap-opera comic strip Rex Morgan, M.D. overhauled in such a way as to oppose coherence.
In 1973, Spiegelman edited a quote of pornographic and psychedelic citation and dedicated it to his mother. Edited together with Bob Schneider, it is called Whole Grains: Quote Book . In 1974-1975, he taught a cartoon class at the San Francisco Art Academy.
In the mid-1970s, underground comix movements decelerated. To provide the cartoonist a safe place, Spiegelman jointly edited the Arcade anthology with Bill Griffith, in 1975 and 1976. Arcade printed by The Print Mint and lasted seven problems, five which has been covered by Robert Crumb. This stands out from similar publications by having an editorial plan, in which Spiegelman and Griffith attempt to show how comics connect to a wider realm of artistic and literary cultures. Spiegelman's own work at Arcade tends to be short and related to formal experiments. Arcade also introduces art from the past, as well as contemporary literary works by authors such as William S. Burroughs and Charles Bukowski. In 1975, Spiegelman moved back to New York City, which put most of the editorial work for the Arcade on Griffith's shoulder and his cartoonist wife, Diane Noomin. This, combined with distribution problems and retailer indifference, led to the death of the 1976 magazine. For a moment, Spiegelman vowed he would never edit another magazine.
FranÃÆ'§oise Mouly, an architectural student on hiatus from her study at Beaux-Arts in Paris, arrived in New York in 1974. While looking for comic books to practice reading English, she found Arcade . Avant-garde filmmaker Ken Jacobs introduced Mouly and Spiegelman, when Spiegelman visited, but they did not immediately develop a common interest. Spiegelman moved back to New York at the end of the year. Sometimes they are facing each other. After she read "Prisoner on the Hell Planet", Mouly felt an urge to contact her. An eight-hour telephone call led to the deepening of their relationship. Spiegelman followed him to France when he had to return to fulfill his obligations in his architecture course.
Spiegelman introduced Mouly to the comic world and helped him find work as a dye for Marvel Comics. After returning to the United States in 1977, Mouly experienced visa problems, which the couple solved by marrying. The couple began an annual trip to Europe to explore the world of comics, and brought back European comics to be shown to their circle of friends. Mouly helped organize a collection of Spiegelman's extensive and sophisticated experimental collection Breakdowns in 1977.
Raw and Maus (1978-1991)
Breakdown suffered poor distribution and sales, and 30% of printing went unusable due to a printing error, an experience that motivated Mouly to gain control over the printing process. He took an offset printing course and bought a printing press for his apartment, where he would print parts of a new magazine he emphasized launching with Spiegelman. With Mouly as publisher, Spiegelman and Mouly edited Raw beginning in July 1980. The first edition was given a subtitle of "Graphix Magazine from Suicide Pending". Meanwhile, it includes works by underground cartoonists such as Crumb and Griffith, Raw that focus on almost-unknown publisher artists, avant-garde cartoonists such as Charles Burns, Lynda Barry, Chris Ware, Ben Katchor and Gary Panter, and introduced an English-speaking audience to the translation of foreign works by JosÃÆ'Ã… © MuÃÆ' Â ± oz, ChÃÆ' Â © ri Samba, Joost Swarte, Yoshiharu Tsuge, Jacques Tardi, and others.
In order to create a work throughout the book based on his father's memories of the Holocaust Spiegelman began interviewing his father again in 1978 and undertaking a research visit in 1979 to the Auschwitz concentration camp, where his parents were imprisoned by the Nazis. The book, Maus , appeared one chapter at a time as the insertion at Raw beginning with the second issue in December 1980. Spiegelman's father did not live to see the solution; he died on August 18, 1982. Spiegelman studied in 1985 that Steven Spielberg produced an animated film about Jewish rats who fled from persecution in Eastern Europe by fleeing to the United States. Spiegelman believes his film, An American Tail (1986), was inspired by Maus and became excited to have his unfinished book out before the movie to avoid comparison. He struggled to find the publisher until in 1986, after publication in The New York Times from a warm review of the work in progress, the Pantheon agreed to release a collection of the first six chapters. The volume is titled Maus: A Survivor's Tale and subtitle My Father Bleeds History . The book finds a large audience, partly because it is sold in bookstores rather than in direct-market comic stores, which in the 1980s had become the dominant outlet for comic books.
Spiegelman began teaching at the School of Visual Arts in New York in 1978, and continued until 1987, teaching alongside his heroes Harvey Kurtzman and Will Eisner. Spiegelman has an essay published in Print titled "Commix: An Idiosyncratic Historical and Aesthetic Overview". In 1990 Spiegelman he had an essay called "High Art Lowdown" published in Artforum criticizing the High/Low exhibition at the Museum of Modern Art.
