“I did some hard-hitting cartoons during the Bush administration. . . . I kind of wish I held back a little because now it’s like, ‘Where do we go from here?'” –Ann Telnaes
It’s a double-Pulitzer-winner episode! First, the great editorial cartoonist, animator and essayist Ann Telnaes joins the show to talk about the role of satire against the abuse of power, her political awakening, her present sense of urgency and her upcoming Trump’s ABC (Fantagraphics), the reaction to the Charlie Hebdo murders, the images editors won’t print, and the sanctuary of the Alexander Calder room at the National Gallery. Then past guest Matt Wuerker returns to the show (here’s our first ep.) to talk about The Swamp, the loss of comity and the growth of tribalism in contemporary DC (characterized by that weekend’s dueling rallies between Trump supporters and Juggalos), the problem with having easy targets, bringing conservative cartoons into his weekly roundup for Politico, taking up fly-fishing in his dotage, and more! Give it a listen! And go preorder Trump’s A B C!
“It hasn’t been this good for political cartoonists since Nixon and Watergate.” –Matt Wuerker
About our Guests
Ann Telnaes creates editorial cartoons in various mediums — animation, visual essays, live sketches, and traditional print — for The Washington Post. She won the Pulitzer Prize in 2001 for her print cartoons and the National Cartoonists Society’s Reuben for Outstanding Cartoonist of the Year for 2016.
Telnaes’ print work was shown in a solo exhibition at the Great Hall in the Thomas Jefferson Building of the Library of Congress in 2004. Her first book, Humor’s Edge, was published by Pomegranate Press and the Library of Congress in 2004. A collection of Vice President Cheney cartoons, Dick, was self-published by Telnaes and Sara Thaves in 2006. Her work has been exhibited in Paris, Jerusalem, and Lisbon.
Telnaes attended California Institute of the Arts and graduated with a Bachelor of Fine Arts, specializing in character animation. Before beginning her career as an editorial cartoonist, Telnaes worked for several years as a designer for Walt Disney Imagineering. She has also animated and designed for various studios in Los Angeles, New York, London, and Taiwan.
Matt Wuerker is the staff cartoonist and illustrator for POLITICO. He likes to cross hatch… a lot. He was the winner of the 2012 Pulitzer Prize for Editorial Cartooning. He was a finalist for the award in 2009 and 2010. He has also been awarded the 2010 Herblock Prize (presented at the Library of Congress) and the 2010 Berryman Award by the National Press Foundation.
Credits: This episode’s music is Nothing’s Gonna Bring Me Down by David Baerwald, used with permission from the artist. The conversation was recorded in my room at the Bethesda North Marriott during the Small Press Expo on a pair of Blue enCORE 200 Microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on a Heil PR-40 Dynamic Studio Recording Microphone feeding into a Cloudlifter CL-1 and a Mackie Onyx Blackjack 2×2 USB Recording Interface. All processing and editing done in Adobe Audition CC. Photos of Ann and Matt not by me, so they’re not on my instagram.
“There’s an improvisational nature, and a rhythmic nature to my drawing, building up certain areas, leaving other areas freer. I like the idea that less is more, both in music and in art.”
Award-winning illustrator Joe Ciardiello reflects on 43 years as a freelancer, the jazz portraits that turned his career around, his drumming and how it influences his artwork, having more illustrator-friends than non-illustrator-friends, why he’d rather not be called a caricaturist, the time he was accused of ripping off the style of one of his idols, the search for perfect pen and paper (and how he keeps his Rapidographs working), and his amazing Spaghetti Journal project! Give it a listen!
“If I didn’t get off Staten Island before I was 50, I was going to die there.”
“I’m obsessed with line quality, to the point of sickness. I can’t find paper that makes me want to draw.”
About our Guest
Joe was born and raised on Staten Island NY, just a short ferry ride to Manhattan where he attended The High School of Art and Design and college at Parsons, earning a BFA degree. Since 1974 he has worked for most major magazines and newspapers as well as for corporate and advertising clients, book publishers and record companies.
His clients have included: American Express, Audubon, Barnes & Noble.com, Capitol Records, Folio Society, The New York Times Book Review, The New Yorker, Politico, The Rock & Roll Hall of Fame, Rolling Stone, Sports Illustrated, Time and The Wall St. Journal.
