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Results of the 14th edition of World Press Cartoon

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From World Press Cartoon.





The caricature of Bashar-al-Assad by Spanish cartoonists Javier Carbajo and Sara Rojo was awarded the Grand Prize of the 14th edition of World Press Cartoon, the annual celebration of humour art in the international press, which opened its doors yesterday at the Conference and Cultural Center of Caldas da Rainha, Portugal.

First prize in the Caricature category, the drawing was published in the Spanish newspaper ABC in April 2018.

In the same category, the jury awarded the second prize to a caricature of Angela Merkel by Joaquín Aldeguer from Spain, published in the magazine El Jueves.




Third prize was awarded for a caricature of Martin Luther King by Brazilian cartoonist Cau Gomez, published in Le Monde Diplomatique.


World Press Cartoon also distinguishes works in two other categories.

Editorial Cartoon

First prize - "Cuban Workshop", Ramsés, Cuba, OnCuba.

Second Prize -"The cause of Fear"Halit Kurtulmus, Turkey, Cartoon Movement.

Third Prize - "America First!", Nikolov Tchavdar, Bulgaria, Prass Press.
Gag Cartoon


First Prize - "Reload", Angel Boligán, Mexico, El Universal.

Second Prize -"Flooding in Venice", André Carrilho, Portugal, Diário de Notícias.

 Third Prize - "Bus", Cost, France, Courrier International.


Quentin Blake's House of Illustration

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From House of Illustration.


House of Illustration is a registered charity and the UK’s only public gallery dedicated solely to illustration and graphic art. 

Founded by Sir Quentin Blake it opened in July 2014 in King’s Cross, London.

"The Unseen Art of Quentin Blake"exhibition.
Our exhibition programme explores historic and contemporary illustration and the work of both defining and emerging illustrators, amplified by a pioneering learning programme and a vibrant programme of talks and events. 


House of Illustration is the only UK gallery commissioning illustration for public display and runs the UK’s only residency for illustrators and graphic artists.

We curate nine exhibitions per year in our three gallery spaces. 



We support illustrators by commissioning work, and support emerging and early career talent via our annual Illustrator in Residence programme, the international Book Illustration Competition run in partnership with The Folio Society, and specialist courses and masterclasses. 

We run an extensive learning programme for schools, families, teachers and people of all ages delivered by professional illustrators.

House of Illustration
2 Granary Square,
King's Cross,
London,
N1C 4BH
020 3696 2020
Tuesday-Saturday 10am-5.30pm, Sunday 11am-5.30pm

New Yorker cartoonist Nurit Karlin dies at 80

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Liza Donnelly in The New Yorker.


Nurit Karlin
, who died in Tel Aviv this week, at the age of eighty, was a regular cartoonist for The New Yorker for fourteen years, starting in 1974. 

At that time, she was the only woman drawing cartoons for the magazine. 

Born in Jerusalem, Karlin drew as a child, and later, during her time serving in the Israeli Army, she decided to apply to art school. (She thought that applying was worth it, even if she was not accepted, because the process gave her a few days off from duty.) 

After a few years at Bezalel Academy of Arts and Design, Karlin travelled to the United States to study animation at the School of Visual Arts. While in New York, she began selling drawings to the New York Times, and then someone suggested that she try The New Yorker

She never thought of her work as“cartoons,” but decided to submit some anyway. 

Lee Lorenz, who had recently been hired as the magazine’s art editor, bought a drawing from Karlin’s first batch of submissions. Lorenz told me that he was looking for new ways to express humor in cartoon form, and Karlin was one of the first artists that he brought to the magazine.

Karlin’s cartoons are deceptively simple. 


The viewer is drawn to them as if looking at a children’s-book illustration, only to be confronted with a quiet statement in the form of a line drawing. 

When I asked Karlin where she got her ideas, she said, “If I knew where they came from, I would be the first in line! I used to doodle. Then something would be there.” 

Her work was unlike anything else being published in the magazine at the time. 

Most of her cartoons, which are primarily captionless, are not really jokes (she told me that “some of mine weren’t even funny”) but, rather, visual thoughts that force the viewer to pause and grasp an idea. 
I remember Karlin as being like her cartoons: spare with words, funny, thoughtful, cynical yet optimistic. 

