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Vassar College

Vassar College is a private liberal arts college in Poughkeepsie, New York, United States. Founded in 1861 by Matthew Vassar, it was the second degree-granting institution of higher education for women in the United States. The college became coeducational in 1969. The college offers BA degrees in more than fifty majors. Vassar College's varsity sports teams, known as the Brewers, play in the NCAA's Division III as members of the Liberty League. Currently, there are close to 2,500 students.

The college is one of the historic Seven Sisters, the first women's colleges in the U.S. The Vassar campus comprises over 1000 acre and more than 100 buildings. A designated arboretum, the campus features more than 200 species of trees, a native plant preserve, and a 530 acre ecological preserve.

History

Vassar was founded as a women's school under the name Vassar Female College in 1861. Its first president was Milo P. Jewett, who had previously been first president of another women's school, Judson College; he led a staff of ten professors and twenty-one instructors. After one year, its founder, Matthew Vassar, had the word Female removed from the name, prompting some local residents of Poughkeepsie, New York, to quip that its founder believed it might one day admit male students. The college became coeducational in 1969.

Vassar was the second of the Seven Sisters colleges, higher education schools that were strictly for women, and historically sister institutions to the all-male Ivy League colleges. It was chartered by its namesake, brewer Matthew Vassar, in 1861 in the Hudson Valley, about 70 mi north of New York City. The first person appointed to the Vassar faculty was astronomer Maria Mitchell, in 1865.

Vassar adopted coeducation in 1969. Immediately following World War II, Vassar accepted a small number of male students on the G.I. Bill. The formal decision to become co-ed came after its trustees declined an offer to merge with Yale University, its sibling institution, in the wave of mergers between the historically all-male colleges of the Ivy League and their Seven Sisters counterparts.

In its early years, Vassar was associated with the social elite of the Protestant establishment. E. Digby Baltzell writes that "upper-class WASP families educated their children at colleges such as Harvard, Princeton, Yale, and Vassar." A select and elite few of Vassar's students were allowed entry into the school's secret society Delta Sigma Rho, founded in 1922. Before becoming President of the United States, Franklin Delano Roosevelt was a Trustee.

Approximately 2,450 students attend Vassar, and 98% live on campus. About 60% come from public high schools, and 40% come from private schools (both independent and religious). Vassar is currently 56% women and 44% men, at national average for national liberal arts colleges. Students are taught by more than 336 faculty members, virtually all holding the doctorate degree or its equivalent. The student-faculty ratio is 8:1, average class size, 17.

In recent freshman classes, students of color constituted 32–38% of matriculants. International students from over 60 countries make up 8-10% of the student body. In May 2007, Vassar returned to a need-blind admissions policy without regard to a student's financial status.

Vassar president Catharine Bond Hill departed in 2016. She was succeeded by Elizabeth Howe Bradley in 2017.

The college was listed as a census-designated place (Vassar College CDP) in 2019.

Campus
The campus is in Poughkeepsie Town, adjacent to Poughkeepsie City. The area around the campus appeared as a census-designated place (CDP) in the 2020 U.S. Census, with a population of 2,472.

Architecture
Vassar's campus, also an arboretum, is 1000 acre and has more than 100 buildings, ranging in style from Collegiate Gothic to International, with several buildings of architectural interest. At the center of campus stands Main Building, one of the best examples of Second Empire architecture in the United States. When it was opened, Main Building was the largest building in the U.S. in terms of floor space. It formerly housed the entire college, including classrooms, dormitories, museum, library, and dining halls. The building was designed by Smithsonian architect James Renwick Jr. and was completed in 1865. It was preceded on campus by the original observatory. Both buildings are National Historic Landmarks. Rombout House was purchased by the college in 1915 and added to the National Register of Historic Places in 1982.

Eero Saarinen made designs for several Vassar dormitories, but only one, the Emma Hartman Noyes House, was completed in 1958. Built for roughly 160 students, it was the first part of a circular construction that was to be continued in "Noyes II." The starkly modernist building's high cost and structural difficulties with the windows, however, led administrators to leave it at one. The dorm's common area is famous for its futuristic design; readings and concerts are held there regularly. The Noyes building was also the home of an all-female football team, the Noyes Nymphs, who competed against Ivy League teams in the 1960s and 1970s.

Libraries

Vassar is home to one of the largest undergraduate library collections in the U.S. The library collection today – which actually encompasses eight libraries at Vassar – contains about 1 million volumes and 7,500 serial, periodical and newspaper titles, as well as an extensive collection of microfilm and microfiche, with special collections of Ellen Swallow Richards, Albert Einstein, Mary McCarthy, and Elizabeth Bishop. Vassar has been a Federal Depository library for selected U.S. Government documents since 1943 and currently receives approximately 25% of the titles available through the Federal Depository Program.

The interior and exterior of the Van Ingen Art Library was renovated from June 2008 – May 2009 in an effort to restore its original design and appearance. This was the library's first major renovation since its construction in 1937.

Frances Lehman Loeb Art Center
In November 2016, the gallery opened the Hoene Hoy Photography gallery on the second floor, named after Anne Hoene Hoy from the class of 1963.

Capital improvements
In 2011, Vassar embarked on a $120 million project to improve science facilities at the college, centering on the construction of a new Bridge for Laboratory Sciences.

Davison, one of Vassar's nine residence houses, was renovated during the 2008–2009 school year. During the year of renovation, Davison's residents were absorbed into the college's remaining residence houses. This was the second dorm to be renovated as part of the school's master plan to renovate all dorms, following Jewett a few years earlier. Lathrop was scheduled to be closed and renovated during the 2010–2011 school year, but complete renovation was postponed due to the economic downturn, with a number of improvements phased in instead. Improvements were also made to Josselyn in 2011.

Housing
Vassar maintains housing for faculty; the current complex opened in 2023. The previous faculty housing facility, Williams, was to be demolished after 2020. School-age dependents living on the Vassar faculty complex, as well as other areas in the Vassar College CDP, are within the Arlington Central School District, which operates Arlington High School.

Academics
The most popular undergraduate majors, based on 2021 graduates, were:
 * Biology/Biological Sciences (40)
 * Economics (37)
 * Political Science and Government (36)
 * English Language and Literature (33)
 * Biochemistry (25)
 * Neuroscience (25)
 * Computer and Information Sciences (23)

Admissions
For the class of 2027 (enrolling fall 2023), Vassar received 12,145 applications and accepted 17.7%. The combined average SAT scores of those who opted to submit their testing data was 1489 and the ACT composite average was 33. The middle 50% ranges for the SAT were 1450-1530 and 33-35 for the ACT. Of the matriculants whose high schools provided rankings, 79% were in the top ten percent of their class. For the class of 2026 (enrolling fall 2022), Vassar received 11,412 applications and accepted 18.7%. For the class of 2025 (enrolling fall 2021), Vassar received 10,884 applications, a 25% increase over the previous year, and accepted 2,068 (19%). For the class of 2023 (enrolling fall 2019), Vassar received 8,961 applications and accepted 2,127 (23.7%), with 691 enrolling. For the class of 2025 (enrolling fall 2021),the middle 50% range of SAT scores for enrolling freshmen was 710-760 for evidence-based reading and writing, 710-780 for math, and 1420-1540 for the composite. The middle 50% ACT score range was 28-33 for math, 32-34 for English, and 32-34 for the composite.

Students of color (including non-citizens) made up 45.5% of the incoming class; international students were 8.8% of enrolling freshmen.

Rankings
The 2024 edition of U.S. News & World Report's "Best Colleges" ranked Vassar as tied for the 16th best liberal arts college in the U.S. out of 211 rated. In previous years the college was ranked by U.S. News & World Report as high as tenth. Also in 2024, U.S. News & World Report ranked Vassar second for "Best Colleges for Veterans", 29th for "Best Value", 15th for "Top Performers on Social Mobility", and tied for 20th in "Best Undergraduate Teaching". It also ranked Vassar tied for fourth among top liberal arts colleges for economic diversity as measured by low-income students receiving federal Pell Grants.

In its 2021 edition, Washington Monthly ranked Vassar 11th among 215 liberal arts colleges in the U.S. based on its contribution to the public good, as measured by social mobility, research, and promoting public service.

