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Françoise Mouly: The stories behind The New Yorker's iconic covers
Fransoa Muli (Françoise Mouly): Priče iza "Njujorkerovih" naslovnih strana
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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.
Double-click the English transcript below to play the video.
00:12
So 24 years ago,
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Dakle, pre 24 godine,
00:14
I was brought to The New Yorker
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"Njujorker" me je zaposlio
00:16
as art editor
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kao umetničku direktorku
00:18
to rejuvenate
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da bih podmladila
00:22
what had by then become
a somewhat staid institution
a somewhat staid institution
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nešto što je do tad postalo
unekoliko uštogljena institucija
unekoliko uštogljena institucija
00:27
and to bring in new artists
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i kako bih dovela umetnike
00:29
and to try to bring the magazine
from its ivory tower
from its ivory tower
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i pokušala da spustim časopis
s njegovog visokog postolja
s njegovog visokog postolja
00:33
into engaging 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
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 captivated
by how an image can --
by how an image can --
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jer sam oduvek bila opčinjena
time koliko slika može -
time koliko slika može -
00:44
a simple drawing --
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jednostavan crtež -
00:45
can cut through the torrent of images
that we see every single day.
that we see every single day.
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može da napravi presek bujice prizora
koje svakodnevno gledamo.
koje svakodnevno gledamo.
00:50
How it can capture a moment,
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Kako može da uhvati trenutak,
00:53
how it can crystallize
a social trend or a complex event
a social trend or a complex event
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kako može da kristališe
društveni trend ili složen događaj
društveni trend ili složen događaj
00:58
in a way that a lot of words
wouldn't be able to do --
wouldn't be able to do --
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kako mnogo reči ne bi moglo -
01:03
and reduce it to its essence
and turn it into a cartoon.
and turn it into a cartoon.
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i da ga svede na njegovu suštinu
i pretvori u karikaturu.
i pretvori u karikaturu.
01:07
So I went to the library
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Pa sam otišla u biblioteku
01:09
and I looked at the first cover
drawn by Rea Irvin in 1925 --
drawn by Rea Irvin in 1925 --
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i videla sam prvu naslovnu stranu
koju je nacrtao Ri Irvin 1925 -
koju je nacrtao Ri Irvin 1925 -
01:15
a dandy looking at a butterfly
through his monocle,
through his monocle,
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kicoša koji posmatra leptira
kroz svoj monokl,
kroz svoj monokl,
01:20
and we call it Eustace Tilley.
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a nazivamo ga Justasom Tilijem.
01:24
And I realized that
as the magazine had become known
as the magazine had become known
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Shvatila sam
da kako je časopis postajao čuven
da kako je časopis postajao čuven
01:28
for its in-depth research
and long reports,
and long reports,
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po svom opsežnom istraživanju
i dugim reportažama,
i dugim reportažama,
01:33
some of the humor
had gotten lost along the way,
had gotten lost along the way,
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usput je izgubio nešto svog humora
01:36
because now often Eustace Tilley
was seen as a haughty dandy,
was seen as a haughty dandy,
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jer je Justas Tili sve češće viđen
kao nadmeni kicoš,
kao nadmeni kicoš,
01:41
but in fact, in 1925,
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ali zapravo, godine 1925,
01:44
when Rea Irvin first drew this image,
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kada je Ri Irvin prvi put
nacrtao ovu sliku,
nacrtao ovu sliku,
01:48
he did it as part of a humor magazine
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namenio ju je bio
humorističnom odeljku časopisa
humorističnom odeljku časopisa
01:50
to amuse the youth of the era,
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kako bi zabavio mlade iz tog doba,
01:53
which was the flappers
of the roaring twenties.
of the roaring twenties.
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a to su bile šiparice iz burnih '20-ih.
01:57
And in the library,
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A u biblioteci,
01:58
I found the images
that really captured the zeitgeist
that really captured the zeitgeist
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pronašla sam slike
koje su zaista hvatale duh vremena
koje su zaista hvatale duh vremena
02:03
of the Great Depression.