Among his awards are four silver medals from the Society of Illustrators. In 2016 he was awarded the Society’s prestigious Hamilton King Award. Joe has been profiled in Communication Arts Magazine as well as other graphic arts journals. In 1999 he had a one-man exhibition of his work at the Society of Illustrators in New York. In 2007 Joe illustrated Elmore Leonard’s 10 Rules of Writing for Harper Collins and in 2011 a limited edition book of his blues musician portraits, BLACK WHITE & BLUES was published by Strike Three Press. His work is also included in the Taschen book 100 Illustrators.
A musician as well, Joe plays drums with The Half-Tones, an illustrator jazz group. He lives in western New Jersey.
Credits: This episode’s music is Nothing’s Gonna Bring Me Down by David Baerwald, used with permission from the artist. The conversation was recorded at Joe’s home on a pair of Blue enCORE 200 Microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on the same equipment in a hotel room in Los Angeles. All processing and editing done in Adobe Audition CC. Photo of Mr. Ciardiello by me. Photo of me & his Philip Roth drawing by me. They’re on my instagram. Drawing of Joe by Joe.
“The world is a mad place, and New York was a good place to be mad in.”
Artist Glen Baxter joins the show for a conversation about his new collection, Almost Completely Baxter: New and Selected Blurtings (New York Review Comics). We get into the roots of his absurdism, his first visit to New York City in the ’70s and how it changed his life, where his cowboy-thing started, why he doesn’t define himself as either an artist or a cartoonist (but maybe as a visual poet?), the challenge of doing long-form narrative when so much of his work is single-panel, our mutual dislike of the contemporary art scene, and more! Give it a listen! And go buy Almost Completely Baxter: New and Selected Blurtings!
“All the cultural vibrancy of great cities has been made less possible by the fact that people can’t afford to live there anymore. The energy is dissipated.”
We also get into how absurdism insulates him from this modern world, the impact of Brexit on British culture, why his humor was always a tough sell in the UK, the paradox of political cartoonists’ work being bought by the politicians they ridicule, the joy of ukulele, the experience of having his work knocked off by other artists, the time he got a Cartier commission, and more. Now go listen to the show!
“European culture is important to me. Having that snatched away by Brexit, well, that’s something no one discussed in any of the debates.”
About our Guest
Glen Baxter is the author of many books since the 1970s, including The Impending Gleam, The Billiard Table Murders, and Blizzards of Tweed. His work has appeared in The New Yorker, Vanity Fair, Elle, Vogue, Le Monde, The Observer, and The Independent on Sunday. He is a Chevalier of the Order of Arts and Letters, and his art is often exhibited in New York, Amsterdam, Paris, and London, where “Colonel” Baxter lives. His new collection is Almost Completely Baxter: New and Selected Blurtings (New York Review Comics).
Credits: This episode’s music is Nothing’s Gonna Bring Me Down by David Baerwald, used with permission of the artist. The conversation was recorded at the Bethesda North Marriott on a pair of Blue enCORE 200 Microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on a Heil PR-40 Dynamic Studio Recording Microphone feeding into a Mackie Onyx Blackjack 2×2 USB Recording Interface. Photo of Mr. Baxter by me.
“What connected Levine and Herblock was the fire in the belly, the outrage against people try to impose their power over the powerless, who try to disenfranchise people, who try to manipulate the laws for personal gain or prestige.”
Harry L. Katz, former head curator of prints and photographs for the Library of Congress, joins the show to talk about his new project on David Levine, his love for Herblock, how his work on the Civil War and baseball differs from Ken Burns’ work on same, what it was like to assemble the LoC’s archive of 9/11 photography and pictures, the process of learning how to see images critically, the tragic story of Arthur Szyk, and more! Give it a listen!
“Baseball was a way for people to avoid talking about religion.”
We also talk about growing up Jewish in New England, why the 1840s and 1850s are (currently) his favorite era in American history, the Boston Atheneum’s post-Civil War project to collect Confederate material, the terrifying experience of seeing Feiffer’s “Munro” cartoon as a little kid, and why the famous and powerful enjoyed being caricatured! Go listen!
“People always see what they expect to see. I first look at face value, then I draw back to start fresh. What is it? What does it portray? What is it made of? If you do that, you’ve got an understanding that’s far richer.”