Behind the success of the Cabbage Patch Kids series, Spiegelman created the Pail Kids Card series for Topps in 1985. Similar to the Wacky Packages Package, the gross-out factor of the card was controversial with parent groups, and its popularity started a dirty fashion among children. Spiegelman calls the Topps a "Medici" for the autonomy and financial freedom working for the company that has given him. But the relationship was tense due to credit problems and ownership of original artwork. In 1989, Topps auctioned the artwork created by Spiegelman instead of returning it to him, and Spiegelman broke his relationship.
In 1991, Raw Vol. 2, No. 3 published; it becomes the last issue. The closing Maus does not appear in Raw but in the second volume of the graphic novel, which appeared later that year with the subtitle Dan Here My Troubles Began . Maus drew unprecedented critical attention to a comic work, including exhibits at the New York Museum of Modern Art and a special Pulitzer Prize in 1992.
The New Yorker (1992- -2001)
Hired by Tina Brown as an artist who contributed in 1992, Spiegelman worked for The New Yorker for ten years. The first cover of Spiegelman appeared on 15 February 1993, a Valentine's Day edition and showed a West Indian black woman and a Hasidic man kissing. The cover caused the turmoil in the office of The New Yorker . Spiegelman intended to refer to Crown 199's unrest in which racial tensions led to the killing of a Jewish yeshiva student. Spiegelman has twenty-one published New Yorker covers, and sends rejected numbers for being too outrageous.
In Spiegelman's "The the New Yorker" page, Spiegelman contributed a strip like a collaboration entitled "In the Dumps" with children's illustrator Maurice Sendak and an obituary for CharlesÃ, M. Schulz entitled "Thought abstract is the Warm Dogs ". An essay he published there on Jack Cole, the creator of Plastic Man, called "The Form Extending to Their Limits" was to form the basis for a book in 2001 about Cole called Jack Cole and Plastic Man: The Form Stretched to their Limit .
In the same year, Voyager Company published a version of the Maus CD-ROM with a large additional material called The Complete Maus , and Spiegelman illustrated a 1923 poem by Joseph Moncure March entitled The Wild Party . Spiegelman contributed the essay "Contacting My Foxes" in the Sept. 1, 1997, issue of Mother Jones .
Spiegelman's influence and connection in the New York cartoon circle attracted the anger of political cartoonist Ted Rall in 1999. In an article titled "The King of Comix" at The Village Voice, Rall accused Spiegelman of having the power to "make or destroyed "cartoonist career in New York, while denigrating Spiegelman as" a man with a great book in him ". Cartoonist Danny Hellman responded by sending a fake email under Rall's name to thirty professionals; the joke increased until Rall launched a defamation suit against Hellman for $ 1.5 million. Hellman published the benefit book "Legal Action Comics" to cover his legal costs, in which Spiegelman contributed to a back cover cartoon in which he relieved himself on a Rall-shaped urinal.
In 1997, Spiegelman published his first children's book: Open Me... I'm a Dog, , with a narrator trying to convince his readers that it is a dog via pop-up and attached. reins From 2000 to 2003, Spiegelman and Mouly edited three edition anthology comics of Little Lit children, with contributions from Raw alumni and children's book authors and illustrators.
Post 11 September (2001-present)
Spiegelman lives close to the World Trade Center site, known as "Ground Zero" after the September 11 attacks that destroyed the World Trade Center. Immediately after the attack, Spiegelman and Mouly rushed to their daughter's school, Nadja, where Spiegelman's only concern was to raise her daughter's concern over the situation. Spiegelman and Mouly created the cover for the September 24th edition of The New Yorker that looked briefly completely black, but after a close examination, he revealed the silhouette of the World Trade Center tower in a slightly darker color. black Shadow. Mouly positioned the silhouette so that the North Tower antenna broke into the "W" logo of The New Yorker '. The towers were printed in black on a slightly darker black plane using a standard four-color printing ink with an over-printed varnish. In some situations, the ghost image only becomes visible when the magazine tilts toward the light source. Spiegelman criticized the Bush administration and the media for their handling of the September 11 attacks.
