aaec

2024 Cartoonist Convention

Montreal recently hosted a dynamic convention that brought together cartoonists, scholars, and enthusiasts, and I was fortunate enough to attend. For a profession full of hired cynics, these gatherings have a way of inspiring and energizing even the most jaded minds. The atmosphere of shared experiences and creative exchange can be a rare boost for those of us who often take a critical lens to the world. It was a joint convention of the American Association of Editorial Cartooning and the Association for Canadian Cartooning.

One of the first opening acts of the gathering was to pay tribute to two dearly departed colleagues and loving friends, Pascal Elie of Montreal, QC, and Ed Hall of Jacksonville, Florida.

Christian Vachon, the head curator of the McCord Museum, opened the sessions with an insightful talk on the origins of Uncle Sam, drawing from a range of historical sources preserved in the museum’s archives. When an American attendee inquired about Uncle Sam’s inspiration, Christian responded with impressive scholarly depth. The figure dates back to the War of 1812, when Samuel Wilson, a meat packer from Troy, New York, supplied beef to the U.S. Army. The barrels were stamped “U.S.” for “United States,” but soldiers jokingly called them “Uncle Sam’s.” This playful nickname evolved into the iconic symbol of American patriotism and government, especially in times of conflict and national unity.

Repurposing the Great Wave off Kanagawa (with apologies to Katsushika Hokusai)

Next up was yours truly. For those familiar with my work, you’ll know the twists and turns my March 11, 2020, editorial cartoon has taken over the years. This was finally a chance to present that journey to a room of like-minded professionals, many of whom know all too well the precarious fate of their intellectual property. We willingly release our creations into the chaotic, unregulated world of the Internet, where viral success often means a higher risk of being misappropriated by pirates and bad actors, who chop up and repurpose our work into unethical memes and adaptations. — The presentation went way better than expected. It was a pleasure hearing feedback from respected colleagues who hadn’t known the full history behind my piece. Much laughter followed as we continued the conversations into the night at the local bars. Mike Peterson writes about it in the Daily Cartoonist.

Following me was Quebec’s superstar editorial cartoonist, Serge Chapeau of La Presse. At 77, he still produces five cartoons a week for Montreal readers. He told me it’s easier now compared to the earlier years when he was juggling his La Presse work with a weekly puppet show for Radio-Canada. That show, Ici LaFlaque, was a hit in the late ’90s and 2000s, running until the 2010s. During his presentation, Serge showcased some of his finest works, from his bold (errr stiff) portrayals of President Clinton to the current political spectacle involving Trump, Harris, and the U.S. presidential race.

Next on stage, under the panel titled “Warning: Graphic Content,” were two giants of U.S. editorial cartooning: Rob Rogers and Dwayne Booth, a.k.a. Mr. Fish. Rob, formerly with the Pittsburgh Post-Gazette, was abruptly fired by new management for his satirical take on Trump. His presentation featured both his celebrated classics and the controversial cartoons that ultimately cost him his job. He was joined by Dwayne Booth, who moonlights as a professor at the Annenberg School for Communications at the University of Pennsylvania. While teaching pays the bills, his razor-sharp satire regularly sparks controversy and even calls for his removal from academia.

The closer for the day was former Montrealer and now New York-based illustrator Barry Blitt, making a return to our joint convention of cartoonist associations. He last graced our event in 2012, dazzling us with a projection of his now-famous New Yorker magazine cover depicting the Obamas fist-bumping in the Oval Office. This time around, he treated us to an update on the comedic landscape of the U.S. presidency.

Michael de Adder and Wes Tyrell

After a packed afternoon of fantastic cartoon presentations, we headed to Montreal’s bars and restaurants. It was a joy catching up with familiar faces from Canada’s editorial cartooning scene—stalwarts who defy the passage of time and still manage to stay out late into the night, exchanging stories. Dependable as always were Wes Tyrell, Michael de Adder, Dale Cummings, Sue Dewar and her husband Don, along with Guy Badeaux (later joined by Sylvie,) keeping the conversation going into the early hours. And although he travelled all the way from New Zealand for the convention, Rod Emmerson—crowned an honourary Canuck with the Gable Award last year when some of us Canadians gathered in San Francisco—has become such a regular presence at these events that he’s more consistent than a few of our domestic colleagues who, for whatever reason, long ago stopped attending these wonderful, tax-deductible festivals of our craft. Their loss, I say!

