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LA Times cartoonist David Horsey named finalist for 2014 Pulitzer Prize

April 17, 2014, 5:25 am
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From the Tribune Content Agency.



Two-time Pulitzer Prize-winning editorial cartoonist and columnist David Horsey is a political commentator for the Los Angeles Times. His Top of the Ticket blog is the most frequently searched feature on LATIMES.com. David's work has appeared in hundreds of media outlets, including the New York Times, the Washington Post, Newsweek and MSNBC.com.

Besides winning two Pulitzers for the Seattle Post-Intelligencer in 1999 and 2003, Horsey received the 1998 National Press Foundation Berryman Award for Cartoonist of the Year and many other honors, including first place in the Best of the West Journalism Competition for his columns about the 2008 presidential election.



After graduating from the University of Washington, Horsey entered journalism as a political reporter. His multifaceted career has taken him to national political party conventions, presidential primaries, the Olympic Games, the Super Bowl, assignments in Europe, Japan and Mexico, and two extended stints working at the Hearst Newspapers Washington Bureau.

As a Rotary Foundation Scholar, Horsey earned an M.A. in International Relations from the University of Kent at Canterbury. He was also awarded an honorary doctorate from Seattle University.

Horsey has published eight books of cartoons, including his two most recent, "Draw Quick, Shoot Straight" (2007) and "Refuge of Scoundrels" (2013).

For escape, he spends a few weeks each year working as a cowboy in Montana.
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Scarfe's Bar

April 18, 2014, 4:26 am
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From The Spectator.



Cartoonists and alcohol are often linked, and now one of the UK’s best known political cartoonists, Gerald Scarfe, has a bar named after him at the Rosewood Hotel in Holborn, London. 
Cartoonist Scarfe has spent the last four months decorating the bar at the Rosewood Hotel in Holborn.

‘If the Prince of Wales can have a pub named after him, why shouldn’t I have a bar?’ says Scarfe, who treated me to a whistle-stop tour of his work. ‘There won’t be enough time to paint Maria Miller [before she goes],’ he joked.
The walls did, however, present a small connection to the beleaguered Culture Secretary. Scarfe proudly showed me a framed copy of his Sunday Times cartoon that depicted Greece and Spain being breastfed by Angela Merkel. He boasted: ‘Mary McLeod, who works for Miller, was one of the five MPs to write to me complaining about this!’ The militant lactivists – who are on Rod Liddle’s case after his latest article for the magazine– won’t like that one. 






Illustrations of famous British figures, from Margaret Thatcher to David Beckham and The Beatles, will be on display whilst bar-goers sip their drinks.

He said: "It's fantastic to have your own bar, I've turned the whole place into an art gallery".

The Telegraph has a video in which the cartoonist talks about the drawings on the walls.



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Anita Kunz denounces copyright infringement

April 18, 2014, 11:00 pm
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From Anita Kunz Facebook page.


This image has over 500 infringements throughout the web. I'm not credited anywhere and people are using it to brand their companies. DO NOT STEAL MY ART!!! This image is by Anita Kunz, registered with the Library of Congress copyright office. I'm tired of this theft.
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Doug Wright Awards Kickstarter

April 22, 2014, 11:00 pm
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From Sequential.


The Doug Wright Awards have started a campaign to crowdsource specific costs for their 2014 event, taking place during TCAF on May 10 at the Ballroom of the Toronto Marriott Bloor Yorkville Hotel. This is the 10th anniversary of the awards, and as a participant in the organization of the event in years past, I can attest that the costs of the event and the production of the actual awards puts quite a strain on the non-profit organization and its tiny group of volunteers. 

To offset the costs this year, the Wrights have launched a Kickstarter campaign. They are asking for exactly $6135.00 to cover the cost of the event, including production of the awards, the famous trophies, and a small 10th anniversary book, as well as travel costs for guests, including bringing Canadian Golden Age artist Jack Tremblay from Montreal.

