Homer Simpson as Outsider Artist, or How I Learned to Accept Ambivalence (Maybe) Author(s): Reva Wolf Reviewed work(s): Source: Art Journal, Vol. 65, No. 3 (Fall, 2006), pp. 100-111 Published by: College Art Association Stable URL: http://www.jstor.org/stable/20068484 . Accessed: 23/02/2012 13:08
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http://www.jstor.org 3 Homer creates art in the "Mom and Pop Homer a barbecue with Simpson purchases build-it-yourself pit and, the help of Art" episode of The Simpsons on Fox. (The his Lisa, starts to assemble it. Not who knows Simpsons &? I999TCFFC.AII rights daughter surprisingly (for anyone reserved. ? Fox he makes a mess of Broadcasting) Homer), the project. Unsuccessful in his attempt to return the item to to now-mangled the store, he tries get rid of it in other ways, in vain. As he then drives down the street with the object tethered to the back fender of his it a car car, dislodges and crashes into behind him. When the driver of this car later shows up at his house, he is certain she is there to sue. she that she owns an art Instead, explains gallery where she Feature would like to exhibit his object. These scenes in a early spring 1999 episode of the The Simpsons,entitled "Mom and Pop Art," written by Al Jean and directed by Steven introduce the twin that reverberate Moore, questions throughout the episode: What is art? Who is an artist?' These worn-out old, seemingly questions go back to Marcel of the Reva Wolf Duchamp's readymades os but are new on 191 infused with energy and meaning The we Simpsons. The incisive wit encounter here punctures our staid Homer as about art and artists, the latent Simpson judgments thereby releasing ambivalence and confusion that we to ought welcome, confront, Outsider or and Artist, enjoy. I The ambivalence and confusion about the what and who of How Learned to art first enter the when Homer to the Accept picture responds gallery owner's enthusiastic of as art. Ambivalence labeling his failed barbecue pit "You mean this hunk a (Maybe) o' junk?" he asks. "This isn't art; it's barbecue that me over the pit pushed edge." His wife, Marge, "You? An artist?" For habitual viewers of The s agrees: Simpsons, Marge exclamation of is in disbelief rich association. We know Marge is perennially annoyed by I an version at Homer's aversion to cultural activities that be deemed presented earlier of this paper the any might "high art." We Art Association Annual Conference ses College from the "Brush with Greatness" know, too, episode of exactly eight years earlier sion "Comic Art," New York, February 20, 2003, the that as a school student had to an chaired by Benjamin Binstock and Benjamin Lapp. (to day), high Marge herself aspired be Other versions of the were at paper given the and had sent Starr a she had of him.2 artist, Ringo portrait painted Marge's por Philosophy Club lecture series of the State traits stand for conventional artistic skill, while Homer's University of New York, New Paltz (April 2003). contraption represents and at the National Graduate Seminar of the an unintended alternative to convention. Yet Homer as a character does not fit Photography Institute, Columbia University (June the alternative bill. This us, contributes 2004). Kristine Harris and Robert Polito provided incongruity, by disorienting significantly numerous beneficial comments, and to our since we are unable to fit the idea of the Eugene confusion, "Homer artist" neatly Heath me to articulate what in an earlier prodded into our existing categories and stereotypes. draft Ionly hinted at. Steve Martits and Susan initial art DeMaio generously assisted me with some Homer's disagreement with the dealer's determination that his to unusual technological needs. Thanks Alfred art sets ruined barbecue pit is the stage for a scene toward the end of the Bie and Andy Bandit for kindly offering their time in which Homer and a visit to the local art museum. and expertise in the area of reproductions and episode, Marge pay Iwill permissions. A United University Professions reveal a museum bit later what occasions this visit. For the present, Iwill zoom Professional Development Grant provided impor 3 in on Homer's at the museum, of the characters Akbar and tant support for this project. Ireceived the best discovery, comic-strip assistance with my research from aWeb site, drawn none other than the creator of The Matt Jeff, by Simpsons, Groening. Homer, Marge and Homer in the "Mom and Pop as an aficionado of popular culture, immediately recognizes the author of this Art" episode of The Simpsons on Fox. (The and is stunned. "Matt he "What's he in a Simpsons &? I999TCFFC.AII rights drawing Groening!" shouts, doing reserved. ? Fox Broadcasting) museum? He can barely draw!"This judgment parallels Homer's own gut when the art dealer on a response declares, his doorstep, that Homer has made art. An work