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Articles on this Page
- 06/25/17--07:53: _Vintage Cartoons at...
- 06/26/17--21:00: _Cartoonist Merle Ti...
- 06/27/17--21:00: _R.O. Blechman’s Ink...
- 06/29/17--04:12: _Troubling similarit...
- 06/30/17--10:37: _New Yorker cartoon ...
- 06/30/17--21:00: _You Might Be from C...
- 07/02/17--12:45: _Brian Gable Named t...
- 07/03/17--21:00: _Comic artists draw ...
- 07/06/17--07:43: _The AAEC 2017 Annua...
- 07/07/17--09:16: _Clay Jones declines...
- 07/11/17--06:41: _Editorial Cartoonin...
- 07/14/17--21:00: _"Blitt"
- 07/15/17--21:00: _Cartoonist Nick And...
- 07/16/17--09:53: _Oleg Dergachov join...
- 07/17/17--21:00: _The CPERB vs. Annie...
- 07/19/17--14:57: _The AAEC condemns t...
- 07/23/17--04:57: _Daily Funnies: An E...
- 07/24/17--21:00: _Trial Begins for Tu...
- 06/25/17--07:53: Vintage Cartoons at the Library of Congress
- 06/26/17--21:00: Cartoonist Merle Tingley saw humour in the commonplace
- 06/27/17--21:00: R.O. Blechman’s Ink Tank archive finds a home
- 06/30/17--10:37: New Yorker cartoon trolls Trump for fake Time magazine cover
- 06/30/17--21:00: You Might Be from Canada If...
- 07/02/17--12:45: Brian Gable Named to the Order of Canada
- 07/03/17--21:00: Comic artists draw out stories from resettled Syrian refugees
- 07/06/17--07:43: The AAEC 2017 Annual Convention
- Free Speech and Safe Spaces,
- the 30th anniversary of the pivotal United States Supreme Court Decision Hustler v Falwell with 1st Amendment attorney Floyd Abrams and Rita Ciolli (who covered the case as WH correspondent for Newsday),
- and a must-attend presentation about copyrights and support resources for cartoonists who find themselves the target in legal and censorship situations.
- 07/07/17--09:16: Clay Jones declines award from Iran’s Trump cartoon contest
- 07/11/17--06:41: Editorial Cartooning in Canada
- Sir Wifrid Laurier had to contend with Henri Julien (1852-1908),
- Mackenzie King with Arch Dale (1882-1962),
- John Diefenbaker with Duncan Macpherson (1924-1993),
- Pierre Trudeau with Jean-Pierre Girerd (b 1931),
- Brian Mulroney with Aislin (Terry Mosher, b 1942),
- Jean Chrétien and Paul Martin with Serge Chapleau (b 1945).
- 07/14/17--21:00: "Blitt"
- 07/15/17--21:00: Cartoonist Nick Anderson Laid Off from the Houston Chronicle
- 07/16/17--09:53: Oleg Dergachov joins cartoon team at the Montreal Gazette
- 07/17/17--21:00: The CPERB vs. Annie Leibovitz
- large collections, often photographic, by non-Canadian creators (Annie Leibovitz is American)
- property acquired by the donor(s) shortly before the donation (Mintz acquired the property two days before donating)
- purchase price difficult to ascertain or subject to later adjustment (part of the issue involved has been adjustments to Leibovitz’s sale price)
- 07/19/17--14:57: The AAEC condemns the firing of editorial cartoonist Nick Anderson
- 07/23/17--04:57: Daily Funnies: An Exhibition of Strip Cartoons
- 07/24/17--21:00: Trial Begins for Turkish Cartoonist Musa Kart
From Open Culture.
|“Where there’s smoke there’s fire” by Russell Patterson|
The work of Gillray, George Cruikshank, and other famous cartoon artists of the “golden Georgian age” (1770-1820) appear in a British Collection that showcases “approximately 9,000 prints” highlighting “British political life, society, fashion, manners, and theater.”