The Wright Awards are a non-profit organization who have been instrumental in raising the profile of comics art and graphic novels in Canada. They helped bestow early prominence on young artists like Bryan Lee O’Malley, Kate Beaton, Jillian Tamaki, and Michael DeForge, among many others, and have honoured the work of the cartoonists who worked in the mostly-forgotten history of Canadian comics. Every year they put on an entertaining, classy show that recognizes and promotes the work of the very best our artform has to offer.

The Kickstarter ends May 8 and the minimum ask is $1.00. There are some nice pieces of art and other bonuses being offered as incentives for higher commitments. Check it out!
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“An effort to support the 10th annual Doug Wright Awards including a collection of new Nipper-inspired art, photos, memories and more:

Our host will be Kids in the Hall alum and Hannibal actor Scott Thompson, and we will be honouring the surviving artists of “The Canadian Whites” by inducting them into the “Giants of the North, the Canadian Cartooning Hall of Fame.” The Whites were black-and-white comics produced between 1941 and 1946 that contained a host of original (and iconic) Canadian characters such as Johnny Canuck, Canada Jack and Nelvana of the Northern Lights. 

These characters were created by the likes of Murray Karn, Adrian Dingle, Gerry Lazare, Leo Bachle and Jack Tremblay. The event will also serve as the official launch of a new collection of the complete Nelvana of the Northern Lights (by Adrian Dingle) being published by CGA Comics.

As a special thank you for those who decide to support our Kickstarter this year we’ve decided to put together a collection of work showcasing great Canadian artists and their interpretation of a Doug Wright’s Family or “Nipper” comic. This collection will also have fun stuff the Doug Wright Awards has accrued over the last few years such as Dustin Harbin’s comic essay about the awards as well as DWA posters and other ephemera.”
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Hopper paintings brought to life

April 23, 2014, 11:00 pm
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Director Gustav Deutsch brings 13 Hopper paintings to life in his film, Shirley - Visions of Reality, the story of a woman whose thoughts, emotions and contemplations lets us observe an era in American history.





A few stills from the film and comparisons of the Sets to the Actual Paintings:







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Kal Wins Thomas Nast Award

April 24, 2014, 11:00 pm
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Kevin Kallaugher (Kal) been named the winner of The 2014 Thomas Nast Award.


The award is presented by the Overseas Press Club of America every year for excellence in cartoons on international affairs. The presentation ceremony, the 75th celebration of the awards, took place last night at a black tie gala in New York. 

You can view his submission portfolio and the citation of the judges here.
Link to the overall award story and view other category winners here.
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World Press Cartoon Board of Directors postpones the 2014 Salon

April 27, 2014, 11:00 pm
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By its nature and scope, World Press Cartoon is an event whose viability depends on the combination of multiple supports and sponsorship. The natural main sponsor is the city that welcomes and associates its name to World Press Cartoon. This was the path that World Press Cartoon and Sintra followed together for the last 9 years, making Sintra the international capital of humour drawings in the press.

In the context of the municipal government transition that resulted from the local elections held in October 2013, the World Press Cartoon Board of Directors has been trying, by all means, to organize the salon 2014 in Sintra. The event was announced, last October, on the basis of a gentlemen´s agreement with the winning candidate, but this commitment has not yet been honoured by the new administration of the municipality.

The works of the authors were received and registered, as usual, but the meeting of the jury, scheduled for February, was cancelled, pending the formal decision of our main sponsor. Unfortunately, were are still waiting for a final decision and it is not possible to organize this Spring the 2014 salon, as expected and announced. The organization decided on a postponement, while searching for an alternative solution that ensures the continuity of the event within the standards of excellence that are its' trademark.

To all the authors who submitted their works, we apologize for this change in timetable and the associated disadvantages. Our goal is to continue to celebrate the creativity that feeds annually our catalogue and our exhibitions. More than ever, we appreciate the incentives and the words of encouragement that we have received from authors and newspapers. Our commitment is to fight for the life of this salon that over a decade has proved to be the mandatory meeting point to cartoons and cartoonists throughout the world.


Lisbon, 20 of April 2014
World Press Cartoon
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Jen Sorensen Wins 2014 Herblock Award

April 29, 2014, 9:29 am
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Jen Sorensen, cartoonist for the Austin Chronicle and other US papers, has become the first woman to win the coveted Herblock Prize for editorial cartooning.

