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Samuel Beckett once said, Every word is like an unnecessary stain on silence and nothingness. ...On the other hand, he SAID it.

Art Spiegelman

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Art Spiegelman
Age: 76
Born: 1948
Born: February 15
Cartoonist
Comics Artist
Drawer
Editor
Illustrator
Printmaker
Writer
Sthlm
Itzhak Avraham ben Zeev Spiegelman
Nothingness
Unnecessary
Silence
Hand
Word
Beckett
Hands
Samuel
Every
Stain
Like
Stains

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Instead of yelling at a TV set, I get to talk.
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I'm supposed to be making comics, so I had to do it the best way I knew how, which is what those guys at the beginning of the Twentieth Century were doing.
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Style is a capitalist invention. It's a trademark. It's very useful in the world of commerce to have a good trademark, but it wasn't my first concern. I got restless
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I always had more allergies toward the superhero comics than the others. I thought those were aimed more toward the people who would beat me up.
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The book has very specific qualities. Let's say in 2300 they discover the physical book, after having lived with the digital book for several hundred years. They'll be able to say, Look at all the cool stuff you can have in a real book and how different it is. The differences are manifold.
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I know this is insane, but i somehow wish i had been in auschwitz with my parents so i could really know what they lived through! I guess it's some kind of guilt about having had an easier life than they did.
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With any work worth its salt, you have to trust the author enough to take its measure. And if you apply too many preconceptions, you are not taking its measure.
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Some of the reviewers wanted less. Some wanted lots more. Some wanted lots more of something else. But these strips are exactly what they are.
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A manifesto, a diary, a crumpled suicide note, and a still relevant love letter.
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I became a degenerate artist. My parents were shaped by their own experiences, and artists weren't so useful in the death camps.
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Comics can be pernicious, fascist propaganda or anti-authoritarian. The ones that shaped me were particularly anti-authoritarian.
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One way of understanding a graphic novel is that it's an ambitious comic and one way or another my comics have had ambitions. I have no problem with escapism. When I get my depressions all I want to do is escape reality.
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To die, it's easy. But you have to struggle for life.
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Right now anything made for the iPad is like performance art. I'm not interested in performance art. Comics are too hard to make to be done for such a passing blip. When it stabilizes, I'll look at it.
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Sometimes I don't feel like a functioning adult
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It's not an accident that, while bookstores are all in a tizzy, one of the more lively and alive sections is the so-called graphic novel section, because those are harder to replace.
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I always have been and will remain someone who loves real, 3D, substantial books. And I don't believe that it's a wistful, nostalgic interest like vinyl collectors. It's not the same thing.
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he technology that threatens to kill off books as we know them - the physical book, a new phrase in our language - is also making the physical book capable of being more beautiful than books have been since the middle ages.
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In reality, childhood is deep and rich. It's vital, mysterious, and profound. I remember my OWN childhood vividly I knew terrible things, but I knew I mustn't let the adults *know* I knew... it would scare them.
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There's a therapeutic aspect to all making, but the nature of working is to compress, condense, and shape stuff, not to just expunge it. It's not just an exorcism.
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