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Reprint on the iPolitics website (34)
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"George Booth: A Cartoonist's Life" Exhibition
From the Society of Illustrators.
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In the history of drawn cartoons the name George Booth brilliantly shines like an unshaded 60 watt (incandescent) light bulb hanging from a lone electrical cord.
George Booth: A Cartoonist's Life
In the history of drawn cartoons the name George Booth brilliantly shines like an unshaded 60 watt (incandescent) light bulb hanging from a lone electrical cord.
Booth’s characters and situations are familiar to all of us, but what he chooses to pluck out of reality and represent in his spot cartoons is genius.
His work is very similar to the character work and vignettes in films by W.C. Fields (“It’s A Gift”/“The Bank Dick”) and Jacques Tati (“Mr. Hulot’s Holiday”/ “Mon Oncle”). He makes the combination of drawing style, caricature, environment and writing, seem very matter of fact and effortless, and that’s the magic of the cartooning world he’s created for himself, and has been generous enough to share with the world.
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George was born in Cainsville, Missouri in 1926. The son of schoolteachers, his mother Irma (MawMaw) was also a musician and a fine artist/cartoonist. His father William, was the Superintendent of Schools in Fairfax, Missouri.
George was born in Cainsville, Missouri in 1926. The son of schoolteachers, his mother Irma (MawMaw) was also a musician and a fine artist/cartoonist. His father William, was the Superintendent of Schools in Fairfax, Missouri.
One of their homes was a one room schoolhouse converted into a home for the Booths. This was “Dust- Bowl” depression era and they paid part of their rent in Cherry Trees one year. George was drafted into the U.S. Marine Corps in 1944, invited to re-enlist and join the Corp’s “Leatherneck Magazine” as a staff cartoonist, then when re-drafted for the Korean Conflict, he was ordered back to work with “Leatherneck”.
After his discharge from the service, he moved to NYC to try his hand as an artist, married, and entered the publishing world in 1959 as corporate art director at Bill Brothers publications and remained there until 1968. He jumped with both feet into being a fulltime cartoonist with his first sale of a cartoon to The New Yorker magazine in 1969, beginning a relationship with the publication that lasts to this day.
George has illustrated numerous books and there are several collections of his hilarious cartoons that have been published. His work has been translated into animation by studios such as R.O. Blechman’s The Ink Tank, Frank Terry Productions and J.J. Sedelmaier Productions, Inc.
The National Cartoonists Society has recognized Booth with both the Milton Caniff Lifetime Achievement Award and the Gag Cartoon Award.
This is the first exhibit exclusively dedicated to George Booth’s work.
After his discharge from the service, he moved to NYC to try his hand as an artist, married, and entered the publishing world in 1959 as corporate art director at Bill Brothers publications and remained there until 1968. He jumped with both feet into being a fulltime cartoonist with his first sale of a cartoon to The New Yorker magazine in 1969, beginning a relationship with the publication that lasts to this day.
George has illustrated numerous books and there are several collections of his hilarious cartoons that have been published. His work has been translated into animation by studios such as R.O. Blechman’s The Ink Tank, Frank Terry Productions and J.J. Sedelmaier Productions, Inc.
The National Cartoonists Society has recognized Booth with both the Milton Caniff Lifetime Achievement Award and the Gag Cartoon Award.
This is the first exhibit exclusively dedicated to George Booth’s work.
George Booth: A Cartoonist's Life
October 24 to December 30, 2017
Society of Illustrators
128 East 63rd Street
New York, NY 10065
212-838-2560
info@societyillustrators.org
128 East 63rd Street
New York, NY 10065
212-838-2560
info@societyillustrators.org
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How Barry Blitt became the master of the political moment
Matt Wueker in Politico Magazine.
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Nothing cuts through our over-taxed frontal cortexes like a simple visual joke. It skips past the language centers of our brains and engages lower brain stem humor with bright color and energetic line, working with an elegance and speed and directness unmatched by other kinds of satire.
There aren’t a lot of masters of this genre—it is, after all, the simplest and hardest form of cartooning. But certainly one of them is Barry Blitt.
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Blitt has a new book out on October 24 that celebrates his inky oeuvre, cleverly titled, Blitt.
And if you only got to have one pad of paper, what kind would it be? (Toilet paper will be provided on the island.)
EZ Wider.
The word caricature apparently comes from the Latin “caricare,” which means to load something—as in to load a cart, a boat or a gun. Different caricaturists seem to load things up differently. [Ralph] Steadman certainly loads his with sulphuric acid, [Steve] Brodner likewise is pretty acidic. Your approach is much more whimsical and wry. How come? Is this by choice or a tactical decision?
Well, since we’re talking Latin, I think the root of the situation here is non ventrem or “no guts.” A cartoonist’s style is created by weaknesses and personal restrictions as much as strengths, and in this case, I just can’t seem to pull off a savage style. It looks forced and wrong when I try.
There aren’t a lot of masters of this genre—it is, after all, the simplest and hardest form of cartooning. But certainly one of them is Barry Blitt.
He’s been contributing the visual zingers that have graced more than 100 covers of the New Yorker magazine for more than 20 years, many of which are wedged into our visual memory banks.
Images like the Obamas (Michele dressed as a Black Panther and Barack dressed as a Muslim) fist bumping in the Oval Office, or President George W. Bush and Vice President Dick Cheney in an Oval Office filling up with the flood waters of Katrina,
or more recently Trump belly flopping into the GOP primaries.
Blitt’s wry images twist stereotypes and tweak the zeitgeist.
They jump from magazine covers headed for the recycling pile to become icons of satire that are welded to our collective memory and to the historical record.
Blitt has a new book out on October 24 that celebrates his inky oeuvre, cleverly titled, Blitt.
As a longtime admirer of his work, I had the pleasure of chatting with him about his career, his approach to drawing and the challenges of political satire in the era of Donald Trump.
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Congratulations on a truly beautiful book. It’s gorgeous. It’s great to get to see so much of your work all together and see it so beautifully reproduced. I’m going to commence the grilling with a tough one: If you were going to be stranded alone on a desert island and you could only have one colored pencil, what color would it be?
Cherry-vanilla. Or wait: daiquiri.
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Congratulations on a truly beautiful book. It’s gorgeous. It’s great to get to see so much of your work all together and see it so beautifully reproduced. I’m going to commence the grilling with a tough one: If you were going to be stranded alone on a desert island and you could only have one colored pencil, what color would it be?
Cherry-vanilla. Or wait: daiquiri.
EZ Wider.
The word caricature apparently comes from the Latin “caricare,” which means to load something—as in to load a cart, a boat or a gun. Different caricaturists seem to load things up differently. [Ralph] Steadman certainly loads his with sulphuric acid, [Steve] Brodner likewise is pretty acidic. Your approach is much more whimsical and wry. How come? Is this by choice or a tactical decision?
