Look at our other, great collections of Cartoon Favorites of the Decade, selected by the artists, in the links below. ( There is ONE more artist decade to go!)
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I pitched the idea to Gannett of running collections of favorite cartoons of the decade every day in December, the last month of the decade, with a selection by a different cartoonist each day. We, along with USA Today, selected the CagleCartoonists we would invite to participate and we asked them each to choose their favorite cartoons from the past ten years. I submitted twenty-nine batches of cartoons, selected by each of twenty-nine of our CagleCartoonists. USA Today plans on showcasing their own Gannett employee cartoonists, Thompson, Marlette, Murphy and Archer, through Thursday, with our CagleCartoonists finishing out the month, starting this Friday with Pat Bagley.
USA Today started off their daily, decade slideshows today with their talented cartoonist, Mike Thompson, who also did the work of laying all of these collections out for The USA Today Network sites (that includes the individual Web sites for all of Gannett’s 100+ daily newspapers). Visit USA Today’s Opinion page online to see these every day this month. Click on each cartoon in each slideshow to see a full-screen, high-resolution version of each cartoon, which is very nice.
It is very difficult to select a small batch of cartoons to represent an entire decade!!
Getting twenty-nine CagleCartoonists to each select a decade of favorites was challenging. Obama certainly got shorted as many cartoonists are obsessed with Trump now. A couple of cartoonists selected only Trump-bashing cartoons, which made for a poor representation of the decade –but hey, the fact that the cartoonists chose their own favorites made this project interesting. Some cartoonists, who have been with us for less than ten years, had to dig into their personal archives to cover the whole decade, so some of the cartoons haven’t been seen on Cagle.com. New Yorker/Mad Magazine/graphic-novelist Peter Kuper joined CagleCartoons.com just a couple of months ago and had to dig up his whole collection from his magazine gag cartoon archives. Dave Whamond and Ed Wexler, who joined us more recently, reached into their vaults for some of their early-decade cartoons; Ed selected some from when he was regularly drawing for US News & World Report magazine. Mike Keefe and Bill Schorr came out of their recent retirements to contribute their selections of favorites.
I wouldn’t call these selections the “best” of the decade, they are just the artists’ choices. I also can’t say that they represent the decade well (but what the heck).
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Last week I got back from “The Line of Fire” conference in Mexico City, an editorial cartooning event put on by CartónClub. We’re hoping this will be the first of many annual conferences that CartónClub will be hosting. I’d like to see them succeed – we need more events like this around the world.
I was the only USA cartoonist in the La Linea de Fuego show. A bullet passed through each cartoon about press freedom. Violence against journalists is a big problem in Mexico.
The event was also co-sponsored by Cartooning for Peace (CFP), which works in Mexico and Canada under the terms of their grant from the EU that funds the organization (notably, the grant excludes the USA). CFP does programs about editorial cartoons in schools and prisons around the world and trains participating cartoonists in how to give these presentations in workshops; they pay an honorarium to the participating cartoonists to keep them going, and giving more lectures. It is a nice program, and the days in Mexico City were filled with these training workshops that didn’t involve much of our Cagle Cartoons delegation, so we spent a lot of time as tourists.
I got the chance to talk to representatives of the EU who support Cartooning for Peace at the conference; it was great to hear how they appreciate our art form – I can’t imagine any editorial cartooning programs like these happening through the United States government.
There was a nice exhibition at the El Universal newspaper lobby called “La Linea de Fuego” (The Line of Fire) where a bullet passed through every cartoon, creating some havoc that had something to do with press freedom. That’s my Statue of Liberty entry in the exhibition above. We had panels and discussions. It was all good.
Here are a couple of photos from our trip. Thanks again to CartónClub and to everyone involved!
Here is a gaggle of cartoonists at the CartónClub conference!
Here’s another group pix with even more cartoonists, at the La Linea de Fuego exhibition …
Want to see more pix? Take a look at my new Instagram feed @daryl.cagle I’m just starting Instagram and I don’t know what I’m doing there yet! You can also see more on my Facebook page.
Every year, CagleCartoonists get together at the big editorial cartoons (they call them “Press Cartoons”) convention in St Just le Martel, France. The small village has dedicated itself to our art form, building a grand cartoon museum and hosting a great party for us. The museum is run by local volunteers; the townsfolk put most of the cartoonists up in their homes and they cook for us, and give us an open bar, and the teenagers in town are our waiters! I can’t imagine anything like that happening in the USA.
It is a delight to visit St Just and see our profession held in such high esteem. Because of the generosity and support of the village, it is actually cheaper for the cartoonists to come to the convention in St Just than to go to our own, American cartoonist conventions.
This year we had 17 CagleCartoonists from around the world at St Just –you can see 14 of them in the group photo above. That’s our bovine Statue of Liberty looking us over, in the cartoon museum, at our “Trump: Nine Months Later” exhibit.
Our own Angel Boligan went home with the cow –the big annual prize in St Just. Congratulations to Angel!
A couple of weeks ago I got an email from a woman who called herself, generically enough, Mary. She said she wanted to hire me to “make cartoony of” a portrait of her family, so she could give it to her husband for his birthday. She attached a photo of her husband, two kids and herself. (See the photo at the top of this web site). She also let me know that she was engaged in humanitarian work, shuttling between Nepal and Australia, helping earthquake victims. Commendable. Damn commendable.