In its 2020 edition, The Princeton Review rated Vassar first for "Best Financial Aid" of all colleges and universities in the United States. In its 2018 edition, The Princeton Review rated Vassar second best for financial aid and 41st best for "best value". In 2019, Forbes rated Vassar 27th among liberal arts colleges and 61st overall in its America's Top Colleges ranking, which includes 650 military academies, national universities, and liberal arts colleges. Kiplinger's Personal Finance places Vassar 11th in its 2019 ranking of the 149 best value liberal arts colleges in the United States. Money magazine ranked Vassar 145th in the country out of 739 schools evaluated for its 2020 "Best Colleges for Your Money" edition.

In an article in The Christian Science Monitor, Vassar president emeritus Catharine Bond Hill argued that rankings "will always be limited in what they can tell consumers. Part of higher education's role about the rankings should be to remind students and their families that these are only one piece of information that they should take into account in deciding where to go to college. Intangibles will and should play a role in these decisions, but that doesn't mean we shouldn't also look at the tangibles".

Post-graduation outcomes
Over half of Vassar graduates pursue advanced study within five years of graduation, including one-fifth immediately post-graduation. Of the seniors who applied to medical school in 2017, 76% were accepted; to law school, 96% were accepted.

Traditions

Founder's Day is an annual campus festival at Vassar College that usually takes place in late April or early May. It started as a surprise birthday party for college founder Matthew Vassar's seventy-fourth birthday and evolved into an annual celebration. Originally, Founder's Day was a spontaneous event consisting of lectures, but was soon replaced with plays, pageants, and more recreational activities. Circus and fair activities followed, with the eventual addition of the modern day music events over the course of two days. More recently themes have been added, including Alice in Wonderland, Dinosaurs, Vintage 1800s Vassar, Nickelodeon, Nintendo, and Candyland. Recent artists at Founder's Day have included The Walkmen, Edan, DJ /rupture, Odd Nosdam, Jel, Toro y Moi, and Odesza.

Extracurricular organizations

 * The Night Owls, established in the 1940s, are, as of 2017, one of the oldest extant collegiate a cappella groups in the United States, and one of nine vocal music groups at Vassar. Other groups include the Vastards (specializing in the music of the 2000s), Broadway and More (BAM; showtunes), the Accidentals (the Axies; the sole all-men's a cappella group at Vassar), Beauty and the Beats (focusing on music from Disney movies), Home Brewed (formerly Matthew's Minstrels, the college's first mixed-gender a cappella group), the Vassar Devils, Measure 4 Measure (both themeless groups), and AirCappella (an all-whistling ensemble). Some a cappella groups tour and compete, including the Vassar Devils, who competed in the 2015 International Championship of Collegiate A Cappella.
 * The Philaletheis Society, which was founded in 1865 as a literary society, is the oldest theater group on campus. It has now become a completely student run theater group. Others include Unbound (experimental theater), Woodshed (a troupe focused on devised theater), and Idlewild (an all-female ensemble). Britomartis, Vassar's only theater group exclusively creating devised theater, was founded in 2011. Further groups include the Future Waitstaff of America (for musical theater), Ebony Theatre Ensemble (focusing on Black theater), and two Shakespeare-specific troupes, Shakespeare Troupe and Merely Players. The college also hosts the Powerhouse Summer Theater workshop series.
 * Happily Ever Laughter ("HEL") is the college's oldest continually active sketch comedy group, founded in 1993. Another comedy group, Big K!dz (formerly No Offense), which was started by two former members of an earlier group called Laughingstock (for which recognition by the student assembly was withdrawn in March 2000, as a result of a controversial sketch), was started in September 2000. Another sketch comedy group, The Limit, was started a few years later. Indecent Exposure, an all-women's troupe performing both sketch and stand-up comedy, was founded in 2004. Comedy Normative, which began in 2009, performs exclusively stand-up comedy. Vassar has a tradition of improv comedy groups, which continue today.
 * The Vassar Greens are Vassar's environmental group.
 * Vassar College Television (VCTV) is the college's first student-run video production company.

Campus publications

 * The Miscellany News has been the weekly paper of the college since 1866, making it one of the oldest college weeklies in the United States. It is available for free most Thursdays when school is in session
 * Squirm "is a submissions-based magazine about sex and sexuality. Squirm seeks to create a sex-positive forum on campus for the artistic, literary, and creative exploration of sex." The magazine, published annually since 1999, typically runs around 60 pages and is only distributed to the campus community.
 * Boilerplate Magazine is a student-run publication that calls itself an "alternative news source... that aims to publish radical pieces and creative works which address issues through a socially conscious lens." Due to its independence from collegiate funds, Boilerplate Magazine is generally more critical of the college than other student-run outlets.
 * Unscrewed (1 October 1976 - 1 April 1989) was a student-run consumer report on campus residential and classroom safety, local food and drug price comparison, an annual local pizza delivery survey, and long-term topics such as the college's endowment and staffing.

Radio station
WVKR-FM, 91.3 FM, is the college's radio station, established in 1971.

Student government
In March 2016, in a 15–2 vote, the Vassar Student Association (VSA) passed a resolution calling for the support of the Boycott, Divestment and Sanctions movement and the boycott of Israel. In April 2016, the BDS resolution went to a school-wide referendum, where it was defeated 573–503.

Athletics

Vassar teams, known as the Brewers, compete in Division III of the NCAA, as a member of the Liberty League. The nickname originates from the college's founder and namesake Matthew Vassar, whose family ran a brewery in Poughkeepsie and would later amass a sizable fortune in the industry.

In 2008, the Vassar men's volleyball team made the school's first appearance in a national championship game, beating UC Santa Cruz 3–0 in the semifinal before falling to Springfield in the championship game.

In 2007, the Vassar cycling team hosted the Eastern Collegiate Cycling Championship in Poughkeepsie and New Paltz, New York. The competition included a 100 mi road race over the Shawangunk Mountains in New Paltz as well as a criterium in Poughkeepsie just blocks from the school's campus.

In a controversial move, on November 5, 2009, the athletics department leaders decided the men's and women's rowing team would transition over a two-year period from a varsity to a club sport as a cost-saving measure.

In 1940, 1941 and 1942, Vassar athletes won national intercollegiate women's tennis championships each year in both singles (Katharine Hubbell) and doubles (Hubbell, Carolyn "Lonny" Myers).

In 2018, the Vassar women's rugby team won the school's first team national championship, beating Winona State 50–13 in the final of the USA Rugby Women's Division 2.

Notable people
Notable Vassar alumni include:

 * Elizabeth Hazleton Haight (1894), feminist and Classics scholar
 * Anita Florence Hemmings (1897), their first graduate of African ancestry
 * Edith Clarke (1908), the first female electrical engineer
 * Ruth Starr Rose (1910), artist
 * Edna St. Vincent Millay (1917), poet
 * Mary Calderone (1925), physician, public health advocate and "mother of sex education"
 * Grace Hopper (1928), computer pioneer
 * Mary McCarthy (1933), critic and novelist
 * Elizabeth Bishop (1934), poet
 * Ann Cole Gannett (1937), politician
 * Carol F. Jopling (1938), anthropologist, and chief librarian of the Smithsonian Tropical Research Institute
 * Frances Scott Fitzgerald (1942), journalist
 * Beatrix Hamburg (1944), physician
 * Virginia Seay (1944), composer and musicologist
 * Frances Farenthold (1946), politician and activist
 * Vera Rubin (1948), astrophysicist
 * Linda Nochlin (1951), art historian
 * Lois Haibt (1955), member of FORTRAN development team
 * Nina Zagat (1963), Zagat Survey co-founder
 * Bernadine P. Healy (1965), physician and National Institutes of Health director
 * Lucinda Cisler (1965), feminist and abortion-rights activist
 * Geraldine Laybourne (1969), Nickelodeon President and Oxygen Media founder and CEO
 * Linda Fairstein (1969), writer and prosecutor
 * Rebecca Eaton (1969), Emmy Award-winning executive producer of Masterpiece on PBS
 * Meryl Streep (1971), three-time Academy Award-winning actress
 * Jane Smiley (1971), Pulitzer Prize-winning fiction writer
 * Michael Wolff (1975), journalist
 * Richard L. Huganir (1975), neuroscientist and Director of the Johns Hopkins Medicine Brain Science Institute
 * Chip Reid (1977), CBS News Chief and White House Correspondent
 * Jeffrey Goldstein (1977), former World Bank CFO and Undersecretary of the Treasury for Domestic Finance
 * Michael Specter (1977), The New Yorker magazine science writer
 * Jamshed Bharucha (1978), Cooper Union president
 * Phil Griffin (1979), MSNBC president
 * John Carlstrom (1981), astrophysicist and MacArthur Award Fellow
 * Pamela Mars-Wright, (1982), former board chairman of Mars Inc.
 * Philip Jefferson (1983), economist and Federal Reserve Board Vice Chair
 * Mark Burstein (1984), President of Lawrence University of Wisconsin
 * Ada Ferrer (1984), Pulitzer Prize-winning historian
 * Sherrilyn Ifill (1984), Seventh President and Director-Counsel of the NAACP Legal Defense and Educational Fund
 * Lisa Kudrow (1985), actress
 * Hope Davis (1986), actress
 * Evan Wright (1988), journalist
 * Jonathan Karl (1990), ABC News Chief White House Correspondent
 * Jeffrey Brenner (1990), physician and MacArthur Award Fellow
 * John Gatins (1990), Academy Award-nominated Screenwriter
 * Noah Baumbach (1991), writer and director
 * Jason Blum (1991), Emmy Award-winning and Academy Award-nominated film and television producer
 * Caterina Fake (1991), Flickr founder
 * Elisabeth Murdoch (1992), Shine Limited CEO and Chairman
 * Jon Fisher (1994), writer
 * Katherine Center (1994), novelist
 * Joe Hill (1995), novelist
 * Jessi Klein (1997), Emmy Award-winning comedy writer-producer
 * Jesse Ball (2000), writer
 * Alexandra Berzon (2001), Pulitzer Prize-winning journalist and The Wall Street Journal reporter
 * Shaka King (2001), Academy Award-nominated film director, screenwriter, and producer
 * Jason Blakely (2003), political philosopher
 * Victoria Legrand (2003), musician and songwriter
 * Greg Russo (2003), screenwriter of Mortal Kombat
 * Jonás Cuarón (2005), screenwriter and director
 * Sasha Velour (2009), winner of RuPaul's Drag Race Season 9
 * Lilli Cooper (2012), Tony Award-nominated actress
 * Ethan Slater (2014), Tony Award-nominated actor
 * Raph Korine (2017), runner-up of Big Brother 18 (UK)
 * Olivia Newman, film director and screenwriter
 * Natasha Bertrand, (2014), journalist and correspondent for CNN

Notable attendees who did not graduate from Vassar include:
 * Julia Tutwiler, education and prison reform advocate
 * Anthony Bourdain, professional chef and television personality
 * Jacqueline Kennedy Onassis, First Lady of the United States, book editor
 * Katharine Graham, The Washington Post publisher
 * Susan Berresford, president of the Ford Foundation
 * Anne Hathaway, actress
 * Jane Fonda, actress
 * Justin Long, actor
 * Mike D, member of the Beastie Boys
 * Mark Ronson, Academy Award-winning musician
 * Rachael Yamagata, musician
 * Curtis Sittenfeld, writer

Notable Vassar faculty include:
 * Maria Mitchell, pioneering female astronomer
 * Grace Hopper, computer scientist
 * Monique Wittig, philosopher
 * Grace Macurdy, classicist
 * Richard Edward Wilson, composer
 * Uma Narayan, philosopher
 * Mitchell Miller, philosopher
 * Bryan W. Van Norden, philosopher
 * James Merrell, historian
 * Peter Stillman, political scientist
 * Paul Russell, writer
 * Hua Hsu, writer
 * Nancy Willard, writer
 * Frank Bergon, writer
 * Michael Joyce, writer and pioneer of hypertext fiction

title: Vassar College


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Talk:Paul Geisert

What does "the creation of the noun Bright" mean? He didn't invent the word. - Molinari
 * He invented the noun. See the article. Ashibaka tock 07:53, 15 January 2006 (UTC)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Talk:Paul Geisert


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NZPC

The initials NZPC can refer to several things, usually associated with New Zealand, including:

 * New Zealand Performance Car magazine
 * New Zealand Poker Championship
 * New Zealand Press Council
 * New Zealand Prostitutes' Collective
 * Noordwijkse Zwem en Polo Club, Netherlands

title: NZPC


text:
Talk:Ecological model of competition

Untitled
'state of the art' looks weird in italics. Is there a reason for this formatting?
 * Molinari

 * you can change it if you prefer something else. I just write the articles. someone else can format them if they don't like the presentation

user:mydogategodshat

Ecoglogical
This is supposed to be about the ecological model of competition...not economic...

title: Talk:Ecological model of competition


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Art Spiegelman

Itzhak Avraham ben Zeev Spiegelman (born February 15, 1948), professionally known as Art Spiegelman, is an American cartoonist, editor, and comics advocate best known for his graphic novel Maus. His work as co-editor on the comics magazines Arcade and Raw has been influential, and from 1992 he spent a decade as contributing artist for The New Yorker. He is married to designer and editor Françoise Mouly and is the father of writer Nadja Spiegelman. In September 2022, the National Book Foundation announced that he would receive the Medal for Distinguished Contribution to American Letters.

Spiegelman began his career with Topps (a bubblegum and trading card company) in the mid-1960s, which was his main financial support for two decades; there he co-created parodic series such as Wacky Packages in the 1960s and Garbage Pail Kids in the 1980s. He gained prominence in the underground comix scene in the 1970s with short, experimental, and often autobiographical work. A selection of these strips appeared in the collection Breakdowns in 1977, after which Spiegelman turned focus to the book-length Maus, about his relationship with his father, a Holocaust survivor. The postmodern book depicts Germans as cats, Jews as mice, ethnic Poles as pigs, and citizens of the United States as dogs. It took 13 years to create until its completion in 1991. In 1992 it won a special Pulitzer Prize and has gained a reputation as a pivotal work.

Spiegelman and Mouly edited eleven issues of Raw from 1980 to 1991. The oversized comics and graphics magazine helped introduce talents who became prominent in alternative comics, such as Charles Burns, Chris Ware, and Ben Katchor, and introduced several foreign cartoonists to the English-speaking comics world. Beginning in the 1990s, the couple worked for The New Yorker, which Spiegelman left to work on In the Shadow of No Towers (2004), about his reaction to the September 11 attacks in New York in 2001.

Spiegelman advocates for greater comics literacy. As an editor, a teacher, and a lecturer, Spiegelman has promoted better understanding of comics and has mentored younger cartoonists.

Family history

Spiegelman's parents were Polish Jews Władysław (1906–1982) and Andzia (1912–1968) Spiegelman. His father was born Zeev Spiegelman, with the Hebrew name Zeev ben Avraham. Władysław was his Polish name, and Władek (or Vladek in anglicized form) was a diminutive of this name. He was also known as Wilhelm under the German occupation, and Anglicized his name to William upon immigration to the United States. His mother was born Andzia Zylberberg, with the Hebrew name Hannah. She changed her name to Anna upon immigrating to the United States. In Spiegelman's Maus, from which the couple are best known, Spiegelman used the spellings "Vladek" and "Anja", which he believed would be easier for Americans to pronounce. The surname Spiegelman is German for "mirror man".

In 1937, the Spiegelmans had one other son, Rysio (spelled "Richieu" in Maus), who died before Art was born, at the age of five or six. During the Holocaust, Spiegelman's parents sent Rysio to stay with an aunt with whom they believed he would be safe. In 1943, the aunt poisoned herself, along with Rysio and two other young family members in her care, so that the Nazis could not take them to the extermination camps. After the war, the Spiegelmans, unable to accept that Rysio was dead, searched orphanages all over Europe in the hope of finding him. Spiegelman talked of having a sort of sibling rivalry with his "ghost brother"; he felt unable to compete with an "ideal" brother who "never threw tantrums or got in any kind of trouble". Of 85 Spiegelman relatives alive at the beginning of World War II, only 13 are known to have survived the Holocaust.

Early life
He began cartooning in 1960 and imitated the style of his favorite comic books, such as Mad. In the early 1960s, he contributed to early fanzines such as Smudge and Skip Williamson's Squire, and in 1962—while at Russell Sage Junior High School, where he was an honors student—he produced the Mad-inspired fanzine Blasé. He was earning money from his drawing by the time he reached high school and sold artwork to the original Long Island Press and other outlets. His talent caught the eyes of United Features Syndicate, who offered him the chance to produce a syndicated comic strip. Dedicated to the idea of art as expression, he turned down this commercial opportunity. He attended the High School of Art and Design in Manhattan beginning in 1963. He met Woody Gelman, the art director of Topps Chewing Gum Company, who encouraged Spiegelman to apply to Topps after graduating from high school. At age 15, Spiegelman received payment for his work from a Rego Park newspaper.