A big shout-out to my close Ontario colleague, Gareth Lind from Guelph, who was my guide and inspiration in navigating Montreal using the city’s excellent bike hire system and bike paths. The monthly pass, at $22, saved me plenty of time and money—not to mention the feel-good factor of using a sustainable mode of transportation in a bustling North American city. I’ve known Gareth for his brilliant political cartoon strips from the alt-weeklies of Toronto in the 1990s, and I was lucky enough to get a sneak peek at the new graphic novel he’s been working on for years, which he’s now close to securing a publisher for.

Shout-outs also go to Scott Johnson, Brian Gable, Tony Jenkins, Andy Donato, and his wife Diane, who all did Ontario proud with their presence.

Jacques Goldstyn, aka Boris

Quebec also came through with a strong contingent of cartoonists and enthusiasts. The godfather of Canadian cartooning, Terry (Aislin) Mosher, was ever-present, complete with ring-kissing rituals. It was a real pleasure, though, to finally meet his colleague from The Gazette, Jacques Goldstyn, who works under the alias “Boris.” We shared a bite together during the lunch break between Friday’s panel sessions.

Jacques, known more for his children’s books than his satire, has a distinctly subversive edge to his cartoons. When he presented a particular drawing from his private collection on the Charlie Hebdo massacre, a few attendees passionate about free expression audibly expressed discomfort with the content. One even walked out in protest after questioning why he had shown it, while another later told me they regretted not holding their tongue. The irony wasn’t lost on others, who pointed out that the boundaries of free expression should be limitless—unless, of course, it affects the personal feelings of the very people who advocate for it. Mike Peterson writes about it, including the offending cartoon, in the Daily Cartoonist.

Marc Beaudet and Pierre Skilling

A shout-out to the always affable Marc Beaudet, whom I hadn’t seen since the Havana conference 10 years ago. He was the latest recipient of the Townsie Award in the French language category—more on that in a bit.

I was also happy to reconnect with Robert LaFontaine, whom I hadn’t seen in years since his days running the caricature festival in Val-David, Quebec, as well as Pierre Skilling, another wise figure from La Belle Province who made the trip down from Quebec City.

Lastly, I want to welcome newcomer Jeff McIntyre to the Canadian association. He has ambitious plans for an upcoming graphic novel, and it’s always encouraging to see fresh talent joining our ranks. Our craft is in desperate need of new blood, and I’m eager to see how his project develops.

My own marital quarrel cartoon sneaked in!

On the second day of our gathering, we were treated to presentations by the superheroes of cartoon history and archives, alongside a strong force of American talent that had made the trip to Montreal. As is often the case in niche fields of academia, those who delve deep into obscure areas of history are under-appreciated for their hard work. Sadly, that lack of recognition translates into less funding, poor preservation efforts, and limited awareness of essential democratic foundations like satire. This panel, hosted by Quebec historiography of art professor Dominic Hardy, was mostly women scholars—Marie Laurelliard, Audrey Sainte-Jean, Cristina Martinez, and Ann Trepannier—joined by U.S. archivist Jenny Robb from the Billy Ireland Cartoon Library and Museum. Together, they explored cartoons leading up to Confederation and the familiar gag of marital strife symbolizing the tension between English and French Canada. Notably, one of my own cartoons was included in the slides.

Marriage-a-la-merde

Their presentations also spotlighted early women printers and cartoonists like Raoul Barré and Albéric Bourgeois. A key discussion point was the challenge of preservation and digitization, with institutions struggling to set consistent standards. As someone who has donated physical copies of my cartoons, I can’t help but notice the lack of a universal approach to handling digital cartoons. While I wait for clarity on this, it’s evident that other archives seem ahead of the curve. At the end of the session, I took a moment to thank the academics for their under-appreciated work in preserving the craft. As the saying goes, those who fail to learn from history are doomed to repeat it. I’d add to that: “Those who cannot discern truth in satire are destined to wander in the shadows of deception.” Increasingly, editors seem blind to satire’s importance, favouring cartoons that are “balanced” or non-controversial over the political and provocative. More reflection on the role of editorial cartoons in the past and the free expression they fostered is urgently needed.