Why not? I thought. I can squeeze it in. I quoted her a price—not cheap, but I have bills to pay, Mary’s humanitarianism notwithstanding. I followed my standard policy for people I don’t know (and some I do)—credit card only, half up front. She got right back to me and said she would be paying by check, and therefore needed my cell phone number. I got right back to her and said sorry—credit cards only and I don’t give out my cell phone number. I never heard back, and didn’t give it a second thought.
A day or two later I learned that a cartoonist friend had taken her assignment. He did the requested family portrait and received a check for the amount he had agreed upon—plus $4,000. He emailed her and she said no problem—she had miswritten the amount. Go, ahead, she said. Cash the check, send her another check for $4,000 and keep the rest. At this point my friend realized that scamminess was afoot. He never cashed the check, but he lost valuable time doing work for nothing.
I can cast no aspersions because I myself almost fell for it. In retrospect, as usual, I could see four red flags. Who can tell me what they were? Okay, never mind—I’ll tell you.
1) Mary’s family photo was a little too cute. An ecstatically happy Caucasian family at the park—all grinning idiotically, with exceptionally good teeth. It had that slick stock-photo quality. Further, a Canon digital SLR is strapped around Mary’s neck. She’s white and blonde, yet she writes in broken English. “Make cartoony of”? Okay, maybe she’s Latvian, but probably not.
2) Why doesn’t she have a credit card? After all, she’s got a spendy camera, she shuttles between countries, and the kids in her photo have designer jeans. She writes checks for this stuff?
3) Why does she need my cell phone number to write a check?
4) Why do I need to know about her humanitarian work? Perhaps she was just sharing.
Oh, I almost forgot. Mary’s initial email came through the Association of American Editorial Cartoonists (AAEC) website. She was apparently looking for cartoonists to scam. Really — why editorial cartoonists? C’mon! We don’t make a ton of money. Most of us need other sources of income to support our cartooning habit. We fight for the oppressed and downtrodden. We stand against injustice, greed and exploitation. For that we get hate mail and death threats. Why not scam greedy hyper-capitalists and human traffickers instead? Here’s a suggestion for cartoonists. The next time a scammer emails you, go ahead and agree to do the work. Then send them a terrible, poorly rendered cartoon with awful perspective, garish colors, bizarre anatomy and confusingly tangent lines. Sign it as Marc Chagall. Few people will be able to tell the difference, but the scammer will likely be arrested when he or she tries to pass it off as genuine. And you’ll feel good.
Just kidding. I love Marc Chagall.
I’d be interested to know how many cartoonists fell for this one. I got this e-mail too.
I Googled the scammer’s e-mail address and found a post on the “Grand River Woodturners Guild” Facebook page, dated October 5th, warning of basically the same scam and noting that “all woodturners are getting this e-mail.” For the woodturners, the e-mail came from a man who was asking for a vase to be made for his wife.
I just got back from our Cagle Cartoons junket to the cartoon festival in St Just France. I’m way behind on my cartoons, but I knocked this one out from a snapshot that I took in an obscure corner of the Louvre.
This is a painting by 18th century Neo-classical painter Louis-Jacque Durameau about the death of Marie Antoinette. It struck me as a multi-panel cartoon with a big Nobel Peace Prize medal for Barack Obama. I almost put labels on the frames, “Then,” “… and Now” but I decided less is more. This painting is really funny – and all the more so because it takes itself so seriously.
The photo below is our group having dinner in Paris. From left to right is cartoonist Adam Zyglis, cartoonist Nate Beeler , me, cartoonist Steve Sack, cartoonist Monte Wolverton, Janelle Beamer, the charming fiancé of charming, conservative cartoonist Rick McKee, Nate’s wife Eve and Adam’s wife Jessica.
Here’s another group shot, around the cow statue at the editorial cartoon exhibition in St Just le Martel, deep in the heart of France near Limoges. Left to right is Nate, Eve, me, my wife, Peg, Justine the cow, Adam, Jessica, Janelle, Rick and Monte. Steve Sack was with us too; looks like he went missing in this one.
The grand prize winner of the festival (the winner of the cow, the “Humor Vache”) was Venezuelan cartoonist Rayma Suprani. The prize is an actual cow. Rayma also got a little porcelain cow.
I’ve long been impressed with Rayma. She drew for the El Universal newspaper in Caracas where she was a brave critic of the Hugo Chavez regime. The government took over her newspaper and she lost her job. Rayma may be moving to the USA next; I look forward to seeing what she draws here.
I won the grand prize cow at the festival last year, and I drew the poster for this year’s salon. As part of the winner from last year thing, the brilliant French caricaturist, Moines, drew my portrait. That’s me, giant me, and Moines at the right. Moines draws on a special kind of scratchboard and he carved each of my whiskers into the board with an X-acto knife. Makes me wanna pinch those cheeks. Moines complains that he’s down to his last couple of sheets of this paper, which isn’t made anymore. Shame.
This is a painting by 18th century Neo-classical painter 