After he graduated in 1965, Spiegelman's parents urged him to pursue the financial security of a career such as dentistry, but he chose instead to enroll at Harpur College to study art and philosophy. While there, he got a freelance art job at Topps, which provided him with an income for the next two decades.

Spiegelman attended Harpur College from 1965 until 1968, where he worked as staff cartoonist for the college newspaper and edited a college humor magazine. After a summer internship when he was 18, Topps hired him for Gelman's Product Development Department as a creative consultant making trading cards and related products in 1966, such as the Wacky Packages series of parodic trading cards begun in 1967.

Spiegelman began selling self-published underground comix on street corners in 1966. He had cartoons published in underground publications such as the East Village Other and traveled to San Francisco for a few months in 1967, where the underground comix scene was just beginning to burgeon.

In late winter 1968, Spiegelman suffered an intense nervous breakdown, which cut short his university studies. He has said that at the time he was taking LSD with great frequency. He spent a month in Binghamton State Mental Hospital, and shortly after he exited it, his mother died by suicide following the death of her only surviving brother.

Underground comics (1971–1977)
In 1971, after several visits, Spiegelman moved to San Francisco and became a part of the countercultural underground comix movement that had been developing there. Some of the comix he produced during this period include The Compleat Mr. Infinity (1970), a ten-page booklet of explicit comic strips, and The Viper Vicar of Vice, Villainy and Vickedness (1972), a transgressive work in the vein of fellow underground cartoonist S. Clay Wilson. Spiegelman's work also appeared in underground magazines such as Gothic Blimp Works, Bijou Funnies, Young Lust, Real Pulp, and Bizarre Sex, and were in a variety of styles and genres as Spiegelman sought his artistic voice. He also did a number of cartoons for men's magazines such as Cavalier, The Dude, and Gent.

In 1972, Justin Green asked Spiegelman to do a three-page strip for the first issue of Funny Aminals [sic]. He wanted to do one about racism, and at first considered a story with African Americans as mice and cats taking on the role of the Ku Klux Klan. Instead, he turned to the Holocaust that his parents had survived. He titled the strip "Maus" and depicted the Jews as mice persecuted by die Katzen, which were Nazis as cats. The narrator related the story to a mouse named "Mickey". With this story Spiegelman felt he had found his voice.

Seeing Green's revealingly autobiographical Binky Brown Meets the Holy Virgin Mary while in-progress in 1971 inspired Spiegelman to produce "Prisoner on the Hell Planet", an expressionistic work that dealt with his mother's suicide; it appeared in 1973 in Short Order Comix #1, which he edited. Spiegelman's work thereafter went through a phase of increasing formal experimentation; the Apex Treasury of Underground Comics in 1974 quotes him: "As an art form the comic strip is barely in its infancy. So am I. Maybe we'll grow up together." The often-reprinted "Ace Hole, Midget Detective" of 1974 was a Cubist-style nonlinear parody of hardboiled crime fiction full of non sequiturs. "A Day at the Circuits" of 1975 is a recursive single-page strip about alcoholism and depression in which the reader follows the character through multiple never-ending pathways. "Nervous Rex: The Malpractice Suite" of 1976 is made up of cut-out panels from the soap-opera comic strip Rex Morgan, M.D. refashioned in such a way as to defy coherence.

In 1973, Spiegelman edited a pornographic and psychedelic book of quotations and dedicated it to his mother. Co-edited with Bob Schneider, it was called Whole Grains: A Book of Quotations. In 1974–1975, he taught a studio cartooning class at the San Francisco Academy of Art.

By the mid-1970s, the underground comix movement was encountering a slowdown. To give cartoonists a safe berth, Spiegelman co-edited the anthology Arcade with Bill Griffith, in 1975 and 1976. Arcade was printed by The Print Mint and lasted seven issues, five of which had covers by Robert Crumb. It stood out from similar publications by having an editorial plan, in which Spiegelman and Griffith attempt to show how comics connect to the broader realms of artistic and literary culture. Spiegelman's own work in Arcade tended to be short and concerned with formal experimentation. Arcade also introduced art from ages past, as well as contemporary literary pieces by writers such as William S. Burroughs and Charles Bukowski. In 1975, Spiegelman moved back to New York City, which put most of the editorial work for Arcade on the shoulders of Griffith and his cartoonist wife, Diane Noomin. This, combined with distribution problems and retailer indifference, led to the magazine's 1976 demise. Spiegelman swore he would never edit another magazine.

Françoise Mouly, an architectural student on a hiatus from her studies at the Beaux-Arts in Paris, arrived in New York in 1974. While looking for comics from which to practice reading English, she came across Arcade. Avant-garde filmmaker friend Ken Jacobs introduced Mouly and Spiegelman, when Spiegelman was visiting, but they did not immediately develop a mutual interest. Spiegelman moved back to New York later in the year. Occasionally the two ran across each other. After she read "Prisoner on the Hell Planet" Mouly felt the urge to contact him. An eight-hour phone call led to a deepening of their relationship. Spiegelman followed her to France when she had to return to fulfill obligations in her architecture course.

Spiegelman introduced Mouly to the world of comics and helped her find work as a colorist for Marvel Comics. After returning to the U.S. in 1977, Mouly ran into visa problems, which the couple solved by getting married. The couple began to make yearly trips to Europe to explore the comics scene, and brought back European comics to show to their circle of friends. Mouly assisted in putting together the lavish, oversized collection of Spiegelman's experimental strips Breakdowns in 1977.

Raw and Maus (1978–1991)

Breakdowns suffered poor distribution and sales, and 30% of the print run was unusable due to printing errors, an experience that motivated Mouly to gain control over the printing process. She took courses in offset printing and bought a printing press for her loft, on which she was to print parts of a new magazine she insisted on launching with Spiegelman. With Mouly as publisher, Spiegelman and Mouly co-edited Raw starting in July 1980. The first issue was subtitled "The Graphix Magazine of Postponed Suicides". While it included work from such established underground cartoonists as Crumb and Griffith, Raw focused on publishing artists who were virtually unknown, avant-garde cartoonists such as Charles Burns, Lynda Barry, Chris Ware, Ben Katchor, and Gary Panter, and introduced English-speaking audiences to translations of foreign works by José Muñoz, Chéri Samba, Joost Swarte, Yoshiharu Tsuge, Jacques Tardi, and others.

With the intention of creating a book-length work based on his father's recollections of the Holocaust Spiegelman began to interview his father again in 1978 and made a research visit in 1979 to the Auschwitz concentration camp, where his parents had been imprisoned by the Nazis. The book, Maus, appeared one chapter at a time as an insert in Raw beginning with the second issue in December 1980. Spiegelman's father did not live to see its completion; he died on 18 August 1982. Spiegelman learned in 1985 that Steven Spielberg was producing an animated film about Jewish mice who escape persecution in Eastern Europe by fleeing to the United States. Spiegelman was sure the film, An American Tail (1986), was inspired by Maus and became eager to have his unfinished book come out before the movie to avoid comparisons. He struggled to find a publisher until in 1986, after the publication in The New York Times of a rave review of the work-in-progress, Pantheon agreed to release a collection of the first six chapters. The volume was titled Maus: A Survivor's Tale and subtitled My Father Bleeds History. The book found a large audience, in part because it was sold in bookstores rather than in direct-market comic shops, which by the 1980s had become the dominant outlet for comic books.

Spiegelman began teaching at the School of Visual Arts in New York in 1978, and continued until 1987, teaching alongside his heroes Harvey Kurtzman and Will Eisner. "Commix: An Idiosyncratic Historical and Aesthetic Overview", a Spiegelman essay, was published in Print. Another Spiegelman essay, "High Art Lowdown", was published in Artforum in 1990, critiquing the High/Low exhibition at the Museum of Modern Art.

In the wake of the success of the Cabbage Patch Kids series of dolls, Spiegelman created the parodic trading card series Garbage Pail Kids for Topps in 1985. Similar to the Wacky Packages series, the gross-out factor of the cards was controversial with parent groups, and its popularity started a gross-out fad among children. Spiegelman called Topps his "Medici" for the autonomy and financial freedom working for the company had given him. The relationship was nevertheless strained over issues of credit and ownership of the original artwork. In 1989 Topps auctioned off pieces of art Spiegelman had created rather than returning them to him, and Spiegelman broke the relation. In 1990, he received a Guggenheim Fellowship for Fine Arts.

