Jump to content

Françoise Mouly: Difference between revisions

From Wikipedia, the free encyclopedia
Browse history interactively
← Previous editNext edit →
Content deleted Content added
VisualWikitext
Breakdowns, printing press, Raw Books and Graphics
Raw
Line 42: Line 42:
With no concrete plans, Mouly arrived in New York September 2, 1974, with $200 in her pocket, in the midst of a severe economic downturn. She familiarized herself into the New York avant-garde art and film worlds, and had a part in [[Richard Foreman]]'s 1975 play ''Pandering to the Masses''.{{sfn|Heer|2013|pp=25–26}} She settled into a loft in [[SoHo]] in 1975,{{sfn|Heer|2013|p=26}} and did odd jobs including selling cigarettes and magazines in [[Grand Central Station]] and assembling models for a Japanese architectural company, while struggling to improve her English.{{sfn|Heer|2013|p=27}}
With no concrete plans, Mouly arrived in New York September 2, 1974, with $200 in her pocket, in the midst of a severe economic downturn. She familiarized herself into the New York avant-garde art and film worlds, and had a part in [[Richard Foreman]]'s 1975 play ''Pandering to the Masses''.{{sfn|Heer|2013|pp=25–26}} She settled into a loft in [[SoHo]] in 1975,{{sfn|Heer|2013|p=26}} and did odd jobs including selling cigarettes and magazines in [[Grand Central Station]] and assembling models for a Japanese architectural company, while struggling to improve her English.{{sfn|Heer|2013|p=27}}


While looking for comics on which to practice reading English, she came across ''[[Arcade (comics magazine)|Arcade]]'', an [[underground comix]] magazine from San Francisco copublished by New Yorker [[Art Spiegelman]]. 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 permanently back to New York later in the year; occasionally the two ran across each other. After reading Spiegelman's 1973 strip "Prisoner on the Hell Planet", about his mother's suicide, Mouly felt the urge to contact him. An hour-eight phone call led to deepening of their relationship Spiegelman followed her to France when she had to return to fulfill obligations in her architecture course.{{sfn|Heer|2013|pp=28–30}} After returning to the US, when Mouly ran into visa problems in 1977, the couple solved them by getting married—at first at City Hall, and then again after Mouly converted to Judaism to please Spiegelman's father.{{sfn|Heer|2013|p=41}}
While looking for comics on which to practice reading English, she came across ''[[Arcade (comics magazine)|Arcade]]'', an [[underground comix]] magazine from San Francisco copublished by New Yorker [[Art Spiegelman]]. 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 permanently back to New York later in the year; occasionally the two ran across each other. After reading Spiegelman's 1973 strip "Prisoner on the Hell Planet", about his mother's suicide, Mouly felt the urge to contact him. An hour-eight phone call led to deepening of their relationship Spiegelman followed her to France when she had to return to fulfill obligations in her architecture course.{{sfn|Heer|2013|pp=28–30}} After returning to the US, when Mouly ran into visa problems in 1977, the couple solved them by getting married—at first at City Hall, and then again after Mouly converted to Judaism to please Spiegelman's father.{{sfn|Heer|2013|p=41}} Beginning in 1978 Mouly and Spiegelman made yearly trips to Europe to explore the comics scene, and brought back European comics to show to their circle of friends.{{sfn|Heer|2013|pp=47–48}}


Mouly became immersed in Spiegelman's personal theories of comics, and helped him prepare the lecture "Language of the Comics" delivered at the [[Collective for Living Cinema]].{{sfn|Heer|2013|pp=43–44}} She assisted in the putting together the lavish collection of Spiegelman's experimental strips ''[[Breakdowns (comics)|Breakdowns]]''. The printer botched the printing of the book—30% of the print run was unusuable. The remaining copies had poor distribution and sales. The experience motivated Mouly to gain control over the printing process, and to find a way to get such marginal material to sympathetic readers.{{sfn|Heer|2013|pp=45–47}} She took courses in [[offset printing]] in [[Bedford–Stuyvesant, Brooklyn]], and bought an Addressograph-Multigraph Multilith printing press for her loft.{{sfn|Heer|2013|p=49}} In 1978, she founded Raw Books and Graphics, a name settled on in part because of its small-operation feel, and part because it was reminiscent of ''[[Mad (magazine)|Mad]]'' magazine.{{sfn|Heer|2013|p=50}}
Mouly became immersed in Spiegelman's personal theories of comics, and helped him prepare the lecture "Language of the Comics" delivered at the [[Collective for Living Cinema]].{{sfn|Heer|2013|pp=43–44}} She assisted in the putting together the lavish collection of Spiegelman's experimental strips ''[[Breakdowns (comics)|Breakdowns]]''. The printer botched the printing of the book—30% of the print run was unusuable. The remaining copies had poor distribution and sales. The experience motivated Mouly to gain control over the printing process, and to find a way to get such marginal material to sympathetic readers.{{sfn|Heer|2013|pp=45–47}} She took courses in [[offset printing]] in [[Bedford–Stuyvesant, Brooklyn]], and bought an Addressograph-Multigraph Multilith printing press for her loft.{{sfn|Heer|2013|p=49}}


