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A blog about caricature, editorial and gag cartoons, comics as well as animation.

older | 1 | .... | 53 | 54 | (Page 55)

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    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.” 

    Most of the Library’s American Collection begins when the Georgian period ends, around 1830, when U.S. illustrators participated in furious debates over slavery, the expanding nation’s colonial wars and, of course, the Civil War.

    The Swann Collection of Caricature and Cartoon takes us well into the 20th century with 2,085 “drawings, prints, and paintings related to the art of caricature, cartoon, and illustration, spanning the years 1780 to 1977.”

    A larger collection of Cartoon Drawings collects “9,000 original drawings for editorial cartoons, caricatures, and comic strips spanning the late 1700s to the present.”

    Finally, the Herblock Collection contains “the bulk of the 14,000 original ink and graphite drawings… from 1946 through 2001, when Herblock [Herbert L. Block] worked for the Washington Post,” as well as 1,300 images from his days at the Chicago Daily News.

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    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. 

    Mr. Tingley neglected to erase the doodle, which appeared in the final blueprint. It was the end of his apprenticeship as a draftsman. “Oh well, I didn’t want to be a draftsman anyway,” Mr. Tingley wrote in a piece called Worm-ography, a foreword to one of nine books of his cartoons.

    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. 

    Being slightly absent of mind, and prone to forgetfulness, Mr. Tingley found himself at a bank in Vancouver minus his wallet. He urgently needed to withdraw money from his account. Without identification, the teller wouldn’t process his request.

    “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.

    (Editor's note: the bank manager was a London native and Ting had given a talk to her school when she was younger.)

    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. 

    It was no small honour that John Diefenbaker contributed a foreword to one of Mr. Tingley’s books. The former prime minister (1957-63) wrote, “His cartoons reveal him to be a kindly person who loves people while recognizing their shortcomings. He looks at life philosophically and without cynicism and he never wounds. As the subject matter of his cartoons, from time to time, I have always admired his wit and wisdom and enjoyed the shafts of his satire.”

    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. 

    Terry Mosher, also known as Aislin, one of Canada’s most renowned cartoonists, didn’t know Mr. Tingley well, but remembers him being quite a character at the cartoonist convention. After a couple of drinks, Mr. Tingley would take out his harmonica and serenade the group. 

    Asked to describe the common characteristics among cartoonists, Mr. Mosher said, “You have to be plugged in, and able to meet a deadline.” He added “There’s also the particular frustration of working for an editor who might not ‘get’ what you’re doing.”

    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. 

    But then he declared “All is not lost. There’s still [Pierre Trudeau’s] flower power. That’s not too important to running a country, I guess, but it adds a pretty salad to a cartoonist’s daily dish.”

    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. 

    Alas, this was not to be for Luke Worm. He died along with Mr. Tingley on June 4, in a veteran’s unit at Parkwood Institute in London, Ont. Mr. Tingley was about a month shy of his 96th birthday.

    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. 

    A colleague of Mr. Tingley’s at The London Free Press wrote, “It’s an unforgettable experience to hear him groan as he sketches, erases, rejects and starts all over again. To watch him race the engraver’s deadline is to witness an epic struggle between artistry and necessity.”

    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. 

    “As a child, if I got up in the middle of the night I’d see him in bed reading Maclean’s magazine. He constantly had to keep up with what was going on in the hopes of something juicy that he could have fun with – even when we were on vacation.”

    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

    Being broke, he agreed. When an editor happened to see a cartoon Mr. Tingley had drawn of London’s mayor during an election for city council, the job of editorial cartoonist was his.

    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. 

    His opening line was,“Any of you dames want to come back to our shack for a party?” The couple married in July, 1952, and had two sons, Cameron in 1953 and Hartley in 1964. 

    Cameron Tingley describes his mother, known as “Gene,” as being as much of a character as his father. He says both were humorists.“My mother’s humour focused on the individual, whereas Dad’s humour tended to look at the larger picture.”

    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.”

    More information:

    "The Civic Blessing and Inspiration of Ting" in The London Yodeller.

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    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.

    There is an unfinished film version of Candide. But beyond the films and media, there are many, many drawings, animation cels, background paintings, storyboards and other production materials, as well as business materials and documents.

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    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.

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    From Yahoo Finance.

    A sharp New Yorker cartoon by John Mavroudis lampoons President Donald Trump for the fake Time magazine covers recently found to be hanging in some of his hotels.

    The New Yorker joked in the description of the cartoon that it was "one of President Trump's prized possessions."