In 1991, Raw Vol. 2, No. 3 was published; it was to be the last issue. The closing chapter of Maus appeared not in Raw but in the second volume of the graphic novel, which appeared later that year with the subtitle And Here My Troubles Began. Maus attracted an unprecedented amount of critical attention for a work of comics, including an exhibition at New York's Museum of Modern Art and a special Pulitzer Prize in 1992.

The New Yorker and public legitimacy (1992–2001)

Hired by Tina Brown as a contributing artist in 1992, Spiegelman worked for The New Yorker for ten years. His first cover appeared on the February 15, 1993, Valentine's Day issue and showed a black West Indian woman and a Hasidic man kissing. The cover caused turmoil at The New Yorker offices. Spiegelman intended it to reference the Crown Heights riot of 1991 in which racial tensions led to the murder of a Jewish yeshiva student. Twenty-one New Yorker covers by Spiegelman were published, and he also submitted some which were rejected for being too outrageous.

Within The New Yorker's pages, Spiegelman contributed strips such as a collaboration, "In the Dumps", with children's illustrator Maurice Sendak and an obituary to Charles M. Schulz, "Abstract Thought is a Warm Puppy". Another of Spiegelman's essays, "Forms Stretched to their Limits", in an issue was about Jack Cole, the creator of Plastic Man. It formed the basis for a book about Cole, Jack Cole and Plastic Man: Forms Stretched to Their Limits (2001).

The same year, Voyager Company published The Complete Maus, a CD-ROM version of Maus with extensive supplementary material, and Spiegelman illustrated a 1923 poem by Joseph Moncure March called The Wild Party. Spiegelman contributed the essay "Getting in Touch With My Inner Racist" in the September 1, 1997, issue of Mother Jones.

Spiegelman was comics editor of the New York Press in the early 1990s. He was comics editor of Details magazine in the late 1990s; in 1997 he began assigning comics journalism pieces in Details to a number of his cartoonist associates, including Joe Sacco, Peter Kuper, Ben Katchor, Peter Bagge, Charles Burns, Kaz, Kim Deitch, and Jay Lynch. The magazine published these works of journalism in comics form throughout 1998 and 1999, helping to legitimize the form in popular perception.

Spiegelman's influence and connections in New York cartooning circles drew the ire of political cartoonist Ted Rall in 1999. In "The King of Comix", an article in The Village Voice, Rall accused Spiegelman of the power to "make or break" a cartoonist's career in New York, while denigrating Spiegelman as "a guy with one great book in him". Cartoonist Danny Hellman responded by sending a forged email under Rall's name to 30 professionals; the prank escalated until Rall launched a defamation suit against Hellman for $1.5 million. Hellman published a "Legal Action Comics" benefit book to cover his legal costs, to which Spiegelman contributed a back-cover cartoon in which he relieves himself on a Rall-shaped urinal.

In 1997, Spiegelman had his first children's book published, Open Me...I'm a Dog, with a narrator who tries to convince its readers that it is a dog via pop-ups and an attached leash. From 2000 to 2003, Spiegelman and Mouly edited three issues of the children's comics anthology Little Lit, with contributions from Raw alumni and children's book authors and illustrators.

Post-September 11 (2001–present)
Spiegelman lived close to the World Trade Center site, which was known as "Ground Zero" after the September 11 attacks that destroyed the World Trade Center. Immediately following the attacks Spiegelman and Mouly rushed to their daughter Nadja's school, where Spiegelman's anxiety served only to increase his daughter's apprehensiveness over the situation. Spiegelman and Mouly created a cover for the September 24 issue of The New Yorker which at first glance appears to be totally black, but upon close examination it reveals the silhouettes of the World Trade Center towers in a slightly darker shade of black. Mouly positioned the silhouettes so that the North Tower's antenna breaks into the "w" of The New Yorker's logo. The towers were printed in black on a slightly darker black field employing standard four-color printing inks with an overprinted clear varnish. In some situations, the ghost images only became visible when the magazine was tilted toward a light source. Spiegelman was critical of the Bush administration and the mass media over their handling of the September 11 attacks.

Spiegelman did not renew his New Yorker contract after 2003. He later quipped that he regretted leaving when he did, as he could have left in protest when the magazine ran a pro-invasion of Iraq piece later in the year. Spiegelman said his parting from The New Yorker was part of his general disappointment with "the widespread conformism of the mass media in the Bush era". He said he felt like he was in "internal exile" following the September 11 attacks as the U.S. media had become "conservative and timid" and did not welcome the provocative art that he felt the need to create. Nevertheless, Spiegelman asserted he left not over political differences, as had been widely reported, but because The New Yorker was not interested in doing serialized work, which he wanted to do with his next project.

Spiegelman responded to the September 11 attacks with In the Shadow of No Towers, commissioned by German newspaper Die Zeit, where it appeared throughout 2003. The Jewish Daily Forward was the only American periodical to serialize the feature. The collected work appeared in September 2004 as an oversized board book of two-page spreads which had to be turned on end to read.

In the June 2006 edition of Harper's Magazine Spiegelman had an article published on the Jyllands-Posten Muhammad cartoons controversy; some interpretations of Islamic law prohibit the depiction of Muhammad. The Canadian chain of booksellers Indigo refused to sell the issue. Called "Drawing Blood: Outrageous Cartoons and the Art of Outrage", the article surveyed the sometimes dire effect political cartooning has for its creators, ranging from Honoré Daumier, who spent time in prison for his satirical work; to George Grosz, who faced exile. To Indigo the article seemed to promote the continuance of racial caricature. An internal memo advised Indigo staff to tell people: "the decision was made based on the fact that the content about to be published has been known to ignite demonstrations around the world." In response to the cartoons, Iranian president Mahmoud Ahmadinejad promoted an Iranian cartoon contest seeking anti-Semitic cartoons. The organizers of the contest intended to highlight what they perceived as Western double standards surrounding anti-Semitism and Islamophobia. Spiegelman produced a cartoon of a line of prisoners being led to the gas chambers; one stops to look at the corpses around him and says, "Ha! Ha! Ha! What's really hilarious is that none of this is actually happening!"

To promote literacy in young children, Mouly encouraged publishers to publish comics for children. Disappointed by publishers' lack of response, from 2008 she self-published a line of easy readers called Toon Books, by artists such as Spiegelman, Renée French, and Rutu Modan, and promotes the books to teachers and librarians for their educational value. Spiegelman's Jack and the Box was one of the inaugural books in 2008.

In 2008 Spiegelman reissued Breakdowns in an expanded edition including "Portrait of the Artist as a Young %@&*!" an autobiographical strip that had been serialized in the Virginia Quarterly Review from 2005. A volume drawn from Spiegelman's sketchbooks, Be A Nose, appeared in 2009. In 2011, MetaMaus followed—a book-length analysis of Maus by Spiegelman and Hillary Chute with a DVD update of the earlier CD-ROM.

Library of America commissioned Spiegelman to edit the two-volume Lynd Ward: Six Novels in Woodcuts, which appeared in 2010, collecting all of Ward's wordless novels with an introduction and annotations by Spiegelman. The project led to a touring show in 2014 about wordless novels called Wordless! with live music by saxophonist Phillip Johnston. Art Spiegelman's Co-Mix: A Retrospective débuted at Angoulême in 2012 and by the end of 2014 had traveled to Paris, Cologne, Vancouver, New York, and Toronto. The book Co-Mix: A Retrospective of Comics, Graphics, and Scraps, which complemented the show, appeared in 2013.

In 2015, after six writers refused to sit on a panel at the PEN American Center in protest of the planned "freedom of expression courage award" for the satirical French periodical Charlie Hebdo following the shooting at its headquarters earlier in the year, Spiegelman agreed to be one of the replacement hosts, along with other names in comics such as writer Neil Gaiman. Spiegelman retracted a cover he had submitted to a Gaiman-edited "saying the unsayable" issue of New Statesman when the management declined to print a strip of Spiegelman's. The strip, "Notes from a First Amendment Fundamentalist", depicts Muhammad, and Spiegelman believed the rejection was censorship, though the magazine asserted it never intended to run the cartoon.

