Art Spiegelman Narrative Corpse Signed Print N Charles Burns Mark Beyer L/E Rare

$966.24 Buy It Now, Click to see shipping cost, 30-Day Returns, eBay Money Back Guarantee
Seller: memorabilia111 ✉️ (807) 100%, Location: Ann Arbor, Michigan, US, Ships to: US & many other countries, Item: 176277808978 ART SPIEGELMAN NARRATIVE CORPSE SIGNED PRINT N CHARLES BURNS MARK BEYER L/E RARE. Johnny 23, Le Dernier Cri. 10 Further reading. Books arranged in order by original published date (publication date shown first, then title, publisher, number of pages, date drawn, and availability). 17.75x18.75" flat cover print on art paper. Published by RAW Books and Gates of Heck. ©1995. Print is of cover to book featuring "A Chain-Story By 69 Artists!" and print features great jam piece by these artists. Top and bottom margins have been signed in pencil by 14 comic artists - Mark Beyer, R. Sikoryak, Art Spiegelman, Charles Burns, Gary Panter, Kaz, Gary Leib, David Sandlin, Paul Corio, Kim Deitch, Carol Lay, David Mazzucchelli, Richard McGuire and Joe Sacco. Limited edition of just 50 printed, this is marked "23/50" at lower right in pencil. These prints quickly sold out when they went on sale in 1995. Print has has some handling and corner wear, but if framed, would display Excellent


The Narrative Corpse is a chain story, or comic jam, by 69 all-star cartoonists based on Le Cadavre Exquis (see Exquisite corpse), a popular game played by André Breton and his Surrealist friends to break free from the constraints of rational thought. Edited by Art Spiegelman and Robert Sikoryak, The Narrative Corpse features contributions from some of the most notable cartoonists of its time from the worlds of underground comix, alternative comics, and European comics (as well as Will Eisner and Mort Walker). The Narrative Corpse graphic novel, co-published by Gates of Heck and Raw Books, had a limited run in 1995 of 9,500 copies. It was the winner of the 1996 Firecracker Alternative Book Award for Best Graphic Novel.[1] Contents 1 Story structure 2 Publication history 3 Contributors 4 References 5 External links Story structure The creative process was designed as follows: a cartoonist would begin the story with three black-and-white comic-book panels, starring an innocent stick figure named "Sticky." This cartoonist passes his or her three panels on to the next cartoonist, who continues the story in any manner he or she wants with three more panels. The next cartoonist receives only the previous cartoonists's part of the story, and so on. Although the "story" oscillates without beginning or end, it can be said to start (after some creative editing by Spiegelman and Sikoryak) with the panels done by Drew Friedman, and end with the ones done by Richard McGuire:[citation needed] Some contributors featured cameos by their own well-established characters (for example Mort Walker's Sarge, S. Clay Wilson's the Checkered Demon, Will Eisner's Spirit, Matt Groening's Akbar & Jeff, and Bill Griffith's Zippy the Pinhead). It is also of interest that background or guest characters seldom last more than three contributions in a row. Publication history The idea was first conceived of in May 1990, as a project for Raw magazine. To expedite the project, two strands were started simultaneously, one in New York City by project co-editor R. Sikoryak, the second in London by Savage Pencil. Nevertheless, the project kept growing (outliving RAW itself, which ceased publication in 1991) until it was forcibly brought to an end five years after its inception. In order to bridge the two strands, R. Sikoryak's original opening panels were cut, although he later drew the oddly-shaped "splash panel" that now begins the narrative. Spiegelman himself drew the three panels that link Strand 1 to Strand 2 (bridging the contributions of Joe Sacco and Savage Pencil),[2] while Richard McGuire was brought in to link Strand 2 back to Strand 1 (bridging the contributions of Carol Swain and Drew Friedman).[3] Contributors Max Andersson Peter Bagge Lynda Barry Mark Beyer Chester Brown M. K. Brown Charles Burns Max Cabanes Daniel Clowes Paul Corio R. Crumb Georganne Deen Kim Deitch Julie Doucet Pascal Doury Debbie Drechsler Will Eisner Mary Fleener Drew Friedman Scott Gillis Justin Green Bill Griffith Matt Groening Gilbert Hernandez Jaime Hernandez Kamagurka and Herr Seele Ben Katchor Kaz Aline Kominsky-Crumb Krystine Kryttre Mark Landman Carol Lay Gary Leib Jacques Loustal Jason Lutes Jay Lynch Mariscal Lorenzo Mattotti David Mazzucchelli Scott McCloud Richard McGuire Ever Meulen José Muñoz Thomas Ott Gary Panter J. Pirinen Jayr Pulga Bruno Richard Jonathon Rosen Joe Sacco Richard Sala David Sandlin Savage Pencil Gilbert Shelton R. Sikoryak Spain Art Spiegelman Carol Swain Joost Swarte Carol Tyler Typex Mort Walker Chris Ware G. Wasco Willem S. Clay Wilson Jim Woodring Mark Zingarelli The following is a list of contributors in the order their work appears in The Narrative Corpse: R. Sikoryak > Mark Beyer > Gilbert Hernandez > Mary Fleener > M. K. Brown > David Mazzucchelli > Mort Walker > S. Clay Wilson > Chester Brown > Debbie Dreschler > Mark Landman > Jay Lynch > Gary Leib > Willem > Carol Lay > Jason Lutes > Max Andersson > J. Pirinen > Peter Bagge > G. Wasco > Spain > Carol Swain > Richard McGuire > Drew Friedman > David Sandlin > Ever Meulen > Mariscal > Joost Swarte > Pascal Doury > Georgeanne Deen > Chris Ware > Charles Burns > Lorenzo Mattotti > Justin Green > Julie Doucet > Kaz > Gary Panter > Daniel Clowes > Jonathon Rosen > Krystine Kryttre > Jaime Hernandez > Scott Gillis > Jim Woodring > Paul Corio > Will Eisner > Carol Tyler > Max Cabanes > Gilbert Shelton > Scott McCloud > Typex > José Muñoz > Matt Groening > Joe Sacco > Art Spiegelman > Savage Pencil > Jaques Loustal > Robert Crumb > Aline Kominsky-Crumb > Kamagurka & Herr Seele > Thomas Ott > Bruno Richard > Kim Deitch > Ben Katchor > Lynda Barry > Mark Zingarelli > Richard Sala > Bill Griffith > Jayr Pulga Art Spiegelman (/ˈspiːɡəlmən/; born Itzhak Avraham ben Zeev Spiegelman on February 15, 1948) 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. 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 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, responsible for bringing scholarly attention to the comics medium. Spiegelman and Mouly edited eleven issues of Raw from 1980 to 1991. 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. 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 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. Contents 1 Family history 2 Life and career 2.1 Early life 2.2 Underground comix (1971–1977) 2.3 Raw and Maus (1978–1991) 2.4 The New Yorker (1992—2001) 2.5 Post-September 11 (2001–present) 3 Personal life 4 Style 4.1 Influences 5 Beliefs 6 Legacy 6.1 Awards 7 Bibliography 7.1 Author 7.2 Editor 8 Notes 9 References 9.1 Works cited 10 Further reading 11 External links Family history Liquidation at the Sosnowiec Ghetto in occupied Poland during World War II; Spiegelman tells of his parents' survival in Maus. Art Spiegelman's parents were Polish Jews Władysław (1906–1982) and Andzia (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 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 couple are best known, Spiegelman used the spellings "Vladek" and "Anja", which he believed would be easier for Americans to 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 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".[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 High School of Art and Design building Spiegelman graduated from the High School of Art and Design in 1965. 