Well, since we’re talking Latin, I think the root of the situation here is non ventrem or “no guts.” A cartoonist’s style is created by weaknesses and personal restrictions as much as strengths, and in this case, I just can’t seem to pull off a savage style. It looks forced and wrong when I try.
Who wouldn’t want to draw like Brodner or [Edward] Sorel or Philip Burke? But it doesn’t ring true when I do it. I wouldn’t call my approach tactical or calculated, any more than my personality is. It’s what seems to come naturally.
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In these acidic, bare-knuckle times, do you wish you were less whimsical?
Wishing oneself were less whimsical seems like a very First World problem. At 59 years old, I’ve given up wishing I was someone else, for the most part. I do wish my color palette was a little more vibrant, but even when I consciously try and do something about it, everything still looks kind of pale and drab. It’s hard to change who you are. At this point, I’m just living out my remaining time.
Do you have a philosophy of caricature? Talk about how you approach a caricature. You do so much more than create a likeness.
I don’t have a philosophy of caricature. I’m not even sure I am a caricaturist, in the strictest sense of the word—I don’t really exaggerate much. For a while, recently, I was thinking of attempting a reverse-caricature of Trump; he certainly already appears to be a caricature of himself.
Wishing oneself were less whimsical seems like a very First World problem. At 59 years old, I’ve given up wishing I was someone else, for the most part. I do wish my color palette was a little more vibrant, but even when I consciously try and do something about it, everything still looks kind of pale and drab. It’s hard to change who you are. At this point, I’m just living out my remaining time.
Do you have a philosophy of caricature? Talk about how you approach a caricature. You do so much more than create a likeness.
I don’t have a philosophy of caricature. I’m not even sure I am a caricaturist, in the strictest sense of the word—I don’t really exaggerate much. For a while, recently, I was thinking of attempting a reverse-caricature of Trump; he certainly already appears to be a caricature of himself.
I wondered about de-caricaturizing him, scaling back his whole face and hair and visual excess, and attempting to shed light on him that way. But I got distracted, by Harvey Weinstein, I think.
How about the process of caricature? Do you do lots of research and work from a bunch of photos or does it spring more from your mind’s eye? When you draw Trump, what do you focus on? How do you conjure our 45th president?
I know that you draw Trump out of your head, right? I’m amazed by people who can do that. I need photo reference, and good stuff. I’m usually at the mercy of the photo I have to work from. In Trump’s case—well, every photo of him is a good one, almost. Every angle, the back of his head, a full profile, gives me too much information, can occupy hours of amusement at the drafting table.
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| The Politics of Fear, The New Yorker cover, July 21, 2008 (with sketches) | Barry Blitt |
How about the process of caricature? Do you do lots of research and work from a bunch of photos or does it spring more from your mind’s eye? When you draw Trump, what do you focus on? How do you conjure our 45th president?
I know that you draw Trump out of your head, right? I’m amazed by people who can do that. I need photo reference, and good stuff. I’m usually at the mercy of the photo I have to work from. In Trump’s case—well, every photo of him is a good one, almost. Every angle, the back of his head, a full profile, gives me too much information, can occupy hours of amusement at the drafting table.
For a while, it was the sweep of his hair, like frozen yogurt in slow motion, that captivated me. Then, his mildly prissy overbite was all the rage. His chin and secondary and tertiary chins are what I’m stuck on these days.
So if you maybe don’t see yourself as a caricaturist, do you consider yourself a political cartoonist? I mean, you should. Many of the most memorable works of visual political satire over a number of years now have flowed from your pen.
I’m, like, not overly into labels, man. I’ve been referred to that way, but I tend to think of political cartoonists as constantly at it, producing more work than I do. I do, what, six or eight covers a year, maybe, and a bunch of illustrations as well, but how many do you create a year? I’m in awe of that, and I think the term implies being at it every day or at least weekly.
Getting to do nearly daily cartoons seems like an advantage editorial cartoonists enjoy. What you do, having to work ahead a week due to the magazine’s deadline and try to get a bead on things, seems way tougher. I heard your editor Françoise Mouly describe you as a lightning rod. I think she meant it as something that catches what’s in the air, as in capturing the zeitgeist with an image.
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As someone who chases the zeitgeist around, do you find the increased velocity of the news in the digital age a good thing or a bad thing? Keeping up with the zeitgeist seems a lot harder these days.
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Talk a little more about your starting down this unusual career path. How did you get from drawing hockey players to finding yourself Françoise Mouly’s personal lightning rod?
I am but one of many lightning rods at Françoise’s disposal. My career path has unfolded organically, not unlike that of Forrest Gump. I got out of art school and showed my portfolio around to magazine art directors. Half the drawings I showed them were realistic, hero-worshipping portraits. The other half were dashed off, smart-alecky pen and ink sketches. The only interest I received was in the latter.
Beyond Mad Magazine and hockey—does there have to be more than that? I was close with my maternal grandfather. He was a businessman, but also a Sunday painter. His copies of Norman Rockwell paintings hung in our house. He used to bring me to art stores. He was very encouraging. I think he used to have New Yorkers around, too. That was the only culture that seeped into the extended family. Oh—I forgot about Popeye. I loved Popeye as a child, used to draw him all the time.
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You have a knack for finding the funny bone. I don’t know who said it, but I love the line I heard somewhere, “making people laugh is the lowest form of humor.” Your stuff is funny and really makes people laugh. As an editorial cartoonist who can veer into the scoldish, not-very-funny lane, I’m envious. What’s the secret to the funny business?
I love that quote. Said by Michael O’Donoghue, I think. Your cartoons are incredibly funny. Especially the scoldy stuff. I’d love to be a scold, I don’t have the gravitas. I wish I knew what makes something funny. I aim for wry titters. Anything more is gravy.
Do you have a single all-time favorite drawing [of your own]?
I drew some quinoa cakes for Cooking Light magazine I didn’t mind. Actually, maybe the W Oval Office picture engulfed in water after Katrina. Or there was a cover of a commuter—a “straphanger”—in his living room, standing like he was on the subway, that I kind of liked. Both of those were quite a while ago. It takes me some time to get used to them.
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I find quinoa is always tough to draw. How about any cartoons you regret doing? Caricature can be a mean thing.
BB: Yeah, I regret them all. Certainly immediately after I’ve sent them in, I panic about the execution, or about how the idea might have been funnier. And also, if there’s any potential insensitivity involved. Who could wish ill on Jeff Sessions, or Donald Trump, Jr.? Not me.
While we’re on the topic of political satire in the brave new Trumpian Era, what do you think of the current state of political satire? Is it a golden age? And where do you go for political humor?
If this isn’t a golden age of satire, it’s only because the characters are already self-satirizing caricatures. There is a lot of great work being done, funny stuff-wise. But the Trumpian Era is really just dawning, no? Hard to judge yet.