Her countenance was quizzical and often guarded, but somehow you knew that she cared. 

I visited her in Tel Aviv several times during her retirement, and we ate lunch by the water. 

Our conversation would begin in the world of cartooning and extend to the world at large, often landing on some topic related to the surrounding conflict in which she lived. 

Like her cartoons, she would inspire me with her quiet, strong, and hopeful world view.


Liza Donnelly is an award-winning cartoonist and the author of “Funny Ladies: The New Yorker’s Greatest Women Cartoonists and Their Cartoons.”

Seth at TCAF

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From the Doug Wright Awards Facebook page.


This Saturday, the Doug Wright Awards co-founder Seth will be in conversation with the Doug Wright Awards executive director Conan Tobias about Seth's at-last-completed Clyde Fans.

It promises to be the most Doug Wright–tastic talk at TCAF.

Saturday at 12:15 
High Park Ballroom 
Marriott Yorkville
90 Bloor Street East
Free!

Toronto animator censored in a "Good Fight" episode

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From Canadian Press.


Canadian animator Steve Angel recognizes the irony that his cartoon about censorship was, itself, censored.

The co-owner of Toronto-based studio Head Gear Animation produces in-between musical shorts for The Good Fight— a ripped-from-the-headlines legal drama on the U.S. streaming service CBS All Access.

The show, which is a spinoff of The Good Wife and airs on the W Network in Canada, centres on a left-leaning Chicago law firm arguing cases about the issues of the day against the political backdrop of Donald Trump's presidency.

The Good Fight is often broken up by Schoolhouse Rock!-style segments, with satirical songs written and performed by American musician Jonathan Coulton. 

Angel and his team animate Coulton's music with provocative cartoons, which in the past have included a Nazi-uniformed frog, a reptilian caricature of Hillary Clinton and a scene of the presidential bedroom.

But on a recent episode of the show, a segment criticizing censorship in China was replaced with an eight-second placard reading, "CBS has censored this content."

In a statement, a CBS All Access spokesperson said after raising concerns about the animated short's subject matter, it had reached this "creative solution" with the show's producers.

"I was disappointed, but I understand," Angel said in a phone interview, as a CBS publicist listened on the other end of the line. 

"There's the obvious irony of it, but at the same time, I think because it's pretty incendiary material, it wasn't a gigantic surprise."

Angel said he couldn't comment on the content of the segment, but The New Yorker reports the animation alludes to several subjects that have been banned online in China, including Winnie-the-Pooh, as the character was used in memes as a way to poke fun at Chinese President Xi Jinping. 

Tjeerd Royaards, The Cartoon Movement

The magazine reports the clip featured the leader dressed as the cartoon bear, shaking his exposed bottom.

While Angel said showrunners Robert and Michelle King have encouraged him not to shy away from provocation, he admitted he felt nervous while drawing the cartoon, given Canada's current tensions with China.

Sino-Canadian diplomatic relations are at a new low after RCMP detained Chinese executive Meng Wanzhou in December at the request of U.S. authorities. 

Nine days after Meng's arrest, two Canadians — ex-diplomat Michael Kovrig and entrepreneur Michael Spavor — were detained in China on allegations they had violated the country's national security.

"When you're drawing, you're kind of in your own head, and it's you and a pencil and paper, and it's a very internal world," said Angel. 

"Something that goes from kind of an intimate, personal practice to a highly public venture is a big leap, and it has perils."

Angel said he decided to set aside his concerns about the internationally charged content in The Good Fight short because he supports the show's broader mission.

"If everything blows up as a result of this, it's a good way to go down," he said.

Still, Angel said the pulled segment was his favourite of the season, and he hopes it will eventually see the light of day.

"Right now, we're in the middle of this big, hurly-burly moment, and everyone is freaked out together," said Angel.

"Despite the madness of this event, I think it will pass and it will get back to normal, but at the same time, not stop challenging authority and holding up a mirror to power."

Accident or coincidence?

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Cartoonists Alberto Morales and Julian Pena-pai  have drawn attention about similarities between award-winning drawings at the 2019 World Press Cartoon and works drawn in the past.


