“Spider-Man: Across the Spider-Verse,” the highly anticipated sequel to the 2018 reimagining of the beloved superhero, takes the first installment to a whole new level with its innovative and visually captivating style. This film not only entertains, but also serves as a crash course in art history, with characters frequently crashing into works of art.
While predominantly rendered in computer-generated animation that moves at a thrilling pace, the film manages to slow down at times, offering breathtaking moments of beauty. The backgrounds dissolve with a painterly effect, transforming into emotive abstractions that evoke the works of Kandinsky, Mondrian, and Hilma af Klint. The cityscape of New York is portrayed in soft, brushy, Impressionistic strokes. Ben-Day dots, reminiscent of the comic book source material, appear on the screen, resembling Roy Lichtenstein’s iconic pop art.
Director Justin K. Thompson explains that the deliberate collision of various techniques and applications was intended to emulate dry brush, watercolor, and acrylic. He drew inspiration from artists like Paul Klee and Lyonel Feininger, as well as John Whitney, a pioneer of computer animation.
The film also includes direct references to contemporary art. In a dazzling set piece set in the Guggenheim Museum’s Frank Lloyd Wright building, the filmmakers take full advantage of their creative freedom. The villain Vulture, resembling a character straight out of a Leonardo da Vinci drawing, wreaks havoc in what appears to be a Jeff Koons retrospective. Koons’s iconic sculptures of inflatable toys, such as “Lobster” and “Dolphin,” are hurled as projectiles, while his famous Balloon Dog receives special attention.
The filmmakers worked closely with Koons, who suggested the idea of cutting open a Balloon Dog to reveal its mysterious contents. The result is a comedic sight gag, where smaller Balloon Dog sculptures spill out after Vulture decapitates a giant one. This scene humorously suggests that Koons’s larger-than-life artworks are actually elaborate piñatas.
Koons himself expressed his appreciation for the homage, describing the Balloon Dog as a work with mythic qualities and emphasizing its ability to bring people together in a communal experience. The scene also includes some of Koons’s lesser-known works, making it a tribute to the artist who influenced the direction of the first “Spider-Verse” film.
While these art references may appeal more to adult aesthetes, they add depth to the film’s narrative. Amidst the teenage angst and explorations of quantum physics, the art in-jokes provide a nod to art enthusiasts. However, their significance may go over the heads of casual viewers.
Overall, the inclusion of Koons’s art in “Spider-Man: Across the Spider-Verse” showcases the film’s dedication to cultural relevance and its ability to inspire young audiences. Koons himself is impressed by the film’s astonishing visuals and praises its use of color, comparing it to the richness found in the works of masters like Rembrandt and Titian.
When asked if he was disturbed by seeing his art destroyed by animated superheroes, Koons maintains a philosophical perspective. He emphasizes the impermanence of everything and highlights the importance of enjoying the world we live in and recognizing the potential of our future. As an artist, Koons believes that the fine arts have a valuable role to play in shaping culture.
In conclusion, “Spider-Man: Across the Spider-Verse” not only offers an exciting superhero adventure but also immerses viewers in the world of art history. Its inventive visual style and inclusion of references to both classical and contemporary art make it a unique and thought-provoking film experience.
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