of implication of this parallel is that neither Homer's nor Groening's productions qualify as art. (It isworth pointing out, at this juncture, that the M formed by Homer's hair, when viewed from the side, and the one formed by his "The Simpsons Archive" (www.snpp.com)?a site open shirt collar are very likely synecdoches for "Matt"; himself has that still makes me puzzle over whether a line Groening really separates the scholar from the fan.Without said that he identifies with Homer.)3 the enthusiasm of a particular Simpsons fan, my Homer's of is not an judgment Groening's work, however, merely indirect nephew Marc Hartzman, this essay would not reference to the cartoonist's exist; Idedicate the essay to Marc. identification with his character. This judgment also to the that operates convey opinion comic-strip drawings (and, by extension, 1. "Mom and Pop Art," The Simpsons, originally are not art to be own Homer's aired on Fox Network, April 11, 1999. cartoons) (which happens Groening's viewpoint).4 2. Brian K. Roberts and Reardon is also consistent with his For in (writer) Jim judgment character. example, the 1991 episode (director), "Brush with Greatness," The Simpsons, "Mr. Lisa Goes to he tells that "cartoons don't have originally aired on Fox Network, April II, 1991. Washington," Marge any 3. Annemarie Wyley, "The Simpsons' Creator deep meaning. They're just stupid drawings that give you a cheap laugh."5 As the Groening Grows Up" (interview with Matt poet Robert Pinsky and other Simpsonsfans have observed, the program Groening), Reuters, September 3, 1999, available regularly makes fun own online at www.snpp.com/other/interviews/ of, while simultaneously praising, its genre.6 It does this with The schematic M of Homer's groening99b.html. a of a sentence or a striking economy means?through single simple drawing. collar and hair (as well as Bart's hairdo) resem The economical of Akbar and intimates that bles, in addition, the zig-zag pattern on the shirt drawing Jeff the label "art" of Charles Schulz's Peanuts character a comic-strip constitutes form of acceptance. Look carefully at the text in this drawing: Charlie Brown, and Groening has acknowledged "Wow. You Do Love Me." While we can take the of these words to be the influence of Peanuts on his work; see Doug recipient Sadownick, "Groening against the Grain: Maverick either Akbar or Jeff?the two are identical?the recipient also may be you or Cartoonist Matt Draws inReaders with Groening me, inwhich case these words that the comic is loved suffi Gay Characters Akbar and Jeff" (interview with might signify strip Matt Advocate to on Groening), 571 (February 26, ciendy hang the museum's walls. This association of art with love and 1991 ): 30-35, also available online at www.snpp. acceptance is an important theme in the "Mom and Pop Art" episode of The com/other/interviews/groening91 .html. Else Homer will to as where, Groening has commented that the charac Simpsons. go great lengths, the narrative progresses, to gain the ters in Peanuts are on based primarily "variations and on love acceptance that society lavishes the successful artist. His actions pro on hairdos"; quoted in Erik H. Bergman, "Prime voke our dormant as we the Time IsHeaven for 'Life inHell' Artist," TVHost, ambivalence, ponder implications of construing December 16, 1989, as transcribed by Bruce love and as criteria for art. We are to acceptance defining able experience this Gomes and available online at www.snpp. com/ ambivalence because the itself refrains from clear other/interviews/groening89.html. episode presenting any judg 4. has stated, for "I ment or about these criteria. This Groening example, always argument generously nondogmatic approach think it's a mistake for cartoonists to demand car room for our ambivalence and confusion to roam toons be treated as art. Cartoons are cartoons"; provides ample freely. Brian Doherty, "The Mother Jones Interview: It is the art dealer who first gives Homer a glimpse of how good it feels to Matt Mother 1999, Groening," Jones, March-April have the love and acceptance of the "artworld"?and how bad it feels to lose available online at www.motherjones.com/arts/ art 9a/1999/03/groening.html. them.Who is this dealer? Played by Isabella Rosellini, her name is Astrid 5. George Meyer (writer) andWes Archer (direc an Weller, which is anagram for "sell weird art."7 Such anagrams have a vener tor), "Mr. Lisa Goes toWashington," originally able in The The name of Homer's is an aired on Fox Network, September 26, 1991. history Simpsons. son, Bart, anagram for 6. Robert Pinsky, "My Favorite Show," New York "brat." But Astrid name is more a 3Weller's complex and has pun embedded in Times Magazine, September 20, 1998, 55. it, and at the same time about the This is in the surname 7.1 credit this observation to Haynes Lee beyond anagram. pun (www.snpp.com/episodes/AABF 15). "Weiler," which refers to the "wellerism," a figure of speech typical of the 3 eponymous character SamWeller of Charles Dickens's PickwickPapers (1836-37). The wellerism is distinguished by its use of irony, often in the form of a pun.8 as is a Astrids designation of Homer's object "outsider art" wellerism since her
