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Art Spiegelman
From Wikipedia, the free encyclopedia

Art Spiegelman (born Itzhak Avraham ben Zeev on February

15, 1948) is an American cartoonist, editor, and comics Art Spiegelman
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, where he made several high-profile
and sometimes controversial covers. He is married to designer
and editor Franoise Mouly and is the father of writer Nadja
Spiegelman.

Spiegelman began his career with the Topps bubblegum 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 the 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 Art Spiegelman in 2007
turned focus to the book-length Maus, about his relation with
Born Itzhak Avraham ben
his father, a Holocaust survivor. The postmodern book depicts
Zeev[1]
Nazis as cats, Jews as mice, and ethnic Poles as pigs, and took
February 15, 1948
thirteen years until its completion in 1991. It won a special
Pulitzer Prize in 1992 and has gained a reputation as a pivotal Stockholm, Sweden
work, responsible for bringing scholarly attention to the comics Nationality American
medium. Area(s) Cartoonist, Editor
Spiegelman and Mouly edited eleven issues of Raw from 1980 Notable works Breakdowns
to 1991. The oversized comics and graphics magazine helped Maus
introduce talents who became prominent in alternative comics, Garbage Pail
such as Charles Burns, Chris Ware, and Ben Katchor, and Kids
introduced several foreign cartoonists to the English-speaking
Spouse(s) Franoise Mouly
comics world. Beginning in the 1990s, the couple worked for
The New Yorker, which Spiegelman left to work on In the Children Nadja
Shadow of No Towers (2004), about his reaction to the Spiegelman
September 11 attacks in New York in 2001. Dashiell
Spiegelman
Spiegelman advocates for greater comics literacy. As an editor,
a teacher at the School of Visual Arts in New York City, and a Art Spiegelman's voice
lecturer, Spiegelman has promoted better understanding of 0:00 MENU
comics and has mentored younger cartoonists. from the BBC programme Bookclub,
February 5, 2012.[2]

Contents
1 Family history

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2 Life and career

3 Private life
4 Style
5 Beliefs
6 Legacy
7 Bibliography
8 Notes
9 References
10 Further reading
11 External links

Family history
Art Spiegelman's parents were Polish Jews Wadysaw
(19061982) and Andzia (19121968) Spiegelman. His father
was born Zeev Spiegelman, with the Hebrew name Zeev ben
Avraham. Wadysaw was his Polish name, and Wadek (or
Vladek in Russified form) was a diminutive of this name. He
was also known as Wilhelm under the German occupation, and
upon immigration to the United States he took the name
William. His mother was born Andzia Zylberberg, with the
Hebrew name Hannah. She took the name Anna upon her
immigration to the US. In Spiegelman's Maus, from which the Liquidation at the Sosnowiec Ghetto in
occupied Poland during World War II;
couple are best known, Spiegelman used the spellings "Vladek"
Spiegelman tells of his parents' survival
and "Anja", which he believed would be easier for Americans to
in Maus.
pronounce.[3] The surname Spiegelman is German for "mirror
man".[4]

In 1937, the Spiegelmans had one other son, Rysio (spelled "Richieu" in Maus), who died before Art
was born[1] at the age of five or six.[5] 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 would 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".[6] Of 85 Spiegelman relatives alive at the beginning of World
War II, only 13 are known to have survived the Holocaust.[7]

Life and career

Early life

Spiegelman was born Itzhak Avraham ben Zeev[1] in Stockholm, Sweden, on February 15, 1948. He
immigrated with his parents to the US in 1951.[8] Upon immigration his name was registered as Arthur
Isadore, but he later had his given name changed to Art.[1] Initially the family settled in Norristown,
Pennsylvania, and then relocated to Rego Park in Queens, New York City, in 1957. He began cartooning

