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Behind the Lines: Australia’s Best Political Cartoons of 2017

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From the Museum of Australian Democracy website.



Australia has a rich tradition of political cartooning, nothing and no one is sacred, all politicians and policies may face the brute force of the cartoonist’s pen.

Behind the Lines: The Year’s Best Political Cartoons is an annual exhibition run by the museum bringing together a selection of the best works of the last year.

Before the internet, television or cinema, the circus was the world’s greatest entertainment industry. In their heyday, circuses were home to grand spectacle and wonder.
 
Fast forward 100 years and, under the unquenchable gaze of the 24-hour news cycle, we see Question Time playing out in the circular form of the parliamentary chambers – democracy itself has become the new spectacle. 
Aside from the obvious definition, a three-ring circus means ‘something wild, confusing, engrossing, or entertaining’ and, as the theme for this year’s Behind the Lines, this term captures the feeling of a world in turmoil in which fact and fiction seemingly collide. 
Our cartoonists have been busy wrestling this spirit of surprise and turbulence – we are fortunate to have their help finding ways to navigate the nonsensical, cut through the spin and smile in these unsettling times.
Scrambled, Lindsay Foyle, New Matilda, 14 August 2017


Birds of AustraliaDavid RoweThe Australian Financial Review, 16 August 2017


It's a Dog's Life

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From Riber Hansson's Facebook page.

Salvador Dali

Swedish cartoonist Riber Hansson announced last week that this year’s December drawing for the magazine Hundsport, where he has worked for 25 years, was unfortunately the last.

Here is a selection of "artists painting dogs" published in their pages:



Andy Warhol


Henri Matisse

Jackson Pollock

Pietr Mondrian

Alberto Giacometti

Henri de Toulouse-Lautrec

Vincent van Gogh


A case of "déjà vu"

Sexual harassment scandals in cartoons

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Michael Cavna in The Washington Post.

Nate Beeler, The Columbus Dispatch

Since the unmasking of Harvey Weinstein, the names of other celebrities accused of sexual misconduct have followed with the regularity of a drumbeat growing louder.

November brought forth such entertainment and media celebrities as Charlie Rose and Louis C.K., and the month ends with a flurry of such figures as Matt Lauer, Garrison Keillor, Russell Simmons...

Graphic designer Ivan Chermayeff dies at 85

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From The Architects Newspaper.

A range of logos produced by Ivan Chermayeff’s agency, Chermayeff & Geismar
(Courtesy History of Graphic Design)

Ivan Chermayeff, one of the founders of the modern profession of graphic design, passed away on December 3 at age 85. 

Born in London to design royalty, his father Serge was a Russian-born industrial designer, author, and architect of the De La Warr Pavilion (with Erich Mendelsohn).

Ivan was brought to the United States as young boy in 1940 (along with his brother Peter, the co-founder of Cambridge Seven Associates) and raised in an intellectually exciting world of artists, architects, designers and intellectuals

He claimed to have attended 24 schools, a dozen of which he had no “memory of whatsoever and another dozen (which) had no effect on me.” 

He finally graduated from Yale, but in a recorded interview he asserted it took him “7 years to recover from his education and he would have better studied chemistry” in preparation for being a designer as it would have taught him “discipline.” 

He rejected the idea of being an architect who “work on things that take a long time, and often fail because of lack of funding or whatever reason…With graphic design there is the advantage that 99 percent of what we do is produced” and he loved seeing his logos “quickly posted all over town.”

His firm Chermayeff & Geismar (joined in 2006 by Sagi Haviv) practically defined the image of corporate America and they designed logos for Pan Am, Mobile Oil, Chase Bank, Xerox, NBC, State Farm Insurance, Hearst Corporation Showtime and many others. 

He is also credited with designing the red number nine sculpture at 9 West 57th Street in New York City.



Chermayeff believed that “design is really common sense any kind of imagery that communicates is valid.” 