===Raw Books===
===Raw Books===


In 1978, she founded Raw Books and Graphics, a name settled on in part because of its small-operation feel, and part because it was reminiscent of ''[[Mad (magazine)|Mad]]'' magazine. Mouly worked from an aesthetic inspired in part by the Russian [[Constructivism (art)|Constructivists]], who brought a design sense to everyday objects.{{sfn|Heer|2013|p=50}} Raw began by publishing postcards and prints by artists such as underground cartoonist [[Bill Griffith]] and Dutch cartoonist [[Joost Swarte]].{{sfn|Heer|2013|p=48}} More ambitious projects included art objects such as the Zippy-Scope, a cardboard device with with to watch a comic strip rolled up on a film spool, featuring Griffth's character [[Zippy the Pinhead]].{{sfn|Heer|2013|pp=51–52}} Some projects were more commercial, such as the annual ''Streets of SoHo Map and Guide'', whose advertising revenue financed much of Raw.{{sfn|Heer|2013|pp=52–53}}
In 1977, Mouly brought a printing press in her fourth-floor walk-up and founded a small publishing house, Raw Books & Graphics. She printed and published "mailbooks", an innovative format of eight-page booklets with postcard backs, publishing work by artists ranging from [[Caran d'Ache]] to [[Mark Beyer (comics)|Mark Beyer]], Spiegelman and Bruno Richard. Starting in 1977, Mouly published and edited the ''Streets of Soho and Tribeca Map and Guide'', until she sold it in 1991.<ref>{{cite web|url=http://www.indyworld.com/indy/ |title=Indyworld Interview with Mouly about early days |publisher=Indyworld.com |date= |accessdate=December 14, 2012}}</ref>


Having in this way honed her publishing skills, Mouly's ambition turned to magazine publication. Spieelman was at first reluctant, jaded from his experience at ''Arcade'', but agreed on New Year's Eve 1979 to coedit. The magazine was to provide an outlet for the kinds of comics that had difficulty finding a publisher in the US, in particular younger cartoonists who fit netiher the superhero nor the underground mold, and European cartoonists who did not fit the sex-and-sci-fi appetites of ''[[Heavy Metal (magazine)|]'' fans.{{sfn|Heer|2013|pp=53–54}}
===''Raw'' magazine===


The lavishly-printed, {{convert|10+1/2|14+1/8|in|cm|abbr=on}} first issue of ''[[Raw (magazine)|Raw]]'' appeared in July 1980. It had a $3.50 cover price, several times more expensive than the going prices for comics, either mainstream or underground.{{sfn|Heer|2013|p=55}}
{{main|Raw (magazine)}}