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in 1960[8] and imitated the style of his favorite comic books,

such as Mad. At Russell Sage Junior High School, where he was
an honors student, he produced the Mad-inspired fanzine Blas.
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 was such that he 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.[9] He
attended the High School of Art and Design in Manhattan Spiegelman graduated from the High
beginning in 1963. He met Woody Gelman, the art director of School of Art and Design in 1965.
Topps Chewing Gum Company, who encouraged Spiegelman to
apply to Topps after graduating high school.[8] At 15 Spiegelman
received payment for his work from a Rego Park newspaper.[10]

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.[11]

Spiegelman attended Harpur College from 1965 until 1968,

where he worked as staff cartoonist for the college newspaper
and edited a college humor magazine.[12] After a summer
internship when he was 18, Topps hired him for Gelman's
Product Development Department[13] 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.[14]
After Spiegelman's release from
Spiegelman began selling self-published underground comix on
Binghamton State Mental Hospital, his
mother committed suicide. 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.[14]

In late winter 1968 Spiegelman suffered a brief but intense nervous breakdown,[15] which cut his
university studies short.[14] He has said that at the time he was taking LSD with great frequency.[15] He
spent a month in Binghamton State Mental Hospital, and shortly after he got out his mother committed
suicide following the death of her only surviving brother.[16]

Underground comic (19711977)

In 1971, after several visits, Spiegelman moved to San Francisco[14] and became a part of the
countercultural underground comix movement that had been developing there. Some of the comix 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),[17] a transgressive work in the
vein of fellow underground cartoonist S. Clay Wilson.[18] Spiegelman's work also appeared in
underground magazines such as Gothic Blimp Works, Bijou Funnies, Young Lust,[14] Real Pulp, and
Bizarre Sex,[19] and were in a variety of styles and genres as Spiegelman sought his artistic voice.[18] He

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also did a number of cartoons for men's magazines such as Cavalier, The Dude, and Gent.[14]

In 1972, Justin Green asked Spiegelman to do a three-page strip for the first issue of Funny Aminals
[sic].[20] He wanted to do one about racism, and at first considered a story[21] with African-Americans as
mice and cats taking on the role of the Ku Klux Klan.[22] 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".[20] With this story
Spiegelman felt he had found his voice.[10]

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 1972 in Short Order Comix #1,[23] which he edited.[14]
Spiegelman's work thereafter went through a phase of increasing formal experimentation;[24] 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."[25] The often-reprinted[26] "Ace Hole, Midget
Detective" of 1974 was a Cubist-style nonlinear parody of hardboiled crime fiction full of non
sequiturs.[27] "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.[28]
"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.[24]

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.[29] In
19741975, he taught a studio cartooning class at the San Francisco Academy of Art.[17]

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.[30] Arcade also
introduced art from ages past, as well as contemporary literary pieces by writers such as William S.
Burroughs and Charles Bukowski.[31] In 1975, Spiegelman moved back to New York City,[32] 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. For a time, Spiegelman swore he would never edit another magazine.[33]

Franoise 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.[34]

Spiegelman introduced Mouly to the world of comics and helped her find work as a colorist for Marvel
Comics.[35] After returning to the US in 1977, Mouly ran into visa problems, which the couple solved
by getting married.[36] The couple began to make yearly trips to Europe to explore the comics scene, and

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brought back European comics to show to their circle of friends.[37] Mouly assisted in putting together
the lavish, oversized collection of Spiegelman's experimental strips Breakdowns in 1977.[38]

Raw and Maus (19781991)

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.[38]
She took courses in offset printing and bought a printing press
for her loft,[39] on which she was to print parts of[40] a new
magazine she insisted on launching with Spiegelman.[41] With
Mouly as publisher, Spiegelman and Mouly co-edited Raw
starting in July 1980.[42] The first issue was subtitled "The
Graphix Magazine of Postponed Suicides".[41] While it included
work from such established underground cartoonists as Crumb Spiegelman visited the Auschwitz
and Griffith,[33] Raw focused on publishing artists who were concentration camp in 1979 as research
virtually unknown, avant-garde cartoonists such as Charles for Maus; his parents had been
imprisoned there.
Burns, Lynda Barry, Chris Ware, Ben Katchor, and Gary Panter,
and introduced English-speaking audiences to translations of
foreign works by Jos Muoz, Chri Samba, Joost Swarte,
Yoshiharu Tsuge,[24] Jacques Tardi, and others.[41]