One ends up, he quipped “stealing from many minds,” and that his great design source was “to ask belligerent questions.” 

 When someone presents you with a problem its important is to find out “if the problem you are presented is the real problem.” Often, he believed “it is not.”

He served as president of the American Institute of Graphic Arts (AIGA) and his firm received the AIGA Medal for graphic design and visual communication in 1979. 

They were honored for “the clarity and organization of their graphics systems, and for their pursuit of consistent details that work at every size and scale to solve the problems of multilingual programs.”


I wish I'd drawn... (44)

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... this cartoon by the Washington Post's Ann Telnaes.

After President Trump endorsed Senate candidate Roy Moore on Monday, the Republican National Committee flip-flopped and announced support for his Alabama campaign.

14th George van Raemdonck Kartoenale (Results)

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From the Kartoenale website.



First Prize:

Igor Lukyachenko (Ukraine)

Second Prize:

Oleg Dergachov (Canada)

Third Prize:

Kaan Saatci (Turkey)

Fourth Prize:

Sajad Rafeei (Iran)


Fifth Prize:

Nikola Hendrickx (Belgium)

Honorable mentions:

Constantin "Cost" Sunnerberg (Belgium)
Mahmoudi Houmayoun (UK)

Tomi Ungerer in The New York Times

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From Tomi Ungerer's website.

How soon, darkness at noon.©Tomi Ungerer, 2017

The New York Times
recently asked Tomi Ungerer, and a variety of other artists, to reflect on the year that’s been for their Turning Points magazine. 

The magazine explores what critical moments from this year might mean for the year ahead; Ungerer’s contribution reflects on the ongoing destruction of our environment, and the tipping point that 2017 has been for social and environmental crises:

“To be a realist today means to be a prophet of doom. Apprentice sorcerers have changed the world. Nature has been raped beyond repair. We are at the brink of a new age, of darkness at noon. With children condemned to survive, let us salvage enough bare essentials to promote respect and good will. Don’t hope — cope!” -Tomi 

See Tomi’s feature on the New York Times website, here.

The case of Ramón Esono Ebalé

Women Who Draw

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From the website Women Who Draw.


The site "Women Who Draw" is an open directory of female illustrators intended to encourage art directors, editors, publishers and designers to hire women illustrators more frequently. 

Cartoonist Lee Judge Leaves the "Kansas City Star"

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From The Kansas City Star.



It’s 6 a.m. on Friday, Dec. 15, and I’m about to start my last day at The Kansas City Star.

April 1, 1981 was my first day at The Star, and back then my boss was editorial page editor Jim Scott. 

Not long after I arrived in Kansas City, Jim taught me a valuable lesson.

One day I drew a cartoon that upset some people and Jim was getting phone calls of complaint. I dropped by his office to apologize; he was having a rough day because of something I’d done. 

Jim said I shouldn’t worry; he’d fought in WWII, and once you had someone try to shoot you with a machine gun, nothing else seemed that bad.

Good point.

As anyone paying attention already knows, The Star is going through changes, and my departure is one of those changes. You can curse the changes or adjust and move on ... and I plan to adjust and move on.

In the meantime, I’ll do my best to appreciate what I’ve had: 37 years of employment and once-in-a-lifetime experiences at The Kansas City Star.



From Roy Rogers to Eric Hosmer

Over the years, The Star has paid for my house, sent my kids to school and allowed me to travel the country on their dime. 

Back when there were enough political cartoonists to have a yearly convention, The Star sent me to those conventions and allowed me to spend a week hanging out with my friends and colleagues.

Because I worked at The Star, I’ve been invited to lecture at dozens of schools and universities. 

One year, I was invited to lecture at the John F. Kennedy School of Politics at Harvard University and spent a week roaming Cambridge — and one night sleeping in JFK’s old dorm room.

Harvard has kept Kennedy’s dorm room just like it was when he was a student, and if you get invited to spend the night there, you sign a register for posterity. 

