Barry Blitt’s Rogues’ Gallery of Presidents
Barry Blitt wasn’t into politics—music and hockey were more his things—but as an artist he’s become one of the keenest observers of American politicians. Blitt has contributed more than eighty covers to The New Yorker, many of which are collected in his new book, “Blitt.” His style features watercolors and soft edges, but the satire is sharp. “It’s nice to have an image that is sort of quiet in itself, but is jabbing someone,” Blitt tells David Remnick. They talk about Blitt’s most controversial cover, from July, 2008, which reimagines the infamous fist-bump between Barack and Michelle Obama, and which provoked a backlash from liberal readers who worried that the satire would be lost on some. But nothing, Blitt says, beats drawing Donald Trump. Plus, Hilton Als talks with the indie film producer Christine Vachon about women in Hollywood and how to deal with the suits; and we have some helpful tips about your new avocado.
December 5, 2017
33 min
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Episode 141 · December 5, 2017
Barry Blitt’s Rogues’ Gallery of Presidents
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Summary
Barry Blitt wasn’t into politics—music and hockey were more his things—but as an artist he’s become one of the keenest observers of American politicians. Blitt has contributed more than eighty covers to The New Yorker, many of which are collected in his new book, “Blitt.” His style features watercolors and soft edges, but the satire is sharp. “It’s nice to have an image that is sort of quiet in itself, but is jabbing someone,” Blitt tells David Remnick. They talk about Blitt’s most controversial cover, from July, 2008, which reimagines the infamous fist-bump between Barack and Michelle Obama, and which provoked a backlash from liberal readers who worried that the satire would be lost on some. But nothing, Blitt says, beats drawing Donald Trump. Plus, Hilton Als talks with the indie film producer Christine Vachon about women in Hollywood and how to deal with the suits; and we have some helpful tips about your new avocado.
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