Spiegelman did not renew his contract for New Yorker after 2003. He then insinuated that he was sorry to leave when he did so, because he could have gone in protest when the magazine runs a proliferation of Iraqi pieces later in the year. Spiegelman said his separation from The New Yorker was part of a general disappointment with the "broad conformism of the Bush-era mass media". He said he felt like he was in "internal seclusion" after the September 11 attacks because the US media had become "conservative and timid" and did not welcome the provocative art he felt needed to be created. Nevertheless, Spiegelman asserted that he left no political distinction, as has been widely reported, but because The New Yorker is not interested in doing serial work, which he wants to do with his next project.
Spiegelman responded to the September 11 attacks with In Shadow of No Towers , commissioned by the German newspaper Die Zeit , where it appeared throughout 2003. The Jewish Daily Forward is the only American magazine that serializes this feature. The work collected appeared in September 2004 as a large board book of two spread pages that had to be turned on to read.
In the June 2006 issue of Harper's Magazine Spiegelman has an article published on the Jyllands-Posten Muhammad cartoon controversy; some interpretations of Islamic law prohibit the depiction of Muhammad. Indigo Canadian book selling chain refused to sell this issue. Called "Blood Drawing: Embarrassing Cartoons and Art of Outrage", the article surveyed the sometimes horrific political cartoon effect has for its creator, starting from HonorÃÆ'Â © Daumier, who spends time in jail for his satirical work; to George Grosz, who is facing exile. For Indigo the article seems to promote the continuation of racial caricatures. Internal memos suggest Indigo staff to tell people: "decisions are made on the fact that the content to be published has been known to spark worldwide demonstrations." In response to the cartoon, Iranian President Mahmoud Ahmadinejad called for the sending of an antisemitic cartoon. Spiegelman produced cartoons from a number of prisoners taken to the gas chamber; someone stopped to look at the bodies around him and said, "Ha! Ha! Ha! What's really funny is that all this does not really happen!"
To promote literacy in children, Mouly encourages publishers to publish comics for children. Disappointed with the lack of publisher responses, starting in 2008 he published his own list of readers easily called Toon Books, by artists such as Spiegelman, Renà ©  © France, and Rutu Modan, and promoting the books to teachers and librarians for their educational value.. Spiegelman Jack and the Box was one of the inaugural books of 2008.
In 2008, Spiegelman republished Details in an expanded edition including "Portrait of Artist as Young,% @ & amp; *!" the biased autobiography strip in the Virginia Quarterly Review of 2005. Volume taken from the Spiegelman sketchbook, Be A Nose, appeared in 2009. In 2011 MetaMaus followed - Long book analysis Maus by Spiegelman and Hillary Chute with a DVD-ROM update from the previous CD-ROM.
The Library of America commissioned Spiegelman to edit two volumes. Lynd Ward: Six Novels at Woodcuts, which appeared in 2010, collected all the novels without Ward's words with introductions and annotations by Spiegelman. This project led to a 2014 tour event about a novel without words called Wordless! with live music by saxophonist Phillip Johnston. Spiegelman Art Co-Mix: Retrospective is targeted at Angoule in 2012 and by the end of 2014 has traveled to Paris, Cologne, Vancouver, New York and Toronto. A book that complements the show titled Co-Mix: A Retrospective of Comics, Graphics, and Scraps appears in 2013.
By 2015, after six authors refused to sit in the panel at PEN American Center in protest against the "freedom of expression of religious freedom" planned for the periodic French satire Charlie Hebdo after the shootings at his previous headquarters. in that year, Spiegelman agreed to become one of the replacement hosts, along with other names in comics such as author Neil Gaiman. Spiegelman retracted the cover he had sent to the "unresolvable issue" edition of the New Statesman when management refused to print the Spiegelman strip. The strip, entitled "The First Amendment Fundamentalist Note", describes Muhammad, and Spiegelman believes the denial is censorship, though the magazine insists it was never intended to run a cartoon.
Personal life
Spiegelman married Françoise Mouly on July 12, 1977, at the Town Hall ceremony. They married again at the end of the year after Mouly moved to Judaism to please Spiegelman's father. Mouly and Spiegelman have two children: a daughter Nadja Rachel, born in 1987, and a son of Dashiell Alan, born in 1992.
Style
"All comic strip images should serve as diagrams, simplified images that show more than they show."
Spiegelman suffers from lazy eyes, and therefore has no deep perception. He says his art style is "really the result of his shortcomings". His style of simplicity works, with a dense visual motif that often escapes attention at first sight. He sees comics as "a very strong structure of thought," more like poetry than prose, which requires careful and time-consuming planning so that his simple-looking discipline. Spiegelman's work prominently shows his concern for form, and pushes the limits of what is and is not a comic. At the beginning of the underground comix era, Spiegelman declared to Robert Crumb, "Time is an indestructible illusion in comics! Showing the same scene from different angles froze in time by turning pages into orthographic projection diagrams!" His comic experiments with time, space, recursion, and representation. He uses the word "decode" to express the action of comic reading and see the comic works best when expressed as a diagram, icon, or symbol.