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Velike depresije.
02:05
And it showed us
not just how people dressed
not just how people dressed
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A to nam je pokazivalo,
ne samo kako su se ljudi odevali
ne samo kako su se ljudi odevali
02:10
or what their cars looked like,
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ili kako su im izgledala auta,
02:11
but also what made them laugh,
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već i šta ih je zasmejavalo,
02:15
what their prejudices were.
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koje su im bile predrasude.
02:17
And you really got a sense
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I zaista ste imali utisak
02:19
of what it felt like
to be alive in the '30s.
to be alive in the '30s.
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kakav je bio osećaj živeti '30-ih.
02:23
So I called on contemporary artists,
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Pa sam sazvala savremene umetnike,
02:27
such as Adrian Tomine here.
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poput prisutnog Adrijana Tomina.
02:29
I often call on narrative artists --
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Često pozivam pripovedače -
02:32
cartoonists, children's book authors --
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karikaturiste, pisce dečjih knjiga -
02:35
and I give them themes such as,
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i zadajem im teme, poput,
02:38
you know, what it's like
to be in the subway,
to be in the subway,
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znate, kakav je osećaj biti u podzemnoj
02:41
or Valentine's Day,
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ili Dan zaljubljenih
02:43
and they send me sketches.
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i oni mi šalju skice.
02:44
And once the sketches
are approved by the editor,
are approved by the editor,
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I čim urednik odobri skice,
02:48
David Remnick,
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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 images are actually
not telling you what to think.
not telling you what to think.
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na koji vam ti prizori
zapravo ne govore šta da mislite.
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 artist is actually --
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jer je umetnik zapravo -
03:07
it's almost a puzzle;
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to skoro da je zagonetka;
03:09
the artist is drawing the dots,
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umetnik crta tačkice,
03:10
and you, the reader,
have to complete the picture.
have to complete the picture.
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a vi, čitaoci, morate da dovršite sliku.
03:14
So to get this image
on the left by Anita Kunz,
on the left by Anita Kunz,
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Kako biste shvatili
ovaj prizor sleva od Anite Kunc
ovaj prizor sleva od Anite Kunc
03:17
or the one on right by Tomer Hanuka,
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ili ovaj zdesna od Tomera Hanuka,
03:20
you have to play spot the differences.
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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 exciting to see
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Zaista je uzbudljivo videti
03:31
how the engagement with the reader ...
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kako komunikacija sa čitaocem...
03:37
how those images really capture --
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kako ti prizori zaista hvataju -
03:42
play with the stereotypes.
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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 rearranges the stereotypes
that are in your head.
that are in your head.
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onda vam to preuredi stereotipe
koji postoje u vašoj glavi.
koji postoje u vašoj glavi.
03:49
But the images don't
just have to show people,
just have to show people,
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Ali nisu samo prizori
ti koji moraju da pružaju uvid ljudima,
ti koji moraju da pružaju uvid ljudima,
03:52
sometimes it can be a feeling.
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ponekad može da se radi o osećaju.
03:55
Right after September 11,
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Odmah nakon 11. septembra,
03:58
I was at a point,
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bila sam u tački,
04:00
like everybody else,
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kao i svi drugi,
04:02
where I really didn't know how to deal
with what we were going through,
with what we were going through,
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gde zaista nisam znala kako da se izborim
s onim kroz šta smo prolazili
s onim kroz šta smo prolazili
04:07
and I felt that no image
could capture this moment,
could capture this moment,
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i osećala sam da nijedan prizor
ne može da uhvati taj trenutak,
ne može da uhvati taj trenutak,
04:12
and I wanted to just do a black cover,
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te sam želela da uradimo
prosto crnu naslovnicu,
prosto crnu naslovnicu,
04:15
like no cover.
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kao da nema naslovne strane.
