Museums and Culture

Far Out Isn’t Far Enough was recommended to me by my mother who thought I would enjoy a documentary about the life of an artist, illustrator, and a forward thinker.  I am grateful for the suggestion, as I have become intrigued by Tomi Ungerer, a man now in his 80’s who has devoted his life to drawing.  After watching the film, I rushed to my library to see if they had any of his children’s books – they did, but none in English – and I checked out a copy of The Underground Sketchbook and Fornicon, both of which I will talk about later on in this post. 

I admire Ungerer’s work for its attempt to push at the boundaries of what society was comfortable with.  To quote the film, his artwork was “anti-Saturday Evening Post,” meaning that his aesthetic differed greatly from the likes of artists such as Norman Rockwell.  The bold color choices Ungerer used in his posters really pop and catch one’s attention.  His figures were also very minimal in realistic detail and childlike in nature, as compared to his illustrator contemporaries.  His style was inspired by fellow artist, Saul Steinberg, well known for many illustrations in the New Yorker.  Ungerer was interested in conveying an idea, a story, a feeling, with as few lines as possible.

He also went against the grain when he wrote books for children.  Crictor, Zeralda’s Ogre, and Orlando, the Brave Vulture are all examples of stories encompassing “non-cuddly” animals and creatures as the main characters.  Ungerer thought it important that children “have a taste for life, even if it tastes bad.”  All of his books have elements of fear within them, because without fear, one cannot learn how to overcome obstacles.  Most of his opinions on this matter were formed at a young age, as he was forced to overcome various traumatic experiences in his life: the death of his father, German occupation of Alsace and World War II, and French liberation after the war.  Throughout it all, he used artwork to cope.  The illustrations that came from his 12 year old mind were quite wondrous and creative, colorful and imaginative, yet still a record of what he lived through.

Ungerer’s career doesn’t stop with children’s illustrations.  As promised, I would mention the two books I borrowed from my library: The Underground Sketchbook and Fornicon.  The former was created and published in response to Tomi’s experiences with prejudice, racism, and inequality.  The 151 images that fill the 153 pages are filled with satire – mostly sociological in focus.  He also was active in the anti-war movement during the ’60s and ’70s.  His posters were inspired by the brutal and propagandistic posters of the Nazi regime.  Schlagwort or “slap words” made Ungerer’s posters stand out from the rest.  They are less clichéd, and catch the viewers by surprise, especially with their bold colors.  Along with the Civil Rights and Anti-War movements, he also hopped onto the sexual liberation bandwagon and illustrated Fornicon, a book filled with images of mostly women (though there are some men), experiencing sexual pleasure with the aid of mechanical stimulants.  In the film, he deems the period of sexual liberation and erotica “beautiful and fun.”

Because he was living in two worlds – the world of children and the world of skin and leather – he walked a fine line.  It wasn’t long before he was criticized for this border crossing.  All of his published work for children was blacklisted and removed from libraries.  I can’t even imagine how that would feel!

The film was great fun to watch.  Not only was the subject interesting, but the animation of his original illustrations within the documentary was exciting too.  His interviews, though sometimes filled with nostalgic sadness, are uplifting and humorous.  He says (and I paraphrase), “everyone is striving for success, but success is a minefield.  That is why you shouldn’t take yourself too seriously.”  After being shunned from the world of children’s books for 23 years, moving to Nova Scotia and then later to Ireland, Tomi Ungerer found a place where he was truly accepted and where he felt he belonged.  He ends the film stating that he has never been happier!

Marina B. Nebro