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Bons baisers de New York
Dans Bons baisers de New York, Art Spiegelman raconte les années qui ont fait de lui l'illustrateur le plus controversé du New Yorker en 78 ans d'existence. Des émeutes raciales de Brooklyn à l'élection de George Bush en passant par l'affaire Monica Lewinsky ou les attentats du World Trade Center, cet ouvrage nous plonge dans la vie sociale, culturelle et politique américaine vue à travers les débats qui ont agité la rédaction du prestigieux magazine.
C'est aussi pour Spiegelman l'occasion de revenir sur sa carrière, de parler de ses multiples influences et de rendre hommage à ses maîtres dans une série de planches inédites en France.
C'est aussi pour Spiegelman l'occasion de revenir sur sa carrière, de parler de ses multiples influences et de rendre hommage à ses maîtres dans une série de planches inédites en France.
112 pages, Paperback
First published January 1, 2003
About the author
Art Spiegelman
80 books2,896 followersArt Spiegelman (born Itzhak Avraham ben Zeev) is New-York-based comics artist, editor, and advocate for the medium of comics, best known for his Pulitzer Prize-winning comic memoir, Maus.
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Displaying 1 - 3 of 3 reviews
December 20, 2017
se del new yorker non lo dite ma spesso guardate più che altro le figure.
se avete incrociato l'ombra delle due torri e ne siete rimasti commossi.
se l'idea di un tandem art spiegelman-paul auster vi sembra newyorkese almeno quanto l'incipit di manhattan (inteso come film).
un volume bellissimo - graficamente impeccabile come tutti quelli editi da nuages - che raccoglie un decennio di mai concilianti copertine e caustiche vignette per il settimanale americano.
se avete incrociato l'ombra delle due torri e ne siete rimasti commossi.
se l'idea di un tandem art spiegelman-paul auster vi sembra newyorkese almeno quanto l'incipit di manhattan (inteso come film).
un volume bellissimo - graficamente impeccabile come tutti quelli editi da nuages - che raccoglie un decennio di mai concilianti copertine e caustiche vignette per il settimanale americano.
July 4, 2013
After "Maus" made him world famous, Spiegelman was invited to paint covers for the New Yorker magazine from the beginning of the 90's until 2002.
He felt his "mission" was to try and push one of the most reknowned papers in NY to be more provocative than the dull object it had become time; he felt that the paper's audience (NY's middle and upper class) were only given to see what they wanted to see to feel in touch with the world and skip, unconcerned, to the next thing.
The pages contain beautiful full-page prints of his works and his own comments of each and every one of them, his fights with his editor and censors to have them published, and the reaction they created on audiences, from the world famous "levitating twin towers draped under a black veil" to "the crucified eastern rabbit" and many others.
As a belgian person, the mix of black humor, surrealism (the references to Magritte), provocation and cartoonish humor could only make my eyes glee while turning the pages.
He felt his "mission" was to try and push one of the most reknowned papers in NY to be more provocative than the dull object it had become time; he felt that the paper's audience (NY's middle and upper class) were only given to see what they wanted to see to feel in touch with the world and skip, unconcerned, to the next thing.
The pages contain beautiful full-page prints of his works and his own comments of each and every one of them, his fights with his editor and censors to have them published, and the reaction they created on audiences, from the world famous "levitating twin towers draped under a black veil" to "the crucified eastern rabbit" and many others.
As a belgian person, the mix of black humor, surrealism (the references to Magritte), provocation and cartoonish humor could only make my eyes glee while turning the pages.
October 4, 2020
Although there is something off-putting and juvenile about Spiegelman's holier-than-thou attitude towards The New Yorker (a common trait when 'underground' artists go mainstream and feel the need to assert their legitimacy and cred), this volume offers an interesting glimpse of the struggles between Spiegelman and the sacrosanct gliteratti magazine. Beautiful covers, sketches and even a couple of comics.
Displaying 1 - 3 of 3 reviews