Avogado6, Japan

First Prize - Gag cartoonAngel Boligán


Intelligent Shipwreck, Pierre Brignaud, Just For Laugh International Cartoon Contest 2015.

Second Prize - Gag cartoonAndré Carrilho

Posy Simmonds: A Retrospective

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From House of Illustration.

Cassandra Darke, 2014


Posy Simmonds
’ sharp satire and progressive female characters have defined a career spanning 50 years. 

The exhibition will feature her early-career pastiches, iconic cartoon strips for The Guardian and children’s books such as Fred, which became an Oscar-nominated film. 

It will also include the first ever British graphic novel, True Love, unseen pages from Tamara Drewe 

Tamara Drew makes her first appearance in the revised graphic novel, 2007.

and drawings from Simmonds’ new 2018 book, Cassandra Darke, the story of a grumpy, wannabe crime-solving art dealer.



Since the early 1970s, when she began sending up Guardian readers in her long-running comic strip for the paper that became Mrs Weber’s Diary, Simmonds’ everyday heroines have capture the popular imagination.

Co-curated by Paul Gravett

Posy Simmonds: A Retrospective
May 24 - September 15, 2019
10am - 5:30pm
House of Illustration
2 Granary Square
King's Cross
London N1C 4BH

Facebook Bans Artist For Transforming MAGA Hats

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From Medium.

Hate Hat by Kate Kretz, 2019

It appears Facebook is once again censoring political artists from engaging in their First Amendment rights to criticize Hate Groups. 

This is no different than the time they blocked an anti-hate group cartoon by Pulitzer-Prize winning editorial cartoonist Clay Bennett


Frank Frazetta's "Egyptian Queen" Sets $5.4 Million World Record

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From Heritage Auctions.


The 1969 fantasy painting Egyptian Queen, one of the most legendary artworks by famed artist Frank Frazetta, sold for a world record $5.4 million Thursday, May 16, at a public auction of vintage comic books and comic art held by Heritage Auctions in Chicago.

The painting bests the world record as the most expensive piece of original comic book art ever sold at public auction. 

The previous record was the $1.79 million paid for Frazetta's Death Dealer 6, which was set by Heritage in May 2018.


The masterpiece is credited more than any other with revolutionizing fantasy illustration in American art. 

Egyptian Queen first appeared in print as the cover for Eerie magazine #23 in mid-1969, and as multiple prints and posters over subsequent decades.

The winning bidder does not wish to be identified at this time.

The painting has been in the possession of Frazetta's family ever since it was created 50 years ago, and Thursday was the first time it was made available for private ownership in Heritage Auctions' Comics & Comic Art Auction. 

In addition to a world record, the painting also set a house record as the most expensive item ever sold by Heritage Auctions, surpassing a luxury Dallas estate, which closed for $4.95 million in 2016.

"This result elevates Frank Frazetta's art into the stratosphere of visual narrative art on a par with the likes of Norman Rockwell, Maxfield Parrish and other luminaries," Heritage Auctions Vice President Todd Hignite said.

Rick McKee laid off from The Augusta Chronicle

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Editorial cartoonist Rick McKeewas laid off from The Augusta Chronicle after 21 years with the paper. His last cartoon will be published July 20th.

Nate Beeler laid off from The Columbus Dispatch

Billy Ireland Cartoon Library & Museum acquires Ollie Harrington collection

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From the Ohio State Billy Ireland Cartoon Library & Museum Blog.


The Billy Ireland Cartoon Library & Museum has acquired a rare collection of materials by the late Oliver “Ollie” Harrington.

Arriving from Germany, Ollie Harrington’s collection includes original published cartoons, along with roughs, sketchbooks and other archival materials.

“Ollie Harrington was an incredibly talented cartoonist, and we are honored to house a collection of his artwork and archives here at The Ohio State University. I hope that by making these materials available, more people will be able to study and appreciate his impressive work,” said Jenny Robb, Curator and Associate Professor.

Harrington was born in Valhalla, NY on February 14, 1912. Channeling his experiences with racism, he began drawing in his youth as a way to vent his frustrations with a viciously racist sixth grade teacher. 