I looked through the celebrities who had bunked down in JFK’s room and was most impressed that I was sharing the space that had once housed my childhood hero: the King of the Cowboys, Roy Rogers.

No word on where his horse Trigger spent the night.



Because I worked at The Star, I won an award given out by Columbia College in Chicago and was seated at a table along with newspaper legend Mike Royko. 

After the awards were over, Mike took us to hear jazz pianist Art Hodes and bought me one of Art’s albums.

On another trip to Chicago — once again, financed by The Star — I shared a cab with Jim Belushi. 

We hit it off and he invited me and a friend to visit his bar and hang out with the guys from Second City.

The only reason I had those experiences was because I worked at The Kansas City Star.



In 2010, The Star gave me the opportunity to cover the Kansas City Royals and start a new chapter in my professional career.

After I stood in front of a 92 mph pitch and let it hit me in the vicinity of my left kidney, Royals catcher Jason Kendall decided I was cool enough to hang out with, and we eventually wrote a book together.

Not long after that hit-by-pitch video came out, Eric Hosmer made it to the big leagues and the first thing he ever said to me was: “Are you the dude?” 

When I confirmed I was the dude who got hit by a pitch, Hosmer said: “If you’re going to do any more crazy shit, I want in.”

Four years later, I was in the visiting clubhouse at Citi Field in Queens after the Royals won the World Series and Hosmer poured champagne over my head. 

Later, Hosmer took me to his barber to get my look freshened up, and I’ve kept the haircut. 

For seven years we really did do some crazy shit together.



So what’s next?

I will continue covering baseball, and if you enjoyed Judging the Royals you can now find it at https://leejudgekc.wordpress.com

If you want to get in touch, my new email address is leejudge2018@gmail.com

If you want to follow me on Twitter, you can do that at @leejudge8.

I’ve updated a few past articles to get things started on the site, but I will soon be posting totally new material. 

People have asked what they can do to support me, and visiting Judging the Royals at the new site would be one way to do that. 

Between now and opening day, I hope to hook up with another news organization that has a website and covers the Royals. I’ll let you know how that goes.



Support your local paper

Change is upsetting and, like every other newspaper in the country, The Kansas City Star has been changing. But whatever you think of those changes, The Star still needs your support.

Even if you never agreed with a single cartoon I ever published, you still need a healthy newspaper acting as a watchdog on your behalf. 

You want someone keeping an eye on the people in power. And as more and more news outlets cater to a particular crowd, you want a newspaper that at least tries to report both sides of the story. 

What happens to me next is fairly unimportant; what happens to newspapers next will change the world for better or worse.

And frankly, I’ll be OK. 

As Jim Scott taught me all those years ago, it’s really not that bad: nobody is trying to shoot me with a machine gun.

Thanks for your support and interest over the years and I’ll be talking to you soon.

Read more here: http://www.kansascity.com/sports/spt-columns-blogs/judging-the-royals/article189971179.html#storylink=cp
Read more here: http://www.kansascity.com/sports/spt-columns-blogs/judging-the-royals/article189971179.html#storylink=cpy


Read more here: http://www.kansascity.com/sports/spt-columns-blogs/judging-the-royals/article189971179.html#storylink=cpy


Read more here: http://www.kansascity.com/sports/spt-columns-blogs/judging-the-royals/article189971179.html#storylink=cpy


Read more here: http://www.kansascity.com/sports/spt-columns-blogs/judging-the-royals/article189971179.html#storylink=cpy


Read more here: http://www.kansascity.com/sports/spt-columns-blogs/judging-the-royals/article189971179.html#storylink=cpy

Eaten Fish released!

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From the AAEC.

Adaptation of an Eaten Fish cartoon

After four years in a detention camp, cartoonist Ali Dorani (aka Eaten Fish) has been released. 

The young Iranian cartoonist has been the focus of international attention on his plight and the deplorable conditions in Australian-run refugee camps on Manus Island, Papua New Guinea.