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 in 1960[8] and imitated the style of his favorite comic books, such as Mad.[9] In the early 1960s, he contributed to early fanzines such as Smudge and Skip Williamson's Squire, and in 1962[10]—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.[9] 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 high school.[8] At 15 Spiegelman received payment for his work from a Rego Park newspaper.[11] 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.[12] Binghamton State Mental Hospital After Spiegelman's release from Binghamton State Mental Hospital, his mother committed 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.[13] After a summer internship when he was 18, Topps hired him for Gelman's Product Development Department[14] 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.[15] 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.[15] In late winter 1968 Spiegelman suffered a brief but intense nervous breakdown,[16] which cut his university studies short.[15] He has said that at the time he was taking LSD with great frequency.[16] 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.[17] Underground comix (1971–1977) In 1971, after several visits, Spiegelman moved to San Francisco[15] 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),[18] a transgressive work in the vein of fellow underground cartoonist S. Clay Wilson.[19] Spiegelman's work also appeared in underground magazines such as Gothic Blimp Works, Bijou Funnies, Young Lust,[15] Real Pulp, and Bizarre Sex,[20] and were in a variety of styles and genres as Spiegelman sought his artistic voice.[19] He also did a number of cartoons for men's magazines such as Cavalier, The Dude, and Gent.[15] In 1972, Justin Green asked Spiegelman to do a three-page strip for the first issue of Funny Aminals [sic].[21] He wanted to do one about racism, and at first considered a story[22] with African-Americans as mice and cats taking on the role of the Ku Klux Klan.[23] 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".[21] With this story Spiegelman felt he had found his voice.[11] 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[24][25] in Short Order Comix #1,[26] which he edited.[15] Spiegelman's work thereafter went through a phase of increasing formal experimentation;[27] 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."[28] The often-reprinted[29] "Ace Hole, Midget Detective" of 1974 was a Cubist-style nonlinear parody of hardboiled crime fiction full of non sequiturs.[30] "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.[31] "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.[27] 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.[32] In 1974–1975, he taught a studio cartooning class at the San Francisco Academy of Art.[18] 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.[33] Arcade also introduced art from ages past, as well as contemporary literary pieces by writers such as William S. Burroughs and Charles Bukowski.[34] In 1975, Spiegelman moved back to New York City,[35] 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.[36] 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.[37] Spiegelman introduced Mouly to the world of comics and helped her find work as a colorist for Marvel Comics.[38] After returning to the U.S. in 1977, Mouly ran into visa problems, which the couple solved by getting married.[39] 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.[40] Mouly assisted in putting together the lavish, oversized collection of Spiegelman's experimental strips Breakdowns in 1977.[41] Raw and Maus (1978–1991) 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.[41] She took courses in offset printing and bought a printing press for her loft,[42] on which she was to print parts of[43] a new magazine she insisted on launching with Spiegelman.[44] With Mouly as publisher, Spiegelman and Mouly co-edited Raw starting in July 1980.[45] The first issue was subtitled "The Graphix Magazine of Postponed Suicides".[44] While it included work from such established underground cartoonists as Crumb and Griffith,[36] 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,[27] Jacques Tardi, and others.[44] With the intention of creating a book-length work based on his father's recollections of the Holocaust[46] Spiegelman began to interview his father again in 1978[47] and made a research visit in 1979 to the Auschwitz concentration camp, where his parents had been imprisoned by the Nazis.[48] The book, Maus, appeared one chapter at a time as an insert in Raw beginning with the second issue in December 1980.[49] Spiegelman's father did not live to see its completion; he died on 18 August 1982.[35] 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.[50] 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.[51] 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.[52] Photo of an elderly man Spiegelman and Will Eisner, (pictured 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,[35] teaching alongside his heroes Harvey Kurtzman and Will Eisner.[53] Spiegelman had an essay published in Print entitled "Commix: An Idiosyncratic Historical and Aesthetic Overview".[54] 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.[54] 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.[55] 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.[56] In 1991, Raw Vol. 2, No.3 was published; it was to be the last issue.[54] The closing chapter of Maus appeared not in Raw[49] but in the second volume of the graphic novel, which appeared later that year with the subtitle And Here My Troubles Began.[54] Maus attracted an unprecedented amount of critical attention for a work of comics, including an exhibition at New York's Museum of Modern Art[57] and a special Pulitzer Prize in 1992.[58] The New Yorker (1992—2001) The New Yorker logo Spiegelman and Mouly began working for The New Yorker in the early 1990s. Hired by Tina Brown[59] as a contributing artist in 1992, Spiegelman worked for The New Yorker for ten years. 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.[60] Spiegelman had twenty-one New Yorker covers published,[61] and submitted a number which were rejected for being too outrageous.[62] Within The New Yorker's pages, Spiegelman contributed strips such as a collaboration titled "In the Dumps" with children's illustrator Maurice Sendak[a][63] and an obituary to Charles M. Schulz titled "Abstract Thought is a Warm Puppy".[64] 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.[64] 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.[65] Spiegelman contributed the essay "Getting in Touch With My Inner Racist" in the September 1, 1997 issue of Mother Jones.[65] 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.[66] In an article titled "The King of Comix" in The Village Voice,[67] 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".[66] 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.[67] 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.[68] 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.[69] 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.[70] 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.[61] Spiegelman and Mouly created a cover for the September 24 issue of The New Yorker[71][72] 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.[71] Spiegelman was critical of the Bush administration and the mass media over their handling of the September 11 attacks.[73] Spiegelman did not renew his New Yorker contract after 2003.[74] 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.[75] 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".