He went on after high school to attend Yale for a degree in Fine Arts, earning his B.F.A. in 1940. 

Having been inspired by – and later involved with – the Harlem Renaissance, Harrington published cartoons in a number of Black and leftist newspapers, including The Amsterdam News and The Chicago Defender

The Pittsburgh Courier sent him to Europe and North Africa as a war correspondent. He chronicled the efforts of Black military personnel, including the Tuskegee Airmen; and his biting criticism of fighting in Europe over rights that were denied Blacks back home in the U.S. attracted the attention of the NAACP’s Walter White for whom he worked in 1946. 

"We could say he threatened us with a knife... If we had a knife."

Best known for his series Bootsie (originally titled Dark Laughter), an African American male who would make pointed criticisms of the world around him, Harrington continued with his work, even after leaving the United States due to the scrutiny he was under by the House Un-American Activities Committee in the early 1950s.

Harrington was a noted scholar as well as an outspoken artist unafraid to confront racism. 

He expatriated to Paris in 1951 but subsequently moved to East Germany in 1961 when he suspected the sudden death of his friend Richard Wright was an assassination. 

Harrington was also a well-noted author who talked about his experiences in his book Why I Left America and Other Essays (1993). 

The materials received by the Billy Ireland Cartoon Library & Museum from his widow, Helma Harrington, illustrate Harrington’s keen eye toward criticizing the U.S. government and capitalism as well as issues of racism and Apartheid. 



One rough drawing in particular – a book on how to disenfranchise American minorities with a stack of books including the U.S. constitution precariously balanced on top of it – is so relevant to our current cultural climate that it could be published today.

This collection is a window into the work Harrington did after he left the United States, showcasing how his viewpoint towards the injustices of the world never wavered even after he left America’s shores. 

We are thrilled to have this slice of history as part of our collections, and look forward to making this material available to scholars everywhere.

–Dr. Kay Clopton, Mary P. Key Diversity Resident Librarian

Political cartooning, a relic of a bygone era?

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Jennifer Grygiel in The Conversation.

Not everyone possesses the skills to draw a cartoon, but pretty much anyone can make a meme.

The New York Timescame under fire after a political cartoon appeared in print on April 25, 2019.

In it, a blind President Donald Trump, wearing sunglasses and a yarmulke, is being led by Israeli Prime Minister Benjamin Netanyahu, who’s depicted as a guide dog with a Star of David around his neck.


The Times later issued an apology, called the cartoon “anti-Semitic,” and announced that it would discipline the editor and enhance its bias training.

The newspaper also indicated that it will no longer use the syndication service that supplied the cartoon.

To some, this might appear to be a significant move. But it fails to address larger problems with editorial cartooning – namely, the ranks of cartoonists are too white, too old and too male.

As a scholar who studies social media and memetics, I wonder if political cartoons are the best way to connect with today’s diverse readership. Many crave searing, cutting political commentary – and they’re finding it in internet memes.

What if internet memes were elevated – not only as a serious art form but also as an important form of editorializing that’s worthy of appearing alongside the traditional cartoon?

Behind the times

Newspapers and magazine editors still rely on political cartoons to capture readers’ attention and to deliver some lighter material alongside heavier news stories. 

The need for this content isn’t going away, nor is the need for forms of communication that challenge governments and open up important public discussions – a role the political cartoonist has long held.

Political cartoons have long been used to criticize – and mock – those in power.

But in many ways, political cartooning can seem like a relic of a bygone era.

A 2015 Washington Post report also underscored the lack of diversity among political cartoonists in newsrooms, noting how not a single black individual was employed as one.

Then there’s journalism’s top prize, the Pulitzer.

An extensive 2016 study by the Columbia Journalism Review unveiled how the ranks of editorial cartoon Pulitzer winners have been largely dominated by white men.

Since 1922, only two women have received a Pulitzer in this category, and it wasn’t awarded to an African American until this year, when syndicated cartoonist Darrin Bell became the first to receive the award.


One roadblock to diversifying the ranks of political cartoonists is that the potential pool of candidates is limited. Few have the technical skill to draw pen-and-ink drollery, the common style for political cartooning.