In 2021, Literary Hub announced that Spiegelman was co-creating a work Street Cop with author Robert Coover.

Personal life

Spiegelman married Françoise Mouly on July 12, 1977, in a New York city hall ceremony. They remarried later in the year after Mouly converted to Judaism to please Spiegelman's father. Mouly and Spiegelman have two children together: a daughter, Nadja Rachel, born in 1987, and a son, Dashiell Alan, born in 1992.

Style
"All comic-strip drawings must function as diagrams, simplified picture-words that indicate more than they show."

Spiegelman suffers from a lazy eye, and thus lacks depth perception. He says his art style is "really a result of [his] deficiencies". His is a style of labored simplicity, with dense visual motifs which often go unnoticed upon first viewing. He sees comics as "very condensed thought structures", more akin to poetry than prose, which need careful, time-consuming planning that their seeming simplicity belies. Spiegelman's work prominently displays his concern with form, and pushing the boundaries of what is and is not comics. Early in the underground comix era, Spiegelman proclaimed to Robert Crumb, "Time is an illusion that can be shattered in comics! Showing the same scene from different angles freezes it in time by turning the page into a diagram—an orthographic projection!" His comics experiment with time, space, recursion, and representation. He uses the word "decode" to express the action of reading comics and sees comics as functioning best when expressed as diagrams, icons, or symbols.

Spiegelman has stated he does not see himself primarily as a visual artist, one who instinctively sketches or doodles. He has said he approaches his work as a writer as he lacks confidence in his graphic skills. He subjects his dialogue and visuals to constant revision—he reworked some dialogue balloons in Maus up to forty times. A critic in The New Republic compared Spiegelman's dialogue writing to a young Philip Roth in his ability "to make the Jewish speech of several generations sound fresh and convincing".

Spiegelman makes use of both old- and new-fashioned tools in his work. He prefers at times to work on paper on a drafting table, while at others he draws directly onto his computer using a digital pen and electronic drawing tablet, or mixes methods, employing scanners and printers.

Influences

Harvey Kurtzman has been Spiegelman's strongest influence as a cartoonist, editor, and promoter of new talent. Chief among his other early cartooning influences include Will Eisner, John Stanley's version of Little Lulu, Winsor McCay's Little Nemo, George Herriman's Krazy Kat, and Bernard Krigstein's short strip "Master Race".

In the 1960s Spiegelman read in comics fanzines about graphic artists such as Frans Masereel, who had made wordless novels in woodcut. The discussions in those fanzines about making the Great American Novel in comics later acted as inspiration for him. Justin Green's comic book Binky Brown Meets the Holy Virgin Mary (1972) motivated Spiegelman to open up and include autobiographical elements in his comics.

Spiegelman acknowledges Franz Kafka as an early influence, whom he says he has read since the age of 12, and lists Vladimir Nabokov, William Faulkner, Gertrude Stein among the writers whose work "stayed with" him. He cites non-narrative avant-garde filmmakers from whom he has drawn heavily, including Ken Jacobs, Stan Brakhage, and Ernie Gehr, and other filmmakers such as Charlie Chaplin and the makers of The Twilight Zone.

Beliefs
Spiegelman is a prominent advocate for the comics medium and comics literacy. He believes the medium echoes the way the human brain processes information. He has toured the U.S. with a lecture called "Comix 101", examining its history and cultural importance. He sees comics' low status in the late 20th century as having come down from where it was in the 1930s and 1940s, when comics "tended to appeal to an older audience of GIs and other adults". Following the advent of the censorious Comics Code Authority in the mid-1950s, Spiegelman sees comics' potential as having stagnated until the rise of underground comix in the late 1960s. He taught courses in the history and aesthetics of comics at schools such as the School of Visual Arts in New York. As co-editor of Raw, he helped propel the careers of younger cartoonists whom he mentored, such as Chris Ware, and published the work of his School of Visual Arts students, such as Kaz, Drew Friedman, and Mark Newgarden. Some of the work published in Raw was originally turned in as class assignments.

Spiegelman has described himself politically as "firmly on the left side of the secular-fundamentalist divide" and a "1st Amendment absolutist". As a supporter of free speech, Spiegelman is opposed to hate speech laws. He wrote a critique in Harper's on the controversial Muhammad cartoons in the Jyllands-Posten in 2006; the issue was banned from Indigo–Chapters stores in Canada. Spiegelman criticized American media for refusing to reprint the cartoons they reported on at the time of the Charlie Hebdo shooting in 2015.

Spiegelman is a non-practicing Jew and considers himself "a-Zionist"—neither pro- nor anti-Zionist; he has called Israel "a sad, failed idea". He told Peanuts creator Charles Schulz he was not religious, but identified with the "alienated diaspora culture of Kafka and Freud ... what Stalin pejoratively called rootless cosmopolitanism".

Legacy
Maus looms large not only over Spiegelman's body of work, but over the comics medium itself. While Spiegelman was far from the first to do autobiography in comics, critics such as James Campbell considered Maus the work that popularized it. The bestseller has been widely written about in the popular press and academia—the quantity of its critical literature far outstrips that of any other work of comics. It has been examined from a great variety of academic viewpoints, though most often by those with little understanding of Maus` context in the history of comics. While Maus has been credited with lifting comics from popular culture into the world of high art in the public imagination, criticism has tended to ignore its deep roots in popular culture, roots that Spiegelman has intimate familiarity with and has devoted considerable time to promote.

Spiegelman's belief that comics are best expressed in a diagrammatic or iconic manner has had a particular influence on formalists such as Chris Ware and his former student Scott McCloud. In 2005, the September 11-themed New Yorker cover placed sixth on the top ten of magazine covers of the previous 40 years by the American Society of Magazine Editors. Spiegelman has inspired numerous cartoonists to take up the graphic novel as a means of expression, including Marjane Satrapi.

A joint ZDF–BBC documentary, Art Spiegelman's Maus, was televised in 1987. Spiegelman, Mouly, and many of the Raw artists appeared in the documentary Comic Book Confidential in 1988. Spiegelman's comics career was also covered in an Emmy-nominated PBS documentary, Serious Comics: Art Spiegelman, produced by Patricia Zur for WNYC-TV in 1994. Spiegelman played himself in the 2007 episode "Husbands and Knives" of the animated television series The Simpsons with fellow comics creators Daniel Clowes and Alan Moore. A European documentary, Art Spiegelman, Traits de Mémoire, appeared in 2010 and later in English under the title The Art of Spiegelman, directed by Clara Kuperberg and Joelle Oosterlinck and mainly featuring interviews with Spiegelman and those around him.

Awards

 * 1982: Playboy Editorial Award, Best Comic Strip
 * 1982:, Lucca, Italy, for Foreign Author
 * 1983: Print, Regional Design Award
 * 1984: Print, Regional Design Award
 * 1985: Print, Regional Design Award
 * 1986: Joel M. Cavior, Jewish Writing
 * 1987: Inkpot Award
 * 1988: Angoulême International Comics Festival, France, Prize for Best Comic Book, for Maus
 * 1988: Urhunden Prize, Sweden, Best Foreign Album, for Maus
 * 1990: Guggenheim Fellowship.
 * 1990: Max & Moritz Prize, Erlangen, Germany, Special Prize, for Maus
 * 1992: Pulitzer Prize Letters award, for Maus
 * 1992: Eisner Award, Best Graphic Album (reprint), for Maus
 * 1992: Harvey Award, Best Graphic Album of Previously Published Work, for Maus
 * 1992: Los Angeles Times, Book Prize for Fiction for Maus II
 * 1993: Angoulême International Comics Festival, Prize for Best Comic Book, for Maus II
 * 1993: Sproing Award, Norway, Best Foreign Album, for Maus
 * 1993: Urhunden Prize, Best Foreign Album, for Maus II
 * 1995: Binghamton University (formerly Harpur College), honorary Doctorate of Letters.
 * 1999: Eisner Award, inducted into the Hall of Fame
 * 2005: French government, Chevalier of the Ordre des Arts et des Lettres
 * 2005: Time magazine, one of the "Top 100 Most Influential People"
 * 2011: Angoulême International Comics Festival, Grand Prix
 * 2011: National Jewish Book Award for MetaMaus: A Look Inside a Modern Classic, Maus
 * 2015: American Academy of Arts and Letters membership
 * 2018: The Edward MacDowell Medal
 * 2020: The Great Immigrants Award by the Carnegie Corporation of New York

Author

 * Tijuana Bibles: Art and Wit in America's Forbidden Funnies, 1930s-1950s (Introductory Essay: Those Dirty Little Comics) (1977)
 * Breakdowns: From Maus to Now, an Anthology of Strips (1977)
 * Maus (1991)
 * The Wild Party (1994)
 * Open Me, I'm A Dog (1995)
 * Jack Cole and Plastic Man: Forms Stretched to Their Limits (2001)
 * In the Shadow of No Towers (2004)
 * Breakdowns: Portrait of the Artist as a Young %@&*! (2008)
 * Jack and the Box (2008)
 * Be a Nose (2009)
 * MetaMaus (2011)
 * Co-Mix: A Retrospective of Comics, Graphics, and Scraps (2013)
 * Street Cop (with Robert Coover) (2021)
 * The St. Louis Refugee Ship Blues, Art Spiegelman recounts a sad story 70 years later.