As a caricaturist, are you a nose man or an ear man? Do you have a favorite feature?
Um. No favorite feature, every face is fresh meat, so to speak. Though, since you mention the ears, it’s funny how much difference they can make if you leave them off. The nose, too, now that I think of it.
To wrap up and go back to the beginning: If you were stranded alone on a desert island with only your cherry-vanilla and daiquiri-colored pencils, and you could have one other person (alive or historical) to caricature, who would it be?
Are you serious? You’re saying I’d have to live on a desert island with the person? So if I said Steve Bannon or Trump… I don’t like the sound of this deal. I’d really prefer to be by myself, with lots of good photo reference.
So if you maybe don’t see yourself as a caricaturist, do you consider yourself a political cartoonist? I mean, you should. Many of the most memorable works of visual political satire over a number of years now have flowed from your pen.
I’m, like, not overly into labels, man. I’ve been referred to that way, but I tend to think of political cartoonists as constantly at it, producing more work than I do. I do, what, six or eight covers a year, maybe, and a bunch of illustrations as well, but how many do you create a year? I’m in awe of that, and I think the term implies being at it every day or at least weekly.
Getting to do nearly daily cartoons seems like an advantage editorial cartoonists enjoy. What you do, having to work ahead a week due to the magazine’s deadline and try to get a bead on things, seems way tougher. I heard your editor Françoise Mouly describe you as a lightning rod. I think she meant it as something that catches what’s in the air, as in capturing the zeitgeist with an image.
Luckily, my limited attention span is well suited to the velocity of the news cycles. True, there’s an assault of stories coming at you on even a slow-ish news day, but certain things just tend to stick out. The lightning rod Françoise is talking about is just an antenna for absurdity or particularly flagrant hypocrisy.
Certain stories just seem to have an odd sort of electricity. It does get tricky when you’re pitching an image that won’t hit the newsstands for another week. Not only can other, bigger stories break in the mean time, but other cartoonists, daily cartoonists, can also come up with the same idea—this is the most depressing thing—and put it out there so yours looks old by the time it’s published.
They should just make you into an actual lightning rod. I envision a handsome bronze statue of you on top of the New Yorker building holding a long rod over your head ... waiting for absurdity to strike. You do have an amazing gig, running around after the zeitgeist with your rod or pen or whatever and then getting to launch your retorts on the cover of the New Yorker. When you were starting out, is this the gig you imagined you might someday have?
I don’t know what I was thinking when I was starting out. I was hoping I’d get paid to draw realistic pictures of hockey players. I still hold that hope alive.
They should just make you into an actual lightning rod. I envision a handsome bronze statue of you on top of the New Yorker building holding a long rod over your head ... waiting for absurdity to strike. You do have an amazing gig, running around after the zeitgeist with your rod or pen or whatever and then getting to launch your retorts on the cover of the New Yorker. When you were starting out, is this the gig you imagined you might someday have?
I don’t know what I was thinking when I was starting out. I was hoping I’d get paid to draw realistic pictures of hockey players. I still hold that hope alive.
I am but one of many lightning rods at Françoise’s disposal. My career path has unfolded organically, not unlike that of Forrest Gump. I got out of art school and showed my portfolio around to magazine art directors. Half the drawings I showed them were realistic, hero-worshipping portraits. The other half were dashed off, smart-alecky pen and ink sketches. The only interest I received was in the latter.
After kicking around for a few years, I had regular gigs doing small, funny drawings for Entertainment Weekly and Spy magazine, among others. When Monicagate hit D.C. in the ‘90s, suddenly political figures were creeping into the pop culture assignments I was getting.
I was already doing small drawings for the New Yorker when I was introduced to their new art editor, Françoise Mouly. She suggested I send cover sketches in, which I did without any real hope that anything would come of it. And nothing has.
Who were the early influences that got you started drawing? Beyond Mad Magazine, what sparked your imagination? Did a favorite aunt introduce you to [the late cartoonist] Chas Addams? Where there other mentors or turning points along your path?
Who were the early influences that got you started drawing? Beyond Mad Magazine, what sparked your imagination? Did a favorite aunt introduce you to [the late cartoonist] Chas Addams? Where there other mentors or turning points along your path?
I love that quote. Said by Michael O’Donoghue, I think. Your cartoons are incredibly funny. Especially the scoldy stuff. I’d love to be a scold, I don’t have the gravitas. I wish I knew what makes something funny. I aim for wry titters. Anything more is gravy.
Do you have a single all-time favorite drawing [of your own]?
I drew some quinoa cakes for Cooking Light magazine I didn’t mind. Actually, maybe the W Oval Office picture engulfed in water after Katrina. Or there was a cover of a commuter—a “straphanger”—in his living room, standing like he was on the subway, that I kind of liked. Both of those were quite a while ago. It takes me some time to get used to them.
I find quinoa is always tough to draw. How about any cartoons you regret doing? Caricature can be a mean thing.
BB: Yeah, I regret them all. Certainly immediately after I’ve sent them in, I panic about the execution, or about how the idea might have been funnier. And also, if there’s any potential insensitivity involved. Who could wish ill on Jeff Sessions, or Donald Trump, Jr.? Not me.
While we’re on the topic of political satire in the brave new Trumpian Era, what do you think of the current state of political satire? Is it a golden age? And where do you go for political humor?
If this isn’t a golden age of satire, it’s only because the characters are already self-satirizing caricatures. There is a lot of great work being done, funny stuff-wise. But the Trumpian Era is really just dawning, no? Hard to judge yet.
Um. No favorite feature, every face is fresh meat, so to speak. Though, since you mention the ears, it’s funny how much difference they can make if you leave them off. The nose, too, now that I think of it.
To wrap up and go back to the beginning: If you were stranded alone on a desert island with only your cherry-vanilla and daiquiri-colored pencils, and you could have one other person (alive or historical) to caricature, who would it be?
Are you serious? You’re saying I’d have to live on a desert island with the person? So if I said Steve Bannon or Trump… I don’t like the sound of this deal. I’d really prefer to be by myself, with lots of good photo reference.
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Quino 60 anos de humor
From Bandas Desenhadas.
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Documenta, in partnership with the Town Hall of Vila Franca de Xira, published the album Quino - 60 anos de humor, on the occasion of the exhibition of the invited artist of the 18th edition of Cartoon Xira, which took place last spring in Vila Franca de Xira, Portugal.
Documenta, in partnership with the Town Hall of Vila Franca de Xira, published the album Quino - 60 anos de humor, on the occasion of the exhibition of the invited artist of the 18th edition of Cartoon Xira, which took place last spring in Vila Franca de Xira, Portugal.
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International Campaign to free cartoonist Ramón Esono
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| The Professional Association of Illustrators Madrid |
He was initially questioned by security agents in relation to his cartoons that are critical of President Obiang and other government officials.