Another has to do with industry trends. A 2017 study found that many newspapers don’t even employ an editorial cartoonist anymore.

Instead, they’ve come to rely on less expensive syndication services.

A more democratic form

Given the important function of the political cartoon, simply discontinuing their use serves no one, including publishers.

But the field’s high barrier to entry – not to mention the time it takes to actually produce a cartoon – clearly poses a problem. A new, quicker and more inclusive solution to political commentary is needed.

The political cartoon is technically a meme, which is simply any piece of culture that can be copied or replicated.

A different sort of political cartoon, the internet meme, dominates on social media.

Often crudely constructed, they’re far easier to create than, say, your typical New Yorker political cartoon.

Many simply appear as a photo with text overlay, something that can be made within a few minutes via an online meme generator or mobile app.

But the lack of technical skill needed means that they’re democratic in nature – and those that resonate the best will get shared the most and rise to the top.


A new common meme format simply entails brief, humorous, text-based commentary.

Words are memes, after all, and they can be used to communicate ideas very quickly and clearly, which avoids some of the issues with visual rhetoric such as misinterpretation or misrepresentation – the exact sort of thing that happened with The New York Times cartoon.

Memers of the world, unite!

Cartooning is undoubtedly a skilled art form. But in 2019, an ugly internet meme that uses a screen grab from “The Office” and quippy text overlay can have just as much clout – if not more – than a sophisticated political cartoon.


Internet memes increasingly play a role in politics and even have the power to influence elections.

Facebook groups with hundreds of thousands of followers are dedicated entirely to propagating and spreading political internet memes, such as the Bernie Sanders Dank Meme Stash and God Emperor Trump.

Politics has become, in many ways – as campaign strategist Doyle Canning put it – “a battle of the memes.”

Some publishers and media outlets understand the value of user-generated content in political discourse and news gathering.

For example, BuzzFeed occasionally posts lighthearted political internet memes on its social media platforms that speak to a younger audience.

The Associated Press employs user-generated content editors who comb social media platforms for important images associated with news events.


Memers, meanwhile, are beginning to see their role in driving internet traffic – and ad revenue – and are beginning to formalize their work and employment as content creators.

They’re even beginning to organize, with some groups seeking union status. It’s possible that new syndication services may develop for political memes out of these efforts.

But there have been few signs of anyone printing a meme in a physical newspaper or magazine unless it’s controversial enough to become the topic of a news story.

To serve print needs, what if publishers hired staff memers or freelance memers – individuals with a pulse for viral content and an understanding of what resonates with younger readers, who could construct stylized, more professional-looking memes that could appear in print and on the web?

Again, this isn’t to say that traditional political cartoons no longer have a role. But it’s time for publishers to anoint the internet meme as worthy of publication.

Melania Trump lifts 2 paragraphs from Michelle Obama's 2008 speech.

After all, the best political commentary is just as likely to be found on Tumblr as the pages of the Times.

Jennifer Grygiel, Assistant Professor, Communication, Syracuse University

Aislin and Chapleau participate in new Champlain Bridge time capsule

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From The Montreal Gazette.


Aislin from The Montreal Gazette as well as Serge Chapleau from La Presse contributed editorial cartoons that will be hidden in the new span of the Champlain Bridge for future generations to find.

What’s going to be funny in 125 years?

More specifically, what’s going to be funny about the new Champlain Bridge in 125 years?

These were the questions that popped into Terry Mosher a.k.a. Aislin’s mind when he got a call from the Canadian government asking whether he and his old comrade Serge Chapleau of La Presse would be interested in contributing a pair of editorial cartoons to a time capsule that will be hidden in the bridge during the opening ceremony.

Among the 22 artifacts in the capsule are a signed hockey puck, an LGBTQ+ rainbow flag, maple syrup, a conductor’s baton signed by Kent Nagano, a BIXI key and a Two Row Wampum Belt donated by the Kahnawake Mohawk people.

“Chapleau and I have developed a reputation as great friends,” Mosher said, noting that they have become representatives of bridging, if you will, the linguistic divide. “People think of it as good news about Montreal, because we’ve known each other for 50 years.”

