Word: maus
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...Pulitzer Prize winner lamented that it makes for poor travel reading, his choice of the modernist author hints at the wide array influences on his work, from everyday advertising to the highest realms of literature. Spiegelman, the politically active artist best known for his creation of “Maus,” a graphic novel based on his father’s experiences in a concentration camp, has just released “Breakdowns: Portrait of the Artist as a Young %@&*!,” composed of both previously released comics from the 70s and new work exploring their development...
...started his first graphic novel about Cambodia, Impasse et Rouge - chronicling the years just before the Khmer Rouge - in 1987, five years before Art Spiegelman's Maus would win a Pulitzer for its famous depiction of the Holocaust and demonstrate that gravitas and the graphic arts were not mutually exclusive. Impasse et Rouge wasn't published for almost another 12 years. Although the following two titles about Cambodia, L'Eau et la Terre (2005) and Lendemains de cendres (2007), were picked up in fairly quick succession by the major French comic publisher Delcourt, Séra has still...
...Pasamonik. Finally, with a nod toward Edmond-Fran?ois Calvo's 1944 La B?te est Morte (The Beast is Dead) - which uses animals to tell the story of World War II - Art Spiegelman brought the graphic novel worldwide recognition by winning a Pulitzer prize in 1992 for his Holocaust saga, Maus. Eisner and Spiegelman's heirs now litter the globe, from Frenchman Joann Sfar (The Rabbi's Cat) to Iranian Marjane Satrapi (Persepolis). "From Superman to the Rabbi's Cat" pays homage to these artists, inviting the viewer to consider the subtexts at work even in comic books about...
...dominant tone of irreverent self-reference: one form of pop culture mocking all other forms, and itself. Kurtzman inspired several of the artists in this show, including Crumb, whose exemplarily twisted panels first appeared in Kurtzman's post-Mad magazine Help!, and Art Spiegelman, whose Pulitzer Prize-winning Maus in 1986 spurred a lot of high-minded people toward a belated appreciation of the form. (A comic book about the Holocaust - that must somehow be important...
...that raises my last quibble about the museuming of comics. Many of the artists included as writers more than "directors." Put it this way: would you rather see (read) Kurtzman's Mad or Spiegelman's Maus illustrated by other artists, or have others write stories for which Kurtzman and Spiegelman provided the drawings? The first, obviously, because the genius was in the writing. Indeed, though Kurtzman and Feldstein did their own drawing for some EC comic covers and stories, most were illustrated by terrific artists (Elder, Wallace Wood, Jack Davis) who brought their own personalities to the equation. At Marvel...