[76] He said he felt like he was in "internal exile"[73] following the September 11 attacks as the U.S. media had become "conservative and timid"[73] and did not welcome the provocative art that he felt the need to create.[73] Nevertheless, Spiegelman asserted he left not over political differences, as had been widely reported,[74] but because The New Yorker was not interested in doing serialized work,[74] which he wanted to do with his next project.[75] 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.[73] 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.[77] "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."[78] In response to the cartoons, Iranian president Mahmoud Ahmadinejad called for submissions of anti-Semitic 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! What’s really hilarious is that none of this is actually happening!"[79] To promote literacy in young children, Mouly encouraged publishers to publish comics for children.[80] 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.[81] Spiegelman's Jack and the Box was one of the inaugural books in 2008.[82] In 2008 Spiegelman reissued Breakdowns in an expanded edition including "Portrait of the Artist as a Young %@&*!"[83] an autobiographical strip that had been serialized in the Virginia Quarterly Review from 2005.[84] 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-ROM update of the earlier CD-ROM.[85] 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.[86] 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.[83] A book complementing the showed titled Co-Mix: A Retrospective of Comics, Graphics, and Scraps appeared in 2013.[87] 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,[88] 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.[89] Personal life Spiegelman married Françoise Mouly in 1977 (pictured in 2015). Spiegelman married Françoise Mouly on July 12, 1977,[90] in a City Hall ceremony.[39] They remarried later in the year after Mouly converted to Judaism to please Spiegelman's father.[39] Mouly and Spiegelman have two children together: a daughter Nadja Rachel, born in 1987,[90] and a son Dashiell Alan, born in 1991.[90] Style "All comic-strip drawings must function as diagrams, simplified picture-words that indicate more than they show." — Art Spiegelman[91] 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.[92] 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.[93]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!"[94] His comics experiment with time, space, recursion, and representation. He uses the word "decode" to express the action of reading comics[95] and sees comics as functioning best when expressed as diagrams, icons, or symbols.[91] 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.[96] 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".[96] 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.[93] 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.[97] Chief among his other early cartooning influences include Will Eisner,[98] John Stanley's version of Little Lulu, Winsor McCay's Little Nemo, George Herriman's Krazy Kat,[97] and Bernard Krigstein's short strip "Master Race".[99] 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.[46] 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.[100] Spiegelman acknowledges Franz Kafka as an early influence,[101] whom he says he has read since the age of 12,[102] and lists Vladimir Nabokov, William Faulkner, Gertrude Stein among the writers whose work "stayed with" him.[103] 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.[104] 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.[105] 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".[106] 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.[106] He taught courses in the history and aesthetics of comics at schools such as the School of Visual Arts in New York.[35] As co-editor of Raw, he helped propel the careers of younger cartoonists whom he mentored, such as Chris Ware,[75] 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.[53] Spiegelman has described himself politically as "firmly on the left side of the secular-fundamentalist divide" and a "1st Amendment absolutist".[79] 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.[107] Spiegelman is a non-practicing Jew and considers himself "a-Zionist"—neither pro- nor anti-Zionist; he has called Israel "a sad, failed idea".[74] 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".[108] 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.[11] 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.[109] It has been examined from a great variety of academic viewpoints, though most often by those with little understanding of Maus' 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.[110] 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.[91] 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.[71] Spiegelman has inspired numerous cartoonists to take up the graphic novel as a means of expression, including Marjane Satrapi.[97] A joint ZDF–BBC documentary Art Spiegelman's Maus was televised in 1987.[111] Spiegelman, Mouly, and many of the Raw artists appeared in the video documentary Comic Book Confidential in 1988.[54] Spiegelman's comics career was also covered in an Emmy-nominated PBS documentary, "Serious Comics: Art Spiegelman" produced for WNYC-TV in 1994. 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.[112] A European documentary Art Spiegelman, Traits de Mémoire appeared in 2010 and later in English under the title The Art of Spiegelman,[111] directed by Clara Kuperberg and Joelle Oosterlinck and mainly featuring interviews with Spiegelman and those around him.[113] Awards Pulitzer Prize medal Maus was the first graphic novel to win a Pulitzer Prize. 1982: Playboy Editorial Award, Best Comic Strip[114] 1982: Yellow Kid Award [de], Lucca, Italy, for Foreign Author [115][114] 1983: Print, Regional Design Award[114] 1984: Print, Regional Design Award[114] 1985: Print, Regional Design Award[114] 1986: Joel M. Cavior, Jewish Writing[116] 1987: Inkpot Award[114] 1988: Angoulême International Comics Festival, France, Prize for Best Comic Book, for Maus[54] 1988: Urhunden Prize, Sweden, Best Foreign Album, for Maus[117] 1990: Guggenheim Fellowship.[54] 1990: Max & Moritz Prize, Erlangen, Germany, Special Prize, for Maus[116] 1992: Pulitzer Prize Letters award, for Maus[118] 1992: Eisner Award, Best Graphic Album (reprint), for Maus[119] 1992: Harvey Award, Best Graphic Album of Previously Published Work, for Maus[120] 1992: Los Angeles Times, Book Prize for Fiction for Maus II[121] 1993: Angoulême International Comics Festival, Prize for Best Comic Book, for Maus II[54] 1993: Sproing Award, Norway, Best Foreign Album, for Maus[116] 1993: Urhunden Prize, Best Foreign Album, for Maus II[117] 1995: Binghamton University (formerly Harpur College), honorary Doctorate of Letters.