Susan Ferrier Mackay in The Globe and Mail.
|During the Second World War, Merle Tingley was the official cartoonist for the Canadian army magazine, Khaki. (Canadian Armed Forces)|
Editorial cartoonist Merle (Ting) Tingley’s most famous creation was a whimsical worm named Luke. In 1948, the jaunty, pipe-smoking invertebrate wriggled off the tip of Mr. Tingley’s bored pen and into the middle of a highly technical drawing.
From 1948 to 1986, Mr. Tingley met the challenge of providing The London Free Press with a daily drawing that provided commentary on news and offered his insights into public affairs and human foibles. A contest was held for readers to name the worm that appeared in every one of his cartoons. Luke Worm, whom Mr. Tingley variously called a gimmick, a personal whim, and his mascot, was the winner.
“He may be small, he may be hidden, but he’s there,” Mr. Tingley wrote. “He just tags along for the ride, although occasionally he’s called upon to take the leading role and is used to drive home a message through his antics, or comments.”
Readers, especially younger ones, took great delight in searching out Luke Worm. Once, when Mr. Tingley forgot to include him, the switchboard at the newspaper lit up with calls demanding to know where the worm was. The Tingley family even received calls at home.
|Merle Tingley, circa 1964.|
Short of stature, with a roly-poly physique and spindly legs, Mr. Tingley dressed up as Luke Worm for London’s Santa Claus parade. He wrote, “Luke, like his creator, took on middle-aged spread at an early age.”
In recent years, the Ting Comic and Graphic Arts Festival, also known as Tingfest, has been held in his honour in London each spring. It features workshops and exhibitions of work by comic and graphic artists from the region.
With his cartoons eventually syndicated in more than 60 daily and weekly newspapers across Canada, Mr. Tingley was sufficiently famous for his mascot to extricate him from an embarrassing financial situation once when he was away from home.
“I’m Merle Tingley, the cartoonist,” he pleaded. Still, the teller wouldn’t comply. Mr. Tingley asked to see the manger. “If you’re Merle Tingley, then draw Luke Worm.” The funds were subsequently advanced.
Recognition also came in other ways. Mr. Tingley was awarded the National Newspaper Award for editorial cartooning in 1955 and was inducted into the Canadian Cartoonist Hall of Fame in 2015.
Until retirement, Mr. Tingley was a member of the Association of Canadian Cartoonists, a group with fewer than 40 members who meet every two years.
Mr.Tingley’s own insight into his profession was that an editorial cartoonist has the whole world to play with. He wrote, “Any symbol or gesture a political satirist can hang on a subject is played for all it’s worth. Churchill’s cigar and de Gaulle’s nose have been depicted as everything from darting torpedoes to frosty mountain peaks.”
In the seventies, Mr. Tingley lamented the loss of Canadian prime minister Lester B. Pearson’s bow tie, British prime minister Harold Wilson’s pipe, and U.S. president Lyndon Johnson’s cowboy boots, all of which he’d caricatured.
Mr. Tingley once noted that some symbols, such as the teddy bear – a soft toy inspired by a 1902 Clifford Berryman cartoon depicting U.S. president Teddy Roosevelt with a cuddly bear cub – don’t die with their creators.
While Mr. Tingley admired cartoonists such as Ben Wicks, who could make their point with the stroke of a few simple lines, his own work was detailed and time consuming.
“To me, there’s so much history in the detail of my Dad’s cartoons. The flavour of the times and all the little details are quite important which is why they have value as historical documents,” Cameron Tingley said.
His father’s cartoons, which now reside in archives at the University of Western Ontario and at Library and Archives Canada in Ottawa, represent a lifetime of painstaking work.
Mr. Tingley’s work required keen observation of day-to-day events. He kept a reserve of general ideas so he’d never come up empty-handed.
“Dad’s hearing was never good. In early days, the TV or radio was always blaring. Eventually we got him a radio headset with an antenna so he could listen to current events while he was unloading the dishwasher, or doing some other chore without driving the rest of us crazy,” his son said.
Mr. Tingley’s cartooning career began during the Second World War. He was assigned the position of official cartoonist for the Canadian army magazine Khaki and the overseas army newspaper The Maple Leaf. This Doggone Army, a comic strip he created, poked fun at army culture and aimed to lift the spirits of enlisted men and women.