Spiegelman has stated he does not see himself primarily as a visual artist, one who instinctively sketches or scribbles. He said he approached his work as a writer because he lacks confidence in his graphic skills. He directs his dialogue and visuals to constant revisions - he rebuilds several dialogue bubbles in Maus up to forty times. A critic at The New Republic compares Spiegelman's dialogue dialogue with a young Philip Roth in his ability "to make Jewish speeches of several generations sound fresh and reassuring".
Spiegelman makes use of both old and new tools in his work. He prefers to sometimes work on paper on the drafting table, while on the other he draws directly to his computer using digital pens and electronic picture tablets, or mixed methods, using scanners and printers.
Influences
Harvey Kurtzman has been a powerful influence of Spiegelman as a new cartoonist, editor, and promoter of talent. Chiefs among other early cartoon influences include Will Eisner, John Stanley's version of Little Lulu, Winsor McCay Little Nemo, George Herriman Krazy Kat, and Bernard Krigstein's short strip "Master Race".
In the 1960s Spiegelman read comic fanzines about graphic artists such as Frans Masereel, who had made a wordless novel in pieces of wood. Discussions in fanzines about making the Great American Novel in the comics then act as an inspiration to him. Comic book Justin Green Binky Brown Meet Holy Virgin Mary (1972) motivates Spiegelman to unlock and incorporate elements of autobiography in his comics.
Spiegelman recognizes Franz Kafka as an early influence, which he says he has read since the age of 12, and lists Vladimir Nabokov, William Faulkner, Gertrude Stein among writers whose work "lived with" him. He cites the avant-garde non-narrative filmmaker from which he has been drawn heavily, including Ken Jacobs, Stan Brakhage, and Ernie Gehr, and other filmmakers such as Charlie Chaplin and The Twilight Zone maker.
Confidence
Spiegelman is a leading advocate for comic media and comic literacy. He believes this media echoes the way the human brain processes information. He has toured the US with a lecture called "Comix 101", examining the history and cultural importance. He saw the low-status comics of the late 20th century as having descended from his place in the 1930s and 1940s, when comics "tend to attract a larger audience of GIs and other adults". Following the emergence of a deliberate Comic Code Authority in the mid-1950s, Spiegelman saw the potential of the comic having stagnated until the emergence of an underground comix in the late 1960s. He teaches courses in the history and aesthetics of comics in schools such as the School of Visual Arts in New York. As co-editor of Raw , he helped encourage a younger cartoonist career he guided, such as Chris Ware, and published works of Fine Arts School students such as Kaz, Drew Friedman and Mark Newgarden. Some works published in Raw were originally submitted as class assignments.
Spiegelman describes himself politically as "firmly on the left side of the secular-fundamentalist divide" and the "first absolute amendment". As a supporter of freedom of speech, Spiegelman opposes hate laws. He wrote criticism on Harper's on Muhammad's controversial cartoon at Jyllands-Posten in 2006; the problem was banned from Indigo-Chapter stores in Canada. Spiegelman criticized the American media for refusing to reprint the cartoons they reported during the shooting of Charlie Hebdo by 2015.
Spiegelman is a Jew who does not practice and considers himself "a-Zionist" - not anti-Zionist either; he called Israel "a sad and failed idea". He told Charles Schulz that he was not religious but identified with "the alienated diaspora culture of Kafka and Freud... what Stalin is clandestinely called cosmopolitanism without roots" - a statement which Ezra Mendelsohn interpreted as identification with "the Jewish spirit universalism championed by the greatest of Jewry creative figures ".
Legacy
Maus looks great not only above Spiegelman's working body, but also on the comic media itself. While Spiegelman is far from the first to do autobiography in comics, critics like James Campbell consider Maus is a work that popularized it. The best-selling book has been written about popular press and academia - the quantity of critical literature far outweighs other comic works. It has been examined from a variety of academic perspectives, although most often by those who have little understanding of the
Spiegelman's conviction that comics are best expressed in diagrams or iconic has special influence on formalists such as Chris Ware and his former student Scott McCloud. In 2005, the September 11th edition of the New Yorker was ranked sixth on the magazine's top ten covers of the previous 40 years by the American Society of Magazine Editors. Spiegelman has inspired many cartoonists to take graphic novels as a means of expression, including Marjane Satrapi.
Source of the article : Wikipedia
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