[65] 1999: Eisner Award, inducted into the Hall of Fame[64] 2005: French government, Chevalier of the Ordre des Arts et des Lettres[64] 2005: Time magazine, one of the "Top 100 Most Influential People"[122] 2011: Angoulême International Comics Festival, Grand Prix[123] 2011: National Jewish Book Award for MetaMaus: A Look Inside a Modern Classic, Maus[124] 2015: American Academy of Arts and Letters membership[125] 2018: The Edward MacDowell Medal Bibliography Author Breakdowns: From Maus to Now, an Anthology of Strips (1977) Maus (1991) 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 (1972–74) Whole Grains: A Book of Quotations (with Bob Schneider, 1973) Arcade (with Bill Griffith, 1975–76) Raw (with Françoise Mouly, 1980–91) City of Glass (graphic novel adaptation by David Mazzucchelli of the Paul Auster novel, 1994) The Narrative Corpse (1995) Little Lit (with Françoise Mouly, 2000–2003) The TOON Treasury of Classic Children's Comics (with Françoise Mouly, 2009) Lynd Ward: Six Novels in Woodcuts (2010) Notes Mark Beyer (born October 8, 1950) is a self-taught American artist and former cartoonist. His comics were known for their bleak story lines, often featuring death, disfigurement, depression, and humiliation, which contrasted with his self-taught, geometric drawing style. Most of his stories were about the adventures of a codependent yet resentful couple named Amy and Jordan. Beyer made one final comic strip for the summer 2012 issue of the British magazine Art Review. He is primarily known as a self-taught outsider artist. Contents 1 Biography 2 Books 3 Zines 4 Notes 5 External links Biography Beyer is originally from Allentown, Pennsylvania, in the state's Lehigh Valley region. Beyer's work was prominently featured in all but two issues (#3 and 4) of Raw magazine. He has also been published in New York Press and New Musical Express. Beyer also had a recurring animated short series on MTV's Liquid Television (The Adventures of Thomas and Nardo); and a 1995 movie by Gregg Araki, The Doom Generation, was loosely based on the Amy and Jordan strips. He has also produced cover artwork, including Xman and *** by Michael Brodsky, T-shirts and posters for John Zorn and the New York Downtown avant-garde music scene. In particular the cover and inserts for Zorn's tribute to Ornette Coleman Spy vs Spy (1989) and a popular Naked City T-shirt. Although he mostly works solo, Beyer has collaborated with writer Alan Moore. Books A Disturbing Evening and Other Stories. Allentown, PA: Mark Beyer, 1978. OCLC 36752209. Manhattan. New York: Raw Books, 1978. Dead Stories. Allentown, PA: Mark Beyer, 1982. OCLC 37763474. Dead Stories. Sudbury, MA: Water Row Press, 2000. ISBN 0-934953-72-4. Agony. New York: Raw Books, 1987. ISBN 0-394-75442-5. Agony. New York: New York Review, 2016. ISBN 9781590179819.[n 1] Agony. Augsburg: MaroVerlag, 1992. German translation. Amy + Jordan. Paris: Sketch Studio, 1993. Amy + Jordan. Augsburg: MaroVerlag, 1996. We're Depressed. Sudbury, MA: Water Row Press, 1999. ISBN 0-934953-65-1. Amy and Jordan. New York: Pantheon, 2004. ISBN 0-375-42270-6. Amy and Jordan. Paris: Camboukaris, 2013. ISBN 9782366240238. Zines This list may not be complete. Mark Beyer. Death. PA: Mark Beyer, 1980. Mark Beyer. Amy and Jordan at Beach lake. PA: Mark Beyer, 1983. Mark Beyer and Emilia Brintnall. Pain Parade. Edition of 250.[n 2] Mark Beyer. Pooooo. Liancourt: CBO Éditions, 1996. Edition of 150. Mark Beyer. Lost Faces. Zürich, 2000. Edition of 350.[n 3] Gary Panter and Mark Beyer. Panter versus Beyer. Liancourt: CBO Éditions, 2003. Edition of 100. OCLC 907799569. Mark Beyer. Ne'er-do-wellers. Trapset Zines, 2017. Edition of 200.[n 4] Mark Beyer. 2016–17. Marseille: Le Dernier Cri, 2017. Edition of 500.[n 5] Charles Burns (born September 27, 1955) is an American cartoonist and illustrator. His early work was published in a Sub Pop fanzine, and he achieved prominence in the early issues of RAW. His graphic novel Black Hole won the Harvey Award. Contents 1 Career 1.1 Comics 1.2 Illustration 2 Publications 2.1 Comics and Graphic Novels 2.2 Illustration books 3 References 4 External links Career Comics Charles Burns' earliest works include illustrations for the Sub Pop fanzine, and Another Room Magazine of Oakland, California, but he came to prominence when his comics were published for the first time in early issues of RAW, the avant-garde comics magazine founded in 1980 by Françoise Mouly and Art Spiegelman. In 1982, Burns did a die-cut cover for RAW #4. Raw Books also published two books of Burns as RAW One-Shots: Big Baby and Hard-Boiled Defective Stories.[1] In 1994, he was awarded a Pew Fellowships in the Arts.[2] In 1999, he showed at the Pennsylvania Academy of the Fine Arts.[3] Most of Burns' short stories, published in various supports over the decades, were later collected in the three volumes of the "Charles Burns' Library" (hardcovers from Fantagraphics Books): El Borbah (1999),[1] Big Baby (2000), and Skin Deep (2001). (A fourth and last volume, Bad Vibes, has yet to be published, which would have the Library collecting the entirety of his pre-Black Hole comics work. It was later stated that Burns did not feel there was enough material for a complete fourth volume.)[4] From 1993 to 2004, he serialized the 12 chapters of his Harvey Award-winning graphic novel Black Hole (12 issues from Kitchen Sink Press and Fantagraphics Books). The series was collected into a single volume in 2005.[5] Black Hole was featured prominently in the film Dawn of the Planet of the Apes. In 2007 Burns contributed material for the French made animated horror anthology Fear(s) of the Dark.[6] In October 2010, Burns released the first part of a new series, X'ed Out.[4] Part two of the new trilogy, The Hive, was released in October 2012.[7] Sugar Skull, the final installment in the trilogy, was released Fall of 2014.[8] The series was collected into a single volume, Last Look, published by Pantheon in 2016.[9] Illustration Burns' high-profile illustrations include album cover work for the Iggy Pop album Brick by Brick. His art was also licensed by The Coca-Cola Company to illustrate product and advertising material for their failed OK Soda product. More recently, he has worked on advertising campaigns for Altoids and portrait illustrations for The Believer. In the early 1990s, his Dogboy stories were adapted by MTV as a live-action serial for Liquid Television. In 1991, choreographer Mark Morris commissioned him to create illustrations that were then used as a basis for his version of Tchaikovsky's The Nutcracker, calling it The Hard Nut. Burns's style was a source of inspiration for Martin Ander's artwork for Fever Ray, Karin Dreijer Andersson's solo project.[10] Publications Comics and Graphic Novels 1988 Hardboiled Defective Stories (Pantheon Books) ISBN 0394754417 1991 Curse of the Molemen (Kitchen Sink Press) ISBN 0878161341 1992 The Residents - Freak Show (Dark Horse Comics) ISBN 978-1569710012 1995 Black Hole 1 (Kitchen Sink Press) ISBN 978-0878163373 1995 Black Hole 2 (Kitchen Sink Press) ISBN 978-1606990308 1996 Black Hole 3 (Kitchen Sink Press) 1997 Black Hole 4 (Kitchen Sink Press) 1998 Black Hole 5 (Fantagraphics Books) 1998 Black Hole 6 (Fantagraphics Books) ISBN 978-1606990315 1999 El Borbah (Fantagraphics Books) ISBN 1560973269 2000 Big Baby (Fantagraphics Books) ISBN 1560973617 2000 Black Hole 7 (Fantagraphics Books) ISBN 978-1606990322 2000 Black Hole 8 (Fantagraphics Books) ISBN 978-1606990339 2001 Skin Deep: Tales of Doomed Romance (Fantagraphics Books) ISBN 1560973900 2001 Black Hole 9 (Fantagraphics Books) ISBN 978-1606990346 2002 Black Hole 10 (Fantagraphics Books) ISBN 978-1606990292 2003 Black Hole 11 (Fantagraphics Books) 2004 Black Hole 12 (Fantagraphics Books) 2005 Black Hole (Pantheon Books) ISBN 978-0375714726 2010 X'ed Out (Pantheon Books) ISBN 978-0307379139 2012 The Hive (Pantheon Books) ISBN 978-0307907882 2014 Sugar Skull (Pantheon Books) ISBN 978-0307907905 2016 Last Look (Pantheon Books) ISBN 978-0375715174 2019 Dédales (Cornélius, France) ISBN 978-2360811649 Illustration books 1998 Facetasm, Green Candy Press (in collaboration with Gary Panter) 2007 One Eye (Pantheon Books) ISBN 978-1897299043 Permagel, French A3 sized publication in black and white Love Nest, Éditions Cornélius, hardcover Vortex, Éditions Cornélius, hardcover, full color Johnny 23, Le Dernier Cri Kim Deitch (born May 21, 1944[3] in Los Angeles, California)[4] is an American cartoonist who was an important figure in the underground comix movement of the 1960s, remaining active in the decades that followed with a variety of books and comics, sometimes using the pseudonym Fowlton Means. Much of Kim Deitch's work deals with the animation industry and characters from the world of cartoons.