News outlets reported a few days later that he is being investigated for alleged money laundering and counterfeiting money.
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He was presented before a judge on 20 September where he was asked about these allegations.
He was subsequently sent to Black Beach prison in Malabo where he is being held in preventive detention while further investigations are conducted. He has yet to be charged with an offence.
PEN International believes that Esono Ebalé is being arbitrarily detained in relation to his activism and work, in violation of his right to freedom of expression, and calls on the authorities to release him immediately and unconditionally.
TAKE ACTION: Share on Facebook, Twitter and other social media
Please send appeals calling on the authorities of Equatorial Guinea to:
PEN International believes that Esono Ebalé is being arbitrarily detained in relation to his activism and work, in violation of his right to freedom of expression, and calls on the authorities to release him immediately and unconditionally.
TAKE ACTION: Share on Facebook, Twitter and other social media
Please send appeals calling on the authorities of Equatorial Guinea to:
Immediately and unconditionally release Ramón Esono Ebalé, respect the right to freedom of expression, as enshrined in the Constitution of Equatorial Guinea and as per article 19 of the International Covenant on Civil and Political Rights to which Equatorial Guinea is a state party.
Write to:
President of the Republic of Equatorial Guinea
Mr. Teodoro Obiang Nguema Mbasogo
Palacio Presidencial
Avenida de la Libertad Malabo
Equatorial Guinea
Salutation: His Excellency
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Quino 60 anos de humor
From Bandas Desenhadas.
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Documenta, in partnership with the Town Hall of Vila Franca de Xira, published the album Quino - 60 anos de humor, on the occasion of the exhibition of the invited artist of the 18th edition of Cartoon Xira, which took place last spring in Vila Franca de Xira, Portugal.
Documenta, in partnership with the Town Hall of Vila Franca de Xira, published the album Quino - 60 anos de humor, on the occasion of the exhibition of the invited artist of the 18th edition of Cartoon Xira, which took place last spring in Vila Franca de Xira, Portugal.
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Britain's Best Political Cartoons 2017
From Penguin Random House.
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Another blockbuster collection of the year's wittiest political cartoons, featuring artworks by Steve Bell, Peter Brookes, Martin Rowson, 'Mac' and many more.
Britain's Best Political Cartoons 2017
Edited by Tim Benson
Another blockbuster collection of the year's wittiest political cartoons, featuring artworks by Steve Bell, Peter Brookes, Martin Rowson, 'Mac' and many more.
If 2016 was a tumultuous year for politics, with Brexit, the most tempestuous US presidential campaign in living memory, turmoil in the Labour party and the rise to power of Theresa May,
2017 promises to be even more dramatic. How will President Trump govern? How will the most important and contentious political event in Britain for decades play out? And how many times will Foreign Secretary Boris Johnson say something embarrassing on a trip abroad?
In tough political times, satire is more important thanever, and in Britain’s Best Political Cartoons 2017, our finest political cartoonists will once again examine the year’s events.
The series, edited, introduced and with a commentary by Tim Benson, our leading expert on political cartoons, is now firmly established as a strong seller in the run-up to Christmas, and this year’s edition promises to be more urgent, angry, insightful and funny than ever.
Britain's Best Political Cartoons 2017
Edited by Tim Benson
Random House Books
208 Pages
£12.99
208 Pages
£12.99
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Celebrating Editorial Cartooning at the Society of Illustrators
Liza Donnelly in The New Yorker.
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| Cartoon by Mikhail Zlatkovsky (Russia) |
Ten years ago, I was invited to be a part of an organization that changed my life.
Cartooning for Peace was started in 2006 at the United Nations headquarters, in New York, by the French cartoonist Jean Plantu, in the aftermath of the controversy in Denmark about cartoons depicting the Prophet Muhammad.
The organization now has a membership of a hundred and forty-seven cartoonists from fifty-five countries.
It has become a network of editorial cartoonists who work to insure respect for freedoms everywhere.
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| Carton by Patrick Chappatte (Switzerland) |
The cartoons of members are exhibited around the world, and artists often travel to discuss global issues with local cartoonists and the public.
The group also provides assistance and support to cartoonists in difficulty or under threat, through a foundation chaired by the former U.N. Secretary-General Kofi Annan.
Editorial cartoons are a powerful art form because of their ability to transcend languages and cultures, creating a cross-cultural dialogue about fundamental values such as peace, tolerance, and freedom of expression.
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| Cartoon by Kap (Spain) |
With the support of the organization, I was honored to curate a selection of work from members of Cartooning for Peace for a celebratory exhibit at the Society of Illustrators.
Here are some works from the exhibit, which is currently on display and runs until December 22nd.
There will be an opening event and panel discussion with representative cartoonists on December 8th.
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The AAEC 2017 Annual Convention
From the AAEC website.
The 2017 Annual Convention of the Association of American Editorial Cartoonists, hosted by Matt Davies (Newsday) and AAECPresident 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.
9–10:45am — Free speech in the era of Trump, social media, & safe spaces. Ann Telnaes
introduces morning session in the Multi-Purpose Room.
11am–Noon — Floyd Abrams on the First Amendment. Floyd Abrams, a leading authority on the First Amendment and U.S. Constitutional Law, and author of"The Soul of the First Amendment," will hold court in the Student Center Theater. Mr. Abrams will do a book signing afterwards.
Noon–2pm — Lunch break. AAEC members on their own
2–2:50pm — Illustrators panel. Moderator Anita Kunz with panelists Nora Krug and Ellen Weinstein
3–3:50pm — New Yorker cartoonists panel. Moderator: Liza Donnelly with panelists KimWarp, Chris Weyant, and Michael Maslin.
4–5pm — Editorial cartooning outside the traditional rectangular box. With Wiley Miller
("Non-Sequitur") and Matt Lubchansky from The Nib.
7–9pm
Evening Reception at the Library
Join Guardian cartoonist Martin Rowsonon the 10th floor of the Hofstra University Library as he entertains us with his particular brand of take no prisoners humor. Private event.
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Friday, November 3
9:30–10:45am — The Wicked Art of Caricature. In a lively and entertaining illustrated presentation, international award-winning cartoonist Kevin "KAL" Kallaugher (The Economist) will provide insight to the unique world of political cartoons and satire. Kal will discuss the mystery and the mastery of the wicked art of caricature, and will share stories of the joys and dangers of cartooning today.
10:45–11am — Break
11am–Noon — International cartoonists panel. Moderated by KAL.
Noon–6:30pm
AAEC Takes Manhattan
Buses leave directly from Hofstra University at noon.
1–4pm — Luncheon at the Society of Illustrators. The legendary editorial illustrator Edward Sorel is interviewed by Signe Wilkinson. Private event.
Society of Illustrators
128 E 63rd Street, New York, NY
4–6:30pm — Free Time in New York City.
