ABOUT THE SPEAKER
Françoise Mouly - Art editor
Françoise Mouly is The New Yorker's longtime art editor.

Why you should listen

Françoise Mouly joined The New Yorker as art editor in April 1993. She has been responsible for more than 1,000 covers over her tenure at The New Yorker, many of which were chosen by The American Society of Magazine Editors as "best cover of the year."

Mouly is the publisher and editorial director of TOON Books, an imprint of comics and visual narratives for young readers. In 2017, Mouly began publishing RESIST!, a giveaway newspaper of comics and graphics, coedited with her daughter, writer Nadja Spiegelman.

Since 1980, Mouly has founded and co-edited (with collaborator and husband Art Spiegelman) the groundbreaking comics anthology RAW; the New York Times-bestselling Little Lit series; and the TOON Treasury of Classic Children's Comics. Born in Paris, Mouly studied architecture at the Beaux Arts before she moving to New York. Among her many awards, she has received France's highest honor, the Legion of Honneur and, in 2015, the Smithsonian Ingenuity Award for her work in education.

(Photo: Sarah Shatz)

More profile about the speaker
Françoise Mouly | Speaker | TED.com
TEDNYC

Françoise Mouly: The stories behind The New Yorker's iconic covers

Fransoa Muli (Françoise Mouly): Priče iza "Njujorkerovih" naslovnih strana

Filmed:
1,251,020 views

Upoznajte Fransoa Muli, "Njujorkerovu" umetničku direktorku. U protekle 24 godine je pomagala u odlučivanju šta će da se pojavi na čuvenoj naslovnoj strani časopisa, od crno-crnog prikaza Kula bliznakinja u nedelji nakon 11. 9. do skorašnje obrade, inspirisane Rusijom, maskote kicoša Justasa Tilija. U ovoj vizuelnoj retrospektivi, Muli razmatra to kako jednostavan crtež može da napravi presek bujice prizora koje svakodnevno gledamo i da elegantno uhvati osećanje (i senzibilitet) jednog trenutka u vremenu.
- Art editor
Françoise Mouly is The New Yorker's longtime art editor. Full bio

Double-click the English transcript below to play the video.