[5] His best-known character is a mysterious cat named Waldo, who appears variously as a famous cartoon character of the 1930s, as an actual character in the "reality" of the strips, as the hallucination of a hopeless alcoholic surnamed Mishkin (a victim of the Boulevard of Broken Dreams), as the demonic reincarnation of Judas Iscariot; and who, occasionally, is claimed to have overcome Deitch and written the comics himself. Waldo's appearance is reminiscent of such black cat characters as Felix the Cat, Julius the Cat, and Krazy Kat. The son of illustrator and animator Gene Deitch, Kim Deitch has sometimes worked with his brothers Simon Deitch and Seth Deitch.[5] Contents 1 Biography 2 Personal life 3 Awards 4 Bibliography 4.1 Creator series and books 4.2 Publications appeared in 4.3 Animation 5 References 6 External links Biography Deitch's influences include Winsor McCay, Chester Gould, Jack Cole, and Will Eisner; he attended the Pratt Institute.[3] Before deciding to become a professional cartoonist, Deitch worked odd jobs and did manual labor, including with the merchant marine. Searching for a path, he at one point joined the Republican Party; at another point he became devotee of Hatha yoga.[4] Deitch regularly contributed comical, psychedelia-tinged comic strips (featuring the flower child "Sunshine Girl" and "Uncle Ed, The India Rubber Man") to New York City's premier underground newspaper, the East Village Other, beginning in 1967. He joined Bhob Stewart as an editor of EVO's all-comics spin-off, Gothic Blimp Works, in 1969. During this period, he lived with fellow cartoonist Spain Rodriguez in a sixth-floor walk-up apartment in New York's East Village.[4] Deitch was also a publisher, as co-founder of the Cartoonists Co-Op Press, a publishing venture by Deitch, Jay Lynch, Bill Griffith, Jerry Lane, Willy Murphy, Diane Noomin, and Art Spiegelman that operated in 1973–1974. Deitch's The Boulevard of Broken Dreams was chosen by Time magazine in 2005 as one of the 100 best English-language graphic novels ever written.[6] In 2008, the Museum of Comic and Cartoon Art featured a retrospective exhibition of his work.[7] Personal life From his first marriage, to cartoonist and author Trina Robbins, Deitch has a daughter, Casey.[8] Through most of the 1970s, Deitch was in an 11-year relationship with animator Sally Cruikshank.[2][3] He met Pam Butler in 1994 and they subsequently married.[8] Awards Deitch won the 2003 Eisner Award for Best Single Issue/Story for The Stuff of Dreams (Fantagraphics)[9] and in 2008 he was awarded an Inkpot Award. In 2014, he was nominated for the Ignatz Award for Outstanding Graphic Novel for The Amazing, Enlightening and Absolutely True Adventures of Katherine Whaley.[10] Bibliography Creator series and books Books arranged in order by original published date (publication date shown first, then title, publisher, number of pages, date drawn, and availability). OOP = Out Of Print.[11] 2019 Reincarnation Stories (Fantagraphics, 260 pg) Hardback 2013 The Amazing, Enlightening and Absolutely True Adventures of Katherine Whaley! (Fantagraphics, 176 pg) Hardback 2010 The Search for Smilin' Ed (Fantagraphics, 162 pg) — serialized in Zero Zero beginning in 1999 2007 Deitch's Pictorama (Fantagraphics, 184 pg) — co-authored with Simon Deitch and Seth Kallen Deitch; includes 78-pg "Sunshine Girl" 2006 Shadowland (Fantagraphics, 182 pg) — 10 stories (OOP) 2002 The Stuff of Dreams (Fantagraphics, 136 pg) — original OOP; re-released by Pantheon as a hardback in 2007 as Alias the Cat! 1993 The Mishkin File! (Fantagraphics, 32 pg) original OOP; reprinted in The Boulevard of Broken Dreams (Pantheon 2002) 1992 All Waldo Comics (Fantagraphics, 60 pg) — 5 Waldo stories published from 1969-1988 (OOP) 1991 The Boulevard of Broken Dreams (original published in Raw [OOP]; re-released by Pantheon as a hardback in 2002, 160 pg) — with Simon Deitch 1990 A Shroud for Waldo (Fantagraphics, 158 pg) 1989 Beyond the Pale (Fantagraphics, 136 pg) — 22 stories produced from 1969-1984 (OOP) 1988 Hollywoodland (Fantagraphics, 76 pg) — 1984 story (OOP) 1988 No Business Like Show Business (3-D Zone) 1972–1973 Corn Fed Comics (Honeywell & Todd and Cartoonists Co-Op Press, 2 issues) Publications appeared in Lean Years (1974), a Cartoonists Co-op Press one-shot with cover art by Deitch. Apex Treasury of Underground Comics, Links Books/Quick Fox, 1974, ISBN 0-8256-3042-8 Arcade Bijou Funnies — issues #2, 3, and 8 Corporate Crime Comics East Village Other Gothic Blimp Works Heavy Metal High Times Laugh in the Dark LA Weekly Lean Years Mineshaft Magazine Pictopia Prime Cuts Raw Swift Comics (Bantam Books, April 1971) — with Art Spiegelman, Allan Shenker and Trina Robbins Southern Fried Fugitives Tales of Sex and Death Get Stupid Webcomic Hurricane Relief Telethon Weirdo Young Lust Zero Zero Animation Easy Groove ID, Nickelodeon, 1987 Farmer & Cat ID, MTV, 1996 Robert Sikoryak (born 1964)[1] is an American artist whose work is usually signed R. Sikoryak. He specializes in making comic adaptations of literature classics. Under the series title Masterpiece Comics, these include Crime and Punishment rendered in Bob Kane–era Batman style, becoming Dostoyevsky Comics, starring Raskol; and Waiting for Godot mixed with Beavis and Butt-Head, becoming Waiting to Go. Contents 1 Early life 2 Career 3 Personal life 4 Bibliography 5 References 5.1 General references 5.2 Inline citations 6 External links Early life Robert Sikoryak was born in 1964. He is originally from New Jersey.[1] He earned his BFA from the Parsons School of Design in 1987, and is on staff at the school.[2] Career Robert Sikoryak, Danny Fingeroth, Arie Kaplan, Jerry Robinson and Eddy Friedfeld at the Museum of Comic and Cartoon Art in 2006 Shortly after graduating from Parsons, Sikoryak worked on staff at Raw, before embarking on a freelance cartooning career.[citation needed] He co-edited with Art Spiegelman, and contributed to, the comic jam The Narrative Corpse, published in 1995. Sikoryak's cartoons and illustrations have appeared in The New Yorker, Drawn and Quarterly,[3] Nickelodeon Magazine, World War 3 Illustrated and RAW; and on The Daily Show with Jon Stewart.[citation needed] Sikoryak is also known for his Carousel series of multimedia comics slide shows, featuring cartoonists such as Lauren Weinstein, Michael Kupperman, Jason Little and himself, which have been presented in various venues in the United States and Canada since 1997.[2] In 2017, Sikoryak published The Unquotable Trump, a collection of parody comic book covers depicting Donald Trump, illustrated in the style of iconic comic book covers from the Golden, Silver, Bronze, and Modern Age of Comic Books. Each illustration is patterned after the a specific classic cover from series like The Walking Dead and Richie Rich, and drawn in the style of the original artists, who include Jack Kirby, Jerry Robinson, John Romita and Jim Lee. Each illustration is also thematically connected to the line of dialogue spoken by the Trump character, each of which is taken from controversial or otherwise notable comments the real-life Trump made at public events or in interviews during the 2016 U.S. presidential election, such as his comments on Mexico, black voters and torture.