With the intention of creating a book-length work based on his father's recollections of the Holocaust[43]
Spiegelman began to interview his father again in 1978[44] and made a research visit in 1979 to the
Auschwitz concentration camp, where his parents had been imprisoned by the Nazis.[45] The book,
Maus, appeared one chapter at a time as an insert in Raw beginning with the second issue in December
1980.[46] Spiegelman's father did not live to see its completion; he died on 18 August 1982.[32]
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.[47] He struggled to find a publisher[7] 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.[48] 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.[49]

Spiegelman began teaching at the School of Visual Arts in New York in 1978, and continued until
1987,[32] teaching alongside his heroes Harvey Kurtzman and Will Eisner.[50] Spiegelman had an essay
published in Print entitled "Commix: An Idiosyncratic Historical and Aesthetic Overview".[51] In 1990
Spiegelman he had an essay called "High Art Lowdown" published in Artforum critiquing the High/Low
exhibition at the Museum of Modern Art.[51]

In the wake of the success of the Cabbage Patch Kids series of dolls, Spiegelman created the 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.[52]
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

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them to him, and Spiegelman broke the relation.[53]

In 1991, Raw Vol. 2, No.3 was published; it was to be the last issue.[51]
The closing chapter of Maus appeared not in Raw[46] but in the second
volume of the graphic novel, which appeared later that year with the
subtitle And Here My Troubles Began.[51] Maus attracted an
unprecedented amount of critical attention for a work of comics,
including an exhibition at New York's Museum of Modern Art[54] and a
special Pulitzer Prize in 1992.[55]

The New Yorker (19922001)

Spiegelman and Will Eisner, Hired by Tina Brown[56] as a

(pictured in 1982), taught at contributing artist in 1992,
the School of Visual Arts from Spiegelman worked for The New Spiegelman and Mouly began working
1978 to 1987. Yorker for ten years. for The New Yorker in the early 1990s.
Spiegelman's 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.[57] Spiegelman had
twenty-one New Yorker covers published,[58] and submitted a number which were rejected for being too
outrageous.[59]

Within The New Yorker 's pages, Spiegelman contributed strips such as a collaboration titled "In the
Dumps" with children's illustrator Maurice Sendak[a][60] and an obituary to Charles M. Schulz titled
"Abstract Thought is a Warm Puppy".[61] An essay he had published there on Jack Cole, the creator of
Plastic Man, called "Forms Stretched to their Limits" was to form the basis for a book in 2001 about
Cole called Jack Cole and Plastic Man: Forms Stretched to their Limits.[61]

The same year, Voyager Company published a CD-ROM version of Maus with extensive supplementary
material called The Complete Maus, and Spiegelman illustrated a 1923 poem by Joseph Moncure March
called The Wild Party.[62] Spiegelman contributed the essay "Getting in Touch With My Inner Racist" in
the September 1, 1997 issue of Mother Jones.[62]

Spiegelman's influence and connections in New York cartooning circles drew the ire of political
cartoonist Ted Rall in 1999.[63] In an article titled "The King of Comix" in The Village Voice,[64] 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".[63] Cartoonist Danny Hellman responded
by sending a forged email under Rall's name to thirty 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.[64]

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.[65] 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.[66]

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Post-September 11 (2001present)

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.[67]
Immediately following
the attacks Spiegelman
and Mouly rushed to The September 11 attacks provoked
Editorial cartoonist Ted Rall begrudged their daughter Nadja's Spiegelman to create In the Shadow of
school, where No Towers.
Spiegelman's influence in New York Spiegelman's anxiety
cartooning circles. served only to increase
his daughter's apprehensiveness over the situation.[58]
Spiegelman and Mouly created a cover for the September 24
issue of The New Yorker[68][69] 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 Yorker '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.[68] Spiegelman was critical of the
Bush administration and the mass media over their handling of the September 11 attacks.[70]