    The cartoon alluded to a Washington Postreport published Tuesday saying a handful of Trump resorts and clubs had framed Time magazine covers hanging in them that were never published.

    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. 

    The account, Trump Draws, has more than 441,000 followers.

    MSNBC's "Morning Joe" cohost Mika Brzezinski joked about the fake Time cover during a segment on Thursday morning, saying, "Nothing makes a man feel better than making a fake cover of a magazine about himself, lying every day, and destroying the country."

    Brzezinski added that Trump was covering his hands "because they're teensy."

    Trump attacked her viciously on Twitter shortly after, tweeting:

    Brzezinski shot back with a tweet of a Cheerio's box featuring the tagline "Made for little hands."

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    From Nimbus Publishing.

    You Might Be From Canada If… is an examination of Canada at 150 by one of the country’s great cartoonist.

    Michael de Adder draws for the Toronto Star as well as for the Hill Times and The Chronicle Herald.  His You Might Be From series of books have sold more than 50,000 copies.

    You Might Be from Canada If...
    Michael de Adder
    Nimbus Publishing
    ISBN: 9781772760637
    SKU: MP0071
    Publication Date: June 1st, 2017

    "You Might Be From Newfoundland and Labrador If..."
    "You Might Be From New Brunswick If…"


    The book was #1 on the Canadian bestseller list last week and Mike is doing the rounds.

    On television:

    CTV News on June 27th: the link here.

    In print:

    "Cartoonist satirizes nation" in The Winnipeg Free Press.

    On the air:

    He can also be heard on radio:

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    The Order of Canada is receiving 99 new members, including Globe and Mail editorial cartoonist Brian Gable.
    Here is the full list of new members.

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    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.

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    From the AAEC website.

    Cartoon by Matt Davies

    The 2017 Annual Convention of the Association of American Editorial Cartoonists, hosted by Matt Davies (Newsday) and AAEC President Ann Telnaes (Washinton Post) will be held November 1-4 at Hofstra University in Hempstead (Long Island), New York in conjonction with the Satire & the City: Political Cartoon & Satire Festival.

    Thursday, November 2 and Friday, November 3

    Our esteemed group will be graciously hosted by Hofstra University for thought- provoking discussions about 
    • 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. 
    We’ll also have a panel discussion with New Yorker cartoonists, another with Mad Magazine’s ink slingers and a special panel on women in illustration featuring some stellar NY based artists. 

    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.

    On Friday morning Hofstra will bring in local high school students to join us for a presentation by the always engaging Kal and then at noon we’ll board buses to drive us under the East River to the historic Society of Illustrators Club in NYC for a luncheon and a sit-down interview by Signe Wilkinson with the legendary illustrator Ed Sorel

    After lunch we’ll head off to the Tribeca Film Festival Loft Space where we’ll see an animation showcase and a discussion about satire during the Trump presidency, moderated by Whoopi Goldberg, followed by a reception. 

    Saturday, November 4

    On Saturday we’ll take care of AAEC business at our annual members meeting, discuss upcoming convention venues and nominate our next year’s officers.

    There will be some free time to explore local attractions an Uber ride away, like Sagamore Hill (T Roosevelt’s summer residence) in Oyster Bay or the eclectic and eccentric Vanderbilt estate in Centerport, but you can also stick around campus to hear the legendary Canadian cartoonist Terry Mosher (“Aislin”) talk about his amazing 50 year career at the Montreal Gazette

    AND (if Matt can pull it out of his hat) there might be an afternoon event with a surprise guest and/or event at Hofstra’s John Cranford Adams Playhouse. Plans are still swirling/forming and we’ll keep you updated as things come together!

    Saturday evening will be our closing night banquet hosted by Newsday at the University Club on the Hofstra campus. 

    We’ll be honoring the winner of the CRNI Courage in Cartooning Award, and this year’s Locher award winner. 

    We will also be announcing the recipient of the inaugural Rex babin Award for Local Cartooning. 

    New York Senator Chuck Schumer, a raconteur and ardent fan of satire and wit will be our speaker.

    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.


    The AAEC is a professional association representing hundreds of political and editorial cartoonists in the United States, Canada, and abroad.

    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.

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    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. 

    His cartoon spoofed Time magazine’s 2016 selection of Trump as“person of the year” by drawing a comparison to Hitler, whom Time named its “man of the year” in 1938.

    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. 

    “It can be perceived as not just an anti-Trump contest, but anti-American. I’m fine with criticizing America, or even our democratic allies criticizing America. But I don’t want to join our enemies in doing so.”

    The complete article here.

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    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.

