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Françoise Mouly: The stories behind The New Yorker's iconic covers
弗朗索瓦斯·莫利: 《纽约客》标志性封面背后的故事
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来认识下《纽约客》的艺术指导弗朗索瓦斯·莫利。过去的24年，她帮助选定著名杂志封面的图画，内容从911一周后的黑底黑图的双子塔剪贴画，到最近俄罗斯化的吉祥物花花公子尤斯塔斯·提利。在这个视觉回顾中，莫利认为一幅简单的图画可以切断我们每天所看到的图像的洪流，并且优雅地捕捉到特定时刻的感受和感知。
Double-click the English transcript below to play the video.
00:12
So 24 years ago,
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24年前，
00:14
I was brought to The New Yorker
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我加入了《纽约客》
00:16
as art editor
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做艺术编辑，
00:18
to rejuvenate
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想要带来一点活力
00:22
what had by then become
a somewhat staid institution
a somewhat staid institution
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改变当时有点古板的风格
00:27
and to bring in new artists
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并且引进新的艺术家，
想将这本杂志带出象牙塔，
00:29
and to try to bring the magazine
from its ivory tower
from its ivory tower
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00:33
into engaging with its time.
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让它与时俱进。
这对我而言像是注定要做的事，
00:36
And it was just
the right thing for me to do
the right thing for me to do
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00:39
because I've always been captivated
by how an image can --
by how an image can --
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我总是对图像非常着迷，
因为一幅简单的绘画，
00:44
a simple drawing --
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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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就可以切入我门每天所见的图像洪流，
00:50
How it can capture a moment,
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它是如何能捕捉一个瞬间，
00:53
how it can crystallize
a social trend or a complex event
a social trend or a complex event
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把用语言很难描述清楚的
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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社会趋势或者复杂事件具像化，
01:03
and reduce it to its essence
and turn it into a cartoon.
and turn it into a cartoon.
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提炼它的本质
并用卡通的形式表现出来。
并用卡通的形式表现出来。
01:07
So I went to the library
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于是我去图书馆，
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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找到了雷亚·欧文
在1925年所做的第一期封面，
在1925年所做的第一期封面，
一位时髦男士透过单片眼镜
在观察一只蝴蝶，
在观察一只蝴蝶，
01:15
a dandy looking at a butterfly
through his monocle,
through his monocle,
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01:20
and we call it Eustace Tilley.
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我们叫他尤斯塔斯·提利。
01:24
And I realized that
as the magazine had become known
as the magazine had become known
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我意识到随着杂志
01:28
for its in-depth research
and long reports,
and long reports,
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靠深度研究和长篇报道出名后，
01:33
some of the humor
had gotten lost along the way,
had gotten lost along the way,
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这期间它的幽默感慢慢丢失了，
01:36
because now often Eustace Tilley
was seen as a haughty dandy,
was seen as a haughty dandy,
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因为现在尤斯塔斯·提利
常常被视为一个傲慢的花花公子，
常常被视为一个傲慢的花花公子，
01:41
but in fact, in 1925,
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但实际上，在1925年，
当雷亚·欧文最初创作这幅画的时候，
01:44
when Rea Irvin first drew this image,
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01:48
he did it as part of a humor magazine
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他是将其作为一本幽默杂志
的封面来画的，
的封面来画的，
01:50
to amuse the youth of the era,
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为的是取悦那个年代的年轻人，
01:53
which was the flappers
of the roaring twenties.
of the roaring twenties.
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他们是咆哮的二十年代的引领者。
01:57
And in the library,
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在图书馆里，
01:58
I found the images
that really captured the zeitgeist
that really captured the zeitgeist
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我找到了一些封面，
它们抓住了大萧条时代
它们抓住了大萧条时代
02:03
of the Great Depression.
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的时代精神。
02:05
And it showed us
not just how people dressed
not just how people dressed
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它展现的不仅仅是人们的穿着打扮，
02:10
or what their cars looked like,
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或他们开的是什么车，
02:11
but also what made them laugh,
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还包括什么会让他们发笑，
02:15
what their prejudices were.
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他们有什么偏见。
02:17
And you really got a sense
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你能真切感受到，
02:19
of what it felt like
to be alive in the '30s.
to be alive in the '30s.
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生活在30年代是什么感觉。
02:23
So I called on contemporary artists,
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于是我邀请当代的画家们，
02:27
such as Adrian Tomine here.