Saturday, November 4
Events will be held in the Multi-Purpose Room and Student Center Theater on campus.
6:30-7pm — Cocktails
7-9pm — Dinner
Keynote Speaker: Governor Andrew M Cuomo.
We'll be honoring the recipient of the Cartoonists Rights Network International "Courage in Cartooning Award," the winner of this year's John Locher Memoral Award, and name this year's recipient of the Ink Bottle Award. We will also be announcing the winner of the inaugural "Rex Babin Award for Local Cartooning."
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| Cartoon by Matt Davies |
Events will be held in the Multi-Purpose Room and Student Center Theater on campus.
Shuttle provided from the Marriott throughout the day.
8–9:00am — Breakfast for AAEC members
8–9:00am — Breakfast for AAEC members
9–10:45am — Free speech in the era of Trump, social media, & safe spaces. Ann Telnaes
introduces morning session in the Multi-Purpose Room.
- PART I: Ben Sargent moderates discussion looking back at 1988 Hustler v Falwell Supreme Court decision and its relevance to cartoonists today. Panelists: Rita Ciolli (Newsday), and Roslyn Mazer, the lawyer who represented the AAEC as "a friend of the Court."
- PART II: Kevin Siersleads discussion about safe spaces on campuses. Panelists: Signe Wilkinson, Steve Artley, and Dr. Sofia B. Pertuz, Dean of Students at Hofstra.
10:45–11am — Break
11am–Noon — Floyd Abrams on the First Amendment. Floyd Abrams, a leading authority on the First Amendment and U.S. Constitutional Law, and author of"The Soul of the First Amendment," will hold court in the Student Center Theater. Mr. Abrams will do a book signing afterwards.
Noon–2pm — Lunch break. AAEC members on their own
2–2:50pm — Illustrators panel. Moderator Anita Kunz with panelists Nora Krug and Ellen Weinstein
3–3:50pm — New Yorker cartoonists panel. Moderator: Liza Donnelly with panelists KimWarp, Chris Weyant, and Michael Maslin.
4–5pm — Editorial cartooning outside the traditional rectangular box. With Wiley Miller
("Non-Sequitur") and Matt Lubchansky from The Nib.
7–9pm
Evening Reception at the Library
Join Guardian cartoonist Martin Rowsonon the 10th floor of the Hofstra University Library as he entertains us with his particular brand of take no prisoners humor. Private event.
•••••••
Friday, November 3
Events will be held in the Multi-Purpose Room and Student Center Theater on campus.
Shuttle provided from the Marriott during the morning.
8:30–9:30am — Breakfast for AAEC members
8:30–9:30am — Breakfast for AAEC members
9:30–10:45am — The Wicked Art of Caricature. In a lively and entertaining illustrated presentation, international award-winning cartoonist Kevin "KAL" Kallaugher (The Economist) will provide insight to the unique world of political cartoons and satire. Kal will discuss the mystery and the mastery of the wicked art of caricature, and will share stories of the joys and dangers of cartooning today.
10:45–11am — Break
11am–Noon — International cartoonists panel. Moderated by KAL.
Noon–6:30pm
AAEC Takes Manhattan
Buses leave directly from Hofstra University at noon.
1–4pm — Luncheon at the Society of Illustrators. The legendary editorial illustrator Edward Sorel is interviewed by Signe Wilkinson. Private event.
Society of Illustrators
128 E 63rd Street, New York, NY
4–6:30pm — Free Time in New York City.
Buses pick up for return at Society of Illustrators
•••••••
•••••••
Saturday, November 4
Events will be held in the Multi-Purpose Room and Student Center Theater on campus.
Shuttle provided from the Marriott throughout the day
10am–Noon — AAEC Business Meeting and Copyright Session. The annual membership meeting will be followed by a session on "Copyrights and How to Avoid Being Sued"with AAEC parliamentarian Scott Burns, board member Ed Hall, and Chip Bok, AAEC liaison to Reporters Committee for Freedom of the Press. Private event.
Noon–2pm — Lunch break. AAEC members on their own
2–3:30pm — An Afternoon with MAD magazine. Open to Hofstra University students and the public. Join us at the Student Center Theater for a session with the Usual Gang of Idiots from Mad magazine. Moderator: Sam Viviano, with panelists Executive Editor John Ficarra, Senior Editors Joe Raiola and Charlie Kadau, and legendary MAD cartoonist Al Jaffee.
6:30–9pm
AAEC Annual Banquet and Awards Presentation
University Club at Hofstra University. Private event.
10am–Noon — AAEC Business Meeting and Copyright Session. The annual membership meeting will be followed by a session on "Copyrights and How to Avoid Being Sued"with AAEC parliamentarian Scott Burns, board member Ed Hall, and Chip Bok, AAEC liaison to Reporters Committee for Freedom of the Press. Private event.
Noon–2pm — Lunch break. AAEC members on their own
2–3:30pm — An Afternoon with MAD magazine. Open to Hofstra University students and the public. Join us at the Student Center Theater for a session with the Usual Gang of Idiots from Mad magazine. Moderator: Sam Viviano, with panelists Executive Editor John Ficarra, Senior Editors Joe Raiola and Charlie Kadau, and legendary MAD cartoonist Al Jaffee.
6:30–9pm
AAEC Annual Banquet and Awards Presentation
University Club at Hofstra University. Private event.
6:30-7pm — Cocktails
7-9pm — Dinner
Keynote Speaker: Governor Andrew M Cuomo.
We'll be honoring the recipient of the Cartoonists Rights Network International "Courage in Cartooning Award," the winner of this year's John Locher Memoral Award, and name this year's recipient of the Ink Bottle Award. We will also be announcing the winner of the inaugural "Rex Babin Award for Local Cartooning."
***
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.
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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"Gagged: an Exhibition of Cartoons About Censorship & Repression"
From Pro Cartoonists.
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The Professional Cartoonists’ Organisation [UK] alongside Cartoonists’ Rights Network International and X Index bring the plight of persecuted cartoonists to the fore by presenting Gagged: an Exhibition of Cartoons About Censorship & Repression with works by cartoonists from around the world.
There will be a selling Private View on Tuesday 21st November from 6-8pm with all proceeds going to charity.
This will be followed by a workshop with Banx Cartoons and The Surreal McCoy on Saturday 25th (2-4pm) and then a talk on Tuesday 28th (6-8pm) by political cartoonist Andy Davey and Indie Ginsberg from Index on Censorship.
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Gagged: an Exhibition of Cartoons About Censorship & Repression
The Professional Cartoonists’ Organisation [UK] alongside Cartoonists’ Rights Network International and X Index bring the plight of persecuted cartoonists to the fore by presenting Gagged: an Exhibition of Cartoons About Censorship & Repression with works by cartoonists from around the world.
There will be a selling Private View on Tuesday 21st November from 6-8pm with all proceeds going to charity.
