Art Spiegelman - Wikipedia. Art Spiegelman (born Itzhak Avraham ben Zeev on February 1. 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 1. The New Yorker, where he made several high- profile and sometimes controversial covers. He is married to designer and editor Fran. He gained prominence in the underground comix scene in the 1.

A selection of these strips appeared in the collection Breakdowns in 1. Spiegelman turned focus to the book- length Maus, about his relation with his father, a Holocaust survivor. The postmodern book depicts Nazis as cats, Jews as mice, and ethnic Poles as pigs, and took thirteen years until its completion in 1. It won a special Pulitzer Prize in 1.

Spiegelman and Mouly edited eleven issues of Raw from 1. The oversized comics 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.

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Beginning in the 1. The New Yorker, which Spiegelman left to work on In the Shadow of No Towers (2. September 1. 1 attacks in New York in 2. Spiegelman advocates for greater comics literacy. As an editor, a teacher at the School of Visual Arts in New York City, and a lecturer, Spiegelman has promoted better understanding of comics and has mentored younger cartoonists.

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Family history. His father was born Zeev Spiegelman, with the Hebrew name Zeev ben Avraham. 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 couple are best known, Spiegelman used the spellings . The surname Spiegelman is German for . During the Holocaust, Spiegelman's parents sent Rysio to stay with an aunt with whom they believed he would be safe.

In 1. 94. 3, 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. Cult Horror Movies Overdrive (2017). 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 .

Of 8. 5 Spiegelman relatives alive at the beginning of World War II, only 1. Holocaust. Life and career. He immigrated with his parents to the US in 1.

Upon immigration his name was registered as Arthur Isadore, but he later had his given name changed to Art. Initially the family settled in Norristown, Pennsylvania, and then relocated to Rego Park in Queens, New York City, in 1. He began cartooning in 1. 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.

He attended the High School of Art and Design in Manhattan beginning in 1. He met Woody Gelman, the art director of Topps Chewing Gum Company, who encouraged Spiegelman to apply to Topps after graduating high school. At 1. 5 Spiegelman received payment for his work from a Rego Park newspaper. After he graduated in 1. 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. Spiegelman attended Harpur College from 1.

After a summer internship when he was 1. Topps hired him for Gelman's Product Development Department as a creative consultant making trading cards and related products in 1. Wacky Packages series of parodic trading cards begun in 1. Spiegelman began selling self- published underground comix on street corners in 1.

He had cartoons published in underground publications such as the East Village Other and traveled to San Francisco for a few months in 1. In late winter 1. Spiegelman suffered a brief but intense nervous breakdown, which cut his university studies short. He has said that at the time he was taking LSD with great frequency. 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. Underground comic (1.

Some of the comix he produced during this period include The Compleat Mr. Infinity (1. 97. 0), a ten- page booklet of explicit comic strips, and The Viper Vicar of Vice, Villainy and Vickedness (1. S. Clay Wilson. Spiegelman's work also appeared in underground magazines such as Gothic Blimp Works, Bijou Funnies, Young Lust,Real Pulp, and Bizarre Sex, and were in a variety of styles and genres as Spiegelman sought his artistic voice.

He also did a number of cartoons for men's magazines such as Cavalier, The Dude, and Gent. In 1. 97. 2, Justin Green asked Spiegelman to do a three- page strip for the first issue of Funny Aminals . He wanted to do one about racism, and at first considered a story with African- Americans as mice and cats taking on the role of the Ku Klux Klan. Instead, he turned to the Holocaust that his parents had survived. He titled the strip . The narrator related the story to a mouse named . With this story Spiegelman felt he had found his voice.

Seeing Green's revealingly autobiographical Binky Brown Meets the Holy Virgin Mary while in- progress in 1. Spiegelman to produce . Spiegelman's work thereafter went through a phase of increasing formal experimentation; the Apex Treasury of Underground Comics in 1. Maybe we'll grow up together. Co- edited with Bob Schneider, it was called Whole Grains: A Book of Quotations. In 1. 97. 4–1. 97. San Francisco Academy of Art.

By the mid- 1. 97. To give cartoonists a safe berth, Spiegelman co- edited the anthology Arcade with Bill Griffith, in 1. 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. Arcade also introduced art from ages past, as well as contemporary literary pieces by writers such as William S.

Burroughs and Charles Bukowski. In 1. 97. 5, Spiegelman moved back to New York City, 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 1. For a time, Spiegelman swore he would never edit another magazine. Fran. 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 . 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. Spiegelman introduced Mouly to the world of comics and helped her find work as a colorist for Marvel Comics. After returning to the US in 1. Mouly ran into visa problems, which the couple solved by getting married.