The two men appear regularly at speaking engagements together, and last fall they took part in a fundraiser for the Lachine Hospital. Mosher was enthusiastic about the idea of shipping laughs to the future with his old buddy, so he called up Chapleau.

“He agreed,” Mosher said. “He didn’t like the idea that they weren’t paying us, but there you go.”

Let the laughs begin.

“It’s out of character for us to work for nothing, but I think it tickles us, the idea that 125 years from now somebody is going to open this damn thing and wonder what these things are. I wish I could see that, but it’s not going to happen.”

Terry! I think they'll have to build a new one, this one is already completely congested!

Which brings us back to the initial question. Mosher and Chapleau are used to turning around cartoons that comment on the daily developments of politics and city life. How did they approach penning jokes for the next century? Turns out, it was just another day at the office.

“It happened pretty fast,” Mosher said. “We’ve been coming up with cartoon ideas for quite a while now. I said, ‘I’m thinking I’ll be dead, and you’ll be dead when they open this thing. Why don’t I do something on Champlain?’ And he said, ‘I’ll do something commenting on the bridge’.”

Both cartoonists appear as angels in their drawings. Mosher’s drawing depicts himself ribbing the French explorer for having yet another bridge named after him. He had drawn Champlain before, and admits to having developed a fondness for him.

“You can’t help but be a fan of Champlain,” Mosher said. “The development of America had some pretty awful characters — LaSalle and a few others — but Champlain, in comparison, seemed a lot more respectful of the Native people. I always liked him, although I did draw him with an arrow through his hat.”

Chapleau’s shows the cartoonist alone, holding a pair of binoculars and pointing downward, saying, “Terry! I think they’ll have to build a third, this one is already backed up!”

La Presse’s ever-impish cartoonist points out that he might have been more comfortable with a devil’s tail than angel’s wings. As such, he was happy to have fun with the obvious and inevitable downside of even the fanciest new bridge.

“I said, there’s no big joke you can make (about a bridge),” Chapleau explained. “I was imagining them opening this in 100 years. The only thing they’ll understand is that the bridge is done for and it’s time to make another. So let’s go for the sad reality — it’s still congested.”

For Chapleau, the whole idea of penning cartoons on actual paper with his old pal Mosher and inserting them into a time capsule was rather amusing.

“I didn’t think they still made capsules that you could put in concrete,” he said. “I recently learned that there’s one in the Jacques-Cartier Bridge from 100 years ago, but they don’t know where it is anymore.”

While it’s all in good fun, both men acknowledge they are honoured by the opportunity to make yet another contribution to our city’s history.

“I’m very happy,” Chapleau said. “These little projects are enjoyable. It’s sweet, and it costs nothing. In my day, they put gangsters in concrete, now it’s a little box with a love note.”

“The fact that they would think of us, amongst all the creative people available,” Mosher said. 

“We’ve done some good stuff, apparently. We were pleased, put it that way.

Cartoon Museum set to re-open on 1st July

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From Boys adventure comics.


The new Cartoon Museum will open to the public on Monday July 1st 2019 at its new home on Wells Street near Oxford Circus.

A short walk north of busy Oxford St, a new London must see destination is preparing to open its doors. London’s Cartoon Museum has been a fixture of the UK Cartoon and Comics world since 2006.

After raising over £1 million and a six month fit-out the Central London venue is due to re-open in July.

The Museum has been designed by celebrated architect Sam Jacob who has created a vibrant and playful space that celebrates the language of cartoons and comic art.

Artist’s impression of the new building.

With cartoony smashed windows, desks with feet, a stairwell decorated with icons from over a century of cartoon characters, word balloons and tiger-striped flooring, the Museum will provide a vibrant and welcoming experience.

The move to Wells Street is pivotal giving the museum a permanent home for the next 25 years in Fitzrovia. 

The flexible and accessible new space includes two main gallery areas – one for the Museums' permanent collection, and another for changing special exhibitions, a new Clore Learning Studio, and destination shop.