[3][4][5] March 7, 2017 saw the publication of iTunes Terms and Conditions: The Graphic Novel, which satirizes Steve Jobs and Apple Inc. Like The Unquotable Trump, each page of the graphic novel is patterned after an page from an seminal comics storyline, and drawn in the style of the original artist, with a caricature of Jobs taking the place of a man character in the sequence, and the dialogue and narration taken entirely from the eponymous contractual terms of Apple's iTunes media player.[4][6] Personal life As of 2017, Sikoryak is based in New York City.[4] Bibliography Raw (1989–91) Snake Eyes (1990–93) The New Comics Anthology (1991) The New Yorker (1994–99) Drawn and Quarterly (2000) Masterpiece Comics (Drawn and Quarterly, 2009) Terms and Conditions (Drawn and Quarterly, 2017) The Unquotable Trump (Drawn and Quarterly, 2017) Kaz (born Kazimieras Gediminas Prapuolenis,[1] July 31, 1959) is an American cartoonist and illustrator. In the 1980s, after attending New York City's School of the Visual Arts, he was a frequent contributor to the comic anthologies RAW and Weirdo. Since 1992, he has drawn Underworld, an adult-themed syndicated comic strip that appears in many alternative weeklies. Kaz's comics and drawings have appeared in many alternative and mainstream publications including Details, The New Yorker, Nickelodeon Magazine, The Village Voice, East Village Eye, Swank, RAW, Eclipse, N.Y. Rocker, New York Press, Screw and Bridal Guide. He has continued to contribute to comics anthologies such as Zero Zero. Kaz has also worked on several animated television shows including SpongeBob SquarePants, Camp Lazlo, and Phineas and Ferb. He was co-executive producer of Get Blake!. Kaz joined SpongeBob SquarePants as a storyboard director and writer in 2001 during the production of the series' third season. The series went on hiatus after production began on The SpongeBob SquarePants Movie. Shortly before production on the fourth season began in 2004, Kaz was invited by his colleague and the series' newly appointed showrunner, Paul Tibbitt, to work on an episode for the fourth season but he was never contacted by Tibbitt again and joined Camp Lazlo after leaving SpongeBob.[2] After Phineas and Ferb ended production, Kaz returned to SpongeBob in 2015 as a writer. With Derek Drymon, Kaz co-wrote and storyboarded the pilot episode for Diggs Tailwagger, which was ultimately not picked up. In September 2006, Kaz left Camp Lazlo to work on another pilot for a Cartoon Network show, Zoot Rumpus, based on a character from Underworld.[3] With Mr. Lawrence, he wrote the episode SpongeBob's Big Birthday Blowout. Contents 1 Personal life 2 Filmography 2.1 Television 3 Bibliography 4 References 5 External links Personal life Kaz lives in Hollywood, California, with his spouse Linda Marotta. Filmography Television Year Title Role 2002–04; 2015–present SpongeBob SquarePants Writer, storyboard director, story outlines, animation writer 2005–08 Camp Lazlo Writer, storyboard director, story outlines 2006 Zoot Rumpus Creator, writer, storyboard artist (pilot) 2007 Diggs Tailwagger Co-writer & storyboard artist (pilot) 2009–13; 2015 Phineas and Ferb Writer & storyboard artist 2012 Secret Mountain Fort Awesome Prop and effects designer ("Funstro") 2014 Get Blake! Executive producer 2018–present Little Big Awesome Writer Bibliography Month Title Issue Story Publisher Notes Dec. 2014 SpongeBob Comics #39 "Grudge with Your Grub" United Plankton Pictures Story Jan. 2015 #40 "Lavable Pin-Up Comic" Oct. 2015 #49 "Monster Canyon" Carol Lay (born 1952) is an American alternative cartoonist best known for her weekly comic strip, Story Minute (later to evolve into the strip Way Lay), which ran for almost 20 years in such US papers as the LA Weekly, the NY Press, and on Salon. Lay has been drawing professionally for over 30 years. Based in Los Angeles, Lay's strips and illustrations have appeared in Entertainment Weekly, Mad, Newsweek, Worth Magazine, The New York Times, The Wall Street Journal, and The New Yorker. Contents 1 Biography 1.1 Early life 1.2 Career 2 Bibliography 3 References 4 External links 4.1 Interviews Biography Early life Lay was born in Whittier, California.[1] In 1975 she graduated with a B.F.A. in Fine Arts from UCLA.[2] Career After graduating from UCLA, Lay entered the comics industry at DC Comics and Western Publishing, while simultaneously writing and drawing underground comics for titles such as Weirdo and her own Good Girls #1–6.[2] She is the author of Mythos, a prose novel featuring Wonder Woman (DC/Pocket Books, 2003),[3] Goodnight, Irene: The Collected Stories of Irene Van de Kamp (Last Gasp, 2007), and The Big Skinny: How I Changed My Fattitude, a Memoir (Villard, 2008).[4] From 2010 to 2013, Lay wrote and drew Simpsons stories for Bongo Comics. In 2013, Lay created Murderville #1: "A Farewell to Armories", a self-published, small-print-run, Kickstarter-funded comic featuring twenty-four pages of story plus four front & back, outside & inside cover pages. On January 26, 2015, Carol Lay's Lay Lines page began on GoComics with a week-long serialization of her story "The Thing Under the Futon" (January 26–30, 2015), followed by serializations of "Now, Endsville" (February 3–10, 2015) and "Invisible City" (April 12–June 26, 2015). Lay Lines has also reprinted pages from Lay's weekly newspaper comic Story Minutes, in color for the first time. New Lay Lines comics feature followups to Murderville.[5] Bibliography "Meeting Place" by Carol Lay. Lay, Carol (w, a). "Reach Out and Touch Someone" Pontiac Tempura (July 1980), unknown publisher Lay, Carol (w, a), Binswanger, Lee and LeMieux, Kathryn (ed). "The Mysogynist" Wimmen's Comix 8 (March 1983), Last Gasp Lay, Carol (as "Cora Lloyd") (w, a), Bagge, Peter (ed). "Midwestern Wedding" Weirdo 10 (Summer 1984), Last Gasp Lay, Carol (w, a), Gilbert, Erick (ed). "Brainfood" Cannibal Romances 1 (1986), Last Gasp Bridwell, E. Nelson; Cavalieri, Joey; Lay, Carol (w), Lay, Carol (a), Gafford, Carl (col), Weiss, David Cody (as "Cody") (let), Thomas, Roy (ed). The Oz-Wonderland Wars 1 (January 1986), DC Comics Bridwell, E. Nelson; Cavalieri, Joey; Lay, Carol (w), Lay, Carol (a), Barube, Liz (col), Lay, Carol (let), Thomas, Roy (ed). The Oz-Wonderland Wars 2 (February 1986), DC Comics Bridwell, E. Nelson; Cavalieri, Joey; Lay, Carol (w), Lay, Carol (a), Barube, Liz (col), Lay, Carol (let), Thomas, Roy (ed). The Oz-Wonderland Wars 3 (March 1986), DC Comics Lay, Carol (w, a). Good Girls 1 (April 1987), Fantagraphics Books Hernandez, Gilbert (w, a), Lay, Carol (col), Hernandez, Gilbert (let), Groth, Gary (ed). "Heartbreak Soup: Space Case" Anything Goes! 4 (May 1987), The Comics Journal Lay, Carol (w, a). Good Girls 2 (October 1987), Fantagraphics Books Lay, Carol (w, a). Good Girls 3 (May 1988), Fantagraphics Books Lay, Carol (w, a). Good Girls 4 (February 1989), Fantagraphics Books Lay, Carol (w, a), Kominsky-Crumb, Aline (ed). "The Prince and the Art Girl" Weirdo 27 (Spring 1990), Last Gasp Lay, Carol (w, a). Good Girls 5 (January 1991), Fantagraphics Books Lay, Carol (w, a). Good Girls 6 (1991), Rip Off Press Lay, Carol (w, a), Kinney, Jay (ed). "Panty Raid" Young Lust 8 (1993), Last Gasp Lay, Carol (w, a), Schreiner, Dave (ed). Now, Endsville (November 1993), Kitchen Sink Press, ISBN 0-87816-235-6 Lay, Carol (w, a), Amara, Phil (ed). Joy Ride (January 1996), Kitchen Sink Press, ISBN 0-87816-398-0 Lay, Carol (w, a), Couch, Christopher (ed). Strip Joint (September 1998), Kitchen Sink Press, ISBN 0-87816-578-9 Wonder Woman: