Career
Bertozzi's graphic novel, The Salon (published by St. Martin's Press in 2007), examines the creation of cubism in 1907 Paris in the context of a fictional murder mystery. The work was first serialized online in 2002 on serializer.net, a digital platform for original weekly comics. [4]
A revised excerpt later appeared in Alternative Comics #2 (2004), which was distributed nationwide as part of Free Comic Book Day. Shortly afterward, a Georgia comics retailer was arrested after giving away Alternative Comics #2, in which the excerpt from The Salon depicted a nude Picasso, leading to charges of distributing obscene material to a minor. The case, supported by the Comic Book Legal Defense Fund, saw most charges eventually dropped or reduced, but it drew national attention as a significant free-expression controversy in the comics industry. [4]
The complete, substantially reworked edition of The Salon — expanded by about 40 pages and streamlined in plot — was ultimately published in 2007 by St. Martin’s Griffin. [4] John Hodgman, reviewing the book for The New York Times , wrote, "I’ve never understood Cubism as well as when Bertozzi's Braque and Picasso are first discussing it on a train, with Braque theorizing about simultaneous points of view and Picasso protesting that he was merely drawing the reflection in the train window." [5]
Bertozzi illustrated Houdini: The Handcuff King (published by Hyperion in 2007), which was written by Jason Lutes. [6] Bertozzi's art was praised for maintaining "a nice balance between showboating caricature and gritty realism." [7]
Bertozzi also published two webcomics, Persimmon Cup and Pecan Sandy, as part of the ACT-I-VATE comics blog. [8]
Bertozzi's first solo graphic novel after The Salon was Lewis & Clark (First Second, 2011). The graphic novel was widely praised for its engaging and informative portrayal of the historic expedition. The Forward commended the graphic novel as "a great piece of graphic nonfiction and one of the best examples of the genre available to readers today," highlighting Bertozzi's ability to capture the epic journey with wit and aplomb. [9] Kirkus Reviews lauded the book's innovative approach, noting Bertozzi's masterful command in depicting the explorers' arduous trek through rough terrain and encounters with often unwelcoming natives. [10] Publishers Weekly described it as "perfect for history buffs," emphasizing Bertozzi's skill in combining history lesson and character study through strong, gripping drawings [11] Graphic Classroom also recommended it as a "wonderful accompaniment to any classroom unit on exploration and the West," underscoring its educational value. [12]
Bertozzi wrote and laid out Becoming Andy Warhol (2016), a graphic biography illustrated by Pierce Hargan. Rather than covering Andy Warhol's entire life, the book focuses on his early struggles to move beyond illustration and achieve recognition as a serious artist, including his failed New York gallery efforts and his first solo show in Los Angeles featuring the Campbell's Soup Cans . Opening with a timeline of Warhol's major life events, the work presents a subjective but well-researched account, told with minimal narration and strong visual pacing. The book's use of a purple spot color was praised for its resonance with the story's tone, and reviewers such as Vice highlighted the book as a standout example of the biographical comics form. [13]
In 2014, Bertozzi published Shackleton: Antarctic Odyssey, a graphic novel that recounts Ernest Shackleton's failed but celebrated expedition to the South Pole. While the crew ultimately survived, the sled dogs did not, underscoring the harsh realities of Antarctic exploration. The book emphasizes Shackleton's leadership, portraying his devotion to his men as both a weakness and a strength, and presents the journey with brisk pacing reminiscent of mid-20th-century youth history books,(particularly the Landmark Books series). The work was praised for Bertozzi’s inventive panel layouts, economical storytelling, and stark visual style, which together capture both the brutal environment and the expedition’s collective resilience. [14] [15]
His illustration clients include Nickelodeon Magazine, Spin , The New York Times , New York Press , Gourmet , Backstage, [16] Abercrombie & Fitch, and WFMU.
He teaches cartooning at the School of Visual Arts in Manhattan. [17]
