He began to contribute covers as well as short comic works and by doing so earned himself a reputation for generating controversy. One of the first artists she wanted to produce the cover was Art Spiegelman. In the early 1990’s, Tina Brown became editor of The New Yorker magazine with a mission to update the magazine’s image. I would rather have gotten a lethal case of the flu than taken on another comic project after that.” However, this new found level of acceptance didn’t sit comfortably with Art, and as he later commented, “One thing Maus did was scare the bejesus out of me as far as doing any more comics for a while. Together with Watchmen and The Dark Knight Returns, Maus attracted mainstream attention in the late 1980s and won the Pulitzer prize in 1992.

Beginning in RAW #2, and appearing in every subsequent issue, was the serialisation of his most famous work, Maus: A Survivor’s Tale. The result was the avant-garde, self-published and co-edited RAW magazine. However, upon returning to New York, he met Francoise Mouly who persuaded him to try again. However, the Arcade experience was such that he vowed never again to edit another magazine. Much of his early work concerned itself with experimenting with the techniques and language of comics rather than a specific plot or narrative, as evident in The Malpractice Suite and Ace Hole, Midget Detective. His early comic work was produced for the American underground comixs of the 1960’s and 70’s, culminating with him co-editing Arcade, The Comics Revue magazine for seven issues between 1975-77 with Bill Griffith in San Francisco.

In 1951 his family emigrated to USA and he was raised in Queens NY. Art Spiegelman (1948- ) was born in Stockholm, Sweden.

Jack and the box art spiegelman