In July 1980, Mouly launched ''[[Raw (magazine)|Raw]]'', a large-format, luxuriously printed magazine of comics, graphics, and illustrated texts that she designed and co-edited with Spiegelman. Starting with the second ''Raw'' in December 1980, each issue of the magazine included a chapter of ''[[Maus]]'', which Spiegelman had just started. ''Raw'' gathered together the work of American artists who had few other venues to publish ([[Charles Burns (cartoonist)|Charles Burns]], [[Gary Panter]], [[Sue Coe]], [[Jerry Moriarty]], [[Mark Beyer (comics)|Mark Beyer]], [[Ben Katchor]], [[Chris Ware]], etc.), students of Spiegelman's at the [[School of Visual Arts]] ([[Drew Friedman (cartoonist)|Drew Friedman]], [[Mark Newgarden]], [[Kaz (cartoonist)|Kaz]], [[Jay Pulga]]), and European artists contacted by Mouly and Spiegelman on their trips to Europe ([[Javier Mariscal]], [[Joost Swarte]], [[Ever Meulen]], [[Jacques Tardi]], [[Jacques de Loustal]], [[Lorenzo Mattotti]], etc.) For the next eleven years, Mouly run the publishing house with a yearly ''Soho Map'' as the financial foundation for the business. She operated out of the Soho loft until 1987, when, pregnant with her first child, she moved the Raw offices to a ground-floor space. On top of the yearly issue of ''Raw'', Mouly published a series of artists' books, labeled Raw One-Shots, with work by Moriarty, Beyer, Panter, Coe and others.
In July 1980, Mouly launched ''[[Raw (magazine)|Raw]]'', a large-format, luxuriously printed magazine of comics, graphics, and illustrated texts that she designed and co-edited with Spiegelman. Starting with the second ''Raw'' in December 1980, each issue of the magazine included a chapter of ''[[Maus]]'', which Spiegelman had just started. ''Raw'' gathered together the work of American artists who had few other venues to publish ([[Charles Burns (cartoonist)|Charles Burns]], [[Gary Panter]], [[Sue Coe]], [[Jerry Moriarty]], [[Mark Beyer (comics)|Mark Beyer]], [[Ben Katchor]], [[Chris Ware]], etc.), students of Spiegelman's at the [[School of Visual Arts]] ([[Drew Friedman (cartoonist)|Drew Friedman]], [[Mark Newgarden]], [[Kaz (cartoonist)|Kaz]], [[Jay Pulga]]), and European artists contacted by Mouly and Spiegelman on their trips to Europe ([[Javier Mariscal]], [[Joost Swarte]], [[Ever Meulen]], [[Jacques Tardi]], [[Jacques de Loustal]], [[Lorenzo Mattotti]], etc.) For the next eleven years, Mouly run the publishing house with a yearly ''Soho Map'' as the financial foundation for the business. She operated out of the Soho loft until 1987, when, pregnant with her first child, she moved the Raw offices to a ground-floor space. On top of the yearly issue of ''Raw'', Mouly published a series of artists' books, labeled Raw One-Shots, with work by Moriarty, Beyer, Panter, Coe and others.

Revision as of 21:47, 5 October 2013

Françoise Mouly
Born (1955-10-24) October 24, 1955 (age 69)
Paris, France
NationalityFrench; naturalized American
Area(s)Publisher, editor, designer, artist, colorist
Notable works
Raw magazine
The New Yorker
Little Lit
Toon Books
AwardsLa Belle Dame Sans Merci, Chevalier des Arts et Lettres, Chevalier de la Legion d'Honneur
Spouse(s)Art Spiegelman
http://toon-books.com

Françoise Mouly (born October 24,[citation needed] 1955) is a Paris-born French artist and designer known for her work with Raw, a publication for comic art, and as art editor of The New Yorker, a position she has held since 1993. In April 2008, comics critic Jeet Heer wrote on his blog, Sans Everything: "Is there anyone in the cartooning world who is more underrated than Françoise Mouly?" and went on to give an extensive list of Mouly's achievements.[1] She is currently the publisher and editorial director of Toon Books, an imprint of Candlewick Press. Her book, Blown Covers, was published by Abrams in April 2012, and she curated Postcards from the New Yorker: A Hundred Postcards from Ten Decades, which was released by Penguin in May 2012. She is the editor of Houghton Mifflin Harcourt's 2012 Best American Comics, released in October 2012. In 2001, Mouly was named Chevalier in the Order of Arts and Letters by the French Ministry of Culture and Communication, and in 2011, she was awarded France's highest honor: the Légion d'honneur.

Biography

Early life

Mouly grew up in the 17th arrondissement (in pink) of Paris, France.