Editor

 * Short Order Comix (1972–74)
 * Whole Grains: A Book of Quotations (with Bob Schneider, 1973)
 * Arcade (with Bill Griffith, 1975–76)
 * Raw (with Françoise Mouly, 1980–91)
 * City of Glass (graphic novel adaptation by David Mazzucchelli of the Paul Auster novel, 1994)
 * The Narrative Corpse (1995)
 * Little Lit (with Françoise Mouly, 2000–2003)
 * The TOON Treasury of Classic Children's Comics (with Françoise Mouly, 2008)
 * Lynd Ward: Six Novels in Woodcuts (2010)

title: Art Spiegelman


text:
New Zealand Prostitutes' Collective

The Aotearoa New Zealand Sex Workers' Collective (NZPC), formerly the New Zealand Prostitutes' Collective, is a New Zealand-based organisation that supports sex workers' rights and educates sex workers about minimising the risks of the job.

Background
The New Zealand Prostitutes' Collective was founded in 1987 by Catherine Healy and others. Funding was received from a contract in 1988 for HIV/AIDS prevention from the Department of Health. Offices were established in Auckland, Wellington, and Dunedin, and a phone support service operated for Christchurch. These were all mostly run by approximately 40 volunteers, as the Collective had only 1.5 staff members. Advocacy was a big part of the work of the Collective, and they promoted legislative reform of the Crimes Bill which contained a legal double standard, which censured the prostitute, while condoning the client. The first submission they made to this bill was in 1989. They continued to play an active role in the New Zealand Labour Party-led Helen Clark administration passing the Prostitution Reform Act 2003, which decriminalised most forms of adult prostitution in New Zealand. The Prostitution Law Review Committee published in their final report in 2008 that there was no increase in prostitution, and that sex workers were safer.

During the early 1990s, the New Zealand Prostitutes' Collective faced significant opposition due to the stigma of sex work and attention around the legislative reform. An example described by Jan Jordan is: "Even the supposedly simple task of having their phone number listed in the telephone directory had been a battle, with Telecom objecting to having the word 'prostitutes' printed in their phone book."

In 1994, a television documentary directed by Clare O'Leary entitled "A Double Standard," was produced to demonstrate the then current problems that the criminalization of sex workers under The Massage Parlour Act 1978 could and were causing before the Prostitution Reform Act 2003 was passed and enacted on 25 June, 2003. Any person committing an offence under the Massage Parlour Act 1978, upon conviction could be issued with a fine not exceeding NZ$200.

Current
By 2018, the Collective employed more people, as well as using volunteers. Part of the success of NZPC is that it is staffed by sex workers; there are only two staff members who are not sex workers – a lawyer, and an accountant. There is a board of trustees, and they are all current or former sex workers. In 2018, NZPC founder Catherine Healy received a Dame Companion of the New Zealand Order of Merit, for services to the rights of sex workers, which is a turn-around in the acknowledgement and acceptance of sex work and the part that NZPC played in that.

NZPC receives funding from the Ministry of Health for sexual and reproductive health services. There are branches in Auckland, Tauranga, Manawatu, Hawkes Bay, Wellington, Christchurch, and Dunedin, and a helpline for other regions. A current advocacy focus is the discrimination faced by migrant sex workers in New Zealand because under the Prostitution Reform Act of 2003, migrant sex work is illegal. Ongoing outreach programs are run to support sex workers to be safe. In 2020, during New Zealand's strict level 4 lockdown, as a response to the global COVID-19 pandemic, the collective's Auckland manager Annah Pickering said: "Covid-19 hit sex workers particularly hard because of the nature of the job, and also because a big bulk of their clientele comes from overseas — many who book months in advance."

title: New Zealand Prostitutes' Collective


text:
Samurai X

Samurai X may refer to:

 * Nya (Ninjago), a fictional character in the animated television series Ninjago
 * P.I.X.A.L., another fictional character in the animated television series Ninjago
 * Rurouni Kenshin (1996 TV series), a Japanese anime television series

title: Samurai X


text:
Talk:Samurai X

Xs
A redirect to Talk:Rurouni Kenshin was here but as this is a recurring alias by Nya in Ninjago it is worth asking who else might have used this name. ScratchMarshall (talk) 16:47, 9 October 2017 (UTC)

title: Talk:Samurai X


text:
Cambridge, New Zealand

Cambridge (Kemureti) is a town in the Waipa District of the Waikato region of the North Island of New Zealand. Situated 24 km southeast of Hamilton, on the banks of the Waikato River, Cambridge is known as "The Town of Trees & Champions". The town has a population of, making it the largest town in the Waipa District, and the third largest urban area in the Waikato (after Hamilton and Taupō).

Cambridge was a finalist in the 2017 and 2019 New Zealand's Most Beautiful Large Town awards, run by Keep New Zealand Beautiful. It was awarded the title New Zealand's Most Beautiful Large Town in October 2019.

History
Prior to the arrival of Europeans there were a number of Maori pā in the vicinity of what would become Cambridge. In the 1850s missionaries and farmers from Britain settled in the area and introduced modern farming practices to local Maori, helping them set up two flour mills and importing grinding wheels from England and France. During the 1850s, wheat was a profitable crop but when merchants in Auckland began purchasing cheaper grain from Australia the market went into decline.

The European town of Cambridge was established when the 3rd Regiment of the Waikato Militia were settled there in 1864 following the Invasion of the Waikato. The town was named after Prince George, Duke of Cambridge, the Commander-in-Chief of the British Army at the time.

Electric street lights were first switched on in 1922.

Demographics
Cambridge covers 27.35 km2 and had an estimated population of as of  with a population density of  people per km2.

Before the 2023 census, the town had a smaller boundary, covering 26.67 km2. Using that boundary, Cambridge had a population of 18,654 at the 2018 New Zealand census, an increase of 2,553 people (15.9%) since the 2013 census, and an increase of 4,755 people (34.2%) since the 2006 census. There were 7,080 households, comprising 8,925 males and 9,726 females, giving a sex ratio of 0.92 males per female, with 3,690 people (19.8%) aged under 15 years, 3,147 (16.9%) aged 15 to 29, 7,908 (42.4%) aged 30 to 64, and 3,918 (21.0%) aged 65 or older.

Ethnicities were 90.1% European/Pākehā, 10.5% Māori, 1.5% Pacific peoples, 5.3% Asian, and 1.8% other ethnicities. People may identify with more than one ethnicity.

The percentage of people born overseas was 24.1, compared with 27.1% nationally.

Although some people chose not to answer the census's question about religious affiliation, 50.4% had no religion, 38.7% were Christian, 0.5% had Māori religious beliefs, 0.7% were Hindu, 0.2% were Muslim, 0.5% were Buddhist and 2.0% had other religions.

Of those at least 15 years old, 3,279 (21.9%) people had a bachelor's or higher degree, and 2,682 (17.9%) people had no formal qualifications. 3,045 people (20.3%) earned over $70,000 compared to 17.2% nationally. The employment status of those at least 15 was that 7,413 (49.5%) people were employed full-time, 2,133 (14.3%) were part-time, and 408 (2.7%) were unemployed.

Governance
Cambridge is administered by the Waipa District Council. It is the largest town in the District, but not the seat of the council, which is at Te Awamutu.

Nationally, Cambridge is part of the general electorate and the  Māori electorate.

