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"Herriman, George, 1880-1944."
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Krazy : George Herriman, a life in black and white
In the tradition of Schulz and Peanuts, an epic and revelatory biography of Krazy Kat creator George Herriman that explores the turbulent time and place from which he emerged and the deep secret he explored through his art.
Book
Humor's Brick: George Herriman's Krazy Kat
Schmitz presents Humor's Brick: George Herriman's Krazy Kat.
Journal Article
'Krazy Kat' comic creator's work had faith
Time magazine called the creator of the popular \"Krazy Kat\" comic strip \"a figure of almost Franciscan sweetness.\" \"In addition to hearing folktales and stories from literature in French, the family participated in every sacrament available to them,\" said Tisserand, whose book was nominated for the National Book Critics Circle Award and PEN America Award. Herriman and his brother attended St. Vincent's College, a boys' elementary and high school run by Vincentian priests. In an early cartoon before he started drawing \"Krazy Kat,\" Herriman ridiculed a controversy raging then: whether movie footage of a black boxer annihilating a white one would cause unrest if shown in theaters. Time magazine's comparison of Herriman to St. Francis of Assisi is apt, given that the \"Krazy Kat\" strip is devoted to animals - a lovable black cat, a mouse and a dog policeman named Officer Pupp. [...]Herriman's first comic strip was \"a series of Aesop's fables that he rewrote with happy endings.\"
Trade Publication Article
George Herriman's Black Sentence: The Legibility of Race in \Krazy Kat\
George Herriman, who passed for white, examines the place of color, both ink and ethnic marker, in the machinery of narrative. Color is necessary to narrative, hut narrative conceals color, sentencing Herriman to perform his invisibility even as he relies on color to make this point.
Journal Article
Comix Poetics
The Smartest Kid on Earth, and Marjane Satrapi's Persepolis are just a few of the ever-growing list of important works of graphical literature that prove comic art can carry as much truth, beauty, mystery, emotion, and smart entertainment as any of the other, more traditional, media of expression. While massively popularizing the comics' language, cheap comic books also commodified it, leading to a stultification of the form as a mode of personal expression.
Journal Article
L.A. THEN AND NOW; L.A. artist's 'Krazy Kat' was a head-scratcher; George Herriman's avant-garde comic had some elite fans. But most readers just didn't get it
The drama of \"Krazy Kat\" played out against a nocturnal desert landscape, Herriman's scratchy drawings depicting the strange love-hate triangle of Ignatz, an ill-tempered mouse; Krazy, an innocent \"kat\" of indeterminate gender who loves Ignatz; and Offissa Pup, a canine \"kop\" determined to prevent Ignatz from smacking a strangely appreciative Krazy on the \"bean\" with a brick.
Newspaper Article
''KRAZY KAT'': HIGHBROW BURLESQUE
Simply put, ''Krazy Kat'' is the triangular love story of a cat (Krazy), a mouse (Ignatz) and a dog (Officer Pupp). Krazy, a saintly cat of indeterminate gender, is in love with Ignatz, an unsentimental egotist. Krazy says of him: ''S'no use with a 'Romeo' like 'Ignatz.' I'm a heppy, heppy 'Julius.' '' Ignatz, who despises all cats, derives pleasure from ''beaning that Kat's noodle'' with a brick, an obsessive act he attempts to perform every day. Krazy, blind with love, awaits each brick from the ''l'il ainjil'' with joy, considering the hurled bricks ''missils of affection.'' Officer Pupp, unrelenting enforcer of law and order, seeks to protect ''that dear Kat'' from ''sin's most sinister symbol,'' Ignatz's brick. A triple dose of irony transformed every strip into, in e.e. cummings's words, a ''meteoric burlesque melodrama.''
Newspaper Article
Krazy Kat and the Art of George Herriman
According to an essay in this volume by the well-named Harry L. Katz, by the 1930s Herriman was creating \"some of the most contemporary, forward-looking art in the world, evoking the high-minded, easel-and-stretcher work of the Futurists and such Surrealists as Giorgio de Chirico.\"
Newspaper Article
THE SATURDAY READ; Still Krazy after all these years
Even 20-plus years on, with hints of war, an abbreviated cast and fewer settings than in previous years, the strips reproduced in \"Krazy and Ignatz: 'A Ragout of Raspberries' 1941-1942\" offer that rare thing: a world that feels complete in itself. In the face of external threat, this magical landscape of mesas and the blue bean bush distilled itself into a mythic one -- pruned its pantheon -- until what was left was so essential, it could communicate with a gesture and be understood.
Newspaper Article