The annual award was created to recognise editorial cartooning as an essential vehicle for freedom of speech and the right of expression.






Michael Cavna writes inThe Washington Post:

Even for a cartoonist, Jen Sorensen has an uncommon gift for tapping into the signs of the times. Peer closely at the billboards and marquees and posters in a Sorensen work — the grace notes beyond the word balloons — and you see and hear signage forged with the precision of an irony-worker.
As Exhibit A, step into the world within her editorial cartoon titled “The Gentrification Cycle.” Want a vivid sense that hipsters are infiltrating this working-class neighborhood? Just look to the sign next to the shuttered bodega, gleaming in a frosted-pink tint, that says: “Artisanal Cupcake and Hookah Bar.”
Sorensen deftly guides us through each sign and scenario, as the hipsters are eclipsed by new-moneyed tech-heads scootering over to the “Hacker Hut” building, before the bankers and global oligarchs come into frame. In a mere four evolving panels, she has neatly landed enough smart-sign gags to fill an inspired “Simpsons” scene.
Her ultimate sign of the times, though, will be featured tonight at the Library of Congress. It will be the program that spotlights the latest winner of the Herblock Prize for political cartooning. The one that says: “Jen Sorensen.” 
“The Gentrification Cycle” is among 11 cartoons that have earned her this journalistic honor, as well as the $15,000 cash prize, the fine Tiffany hardware and the affirming praise of her peers that come with it. 
Her award is notable partly because Sorensen is the first woman to win the prize in its decade-long history. But her career is also a barometer of another shifting wind: She is the relatively rare freelancer who scoops up so many industry honors while making a living not by seeking that scarce newspaper staff position, but by patching together a political-cartoon portfolio of webcomics, alt-weekly works, magazine gigs (Ms., The Progressive, The Nation) and even the occasional corporate assignment. 
As her outlets have increased in recent years — including the Daily Kos, NPR and Medium — so have Sorensen’s awards. She was a Herblock Prize finalist in 2012, won the Robert F. Kennedy Journalism Award a year later, and just this month picked up the Society of Professional Journalists’ national cartooning honor. After a couple of decades at the board, Sorensen is enjoying a series of breakthrough moments on the larger public stage, even as she adapts to that reality. 
“It’s always hard for me to tell — like I’m putting cartoons in bottles and pushing them out to sea,” says Sorensen, 39. 
How did she quite get here? During her days at the University of Virginia in the mid-1990s, she had no plans for this line of work. “I actually came at political cartooning from a slightly different angle,” the Austin-based artist says. She was an anthropology major who dug underground cartoonists such as Crumb. 
She began submitting to a women’s comic anthology while in Charlottesville, among other small publications, then in 1999 started drawing absurd short stories. “It was the first year of my strip, and it was fairly surreal and not terribly political,” she says. “Staff jobs as an editorial cartoonist hadn’t even entered my mind yet.” 
Then, as a new decade dawned, everything shifted professionally. “It started with the Bush v. Gore Supreme Court decision,” says the left-leaning cartoonist. “That was so jarring to me. And then Sept. 11 and the march to war. I guess it seemed like suddenly, things got much more serious — I didn’t feel like doing frivolous, silly cartoons any more.” 
Now she is one of the relatively few prominent female political cartoonists. “In my case, my male colleagues have been extremely supportive, and they’ve helped me lean in,” says Sorensen, even as she notes that many job offers come from feminist-themed outlets. “I’ve had a pretty good experience, [although] there are these subtle cultural expectations that I think we need to still examine.” 
As her career continues to ascend, the Pennsylvania-born artist is still making the mental transition to such a big stage. “I’m still trying to get my head around the [thought of] Bob Woodward looking at my Web site.” 
Woodward, the famed Washington Post reporter and now associate editor, will deliver Tuesday night’s Herblock Prize Lecture. “I have reviewed all of Herb’s cartoons from June 17, 1972 to Aug. 9, 1974 — from the Watergate break-in to Nixon’s resignation. There are 140 relating to Watergate,” says Woodward, who will illuminate the legendary Post cartoonist’s Watergate work during his lecture, titled “The Genius of Herblock: Understanding the Real Nixon.” 
Sorensen respects Herblock’s legacy of speaking truth to power. She reaches for the same ideals, even while — inadvertently — forging a new path. 
“It seems,” she says, “like I have finally reached some sort of critical mass.”
To see Sorensen’s Herblock-winning portfolio, you can CLICK HERE.
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Gerald Scarfe and Steve Bell profiled on Al Jazeera