Economy
Cambridge's main sources of employment and income come from dairy farming, tourism, the equine industry and sport. Dairy farming provides more than one in 10 jobs in the Waipa District. The tourism industry supports 12.7% of jobs in Waipa District. The equine industry provides more than 600 jobs in the Waikato, with many based in and around Cambridge. It is estimated that one in five Cambridge residents work in nearby Hamilton.

Transport
Cambridge lies adjacent to State Highway 1, which connects the town with Hamilton in the northwest and Tauranga, Rotorua and Taupō in the southeast. Access to Cambridge from the north is via the Cambridge Road and Victoria Road interchanges, and from the south is via the Tirau Road interchange. Prior to the Waikato Expressway extension opening in December 2015, SH 1 ran through the centre of Cambridge, though in 1985 it had been diverted from the main shopping street, to run via Carters Flat.

State Highway 1B leaves SH 1 at the Victoria Road interchange and provides a route north to SH 1 at Taupiri, providing a route north towards Auckland while bypassing Hamilton to the east.

Hamilton Airport, 18 minutes drive from Cambridge, is the nearest airport and provides daily flights to all New Zealand's main centres.

A public bus service connects Cambridge with central Hamilton via Tamahere and Waikato University several times daily.

Cambridge was formerly the terminus of the Cambridge Branch railway, but this closed beyond Hautapu in 1999.

Until the railway was built the Waikato River was the main form of transport, Cambridge being the limit of navigation. Steamers continued to serve Cambridge until the 1930s. The wharf was near the Karapiro Stream, where the river was wide enough for steamers to turn.

Rural districts
There are a number of nearby rural districts which identify socially and economically with Cambridge. These districts would typically have a few hundred residents, a primary school and a community hall for local social events. In the early 20th century, many of these districts also had their own small milk processing factories. These districts are Bruntwood, French Pass, Goodwood/Fencourt, Hautapu, Hora Hora, Karapiro, Kaipaki, Maungatautari, Te Miro, and Whitehall

Sport
Cambridge and nearby Lake Karapiro have become the homes for national sports organisations such as cycling (track, road, mountain biking and BMX), rowing, triathlon and as high performance centres for kayaking and canoeing.
 * National sports headquarters

A purpose built velodrome facility, the Grassroots Trust Velodrome, was opened by William and Catherine, the Duke and Duchess of Cambridge, in Cambridge on 12 April 2014. In December 2015, Cambridge hosted the 2015–16 UCI Track Cycling World Cup. There are also many cycle and walking tracks that have been purpose built around Cambridge. The 60 km Te Awa River Ride, from Ngāruawāhia to Karapiro, is planned to be fully open by the end of 2021. It currently has two paths open which are for cyclists and walkers. The purpose built track runs from the centre of Cambridge out to the velodrome and follows the Waikato river. There is also a wide cycleway running from Leamington to Lake Karapiro Domain. Cambridge will host the New Zealand National Road Race Championships and the accompanying time trial between the years of 2020 and 2022 with an option for a fourth year, the event will take place in mid February.
 * Cycling

The town is now well known for its Thoroughbred studs and stables, which have produced many champion horses in the sports of racing and show jumping. Cambridge is popularly known as the 'equine capital' of New Zealand. Internationally known thoroughbred studs in the area include:
 * Thoroughbred horse studs
 * Cambridge Stud
 * Chequers Stud
 * Blue Gum Lodge
 * Trelawney Stud
 * Windsor Park Stud

Lake Karapiro, recognised as one of the premium rowing lakes in the world, is close by, producing several world rowing champions, notably Rob Waddell, Robbie Manson, the Evers-Swindell twins, Georgina and Caroline, Mahé Drysdale and James Dallinger. The 2010 World Rowing Championships were held at Lake Karapiro.
 * Rowing

Cambridge is home to two clubs, Hautapu Sports Club, founded in 1903, and Leamington Rugby Sports Club, founded in 1897.
 * Rugby Union

Cambridge is home to Cambridge FC who were the 2017 and 2015 Waikato Bay of Plenty Premiership champions, and Waipa Sports Club of the Year in 2014 and 2015.
 * Football

Events
Cambridge and the surrounding district is host to many sporting, cultural and trade events. More than 120,000 visitors attend the National Agricultural Fieldays every year at the Mystery Creek Events Centre between Cambridge and Hamilton.

Every summer, Lake Karapiro hosts the Waka Ama Sprint National Championships and the hydroplane racing as part of the New Zealand Grand Prix Circuit. In February, the Keyte Watson Polo Tournament takes place at Leamington, Cambridge. Every March, Cambridge holds its four-day Autumn Festival and in December, a Christmas Festival (including a town parade) takes place.

Cambridge's local annual event is the Battle of the Bridges, a rugby and netball competition between the two sports clubs in Cambridge, Leamington and Hautapu, however the trophy is awarded to the winning team in the rugby match. The event takes place in August each year. The first ever match between the two sides, in 2013, ended in a 0–0 draw.

Media
Switch FM is a local radio station.

Cambridge also has two local newspapers, the Cambridge News and the Cambridge Edition.

There is also a lively Facebook page that is used to share and request information and resources.

Education
Cambridge High School is the town's co-educational state secondary school for Year 9 to 13 students, with a roll of  as of. Cambridge Middle School is the town's intermediate school for Year 7 to 10 students, with a roll of.

The town has three state primary schools for Year 1 to 6 students: Cambridge East School with a roll of ; Cambridge School,  with a roll of ; Leamington School,  with a roll of.

Cambridge also has two non-state schools with similar names. St. Peter's School is a co-educational Anglican private (independent) school for Year 7 to 13 students, with a roll of. St Peter's Catholic School is a co-educational Roman Catholic integrated primary school for Year 1 to 8 students, with a roll of.

Notable residents
Past or present residents include:
 * Kylie Bax, Model and actress
 * Hamish Bond, MNZM, Rower, Olympic gold medallist
 * Kenny Cresswell, member of 1982 All Whites (football)
 * Members of The Datsuns Rock Band
 * Mahé Drysdale, MNZM, Rower, Olympic gold medallist
 * Katie Duncan, international footballer and Olympian
 * Matthew Dunham, World Champion silver medallist in rowing
 * Angus Fogg, racing driver
 * Allyson Gofton, cooking writer and television presenter
 * Juliette Haigh, World Champion gold medallist in rowing
 * Nikki Hamblin, Middle distance runner and winner of Fair Play Award at 2016 Summer Olympics
 * Ricki Herbert, CNZM, former coach of New Zealand All Whites and international footballer.
 * Sir Patrick Hogan KNZM, CBE, Horse breeder
 * Nikita Howarth, Paralympic swimmer and gold medallist
 * Luke Jacobson, Professional Rugby Union player and All Black
 * Mitch Jacobson, Professional Rugby Union player
 * Billy T. James, MBE, Entertainer and comedian
 * Spencer Jones, Professional Rugby Union player
 * Sir Vaughan Jones, Fields Medal winner
 * Joelle King, Squash player
 * Regan King, Rugby Union player
 * Dick Myers, All Black (played for Leamington RFC)
 * Eric Murray, MNZM, rower, Olympic gold medallist
 * Ritchie Pickett, country music singer/songwriter
 * Ken Rutherford, MNZM, International cricketer and horse racing club manager
 * Wayne Smith, CNZM, All Black and assistant coach of World Cup winning All Blacks in 2011 and 2015
 * Joel Tobeck, Actor
 * Sarah Walker, Olympic silver medallist in BMX
 * Sir Mark Todd, equestrian double Olympic gold medallist
 * Sarah Ulmer, World Champion and Olympic gold medallist cyclist
 * Rob Waddell, Olympic gold medallist in rowing
 * Chris Wood, international footballer and All Whites captain
 * Cameron Roigard, Rugby Union Player

Cambridge was also the birthplace of All Black Sir Colin Meads KNZM MBE; George Albert Tuck (1884–1981), a notable New Zealand builder, soldier and diarist; artist Frances Irwin Hunt 1890–1981) and educationalist Blanche Eleanor Carnachan, MBE, (1871–1954).

title: Cambridge, New Zealand


text:
1999 Governor General's Awards

The winners of the 1999 Governor General's Literary Awards were announced by Jean-Louis Roux, chairman, and Shirley Thomson, director of the Canada Council for the Arts, at a press conference held on November 16 at the National Library of Canada. Each winner received a cheque for CA$10,000.

title: 1999 Governor General's Awards