About our Guest
Author and curator Harry L. Katz was born in Lexington, MA and educated at Middlebury College and Tufts University, where he earned a M.A. in Art History. Between 1983 and 1991, he served as Assistant Curator of Prints and Photographs at the Boston Athenaeum. Between 1991 and 2004, Harry served as Head Curator within the Prints and Photographs Division at the Library of Congress (1991-2004). A specialist in American and European works on paper, he curated two dozen exhibitions at the Library of Congress and led the Library’s unparalleled initiative to collect pictorial works representing the events and aftermath of 9/11. Now an independent curator, he is the author of numerous books examining American art and culture including: Mark Twain’s America: A Celebration in Words and Images (Little, Brown and Library of Congress, 2014), Civil War Sketch Book: Drawings from the Battlefront (W.W. Norton, 2012), Herblock: The Life and Works of the Great Political Cartoonist (W.W. Norton and LC, 2009), Baseball Americana (HarperCollins and LC, 2009), Cartoon America: Comic Art in the Library of Congress (Abrams and LC, 2006), Life of the People: Realist Prints and Drawings from the Ben and Beatrice Goldstein Collection, 1912-1948 (Library of Congress, 1999), and Eyes of the Nation: A Visual History of the United States (Knopf and LC, 1997). His work has been featured in such magazines as American Heritage, National Geographic, Civilization and Smithsonian.
Credits: This episode’s music is Nothing’s Gonna Bring Me Down by David Baerwald, used with permission from the artist. The conversation was recorded on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. Intro was recorded on the same setup. Photo of Mr. Katz by me.
“Hirschfeld is an artist who discovered what he wanted to do early on, and works at it his whole life and gets better and better at it.”
David Leopold, author of The Hirschfeld Century: Portrait of an Artist and His Age (Knopf), joins the show to talk about the thirteen years he spent working with the great artist Al Hirschfeld, how he wound up running the Ben Solowey Studio, his career curating museum exhibitions, what he learned from following The Grateful Dead, and more! Give it a listen! And go buy The Hirschfeld Century!
“I don’t collect art; I collect artists.”
We also talk the trip that led Hirschfeld from painting to line art, the way MGM’s costume department started making the Marx Brothers look more like Hirschfeld’s drawings of them, one of David’s biggest regrets (not bringing Al Hirschfeld and Jerry Garcia together), Billy Rose’s plan to buy Ellis Island and make it a retirement home for millionaires, the fleetingness of artistic reputation, the goals of the Al Hirschfeld Foundation, and the wonderful history of the Ben Solowey Studio. BONUS: You get to hear me discuss how I almost quit doing the podcast last week! Go listen!
“Every day, he was faced with a white board that couldn’t care less about what he’d accomplished.”
About our Guest
David Leopold is an author and curator who has organized exhibitions for institutions around the country including the Library of Congress, the New York Public Library for the Performing Arts, the Norman Rockwell Museum at Stockbridge, and the Field Museum in Chicago. Internationally, he has curated shows for the Victoria and Albert Museum in London, the Filmmuseum in Frankfurt and Berlin. He organized the archive of Al Hirschfeld’s work for the artist, visiting Hirschfeld in his studio at least once a week for thirteen years until the artist’s death in 2003. He is now the Creative Director for the Al Hirschfeld Foundation. His latest book, The Hirschfeld Century: Portrait of an Artist and His Age, published by Alfred A. Knopf to coincide with a major retrospective that Leopold curated for the New York Historical Society has won universal acclaim. The Washington Post called it an “instant classic,” and Amazon selected it for its “Top Books of 2015.” His other books include David Levine’s American Presidents (Fantagraphics, 2008); Irving Berlin’s Show Business: Broadway – Hollywood – AmericaHirschfeld’s Hollywood (Abrams, 2001). He also authored a number of monographs on underappreciated artists for various museums.
Credits: This episode’s music is Nothing’s Gonna Bring Me Down by David Baerwald, used with permission of the artist. The conversation was recorded at the Studio of Ben Solowey in Bedminster, PA on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on the same setup. Processing was done in Audacity and Logic Pro. Photo of David by me. Hirschfeld drawing of Carol Channing via Knopf’s publicity page for The Hirschfeld Century: Portrait of an Artist and His Age.