Spiegelman did not renew his New Yorker contract after 2003.[71] 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.[72] 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".[73] He said he felt
like he was in "internal exile"[70] following September 11 attacks as the US media had become
"conservative and timid"[70] and did not welcome the provocative art that he felt the need to create.[70]
Nevertheless, Spiegelman asserted he left not over political differences, as had been widely reported,[71]
but because The New Yorker was not interested in doing serialized work,[71] which he wanted to do with
his next project.[72]

Spiegelman responded to the September 11 attacks with In the Shadow of No Towers, commissioned by
German newspaper Die Zeit, where it appeared throughout 2003. The Jewish Daily Forward was the
only American periodical to serialize the feature.[70] The collected work appeared in September 2004 as
an oversized[b] board book of two-page spreads which had to be turned on end to read.[74]

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 Honor 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

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world."[75] In response to the cartoons, Iranian president

Mahmoud Ahmadinejad called for submissions of antisemitic
cartoons. 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! Whats really hilarious is
that none of this is actually happening!"[76]

To promote literacy in young children, Mouly encouraged

publishers to publish comics for children.[77] Disappointed by
publishers' lack of response, from 2008 she self-published a line
"Gargantua", a cartoon critical of King
of easy readers called Toon Books, by artists such as
Louis Philippe I, led to the
Spiegelman, Rene French, and Rutu Modan, and promotes the
imprisonment of its author, Honor
Daumier.
books to teachers and librarians for their educational value.[78]
Spiegelman's Jack and the Box was one of the inaugural books
in 2008.[79]

In 2008 Spiegelman reissued Breakdowns in an expanded edition including "Portrait of the Artist as a
Young %@&*!"[80] an autobiographical strip that had been serialized in the Virginia Quarterly Review
from 2005.[81] A volume drawn from Spiegelman's sketchbooks, Be A Nose, appeared in 2009. In 2011
MetaMaus followeda book-length analysis of Maus by Spiegelman and Hillary Chute with a DVD-
ROM update of the earlier CD-ROM.[82]

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.[83] Art Spiegelman's Co-Mix: A
Retrospective dbuted at Angoulme in 2012 and by the end of 2014 had traveled to Paris, Cologne,
Vancouver, New York, and Toronto.[80] A book complementing the showed titled Co-Mix: A
Retrospective of Comics, Graphics, and Scraps appeared in 2013.[84]

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,[85]
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 strip of Spiegelman's. The strip, titled "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.[86]

Private life
Spiegelman married Franoise Mouly on July 12, 1977,[87] in a City Hall ceremony.[36] They remarried
later in the year after Mouly converted to Judaism to please Spiegelman's father.[36] Mouly and
Spiegelman have two children together: a daughter Nadja Rachel, born in 1987,[87] and a son Dashiell
Alan, born in 1992.[87]

Style

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"All comic-strip drawings must function as diagrams,

simplified picture-words that indicate more than they
show."

Art Spiegelman[88]

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.[89] 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.
[90]Spiegelman's work prominently displays his concern with form, and
Spiegelman married Franoise
pushing the boundaries of what is and is not comics. Early in the Mouly in 1977 (pictured in
underground comix era, Spiegelman proclaimed to Robert Crumb, 2015).
"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
diagraman orthographic projection!"[91] His comics experiment with time, space, recursion, and
representation. He uses the word "decode" to express the action of reading comics[92] and sees comics as
functioning best when expressed as diagrams, icons, or symbols.[88]

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 revisionhe reworked some dialogue balloons in Maus
up to forty times.[93] 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".[93]

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.[90]

