- ' Krazy Kat ' teaches subversive humour of Herriman
A very interesting issue in field of cultural critique is comparison between thousand and one interpretations that certain creations arouse ... and interpretation of m made by ir own authors. For example, Krazy Kat, comic strip that George Herriman published for more than 30 years (1913-1944) in different American newspapers, was and is seen by experts in visual arts around world as an absolute masterpiece of comic and, above all, as a Complex work orchestration in form and even more complex message in background. For George Herriman, instead, it was "a strip on a cat, a mouse and a dog".
This double reading is one of aspects of analysis that on legacy of Herriman (new Orleans, 1880-Los Angeles, 1944) intend to carry out those responsible for Reina Sofía Museum with extraordinary exhibition George Herriman. Krazy Kat is Krazy Kat is Krazy Kat. A set of 160 pieces between original plates and pages of newspapers from private collections and museums in USA, which will remain open until 26 February. With this first and spectacular entry of comic in Reina Sofía, museum aspires to "finally erase frontiers between high and low culture", according to Rafael García, one of curators of exhibition and curator of center.
The essayist and historian of American comics Brian Walker — or commissioner — said he had never ridden anywhere in world a show so important that he was one of pioneers of comics as a sequential art. The ors were named Richard F. Outcault (author of Yellow Kid character, in 1895) and Winsor McCay ( far of Little Nemo back in 1905). The three, with permission of or teachers, revolutionized from newspapers of press magnates such as Gordon Bennett, Robert Pulitzer and William Randolph Hearst path to codification of language that in a given moment gave in to be called Comics, comics or comics , so much.
"We chose Herriman to introduce comic in museum because it seems to us by far author that has influenced later generations, and not only that, but also in many artists and writers," explains Manuel Borja-Villel, director of museum. Indeed, painters like William de Kooning or Pablo Picasso, writers like T.S. Eliot or Jack Kerouac (who said that characters of Herriman were directly " progenitors of Generation Beat") and filmmakers like Frank Capra or Fritz Lang declared followers Of crazy anthropomorphic creatures of cartoonist of new Orleans: The Cat (or cat?) Krazy Kat and his fellow comic strip, mouse Ignatz and dog Bull Pupp.
The exhibition accounts for George Herriman's vast mission: through seemingly trivial, to tell a world. The supposed naivety of characters and ir adventures contrasts with backdrops that run from behind: A revolution in setting in page, a tension between metaphorical and narrative, abundant references to classical literature (particularly (Shakespeare and Cervantes), an unlimited expressive richness, including use of several languages at once like English, French, Spanish, German or Yiddish, and possibility of various hidden messages. Let's go to m.' Baron Bean ', comic strip of 1918 by artist George Herriman, exhibited at Reina Sofía Museum. KING Features Syndicate Black Citizen
One: anti-racist message. George Herriman was white ... but he was black. Understand. He descended from African Americans and, in fact, 30 years after his death, he knew that in his birth certificate he was a black citizen. But Herriman family fled very racist new Orleans in 1890 and settled in Los Angeles. From re, biography of author of Krazy Kat would be that of a white man. In fact, his skin color didn't even come to a mulatto. "If Herriman hadn't made him think he was white, he would never have been able to publish so many strips for so many years in so many newspapers," says Commissioner Brian Walker.
The or possible cryptic message refers to sexual ambiguity. Is Krazy Kat a cat or a kitten? Herriman never made it clear. So many end up turning it into a posthumous flag of queer cause. It is not empirically proven gay pride of George Herriman. He, he held, just made "a strip on a cat, a mouse and a dog."Press sharks, comic strip patron
Krazy Kat was born as a comic strip on October 28th, 1913 in New York Evening Journal, newspaper of press tycoon William Randolph Hearst. Formerly, New York World of Robert Pulitzer, in 1895, and New York Herald of Gordon Bennett, in 1905, had given birth, respectively, to Yellow Kid, of Richard F. Outcault, and Little Nemo in Slumberland, of Winsor McCay. The three U.S. press sharks were true patrons of comic book pioneers. Two additional successes crown this exhibition: signature of Chris Ware — one of world's current stars of genre — in catalog, and upcoming presence (December 20) at Art Spiegelman Museum, author of Maus and only author of a winning comic Pulitzer.