04:16
And I talked to my husband,
cartoonist Art Spiegelman,
cartoonist Art Spiegelman,
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I razgovarala sam sa mužem,
karikaturistom Artom Spigelmanom,
karikaturistom Artom Spigelmanom,
04:20
and mentioned to him
that I was going to propose that,
that I was going to propose 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,
da uradiš crnu naslovnicu,
04:24
and he said, "Oh, if you're
going to do a black cover,
going to do a black cover,
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04:27
then why don't you do
the silhouette of the Twin Towers,
the silhouette of the Twin Towers,
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zašto onda ne bi išla
sa siluetom Kula bliznakinja,
sa siluetom Kula bliznakinja,
04:31
black on black?"
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crno na crno?"
04:32
And I sat down to draw this,
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I sela sam da to nacrtam,
04:34
and as soon as I saw it,
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i čim sam to ugledala,
04:36
a shiver ran down my spine
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trnci su mi prošli kičmom
04:38
and I realized
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i shvatila sam
04:40
that in this refusal to make an image,
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da u ovom odbijanju da nacrtam prizor,
04:44
we had found a way to capture loss
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pronašli smo način da uhvatimo gubitak
04:49
and mourning
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i tugu
04:50
and absence.
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i odsutnost.
04:53
And it's been a profound thing
that I learned in the process --
that I learned in the process --
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I tokom ovoga sam naučila
nešto istinski duboko -
nešto istinski duboko -
04:58
that sometimes some of the images
that say the most
that say the most
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da ponekad neki prizori
koji najviše govore
koji najviše govore
05:04
do it with the most spare means.
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rade to s najmanje sredstava.
05:07
And a simple image can speak volumes.
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A prost prizor može mnogo toga da kaže.
05:11
So this is the image
that we published by Bob Staake
that we published by Bob Staake
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Dakle, ovo je prizor
od Boba Staka koji smo objavili
od Boba Staka koji smo objavili
05:14
right after the election of Barack Obama,
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odmah nakon izbora Baraka Obame,
05:20
and captured a historic moment.
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i uhvatio je istorijski momenat.
05:23
But we can't really plan for this,
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Ali ne možemo da planiramo
05:25
because in order to do this,
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jer kako bismo to postigli,
05:26
we have to let the artist
experience the emotions that we all feel
experience the emotions that we all feel
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moramo da dozvolimo umetniku
da doživi emocije koje svi mi osećamo
da doživi emocije koje svi mi osećamo
05:33
when that is happening.
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kada se to dešavalo.
05:35
So back in November 2016,
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Dakle, u novembru 2016,
05:39
during the election last year,
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tokom prošlogodišnjih izbora,
05:41
the only image that we
could publish was this,
could publish was this,
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jedini prizor koji smo mogli
da objavimo je bio ovaj,
da objavimo je bio ovaj,
05:45
which was on the stand
on the week that everybody voted.
on the week that everybody voted.
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koji se pojavio na štandovima
u nedelji kad su svi glasali.
u nedelji kad su svi glasali.
05:49
(Laughter)
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(Smeh)
05:50
Because we knew
somebody would feel this --
somebody would feel this --
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Jer smo znali
da će se neko ovako osećati -
da će se neko ovako osećati -
05:52
(Laughter)
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(Smeh)
05:54
when the result of the election
was announced.
was announced.
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kada objave rezultate izbora.
05:58
And when we found out the result,
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A kada smo saznali rezultate,
06:02
we really were at a loss,
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zaista smo bili zatečeni,
06:04
and this is the image
that was sent by Bob Staake again,
that was sent by Bob Staake again,
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i ovo je prizor
koji je posalao Bob Stak, opet,
koji je posalao Bob Stak, opet,
06:10
and that really hit a chord.
