While Eric Drooker’s drawings and posters have become a familiar sight in the global street art movement, his paintings appear frequently on covers of the New Yorker.
Born and raised in New York City, he began to slap his images on the streets as a teenager. Over time, Drooker’s reputation as a social critic led to countless editorial illustrations for the Nation, the New York Times, the Progressive, the Village Voice, etc.
He won the American Book Award for Flood! A Novel in Pictures, soon followed by Blood Song, and most recently, Howl: A Graphic Novel. After designing the animation for the film, Howl, he was hired by DreamWorks Animation.
His art hangs in numerous collections including the Whitney Museum of American Art, MoMA, the Brooklyn Museum, and the Library of Congress.
He regularly draws from the figure, and is presently working on a series of nude paintings for an upcoming book, O Muse!
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Visualizing answers to artistic questions is a full-time job. I enjoy solving problems that challenge my powers of creativity. Most of my strongest images spring from dreams which have haunted me over the years. The Big City has been a recurring dream all my life, and fittingly, is the subject of much of my art. Being born and raised in Manhattan must have had something to do with it. Many of the New Yorker covers I’ve created were painted from vivid memories and urban epiphanies.