Mouly was born in 1955 in Paris, France, the second of three daughters[a] to Josée Mouly Giron and Roger Mouly. She grew up in the well-to-do 17th arrondissement of Paris.[3] Her father was a plastic surgeon[2] who in 1951 developed with Charles Dufourmentel the Dufourmentel-Mouly method of breast reduction.[4] The French government made him a Knight of the Legion of Honour.[2]

From a young age Mouly had a love of reading, including novels, illustrated fairytale collections, comics magazines such as Pilote, and comics albums such as Tintin.[5] She excelled as a student, and her parents planned to have her study medicine and follow her father into plastic surgery. She spent vacation time assisting and observing her father at work.[6] She was troubled with the ethics of plasitic surgery, though, which she said, "exploits insecurity to such a high degree".[7]

At thirteen, Mouly witnessed the May 1968 events in France. The events led to Mouly's mother and sisters fleeing Paris. Her father stayed to be available to his patients, and Mouly stayed as his assistant. She developed sympathies with the anarchists, and read the weekly radical Hara-Kiri Hebdo.[3] She brought her radical leftist politics with her when her parents sent her in 1970 to the Lycée Jeanne D'Arc in central France, where, she says, she was expelled "twenty-four or twenty-five times because [she] was trying to drag everyone to demonstrations".[8]

Mouly's father was disappointed when, upon Mouly's return to Paris, she chose to forego medicine to study architecture at the École nationale supérieure des Beaux-Arts. She lived with a boyfriend in the Latin Quarter and traveled widely in Europe, as well as a two-and-a-half-month van trip with friends in 1972 that reached Afghanistan, and a solo trip to Algeria in 1974 to study the vernacular architecture, during which she was robbed of her passport and money.[9]

Mouly grew disenchanted with the lack of creative freedom a career in architecture would present her. Her family life had grown stressful, and her parents divorced in 1974. The same year, she broke off her studies and cleaned in a hotel to save money towards traveling to New York.[9]

Move to New York

With no concrete plans, Mouly arrived in New York September 2, 1974, with $200 in her pocket, in the midst of a severe economic downturn. She familiarized herself into the New York avant-garde art and film worlds, and had a part in Richard Foreman's 1975 play Pandering to the Masses.[10] She settled into a loft in SoHo in 1975,[11] and did odd jobs including selling cigarettes and magazines in Grand Central Station and assembling models for a Japanese architectural company, while struggling to improve her English.[12]

While looking for comics on which to practice reading English, she came across Arcade, an underground comix magazine from San Francisco copublished by New Yorker Art Spiegelman. 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 permanently back to New York later in the year; occasionally the two ran across each other. After reading Spiegelman's 1973 strip "Prisoner on the Hell Planet", about his mother's suicide, Mouly felt the urge to contact him. An hour-eight phone call led to deepening of their relationship Spiegelman followed her to France when she had to return to fulfill obligations in her architecture course.[13] After returning to the US, when Mouly ran into visa problems in 1977, the couple solved them by getting married—at first at City Hall, and then again after Mouly converted to Judaism to please Spiegelman's father.[14] Beginning in 1978 Mouly and Spiegelman made yearly trips to Europe to explore the comics scene, and brought back European comics to show to their circle of friends.[15]

Mouly became immersed in Spiegelman's personal theories of comics, and helped him prepare the lecture "Language of the Comics" delivered at the Collective for Living Cinema.[16] She assisted in the putting together the lavish collection of Spiegelman's experimental strips Breakdowns. The printer botched the printing of the book—30% of the print run was unusuable. The remaining copies had poor distribution and sales. The experience motivated Mouly to gain control over the printing process, and to find a way to get such marginal material to sympathetic readers.[17] She took courses in offset printing in Bedford–Stuyvesant, Brooklyn, and bought an Addressograph-Multigraph Multilith printing press for her loft.[18]

Raw Books

In 1978, she founded Raw Books and Graphics, a name settled on in part because of its small-operation feel, and part because it was reminiscent of Mad magazine. Mouly worked from an aesthetic inspired in part by the Russian Constructivists, who brought a design sense to everyday objects.[19] Raw began by publishing postcards and prints by artists such as underground cartoonist Bill Griffith and Dutch cartoonist Joost Swarte.[20] More ambitious projects included art objects such as the Zippy-Scope, a cardboard device with with to watch a comic strip rolled up on a film spool, featuring Griffth's character Zippy the Pinhead.[21] Some projects were more commercial, such as the annual Streets of SoHo Map and Guide, whose advertising revenue financed much of Raw.[22]

Having in this way honed her publishing skills, Mouly's ambition turned to magazine publication. Spieelman was at first reluctant, jaded from his experience at Arcade, but agreed on New Year's Eve 1979 to coedit. The magazine was to provide an outlet for the kinds of comics that had difficulty finding a publisher in the US, in particular younger cartoonists who fit netiher the superhero nor the underground mold, and European cartoonists who did not fit the sex-and-sci-fi appetites of [[Heavy Metal (magazine)|] fans.[23]