DONATE to Cartoonists Rights

No AAEC convention is complete without acknowledging the vital work of NGOs that advocate for cartoonists facing repression. Cartoonists Rights (formerly Cartoonists Rights Network International) has partnered with the Freedom Cartoonists Foundation to highlight the challenges posed by state censorship, online abuse, and criminalization. Matt Wuerker and Pat Chappatte spoke about the Courage in Cartooning Awards, which were recently presented to Zunzi and Rachita Taneja. However, the focus was also on three other cartoonists in danger: Atena Farghadani of Iran, facing six years of imprisonment; Ashraf Omar of Egypt, arrested and reportedly subjected to violence and torture for his drawings; and Zehra Ömeroğlu, pursued on dubious obscenity charges in Turkey while studying in Germany. There is an urgent appeal to raise awareness and donations at cartoonistsrights.org/donate.

By Steve Brodner

We were then treated to slideshows from a few more renowned American cartoonists. Steve Brodner made a reappearance after last year’s workshop in San Francisco, where he challenged attendees’ long-held drawing habits. This year, he showcased his own brilliant work, including a recent masterpiece for The Washington Post, depicting 117 members of Congress running for re-election in 2024—all of whom supported the objection to counting Joe Biden’s electoral votes in 2020.

Jack Ohman & Joel Pett

Next was a great conversation between former editorial cartoonist Joel Pett, who once worked at the Lexington Herald, and outgoing AAEC president Jack Ohman. Sadly, Pett and Ohman were two of three Pulitzer Prize-winning cartoonists who lost their jobs on the same day, victims of layoffs by their McClatchy publishing overlords. The third, Kevin Siers, did not attend this convention. Pett recalled how his editor worried about the potential protests that might arise from publishing inflammatory editorial cartoons, a sign of the growing unease in the industry.

Lalo Alcaraz – LA Olympics

The final presentation of the day came from Lalo Alcaraz, who flew in for an overnighter after attending a César Chávez celebration in the California mountains. Alcaraz, best known for his Latino-themed cartoon strip La Cucaracha, is an award-winning cartoonist, animator, and activist. He shared the exciting news of his recent hire as a staff cartoonist for CALO News LA—a rare feat in this century! His presence and story served as a fitting close to a remarkable day of presentations.

Clay Jones of Virginia never stops drawing, until it’s pub time

And with that, a packed schedule of fantastic presentations came to a close. The final reception was dedicated to honouring our own, and, as always, the Americans led the way in celebrating the craft. Dennis Draughon was awarded the prestigious Rex Babin Award for local cartooning. Under Wes Tyrell’s leadership, recognizing and celebrating individual cartoonists and the friends of our association has become a true passion. Free from the bureaucratic panels of journalists or the whims of city newspapers deciding who wins the National Newspaper Award or gets a shiny medal, the Townsie Award stands out. It recognizes those who truly deserve the spotlight, and this year, that honour went to the remarkable Sue Dewar.

The Gable Prize, awarded to non-Canadians, was humorously dubbed the “Honourary Canuck Award” by President Wes Tyrell. He once quipped that it goes to those “who love Canadians almost as much as Canadian cartoonists love themselves.” This year’s Gable went to Scott Burns, AAEC’s legal adviser and Parliamentarian, who shared the award with his sister Mary Ellen. Both have been tireless volunteers for conventions dating back years. A special Golden Gable Award was also presented to Christian Vachon from the McCord Museum, recognizing his significant contributions to cartoonists and the craft as a whole.

Family photo

With that, the 2024 convention wrapped up. Nearly 70 people attended in total, with another 30 or so joining as volunteers, spouses, partners, children, and guests, pushing the numbers to over 100. Despite the gloomy decline of newspapers, the art of editorial cartooning endures. While the next convention may seem a long way off, wherever it may be, it will happen—and rest assured, I’ll be there.