Once the war was over, having lost his drafting apprenticeship, Mr. Tingley crossed Canada on an old motorbike unsuccessfully seeking cartooning work at various newspapers. On the way back from the West Coast, he stopped in London where a friend said he could get him a menial job at The London Free Press.
Merle Randolph Tingley was born in Montreal on July 9, 1921. His father, Hartley Amos Tingley, ran a large machine shop that manufactured parts for army vehicles. His mother, Edna Blanche dabbled in modelling for Eaton’s catalogues and kept house for Merle and his younger sister, Joyce. The family was not rich but neither did they struggle.
One weekend, during his years at The London Free Press, Mr. Tingley accompanied some co-workers to Grand Bend, on the shores of Lake Huron. Scanning the beach with binoculars, he spotted Dorothy Gene Rowe with some of her girlfriends.
Mr. Tingley leaves his son Cameron; daughters-in-law, Laurel and Sheila; and grandson, Hayden. He was predeceased by his wife, Gene, and son Hartley.
Whether his subject was the lack of downtown parking spaces, kids tracking mud through the house, or a lazy husband, Mr. Tingley frequently found humour in the commonplace. “Cartoonists thrive on troubles,” Mr. Tingley wrote. “Your [interfering] mother-in-law is the marmalade on my bread and butter.”
Steven Heller in Print.
|Still from The Soldier’s Tale|
R.O. Blechman’s Ink Tank archive will have a home within the D.B. Dowd Modern Graphic History Library at Washington University.
The Ink Tank archive includes the production materials for more than 350 commercials as well as the films Simple Gifts and The Soldier’s Tale, based on the Stravinsky composition, plus short animations for NBC, CBS and other clients.
From Karikatür Haber.
|Cartoons by Ross Thompson, unknown and Matt Davies.|
The Karikatür Haber website has drawn attention to disturbing similarities between some cartoons that were rewarded at the 34th edition of the Aydın Doğan International Cartoon Competition and works which have won prizes in the past.
Some likeness are quite blatant whereas others should be given the benefit of the doubt.
|Cartoons by Sergio Tessarolo and Raimondo Ruch Santos Souza|
|Cartoons by Ehsan Ganji, Peter Schrank and Bob Englehart.|
|Cartoons by Jurij Kosobukin and Muhamed Djerlek.|
|Cartoons from Albaath and Luc Descheemaeker.|
From Yahoo Finance.
Time asked the president's businesses to take the fake covers down on Wednesday.
Trump has appeared on the cover of Time magazine several times, including as the 2016 person of the year in December.
The cartoon style appears to echo that of a wildly popular Twitter account that posts GIFs altered to show the president drawing childish pictures on bills or executive orders he's signed and then showing the cameras.
Brzezinski added that Trump was covering his hands "because they're teensy."
Trump attacked her viciously on Twitter shortly after, tweeting:
From Nimbus Publishing.
You Might Be From Canada If… is an examination of Canada at 150 by one of the country’s great cartoonist.
You Might Be from Canada If...
Michael de Adder
Publication Date: June 1st, 2017
The book was #1 on the Canadian bestseller list last week and Mike is doing the rounds.
|CTV News on June 27th: the link here.|
"Cartoonist satirizes nation" in The Winnipeg Free Press.
On the air:
He can also be heard on radio: http://www.cbc.ca/player/play/980556355661/
The Order of Canada is receiving 99 new members, including Globe and Mail editorial cartoonist Brian Gable.
From PBS Newshour.
A Vancouver comic book collective is working closely with refugees like Mohammed Alsaleh, who fled from Syria, to help them tell their stories.
From the AAEC website.
|Cartoon by Matt Davies|
We’ll cap off Thursday evening with cocktails and a view of NYC from the 9th floor of Hofstra’s library where we’ll have a Cartoons of New York reception with Governor Andrew Cuomo.
Saturday evening will be our closing night banquet hosted by Newsday at the University Club on the Hofstra campus.