The lavishly-printed, 10+1⁄2 14+1/8[convert: unit invalid here] first issue of Raw appeared in July 1980. It had a $3.50 cover price, several times more expensive than the going prices for comics, either mainstream or underground.[24]

In July 1980, Mouly launched Raw, a large-format, luxuriously printed magazine of comics, graphics, and illustrated texts that she designed and co-edited with Spiegelman. Starting with the second Raw in December 1980, each issue of the magazine included a chapter of Maus, which Spiegelman had just started. Raw gathered together the work of American artists who had few other venues to publish (Charles Burns, Gary Panter, Sue Coe, Jerry Moriarty, Mark Beyer, Ben Katchor, Chris Ware, etc.), students of Spiegelman's at the School of Visual Arts (Drew Friedman, Mark Newgarden, Kaz, Jay Pulga), and European artists contacted by Mouly and Spiegelman on their trips to Europe (Javier Mariscal, Joost Swarte, Ever Meulen, Jacques Tardi, Jacques de Loustal, Lorenzo Mattotti, etc.) For the next eleven years, Mouly run the publishing house with a yearly Soho Map as the financial foundation for the business. She operated out of the Soho loft until 1987, when, pregnant with her first child, she moved the Raw offices to a ground-floor space. On top of the yearly issue of Raw, Mouly published a series of artists' books, labeled Raw One-Shots, with work by Moriarty, Beyer, Panter, Coe and others.

The New Yorker

In February 1993, Tina Brown, a new editor who had just been brought in to revitalize The New Yorker, published a cover by Spiegelman of a Hasidic Jew kissing a black woman, an overt reference to the civil strife in the Crown Heights neighborhood of Brooklyn. There was an outpouring of protests about the breach of composure for the stately Eustace Tilley.[25] On the strength of what she had seen at the Raw offices and the buzz surrounding the cover, Brown brought Mouly to The New Yorker as the magazine's art editor.

Mouly brought many of the Raw artists to The New Yorker (Charles Burns, R. Crumb, Chris Ware, Lorenzo Mattotti, Marisca], Joost Swarte, Ever Meulen, David Mazzucchelli, Richard McGuire, Jacques Loustal, Drew Friedman, Sue Coe, Ben Katchor and more) as well as developed and promoted new artists for the magazine (Barry Blitt, Ian Falconer, Bruce McCall, Harry Bliss, Ana Juan, Peter deSeve, Carter Goodrich, Bob Staake, Maira Kalman, Anita Kunz and more). She welcomed the newer generation of 'independent' cartoonists (Adrian Tomine, Dan Clowes, Ivan Brunetti, David Heatley, Seth and others) as well as renewed the magazine's commitment to two great New Yorker artists who had become somewhat disengaged, Saul Steinberg and Jean-Jacques Sempé. She also included a few select artists from the fine art world such as Komar and Melamid, Wayne Thiebaud, William Wegman and Kara Walker.

Mouly is responsible for all of The New Yorker's most memorable recent covers: the September 11, 2001 black on black cover she created with Art Spiegelman, the "New Yorkistan" image by Maira Kalman and Rick Meyerovitz, the "terrorist fist bump" cover by Barry Blitt in July 2008, the 'O" election cover by Bob Staake, the first New Yorker cover drawn on an iPhone, by Jorge Colombo, and, for the 85th anniversary of The New Yorker in February 2010, a 4-part cover by Chris Ware, Adrian Tomine, Dan Clowes and Ivan Brunetti with a fictional meta-narrative about the creation of Eustace Tilley by Rea Irvin.

Responsible for over 950 covers over her tenure at The New Yorker, Ms. Mouly has in addition lectured on and written extensively about New Yorker covers. In 2000, she published "Covering The New Yorker: Cutting-Edge Covers from a Literary Institution," to commemorate the magazine's 75th anniversary. In 2005, she curated an exhibit of New Yorker covers for the Norman Rockwell Museum in Stockbridge, Massachusetts. In the fall of 2007, she co-curated with Dodie Kazenjian an exhibit of paintings and drawings on the theme of Hansel and Gretel at Gallery Met in Lincoln Center. The American Society of Magazine Editors (ASME) chose two of Ms. Mouly’s covers as among the “top 40 most highly recognized, memorable, influential, compelling and iconic magazine covers of the past forty years,“ and for the first three years of the ASME award, Ms. Mouly’s work received the honor of being ASME’s “best cover of the year” or "best news cover."