Here is the press release on this breaking news.


**Manus Island cartoonist Eaten Fish in safety in ICORN residency** 
18 December 2017 — Award winning Iranian cartoonist Ali Dorani, known as Eaten Fish, has left Papa New Guinea and is now in safety. Dorani has spent the past four years in a refugee detention camp on Manus Island, Papua New Guinea.

"I have left PNG. It was a long journey but I am safe now. I am thinking about my friends in Manus Island and Port Moresby. Thank you to my supporters and people who worked to make this journey happen."— Eaten Fish

Ali Dorani, an award-winning Iranian cartoonist known under the pseudonym Eaten Fish, has arrived safely in a city of refuge through the ICORN programme, after spending the past four years in the notorious offshore detention camp for refugees on Manus Island, Papua New Guinea (PNG). 
His cartoons are well known internationally and have become the image of life on Manus Island. 
Ali Dorani left Iran in 2013, arriving on Christmas Island by boat 6th August the same year, seeking asylum. He took the pen name, Eaten Fish, after he was pulled from the ocean on his way to Australia.

Dorani was transferred to Manus Island in January 2014, and started cartooning, documenting the harsh conditions and ill treatment of the asylum seekers in the detention camp. His cartoons are published extensively in online media including the Guardian, Washington Post, ABC news, and journals such as New Matilda and Law, Text, Culture
Dorani’s situation has been the concern of Cartoonists Rights Network International (CRNI) and other human rights organisations who have advocated intensively for his release and fair treatment, alongside internationally renowned cartoonists.

In 2016, CRNI granted him the Courage in Editorial Cartooning Award, for keeping up a stream of cartoons documenting the unspeakable abuses and excesses in the camp.

On 16 December, Dorani left Papa New Guinea and arrived in a safe city in the ICORN programme. 
Elisabeth Dyvik, Programme Director of ICORN says in a statement to the press: “We are relieved that Eaten Fish has arrived safely in a city of refuge where he is free to pursue his career as a cartoonist. ICORN could not have organised this residency for him without the assistance and tireless work of a group of dedicated individuals and organisations, such as Bro Russels, Director of Cartoonists Rights Network International (CRNI); poet and activist Janet Galbraith, and cartoonist Andrew Marlton (better known as First Dog on the Moon). ICORN would also commend the city of refuge that has invited him to be the city’s ICORN resident for the next two years.” 
Press contact:
Cathrine Helland
Communication Manager, ICORN
ch@icorn.org
Ph: +47 5150 7888/Cell: +47 4795 3195

ICORN, the International Cities of Refuge Network, is a network of cities and regions working to promote freedom of expression by offering long term residencies to writers and artists who are at risk because of their professional activities. More than 60 cities around the globe has joined ICORN, to offer a safe space where persecuted writers and artists can live and work in safety.

Note to the Editor: The whereabouts of Eaten Fish is until further notice not public due to privacy and security reasons. He is currently not available for interviews.

Reprint on the iPolitics website (35)

Comic Strip Readers Fight Back

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The latest redesign of the Globe and Mail saw the disappearance of the four comic strips carried by the newspaper.

A week later, no doubt due to protest from their readers, the gag panels have suddenly reappeared.

I am happy for the cartoonists involved.

Corneredby Mike Baldwin


Bliss by Harry Bliss


Speed Bump by Dave Coverly



Bizarro by Dan Piraro


The 2017 United Nations / Ranan Lurie Political Cartoon Award

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From the United Nations / Ranan Lurie Political Cartoon Award.

