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Françoise Mouly: The stories behind The New Yorker's iconic covers
Françoise Mouly: Priče iza ikonskih naslovnica The New Yorkera
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Upoznajte Françoise Mouly, art direktoricu The New Yorkera. U protekle 24 godine pomagala je pri odlučivanju što će se objaviti na čuvenoj naslovnici časopisa, od crno-crnog prikaza Blizanaca u tjednu nakon 11. rujna, do nedavne obrade maskote časopisa, Eustace Tilleyja, inspirirane Rusijom. U ovom vizualnom presjeku, Mouly razmišlja kako jednostavan crtež može presjeći bujicu slika koje svakodnevno gledamo i elegantno uhvatiti osjećaj (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, prije 24 godine,
00:14
I was brought to The New Yorker
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stigla sam u The New Yorker
00:16
as art editor
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kao likovni urednik,
00:18
to rejuvenate
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kako bih pomladila
00:22
what had by then become
a somewhat staid institution
a somewhat staid institution
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nešto što je do tada postalo
nekako ozbiljna institucija
nekako ozbiljna institucija
00:27
and to bring in new artists
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te kako bih dovela umjetnike
00:29
and to try to bring the magazine
from its ivory tower
from its ivory tower
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i pokušala spustiti časopis
s njegovog uzvišenog postolja
s njegovog uzvišenog postolja
00:33
into engaging with its time.
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kako bi se bavio sadašnjim trenutkom.
00:36
And it was just
the right thing for me to do
the right thing for me to do
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Bio je to baš 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 oduvijek 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 presjeći bujicu slika
koje svakodnevno gledamo.
koje svakodnevno gledamo.
00:50
How it can capture a moment,
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Kako može uhvatiti 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 izoštriti
društveni trend ili specifičan događaj,
društveni trend ili specifičan 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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na način na koji
mnogo riječi to ne bi moglo,
mnogo riječi to 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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svede ga na njegovu bit
i pretvori u karikaturu.
i pretvori u karikaturu.
01:07
So I went to the library
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I tako sam otišla u knjižnicu
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 vidjela prvu naslovnicu
koju je nacrtao Rea Irvin 1925. godine,
koju je nacrtao Rea Irvin 1925. godine,
01:15
a dandy looking at a butterfly
through his monocle,
through his monocle,
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kicoš koji kroz svoj monokl
promatra leptira,
promatra leptira,
01:20
and we call it Eustace Tilley.
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a zovemo ga Eustace Tilley.
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
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 i malo 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 sada Eustace Tilley
često viđen kao oholi kicoš,
često viđen kao oholi kicoš,
01:41
but in fact, in 1925,
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no, 1925.
01:44
when Rea Irvin first drew this image,
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kada je Rea Irvin
prvi puta nacrtao ovu sliku,
prvi puta nacrtao ovu sliku,
01:48
he did it as part of a humor magazine
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učinio je to kako bi ona bila dio
humorističnog časopisa,
humorističnog časopisa,
01:50
to amuse the youth of the era,
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kako bi zabavio mlade 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 knjižnici
01:58
I found the images
that really captured the zeitgeist
that really captured the zeitgeist
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sam pronašla slike
koje su zaista uhvatile duh vremena
koje su zaista uhvatile 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 odijevali,
ne samo kako su se ljudi odijevali,
02:10
or what their cars looked like,
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ili kako su im izgledali auti,
02:11
but also what made them laugh,
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već i što ih je nasmijavalo,
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 dobili dojam
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 osjećaj
živjeti '30-ih godina.
živjeti '30-ih godina.
02:23
So I called on contemporary artists,
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Stoga sam pozvala suvremene umjetnike,
02:27
such as Adrian Tomine here.
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poput Adriana Tominea ovdje.
02:29
I often call on narrative artists --
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Često pozivam pripovjedače,
02:32
cartoonists, children's book authors --
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karikaturiste, pisce dječjih 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 osjećaj biti u podzemnoj,
02:41
or Valentine's Day,
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ili Valentinovo
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 kada urednik odobri skice,
02:48
David Remnick,
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David Remnick,
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 što da mislite.
zapravo, ne govore što da mislite.
03:00
But they do make you think,
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No, tjeraju vas na razmišljanje
03:02
because the artist is actually --
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jer je umjetnik, zapravo ...
03:07
it's almost a puzzle;
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to je poput zagonetke,
03:09
the artist is drawing the dots,
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umjetnik crta točkice,
03:10
and you, the reader,
have to complete the picture.
have to complete the picture.
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a vi, čitatelj, morate dovršiti 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 ovu sliku
Anite Kunz slijeva,
Anite Kunz slijeva,
03:17
or the one on right by Tomer Hanuka,
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ili ovu zdesna Tomera Hanuke,
03:20
you have to play spot the differences.
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morate se igrati 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 uzbudljivo vidjeti,
03:31
how the engagement with the reader ...
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kako komunikacija s čitateljem ...
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 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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tada to utječe na 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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No, slike ne moraju
samo prikazivati ljude,
samo prikazivati ljude,
03:52
sometimes it can be a feeling.
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nekada to može biti i osjećaj.
03:55
Right after September 11,
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Odmah nakon 11. rujna,
03:58
I was at a point,
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bila sam u stanju,
04:00
like everybody else,
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poput svih ostalih,
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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gdje zaista nisam znala kako se nositi
s onim kroz što smo prolazili
s onim kroz što smo prolazili
04:07
and I felt that no image
could capture this moment,
could capture this moment,
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i osjećala sam da nijedna slika
ne može uhvatiti taj trenutak,
ne može uhvatiti taj trenutak,
04:12
and I wanted to just do a black cover,
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i željela sam samo crnu naslovnicu,
04:15
like no cover.