name embodies the anagram "sell weird art." The title of the episode is ameaningful, multilayered pun aswell. The and to Homer in "mom" "pop" of "Mom and Pop Art" refer and Marge their distinct artistic careers. The title also contains the label "Pop art," alluding, appro priately, to the artmovement of the 1960s that took some of its imagery from the comics to one and, according critic, rescued the comics from extinction.9 "Mom and in to name store at pop," addition, refers the of the hardware which Homer the barbecue that will soon lead him to outsider-artist stardom. 8. The best-known example of a wellerism in The purchases pit Pickwick is SamWeller's "What called & name is store Papers comment, It's "Mom Pop Hardware," but the disingenuous, since the the devil do you want with me, as the man said is "a subsidiary of Global Dynamics" (it clearly ismeant to resemble a Home wen he see the ghost?" For more on the weller and has a tenor is contra ism, see A Dictionary of Wellerisms, ed.Wolfgang Depot). Finally, "mom pop" down-to-earth, folksy that Mieder and Stewart A. York: Kingsbury (New dicted Homer and artistic None by Marge's ambitions. of these allusions, puns, Oxford University Press, 1994). and is each one there are more still to is a 9. Adam Gopnik, "Comics," inHigh and Low: paradoxes gratuitous; (and come) Modern Art and Popular Culture, ed. Adam Gopnik miniature to structure sto of and contributes the complexity of the overall and and Kirk Varnedoe (New York: Museum of of the It is a that allows us to scrutinize Modern Art and Abrams, 1990), 208. ryline episode.lo complexity ultimately 10.Two discussions of the use of allu our own us insightful judgments and distinctions, and that affords the unusual experience sion in The areWilliam Irwin and R. Simpsons J. of the ambivalence to result from such Lombardo, "The Simpsons and Allusion: 'Worst welcoming likely scrutiny. Essay Ever,'" in The Simpsons and Philosophy: This complexity is especially clear when the episode turns its focus to the The D'oh! Homer, ed.William Mark T. of Irwin, to a more concept of "outsider artist." It is hard imagine ideal outsider artist than Conard, and Aeon J. Skoble (Chicago and La Salle, IL:Open Court, 2001), 81-92, and Carl Homer Simpson. He certainly is self-taught. And everything in his demeanor and Matheson, "The and the Simpsons, Hyper-Irony, dress is antithetical to the stereotypical art-world insider. Still, the paradox of the Meaning of Life," in The Simpsons and Philosophy, term as a a a 112-13. "outsider art"?which label, commodity, and subject of intellectual 11.The term "outsider art" is considered to have inquiry is the creation of insiders?comes into full view as the episode unfolds with art critic Cardinal's book originated Roger and Astrid Weller includes Homer's barbecue in an exhibition of outsider art Outsider Art (London: Studio Vista; New York: pit " Cardinal credits an editor at at a in Praeger, 1972). she holds her gallery. There, sign the storefront reads, "Inside, Outsider Studio Vista for coining the term; see Roger Art" which is added, "Louvre: American once Cardinal, "Toward an Outsider Aesthetic," in The (underneath Style").12 Similarly, Outsider Artist and the we enter the this seems to exist so Geativity Boundaries of gallery, insider-outsider distinction only that Culture, ed. Michael D. Hall and W. Eugene we it. For at may question example, the exhibition opening, when Homer's Metcalf, Jr. (Washington: Smithsonian Institution Weiler Homer. now a Press, 1994), 39, n. 2. sculpture is, sold, says, "Congratulations, You're professional 12.There is a literature the "insid growing about a is an artist." Being professional, of course, incompatible with being outsider. er" dimension of "outsider" art, and the use of To offer another at this same we find Homer?the outsider? these two terms (or comparable ones) inessay example, opening titles to highlight the paradox of the concept of what as as doing he does everywhere, namely, consuming much food possible, outsider art is common. A few are: examples but we also the artist his with refresh Eugene W. Metcalf, Jr., "From Domination to spot Jasper Johns filling jacket pockets Desire: Insiders and Outsider Art," in The Outsider ments! The dialogue plays up the comparison of Simpson to Johns.When Lisa, Artist, 213-27, and, from the pages of the present tomonitor her father's behavior, tells him that with his periodical, Mary-Beth Shine, "Us and Them, or, I'd trying by chewing Never to a Club thatWould Have Me as a mouth he will lose his Homer all artists Belong open 3 "mystique," replies, "Lisa, great Member" (review of the exhibition catalogue Self love free food. Check out Jasper Johns." Taught Artists of the Twentieth Century), Art Journal was 57, no. 4 (Winter 1998): 99-101. In fact, Johns (the character's voice recorded by the artist himself) is made out to be a thief in other too?a weakness also shared petty ways, by we Homer (as know from several previous Simpsons'episodes).'3 We catch Johns a an stealing light bulb from the gallery, obvious allusion to Johns's own early as sculptures, such LightBulb I, of 1958.The light bulb, like the barbecue pit, started out as an everyday object and ended up elevated to the status of art. Both the overt and the implied comparisons of the reserved, cerebral Johns to the loud, impulsive Simpson are absurd, yet the absurdity, in its hilarity, succeeds in and us. disorienting confusing The confusions art about fine and popular culture, and about insider and that awaken our ambivalence as we watch this outsider, episode of The Simpsons involve artistic as we seen in identity, have just the parallels drawn between Homer and or those drawn Simpson Johns, between Simpson and Groening. Fueled by his triumph atWeller's gallery, Homer soon takes on the artistic identity closest at hand that best suits his purposes. Listen to this discussion he has with his wife, Marge:
Marge: Homie, I'm really happy you sold your sculpture, but don't you think itmay have been a fluke?
an Homer: Hey, I've always had interest in art, dating back tomy schoolgirl days when I painted portrait after portrait of Ringo Starr.
Marge: That's my life you're describing.
Homer: I think I remember my own life, Marge!
From this as Homer we conversation, confuses himself with Marge, realize that, in spite of the vagueness and ambiguities of art and artists, it actually is meaningful to draw distinctions. We see that the show makes fun not only of distinctions that seem or art may vague arbitrary (about and artists), but also to of the inability properly make distinctions, whether between people, as in the or or present case, between types of objects. To discern differences, not: either approach has its pitfalls and limitations. (For instance, if Homer decides Matt Groening's Akbar and Jeff drawing is not art because he thinks Groening cannot draw, then Homer is some criterion to which an 13.A conspicuous example is the episode, applying according object may "Homer vs. on Lisa and the 8th Commandment," by hang the museum wall; yet the application of this criterion may limit his Steve Pepoon (writer) and Rich Moore (director), range of aesthetic experience.) It iswith good reason thatwriters of originally aired on Fox Network, February 7, 1991. divergent 14.A. O. Scott, "How The Simpsons' Survives," political stripes and wide-ranging professional backgrounds have called attention New York Times November Magazine, 4, 2001, to on The all sides of an are scrutinized at. how, Simpsons, argument and laughed available online at www.nytimes.com/2001 / The New YorkTimes film critic A. O. Scott has called the show in its I l/04/magazine/04SIMPSONS.html. "gleeful assault 3 15. Jonah Goldberg, "Homer Never Nods: The on conservative every imaginable'piety."'4The syndicated columnist Jonah Importance of The Simpsons," National Review, in the National Review, has stated that "its satire May 1,2000, available online at www.nationalre Goldberg, writing spares nothing view.com/01 and no one." '5Carl a may00/goldbergprint050100.html. Matheson, professor of philosophy, has observed in his contribution to a collection of essays entided The Simpsonsand Philosophy that "its in to humor works by putting forward positions only order undercut them.... treats as a It nearly everything target, every stereotypical character, every foible,
and every institution."'6 In the "Mom and Pop Art" episode, Homer eventually manages to slip back into his own identity. He is led back there by what ismost familiar to him: failure. The failure comes when Astrid Weiler, inspired by the sale of Homer's a at barbecue-pit sculpture, holds one-person exhibition of his work her gallery. Homer is thrilled. He has put all his energy into the production of a series of sculptures that resemble the barbecue-pit piece, thinking this is the sort of object his audience wants (it worked the first time around, after all), and he tides these sculptures accordingly (BotchedHibachi, FailedShelving Unit with StupidStuck Chainsaw andApplesauce, and AttemptedBirdhouse I). When the exhibition opens and his new objects are scorned by all present, poor Homer feels deeply dejected. He has lost the approval and love that he had gained, if only by accident, with his first sculpture. His strong desire to regain this approval and love lead him, finally, back to his own identity, which, in a new layer of confusion, is also that of a 16.Matheson, 120. Matheson argues that the successful