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    CARTOON NETWORKING

    Pulitzer Prize winner Art Spiegelman on why comics are the gateway to literacy

    Kendall Morgan
    kendall Morgan
    Feb 26, 2013 | 10:23 am

    As a Pulitzer Prize winner for his seminal graphic novel Maus: A Survivor’s Tale, there is no one more qualified than Art Spiegelman to discuss why comic books matter.

    In Dallas February 27 for his “What the %@&*! Happened to Comics?” lecture for Arts & Letters Live at the Dallas Museum of Art, Spiegelman plans to take attendees on a “very sketchy chronological history” of the genre, revealing that words plus pictures are actually a gateway to literacy.

    “Comics echo the way we learn to speak with the gestures and the acting out,” he says. “Comics dig deeper into the brain than either prose or just images, and they echo how the brain processes information. In cognitive science, when they use comics in textbooks, students can retain not only as much, but they can remember full quotations and the specific language they were reading.”

    “Comics dig deeper into the brain than either prose or just images, and they echo how the brain processes information,” Spiegelman says.

    Prior to the publication of Maus in 1992, the “funny pages” coexisted with the underground comix movement, but comic books as a legitimate art form was still a foreign concept to many adult readers.

    Maus and its sequel, Maus II — both based on the incredible story of his parents survival of the Nazi regime — helped bring the term “graphic novel” into the pop culture forefront, paving the way for the likes of Chris Ware (Jimmy Corrigan) and Marjane Satrapi (Persepolis).

    “Certainly Maus was a watershed moment when it came out and somebody said, ‘God it’s about the holocaust, but it’s mice!’ It baffled everybody, but it put down the marker that comics as a medium is coming in for a landing. I got there early on, when it was an understandable field. I could know everything, even about things I didn’t like. Now it’s overwhelming.”

    Although Spiegelman says there’s the “same percentage of dross as in TV and the romance novel” in the comic universe, he feels we are in a breakthrough moment for the genre, similar to rock and roll in the ’60s and 1970s cinema. Not only do local libraries offer complete editions of classics like Peanuts, Pogo and Dick Tracy, but “paradigm-shifting works” such as Ware’s Building Stories, a New York Times “Top 10 Book of the Year,” continue to push the boundaries of comics as a storytelling medium.

    Having revisited his most iconic subject in 2011’s MetaMouse, Spiegelman is currently being honored with a traveling retrospective that has visited Paris, Cologne and Vancouver before moving on to New York’s Jewish Museum later this year.

    “The show opened on my 65th birthday, and I felt like I wasn’t going to leave town without someone giving me a gold watch,” he jokes. “Maus is something I’m proud to have done and will always carry with me — with a 500-pound mouse chasing me as fast as I can go.”

    ---

    “What the %@&*! Happened to Comics?” takes place February 27, 7:30 pm, 
in the Horchow Auditorium at the Dallas Museum of Art. Call 214-922-1818 for tickets.

    Art Spiegelman self-portrait

    Art Spiegelman self-portrait
    Photo courtesy of Art Spiegelman
    Art Spiegelman self-portrait
    unspecified
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    Artist sues FIFA for $25 million over painted-over Dallas whale mural

    Associated Press
    Jun 3, 2026 | 11:54 am
    Wyland Whaling Wall
    Facebook/Wyland
    Artist Wyland's Whaling Wall mural being painted over for a FIFA World Cup-related mural in Dallas.

    The artist who painted a giant mural on a building in downtown Dallas of life-sized swimming whales has filed a $25 million lawsuit against soccer's international governing body and others, saying they illegally painted over his work to promote the city's upcoming World Cup matches.

    The artist Wyland says he hand-painted the sprawling mural that covered roughly 17,000 square feet (1,580 square meters) across two of the building's walls.

    The mural stood for nearly three decades before workers began painting over it last month, causing an uproar among residents who admired the mural's grand scale and message of ocean conservation.

    The area’s World Cup organizing committee said in a statement that, in place of Wyland's mural, new artwork is planned "that captures this current historical moment and reflects the energy, unity, and global spirit surrounding the World Cup 2026.” It said a portion of Wyland's mural would be preserved.

    Wyland filed suit Monday, June 1 in U.S District Court in Dallas saying that World Cup organizers, along with the building's owner and management company, painted over his mural without his consent or even notifying him. He says their actions violated a 1990 federal law passed to protect visual artists from destruction of publicly displayed works.

    Wyland is seeking at least $25 million in damages. His lawsuit says world soccer's governing body, FIFA, and other defendants “hastily and irrevocably destroyed a civic landmark” to promote the World Cup.

    “Though FIFA claims they were working to develop art for the host city, in truth, they defaced an historic fixture of the host city,” the artist's lawsuit says.

    A FIFA spokesperson said Tuesday the federation “has no involvement in this whatsoever” and referred a reporter to the tournament's local organizing committee.

    A spokesperson for the North Texas FWC Organizing Committee declined to comment. The committee isn't named as a defendant in the lawsuit.

    A spokesperson for Slate Asset Management, which manages the building where the mural was painted over, said in a statement that local World Cup organizers asked Slate in March to donate the mural space for “a new public art installation.”

    “Slate is not being compensated in any way for the use of the wall space and was told by the local groups that Mr. Wyland had been notified,” the management company's spokesperson said in an email.

    Dallas is hosting more World Cup matches than any of the other sites in the event co-hosted by the U.S., Canada and Mexico, with nine matches set to be played at AT&T Stadium in suburban Arlington, home of the Dallas Cowboys.

    Wyland's Dallas mural, titled “Whaling Wall 82,” was finished in 1999 and is among more than 100 similar murals known as Whaling Walls the artist painted around the world to promote the conservation of ocean life.

    An online petition protesting the mural's destruction and calling for protecting of public artwork in Dallas has received more than 2,600 signatures.

    Wyland's lawsuit alleges violations of the Visual Artists Rights Act, a 1990 federal law that protects artwork of “recognized stature” even if someone else owns the physical artwork.

    A judge cited that law in 2018 when he ordered a property owner to pay a group of New York graffiti artists $6.7 million for whitewashing dozens of their spray-painted murals on buildings that once housed a factory in Queens. The ruling was upheld on appeal.

    fifa world cupfifa world cup 2026lawsuitwylandwhaling muralmuralsdowntown dallas
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