    In its pages, Bengough pilloried Canada's first prime minister, John A. Macdonald, and since then each prime minister has had an alterego with a sketchpad:

    • 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).

    Earliest Practitioners

    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.

    Development of a Distinctly Canadian Approach

    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." 

    He attacked the political elite and the civil service with such ardour that in 1868, after depicting a civil servant "at his day's work," he was arrested and thrown into jail - the first and only Canadian cartoonist to achieve this distinction. 

    In 1877 Le Canard was published in Montreal by pioneer cartoonist Hector Berthelot. This publication, like many before it, was supported by editors and publishers who drew the cartoons themselves.

    Popular Recognition

    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. 

    This spirit of the rebellion of 1837 was later adapted by the Front de Libération du Québec (FLQ) in the 1960s as a symbol of armed revolution. 

    The Montreal Star became the first newspaper in Canada to employ an editorial cartoonist when Henri Julien was hired in 1888 to do "news pictures." He was the first cartoonist to be honoured with an exhibition at the National Gallery in Ottawa, and a street in Montréal is named in his honour.

    With the introduction of half-tone photo engraving, the art of caricature generally declined during the first half of the 20th century. 

    David Low (1891-1963) revived it at the London Evening Standard during World War II, lampooning Hitler and Churchill. 

    At about the same time, the Halifax Chronicle Herald hired Bob Chambers (1905-1996) and John Collins (1917-2007) began working at the Gazette in Montreal. 

    For many years, however, cartoons in Canadian newspapers were pale imitations of Low's work, or were influenced by the ubiquitous drawings of syndicated US artists Herbert Block ("Herblock" 1909-2001) at the Washington Post and Bill Mauldin (1921-2003) at the Chicago Sun Times.

    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. 

    The character of cartoonists in Canada of this generation was that of well-mannered good sports. Rarely vicious, they supported good causes and did their work in a cheery manner. 

    A distinctive Canadian style emerged after World War II. Led by Robert Lapalme (1908-1997) at Le Devoir, Duncan Macpherson at the Toronto Star, Leonard Norris (1913-1997) at the Vancouver Sun and Ed McNally (1916-1971) at the Montreal Star, cartoons broke with accepted cliches. 

    Their drawings were sharper and often more savage than American cartoons, which arguably tend to be more allegorical.

    Editorial Independence

    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. 

    Duncan Macpherson was not afraid to challenge his editors and did so on a number of occasions, threatening to get his way or quit. He came by his distaste for editors honestly, having witnessed the poor treatment of his predecessor at the Toronto Star newspaper, Les Callan, who after twenty-five years was unceremoniously cast aside. 

    Terry Mosher, cartoonist at the Montreal Gazette, is on record as saying, "Macpherson established a new ground rule for all political cartoonists to follow: never give an editor an even break."Before Macpherson, most cartoonists were a part of the editorial page "team" who decided what would go on the page that day. Macpherson refused to join the team or go to meetings, and pressed to be given the status of independent contributor to the editorial page.

    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. 

    In this way the cartoon could be"cherry picked" to coincide with the paper's position, in what seems to be a return to the bad old days. 

    With the rise of the Internet, freelance cartoons are now marketed worldwide by such syndicates as Edmonton cartoonist Malcolm Mayes's Artizans and American cartoonist Daryl Cagle's Pro-Cartoonists Index

    These sites are web portals where an editor or business can download fresh political cartoons, gag cartoons, caricatures, graphic art and illustrations by dozens of cartoonists.

    New Directions

    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.

    It began in 2004 on Radio-Canada in Québec and has made Canadian cartoon history with its combining of political cartoons with computer 3D graphic animation. The show follows the adventures of Gérard D. Laflaque as he interacts with celebrities and Canadian politicians such as Paul Martin and Jean Charest. 

    A huge hit with its fans in Québec, it won the best comedy award at the 2005 Banff Festival against major competition such as Corner Gas and the British series Curb Your Enthusiasm.


    First-rate editorial cartoonists are members of a select club. There are no more than two dozen employed at any one time in Canada. 

    Among the new breed of distinguished artists are Aislin (Terry Mosher, b 1942) at the Montreal Gazette, Serge Chapleau (b 1945) at La PresseVance Rodewalt (b 1946) at The Calgary HeraldDale Cummings (b 1948) at the Winnipeg Free PressBrian Gable (b 1949) at the Globe and MailBado (Guy Badeaux, b 1949) at Le Droit in Ottawa, Susan Dewar (b 1949) at the Ottawa Sun,  John Larter (b 1950) at the Calgary SunGary Clement (b 1959) at the National Post, Malcolm Mayes (b 1960) at the Edmonton Journal, Bruce MacKinnon (b 1961) at the Halifax Herald, as well as freelancers Ingrid Rice (b 1960), Tim Doligan (b 1963) and Mike DeAdder (b 1967).