artist. undercutting of the viewpoints it puts forth is the basis for the humor of The and he calls Simpsons, To understand his paradoxical journey back to himself, we need to examine this technique "hyper-ironism" (118). For a critical where Homer and how he found a to overcome his failure. assessment of this aspect of the humor of The just failed, then, way see M.Wallace, "A not new Simpsons, James (Karl, Astrid diagnoses the problem: "Homer, I'm afraid they only love what's Marxist in in The Groucho) Springfield," Simpsons and These are like earlier work." no and Philosophy, 235-51. shocking. pieces just your Apparently longer 17. Swartzwelder and Reardon Homer is now to be John (writer) Jim judged by outsider-art standards, expected avant-garde. and and (director), "Itchy Scratchy Marge," origi on all ... were Marge elaborates Astrids diagnosis: "Homer [...] of your things nally aired on Fox Network, December 20, 1990. same. artists are new 18. For example, the biographical sketch of kind of the [...] The point is, great always trying things, O'Neal on Celebopedia describes him as a "truly likeMichelangelo or Shaquille O'Neal." (Not coincidentally, Marge had admired Renaissance man for the modern age" (www.cele it to Museum in an bopedia.com/oneal/). Moreover, O'Neal has Michelangelo's Davidwhen traveled the Springsonian earlier even referred to himself as a renaissance man; see episode of the Simpsons.)'7O'Neal, an NBA star, is always trying new things: in Kevin Merida, "Shaq O'Neal, On the Ball," addition to basketball, he has taken music, the restaurant Washington Post, August 6, 1998, available online up rap acting, writing, atwww.wpyellowpages.com/wp-srv/style/daily/ business, law enforcement, and more. Because of these varied activities, he has shaq.htm. Another detail of O'Neal's life that sometimes been called a "renaissance man."l8 this moniker is what makes him an especially suitable reference on The Perhaps Marge Simpsons is his strong identification with a comic has inmind when she puts him in the same category asMichelangelo. Despite strip character (Superman); concerning this identi her own interest in culture, like Homer, has a for fication, see Rebecca Mead, "A Man-Child in "high" Marge, penchant using in mix notions art Lotusland: Inside the BigWorld of Shaquille categories ways that up the accepted of and popular culture. O'Neal." New Yorker,May 20 2002,48. occur to some More mix-ups of this order when Homer, desperate find 19. Earlier in the episode, a Mondrian painting is new to allows to take him to the Museum to featured on the cover of an issue of Art inAmerica thing make, Marge Springsonian that contains an advertisement for Homer's one seek inspiration. They look at paintings by Pablo Picasso and Joseph Turner. They exhibition. it is not a coincidence, person Perhaps see an a can then, that a real issue of Art inAmerica includes an abstraction by Piet Mondrian and Campbell's Soup by Andy Warhol, interest in Walt essay about Mondrian's the the latter distracting3 Homer from the subject of art and refocusing him on a sub cartoon Snow White. See Els Hoek, Disney ...... he thinks about more often: food. "Mmm pea with ham! "Mondrian inDisneyland," Art inAmerica 77 ject split [gasp] 181. It is on museum that Homer (February 1989): 137-43, [drool]."'9 this trip spots Groening's drawing of Akbar and As we know Homer to the Jeff. already, objects presence of Groening's work in themuseum. This is one instance inwhich he does make a judgment and in the process raises a distinction between art and comics. Yet as soon as Homer a distinction to he is applies Groening's drawing, unable to see one?this time between art and next reality?in the object he an enormous a eraser encounters, sculpture of pencil by Claes Oldenburg. As the end of the pencil approaches his head, Homer is convinced that he is about to be obliterated. no! screams. an to "Oh I'm being erased!" he Homer's fear is allusion Daffy Duck in the famous cartoon DuckAmuck (1953), in which Daffy's animator (later revealed to be Bugs Bunny) incessantly pesters him, including by erasing him.20 as as Homer is a cartoon. Suddenly, far concerned, everything has become museum to In The exhausts Homer, and he goes sleep. his dreams, he is attacked art. Leonardo by da Vinci's drawing of human proportions punches
him; Picasso's three musicians shoot him with machine guns; a Salvador Dal? clock drips on him; Warhol throws soup cans at him. The dream represents for Homer the rejection he had felt after the failure of his one-person exhibition. Upon waking, he asks Marge, "Why does art hate me? I never did anything to art." (His question might be explained as Homer's response to an elitist disdain for unrefined types such as him.) Marge's quest to inspire Homer at the museum seems to have backfired. However, Turner's painting of the canals of Venice gives him an idea.