April 29, 2014, 11:00 pm
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Reprint on the iPolitics website (18)

April 30, 2014, 5:27 am
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Reprint on the "National Newswatch" website (5)

April 30, 2014, 10:55 am
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Richard Thompson Annotates "The Complete Cul de Sac"

May 1, 2014, 5:13 am
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Alex Dueben in Comic Book Resources.



Richard Thompson was considered one of the great living cartoonists when he announced that he was ending his strip "Cul de Sac" in 2012 because of complications with Parkinson's disease. Though it was never one of the most popular comic strips, "Cul de Sac" had a passionate fanbase, including other cartoonists, who awarded him the 2011 Reuben Award for Outstanding Cartoonist of the Year.

Now the entire strip has been collected in a two-volume slipcased edition from Andrews McMeel Publishing, which will be released in May with an introduction by Art Spiegelman. 

Last month the Billy Ireland Cartoon Library and Museum at Ohio State University opened the exhibition "The Irresistible Force Meets the Immovable Object: A Richard Thompson Retrospective" which looks at Thompson's body of work.

Thompson, who continues to occasionally update his website, was kind enough to talk with CBR News about the exhibition, "Cul de Sac" and this fall's "The Art of Richard Thompson."



First of all, congratulations. It was ten years ago -- as of February 4 -- that "Cul de Sac" debuted. I apologize for not bringing any tin or aluminum, but does it feel like a decade?

Ten years in anything is remarkable. It's such a very round number that it lends itself to celebration with ease -- even if nothing much has been accomplished. The early "Cul de Sac" [strips] were so different from the last strips that it's hard to see their relation.

How much did you have to do with the "Collected Cul de Sac" that is coming out in May?

I did a lot for the upcoming "Complete" edition. I annotated over 630 pages of "Cul de Sac" strips, and for a single-fingered typist thats a lot!

What's included in this slipcased collection besides every "Cul de Sac" strip?
I wrote funny justifications for almost every strip -- is that not enough? If it's not, you will have to wait for the release of "The Art of Richard Thompson" due out this fall -- also from Andrews McMeel. That will have sketches, roughs and all the backstage stuff you fanboys love so much -- including a 26-page conversation about the art of comics between Bill Watterson and myself. (Who wins? Buy the book and find out.)

There was a collection of your early "Richard's Poor Almanac" comics published years ago which is now out of print. Is there any chance of getting a new collection of it and your illustrations one of these years?
Mmmaybe. "The Art of Richard Thomson" has a chapter on the "Almanac."




I'm sure you don't miss the constant daily deadline, but do you miss drawing the characters?

YES! I knew them all so well that it was hard to consign them to oblivion. All I can say is I have plans for them that I hope can one day be realized.

Last month, an exhibition of your work and Bill Watterson's work went up at the Billy Ireland Museum at Ohio State University. How did the exhibition come about?

Not really sure what it's genesis was, but when Bill Watterson and Jenny Robb and Caitlin McGurk gang up on you, resistance is futile.

What work is included in the exhibit?

A little bit of everything. Caricatures, illustration works, comic strips, and other things I've turned my hand to over the years. It's sort of a career wide show and I hope when I see it to figure out what I have been up to all these year.

What was it like seeing the exhibit at OSU?

I don't think I saw the whole exhibit; there were too many people that I wanted to spend time with. What I saw of it was great but mostly I remember the crowd of familiar faces. My daughters both told me their favorite parts of the exhibit. For my older daughter, it was seeing a bunch of people who where laughing at a cartoon on the wall. For my younger daughter, it was an original by Jack Kirby in the adjoining room.

For you, what do you like about seeing originals? What do you get out of it that you don't get out of seeing the final comics?