 

Here’s some of my reflections on past gatherings:

AAEC 2024, San Francisco, California

AAEC 2018, Sacramento, California

ACC 2016, Toronto, Ontario

ACC 2014, Havana, Cuba

ACEC 2010, Hamilton, Ontario

ACEC 2008, Banff, Alberta

AAEC 2007, Washington DC

Sunday October 15, 2023


Finally, Some Cartoonist Convention Time

It comes as no surprise to anyone who’s been paying attention that certain simple everyday pleasures we once took for granted have now become extinct relics of the past. The print edition of newspapers has been on this decline for years, resembling a slowly draining bathtub that eventually spirals into the abyss. As the last drops of this once-thriving industry slip away into the sewer, thousands of dedicated newspaper professionals find themselves in the throes of a livelihood crisis that has become all too familiar.

Better times, bigger staff, at 44 Frid

For the fortunate few of us who remain in this business, we’re acutely aware of the inevitable outcome we face. For decades, newspaper magnates grappled with the challenge of adapting to the internet era, knowing that it would catapult us into the future, leaving traditional print media behind, much like horse-drawn carriages of old. They had three decades to craft a successful transition to the digital realm that would persuade owners, shareholders, advertisers, and readers to embrace a virtual product superior to the physical paper.

Despite promises of cutting-edge websites, millions poured into computerized cross-media publishing systems, metrics for tracking web traffic, and enhancements like video content and the ever-loved pop-up ads (note the sarcasm), the average daily newspaper website seemed to dazzle only its creators – a trend that continues to this day. Unless it’s one of the international media giants with the resources to invest heavily in state-of-the-art technology and employ well-compensated journalists to create engaging and insightful content, subscribers are likely to face the same frustrations with regional daily websites. Expect the predictability of clunky interfaces where ancient news articles bury the latest content, or the enduring annoyance of resetting passwords for reasons unknown.

If you attempt to seek human assistance, prepare to be greeted with frustration – endless canned instrumental music and a robotic voice informing you that “there are zero customers ahead of you in the queue.”

My last day before the building closed

Just a few weeks ago, my local newspaper, The Hamilton Spectator, closed its physical office after 177 years of operation. While we still deliver daily news both in print and online, our staff now operates primarily in the virtual realm. We attempt to replicate the camaraderie and collaboration of a traditional newsroom by gathering in a public space once a week. However, the pandemic, beginning in March 2020, forced us out of our office on Frid Street.

For 23 years, I created my editorial cartoons within the confines of our physical office. I had the opportunity to engage in conversations with reporters covering city hall, sports, education, health, and transit. I attended editorial board meetings with mayoral candidates, premiers, ministers, and influential figures in the community. All of that is now a thing of the past.

Despite various attempts to support the struggling newspaper industry and engage in battles with tech giants over compensating news sources on social media platforms, it’s clear that we are witnessing the final days of the physical newspaper.

Retirement caricatures of the Spec’s photo team, Barry Gray, Scott Gardner, John Rennison, Gary Yokoyama. Photo by Cathie Coward, the Spec’s only remaining photographer.

But alas, we adapt, holding our heads high and thinking beyond the dark clouds above us. For years I’ve been attending gatherings of editorial cartoonists throughout Canada and the United States. These events are where I go to review with colleagues the good and bad developments of our times, to learn, and re-energize. There is no other better venue for such a tiny group of folks with similar passions and livelihoods to gather and celebrate.  This very website has chronicled so many of them going back in time: Sacramento 2018, Toronto 2016, Havana 2014, Hamilton 2010, Banff 2008, Washington DC 2007, and this gathering in 2023, despite missing some old familiar friends and faces was robust in numbers giving the sense that editorial cartooning is alive and well despite the challenges. This convention was perhaps my most therapeutic professional gathering ever. 

I went on a trip to California from October 7th to October 12th, 2023, to attend my first Editorial Cartoonist convention in five years. On Thursday morning, I arrived in San Francisco around noon to attend the 2023 convention of the American Association of Editorial Cartoonists in combination with the Association of Canadian Cartoonists.