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比如艾德里安·托明。
02:29
I often call on narrative artists --
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我经常邀请叙事画家——
02:32
cartoonists, children's book authors --
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比如卡通画家，儿童书籍作家——
我给他们选定主题，
02:35
and I give them themes such as,
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02:38
you know, what it's like
to be in the subway,
to be in the subway,
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比如，在地铁里是什么感觉，
02:41
or Valentine's Day,
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或者过情人节是什么感觉，
他们就会发给我草图。
02:43
and they send me sketches.
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一旦这些草图被主编——
02:44
And once the sketches
are approved by the editor,
are approved by the editor,
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02:48
David Remnick,
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大卫·雷姆尼克——审核通过，
02:51
it's a go.
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就会被采用。
02:53
And I love the way
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我喜欢这种方式，
02:55
those images are actually
not telling you what to think.
not telling you what to think.
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这些画并没有告诉你应该如何思考。
03:00
But they do make you think,
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但他们会引发你的思索，
03:02
because the artist is actually --
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因为画家实际上只是——
03:07
it's almost a puzzle;
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就像一幅拼图，
画家只是画出一些点，
03:09
the artist is drawing the dots,
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03:10
and you, the reader,
have to complete the picture.
have to complete the picture.
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而你，每一位读者，要补全这幅画。
03:14
So to get this image
on the left by Anita Kunz,
on the left by Anita Kunz,
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因此，想读懂左边这幅，
阿尼塔·昆茨的作品，
阿尼塔·昆茨的作品，
03:17
or the one on right by Tomer Hanuka,
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或者右边这幅，
托摩尔·阿努卡的作品，
托摩尔·阿努卡的作品，
03:20
you have to play spot the differences.
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你需要分析他们之间的不同。
03:24
And it is something that ...
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而这中间……
03:27
It's really exciting to see
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与读者的互动
03:31
how the engagement with the reader ...
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是非常让人兴奋的事情。
03:37
how those images really capture --
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这些画是怎么抓住……
03:42
play with the stereotypes.
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怎么打破陈规的。
03:44
But when you get it,
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一旦你看懂它的深意，
03:45
it rearranges the stereotypes
that are in your head.
that are in your head.
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它会令你耳目一新。
但是图片不仅仅可以展示
03:49
But the images don't
just have to show people,
just have to show people,
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03:52
sometimes it can be a feeling.
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有时候它也代表一种情感。
03:55
Right after September 11,
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“9·11”发生之后，
03:58
I was at a point,
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我陷入了一种状态，
04:00
like everybody else,
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跟所有人一样，
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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我不知道该怎么接受所发生的一切，
04:07
and I felt that no image
could capture this moment,
could capture this moment,
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我感觉没有任何一幅画
能抓住那个瞬间，
能抓住那个瞬间，
04:12
and I wanted to just do a black cover,
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我只想做一个全黑的封面，
04:15
like no cover.
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就像没有封面一样。
04:16
And I talked to my husband,
cartoonist Art Spiegelman,
cartoonist Art Spiegelman,
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我跟我丈夫亚特·斯皮格尔曼聊了一下，
他是一名漫画家，
他是一名漫画家，
04:20
and mentioned to him
that I was going to propose that,
that I was going to propose that,
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我告诉他我准备用黑色的封面，
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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他说，“既然你打算用黑色的封面，
为什么不加上双子塔的轮廓呢，
04:27
then why don't you do
the silhouette of the Twin Towers,
the silhouette of the Twin Towers,
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04:31
black on black?"
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黑底黑图。”
04:32
And I sat down to draw this,
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于是我坐下来开始画，
04:34
and as soon as I saw it,
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我第一眼看到它，
04:36
a shiver ran down my spine
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就感觉浑身一阵颤栗，
04:38
and I realized
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我意识到
04:40
that in this refusal to make an image,
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我们在这种拒绝描绘图画的过程中
04:44
we had found a way to capture loss
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找到了一种捕捉失去
04:49
and mourning
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和表达哀痛
04:50
and absence.
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以及缺失的方式
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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在设计过程中，我学到的最深刻的道理是-
04:58
that sometimes some of the images
that say the most
that say the most
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最丰富的画面
05:04
do it with the most spare means.
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反而是留白最多的。
05:07
And a simple image can speak volumes.
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看似简单，实则含义很深。
05:11
So this is the image
that we published by Bob Staake
that we published by Bob Staake
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而这是副画就是鲍勃·斯塔克
05:14
right after the election of Barack Obama,
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在奥巴马竞选总统之后创作的，
05:20
and captured a historic moment.