For a moment you're seeing them as there creators did. You see the mistakes, the paste-overs, white outs and penciled notations that are not visible once it was published. You see the thinking.




Was there a comic you saw on the wall -- either yours of Watterson's -- that made you realize something about it that you hadn't before?

Yes. Many of them. The Wattersons were all so small and deft and clean. I cannot look at anybody else's work without wondering 'how did he do that?'

For those of us not near Ohio, is there any chance the exhibition will have a catalog or any chance that the exhibition will travel?
Yes, Watterson's half of the exhibit will be traveling although I am not sure where. While there are no plans for a catalog I do have the art book -- now planned for release on November 4, 2014!

As a last question, at the risk of sounding intrusively personal, how are you doing?
Well, I list to the left somewhat alarmingly and I mumble a lot. And there is a wheelchair involved, but other than that, I am okay.

"The Complete Cul de Sac" goes on sale May 6, 2014.
Discuss this story in CBR's Community Forum forum.
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14th World Press Freedom International Editorial Cartoon Competition-Results

May 1, 2014, 11:00 pm
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The jury (Jennifer Ditchburn, Roderick Macdonell and Guy Badeaux) met April 8, 2014 to select the winners of the 14th World Press Freedom International Editorial Cartoon Competition.

Grand Prize: Bruce Mackinnon, Canada







Second Prize: Pierre Brignaud, Canada

Third Prize: Rodrigo de Matos, Macao

Awards of Excellence

José Rubio Malagón, Spain

Ali Miraee, Iran

Gilbert Daroy, Philippines

Diego Herrera (Yayo), Canada

Frédérick Fontaine (Frefon), Canada

Daniel Murphy, Canada
Muammer Olcay, Turkey

Run Tang Li, China

Kevin Kallaugher (Kal), USA

William Rasoanaivo (Pov), Mauritius

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Save World Press Cartoon Sintra

May 4, 2014, 4:49 am
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Rafaella Spinazzi has posted on her blog a letter protesting the cancellation of the World Press Cartoon competition and exhibition, created by famed Portuguese cartoonist Antonio Antunes and held in Sintra, Portugal for the last 10 years.

Here is the letter:

The Honorable Basilio Horta
Mayor of Sintra, Portugal
Mr. Horta:

The Sintra World Press Cartoon Annual Salon is internationally recognized as the most important event of the World Press Cartoon organization. Until last year the city of Sintra had supported the celebration of this great event, which promotes not only the best works of world cartoonists, but places your city as an international cultural center as well.

We have learned in disbelief that you have decided to withdraw Sintra´s support to the realization of this important event, precisely when it is organizing its tenth edition and has already received hundreds of works from all over the world.

We invite you to reconsider your decision for the sake of art and culture. A prestigious event as the World Press Cartoon Salon deserves to receive the support from your office once again. That would be the right decision to make for the cultural enrichment of both Sintra and Portugal.
You may imitate her by writing yourself to the mayor:

Sr. Basílio Horta
Alcalde de Sintra
Largo Dr. Virgílio Horta
2714-501 Sintra, Portugal
Tel:
00 351 219 238 500
Fax:
00 351 219 238 657
Email:
presidencia@cm-sintra.pt

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Drawing For Peace

May 6, 2014, 11:44 am
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From Euronews.

Habbas / Cartooning for peace © Habbas Habbas


The Swiss foundation “Cartooning for Peace” has honoured Syria-Palestinian Hani Abbas and Egyptian Doaa Eladl for their work. Former UN Secretary General Kofi Annan handed them the international award for press cartoonists in Geneva, as part of World Press Day.

At the event, Annan said: The “Cartooning for Peace” prize recognises those who commit their voices and artistic talent to the cause of peace and tolerance and who use a universal language of images to inform and educate and celebrate our common humanity.”
Doaa / Cartooning for peace © Doaa - Doaa
Doaa Eladl who couldn’t attend the ceremony, is a celebrated female artist in the Arab world – known especially for her political work. She has often tackled women’s right issues, attracting controversy and even charges of blasphemy for her cartoons.