Me, Terry “Aislin” Mosher, Rod Emerson, Guy “Bado” Badeaux; Photo by Brian Gable

My tribute to the great Brian Gable, in James Gillray style

I was on the same flight out of Toronto with Terry Mosher, Brian Gable, and ACC President Wes Tyrell. The four of us shared a cab into the city and dropped off our bags at the hotel before the check-in time at 3pm. The recently retired Globe & Mail editorial cartoonist Brian Gable and I decided to have a dim sum lunch in Chinatown. We walked along Grant Ave, tried some delicious soup dumplings, won tons, and spring rolls. As we continued walking, we passed through Chinatown and reached a big Catholic cathedral, Saints Peter ann Paul Church and a lovely Washington Square in front of it. We also got to see Blue Angel fighter jets practicing for the weekend air show. The weather was surprisingly hot, with temperatures reaching 90 degrees Fahrenheit and clear skies. We headed back towards the hotel, exploring the streets and enjoying the sight of cable cars. In the evening, there was a reception at the hotel where I had nice conversations with several talented people, including Wes Rowell, Paul Berge, Ted Rall, Jack Ohman, and Guy Badeaux, among others.

Me at the Monticello Winery, Napa

On Friday, I spent most of the day on a Napa wine tour from 9am to 5:30pm. We made a stop at the Golden Gate Bridge to take some pictures. I was accompanied by Marci Brane and Sarah Alex from the Herb Block Foundation, cartoonist David G. Brown, Paul Berge with Chris Pierangeli, Deb Milbrath with David “Wing” Bruce, and Mike Sicilia, our guide, and an old friend of Jack Ohman who I first met in Sacramento in 2018, and who I now call a friend. We drove along the El Camino real road through Sonoma and our first stop was Beringer winery, which is known as the oldest continuously operating winery in the Napa Valley. We had an outdoor wine tasting of three of their wines and enjoyed a splendid charcuterie platter. After that, we went to the Oxbow Public Market in Napa for lunch, where we chose to have Mexican food with the Herblock team, Mike, and David. Our final winery was Monticello, where we visited their storage facility and had several wine tastings. We then headed back to San Francisco, which took about an hour and a half. I had expected Napa to be more visually appealing, but the dry fields of beige grass were quite overwhelming. If I had to choose, I would say that the Niagara region, despite not having the selection of quality wines that Napa boasts, definitely has more attractive vineyard surroundings. We were dropped off near the Cartoon museum for the Friday meet and greet, where I had the opportunity to chat with several talented cartoonists, including Ben Sargent, Steve Stegelin, Dale Cummings, Tim Campbell, Jeff Bell, Rod Emmerson, Daryl Cagle, Jack Ohman, Matt Davies, Ann Telnaes, Steve Greenberg, and Matt Wuerker. Jack Ohman welcomed us and spoke briefly, passionately, and as always eloquently, about the challenges faced by the print media. We continued the evening with beers at the Irish Bank pub behind our hotel, the Triton.

Saturday was our panel day. I started the day by taking a 5km walk to the higher points near the hotel, capturing some beautiful photos of the city under a cloudless sky with warm temperatures. I arrived a bit late to the panel discussions and missed the presentation on Mosher’s COVID book and the proposal by Christian Vachon to hold the next gathering in Montreal. However, I did get to listen to a fascinating talk by feminist cartoonist Trina Robbins about her long career. She was a pioneer for women in cartooning and bravely challenged the male-dominated industry.

From Trina Robbin’s presentation

Her presentation was followed by an inspiring workshop by the great illustrator Steve Brodner, who discussed different approaches to caricature. He emphasized the importance of making our work matter and fighting against oppressive forces and biased editorial practices. During the intermission, I had a great conversation with Steve Breen, the long-term cartoonist at the San Diego Tribune, who shared valuable tips on connecting with fans for future newsletters and subscription services. Too brief a time was spent chatting with and praising my new favourite editorial cartoonist, Ed Wexler. The day continued with a fun presentation by Kevin “KAL” Kallaugher, featuring several artists doing unique things outside of their regular editorial cartooning gigs. We then had some free time to explore around the hotel, and some of us went back to the Irish pub or looked for a pharmacy with Wes, Guy, Dale, and Eric Shansby.