First Prize - $10,000

Andrea Arroyo, Manhattan Times (USA)



Second Prize - $5,000

Niels Bo Bojesen, Jyllands Posten (Denmark)


Third Prize - $3,000

Mike Luckovich, The Atlanta Journal-Constitution (USA)


Citations for Excellence

Angel Boligan Corbo, El Universal (Mexico)

Rafael Bittencourt Correa, Folha de Sao Paulo (Brazil)

Nestor R. Juarez-Blanco, El Impulso (Venezuela)

Panos Maragos, Ethnos (Greece)

Vladimir Nenashev, Gubernian Vedomomosty (Russia)


Mete Agaoglu, Dentist Magazine (Turkey)

Peter Schrank, The Sunday Business Post (Ireland)

Kamil Yavuz (Turkey)

Bi Li Ge, The People’s Daily Cartoon Weekly (China)

Michael Zlatkovsky (Russia)


Merry Christmas !

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Adrien Hébert, Christmas shopping, between 1938 and 1945, Musée national des beaux-arts du Québec.

A biography of my great uncle Adrien on the Historica Canada website:

Adrien Hébert, painter (b inParis, 12 April 1890; d in Montreal 26 June 1967). 
Son of sculptor Louis Philippe Hébert (1850-1917) and of Maria-Emma-Cordélia Roy (1856-1942). His childhood was spent as much in Canada as in France, his father having been commissioned to create a series of sculptures to adorn the facade of the Parliament Buildings in Québec City. 
From 1902 to 1911, he attended Montréal's Conseil des arts and manufactures, taking courses from Edmond Dyonnet (1859-1954), Joseph-Charles Franchière (1866-1921) and Joseph Saint-Charles (1866-1956). 
He also studied under William Brymner (1855-1925) at the Art Association of Montréal, which later became the Montreal Museum of Fine Arts. 
The Early Beginnings 
Adrien Hébert's artistic career may be said to have begun in 1909 when he exhibited for the first time at the AAM's Salon du printemps, a venue that regularly featured his works up until 1954. 
From 1910 to 1960 his paintings were shown at the annual exhibitions of the Royal Canadian Academy of Arts. 
In 1916, he mounted a show at the Saint-Sulpice Library in Montréal with his sculptor brother, Henri Hébert (1884-1950), and in 1918 he also collaborated with his brother to publish Le Nigog, a review advocating modern literary and painterly aesthetics in opposition to the regional modes prevailing in Québec. 
A Style Recalling Cézanne

His 1922-23 residency in France saw him painting Ardèche landscapes and Paris scenes, along with portraits of friends in a style recalling Cézanne.

Adrien Hébert, Vals-les-Bains, Ardèche, circa 1922.

Returning to Montreal at the end of the summer of 1923, he taught design at the Conseil des arts et manufactures. After this date, his artistic style took on a more distinctive form as he discovered a painterly interest in the port of Montreal.

Adrien Hébert, Port of Montreal, 1925, Museum of Fine Arts, Montreal.

What struck him about the port, in addition to the ships discharging cargo and the dockers working, was the beauty of the harbour's architecture exemplified in the huge grain silos and in the footbridges connecting the wharves. 
Such structures afforded him the opportunity to compose highly formalized pictures that depicted the port's dizzying activity translated by a pictorial evocation of sound and motion. 
The Urban Landscape

Hébert's love for the city manifested itself in his urban paintings: from this time and for many more years, he produced works which depict metropolitan streets, often those close to his studio in Sainte-Julie (now Christin) Street. 
These works capture images of pedestrians coming and going and of cars and trams travelling down rain-wet roadways or snow-swept streets.

Adrien Hébert, Sainte-Catherine Street, 1926, Museum of Fine Arts, Montreal.

In March 1931 at the Galerie A. Barreiro in Paris, he exhibited 20 canvases representing his favourite subjects. That year the city of Montréal commissioned him to do a large-scale historical work on the topic of Jacques Cartier arriving at Hochelaga in 1535. 
In 1941, he was elected to membership in the Royal Canadian Academy of Arts. 
Upon Henri's death in 1950, Adrien moved into his brother's studio on Labelle Street, a studio originally built by their father.

Adrien Hébert, In my studio, circa 1938, private collection.