00:12
So 24 yearsгодине agoпре,
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Dakle, pre 24 godine,
00:14
I was broughtдоведен to The NewNovi YorkerYorker
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"Njujorker" me je zaposlio
00:16
as artуметност editorуредник
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kao umetničku direktorku
00:18
to rejuvenateпомлади
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da bih podmladila
00:22
what had by then becomeпостати
a somewhatдонекле staidostali institutioninstitucija
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nešto što je do tad postalo
unekoliko uštogljena institucija
00:27
and to bringдовести in newново artistsуметници
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i kako bih dovela umetnike
00:29
and to try to bringдовести the magazineмагазин
from its ivoryslonovačom towerторањ
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i pokušala da spustim časopis
s njegovog visokog postolja
00:33
into engagingангажовање with its time.
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da bi se bavio svojim vremenom.
00:36
And it was just
the right thing for me to do
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I to je bio pravi posao za mene
00:39
because I've always been captivatedzaneseno
by how an imageслика can --
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jer sam oduvek bila opčinjena
time koliko slika može -
00:44
a simpleједноставно drawingцртеж --
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jednostavan crtež -
00:45
can cutрез throughкроз the torrentbujice of imagesслике
that we see everyсваки singleједно day.
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može da napravi presek bujice prizora
koje svakodnevno gledamo.
00:50
How it can captureхватање a momentтренутак,
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Kako može da uhvati trenutak,
00:53
how it can crystallizeкристализовати
a socialсоцијално trendтренд or a complexкомплекс eventдогађај
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kako može da kristališe
društveni trend ili složen događaj
00:58
in a way that a lot of wordsречи
wouldn'tне би be ableу могуцности to do --
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kako mnogo reči ne bi moglo -
01:03
and reduceсмањити it to its essenceДуша
and turnред it into a cartoonцртани филм.
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i da ga svede na njegovu suštinu
i pretvori u karikaturu.
01:07
So I wentотишао to the libraryбиблиотека
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Pa sam otišla u biblioteku
01:09
and I lookedпогледао at the first coverпоклопац
drawnнацртан by ReaRea IrvinIrvin in 1925 --
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i videla sam prvu naslovnu stranu
koju je nacrtao Ri Irvin 1925 -
01:15
a dandyданди looking at a butterflyлептир
throughкроз his monoclemonokl,
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kicoša koji posmatra leptira
kroz svoj monokl,
01:20
and we call it EustaceEustace TilleyTili.
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a nazivamo ga Justasom Tilijem.
01:24
And I realizedреализован that
as the magazineмагазин had becomeпостати knownпознат
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Shvatila sam
da kako je časopis postajao čuven
01:28
for its in-depthdetaljnije researchистраживање
and long reportsизвештаји,
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po svom opsežnom istraživanju
i dugim reportažama,
01:33
some of the humorхумор
had gottenготтен lostизгубљено alongзаједно the way,
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usput je izgubio nešto svog humora
01:36
because now oftenчесто EustaceEustace TilleyTili
was seenвиђено as a haughtyohol dandyданди,
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jer je Justas Tili sve češće viđen
kao nadmeni kicoš,
01:41
but in factчињеница, in 1925,
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ali zapravo, godine 1925,
01:44
when ReaRea IrvinIrvin first drewдрев this imageслика,
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kada je Ri Irvin prvi put
nacrtao ovu sliku,
01:48
he did it as partдео of a humorхумор magazineмагазин
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namenio ju je bio
humorističnom odeljku časopisa
01:50
to amusezabavljam the youthмлади of the eraера,
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kako bi zabavio mlade iz tog doba,
01:53
whichкоја was the flapperszveketala
of the roaringgrmeжi twentiesdvadesetih godina.
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a to su bile šiparice iz burnih '20-ih.
01:57
And in the libraryбиблиотека,
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A u biblioteci,
01:58
I foundнашао the imagesслике
that really capturedзаробљен the zeitgeistзеитгеист
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pronašla sam slike
koje su zaista hvatale duh vremena
02:03
of the Great DepressionDepresija.
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Velike depresije.
02:05
And it showedпоказао us
not just how people dressedобучен
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A to nam je pokazivalo,
ne samo kako su se ljudi odevali
02:10
or what theirњихова carsаутомобили lookedпогледао like,
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ili kako su im izgledala auta,
02:11
but alsoтакође what madeмаде them laughсмех,
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već i šta ih je zasmejavalo,
02:15
what theirњихова prejudicespredrasude were.
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koje su im bile predrasude.
02:17
And you really got a senseсмисао
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I zaista ste imali utisak
02:19
of what it feltосетио like
to be aliveжив in the '30s.
