Art Spiegelman remains a fixture of the New York creative scene, five decades after settling in his Soho studio. Best known for his Pulitzer Prize-winning graphic novel Maus, Spiegelman spent his career moving comics into the space of serious art. Alongside his wife, Françoise Mouly, who serves as the art editor for the New Yorker, he helped define an era of experimental publishing through their magazine, Raw.
Today, Spiegelman reflects on the nature of his work and the state of American politics. He describes the process of creating comics as a persistent challenge, noting that each new project requires him to rethink the medium entirely. Despite his long history of critical success, he maintains a grounded view of his own contributions, often emphasizing his struggle with the creative process rather than any sense of mastery.
His perspective on national affairs is sharper and far more critical. After the 9/11 attacks, he turned his focus to the intersection of personal tragedy and government overreach. He argues that the security measures established in the aftermath of that day served as a foundation for modern executive power. He views current political shifts as a form of fascism, marked by the systematic othering of vulnerable groups and a erosion of democratic norms.
While Spiegelman admits to feeling less sharp than he did in his twenties, he continues to produce new work. He currently views the political climate in the United States with profound concern, calling for a counter-revolution to address what he sees as a dismantled democratic system. Even with his concerns about the future, he plans to spend his remaining time in his Soho home, continuing to create art that challenges the status quo.