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KADIR NELSON
“In Kadir’s Nelson Mandela cover and Eustace Tilley cover, we see one of the rare instances where the idea is in the execution—where a sketch or a loose drawing of the same subject wouldn’t have worked,” Mouly continues. “Kadir carefully balances the form and the content—it’s part of his magic that the paintings’ subjects grab you, and that’s why he was such a good fit for the 90th anniversary. When I chose nine artists to celebrate our 90 years with nine covers, I knew that an image by Kadir would both assert itself and make the reader think about or rethink the magazine’s mascot. We got an image that’s so definitive, it expands the vocabulary of what looks and feels right on The New Yorker’s cover.”
To date, Nelson has illustrated more than 30 children’s books, including some he has authored. “Children’s books are most people’s introduction to art,” he states. “We need diverse books.” At present, he’s working on a book about the American flag in history, equating its design elements to our native landscape. Canvases faintly lined with pencil are stacked against a table, illuminated by the strong Los Angeles light, ready for the next step in their evolution into vibrant works of art spanning our history and hopes. One can only imagine what he will next bring to life. ca
Left: “Initially, the king of pop himself asked me to paint his life story on canvas. However, shortly after our conversation, he became involved in a legal battle, and the project was stalled indefinitely. Years later, after he passed away, the coexecutor asked me to do the painting that Michael wanted. It took approximately six months of continuous work, followed by six more months of alterations and revisions. The King of Pop boasts 50 portraits of Michael Jackson, making numerous visual references to royalty and pop. Sony Music used The King of Pop on Jackson’s first posthumously released collection, Michael.” John McClain, art director; Sony Music, client.
Personal work. “Set in the Negro Leagues in the fictional town of Mudville near the turn of the 20th century, my painting Mighty Casey: The Vincible Hero of Mudville reinterprets Ernest Thayer’s classic ballad ‘Casey at the Bat,’ first published on June 3, 1988, in the Daily Examiner (now the San Francisco Examiner). My artistic interpretation of the poem features a predominantly African American cast of characters, from the hot-tempered mob of baseball patrons in the grandstand to the players on the field. The crowd leans in, and ‘the vincible hero of Mudville’ grunts as he takes a powerful swing. Dust swirls around the fans’ feet as they hold their breath and bite their fingernails, but, to the chagrin of the irascible mob, he misses. The catcher secures the catch. The umpire calls, ‘Out!’”
This page: “US postage stamp featuring author Richard Wright set in the poor section of Chicago, the backdrop of his thrilling novel Native Son.” Carl Herman, art director; United States Postal Service, client.
“From my book Heart and Soul: The Story of America and African Americans, published by HarperCollins. The painting depicts a young enslaved woman sitting atop a pile of cleaned cotton.” Martha Rago, art director; Balzer + Bray, HarperCollins, client.
“Abraham Lincoln. From Heart and Soul: The Story of America and African Americans.” Martha Rago, art director; Balzer + Bray, HarperCollins, client.
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