Influences

Harvey Kurtzman has been Spiegelman's strongest influence as a

cartoonist, editor, and promoter of new talent.[94] Chief among
his other early cartooning influences include Will Eisner,[95]
John Stanley's version of Little Lulu, Winsor McCay's Little
Nemo, George Herriman's Krazy Kat,[94] and Bernard Krigstein's
short strip "Master Race".[96]

In the 1960s Spiegelman read in comics fanzines about graphic

Wordless woodcut novels like those by
artists such as Frans Masereel, who had made wordless novels in
Frans Masereel were an early influence.
woodcut. The discussions in those fanzines about making the
Great American Novel in comics later acted as inspiration for
him.[43] 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.[97]

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Spiegelman acknowledges Franz Kafka as an early influence,[98] whom he says he has read since the
age of 12,[99] and lists Vladimir Nabokov, William Faulkner, Gertrude Stein among the writers whose
work "stayed with" him.[100] 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.[101]

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 US with a lecture
called "Comix 101", examining its history and cultural importance.[102] 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".[103] 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.[103] He taught courses in the history and
aesthetics of comics at schools such as the School of Visual Arts in New York.[32] As co-editor of Raw,
he helped propel the careers of younger cartoonists whom he mentored, such as Chris Ware,[72] 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.[50]

Spiegelman has described himself politically as "firmly on the left side of the secular-fundamentalist
divide" and a "1st Amendment absolutist".[76] 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 IndigoChapters 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.[104]

Spiegelman is a non-practicing Jew and considers himself "a-Zionist"neither pro- nor anti-Zionist; he
has called Israel "a sad, failed idea".[71] He told Charles Schulz he was not religious, but identified with
the "alienated diaspora culture of Kafka and Freud ... what Stalin pejoratively called rootless
cosmopolitanism"[105]a statement Ezra Mendelsohn interpreted as identification with "the Jewish
spirit of universalism as championed by the greatest of Jewry's creative figures".[105]

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.[10] The bestseller has been widely written about in the
popular press and academiathe quantity of its critical literature far outstrips that of any other work of
comics.[106] It has been examined from a great variety of academic viewpoints, though most often by
those with little understanding of Maus 's 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.[107]

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.[88] In 2005,
the September 11-themed New Yorker cover placed sixth on the top ten of magazine covers of the

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previous 40 years by the American Society of Magazine Editors.[68] Spiegelman has inspired numerous
cartoonists to take up the graphic novel as a means of expression, including Marjane Satrapi.[94]

A joint ZDFBBC documentary Art Spiegelman's Maus was televised in 1987.[108] Spiegelman, Mouly,
and many of the Raw artists appeared in the video documentary Comic Book Confidential in 1988.[51]
Spiegelman played himself in the 2007 episode "Husbands and Knives" of the animated television series
The Simpsons with other comics creators Daniel Clowes and Alan Moore.[109] A European documentary
Art Spiegelman, Traits de Mmoire appeared in 2010 and later in English under the title The Art of
Spiegelman,[108] directed by Clara Kuperberg and Joelle Oosterlinck and mainly featuring interviews
with Speigelman and those around him.[110]

Awards

1982: Playboy Editorial Award, Best Comic Strip[111]

1982: Yellow Kid Award, Lucca, Italy, for Foreign Author
[112][111]

1983: Print, Regional Design Award[111]