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| © Pete Dredge |
This will be followed by a workshop with Banx Cartoons and The Surreal McCoy on Saturday 25th (2-4pm) and then a talk on Tuesday 28th (6-8pm) by political cartoonist Andy Davey and Indie Ginsberg from Index on Censorship.
Gagged: an Exhibition of Cartoons About Censorship & Repression
November 21 to December 1, 2017
Westminster Reference Library
35 St Martin’s Street
London WC2H 7HP
Tel: 020 7641 6200 (press 2)
Westminster Reference Library
35 St Martin’s Street
London WC2H 7HP
Tel: 020 7641 6200 (press 2)
Email: referencelibrarywc2@westminster.gov.uk
Opening hours:
Mon – Fri 10am to 8pm
Sat 10am to 5pm
Sun Closed
Opening hours:
Mon – Fri 10am to 8pm
Sat 10am to 5pm
Sun Closed
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Cartoons & Cocktails with New Yorker cartoonists
From Gilt City.
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New York’s new cutting-edge arts space presents an evening of laughs and libations at the Public Arts at the Public Hotel on the Lower East Side.
New York’s new cutting-edge arts space presents an evening of laughs and libations at the Public Arts at the Public Hotel on the Lower East Side.
This exclusive event (for Mastercard holders) is hosted by New Yorker cartoonists Drew Dernavich, Emily Flake and Christopher Weyant who will join an intimate group for a meet-and-greet and cocktails.
Then, take a seat as the cartoonists describe the process of creating lasting—and laugh-out-loud—cartoons for the magazine, featuring plenty of hilarious examples.
The Highlights:
• Admission for one to event ($69)
• Experience includes cocktails, appetizers, meet-and-greet, and performance
Tuesday, November 14
6:00 – 8:00 p.m.
The Highlights:
• Admission for one to event ($69)
• Experience includes cocktails, appetizers, meet-and-greet, and performance
Tuesday, November 14
6:00 – 8:00 p.m.
Public Hotel
215 Chrystie StreetNew York, NY 10002
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KAL Wins 2017 Clifford K. and James T. Berryman Award
From National Press Foundation.
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Kevin Kallaugher, cartoonist for The Baltimore Sun and The Economist, will receive the 2017 Clifford K. and James T. Berryman Award for Editorial Cartoons.
Kallaugher will be honored at the National Press Foundation’s annual journalism awards dinner on Feb. 15, 2018. Learn more about the dinner and awards here.
NPF judges said: “Kevin Kallaugher captures the complexity of our age in his arresting cartoons. His work is layered, both visually and emotionally. KAL’s striking artwork jumps off the page with nuanced body language, vivid details and intense expressions.”
This is the only time in the history of the Berryman award that a cartoonist has won it twice; Kallaugher previously won in 2002.
In 1989 Florence Berryman, former art critic for The Washington Star, endowed an annual award in memory of her late father and brother, both Pulitzer Prize-winning cartoonists. The Berryman award is open to U.S.-based editorial cartoonists for work that exhibits power to influence public opinion, plus good drawing and striking effect.
The cartoons should represent the highest standards of journalism. The winner will receive a $2,500 prize at the National Press Foundation’s Annual Awards Dinner in Washington, D.C.
A list of past winners is here.
The National Press Foundation is an independent nonprofit that is run by and for journalists. NPF’s sole mission is to educate journalists about today’s most pressing issues and critical toolbox training.
Kevin Kallaugher, cartoonist for The Baltimore Sun and The Economist, will receive the 2017 Clifford K. and James T. Berryman Award for Editorial Cartoons.
Kallaugher will be honored at the National Press Foundation’s annual journalism awards dinner on Feb. 15, 2018. Learn more about the dinner and awards here.
NPF judges said: “Kevin Kallaugher captures the complexity of our age in his arresting cartoons. His work is layered, both visually and emotionally. KAL’s striking artwork jumps off the page with nuanced body language, vivid details and intense expressions.”
This is the only time in the history of the Berryman award that a cartoonist has won it twice; Kallaugher previously won in 2002.
In 1989 Florence Berryman, former art critic for The Washington Star, endowed an annual award in memory of her late father and brother, both Pulitzer Prize-winning cartoonists. The Berryman award is open to U.S.-based editorial cartoonists for work that exhibits power to influence public opinion, plus good drawing and striking effect.
The cartoons should represent the highest standards of journalism. The winner will receive a $2,500 prize at the National Press Foundation’s Annual Awards Dinner in Washington, D.C.
A list of past winners is here.
The National Press Foundation is an independent nonprofit that is run by and for journalists. NPF’s sole mission is to educate journalists about today’s most pressing issues and critical toolbox training.
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Jim Morin Creates 2018 Miami Film Festival Poster
From Vimooz.
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Miami Film Festival unveiled the 2018 Official Festival Poster created by Miami Herald and Pulitzer Prize-winning editorial cartoonist Jim Morin.
Jim Morin’s drawings won the Pulitzer Prize for editorial cartooning in 2017 and l996. He also has shared a Pulitzer in l983 with other members of The Miami Herald editorial board and was a finalist for the prize in l977 and l990.
Miami Film Festival unveiled the 2018 Official Festival Poster created by Miami Herald and Pulitzer Prize-winning editorial cartoonist Jim Morin.
“Jim Morin’s delightfully barbed creations have skewered contemporary issues over four decades. For the 2018 Miami Film Festival poster, his tongue-in-cheek work is open to a plethora of interpretations, from environmental through escapism and many more on either side of those debates.
My favorite? Miamians fondly embrace the often wacky hijinks that come with living in our tropical paradise – and for me, Morin’s 2018 poster encourages us to think of Miami life as if we were living in our own movie. Take 35, coming up!”
– Jaie Laplante, Festival Director
Jim Morin’s drawings won the Pulitzer Prize for editorial cartooning in 2017 and l996. He also has shared a Pulitzer in l983 with other members of The Miami Herald editorial board and was a finalist for the prize in l977 and l990.
In 2007, he won the Herblock Prize; in 2000, the John Fischetti Award; in l999, the Thomas Nast Society Award; and in the l996 the National Press Foundation’s Berryman Award, among others.
His work has been published in numerous collections including Line Of Fire, AmBUSHED, and Jim Morin’s World, a retrospective of his career.
His work has been published in numerous collections including Line Of Fire, AmBUSHED, and Jim Morin’s World, a retrospective of his career.
Other books include Jim Morin’s Field Guide To Birds and Famous Cats. He is also a passionate oil and watercolor painter. His work has been exhibited in numerous galleries and museums throughout south Florida.
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World Press Cartoon 2015 (my cartoon)
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The wordless satire of Angel Boligán
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Britain's Editorial Cartooning Boys' Club
Becky Morton in BBC News.
Why do the UK's national newspapers' full-time cartoonists never seem to be women?