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kakav je bio osećaj živeti '30-ih.
02:23
So I calledпозвани on contemporaryсавремени artistsуметници,
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Pa sam sazvala savremene umetnike,
02:27
suchтаква as AdrianAdrian TomineTomine here.
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poput prisutnog Adrijana Tomina.
02:29
I oftenчесто call on narrativeнаратив artistsуметници --
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Često pozivam pripovedače -
02:32
cartoonistscartoonists, children'sдеца bookкњига authorsаутори --
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karikaturiste, pisce dečjih knjiga -
02:35
and I give them themesТеме suchтаква as,
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i zadajem im teme, poput,
02:38
you know, what it's like
to be in the subwayМетро,
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znate, kakav je osećaj biti u podzemnoj
02:41
or Valentine'sZa dan zaljubljenih Day,
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ili Dan zaljubljenih
02:43
and they sendпошаљи me sketchesскице.
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i oni mi šalju skice.
02:44
And onceједном the sketchesскице
are approvedодобрена by the editorуредник,
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I čim urednik odobri skice,
02:48
DavidDavid RemnickRemnick,
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urednik je Dejvid Remnik,
02:51
it's a go.
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to je to.
02:53
And I love the way
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I sviđa mi se način
02:55
those imagesслике are actuallyзаправо
not tellingговорећи you what to think.
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na koji vam ti prizori
zapravo ne govore šta da mislite.
03:00
But they do make you think,
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Ali vas teraju na razmišljanje
03:02
because the artistуметник is actuallyзаправо --
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jer je umetnik zapravo -
03:07
it's almostскоро a puzzleпуззле;
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to skoro da je zagonetka;
03:09
the artistуметник is drawingцртеж the dotstačke,
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umetnik crta tačkice,
03:10
and you, the readerчитач,
have to completeкомплетан the pictureслика.
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a vi, čitaoci, morate da dovršite sliku.
03:14
So to get this imageслика
on the left by AnitaAnita KunzKunc,
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Kako biste shvatili
ovaj prizor sleva od Anite Kunc
03:17
or the one on right by TomerTomer HanukaHanuka,
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ili ovaj zdesna od Tomera Hanuka,
03:20
you have to playигра spotместо the differencesРазлике.
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morate da se igrate zapažanja razlika.
03:24
And it is something that ...
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A to je nešto što je...
03:27
It's really excitingузбудљиво to see
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Zaista je uzbudljivo videti
03:31
how the engagementангажовање with the readerчитач ...
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kako komunikacija sa čitaocem...
03:37
how those imagesслике really captureхватање --
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kako ti prizori zaista hvataju -
03:42
playигра with the stereotypesстереотипи.
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poigravaju se sa stereotipima.
03:44
But when you get it,
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Ali kad ih shvatite,
03:45
it rearrangespreuređuje the stereotypesстереотипи
that are in your headглава.
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onda vam to preuredi stereotipe
koji postoje u vašoj glavi.
03:49
But the imagesслике don't
just have to showсхов people,
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Ali nisu samo prizori
ti koji moraju da pružaju uvid ljudima,
03:52
sometimesпонекад it can be a feelingОсећај.
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ponekad može da se radi o osećaju.
03:55
Right after SeptemberSeptembra 11,
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Odmah nakon 11. septembra,
03:58
I was at a pointтачка,
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bila sam u tački,
04:00
like everybodyсвима elseдруго,
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kao i svi drugi,
04:02
where I really didn't know how to dealдоговор
with what we were going throughкроз,
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gde zaista nisam znala kako da se izborim
s onim kroz šta smo prolazili
04:07
and I feltосетио that no imageслика
could captureхватање this momentтренутак,
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i osećala sam da nijedan prizor
ne može da uhvati taj trenutak,
04:12
and I wanted to just do a blackцрн coverпоклопац,
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te sam želela da uradimo
prosto crnu naslovnicu,
04:15
like no coverпоклопац.
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kao da nema naslovne strane.
04:16
And I talkedпричао to my husbandмуж,
cartoonistkarikaturista ArtArt SpiegelmanSpiglman,
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I razgovarala sam sa mužem,
karikaturistom Artom Spigelmanom,
04:20
and mentionedпоменуто to him
that I was going to proposeпредложити that,
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i pomenula sam mu da ću to da predložim,
a on mi je rekao: "Oh, ako ćeš
da uradiš crnu naslovnicu,
04:24
and he said, "Oh, if you're
going to do a blackцрн coverпоклопац,
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04:27
then why don't you do