1984: Print, Regional Design Award[111]
1985: Print, Regional Design Award[111]
1986: Joel M. Cavior, Jewish Writing[113]
Maus was the first graphic novel to win
1987: Inkpot Award[111]
a Pulitzer Prize.
1988: Angoulme International Comics Festival, France,
Prize for Best Comic Book, for Maus[51]
1988: Urhunden Prize, Sweden, Best Foreign Album, for Maus[114]
1990: Guggenheim Fellowship.[51]
1990: Max & Moritz Prize, Erlangen, Germany, Special Prize, for Maus[113]
1992: Pulitzer Prize Letters award, for Maus[115]
1992: Eisner Award, Best Graphic Album (reprint), for Maus[116]
1992: Harvey Award, Best Graphic Album of Previously Published Work, for Maus[117]
1992: Los Angeles Times, Book Prize for Fiction for Maus II[118]
1993: Angoulme International Comics Festival, Prize for Best Comic Book, for Maus II[51]
1993: Sproing Award, Norway, Best Foreign Album, for Maus[113]
1993: Urhunden Prize, Best Foreign Album, for Maus II[114]
1995: Binghamton University (formerly Harpur College), honorary Doctorate of Letters.[62]
1999: Eisner Award, inducted into the Hall of Fame[61]
2005: French government, Chevalier of the Ordre des Arts et des Lettres[61]
2005: Time magazine, one of the "Top 100 Most Influential People"[119]
2011: Angoulme International Comics Festival, Grand Prix[120]
2015: American Academy of Arts and Letters membership[121]

Bibliography
Author

Breakdowns: From Maus to Now, an Anthology of Strips (1977)

Maus (1991)

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The Wild Party (1994)

Open Me, I'm A Dog (1995)
Jack Cole and Plastic Man: Forms Stretched to Their Limits (2001)
In the Shadow of No Towers (2004)
Breakdowns: Portrait of the Artist as a Young %@&*! (2008)
Jack and the Box (2008)
Be a Nose (2009)
MetaMaus (2011)
Co-Mix: A Retrospective of Comics, Graphics, and Scraps (2013)

Editor

Short Order Comix (197274)

Whole Grains: A Book of Quotations (with Bob Schneider, 1973)
Arcade (with Bill Griffith, 197576)
Raw (with Franoise Mouly, 198091)
City of Glass (graphic novel adaptation by David Mazzucchelli of the Paul Auster novel, 1994)
The Narrative Corpse (1995)
Little Lit (with Franoise Mouly, 20002003)
The TOON Treasury of Classic Children's Comics (with Franoise Mouly, 2009)
Lynd Ward: Six Novels in Woodcuts (2010)

Notes
a. In The New Yorker for September 27, 1993
b. The book edition of In the Shadow of No Towers measures 10 by 14.5 inches (25 cm 37 cm).[74]

References
1. Spiegelman 2011, p. 18. 19. Epel 2007, p. 144.
2. Naughtie 2012. 20. Witek 1989, p. 103.
3. Spiegelman 2011, p. 16. 21. Kaplan 2008, p. 140.
4. Teicholz 2008. 22. Conan 2011.
5. Hatfield 2005, p. 146. 23. Witek 1989, p. 98.
6. Hirsch 2011, p. 37. 24. Chute 2012, p. 413.
7. Kois 2011. 25. Donahue, Don and Susan Goodrick, editors.
8. Witek 2007b, p. xvii. The Apex Treasury of Underground Comics
9. Horowitz 1997, p. 401. (Links Books/Quick Fox, 1974).
10. Campbell 2008, p. 56. 26. Hatfield 2012, p. 138.
11. Horowitz 1997; D'Arcy 2011. 27. Hatfield 2012, p. 138; Chute 2012, p. 413.
12. Witek 2007b, pp. xviixviii. 28. Kuskin 2010, p. 68.
13. Jamieson 2010, p. 116. 29. Rothberg 2000, p. 214; Witek 2007b,
14. Witek 2007b, pp. xviii. p. xviii.
15. Kaplan 2006, p. 102; Campbell 2008, p. 56. 30. Grishakova & Ryan 2010, pp. 6768.
16. Fathers 2007, p. 122; Gordon 2004; 31. Buhle 2004, p. 252.
Horowitz 1997, p. 401. 32. Witek 2007b, p. xix.
17. Horowitz 1997, p. 402. 33. Kaplan 2006, p. 108.
18. Kaplan 2006, p. 103. 34. Heer 2013, pp. 2630.

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35. Heller 2004, p. 137. 77. Heer 2013, p. 115.