Sunday, November 5
On Sunday morning we’ll gather for a Newsday hosted breakfast at the Marriott so we can all stand around and have a good laugh at Matt Davies’s organizational skills.
We work with international groups to call attention to oppression of cartoonists and journalists worldwide, and are actively involved in 1st Amendment and Free Speech issues.
The AAEC has an annual convention every fall to give members an opportunity to meet and debates the concerns of the industry, and invite the public to participate during its concurrent Satire Fest.
Michael Cavna in The Washington Post.
Virginia cartoonist Clay Jones discovered this week that a cartoon of his lampooning the president had been awarded a citation in the Trumpism Cartoon and Caricature Contest, as announced Monday by Iran’s House of Cartoon in Tehran.
Jones’s issue with the competition is that he now believes it is anti-American and anti-free speech.
“[House of Cartoon] may have good intentions, but I don’t want to be associated with them,” Jones tells The Post’s Comic Riffs.
The complete article here.
An update of the article published in The Canadian Encyclopedia.
|The Hecklers: A History of Canadian Political Cartooning (1979), Peter Desbarats and Terry Mosher.|
The art of the political cartoon as we know it in Canada today began in the 1870s when John W. Bengough (1851-1923) started publishing the satirical magazine Grip.
The first celebrated example in Canada was the work of Brigadier-General George Townshend, who served with General James Wolfe at Québec in 1759. Townshend drew sketches to undermine his commander's reputation. Wolfe demanded an inquiry after the war, but died on the Plains of Abraham.
|More Disgraceful Laxity!, George Townshend, 1759|
Ink on paper, 24.4 x 17.7 cm
Gift of Mr. David Ross McCord, M1443 © McCord Museum
Ironically, it was cartoonist Townshend who subsequently signed the capitulation papers. It wasn't until the arrival of Punch in Canada in the 1840s that editorial cartoons began to appear on a regular basis. Punch spawned other homegrown publications such as Grinchuckle, Canadian Illustrated News, and L'Opinion Publique, which carried illustrations that imitated the work of Britain's John Leech (1817-1864), the first cartoonist in the contemporary sense of the word.
Working for the first comic journal in Québec, "La Scie" (the Saw), which began in 1863, was cartoonist Jean-Baptiste Côté. He was a legendary Canadian political cartoonist. His simple woodcuts fit perfectly with the journal's motto, "Laughter Corrects Abuse."
When Bengough introduced Grip in 1873 he was influenced by the leading US caricaturist, German-born Thomas Nast (1840-1902), famous for his devastating cartoons about the corrupt Boss Tweed and New York's Tammany Ring.
At the same time that Bengough was with Grip, Québec artist Henri Julien was making his mark drawing political cartoons at the Canadian Illustrated News. One of Julien's studies of rural French Canadians was a depiction of an elderly farmer, rifle in hand and pipe clenched in teeth, ready to defend his land.
With the introduction of half-tone photo engraving, the art of caricature generally declined during the first half of the 20th century.
Two cartoonists of note from the pre-1950s era were Arch Dale of the Winnipeg Free Press and AG Racey who joined the Montreal Star in 1899 and remained there for 40 years.
Canadian cartoonists also began to wield a greater degree of independence than their US counterparts; they divorced themselves from the art department and created a separate editorial entity, autonomous in its own right.
For many years it was common for an editorial cartoon to contradict the stated editorial position of a Canadian newspaper. However, in the early part of 2000 the position of staff cartoonist came under increasing attack with chain newspapers beginning to cast aside staff positions, employing instead the less expensive freelancers, or using syndicates.
The future of Canadian political cartooning may be seen in a phenomenon from Québec called "Et Dieu créa Laflaque."The series is a 30-minute television show created by Québec's Serge Chapleau and Vox Populi.
First-rate editorial cartoonists are members of a select club. There are no more than two dozen employed at any one time in Canada.
National Newspaper Awards
By 1949, cartoons had become so persuasive that the Canadian Daily Newspaper Association created the National Newspaper Awards to honour journalism and cartoonists whose work "embody an idea made clearly apparent, good drawing, and striking pictorial effect in the public interest."