Blown Covers

In April 2012, Abrams released Mouly's newest collection, Blown Covers: New Yorker Covers You Were Never Meant to See,[26] documenting the creative process behind The New Yorker's cover selection process. The Tumblr developed and curated by daughter Nadja Spiegelman for the book has brought together a community of artists who, weekly or monthly, propose mock New Yorker covers on changing themes.

Little Lit

In 1998, Mouly founded the Raw Junior division, which published Little Lit, anthologies of comics for children, under a joint imprint with Joanna Cotler books. The first three volumes were large-size hardcover anthologies, gathering the work of 15 to 20 contributors in each book, such as Maurice Sendak, Jules Feiffer, William Joyce, Lemony Snicket, Neil Gaiman, Gahan Wilson, Martin Hanford, Kaz, Barbara McClintock and more. The LITTLE LIT books have been New York Times bestseller. In 2006, Mouly put together for Penguin Big Fat Little Lit, a smaller paperback gathering of most of the contents of the previous books under a new cover by Spiegelman.[27] In 2009, Mouly put together with Spiegelman, a "TOON Treasury of Classic Children's Comics", an extensively curated hardcover anthology of the best classic American children's comics.

Toon Books

Main article: Toon Books

In April 2008, she launched Toon Books, now an imprint of Candlewick Press, a collection of hardcover comics for emerging readers with titles by Spiegelman, Geoffrey Hayes, Jay Lynch, Dean Haspiel and Eleanor Davis. Toon Books promotes itself as "the first high-quality comics designed for children ages four and up."[28]

Personal life

Mouly appears in the 1988 documentary film Comic Book Confidential. She has received numerous awards from the Society of Illustrators and other art organisations. In 2001, she was made a Chevalier des Arts et Lettres by the French Minister of Culture. In 2011, she received France's highest award, and was named Chevalier de la Légion d'honneur by Alan Juppé, Minister of Foreign Affairs. She lives in downtown Manhattan with her husband Art Spiegelman, with whom she has two children, Nadja and Dashiell. Their older child, Nadja Spiegelman, is the author of Zig and Wikki in Something Ate My Homework, which was published by Toon Books in 2010.

Mouly is a convert to Judaism.[29]

Bibliography

Works edited and published by Mouly.

Raw

Main article: Raw (magazine)

Volume 1

  • #1 (July 1980) - "The Graphix Magazine of Postponed Suicides"
  • #2 (December 1980) - "The Graphix Magazine for Damned Intellectuals"
  • #3 (July 1981) - "The Graphix Magazine That Lost Its Faith in Nihilism"
  • #4 (March 1982) - "The Graphix Magazine for Your Bomb Shelter's Coffee Table"
  • #5 (March 1983) - "The Graphix Magazine of Abstract Depressionism"
  • #6 (May 1984) - "The Graphix Magazine That Overestimates the Taste of the American Public"
  • #7 (May 1985) - "The Torn-Again Graphix Magazine"
  • #8 (September 1986) - "The Graphic Aspirin for War Fever"

Volume 2

  • #1 (1989) - "Open Wounds from the Cutting Edge of Commix"
  • #2 (1990) - "Required Reading for the Post-Literate"
  • #3 (1991) - "High Culture for Lowbrows"

Raw one-shots and Raw Books

Raw Junior Books/Little Lit

  • Little Lit: Folklore & Fairy Tale Funnies, 2000
  • Little Lit: Strange Stories for Strange Kids, 2001
  • Little Lit: It Was a Dark and Silly Night, 2003
  • Big Fat Little Lit, 2006

Toon Books

Since the series launched in 2008, 17 titles have been published, each of which received glowing reviews and multiple awards, prizes, and distinctions.[30]

see Toon Books for more information

Mouly brought many of the Raw artists to The New Yorker (Charles Burns, R. Crumb, Chris Ware, Lorenzo Mattotti, Marisca], Joost Swarte, Ever Meulen, David Mazzucchelli, Richard McGuire, Jacques Loustal, Drew Friedman, Sue Coe, Ben Katchor and more) as well as developed and promoted new artists for the magazine (Barry Blitt, Ian Falconer, Bruce McCall, Harry Bliss, Ana Juan, Peter deSeve, Carter Goodrich, Bob Staake, Maira Kalman, Anita Kunz and more). She welcomed the newer generation of 'independent' cartoonists (Adrian Tomine, Dan Clowes, Ivan Brunetti, David Heatley, Seth and others) as well as renewed the magazine's commitment to two great New Yorker artists who had become somewhat disengaged, Saul Steinberg and Jean-Jacques Sempé. She also included a few select artists from the fine art world such as Komar and Melamid, Wayne Thiebaud, William Wegman and Kara Walker.