    (Editor's note: Dale Cummings, Susan Dewar and John Larter are now freelancing at Artizans)

    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." 

    The first recipient was the Globe and Mail's Jack Boothe (1910- 1973), at the time the highest paid political cartoonist in the country. 

    Roy Peterson (b 1936) held the record for National Newspaper Awards with seven wins until Serge Chapleau (2012) and Brian Gable (2016) caught up with him. 

    Among the winners are some of the country's leading cartoonists, including Merle Tingley (1921-2017); Andy Donato (b 1937); Serge Chapleau (b 1945); Brian Gable (b 1949); and Bruce MacKinnon (b 1961). 

    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
    2006–Marc Beaudet, Le Journal de Montréal
    2007–Serge Chapleau, La Presse
    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.

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  • 07/14/17--21:00: "Blitt"

  • Riverhead Books will publish this October a long-awaited collection of Barry Blitt's work including many never before seen cartoons, sketches and drafts.

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    Houston Chronicle cartoonist Nick Anderson announced Friday on his Facebook page that he was the latest victim of the layoffs in the newspaper industry.

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    From The Montreal Gazette.

    Oleg Dergachov's first cartoon for the Montreal Gazette appears today.

    He will share cartooning duties with AislinBorisNicole Fisher, Gigot, Grooch and Frederic Serre.

    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,, 

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    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 a recent appointment notice for CPERB suggested, one of the key functions of CPERB is to control not only certifications of cultural property, but the outlay of tax incentives to donors of such property (like private collectors and art dealers)—incentives which are only available when CPERB makes a certification of “outstanding significance and national importance.”

    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”:
    • 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)

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    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.

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    From the Cartoon Museum.

    Cartoon by Steven Appleby

    "Daily Funnies: An Exhibition of Strip Cartoons" will open to the public on July 25th..

    The exhibition will feature examples of many well-known cartoon strips from British newspapers and magazines from the past 100 years. 

    The exhibition will show examples including Alex, Andy Capp, Biff, Bristow, Dick Tracy, Doris, Flook, Fred Basset, If... ,Jeff Hawke, Modesty Blaise, Nipper, Oor Wullie, Peanuts, The Perishers, Pop, Rupert, Supermodels and many others.

    "Daily Funnies: An Exhibition of Strip Cartoons"
    From July 26 to November 5, 2017 
    Cartoon Museum
    35 Little Russell Street
    London WC1A 2HH
    Tel: 0207 580 8155

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    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.

    Last November, journalists from Turkey’s opposition newspaper Cumhuriyet were arrested as part of a political crackdown by the Turkish government responding to a failed coup that almost ousted President Recep Tayyip Erdogan the previous July.

    In the wake of the coup, almost 50,000 government employees were suspended and dozens of news organizations ordered to shut down. 

    Accused of helping a terrorist organization by targeting the government with journalism, or, as the Turkish government refers to it, “asymmetrical war tactics,” the Cumhuriyet journalists face sentences ranging as high as 43 years in prison.

    In court, Cumhuriyet CEO Akın Atalay called the affair“a complete legal murder” designed to silence the paper.

    Potential sentences for the journalists vary in length, with Kart and several of his colleagues, including Bülent Utku, Hakan Karasinir, Mustafa Kemal Güngör, and Hikmet Aslan Çetinkaya reportedly facing up to 29 years. 

    Atalay, Mehmet Orhan Erinç, and Önder Çelik face up to 43 years, while the others charged face up to 15 years.

    The Cartoonist Rights Network International, which has been diligently reminding people around the world that Musa Kart and his colleagues face several decades in prison, reports that the Human Rights commission has declared the imprisonments “arbitrary,” ruling, “taking into account all the circumstances of the case, the appropriate remedy would be to release [the afore mentioned] immediately and accord them an enforceable right to compensation and other reparations, in accordance with international law.” 

    What influence, if any, the ruling could have on the Turkish court is unknown. CRNI’s section about cartoonists in danger on their website contains dozens of articles about Kart, whose plight has flown largely under the radar in the North American comics press and community.

    Earlier this year, Amnesty International set up a web page where people could message the Turkish deputy prime minister and member of Edrogan’s cabinet, Bekir Bozdağ, urging him to release the imprisoned journalists. 

    The organization names Turkey as the largest jailer of journalists in the world.

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