Mythos, Pocket Star, 2003. ISBN 978-0-7434-1711-2. (prose novel) Goodnight, Irene: The Collected Stories of Irene Van de Kamp, Last Gasp, 2007. ISBN 978-0-86719-659-7. (collects the Irene Van de Camp stories from Good Girls plus a cover gallery and "About Face" (2006), a new 18-page story drawn for the collection) The Big Skinny: How I Changed My Fattitude, A Memoir, Random House, 2008. ISBN 978-0-345-50404-3. (graphic novel/memoir/diet book, with recipes) Lay, Carol (w, a), Villanueva, Art (col), Bates, Karen (let), Morrison, Bill (ed). "The Sound and the Flurry" Simpsons Comics Presents Bart Simpson 52 (February 2010), Bongo Comics Lay, Carol (w, a), Hellard, Alan (col), Bates, Karen (let), Morrison, Bill (ed). "The Mystery of the Pesky Desk" Simpsons Comics Presents Bart Simpson 53 (April 2010), Bongo Comics Simpsons Comics Get Some Fancy Book Learnin', Bongo Entertainment, 2010. ISBN 978-1-892849-30-4. (5-page story, new for the collection, Lisa and Maggie Simpson in "Pandora, Jr.") Lay, Carol (w, a), Hellard, Alan (col), Bates, Karen (let), Morrison, Bill (ed). "Dirty Laundry" The Simpsons Summer Shindig 4 (May 2010), Bongo Comics Lay, Carol (w, a), Villanueva, Art (col), Bates, Karen (let), Morrison, Bill (ed). "Fortunate Son" Simpsons Comics Presents Bart Simpson 54 (June 2010), Bongo Comics Lay, Carol (w, a), Hellard, Allan (col), Bates, Karen (let), Morrison, Bill (ed). "The Princess Principle" Simpsons Comics Presents Bart Simpson 55 (August 2010), Bongo Comics Lay, Carol (w, a), Villaneuva, Art (col), Bates, Karen (let), Morrison, Bill (ed). "The Generosity Gene" Simpsons Comics 170 (September 2010), Bongo Comics Lay, Carol (w, a), Hamill, Nathan (col), Bates, Karen (let), Morrison, Bill (ed). "A Tomb With a View" Simpsons Comics Presents Bart Simpson 57 (December 2010), Bongo Comics Lay, Carol (w, a), Villanueva, Art (col), Bates, Karen (let), Morrison, Bill (ed). "Pranks a Lot" Simpsons Comics Presents Bart Simpson 58 (February 2011), Bongo Comics Lay, Carol (w, a), Hamill, Nathan (col), Bates, Karen (let), Morrison, Bill (ed). "Sleepless in Springfield" Simpsons Comics Presents Bart Simpson 59 (April 2011), Bongo Comics Lay, Carol (w, a), Villanueva, Art (col), Bates, Karen (let), Morrison, Bill (ed). "Fur'n'Hate 451" The Simpsons Summer Shindig 5 (May 2011), Bongo Comics Duggan, Gerry (w), Lay, Carol (a), Villanueva, Art (col), Bates, Karen (let), Morrison, Bill (ed). "Mousery" Simpsons Comics 179 (June 2011), Bongo Comics Lay, Carol (w, a), Hamill, Nathan (col), Bates, Karen (let), Morrison, Bill (ed). "Planet of the Plants" Simpsons Comics Presents Bart Simpson 61 (July 2011), Bongo Comics Lay, Carol (w, a), Hamill, Nathan (col), Bates, Karen (let), Morrison, Bill (ed). "Guardian Snow Angel" The Simpsons Winter Wingding 6 (January 2012), Bongo Comics Lay, Carol (w, a), Villanueva, Art (col), Bates, Karen (let), Morrison, Bill (ed). "Ralph Wiggum's Day Off" Ralph Wiggum One-Shot 1 (February 2012), Bongo Comics Lay, Carol (w, a)Rote, Mike (i), Villanueva, Art (col), Bates, Karen (let), Morrison, Bill (ed). "The Social Fretwork" Simpsons Comics 190 (May 2012), Bongo Comics Lay, Carol (w, a), Hamill, Nathan (col), Bates, Karen (let), Morrison, Bill (ed). "Tattoo You" Simpsons Summer Shindig 6 (June 2012), Bongo Comics Lay, Carol (w, a), Hamill, Nathan (col), Bates, Karen (let), Morrison, Bill (ed). "Wedgie Issue" Bart Simpson 72 (June 2012), Bongo Comics Lay, Carol (w, a), Hamill, Nathan (col), Bates, Karen (let), Morrison, Bill (ed). "Children of the Corn Maze" Bart Simpson 73 (July 2012), Bongo Comics Lay, Carol (w, a), Hamill, Nathan (col), Bates, Karen (let), Kane, Nathan (ed). "Mean Genie" Li'l Homer 1 (August 2012), Bongo Comics Lay, Carol (w, a), Hamill, Nathan (col), Bates, Karen (let), Kane, Nathan (ed). "Decisions, Decisions" Bart Simpson 74 (August 2012), Bongo Comics Lay, Carol (w, a), Hamill, Nathan (col), Bates, Karen (let), Kane, Nathan (ed). "Scent of a Baby" Maggie 1 (October 2012), Bongo Comics CAROL LAY'S ILLITERATURE: STORY MINUTES Volume One, Boom! Town, 2012. ISBN 978-1-60886-282-5. (Contains 103 STORY MINUTE strips from 1997 to 1999, plus an Introduction by Kim Deitch.) Lay, Carol (w, a), Hamill, Nathan (col), Bates, Karen (let), Kane, Nathan (ed). "Maggie and the Moon" Bart Simpson 80 (February 2013), Bongo Comics Lay, Carol (w, a), Villanueva, Art (col), Bates, Karen (let), Kane, Nathan (ed). "Maggie's Pancakes" Bart Simpson 81 (March 2013), Bongo Comics Lay, Carol (w, a), Villanueva, Art (col), Bates, Karen (let), Kane, Nathan (ed). "The Murder Party" Simpsons Comics 201 (April 2013), Bongo Comics Lay, Carol (w, a), Lay, Carol (col), Lay, Carol (let), Lay, Carol (ed). "A Farewell to Armories" MURDERVILLE 1 -- 24 story pages + 4 front & back cover pages -- Kickstarter-funded, self-published (September 2013), Carol Lay BART SIMPSON TO THE RESCUE, Harper, 2014. ISBN 978-0-06-230183-3. (Includes reprints of Carol Lay's SIMPSONS stories "The Mystery of the Pesky Desk", "Fortunate Son", "A Tomb With a View", and "Pranks a Lot".) BART SIMPSON BLASTOFF, Harper, 2015. ISBN 978-0-06-236061-8. (Includes reprints of Carol Lay's SIMPSONS stories "Sleepless in Springfield", "The Princess Principle", and "The Planet of the Plants".) SIMPSONS COMIC CLUBHOUSE, Harper, 2015, ISBN 978-0-06-236060-1. (Includes reprints of Carol Lay's SIMPSONS stories "Dirty Laundry", and "Fur 'n' Hate 451".) References  "Carol Lay : About". www.carollay.com. Archived from the original on 2016-03-08. Retrieved 2017-03-11.  "Talking to Carol Lay - Irene and More". Newsarama. July 19, 2007[dead link]  Carol Lay Wonder Woman: Mythos Archived 2011-06-05 at the Wayback Machine, Pulse News, Comicon.com, May 15, 2003  Mason, Marc. "The Aisle Seat," Archived 2016-01-10 at the Wayback Machine Comics Waiting Room. Accessed July 12, 2011.  Hoffmann, Curtis. Lay Lines GoComics List. Continually updated. Accessed April 12, 2016. Joe Sacco (/ˈsækoʊ/; born October 2, 1960) is a Maltese-American cartoonist and journalist. He is best known for his comics journalism, in particular in the books Palestine (1996) and Footnotes in Gaza (2009), on Israeli–Palestinian relations; and Safe Area Goražde (2000) and The Fixer (2003) on the Bosnian War. Contents 1 Biography 2 Awards 3 Bibliography 3.1 Comic books 3.1.1 Solo 3.1.2 Editor 3.2 Books 3.2.1 Solo 3.2.2 As illustrator 4 See also 5 References 6 Further reading 7 External links Biography Sacco was born in Malta on October 2, 1960.[2] His father Leonard was an engineer and his mother Carmen was a teacher.[3] At the age of one, he moved with his family to Melbourne, Australia,[4] where he spent his childhood until 1972, when they moved to Los Angeles.[2] He began his journalism career working on the Sunset High School newspaper in Beaverton, Oregon.[5] While journalism was his primary focus, this was also the period of time in which he developed his penchant for humor and satire. He graduated from Sunset High in 1978. Sacco earned his BA in journalism from the University of Oregon in 1981 in three years. He was greatly frustrated with the journalist work that he found at the time, later saying, "[I couldn't find] a job writing very hard-hitting, interesting pieces that would really make some sort of difference."[4] After being briefly employed by the journal of the National Notary Association, a job which he found "exceedingly, exceedingly boring,"[3] and several factories, he returned to Malta, his journalist hopes forgotten. "...I sort of decided to forget it and just go the other route, which was basically take my hobby, which has been cartooning, and see if I could make a living out of that," he later told the BBC.