Many of Hani Abbas’ cartoonist and journalist colleagues have been tortured or killed in Syria. His often satirical cartoons and testimony on the atrocities committed by Assad’s regime have seen him arrested and threatened several times. He fled Syria and is now seeking political asylum in Switzerland.

Abbas told euronews : “This prize is not simply for me as a person, Hani Abbas, but for everyone who expresses their opinion, for all the journalists and intellectuals in Syria who encounter grave danger – because of drawing, speaking out or expressing themselves in a free way.

Kofi Annan also inaugurated an exhibition entitled “War in all its states” on the shores of Lake Geneva, showing 100 cartoons from globally-renowned artists. Following the 2005 Mohammed cartoon polemic, it was French cartoonist Plantu, known for his work in “Le Monde” who kickstarted the “Cartooning for Peace” award together with Kofi Annan. The goal is to highlight and support cartoonists around the world

Plantu gave euronews his views on the significance of using cartoons as a form of expression: “We’re trying to show the level of resistance that exists today, from the perspective of the very people that allow us to understand the word “resistance”, the cartoonists that ultimately become the foot soldiers of democracy. In other words, they’re railing against different powers, not just the power of their editors but also against political and religious power.”

The war cartoon exhibition on the banks of Lake Geneva runs until the beginning of July and then moves to Sarajevo.

From Lake Geneva, euronews correspondent Wolfgang Spindler said: “Political cartoons can be subversive, provocative and amusing – they make us smile, they give us pause for thought. But we very often forget that the cartoonists behind them sometimes have to risk their lives daily for the sake of their work.”








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Toronto Comic Arts Festival 2014

May 6, 2014, 11:00 pm
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An interview with Tom Gauld

May 8, 2014, 3:48 am
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From du9, l'autre bande dessinée.



The past two years have seen the publication of his first full-fledged graphic novel Goliath and a collection of his Guardian cartoons You're All Just Jealous of My Jetpack -- indeed, Tom Gauld has been particularly busy, and yet still manages to remain incredibly funny. And very, very British.

The full-length interview with Xavier Guilbert  here and a few pages from his sketchbook after the fold:






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Our Editorial Cartoonists in Havana

May 8, 2014, 11:00 pm
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Andrew Dreschel in The Hamilton Spectator.



Some 28 cartoonists from across Canada are flying today to Havana, Cuba, for a five- day meeting of the Association of Canadian Editorial Cartoonists (ACEC), their professional organization that has about 60 active members.

For a group that enjoys both freedom of expression and immunity from political repression at home, the choice of Cuba as a convention destination is, to put it mildly, quixotic,

Cuba ranks a dismal 170th out of 180 countries on the World Press Freedom Index, which measures the freedom of information that journalists, news agencies and internet users have in their homelands.


Aristides Esteban Hernandez Guerrero (Ares)

Amnesty International routinely censures Cuba for its relentless repression of journalists and human rights activists, including arbitrary arrests, detentions and harassment.

Yet that's the coercive place noted cartoonists such as Andy Donato of the Toronto Sun, Sue Dewar of Sun Media, Aislin of the Montreal Gazette, and The Spectator's own Graeme MacKay have decided is a great place to talk shop.

Comfortingly, ACEC president Wes Tyrell, editorial cartoonist for Yahoo Canada News, says the group is under no illusion about the repressive nature of the Cuban regime.

"This place — there's no denying it — has a huge list of problems and an enormous list of really bad behaviour by the government."

And Tyrell, who once lived and worked in Cuba as a tour guide for a Canadian company, says he fully understands the argument against contributing travel dollars to an authoritarian government.

But he strongly believes engagement and exposing people to western ways through a "slow-moving osmosis" is ultimately more productive than American-style embargoes.

Frankly, his argument isn't that much different than the Canadian government's pragmatic approach, which promotes economic and cultural relations with Cuba while softly pressing the importance of human rights and freedom of speech.

Whether many Canadian tourists wrestle with the morality of propping up an oppressive government is, of course, unknown (I've been there; I struggled). But there's no escaping that Canada remains Cuba's largest source of tourists and ranks third as an overseas travel destination after the U.S. and Mexico.