what idea to at Before seeing Homer's entails, let's pause look the sign posted museum. we outside the There, read that the Springsonian Museum is "Where the Elite Meet Magritte." These words express bluntly what Homer's question ("Why does art hate me?") suggests: that there is a vexed connection between social class and art. This a source connection, of professional ambivalence for and art is a many artists, critics, historians, fascinating subtext of "Mom and Pop 20. Michael Maltese and Chuck (writer) Jones Art." Visual props, as well as narrative, are used to elaborate this subtext. Take, for (director), Duck Amuck, Warner Brothers, 1953. the cars driven Astrid the so-called Euro-trash who fre 21. Pierre Bourdieu, Distinction: A Social Gitique example, by Weller, by the trans. Richard Nice of Judgement of Taste, quent her gallery, and by Homer Simpson. Weiler and the Euro-trash drive fancy, MA: Harvard Press, (Cambridge, University cars black BMW and a while 1984).Worth highlighting here, for its fascinating expensive European (a green Jaguar, respectively), connections to Homer's food at a consumption Simpson drives pink, but otherwise generic, Detroit-made vehicle that's been the art and his before Warhol's gallery drooling around for some sticker on it years (the bumper reads, "Single 'n' Sassy," indicat Campbell's Soup can painting, is Bourdieu's dis cussion of the ramifications of the fact that the he has owned the car since before he was The of these ing married). symbolism e word "taste" to food as well as to culture applies cars is No exists obvious. confusion about the particular socioeconomic position (99-225). Bourdieu's exposure of how intellec of each as it does with the insider-outsider or tuals are implicated in the creation of taste and character, categories art-popular S therefore of class equates with the ambivalence culture. Aesthetic distinctions are and difficult to a handle befuddling get on, I wishI to articulate in the present essay. The whereas class distinctions are not. But how we class distinctions is ?1 Simpsons takes up the issue of social class directly interpret in the entitled "Scenes from the Class as Pierre in episode another matter, the sociologist Bourdieu observes his study of the Struggle in Springfield," written by Jennifer intricate connections between taste and class; in fact, "Mom and Art" is in Crittenden, directed by Susie Dietter, and first Pop aired on Fox 1996. to Network, February 4, many ways analogous Bourdieu's analysis.2' Elzie Thimble 1930 Segar, Theatre, (? King The association of social class with artistic judgment has a long history in Features Syndicate) even in creators to set the comics and the past had been used by comic-strip at same time their work against "fine art" while the leaving the distinction open to An is an in question. especially appealing example early Popeye strip, of 1930, which Olive Oyl and her brother Castor, in an attempt to refine and polish the rough Popeye (not unlike Marge's attempts to refine Homer), take him to the a one Mrs. home of socialite, DeHotsy. When DeHotsy proudly shows them her new a a is acquisition, painting of female nude, Popeye dumbfounded, and informs DeHotsy that the figure is so bad that "they wouldn't print that in a funny paper." He then takes it upon himself to show her "a real piece of art": the tattoo of awoman emblazoned on his back. He explains that "it only cost five on a on sinkers to get 'er stuck there, too?an' mine's got bathin' suit which makes itmore fitten to look at." Popeye responds to the painting in terms of the subject matter only, just as Homer does, initially, when looking at theWarhol can. But in Homer soup the end does recognize the originality of Warhol's pic ture; in the museum, he moans toMarge (in a brilliant ironical snippet) that was a and that he?Homer?could never come with some Warhol "genius," up a We can thing like soup can.22 attribute this difference between Homer and Popeye to the increasing popularization of fine art in the decades since the cartoon was written. To it since art Popeye put simply, Popeye's day, has gained awidespread appreciation (although