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There's the fact that animation is extremely time-consuming, tedious, labor-intensive, and therefore, extremely expensive as an art form to really do it right, to really do full animation.

Eric Drooker

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Eric Drooker
Age: 66
Born: 1958
Born: January 1
Comics Artist
Painter
New York City
New York
Really
Labor
Time
Therefore
Full
Intensive
Fact
Tedious
Facts
Consuming
Art
Animation
Form
Expensive
Right
Extremely

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Artists always live in the cracks anyway, whatever culture they're in. They're usually accustomed to not having much money, to kind of roughing it.
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Americans didn't really have any experience with something as basic as community.
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We all know artists who like to collaborate, who like to work as a team. It all kind of depends what your habitual working method is.
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Street posters allowed you to have the last word. If you put them up in your neighborhood, you were speaking to your neighbor.
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There's so much tragedy in people that we see every day that we don't have to make anything up. We don't have to invent anything. There are two items on the menu: comedy and tragedy.
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If I do a picture, I want the audience to be the people I was just packed against on the subway or on the street, walking on Fourteenth Street. I don't want it to be some narrow public that I myself feel alienated from.
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The art was just a way of hooking people in, saying: Hey, maybe there's something cool about the tenant meeting. If the picture's really cool and weird, maybe I should check this out. And I think all of my art has really developed out of that realization.
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The trick is not to look back, but keep on expressing where I'm at now. It's challenging to create something new, so it's crucial to dwell in the present moment.
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Working people are working even longer hours, even though we won the eight-hour workday at the Haymarket General Strike in Chicago.
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As I developed as an artist and studied art history, I noticed that all the great works were dealing with the human condition. [Art] had humor in it. It had sex in it. But it also had sorrow running through it.
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Whether it's a street poster on a brick wall, a magazine cover on a newsstand, or animation on a movie screen - art is an effective means of communicating with large numbers of people.
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The client isn't quite satisfied and then the prostitute is always unsatisfied but is doing it just to make ends meet. And if you're doing fine art, if you're doing it for a gallery or a museum, it's so sterilized. It's such an antiseptic environment.
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In the U.S., ironically, people work longer hours in the U.S. than they do in Europe or in any other industrialized country. They seem utterly oblivious to May Day, don't really know what it is - our own history.
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Art grabs people by their eyeballs, it seduces them ... art is a means to an end rather than simply an end in itself.
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Poster art was always my way of being involved in the conversation. So it wasn't just a one-way conversation with the police yelling at us or freaking us out. Street posters allowed you to have the last word.
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The poster art over the years, art with social critique in it, has always been trying to make that point - that we are larger than they are.
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When I was younger, when I was a teenager, the work was more satirical and funny and cartoony. And part of it was chops - if you have a more limited repertoire of stick figures and cartoon characters, they lend themselves more to humor than to tragedy.
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With what we've been taught is the proper role of art, which is that you want to have it very neatly matted and framed and put on a white wall in some room where only a certain class of people are going to go in.
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Everyone wants to be part of the 99%, even the cops are like, No, no, man. I'm part of the 99% too. No one wants to be part of the 1%.
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Doing art that has a happy ending, that doesn't seem really corny, is extremely difficult to pull off convincingly.
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