Out of nearly 180 cartoons featured in last year's edition of Britain's Best Political Cartoons not one was drawn by a woman.
It was flicking through a copy of the book that first highlighted the gender imbalance in the industry for Ella Bucknall, an illustrator currently studying at Camberwell College of Arts in London.
This realisation prompted her to start Whip, a magazine of political cartoons by women, to give them a platform that didn't exist elsewhere.
"Particularly at the moment when there are so many aspects of politics affecting women's lives, from Trump to the DUP, we need to be able to have our own voice. We need to be able to argue back," she said.
The "boys' club"is a common complaint of women working as cartoonists.
Nicola Jennings, whose work has been published in the Guardian, said: "Political cartoons are a sort of running joke between the boys. I wonder whether men find it too difficult to be lampooned by a woman?
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"Men lampooning each other is like an in-joke and they're just slapping each other on the back, whereas if it's a woman it's seen as much stronger criticism."
The editorial cartoons of the national newspapers remain a distinctly male affair.
Tim Benson, editor of Britain's Best Political Cartoons, defended his selection as simply a reflection of the state of the industry.
"My criteria is that the cartoon has to be published in a national newspaper. There are lots of female cartoonists who publish their work online or draw for the Morning Star but they are unpaid," he said,
"If you want to be able to call yourself a political cartoonist you have to be able to earn your living as one. I can only pick cartoons from what is available.
"My view is that anyone with the perseverance and the skills will rise to the top, whatever their gender is. Personally I don't think there's a woman out there at the moment who can compete with the very best.
"I've got Nicola Jennings in this year's book but only because she's been published in national newspapers. I would love to have more work by female cartoonists but I'm not going to include them in my book if I don't think they're good enough.
To find female political cartoonists at the moment, it is necessary to look beyond the national newspapers.
Nicola Streeten, an illustrator and comics scholar, has researched the history of British feminist cartoons and comics from the 1970s. What she found was that outside the national media there were a host of women drawing political cartoons, from the Suffragettes to 1960s feminist magazine Spare Rib.
She is currently co-editing a collection of 250 years of female cartoonists in Britain, The Inking Woman, following an exhibition of the same name at the Cartoon Museum.
"The more we looked the more women we found. You just have to take the trouble to look. Some people are against having a women's-only publication or exhibition but at the moment there just aren't the platforms for women,"she said.
There are only six full-time political cartoonists working for national newspapers. As far as we can tell there has never been a woman among them and most of the men have held their positions for years.
"There was a tradition of editorial cartoonists having a job for life. Those jobs were already taken by men 50 years ago so there haven't been any open doors for women,"explained Martha Richler, otherwise known as Marf, one of the few women to have worked as a political cartoonist on Fleet Street, for London's Evening Standard.
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Political blog The Canary has recently launched an all-female political cartoonist collective.
"We're hoping to keep expanding. I hope editors will pay attention to what we are doing," Miss Bucknall said.
"The ultimate aim is that there will no longer be a Whip, because women are given a mainstream platform. The only reason we exist is because at the moment there isn't one."
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| Illustration by Ella Bucknall |
Out of nearly 180 cartoons featured in last year's edition of Britain's Best Political Cartoons not one was drawn by a woman.
It was flicking through a copy of the book that first highlighted the gender imbalance in the industry for Ella Bucknall, an illustrator currently studying at Camberwell College of Arts in London.
This realisation prompted her to start Whip, a magazine of political cartoons by women, to give them a platform that didn't exist elsewhere.
"Particularly at the moment when there are so many aspects of politics affecting women's lives, from Trump to the DUP, we need to be able to have our own voice. We need to be able to argue back," she said.
The "boys' club"is a common complaint of women working as cartoonists.
Nicola Jennings, whose work has been published in the Guardian, said: "Political cartoons are a sort of running joke between the boys. I wonder whether men find it too difficult to be lampooned by a woman?
"Men lampooning each other is like an in-joke and they're just slapping each other on the back, whereas if it's a woman it's seen as much stronger criticism."
The editorial cartoons of the national newspapers remain a distinctly male affair.
Tim Benson, editor of Britain's Best Political Cartoons, defended his selection as simply a reflection of the state of the industry.
"My criteria is that the cartoon has to be published in a national newspaper. There are lots of female cartoonists who publish their work online or draw for the Morning Star but they are unpaid," he said,
"If you want to be able to call yourself a political cartoonist you have to be able to earn your living as one. I can only pick cartoons from what is available.
"My view is that anyone with the perseverance and the skills will rise to the top, whatever their gender is. Personally I don't think there's a woman out there at the moment who can compete with the very best.
"I've got Nicola Jennings in this year's book but only because she's been published in national newspapers. I would love to have more work by female cartoonists but I'm not going to include them in my book if I don't think they're good enough.
I never decide on gender lines. As far as my book is concerned there is absolutely no gender bias at all."
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| Cartoon by Steve Bell |
To find female political cartoonists at the moment, it is necessary to look beyond the national newspapers.
Nicola Streeten, an illustrator and comics scholar, has researched the history of British feminist cartoons and comics from the 1970s. What she found was that outside the national media there were a host of women drawing political cartoons, from the Suffragettes to 1960s feminist magazine Spare Rib.
She is currently co-editing a collection of 250 years of female cartoonists in Britain, The Inking Woman, following an exhibition of the same name at the Cartoon Museum.
"The more we looked the more women we found. You just have to take the trouble to look. Some people are against having a women's-only publication or exhibition but at the moment there just aren't the platforms for women,"she said.
There are only six full-time political cartoonists working for national newspapers. As far as we can tell there has never been a woman among them and most of the men have held their positions for years.
"There was a tradition of editorial cartoonists having a job for life. Those jobs were already taken by men 50 years ago so there haven't been any open doors for women,"explained Martha Richler, otherwise known as Marf, one of the few women to have worked as a political cartoonist on Fleet Street, for London's Evening Standard.
Ms Richler, who was made redundant from the Standard in 2008 after the recession hit, said: "As budgets were cut, cartoonists were considered a luxury. But the story's not over if you look online."
She admits she misses her salary but prefers the freedom of working online.
"There were times at the Standard when I wasn't allowed to do a darker cartoon. Online I have total freedom and there are no prejudices about what women can draw. We can self-publish. There are amazing opportunities if only we can crack the problem of monetising it."
Ms Richler also said she faced sexism in Fleet Street.
"There were times at the Standard when I wasn't allowed to do a darker cartoon. Online I have total freedom and there are no prejudices about what women can draw. We can self-publish. There are amazing opportunities if only we can crack the problem of monetising it."
Ms Richler also said she faced sexism in Fleet Street.
In 2004 the Daily Telegraph claimed her jokes were "regularly rewritten by backbench executives". The paper later published an apology.
Ms Richler said the attack suggested there was an assumption women simply couldn't be good political cartoonists.