its growing popularity has eliminated neither its elitist patina nor debates about what it is). even in a to win Homer dabbles conceptual art, contrivance back the love and affection of his audience, and the route that leads him back to his own iden returns museum more tity.When he home from the depressed than before, the comes to museum precocious Lisa his aid. She proposes that, since the didn't inspire him, he might "do something really radical, like Christo." She instructs her father on Christo 'swrapped Reichstag and Umbrellasproject, even noting the accidental deaths caused by TheUmbrellas. This unfortunate detail gets Homer's creative as he concocts a work of art that weds Christo environ juices flowing, 's mental projects with Turner's portrayal of the Venetian canals. Enlisting the help ... of Bart (and now behaving like the Homer Simpson we all know and love?), he steals all the doormats in town, uses them to cover up the street drains, and 22. Warhol's Campbell's Soup can paintings, like then opens all the fire hydrants. Soon the entire town of Springfield is flooded. several other details in this of The episode All this makes even Bart a little nervous; he asks his dad, "Are you sure this is art Simpsons, also had made an appearance in "Brush and not vandalism?" A new on artistic is introduced at this with Greatness": here, one of the paintings on spin judgment point, display at a school art fair isof a Campbell's Soup as Homer courts to replies, "That's for the decide, son." Homer's destructive can. More extraordinary, though, is the existence has kicked in as his best bet for the attention he so craves, of a collage-drawing of a Campbell's Tomato impulse reacquiring 3 Soup can in an illustrated book of 1929 by the and in this he seems to be even more of a brat than Bart. outsider artist Adolf W?lfli; see John Maizels, Raw If cartoons in some sense never up, as has sometimes been Geation: Outsider Art and Beyond, intro. Roger grow proposed Cardinal 23. an not at in (London: Phaidon, 1996), (Homer may be adult, but he is grown up), neither do artists, least _ Thimble Theatre _^^ I - T >fh X IHOTOLR VJOftObl M? MISSUS IPCPLfE.IF?O0U*MTMt) / VJLT&??6T0 6WC I 8C NICE OON [>?*U..?fcjOW DOUJH, 0%HOOTCHiY/~|B|^HB. - - ' Inn ?un sujctTv J I **w* owns to set moo I i^vu. too moch I f ?c #vgcmti?*i**4. 11^00 knimmc im?nscoppca tor.'" " ,J|^^^H iKbmit60Tto **oWL **T-<*** ?K0 OONT SAY *et u>w, ^ * * ***" : \ iiwaurwoA tonguc,i /he snu> w* V ougt re**, I luwi hRvtt?%STiv: woow*#c a _^?^O I I [WM HT "\ /" TTI ? harnt mot we axjftse-7 to Stt we hcm ' Choisi stt n mov*! V HflH 1 twjk?w67n? I fv??\ > I WH INK TD^B?MCrtOF^?S WKlTAJtWT (1'OUT ?BUST 1 ?-r?-*-' \f WH?*)//r\ ^? \ Un'V/ hoocK f6 o.k. Kb / ^pQi /( ^-? RATtr/ q?LJ X^TfrroMtteoJffftffJ .\ 0 [K?i!?iP y f1^ " * vHH i V2v?' \TSftt>*A*An JrV^^HCX. I I "M' l \\^HPI?^ jJS) I* I'll '^***s'iW?Hl]Ji I FSS IpJ ?Tl r?. Ji/ Vl/ jj^HB ** cWB If ?V I I .^V T"R""'***^r ?^^^H^C% I I Y ^^^BFi jH&Sl I lift j^^ A Mil I 'iTPMai 'E IHi -V f *T ^^H^k X\f\ ?^^M ! FT: 7^ ?I Fwc VNKtfti/ .. , , i Moanc hot hy N atutstt, \ I \ |? Marge remains unconvinced. Even when the art-world luminaries Astrid Weller and Jasper Johns love Homer's creation, Marge still hesitates and cautions Homer that "they'rein the business. Real people might not be so understanding." The 23. for See, example, Yasco Horsman, "Will "real of are all the people," course, characters of Springfield that regular viewers Comics Ever Grow Up?" paper in the session know such as Bart's Edna and his school "Comic Art" of the 2003 College Art Association well, teacher, Krabappel, principal, Annual Conference, New York, February 20, Skinner. As it turns and all the Seymour out, Edna, Seymour, other "real people" 2003. Even though Groening does not write the at Homer's individual episodes of The Simpsons, which are rejoice masterpiece. collaborations involving many individuals, he over Where does this leave us? On the surface, it would seem that we are not the sees the program, and it is in his fully spirit. since are "real people," we, like Weiler and Johns, "in the business," and after all, 24. "Annoying