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它捕捉到了一个历史时刻。
05:23
But we can't really plan for this,
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但我们并不能计划好封面图。
05:25
because in order to do this,
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因为为了创作这些画，
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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我们需要让艺术家体会到
所有人在事件发生时的感受。
05:33
when that is happening.
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05:35
So back in November 2016,
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再聊回2016年，
05:39
during the election last year,
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去年选举期间，
我们唯一可以选择出版的画是这张，
05:41
the only image that we
could publish was this,
could publish was this,
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05:45
which was on the stand
on the week that everybody voted.
on the week that everybody voted.
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这是在大家大选投票那一周的态度
05:49
(Laughter)
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（观众笑）
05:50
Because we knew
somebody would feel this --
somebody would feel this --
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因为我们当竞选结果公布的时候——
05:52
(Laughter)
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（笑声）
05:54
when the result of the election
was announced.
was announced.
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——有人是这样想的。
05:58
And when we found out the result,
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而当我们看到竞选结果的时候，
06:02
we really were at a loss,
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感觉不知所措，
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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而这幅同样是鲍勃·斯塔克创作的画
06:10
and that really hit a chord.
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触动了我们的心弦。
06:14
And again,
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重申一下
06:15
we can't really figure out
what's going to come next,
what's going to come next,
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我们并不能真的弄清未来会发生的事情，
06:22
but here it felt like we didn't
know how to move forward,
know how to move forward,
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虽然大选给我们的感觉是不知道未来如何前进，
06:24
but we did move forward,
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但我们确实在进步，
06:26
and this is the image that we published
after Donald Trump's election
after Donald Trump's election
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在唐纳德·特朗普大选之后，
06:32
and at the time of the Women's March
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全美进行女性大游行时，
06:35
all over the US.
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我们选了这幅画。
06:38
So over those 24 years,
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在过去的24年，
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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我一周又周地见证了一千多张封面画的诞生，
06:44
and I'm often asked
which one is my favorite,
which one is my favorite,
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我经常被要求选一张最喜欢的画，
06:47
but I can't pick one
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但是我选不出来。
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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因为其中任何一幅画都是极具特色，
06:55
one from the other.
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这是让我最骄傲的。
06:56
And that's due to the talent
and the diversity
and the diversity
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所有艺术家贡献的天赋与差异
06:59
of all of the artists that contribute.
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是画作独特的原因。
07:03
And now, well,
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而现在
07:05
now, we're owned by Russia,
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我们国家已经属于俄罗斯了，
07:07
so --
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所以呢——
07:08
(Laughter)
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(笑声）
07:09
In a rendering by Barry Blitt here,
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在巴里·布利特的提醒下，
07:12
Eustace has become
Eustace Vladimirovich Tilley.
Eustace Vladimirovich Tilley.
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尤斯塔斯改为尤斯塔斯·弗拉基米罗维奇·提利。（普京名）
07:17
And the butterfly is none other
than a flabbergasted Donald Trump
than a flabbergasted Donald Trump
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蝴蝶不是别人，正是被吓破胆的唐纳·德特朗普，
07:22
flapping his wings,
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煽动着翅膀，
07:24
trying to figure out
how to control the butterfly effect,
how to control the butterfly effect,
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想弄清如何控制蝴蝶效应，
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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而1925年雷亚·欧文画的著名杂志标题
07:33
is now in Cyrillic.
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现在也用西里尔字母替代，（俄语使用的字母）
07:35
So, what makes me really excited
about this moment
about this moment
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如今让我最激动就是、
07:40
is the way that ...
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就是那种方式——
07:44
You know, free press
is essential to our democracy.
is essential to our democracy.
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总所周知，言论自由是我们民主不可或缺的一块。
07:48
And we can see from
the sublime to the ridiculous
the sublime to the ridiculous
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我们可以看到不论内容是崇高还是荒谬，
07:52
that artists can capture what is going on
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艺术家们都能捕捉当下发生的事情。
他们会拿着水彩和印度制造的墨水，
07:56
in a way that an artist
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07:59
armed with just India ink and watercolor
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以某种方式
08:04
can capture and enter
into the cultural dialogue.
into the cultural dialogue.
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捕捉并加入文化交流。
08:10
It puts those artists
at the center of that culture,
at the center of that culture,
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这意味着艺术家应该位于文化的中心，
我也认为那就是艺术家的地位。
08:15
and that's exactly
where I think they should be.
where I think they should be.
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08:18
Because the main thing we need
right now is a good cartoon.
right now is a good cartoon.
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因为现在我们需要的是好的卡通画作。
08:22
Thank you.
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谢谢。
08:23
(Applause)
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（掌声）
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