the silhouettesilueta of the TwinBlizanac TowersKule,
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zašto onda ne bi išla
sa siluetom Kula bliznakinja,
04:31
blackцрн on blackцрн?"
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crno na crno?"
04:32
And I satсат down to drawнацртати this,
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I sela sam da to nacrtam,
04:34
and as soonускоро as I saw it,
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i čim sam to ugledala,
04:36
a shiverdrhtavica ranтрчао down my spineкичма
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trnci su mi prošli kičmom
04:38
and I realizedреализован
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i shvatila sam
04:40
that in this refusalodbijanje to make an imageслика,
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da u ovom odbijanju da nacrtam prizor,
04:44
we had foundнашао a way to captureхватање lossгубитак
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pronašli smo način da uhvatimo gubitak
04:49
and mourningžalosti
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i tugu
04:50
and absenceодсуство.
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i odsutnost.
04:53
And it's been a profoundдубок thing
that I learnedнаучио in the processпроцес --
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I tokom ovoga sam naučila
nešto istinski duboko -
04:58
that sometimesпонекад some of the imagesслике
that say the mostнајвише
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da ponekad neki prizori
koji najviše govore
05:04
do it with the mostнајвише spareрезервни meansзначи.
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rade to s najmanje sredstava.
05:07
And a simpleједноставно imageслика can speakговорити volumesволумес.
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A prost prizor može mnogo toga da kaže.
05:11
So this is the imageслика
that we publishedобјављен by BobBob StaakeStaake
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Dakle, ovo je prizor
od Boba Staka koji smo objavili
05:14
right after the electionизбор of BarackBarak ObamaObama,
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odmah nakon izbora Baraka Obame,
05:20
and capturedзаробљен a historicисторијски momentтренутак.
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i uhvatio je istorijski momenat.
05:23
But we can't really planплан for this,
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Ali ne možemo da planiramo
05:25
because in orderнаручи to do this,
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jer kako bismo to postigli,
05:26
we have to let the artistуметник
experienceискуство the emotionsемоције that we all feel
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moramo da dozvolimo umetniku
da doživi emocije koje svi mi osećamo
05:33
when that is happeningдогађај.
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kada se to dešavalo.
05:35
So back in NovemberNovembra 2016,
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Dakle, u novembru 2016,
05:39
duringу току the electionизбор last yearгодине,
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tokom prošlogodišnjih izbora,
05:41
the only imageслика that we
could publishобјавити was this,
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jedini prizor koji smo mogli
da objavimo je bio ovaj,
05:45
whichкоја was on the standстој
on the weekНедеља that everybodyсвима votedгласао.
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koji se pojavio na štandovima
u nedelji kad su svi glasali.
05:49
(LaughterSmeh)
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(Smeh)
05:50
Because we knewзнала
somebodyнеко would feel this --
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Jer smo znali
da će se neko ovako osećati -
05:52
(LaughterSmeh)
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(Smeh)
05:54
when the resultрезултат of the electionизбор
was announcedнајавио.
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kada objave rezultate izbora.
05:58
And when we foundнашао out the resultрезултат,
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A kada smo saznali rezultate,
06:02
we really were at a lossгубитак,
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zaista smo bili zatečeni,
06:04
and this is the imageслика
that was sentпослат by BobBob StaakeStaake again,
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i ovo je prizor
koji je posalao Bob Stak, opet,
06:10
and that really hitхит a chordakord.
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i zaista je pogađao u centar.
06:14
And again,
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I opet,
06:15
we can't really figureфигура out
what's going to come nextследећи,
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zaista ne možemo da znamo
šta će sledeće da se desi,
no ovde smo se osećali
kao da ne znamo kako da idemo dalje,
06:22
but here it feltосетио like we didn't
know how to moveпотез forwardнапред,
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06:24
but we did moveпотез forwardнапред,
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ali smo išli dalje,
06:26
and this is the imageслика that we publishedобјављен
after DonaldDonald Trump'sTrump je electionизбор
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i ovo je prizor koji smo objavili
nakon izbora Donalda Trampa
06:32
and at the time of the Women'sŽenski MarchMarta
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i za vreme Marša žena
06:35
all over the US.
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širom SAD-a.
06:38
So over those 24 yearsгодине,
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Dakle, tokom ove 24 godine,
06:40
I have seenвиђено over 1,000 imagesслике
come to life weekНедеља after weekНедеља,
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videla sam preko 1000 prizora