Performance Artist" is reproduced in the in are cartoon answer Matt Groening, The Huge Book of Hell (New "real people," this case, characters.25 However, another York: Penguin, 1979), 15. can be found, I believe, in Groening's Akbar and Jeff drawing that hangs in the 25. For an attempt to tackle the difficult topic of out are realism on The Simpsons, see Jason Mittell, Springsonian Museum. I pointed earlier that Akbar and Jeff identical. "Cartoon Realism: Genre and the Cultural Mixing Groening has stated thatwhat appeals to him about these two is that "when they Life of The Simpsons," The Velvet Light Trap 47 criticize each it's like when the same as criticizes (Spring 2001): 15-28. other, somebody exactly you 26. Quoted in Sadownick interview. you. It's hilarious, like you don't see the mirror."26 27. For example, Gilbert Adair proposes that we In effect, Akbar and function in the same as the view Homer as "gross" but we nonetheless iden Jeff way opening sequence tifywith him, in "Ecce Homer," The Independent to each episode of The Simpsons,in which the family members, arriving home at as transcribed Richard (UK), June 21, 2000, by the end of the make a beeline to the sofa towatch television. We watch this Copping and available online at www.snpp.com/ day, our on our are us. other/articles/eccehomer.html. The comic artist sequence from sofas and TVs. The Simpsons reflections of Our Scott McCloud offers an interesting "explanation" identification with them, as has been noted often, is central to our ability to of why we identifywith comic-strip and cartoon are us to characters in his book Understanding Comics: The enjoy this program.27They like us, but different.The difference assists InvisibleArt (New York: HarperPerennial, 1994), reflect more on in we not. we clearly ourselves ways otherwise might When can't 30-32. For a different perspective on audience water on identification with television characters, see David help but worry about all the damage Homer has inflicted his town (a "The Video Public in The Visual 3 Joselit, Sphere," problem the citizens of Springfield do not seem the least bit concerned about), Culture Reader, ed. Nicholas Mirzoeff, 2nd ed. a door that allows us to understand, or at least (London and New York: Routledge, 2002), suddenly opens appreciate, why 451-57. some art as we can people resist such Christo 's. If ask whether it is worth the expense and destruction to create a flood, we also can ask whether it is worth the expense and destruction to install giant umbrellas in the landscape. Through this and many other implied and seemingly absurd comparisons, The Simpsonsgives us the liberty to laugh at ourselves. The laughter, in turn, opens us to receive other than ones we we or perspectives the might think should have were to can us in trained embrace.28 It expand in this way and, the process, allow us to our we a cartoon accept ambivalence about who are, precisely because it is and we are not as (just Homer's life isn't Marge's). Each pun, contradiction, and paradox in The Simpsonsstands on its own as a funny detail, and all, taken together in their us a that is not to? totality, give complexity approximates?but equal life. This cartoon complexity reminds us thatwe need our distinctions, but that we must recognize their limitations and dangers, too. The muddling of distinc tions in to create a "Mom and Pop Art" has the potential mental environment where our own and ambivalence can some confusion wander with degree of if it is and seems more to comfort?even easier, entirely acceptable, be crystal our clear about judgments. Reva Wolf is the author of Andy Warhol, Poetry, and Gossip in the 1960s (University of Chicago, 1997) and Goya and the Satirical Print (Godine, 1991 ). She is an associate professor of art history at the State University of New York, New Paltz. 28. As philosophy professor Jennifer L McMahon observes, "By displacing certain anxieties and dis abling habitual resistances, comedy can bring to 3 light things that might otherwise be too comfort able to acknowledge." "The Function of Fiction: The Heuristic Value of Homer," in The Simpsons and Philosophy, 230.