Proposed entrance to The Cartoon Museum © Sam Jacob Studio

London’s popular Cartoon Museum has recorded over 400,000 visitors since it opened in 2006 and will be even more diverse, engaging and entertaining than before, with the new display curated by Cartoon Museum Trustee and political cartoonist Steve Bell.

We aim to tell the story of the history of cartoon and comic art with superb examples from the museum’s 6,000 strong nationally important collection, and which features work by over 300 artists.

HLF funding has allowed the museum to add to its considerable archives of British original comic artwork and the opening exhibition aims to make the most of this, featuring more than a century’s worth of British comic creators and original artwork from The Dandy, The Beezer, Judy, Jane Bond, 2000AD, V for Vendetta, Roy of the Rovers and Watchmen and many more, including many works that have never previously been on public display.

"Thurber's Columbus" Exhibition

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From The Billy Ireland Cartoon Library & Museum.



How does our home shape who we are? James Thurber (1894–1961), one of the most popular writers and cartoonists of the mid-twentieth century, grew up in Columbus, Ohio. 

As an adult Thurber moved away from the city, yet his hometown left an indelible mark on his imagination and was a source of inspiration throughout his career.

2019 is the “Year Of Thurber,” marking 125 years since the famous Ohio son was born. Ohio State University Libraries exhibit “Thurber’s Columbus” explores Thurber’s early life and works inspired by his experience here, on display now through August 18th at Thompson Library, where Thurber's archive is held.

Visitors will enjoy Thurber’s original cartoons from The New Yorker, as well as family photos, childhood drawings, and much more. 

This exhibit explores Thurber’s early life, works inspired by his experiences here, and his legacy in Columbus and beyond. 

Curated by Jolie Braun with assistance from Eric J. Johnson.

“It is a great moment for an Ohio writer living far from home when he realizes he has not been forgotten by the state he can’t forget... I am never very far away from Ohio in my thoughts, and the clocks that strike in my dreams are often the clocks of Columbus.”—James Thurber 

Thurber's Columbus
May 18 -  August 18
Exhibit Hours: 11 AM - 5 PM
The Ohio State University
Thompson Library Gallery
1858 Neil Ave. Mall
Columbus, OH 43210
(614) 688-8676
Get Details
Admission is free 

Read also

"My Visit to Thurber's Home"

"David Low Censored" Exhibition

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From the Political Cartoon Gallery.



An exhibition of original unpublished cartoons by the greatest cartoonist of the 20th Century, Sir David Low

These are cartoons the Evening Standard felt were either too strong or in too bad taste to publish. 

Some of these directly upset Adolf Hitler and Benito Mussolini as well as Winston Churchill. 

David Low was the first cartoonists to be given a contract which gave him a completely free hand as a political cartoonist but did the proprietor he worked for honour that agreement? 

The exhibition will be accompanied by the publication of a fully illustrated book on the subject.

David Low Censored
4 June - 25 October 2019
Political Cartoon Gallery
16 Lower Richmond Road
Putney, London SW15 1JP
+44 (0) 208 789 0111

Badiucao: Chinese dissident cartoonist revealed

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From BBC News.

Screenshot

After years of anonymity, one of China’s leading dissident cartoonists has revealed his identity to the BBC.

The Australia-based artist whose work satirises China’s one-party rule explains why, despite threats, he is choosing the 30th anniversary of the bloody crackdown on pro-democracy Tiananmen protests to reveal his identity.

Ali Dorani: Iranian cartoonist on the drawings that saved his life

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From BBC World.


Cartoonist Ali Dorani fled Iran at the age of 21 before becoming trapped in Australia's controversial Manus Island detention camp for four years - but things changed after his artwork was posted online.

Here's his story - in his own words and drawings.

Front Line: Editorial Cartoonists and the First Amendment

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From The Washington Post.

Cartoon by Jim Margulies

The First Amendment right to free speech is no laughing matter, as illustrated by a new exhibit at the world’s largest cartoon library.

The political cartooning display runs the gamut from a 1774 etching by Paul Revere criticizing Britain’s use of tea as a political weapon to a 2018 cartoon lampooning the blocking of online conservative commentary.

Other cartoons take on political correctness, flag desecration, fake news, campus conduct codes, and the role of Twitter in public discourse.