36. Heer 2013, p. 41. 78. Heer 2013, p. 116.
37. Heer 2013, pp. 4748. 79. Publishers Weekly staff 2008.
38. Heer 2013, pp. 4547. 80. Solomon 2014, p. 1.
39. Heer 2013, p. 49. 81. Witek 2007b, p. xxiii.
40. Kaplan 2006, pp. 111112. 82. Heater 2011.
41. Kaplan 2006, p. 109. 83. Artsy 2014.
42. Reid 2007, p. 225. 84. Randle 2013.
43. Kaplan 2008, p. 171. 85. Chow 2015.
44. Fathers 2007, p. 125. 86. Krayewski 2015; Heer 2015.
45. Blau 2008. 87. Meyers 2011.
46. Kaplan 2006, p. 113. 88. Cates 2010, p. 96.
47. Kaplan 2006, p. 118; Kaplan 2008, p. 172. 89. Campbell 2008, pp. 5657.
48. Kaplan 2008, p. 171; Kaplan 2006, p. 118. 90. Campbell 2008, p. 61.
49. Kaplan 2006, p. 115. 91. Chute 2012, p. 412.
50. Kaplan 2006, p. 111. 92. Chute 2012, pp. 412413.
51. Witek 2007b, p. xx. 93. Campbell 2008, p. 57.
52. Bellomo 2010, p. 154. 94. Zuk 2013, p. 700.
53. Witek 2007a. 95. Frahm 2004.
54. Shandler 2014, p. 338. 96. Kannenberg 2001, p. 28.
55. Liss 1998, p. 54; Fischer & Fischer 2002; 97. Chute 2010, p. 18.
Pulitzer Prizes staff. 98. Mulman 2010, p. 86.
56. Campbell 2008, p. 59. 99. Kannenberg 2007, p. 262.
57. Mendelsohn 2003, p. 180; Campbell 2008, 100. Horowitz 1997, p. 404.
p. 59; Witek 2007b, p. xx. 101. Zuk 2013, pp. 699700.
58. Kaplan 2006, p. 119. 102. Kaplan 2006, p. 123.
59. Fox 2012. 103. Campbell 2008, pp. 5859.
60. Weiss 2012; Witek 2007b, pp. xxxxi. 104. Brean 2015.
61. Witek 2007b, p. xxii. 105. Mendelsohn 2003, p. 180.
62. Witek 2007b, p. xxi. 106. Loman 2010, p. 217.
63. Campbell 2008, p. 58. 107. Loman 2010, p. 212.
64. Arnold 2001. 108. Shandler 2014, p. 318.
65. Publishers Weekly staff 1995. 109. Keller 2007.
66. Witek 2007b, pp. xxiixxiii. 110. Kensky 2012.
67. Baskind & Omer-Sherman 2010, p. xxi. 111. Brennan & Clarage 1999, p. 575.
68. ASME staff 2005. 112. Traini 1982.
69. "9/11 Magazine Covers > The New Yorker", 113. Zuk 2013, p. 699.
ASME/magazine.org. Retrieved 114. Hammarlund 2007.
2016-08-13. 115. Pulitzer Prizes staff.
70. Corriere della Sera staff 2003, p. 264. 116. Eisner Awards staff 2012.
71. Hays 2011. 117. Harvey Awards staff 1992.
72. Campbell 2008, p. 60. 118. Colbert 1992.
73. Corriere della Sera staff 2003, p. 263. 119. Time staff 2005; Witek 2007b, p. xxiii.
74. Chute 2012, p. 414. 120. Cavna 2011.
75. Adams 2006. 121. Artforum staff 2015.
76. Brean 2008.

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Further reading
The Topps Company Inc. (2008). Wacky Packages. Harry N. Abrams. ISBN 978-0-8109-9531-4.
The Topps Company Inc. (2012). Garbage Pail Kids. Harry N. Abrams.
ISBN 978-1-4197-0270-9.

External links
Media related to Art Spiegelman at Wikimedia Commons
Quotations related to Art Spiegelman at Wikiquote
Appearances on C-SPAN

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