During this period he painted the region of Chicoutimi encouraged by Armand Hébert, his nephew, whose job it was to promote the Saguenay. 
In 1953, Adrien received his third Jessie Dow prize, this time awarded by the AAM for his canvas S.S. Empress of Canada. 
The next year, upon his retirement from teaching for the Catholic School Board of Montréal, Hébert went to French West Africa, travelling on to France at the start of 1955. 
On his return he displayed works based on this voyage in his Montréal studio. He remounted the show in the Hélène de Champlain the following year. 
After the demolition of his studio in 1963, the painter installed himself in a house he bought on Chesterfield Avenue in Westmount.

Adrien Hébert, The "Enclosure" on Belair Island, 1921, National Gallery of Canada.

Throughout his career, Hébert saw himself as an urban painter, even if he often worked on Belair Island, where his family owned a country property.


A month after his death, Mayor Jean Drapeau presented one of Hébert's Port of Montreal scenes to General Charles de Gaulle on the occasion of the latter's visit to Expo 67.

In 1971, the National Gallery of Canada organized and toured an exhibition entitled Adrien Hébert, Thirty Years of his Work, and in the summer of 1993, the Musée du Québec commemorated Hebert with an exhibition dedicated to his art.


Drawing Trump

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Matt Wuerker on Politico.


Eight of America’s top cartoonists show us how they lampoon the president.

Being president is a tough job. The president has to sign bills, conduct wars, and uphold a heap of dusty rituals and customs. One of these traditions, perhaps the least dignified of all, is to be the focus of the ink-stained wretches of the cartooning trade.

Since the earliest days of the republic, these artists have taken a president’s face, really his whole public image, and put it through a wringer of ridicule, contorting distinctive features and twisting them into a cartoon caricature. 
For Barack Obama and George W. Bush, it was their oversized ears; for Bill Clinton, his bulbous red nose. That image becomes the inky avatar that can not only define a presidency, but follow a leader right into the history books.
But it also takes time for cartoonists to develop their perfect caricature of the commander in chief, boiling down physical attributes to shapes and lines that form a readily recognizable icon. 
One cartoonist will yank out the ears or tug on a lower lip; another might go nuts with the jowls or hair. With Donald Trump, a president whose yellow mop, pouty lips and signature hand gestures make him a particularly inspiring muse, a satirist can choose to go in myriad directions. 
So, nearly one year into the Trump administration, we checked in with some of the best political cartoonists in the nation to see how they’re drawing Trump, the caricature. In the videos below, they offer their thoughts on the challenge as they sketch the face that launched a thousand pens.










Editor's note: please go to the original site for comments and gifs from the eight cartoonists as well as cartoon galleries and links to their websites.

Take Two

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From History of Cartoons.


Accidents happen and cartoonists are not necessarily aware of every cartoon ever published, but some coincidences do seem troubling.

You be the judge:














The Best from Canadian Editorial Cartoonists

Print magazine 1940-2017

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From Wikipedia.


Print, A Quarterly Journal of the Graphic Arts was a limited edition quarterly periodical begun in 1940 and continued under different names through the end of 2017 as Print, a bimonthly magazine about visual culture and design.



In its final format, Print documented and critiqued commercial, social, and environmental design from every angle: the good (how New York’s public-school libraries are being reinvented through bold graphics), the bad (how Tylenol flubbed its disastrous ad campaign for suspicious hipsters), and the ugly (how Russia relies on Soviet symbolism to promote sausage and real estate).

Print was a general-interest magazine, written by cultural reporters and critics who look at design in its social, political, and historical contexts.

Cover by Ben Shahn

From newspapers and book covers to Web-based motion graphics, from corporate branding to indie-rock posters, from exhibitions to cars to monuments, Print showed its audience of designers, art directors, illustrators, photographers, educators, students, and enthusiasts of popular culture why our world looks the way it looks, and why the way it looks matters. 



Print underwent a complete redesign in 2005, and ceased publication in 2017, with a promise to focus the brand on "a robust and thriving online community."
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