So how do things look now?
Emma Allen was recently appointed as the New Yorker's cartoon editor.
Ms Richler said the attack suggested there was an assumption women simply couldn't be good political cartoonists.
So how do things look now?
Emma Allen was recently appointed as the New Yorker's cartoon editor.
The work of Ms Jennings and Kate Evanshas been featured in the Guardian.
Political blog The Canary has recently launched an all-female political cartoonist collective.
 |
| Cartoon by Lorna Miller |
And the second issue of Whip is due to be published next month.
"We're hoping to keep expanding. I hope editors will pay attention to what we are doing," Miss Bucknall said.
"The ultimate aim is that there will no longer be a Whip, because women are given a mainstream platform. The only reason we exist is because at the moment there isn't one."
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"Drawn to Purpose: American Women Illustrators and Cartoonists"
From the Library of Congress.
Original works by women cartoonists and illustrators are featured in a new exhibition opening at the Library of Congress on Nov. 18.
The Library will release a companion book, “Drawn to Purpose: American Women Illustrators and Cartoonists” by curator Martha H. Kennedy, in the spring of 2018.
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| "Dancing Couples No. 1," Anne Harriet Fish (1890–1964). Cover for Vanity Fair, March 1920. |
Original works by women cartoonists and illustrators are featured in a new exhibition opening at the Library of Congress on Nov. 18.
Spanning the late 1800s to the present, “Drawn to Purpose: American Women Illustrators and Cartoonists” brings to light remarkable but little-known contributions made by North American women to these art forms.
In fields traditionally dominated by men, many women have long earned their livelihoods creating art intended for reproduction and wide dissemination in newspapers, periodicals and books.
In fields traditionally dominated by men, many women have long earned their livelihoods creating art intended for reproduction and wide dissemination in newspapers, periodicals and books.
Women pursuing careers in the early days of the visual arts, as in nearly every other profession, encountered limitations in training, permitted subject matter and adequate work environments.
A host of challenges and longstanding social restrictions in a traditionally male-controlled system impeded many from advancing in their chosen fields.
The selected works drawn from the Library’s extensive collections highlight the gradual broadening in both the private and public spheres of women’s roles and interests, addressing such themes as evolving ideals of feminine beauty, new opportunities emerging for women in society, changes in gender relations and issues of human welfare.
The selected works drawn from the Library’s extensive collections highlight the gradual broadening in both the private and public spheres of women’s roles and interests, addressing such themes as evolving ideals of feminine beauty, new opportunities emerging for women in society, changes in gender relations and issues of human welfare.
“Drawn to Purpose” demonstrates that women, once constrained by social conditions and convention, have gained immense new opportunities for self-expression and discovery to share with growing, appreciative audiences.
The exhibition will feature nearly 70 works by 43 artists in two rotations during its run from Nov. 18, 2017, through Oct. 20, 2018, in the Graphic Arts Galleries of the Library’s Thomas Jefferson Building, 10 First St. S.E., Washington, D.C.
The exhibition will feature nearly 70 works by 43 artists in two rotations during its run from Nov. 18, 2017, through Oct. 20, 2018, in the Graphic Arts Galleries of the Library’s Thomas Jefferson Building, 10 First St. S.E., Washington, D.C.
The exhibition will be free and open to the public Monday through Saturday, 8:30 a.m. to 4:30 p.m. Tickets are not needed.
The exhibition is made possible by the Swann Foundation for Caricature and Cartoon.
The exhibition is made possible by the Swann Foundation for Caricature and Cartoon.
An online version will be available to audiences nationwide at loc.gov on Nov. 18.
“Drawn to Purpose” is organized into seven sections:
“Drawn to Purpose” is organized into seven sections:
- Themes and Genres;
- Golden Age Illustrators;
- Early Comics;
- New Voices;
- New Narratives;
- Editorial Illustrators;
- Magazine Covers and Cartoons;
- Political Cartoonists.
The Library will release a companion book, “Drawn to Purpose: American Women Illustrators and Cartoonists” by curator Martha H. Kennedy, in the spring of 2018.
Featuring more than 240 eye-catching illustrations from Library collections, “Drawn to Purpose” provides additional insights into the personal and professional experiences of more than 80 artists.
Their individual stories—shaped by their access to art training, the impact of family on their careers and experiences of gender bias in the marketplace—serve as vivid reminders of the human dimensions of social change during a period in which the roles and interests of women spread from the private to the public sphere.
The hardcover volume is published in association with University of Mississippi Press and will be available for $50 in the Library of Congress shop, 10 First St. S.E., Washington, D.C.
Credit card orders are taken at (888) 682-3557 or loc.gov/shop/ and bookstores nationwide.
The Library of Congress is the world’s largest library, offering access to the creative record of the United States—and extensive materials from around the world—both on-site and online.
The Library of Congress is the world’s largest library, offering access to the creative record of the United States—and extensive materials from around the world—both on-site and online.
It is the main research arm of the U.S. Congress and the home of the U.S. Copyright Office.
Explore collections, reference services and other programs and plan a visit at loc.gov; access the official site for U.S. federal legislative information at congress.gov; and register creative works of authorship at copyright.gov.
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The American Bystander Blog
From the American Bystander blog.
— The Editors.
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| Cartoon by John Cuneo. |
Welcome to the blog of The American Bystander, the all-star print humor quarterly.
We acknowledge the internet only grudgingly, but have decided to put down our buggywhips and create a cubbyhole online where we could stick a few pieces from each issue, and give our staff a place to publish timely stuff. Enjoy!
— The Editors.
Don't miss an issue! Subscribe to The American Bystander.
Back issues are available from us, via Amazon/Powell's/B&N, or via special order at your local bookstore.
Back issues are available from us, via Amazon/Powell's/B&N, or via special order at your local bookstore.
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British Political Cartoon of the Year Awards 2017 (Entries)
From Ellwood Afield.
Internet users were invited to vote for their favourite British political cartoon of the year. The winners will be announced later today in London.
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Steve Bell, The Guardian |
Internet users were invited to vote for their favourite British political cartoon of the year. The winners will be announced later today in London.
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| Ben Jennings, The Guardian |
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| KAL, The Economist |
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| Morten Morland, The Times |
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| Nicola Jennings, The Guardian |
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| Peter Brookes, The Times |
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| Dave Brown, The Independent |
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British Political Cartoon of the Year Awards 2017 (Winners)
From Ellwood Atfield.
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The Guardian's Ben Jennings won Political Cartoon of the Year for The White (Supremacist) House.
Bob Moran of The Daily Telegraph was runner-up.
Dave Brown of The Independent was runner-up.
Morton Morland of The Times was also runner-up.
UPDATE
Ben Atfield, Dave Brown, Morten Morland, George Osborne, Bob Moran, Ben Jennings
and Tim Benson at the PC awards last night.
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