[6] He began working for a local publisher writing guidebooks.[4] Returning to his fondness for comics, he wrote a Maltese romance comic named Imħabba Vera ("True Love"), one of the first art-comics in the Maltese language. "Because Malta has no history of comics, comics weren't considered something for kids," he told The Village Voice. "In one case, for example, the girl got pregnant and she went to Holland for an abortion. Malta is a Catholic country where, at the time, not even divorce was allowed. It was unusual, but it's not like anyone raised a stink about it, because they had no way of judging whether this was appropriate material for comics or not."[7] Eventually returning to the United States, by 1985 Sacco had founded a satirical, alternative comics magazine called Portland Permanent Press in Portland, Oregon. When the magazine folded fifteen months later, he took a job at The Comics Journal as the staff news writer.[8] This job provided the opportunity for him to create and edit another satire: the comics anthology Centrifugal Bumble-Puppy [9] (a name he took from an overcomplicated children's toy in Aldous Huxley's Brave New World), published by The Comics Journal's parent company Fantagraphics Books. But Sacco was more interested in travelling. In 1988, he left the U.S. again to travel across Europe, a trip which he chronicled in his autobiographical comic Yahoo (also published by Fantagraphics).[9] The trip led him towards the ongoing Gulf War (his obsession with which he talks about in Yahoo #2), and in 1991 he found himself nearby to research the work he would eventually publish as Palestine. The Gulf War segment of Yahoo drew Sacco into a study of Middle Eastern politics, and he traveled to Israel and the Palestinian territories to research his first long work. Palestine was a collection of short and long pieces, some depicting Sacco's travels and encounters with Palestinians (and several Israelis), and some dramatizing the stories he was told. It was serialized as a comic book from 1993 to 1995 and then published in several collections, the first of which won an American Book Award in 1996 and sold more than 30,000 copies in the UK.[10] Sacco next travelled to Sarajevo and Goražde near the end of the Bosnian War, and produced a series of reports in the same style as Palestine: the comics Safe Area Goražde, The Fixer, and the stories collected in War's End; the financing for which was aided by his winning of the Guggenheim Fellowship in April 2001.[9][11] Safe Area Goražde won the Eisner Award for Best Original Graphic Novel in 2001. Sacco in Iraq in 2005 with the 1st Battalion, 23rd Marines inside the Haditha Dam He has also contributed short pieces of graphic reportage to a variety of magazines, on subjects ranging from war crimes to blues, and was a frequent illustrator of Harvey Pekar's American Splendor. In 2005 he wrote and drew two eight-page comics depicting events in Iraq published in The Guardian. He also contributed a 16-page piece in April 2007's issue of Harper's Magazine, entitled "Down! Up! You're in the Iraqi Army Now". In 2009, his Footnotes in Gaza was published, which investigates two forgotten massacres that took place in Khan Younis and Rafah in November 1956.[12] In June 2012, a book on poverty in the United States, Days of Destruction, Days of Revolt, co-written with journalist Chris Hedges, was published.[13] Sacco currently lives in Portland, Oregon.[9] Awards In addition to his 1996 American Book Award, 2001 Guggenheim Fellowship, and 2001 Eisner Award, Sacco's Footnotes in Gaza was nominated for the 2009 Los Angeles Times Book Prize Graphic Novel award.[14] Sacco was awarded the 2010 Ridenhour Book Prize for Footnotes in Gaza.[15] He was award the 2012 Oregon Book Award for Footnotes in Gaza[16] and 2014 Oregon Book Award Finalist for Journalism.[17] Bibliography Comic books Solo 1988–1992: Yahoo #1–6. Fantagraphics Books 1993–1995: Palestine #1–9. Fantagraphics Books 1994: Spotlight on the Genius that is Joe Sacco. Fantagraphics Books 1998: Stories From Bosnia #1: Soba. Drawn and Quarterly Editor 1987–1988: Centrifugal Bumble-Puppy Fantagraphics Books Books Solo 1993: Palestine: A Nation Occupied. Fantagraphics Books. ISBN 978-1560971504 (collects Palestine #1–5) 1996: Palestine: In the Gaza Strip. Fantagraphics Books. ISBN 978-1560973003 (collects Palestine #4–9) 1997: War Junkie. Fantagraphics Books. ISBN 1-56097-170-3. 2000: Safe Area Goražde: The War in Eastern Bosnia 1992–1995. Fantagraphics Books. ISBN 1-56097-470-2 (expanded edition 2010) 2001: Palestine. Fantagraphics Books. ISBN 1-56097-432-X (collects Palestine #1–9) (expanded edition in 2007) 2003: The Fixer: A Story from Sarajevo. Drawn and Quarterly Books. ISBN 1-896597-60-2 2003: Notes from a Defeatist. Fantagraphics Books. ISBN 1-56097-510-5 (collects Yahoo #1–6) 2005: War's End: Profiles from Bosnia 1995–96. Drawn and Quarterly. ISBN 1-896597-92-0 2006: But I Like It. Fantagraphics Books. ISBN 1-56097-729-9 2009: Footnotes in Gaza. Metropolitan Books, ISBN 0-8050-7347-7. Jonathan Cape, ISBN 0-224-07109-2 2012: Journalism. Metropolitan Books, ISBN 978-0-8050-9486-2 2013: The Great War: July 1, 1916: The First Day of the Battle of the Somme. W. W. Norton & Company. ISBN 978-0-393-08880-9 2014: Bumf Vol. 1: I Buggered the Kaiser. Fantagraphics Books. ISBN 978-1-60699-748-2 2020: Paying the Land. Henry Holt and Co. ISBN 9781627799034 As illustrator 2012: Days of Destruction, Days of Revolt with Chris Hedges. Nation Books, ISBN 978-1-5685-8643-4 Gary Leib (born in Chicago, Illinois) is an American underground cartoonist, animator, and musician. Best known for the comic book Idiotland (a two-man anthology produced with Leib's long-time collaborator, Doug Allen), Leib's work has also appeared in The New Yorker, The New York Times, Musician Magazine, The New York Observer, RAW, BLAB! and as weekly features in New York Press for many years. Leib also designed a popular line of promotional toys for The Hershey Company.[1] Along with Allen, Leib was also a founding member of the Grammy-nominated band Rubber Rodeo, which recorded two albums for Mercury Records. He has created original music for independent and feature films, including the critically acclaimed Ironweed. Idiotland, which ran for seven issues in 1993–1994, was nominated for a 1994 Harvey Award for Best New Series. In addition to Idiotland, Leib and Allen collaborated on a number of stories in the fund-raising anthology comic Legal Action Comics volume 1, published in 2001. Leib created his animation studio Twinkle in 1993; Twinkle has produced animation and titles for film, TV series, music videos, and websites.[2] Since 1993, Leib has created a series of short animations, accompanied by jazz, about New York City, which are hosted on the New York Times website, a network ID for MTV, and a documentary for PBS. Lieb made the animated end closing credits for the film American Ultra.[3] Leib is a graduate of the Rhode Island School of Design[2] and has taught in the graduate computer animation program at the School of Visual Arts in Manhattan. Bibliography The Art of Cartooning with FLASH (with Daniel Gray and John Kuramoto) (Sybex, 2001) ISBN 0-7821-2913-7

PicClick Insights - Art Spiegelman Narrative Corpse Signed Print N Charles Burns Mark Beyer L/E Rare PicClick Exclusive

  •  Popularity - 0 watchers, 0.0 new watchers per day, 11 days for sale on eBay. 0 sold, 1 available.
  •  Best Price -
  •  Seller - 807+ items sold. 0% negative feedback. Great seller with very good positive feedback and over 50 ratings.

People Also Loved PicClick Exclusive