Mouly is responsible for all of The New Yorker's most memorable recent covers: the September 11, 2001 black on black cover she created with Art Spiegelman, the "New Yorkistan" image by Maira Kalman and Rick Meyerovitz, the "terrorist fist bump" cover by Barry Blitt in July 2008, the 'O" election cover by Bob Staake, the first New Yorker cover drawn on an iPhone, by Jorge Colombo, and, for the 85th anniversary of The New Yorker in February 2010, a 4-part cover by Chris Ware, Adrian Tomine, Dan Clowes and Ivan Brunetti with a fictional meta-narrative about the creation of Eustace Tilley by Rea Irvin.

Responsible for over 950 covers over her tenure at The New Yorker, Ms. Mouly has in addition lectured on and written extensively about New Yorker covers. In 2000, she published "Covering The New Yorker: Cutting-Edge Covers from a Literary Institution," to commemorate the magazine's 75th anniversary. In 2005, she curated an exhibit of New Yorker covers for the Norman Rockwell Museum in Stockbridge, Massachusetts. In the fall of 2007, she co-curated with Dodie Kazenjian an exhibit of paintings and drawings on the theme of Hansel and Gretel at Gallery Met in Lincoln Center. The American Society of Magazine Editors (ASME) chose two of Ms. Mouly’s covers as among the “top 40 most highly recognized, memorable, influential, compelling and iconic magazine covers of the past forty years,“ and for the first three years of the ASME award, Ms. Mouly’s work received the honor of being ASME’s “best cover of the year” or "best news cover."

Blown Covers

In April 2012, Abrams released Mouly's newest collection, Blown Covers: New Yorker Covers You Were Never Meant to See,[31] documenting the creative process behind The New Yorker's cover selection process. The Tumblr developed and curated by daughter Nadja Spiegelman for the book has brought together a community of artists who, weekly or monthly, propose mock New Yorker covers on changing themes.

Little Lit

In 1998, Mouly founded the Raw Junior division, which published Little Lit, anthologies of comics for children, under a joint imprint with Joanna Cotler books. The first three volumes were large-size hardcover anthologies, gathering the work of 15 to 20 contributors in each book, such as Maurice Sendak, Jules Feiffer, William Joyce, Lemony Snicket, Neil Gaiman, Gahan Wilson, Martin Hanford, Kaz, Barbara McClintock and more. The LITTLE LIT books have been New York Times bestseller. In 2006, Mouly put together for Penguin Big Fat Little Lit, a smaller paperback gathering of most of the contents of the previous books under a new cover by Spiegelman.[32] In 2009, Mouly put together with Spiegelman, a "TOON Treasury of Classic Children's Comics", an extensively curated hardcover anthology of the best classic American children's comics.

Toon Books

Main article: Toon Books

In April 2008, she launched Toon Books, now an imprint of Candlewick Press, a collection of hardcover comics for emerging readers with titles by Spiegelman, Geoffrey Hayes, Jay Lynch, Dean Haspiel and Eleanor Davis. Toon Books promotes itself as "the first high-quality comics designed for children ages four and up."[33]

Personal life

Mouly appears in the 1988 documentary film Comic Book Confidential. She has received numerous awards from the Society of Illustrators and other art organisations. In 2001, she was made a Chevalier des Arts et Lettres by the French Minister of Culture. In 2011, she received France's highest award, and was named Chevalier de la Légion d'honneur by Alan Juppé, Minister of Foreign Affairs. She lives in downtown Manhattan with her husband Art Spiegelman, with whom she has two children, Nadja and Dashiell. Their older child, Nadja Spiegelman, is the author of Zig and Wikki in Something Ate My Homework, which was published by Toon Books in 2010.

Mouly is a convert to Judaism.[34]

Bibliography

Works edited and published by Mouly.