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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 figure out
what's going to come next,
what's going to come next,
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zaista ne možemo da znamo
šta će sledeće da se desi,
šta će sledeće da se desi,
no ovde smo se osećali
kao da ne znamo kako da idemo dalje,
kao da ne znamo kako da idemo dalje,
06:22
but here it felt like we didn't
know how to move forward,
know how to move forward,
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06:24
but we did move forward,
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ali smo išli dalje,
06:26
and this is the image that we published
after Donald Trump's election
after Donald Trump's election
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i ovo je prizor koji smo objavili
nakon izbora Donalda Trampa
nakon izbora Donalda Trampa
06:32
and at the time of the Women's March
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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 years,
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Dakle, tokom ove 24 godine,
06:40
I have seen over 1,000 images
come to life week after week,
come to life week after week,
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videla sam preko 1000 prizora
kako oživljavaju iz nedelje u nedelju,
kako oživljavaju iz nedelje u nedelju,
06:44
and I'm often asked
which one is my favorite,
which one is my favorite,
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i često me pitaju koji mi je omiljeni,
06:47
but I can't pick one
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ali ne mogu da odaberem jedan
06:49
because what I'm most proud of
is how different every image is,
is how different every image is,
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jer sam najponosnija
na to koliko je svaki prizor različit
na to koliko je svaki prizor različit
06:55
one from the other.
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od drugih.
06:56
And that's due to the talent
and the diversity
and the diversity
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A to je zbog talenta i raznolikosti
06:59
of all of the artists that contribute.
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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 owned by Russia,
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sad smo pod Rusima,
07:07
so --
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pa -
07:08
(Laughter)
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(Smeh)
07:09
In a rendering by Barry Blitt here,
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U ovom prikazu Berija Blita
07:12
Eustace has become
Eustace Vladimirovich Tilley.
Eustace Vladimirovich Tilley.
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Justas je postao Justas Vladimirovič Tili.
07:17
And the butterfly is none other
than a flabbergasted Donald Trump
than a flabbergasted Donald Trump
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A leptir nije niko drugi
do zapanjeni Donald Tramp,
do zapanjeni Donald Tramp,
07:22
flapping his wings,
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koji maše svojim krilima,
07:24
trying to figure out
how to control the butterfly effect,
how to control the butterfly effect,
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pokušavajući da shvati
kako da upravlja efektom leptira,
kako da upravlja efektom leptira,
07:28
and the famed logo
that was drawn by Rae Irvin in 1925
that was drawn by Rae Irvin in 1925
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a čuveni logo
koji je nacrtao Ri Irvin 1925.
koji je nacrtao Ri Irvin 1925.
07:33
is now in Cyrillic.
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je sad na ćirilici.
07:35
So, what makes me really excited
about this moment
about this moment
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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, free press
is essential to our democracy.
is essential to our democracy.
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Znate, slobodna štampa je od ključnog
značaja za našu demokratiju.
značaja za našu demokratiju.
07:48
And we can see from
the sublime to the ridiculous
the sublime to the ridiculous
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A vidimo to od uzvišenog do smešnog,
07:52
that artists can capture what is going on
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kako umetnici mogu da uhvate šta se dešava
07:56
in a way that an artist
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na način na koji umetnik
07:59
armed with just India ink and watercolor
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naoružan samo mastilom i vodenim bojama,
08:04
can capture and enter
into the cultural dialogue.
into the cultural dialogue.
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može da uhvati i uđe
u kulturološki dijalog.
u kulturološki dijalog.
08:10
It puts those artists
at the center of that culture,
at the center of that culture,
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To stavlja date umetnike
u središte određene kulture,
u središte određene kulture,
08:15
and that's exactly
where I think they should be.
where I think they should be.
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a upravo to je mesto
gde ja mislim da trebaju da budu.
gde ja mislim da trebaju da budu.
08:18
Because the main thing we need
right now is a good cartoon.
right now is a good cartoon.
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Jer nam je u ovom trenutku
najpotrebnija dobra karikatura.
najpotrebnija dobra karikatura.
08:22
Thank you.
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Hvala vam.
08:23
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ABOUT THE SPEAKER
Françoise Mouly - Art editorFrançoise 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)
Françoise Mouly | Speaker | TED.com