kako oživljavaju iz nedelje u nedelju,
06:44
and I'm oftenчесто askedпитао
whichкоја one is my favoriteомиљени,
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i često me pitaju koji mi je omiljeni,
06:47
but I can't pickпицк one
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ali ne mogu da odaberem jedan
06:49
because what I'm mostнајвише proudпоносан of
is how differentразличит everyсваки imageслика is,
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jer sam najponosnija
na to koliko je svaki prizor različit
06:55
one from the other.
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od drugih.
06:56
And that's dueдуе to the talentталенат
and the diversityразноликост
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A to je zbog talenta i raznolikosti
06:59
of all of the artistsуметници that contributeдопринети.
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svih umetnika koji prave doprinos.
07:03
And now, well,
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I sad, pa,
07:05
now, we're ownedвласништво by RussiaRusija,
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sad smo pod Rusima,
07:07
so --
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pa -
07:08
(LaughterSmeh)
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(Smeh)
07:09
In a renderingрендеринг by BarryBarry BlittO, da here,
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U ovom prikazu Berija Blita
07:12
EustaceEustace has becomeпостати
EustaceEustace VladimirovichVladimiroviи TilleyTili.
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Justas je postao Justas Vladimirovič Tili.
07:17
And the butterflyлептир is noneниједан other
than a flabbergastednisi zapanjen DonaldDonald TrumpTramp
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A leptir nije niko drugi
do zapanjeni Donald Tramp,
07:22
flappingsklapanja his wingsкрила,
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koji maše svojim krilima,
07:24
tryingпокушавајући to figureфигура out
how to controlконтрола the butterflyлептир effectефекат,
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pokušavajući da shvati
kako da upravlja efektom leptira,
07:28
and the famedpoznati logoлого
that was drawnнацртан by RaeRae IrvinIrvin in 1925
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a čuveni logo
koji je nacrtao Ri Irvin 1925.
07:33
is now in CyrillicĆirilica.
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je sad na ćirilici.
07:35
So, what makesчини me really excitedузбуђени
about this momentтренутак
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Dakle, kod ovog trenutka mi je uzbudljiv
07:40
is the way that ...
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način na koji...
07:44
You know, freeбесплатно pressпритисните
is essentialесенцијално to our democracyдемократија.
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4736
Znate, slobodna štampa je od ključnog
značaja za našu demokratiju.
07:48
And we can see from
the sublimeсублимно to the ridiculousсмешно
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3656
A vidimo to od uzvišenog do smešnog,
07:52
that artistsуметници can captureхватање what is going on
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kako umetnici mogu da uhvate šta se dešava
07:56
in a way that an artistуметник
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2616
na način na koji umetnik
07:59
armednaoružani with just IndiaIndija inkмастило and watercolorvodene boje
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5136
naoružan samo mastilom i vodenim bojama,
08:04
can captureхватање and enterунесите
into the culturalкултурно dialogueдијалог.
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može da uhvati i uđe
u kulturološki dijalog.
08:10
It putsставља those artistsуметници
at the centerцентар of that cultureкултура,
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To stavlja date umetnike
u središte određene kulture,
08:15
and that's exactlyбаш тако
where I think they should be.
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a upravo to je mesto
gde ja mislim da trebaju da budu.
08:18
Because the mainглавни thing we need
right now is a good cartoonцртани филм.
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Jer nam je u ovom trenutku
najpotrebnija dobra karikatura.
08:22
Thank you.
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Hvala vam.
08:23
(ApplauseAplauz)
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(Aplauz)
Translated by Milenka Okuka
Reviewed by Mile Živković

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ABOUT THE SPEAKER
Françoise Mouly - Art editor
Françoise Mouly is The New Yorker's longtime art editor.

Why you should listen

Françoise Mouly joined The New Yorker as art editor in April 1993. She has been responsible for more than 1,000 covers over her tenure at The New Yorker, many of which were chosen by The American Society of Magazine Editors as "best cover of the year."

Mouly is the publisher and editorial director of TOON Books, an imprint of comics and visual narratives for young readers. In 2017, Mouly began publishing RESIST!, a giveaway newspaper of comics and graphics, coedited with her daughter, writer Nadja Spiegelman.

Since 1980, Mouly has founded and co-edited (with collaborator and husband Art Spiegelman) the groundbreaking comics anthology RAW; the New York Times-bestselling Little Lit series; and the TOON Treasury of Classic Children's Comics. Born in Paris, Mouly studied architecture at the Beaux Arts before she moving to New York. Among her many awards, she has received France's highest honor, the Legion of Honneur and, in 2015, the Smithsonian Ingenuity Award for her work in education.

(Photo: Sarah Shatz)

More profile about the speaker
Françoise Mouly | Speaker | TED.com