NNA Winners in Editorial Cartooning
1949 Jack Boothe, Globe and Mail
1950 James G. Reidford, Montreal Star
1951 Leonard Norris, Vancouver Sun
1952 Robert LaPalme, Le Devoir
1953 Robert W. Chambers, Halifax Chronicle Herald
1954 John Collins, Montreal Gazette
1955 Merle Tingley, London Free Press
1956 James G. Reidford, Globe and Mail
1957 James G. Reidford, Globe and Mail
1958 Raoul Hunter, Le Soleil
1959 Duncan Macpherson, Toronto Star
1960 Duncan Macpherson, Toronto Star
1961 Ed McNally, Montreal Star
1962 Duncan Macpherson, Toronto Star
1963 Jan Kamlenski, Winnipeg Tribune
1964 Ed McNally, Montreal Star
1965 Duncan Macpherson, Toronto Star
1966 Robert Chambers, Halifax Chronicle Herald
1967 Raoul Hunter, Le Soleil
1968 Roy Peterson, Vancouver Sun
1969 Ed Uluschak, Edmonton Journal
1970 Duncan Macpherson, Toronto Star
1971 Yardley Jones, Toronto Sun
1972 Duncan Macpherson, Toronto Star
1973 John Collins, Montreal Gazette
1974 Blaine, Hamilton Spectator
1975 Roy Peterson, Vancouver Sun
1976 Andy Donato, Toronto Sun
1977 Terry Mosher, Montreal Gazette
1978 Terry Mosher, Montreal Gazette
1979 Ed Uluschak, Edmonton Journal
1980 Victor Roschov, Toronto Star
1981 Tom Innes, Calgary Herald
1982 Blaine, Hamilton Spectator
1983 Dale Cummings, Winnipeg Free Press
1984 Roy Peterson, Vancouver Sun
1985 Ed Franklin, Globe and Mail
1986 Brian Gable, Regina Leader Post
1987 Raffi Anderian, Ottawa Citizen
1988 Vance Rodewalt, Calgary Herald
1989 Cameron Cardow, Regina Leader Post
1990 Roy Peterson, Vancouver Sun
1991 Guy Badeaux, Le Droit
1992 Bruce MacKinnon, Halifax Herald
1993 Bruce MacKinnon, Halifax Herald
1994 Roy Peterson, Vancouver Sun
1995 Brian Gable, Globe and Mail
1996 Roy Peterson, Vancouver Sun
1997 Serge Chapleau, La Presse
1998 Roy Peterson, Vancouver Sun
1999 Serge Chapleau, La Presse
2000 Serge Chapleau, La Presse
2001 Brian Gable, Globe and Mail
2002 Serge Chapleau, La Presse
2003 Serge Chapleau, La Presse
2004 Theo Moudakis, Toronto Star
2005 Brian Gable, Globe and Mail
2008–Cameron Cardow, Ottawa Citizen
2009–Brian Gable, Globe and Mail
2010–Brian Gable, Globe and Mail
2011–Marc Beaudet, Le Journal de Montréal
2012–Serge Chapleau, La Presse
2013–Bruce MacKinnon, Halifax Chronicle Herald
2014–Bruce MacKinnon, Halifax Chronicle Herald
2015–Bruce MacKinnon, Halifax Chronicle Herald
2016–Brian Gable, Globe and Mail
Montreal International Salon of Cartoons
The art was further recognized when an International Salon of Cartoons organized by Robert LaPalme was held from 1963until 1988.
From The Montreal Gazette.
Oleg Dergachov's first cartoon for the Montreal Gazette appears today.
Dergachov was born in Russia and, after time in Ukraine, Germany and Poland, moved with his family to Montreal in 2005. He might just be the best-known Canadian cartoonist abroad.
His work is in the permanent collections of such institutions as the Victoria and Albert Museum and the British Library in London, the State Russian Library and Museum of Fine Arts in Moscow and cartoon museums in Switzerland, Turkey and Poland.
But calling Dergachov a cartoonist understates his many talents. He is a painter, graphic artist, sculptor and illustrator, and he teaches courses in painting, cartooning and sculpture in his Westmount studio.