Raw

Main article: Raw (magazine)

Volume 1

  • #1 (July 1980) - "The Graphix Magazine of Postponed Suicides"
  • #2 (December 1980) - "The Graphix Magazine for Damned Intellectuals"
  • #3 (July 1981) - "The Graphix Magazine That Lost Its Faith in Nihilism"
  • #4 (March 1982) - "The Graphix Magazine for Your Bomb Shelter's Coffee Table"
  • #5 (March 1983) - "The Graphix Magazine of Abstract Depressionism"
  • #6 (May 1984) - "The Graphix Magazine That Overestimates the Taste of the American Public"
  • #7 (May 1985) - "The Torn-Again Graphix Magazine"
  • #8 (September 1986) - "The Graphic Aspirin for War Fever"

Volume 2

  • #1 (1989) - "Open Wounds from the Cutting Edge of Commix"
  • #2 (1990) - "Required Reading for the Post-Literate"
  • #3 (1991) - "High Culture for Lowbrows"

Raw one-shots and Raw Books

Raw Junior Books/Little Lit

  • Little Lit: Folklore & Fairy Tale Funnies, 2000
  • Little Lit: Strange Stories for Strange Kids, 2001
  • Little Lit: It Was a Dark and Silly Night, 2003
  • Big Fat Little Lit, 2006

Toon Books

Since the series launched in 2008, 17 titles have been published, each of which received glowing reviews and multiple awards, prizes, and distinctions.[35]

see Toon Books for more information

  • Covering The New Yorker, Abbeville Press, 2000
  • Blown Covers, Abrams, 2012

Notes

  1. ^ Mouly's sisters were Laurence, a year her senior, and Marie-Pierre, six years her junior.[2]

References

  1. ^ Heer, Jeet. "Françoise Mouly: Underappreciated and Essential. Is there anyone in the cartooning world who is more underrated than Françoise Mouly?" Sans Everything (April 6, 2008).. Retrieved Nov 23, 2008.
  2. ^ a b c Heer 2013, p. 15.
  3. ^ a b Heer 2013, p. 20.
  4. ^ Santoni-Rugiu & Sykes 2007, p. 339.
  5. ^ Heer 2013, pp. 16–17.
  6. ^ Heer 2013, pp. 17–18.
  7. ^ Heer 2013, pp. 18, 20.
  8. ^ Heer 2013, pp. 20–21.
  9. ^ a b Heer 2013, pp. 21–23.
  10. ^ Heer 2013, pp. 25–26.
  11. ^ Heer 2013, p. 26.
  12. ^ Heer 2013, p. 27.
  13. ^ Heer 2013, pp. 28–30.
  14. ^ Heer 2013, p. 41.
  15. ^ Heer 2013, pp. 47–48.
  16. ^ Heer 2013, pp. 43–44.
  17. ^ Heer 2013, pp. 45–47.
  18. ^ Heer 2013, p. 49.
  19. ^ Heer 2013, p. 50.
  20. ^ Heer 2013, p. 48.
  21. ^ Heer 2013, pp. 51–52.
  22. ^ Heer 2013, pp. 52–53.
  23. ^ Heer 2013, pp. 53–54.
  24. ^ Heer 2013, p. 55.
  25. ^ Shapiro, Edward S. (2006). Crown Heights: Blacks, Jews, and the 1991 Brooklyn Riot. UPNE. p. 211.
  26. ^ "Blown Covers". Abramsbooks.com. April 30, 2012. Retrieved December 14, 2012.
  27. ^ "Christian Hill interview with Mouly in Indyworld about Little Lit". Indyworld.com. Retrieved December 14, 2012.
  28. ^ About Toon Books, ToonBooks.com.. Retrieved Nov 23, 2008.
  29. ^ "Salem Press". Salem Press. Retrieved December 14, 2012.
  30. ^ "Honors and Awards". Toon-books.com. Retrieved December 14, 2012.
  31. ^ "Blown Covers". Abramsbooks.com. April 30, 2012. Retrieved December 14, 2012.
  32. ^ "Christian Hill interview with Mouly in Indyworld about Little Lit". Indyworld.com. Retrieved December 14, 2012.
  33. ^ About Toon Books, ToonBooks.com.. Retrieved Nov 23, 2008.
  34. ^ "Salem Press". Salem Press. Retrieved December 14, 2012.
  35. ^ "Honors and Awards". Toon-books.com. Retrieved December 14, 2012.

Works cited

Template:Persondata

Retrieved from "https://en.wikipedia.org/w/index.php?title=Françoise_Mouly&oldid=575912223"