Tyrell says a key part of the educational experience for the cartoonists is meeting with their Cuban counterparts to learn how they cope and respond to working under government restrictions.

Alfredo Martirena Hernandez

He knows outright condemnation of political leaders never happens. They tend to criticize things in a subtle way on a social level. And political cartoons are inevitably part of the "propaganda war" against the United States.

Tyrell figures some Cuban cartoonists may want to say things to their Canadian visitors they can't, others may happily toe the government line. Either way, he looks forward to the encounters.

So does MacKay, The Spec's man in Havana. He admits he doesn't know quite what to expect and is worrying a bit about how Cuban authorities might react to some of his colleagues who are "rabble rousers and very vocal."

One thing for sure, he'll be exposing the Cubans to a thick slice of Hamilton's unique political life. MacKay is doing a power point presentation on the 2015 Pan Am Games, which Cuban athletes will attend. It includes his biting cartoons on the political ups and downs of Pan Am planning, including Hamilton's stadium fiasco and butt-chasing LRT debate.

Interesting to think he could be rotting in a tropical jail or living in exile right now if he'd tried to publish them in Cuba.


Andrew Dreschel’s commentary appears Monday, Wednesday and Friday. 
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New York Post drops their comics page

May 10, 2014, 11:00 pm
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From Jim Romonesko's blog.


“Is it true that the @nypost dropped the comics page?” tweeted @Tomversation. “I mean it was only about 7 comics and not a full page, all small and in b&w, but still.”

Yes, Tom, it’s true.

“It caught everyone by surprise,” King Features comics editor Brendan Burford tells me. “We got zero notice.”

King, which sold three comics to the Post, was told of the move on Tuesday – the day the strips vanished. (The paper had only seven strips; King sold “Mallard Fillmore,” “Rhymes with Orange,” and “Dennis the Menace” to the Post.)

The Post hasn’t explained why it killed the section, says Burford, and King is trying to get the strips back into the paper.

“Our conversation is ongoing. …I would be shocked if they’re not hearing from readers” about the missing comics.

I called the Post newsroom this afternoon and was told the only comment would come from spokesperson Suzi Halpin. Her office at Rubenstein Communications said she’d only answer questions via email; she’s received mine.

What do you know about this, Post people?

UPDATE 

“Rhymes with Orange” creator Hilary Price tells me she learned from a fan that her strip and others had been dropped by the Post. The fan wrote her: “I emailed them, and they gave me a cryptic message about the cost of running them.”


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A review of "The Complete Cul de Sac"

May 11, 2014, 11:00 pm
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Alan gardner in The Daily Cartoonist.

Looking at this box set, I can’t help but feel a bit cheated that there are only two volumes. It’s not that anyone cut corners or exaggerated the word “complete”. On the contrary, it is THE complete collection – including the Cul de Sac strips that ran in the Washington Post before it went into syndication and the strips by guest cartoonists who stepped in when Richard was dealing with his Parkinson’s disease. 

The set is only two volumes because Richard was forced to retire too early and thus deprived us of his wonderful sense of humor and talent. In a just and fair universe, there would be another dozen volumes in this set.
But what we do have to enjoy is two volumes of pure cartooning goodness by a cartoonist who is as kind as he is talented.
I spent hours turning the pages of these books. Like all great collections, there’s value (and satisfaction) in taking in a body of work in one sitting without the daily pause created by newspapers. Below nearly every strip is a note or comment by Richard about the strip, the characters or a background information into his process or thinking. I enjoyed those notes as much as I did reading the strip. It’s a personal tour of the strip in Richard’s signature quirky, affable humor.
The collection contains a forward by Art Speigelman, the pre-syndicate strips that ran in The Washington Post from 2004 to 2007, and as I mentioned the guest strips. 
Richard is a giant in the field when it comes to writing and art. The book belongs on every bookshelf to serve as inspiration. I’m not suggesting cartoonists would own it to try to replicate Richard’s art or writing – I don’t think that’s even possible given his unique humor and drawing style – but because Richard has elevated the bar of what great cartooning is. And that should be studied by anyone who aspires to entertain the world through pencil and ink.




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