You can see more of his work at his website, doStudio.ca,
Leah Sandals in Canadian Art.
|Demi Moore by Annie Leibovitz|
Reports this week of the latest financial problem for American photographer Annie Leibovitz—who in 2009 nearly had to file for bankruptcy and in 2010 was sued by a company who says it was unpaid for helping to restructure her debt—have unexpectedly placed a spotlight on a little-known Canadian group called the Canadian Cultural Property Export Review Board.
Three times now, the members of the Canadian Cultural Property Review Board (or CPERB) have denied an application by the Art Gallery of Nova Scotia to certify a collection of more than 2,000 Annie Leibovitz photos as “cultural property…of outstanding significance or national importance.”
As the CBC explained in a fulsome investigative report, Leibovitz has only been paid half of the $4.75 million sale price of the prints, since the second half of the payment was only contractually due when the certification of“outstanding significance or national importance” came through.
As the appointment notice states, CPERB “certifies cultural property as being of outstanding significance and national importance. The certification of cultural property offers tax incentives to donors and vendors of cultural property. The certification process encourages the transfer of significant examples of Canada’s artistic, historic, and scientific heritage from private hands to public collections.”
This detail around tax incentives is especially important in the Annie Leibovitz case, as the Canada Revenue Agency has flagged the donor of the Leibovitz collection, Harold Mintz—himself a tax expert and partner at accounting firm Deloitte LLP—with attempting to inappropriately access a tax shelter in this donation arrangement.
CPERB also has another main function:“It reviews applications for export permits of objects refused by the Canada Border Services Agency. Export delays provide designated organizations with an opportunity to acquire culturally significant objects or collections that might otherwise be permanently lost to Canada.”
Also, in rare cases, CPERB “also determines what constitutes a fair cash offer to purchase an object, the export of which has been delayed when an exporter and an interested institution cannot agree on a fair purchase price.”
Some of the reasons that CPERB, in consultation with the Canada Revenue Agency, gave as specific issues against the initial 2013 Leibovitz request mirror general guidelines that the board later announced in 2014 for all applicants.
In an advisory CPERB issued in June 2014 about tax-shelter gifting arrangements, the board stated that tax-shelter gifting arrangements involving cultural property “may be distinguished by one or more of the following characteristics”:
The Board of Directors of the Association of American Editorial Cartoonists has released a statement on Nick Anderson and his firing by the Houston Chronicle and Hearst Communications:
"The firing of Pulitzer prize winning editorial cartoonist Nick Anderson is a misguided, short-term cost cutting maneuver by the Houston Chronicle and Hearst Communications.
The elimination of his position now means there isn't one on-staff newspaper editorial cartoonist in the entire state of Texas to provide local visual commentary and hold the state government accountable to its citizens.
Editorial cartoonists are a historically important and powerful component of American journalism.
Editorial cartoons are very popular with readers; they look to their local cartoonist to provide satirical observations of their representatives and government officials.
Especially in these times where our country's free press is under attack by the current administration, the work of editorial cartoonists resonates with Americans and provide a vital component of the political dialogue that our democracy needs in order to thrive.
While we acknowledge the financial challenges publishers face with the online market, eliminating original content is not the answer.
We denounce the actions of Hearst Communications in their short-sighted cost cuts at the expense of the health of the editorial cartoonist profession and journalism in general."
• AAEC President: Ann Telnaes
• President-Elect: Pat Bagley
• Vice President: Nate Beeler
• Secretary-Treasurer: Monte Woverton
• Immediate Past President: Adam Zyglis
Board Members 2016-2018
▪ Ed Hall
▪ Keven Siers
▪ Signe Wilkinson
"Texas now has zero staff political cartoonists, as Houston Chronicle fires Pulitzer winner" by Michael Cavna in The Washington Post.
From the Cartoon Museum.
|Cartoon by Steven Appleby|
Jude Terror in Bleeding Cool.
|This cartoon by Cumhuriyet cartoonist Musa Kart led to an 2014 arrest.|
It shows Edrogan looking the other way from a money laundering scheme inside the government.