Wes Tyrell and Brian Gable announce the honourary Canuck award to Rod Emerson

Chinatown dinner L-R: Russ Hodin, Steve Stegelin, Mark Fiore, Jack Ohman; Kevin (KAL) Kallaugher, me, Nick Anderson, Matt Davies, Ben Sargent and David G. Brown

The Saturday reception took place at the Book Club. Plaques were given out for the Rex Babin award for local cartooning, which went to Joel Pett. Inkspot recognitions were also awarded to organizer Mary Ellen Burns and cartoonist writers Mike Peterson and Alan Gardner – Find Mike’s own, much more thorough summary of the convention here. Our Canadian contingent recognized Guy Badeaux and Dale Cummings with the Townsie awards, and the Honorary Canuck award went to Rod Emmerson from New Zealand. For dinner that night, I had the pleasure of dining with Nick Anderson, Matt Davies, Ben Sargent, David Browne, Steve Stegelin, and Russ Hodin. We were joined by Jack Ohman, Mark Fiore, Kevin Kallaugher, and Matt Wuerker.

Sunday started with a breakfast hosted by Scott Burns. I had the opportunity to sit next to Clay Jones and across from John Auchter and David Brown. Later on, we were joined by Cullum Rogers, whose charming North Carolina accent became a source of endearment for the rest of our trip.

We said goodbye to our colleagues and stored our bags in Rod Emerson’s room before heading to the Presidio to catch the air show and visit the Walt Disney family museum (my Google review.) The museum showcases the evolution of Walt Disney, Mickey Mouse, and other Disney characters, as well as the technology used in cell animation films. We also enjoyed exhibits on Disney’s amusement park and a display of editorial cartoons marking Walt Disney’s death. Outside the museum, we watched the blue angels perform in the foggy sky over the Pacific.

Wes Tyrell and I at Pigeon Point, California

At 4:00, Wes and I picked up our rental car from the airport after returning to the hotel to retrieve our bags. Thanks to Mary Ellen Burns and her crew of volunteers, Larry and Rick, we had transportation arranged. We drove north over the Golden Gate Bridge, stopping briefly, before having a delicious bbq dinner at Wes’ very cool friend Elijah’s house in San Raphael. The next morning, we had coffee with Elijah and went for a climbing hike before brunch in Fairfax. We explored the redwood trees at Samuel P. Taylor State Park and continued towards the coast through Point Reyes. The dreary rain changed our plans at Bodega Bay, so we headed inland and stayed overnight at a cozy Marriott in Santa Rosa, enjoying delicious Thai cuisine. The Charles Schulz Museum shuttered until Thursday – boo. Our journey took us to Stinson Beach, where we had a laugh at Wes’ expense (after leaving his jacket and passport back in the Marin Lodge) (my Google Review) and met a balloon artist from Wales. After returning to Fairfax to meet Mark Fiore, we decided to head south to Half Moon Bay, where we stayed at the Half Moon Bay lodge (my Google review) and dined at Cameron’s British Pub (my Google review.) We had a pleasant night and I took advantage of the heated pool and jacuzzi in the morning. Before departing, we enjoyed breakfast and continued our drive along Highway 1, stopping at Pigeon Point Lighthouse for some photos.

The gathering of editorial cartoonists in San Francisco was an invigorating experience. We engaged in lively discussions about the art of cartooning, shared our experiences, and gained insights into the influential role of political cartoons in shaping public opinion. We also addressed the challenges in today’s ever-changing media landscape.

Our collective exploration of art for social commentary and activism was set against the backdrop of San Francisco’s beauty. Even amidst our road trip with Wes Tyrell, we found moments of serenity in nature, though the weight of conflicts in Ukraine and the ongoing Israel-Hamas strife loomed large. Yet, as a community, we remain resolute, rising above the darkness and looking to the future with unwavering determination.

