While the Trump era has provided endless opportunities for journalists to come up with fresh ways to report on domestic and international affairs, I think the real treasure trove of creative golden nuggets has been laid at the feet of political cartoonists.
In an era when truth is often elusive and fantasy thrives, cartoons seem to represent the most effective means of contextualizing the outrageous behavior taking place in Washington, D.C. and it’s always-on 24-hour cycle of institutional destruction.
Signe Wilkinson – Washington Post Writers Group and Cartoonist Group
Michael de Adder – Counterpoint
As the old saying goes, a picture is worth a thousand words. This is definitely the case when comparing the power and lasting memory of an illustration, cartoon or photo to the written word—an essay on a political or social topic. In much the same way that viewing a graph can more quickly and clearly describe the results of a survey when compared to reading a written abstract, an illustration or cartoon can convey its message more powerfully by using creative visual elements that are aimed at stirring the viewer’s emotions in a way that makes them almost palpable.
I was fortunate to stumble upon a public exhibition of illustrations by international artists last week that focused on social and political issues around the world. I’m sharing my favorites in this post.
[Apologies for not giving credit to some of the artists, but the exhibition didn’t identify the creators of each work–strange, I know! For the signed illustrations, I’ve tried to decipher the artist’s signature.]
This powerful illustration certainly fulfills its purpose of addressing the remnants of Colonialism that still negatively affect indigenous populations today, as well as the timely issue of responsible tourism. Artist: P. Kuczynski, 2009.
Just to prove the wisdom of the old adage ‘the more things change, the more they remain the same,’ I ran across some photos from an art show I had in Seattle back in 1995.
Pan Man: The Right Icon? 1995
The show was entitled “Pan Man: the Right Icon?” and featured a group of vaguely male-looking plaster casts covered in decorative bead work. Each of the 10 figures was graced with a large penis made from a variety of found objects ranging from pieces of rusted metal to a strange looking wood-working tool. The figures were inspired by a cartoon I did during the 1994 US midterm elections when Newt Gingrich and his fellow Republicans took control of Congress.