The exhibit combines drawings contributed by several dozen cartoonists with material from the library’s own collection. 

Many are from newspapers, but offerings include cartoons from The New Yorker magazine and even ones that first appeared online, on websites such as Politico.

“We focused on editorial cartoonists and the First Amendment partly because American editorial cartoonists are the only ones in the world whose work is protected by an amendment to the federal constitution of the country,” said museum founder Lucy Caswell, who co-curated the exhibit with Pulitzer Prize-winning cartoonist Ann Telnaes.

Among cartoons on display:

— “Get up Kaepernick!! Men died for your right to stand!” protesters shout at former NFL quarterback Colin Kaepernick, highlighting his decision to kneel during the national anthem to protest racial injustice, in a 2016 cartoon by Ed Hall for Artizans Syndicate.



— Angelo Lopez sums up the trend of people walling themselves off from alternative viewpoints in a 2017 cartoon that appeared on the site Cartoon Movement, in which a bound and gagged Uncle Sam listens as protesters shout, “My opinions only!” and “Free speech for those I agree with!”



— A 1989 Baltimore Sun cartoon by Kevin Kallaugher featuring a superhero decked out in American flag-themed clothing from head to toe. “I can’t just sit around and watch a bunch of amateurs desecrate the flag!” he says.


Telnaes noted that editorial cartoons have been an integral part of American political discourse for more than 250 years, since“Join, or Die” appeared in Benjamin Franklin’s Pennsylvania Gazette in 1754. 


Worldwide, they’re an indicator of a nation’s freedom of expression.

“If there aren’t cartoonists creating tough, pointed satire against their politicians and policies, you can bet that country and its government doesn’t tolerate an individual’s right to free speech,” Telnaes said in an email.

In a 1971 cartoon by Karl Hubenthal in the now defunct-Los Angeles Examiner, a smug Supreme Court justice examines the decision upholding the printing of the Pentagon Papers. Far below, a woman tugs at his robe and questions “the moral question” of printing stolen government documents.

The headline: “Totally ignored.”


The inclusion of a cartoon from a long-gone paper underscores one of the biggest challenges for cartoonists: the decline of print newspapers and the elimination of many full-time cartooning jobs.

Twenty years ago, the country had about 150 full-time editorial cartoonists, according to Telnaes. Today it’s down to about 40.

Just last week, longtime Columbus Dispatch editorial cartoonist Nate Beeler lost his job amid a series of nationwide layoffs by GateHouse Media. 

Beeler has a cartoon in the Ohio State exhibit that satirizes campus free speech “safe spaces.”


Concluding a series of Friday tweets about his layoff, Beeler said, “Lastly, my heart goes out to the other cartoonists and journalists across the nation caught up in these layoffs. It’s a devastating trend in the news business.”

While the digital age has created new opportunities, it’s still tough for cartoonists to make a living, Telnaes said. 

Meanwhile, social media has been both a blessing and a curse.

“Social media is both positive in that readers are more engaged and appreciative of cartoons but also enables special interest groups to target cartoonists and their publications when a cartoon challenges their beliefs and agenda,” she said.

In 1988, the U.S. Supreme Court upheld political cartoons as protected speech in a case involving a Hustler magazine parody ad that lampooned the Rev. Jerry Falwell, founder of the Moral Majority, an ad that’s on display at the Ohio State exhibit.

Hustler Magazine took the opportunity to lampoon both the ad campaign and holier-than-thou televangelist Jerry Falwell with a version in which they aren't talking about the booze, except as it impacted a sexual encounter with his mother in an outhouse.

Writing the court’s unanimous decision, Justice William Rehnquist noted that cartoonists have portrayed public figures through the ages in a manner unavailable to a photographer or portrait artist, sketching Abraham Lincoln’s “tall, gangling posture, Teddy Roosevelt’s glasses and teeth, and Franklin D. Roosevelt’s jutting jaw and cigarette holder.”

“From the viewpoint of history, it is clear that our political discourse would have been considerably poorer without them,” Rehnquist wrote.

“Front Line: Editorial Cartoonists and the First Amendment” runs through October at Ohio State University’s Billy Ireland Cartoon Library & Museum.
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