Santa Rosa to Santa Cruz: Our road tripo
John Auchter, Me, Maryellen Burns, David G. Burns
Me and the great Scott Burns
Blue Angels practice over God
Trito Hotel meet and greet
Golden Gate Bridge
Me and Guy
Spectacular views and spectacular weather
Canadian delegation talks business at the Irish Bank
Me, the always entertaining Eric Shansby, and Wes Tyrell
Me with heart in Union Square
Me and our host, President Jack Ohman
Cable car!
Me with David Brown, John Auchter, Scott Burns, and Cullum Rogers
Me, Cullum, Wes getting maudlin at the Walt Disney obit cartoons exhibit
Wes in the cactus
New age time at Elijah’s place, San Raphael
Redwood Trees next to Wes
Wes takes a break in Larspur, CA
Me and Wes catch up with Mark Fiore in Fairfax
At Half Moon Bay Lodge
Gorgeous Pigeon Point

 

Sacramento Review

Over the past few days I gathered in Sacramento with editorial cartoonist colleagues at the annual conference of the AAEC (Association of American Editorial Cartoonists.) How wonderful it was to get together with old friends and make new ones.

Beyond the collegial atmosphere found in the cocktail lounges, there was a packed schedule of presentations from across the editorial cartoon spectrum.  Our friends in New Zealand were in full force led by Kiwi powerhouse Sharon Murdoch, and backed up by Rod Emmerson, Nigel Buchanan, and Toby Morris.

I turned 50 during the convention, and was presented this wonderful caricature drawn by the great Brian Gable of the Globe & Mail. It was followed by a rousing rendition of Happy Birthday by convention attendees!

We Canadians took to the podium, first by our godfather, Terry Mosher AKA Aislin, who extolled the virtues of the slate of Canuck cartoonists and our perspectives of the U.S.A. satirizing in the era of Donald Trump.

Yours truly, alongside ACC (Association of Canadian Cartoonists) President Wes Tyrell, presented a short documentary praising the importance of local cartoons. We included a slideshow featuring the need for regional cartoons, and as an example, the recent repeal of the sex-ed curriculum in Ontario was highlighted.

Ward Sutton, the true man behind the Onion’s parody editorial cartoonist Stan Kelly had the audience rolling with laughter with his genius cartoons and his rise to stardom.

Another highlight was a presentation entitled, “Evil Editors & Pandering Publishers”, by Rob Rogers, formerly of the Pittsburgh Post-Gazette. The 25 year veteran of that newspaper was unceremoniously terminated after he refused to water down his criticism of the Trump administration. A series of his cartoons were spiked by editors leading to an ugly divorce and an insulting severance package. Rob, standing by his principles, has been suffering considerably, and while he knows the newspaper’s brand has received damage, he leaves many friends still working in the newsroom whom he wishes no ill-will.

A very emotional slide-show was presented by California graphic novel cartoonist Brian Fies who chronicled the tragedy of his home burning down during one of that state’s horrendous brush fires. “A Fire Story” is a compelling short documentary which won an Emmy Award. As Brian stated to our gathering, “it’s great to win an Emmy, but I’d rather have my old house back.”

AWARDS

Nicaraguan cartoonist Pedro Molina was presented with the Courage in Cartooning Award, on behalf of the CRNI (Cartoonists Rights Network International) by Malaysian editorial cartoonist Zunar. The Locher Award for aspiring editorial cartoonist went to the talented Charis Jackson Barrios of NYC. In recognition of those whose cartoons are rejected by editors, a competition ensues among members for the Golden Spike Award. This years’ recipient was Rob Rogers, for obvious reasons, and was awarded a giant golden spike. This year an inaugural award called “the Gable”, was issued by the ACC to an American cartoonist who embodies the most Canadian qualities in terms of world outlook. The 2018 recognition goes to Washington Post cartoonist Ann Telnaes.  

The icing on the cake at the closing gala at this extraordinary convention was being awarded the 2018 George Townsend Award, or “Townsie”. Since 2015, the Association of Canadian Cartoonists has presented the George Townsend Award, named after the first Canadian cartoonist, to two members (one English, another French) of the association it deems to have created the best drawing of the year. I was presented this award for a cartoon I drew February 3, 2017, commenting on the saturation of news related to President Donald Trump. What a huge honour for which I am truly humbled.