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kao da nema naslovnice.
04:16
And I talked to my husband,
cartoonist Art Spiegelman,
cartoonist Art Spiegelman,
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I razgovarala sam s mužem,
on je karikaturist, Art Spiegelman,
on je karikaturist, Art Spiegelman,
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 spomenula sam mu da ću to predložiti,
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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a on je rekao, "Ako ćeš
napraviti crnu naslovnicu,
napraviti crnu naslovnicu,
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 to ne bi bila silueta Blizanaca,
04:31
black on black?"
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crno preko crnog?"
04:32
And I sat down to draw this,
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Krenula sam to crtati
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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kralježnicom su me prošli trnci
04:38
and I realized
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te sam shvatila,
04:40
that in this refusal to make an image,
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da smo u ovom odbijanju stvaranja prizora,
04:44
we had found a way to capture loss
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pronašli način kako uhvatiti gubitak,
04:49
and mourning
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žalovanje
04:50
and absence.
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i odsustvo.
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 tijekom 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 neke slike
koje govore najviše,
koje govore najviše,
05:04
do it with the most spare means.
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uspiju to uz najmanje sredstava.
05:07
And a simple image can speak volumes.
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Jednostavna slika govori sama za sebe.
05:11
So this is the image
that we published by Bob Staake
that we published by Bob Staake
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Ovo je slika Boba Staakea
koju smo objavili
koju smo objavili
05:14
right after the election of Barack Obama,
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odmah nakon što je izabran Barack Obama,
05:20
and captured a historic moment.
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uhvativši povijesni trenutak.
05:23
But we can't really plan for this,
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Ovakve stvari ne možemo baš planirati,
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 dozvoliti umjetniku
da doživi emocije koje svi mi osjećamo,
da doživi emocije koje svi mi osjećamo,
05:33
when that is happening.
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kada se to događa.
05:35
So back in November 2016,
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Dakle, u studenom 2016.
05:39
during the election last year,
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tijekom prošlogodišnjih izbora,
05:41
the only image that we
could publish was this,
could publish was this,
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jedina slika koji smo mogli
objaviti bila je ova,
objaviti bila je ova,
05:45
which was on the stand
on the week that everybody voted.
on the week that everybody voted.
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koja se pojavila na jednom mjestu
u tjednu kada su svi glasali.
u tjednu kada su svi glasali.
05:49
(Laughter)
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(Smijeh)
05:50
Because we knew
somebody would feel this --
somebody would feel this --
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Jer smo znali da će se
netko ovako osjećati ...
netko ovako osjećati ...
05:52
(Laughter)
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(Smijeh)
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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a ovo je slika koju je
opet poslao Bob Staake
opet poslao Bob Staake
06:10
and that really hit a chord.
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i zaista je pogodila bit.
06:14
And again,
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I ponovo,
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 znati
što će se sljedeće dogoditi,
što će se sljedeće dogoditi,
06:22
but here it felt like we didn't
know how to move forward,
know how to move forward,
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ali ovdje smo se osjećali
kao da ne znamo kako ići dalje,
kao da ne znamo kako ići dalje,
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 slika koju smo objavili
nakon što je izabran Donald Trump
nakon što je izabran Donald Trump
06:32
and at the time of the Women's March
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i za vrijeme Marša žena
06:35
all over the US.
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diljem SAD-a.
06:38
So over those 24 years,
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Dakle, tijekom 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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vidjela sam preko 1000 slika
kako izlaze iz tjedna u tjedan
kako izlaze iz tjedna u tjedan
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 koja mi je omiljena,
06:47
but I can't pick one
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ali ne mogu odabrati jednu,
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 svaka slika drugačija,
koliko je svaka slika drugačija,
06:55
one from the other.
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jedna od druge.
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 umjetnika koji doprinose ovome.
07:03
And now, well,
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A sada, pa,
07:05
now, we're owned by Russia,
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sada smo pod Rusima,
07:07
so --
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pa ...
07:08
(Laughter)
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(Smijeh)
07:09
In a rendering by Barry Blitt here,
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Na ovoj slici Barrya Blitta,
07:12
Eustace has become
Eustace Vladimirovich Tilley.
Eustace Vladimirovich Tilley.
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Eustace je postao
Eustace Vladimirovich Tilley.
Eustace Vladimirovich Tilley.
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 nitko drugi
nego zapanjeni Donald Trump,
nego zapanjeni Donald Trump,
07:22
flapping his wings,
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koji maše krilima,
07:24
trying to figure out
how to control the butterfly effect,
how to control the butterfly effect,
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pokušavajući shvatiti
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
Rae Irvin 1925. godine,
Rae Irvin 1925. godine,
07:33
is now in Cyrillic.
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sada je 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, sloboda tiska je od ključnog
značaja za našu demokraciju.
značaja za našu demokraciju.
07:48
And we can see from
the sublime to the ridiculous
the sublime to the ridiculous
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A vidimo od uzvišenog do smiješnog
07:52
that artists can capture what is going on
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da umjetnici mogu prikazati što se događa
07:56
in a way that an artist
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na način na koji umjetnik
07:59
armed with just India ink and watercolor
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naoružan samo tintom i vodenim bojama,
08:04
can capture and enter
into the cultural dialogue.
into the cultural dialogue.
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može uloviti i ući 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 te umjetnike stavlja
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 mjesto
gdje mislim da trebaju biti.
gdje mislim da trebaju biti.
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 osnovno što nam je potrebno
baš sada, je dobra karikatura.
baš sada, je dobra karikatura.
08:22
Thank you.
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Hvala vam.
08:23
(Applause)
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(Pljesak)
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