Graeme MacKay and ACC President Wes Tyrell at the awards ceremony

Big thanks goes to my friend, and the host of this convention, Jack Ohman, the very talented editorial cartoonist at the Sacramento Bee (also the 2016 Pulitzer Prize winner!)  Much of the pull to bring our Canadian bodies down to the California capital was due to his charm, but also to the dynamic enthusiasm of Canada’s Association President Wes Tyrell, whose leadership has energized our group in such difficult times facing our craft. A big tip of the hat goes to these two gentlemen, and we look forward to the next joint gathering of our two associations in Ottawa in 2020.

October 22, 2007

DRAWN SWORDS
Best political cartoonists don’t hesitate to slash their subjects, author says
Sunday, October 21, 2007
By Bill Eichenberger | The Columbus Dispatch

Editorial cartoonist Art Young, who worked for several Chicago newspapers in the early 1900s, had a simple motto: “To have a life as a caricaturist of the kind whose pictures ‘never hurt’ is my idea of futility.” Cartoonists such as Young, unafraid to hurt, are the inspiration for Donald Dewey’s new book The Art of Ill Will: The Story of American Political Cartoons, which looks at the development of the form from the Colonial period through the present.

“If they don’t hurt,” Dewey wrote in a recent e-mail, “editorial cartoons are just taking up space in a paper that might be used more profitably for a McDonald’s ad. . . . The cartoonist who worries about ‘alienating consumers’ isn’t worth your time, my time or anybody else’s. Unfortunately, there are far too many of them around.”

Similarly, in Dewey’s estimation, “A cartoonist who isn’t partisan isn’t worth looking at. What’s the point otherwise?

“Many of the rules for cartooning stem from syndication and a greater reliance on generic themes so nobody feels left out in Oregon about a reference to Pennsylvania.

“The usual result is toothlessness. Syndication has made cartoonists richer at the expense of the relevance of the form.”

The Art of Ill Will features more than 200 illustrations, including Benjamin Franklin’s 1754 image of a snake cut into pieces with the caption “Join, or Die” — considered the country’s first editorial cartoon.

Q: Can editorial cartoons turn elections?

A: I think it’s been demonstrated fairly clearly that cartoonists don’t swing elections. Even the fabled story of Thomas Nast bringing down Boss Tweed is more romance than fact. What really brought down Tweed was a New York Times expose in which a bookkeeper from Tammany Hall traced the passage of dollars from taxpayers to private pockets. (And even with this, remember, Tweed was re-elected to his City Council position.)

Another glaring example is Richard Nixon — every political cartoonist’s favorite subject for mockery since he had been vice president. But despite that, he was elected to the White House twice.

Overall, you would simply have to say that political cartoonists are preaching to the choir, not least because of the newspapers they are working for. Somebody in New York who reads Newsday regularly is not going to be exposed to the right-wing frothings of a Post cartoonist, and vice versa.

Q: To what should cartoonists aspire?

A: I would hope it would be humor and originality at the service of political relevance. In the best of cases, their images can outlive a given political issue or social event — witness Nast on the Catholics in the New York City schools, (Bill) Mauldin on Lincoln’s statue after Kennedy’s assassination. These have as much power today as when they were done.

Q: Early political cartoons were wordy, with loads of texts accompanying the drawings. Was the move away from that convention a positive one?

A: In my opinion, they definitely improved with fewer words, and this was inevitable given the newer cartoon vehicles (daily and weekly publications) and the enhanced printing methods.

The most interesting thing about the transition was the growing community of symbols.

Q: Our political cartoons have been full of racial and ethnic stereotypes, haven’t they?

A: The starting point for any discussion of ethnic-racial stereotypes is that they are created by the prevailing power structure.

Let’s take a very common example: the Irish drunk. In the 19th century, the English were as alcoholic as the Irish. In fact, penny gin almost crippled the country — so much so that the broken pub hours were introduced to discourage drunken bodies clogging up the main thoroughfares of London and Liverpool.

Which isn’t to suggest that the Irish have never been known to drink. But when they came off steerage in New York in the 19th century, they walked into an Anglo-Scots society that controlled, among other things, the media. Suddenly, they were the epitome of the drunkard in word and picture. The fact that they were poor didn’t help, either.