We are having group flashbacks this week as those of us who were here (and those who feel as though they were) 50 years ago relive and reassess the Kennedy years by way of a horrible public anniversary. Thinking about him and our world I am struck by how radically different we are now. Somewhere along the way we changed from accepting the challenge of sacrifice, as expressed in, “Ask not what your country can do for you. Ask what you can do for your country.” Our ethos since that time became more like: “I’ve got mine, screw you.” It’s all about me, alone, grasping, fighting, screwing others if necessary to get . . . more. The corporate raiders had invaded from within. And the Kennedy Peace Corps - LBJ Great Society ethos was the first to go. We struggle to stay grounded. We see the results of neglect: unregulated Wall Street driving the world economy into the ground, the flooding of money, corrupting our elections, economic inequality. Climate denial in spite of all evidence, Katrina, Sandy, the weather just tonight in the mid west. And yet we can look back and still see JFK on that day in Dallas, bathed in sunshine with thousands of well wishers, giving him a wonderful reception. Until 12:30 Central Time. I think he would say to us now that the chance is still in our grasp to make this country strong, sustainable and fair. That it is not too late. This series done for the backpage of the Special JFK edition of The Atlantic. The Last Things He Saw. Thanks to Darhil Crooks, AD and James Bennett, Ed. -
JFK arrives at Love Field, 11:40 am. He spontaneously wades into a crowd. The last time we will see a president do that. I was struck by the expressions on the faces. And the hands.
On route to the Dallas Trade Mart. People are pouring out of homes and buildings, holding babies, home-made signs.
Turning the corner toward Dealey Plaza, the crowds are still heavy. This scene, a few moments before the shots rang out. In front of Shaw’s Jewelers. Shoppers, workers, passersby. One of the last things he saw.
How much do we spend every year on food stamps (now being cut to 4 million of the poor and much more next year, with 1 in 6 children hungry in the US)? $78 Billion.
How much do we pay out in corporate welfare (tax breaks, incentives, protections, subsidies)?$85 Billion.
The Right likes to condemn the poor as exemplars of moral failure, as if falling into poverty, even in this economy, is a sign of bad character. These corporate sponges, however, are seldom mentioned by the Right or Mainstream Media. And yet what is more depraved than hurting the vulnerable and coddling these suckers? Here are some of our favorite kings and queens. By me for The American Prospect, Mary Parsons, designer and with a great research assist by Bryce Stucki. Thanks to our editor, Kit Rachlis.
THANKS SO MUCH to all the colleagues and students who took part in the talk Illustration Next last night at SVA. We filled the amphi, happy to say and did it with a great group of some of the best and brightest.
It was very important for students, I think, to get a grasp on this growing understanding of illustration: that of being a producer. We no longer just wait for the call. We MAKE the call. Dream up the project, make the package, sell it, make the art, do the billing. We wear many hats, do much strategizing, adjusting, repackaging, selling, creating. Always learning from the experience. We are in a new world, but, thank goodness, it is still a world that will still appreciate new illustration.
See you around town this week!
Here are some pieces contributed by wonderful artists to our talk.
More than ever the world of illustration is the stuff that dreams are made of. Here, below, are a few of the more than 60 artists who will be featured in our talk.
All colleagues and students very welcome.
LEO ESPINOSA’S CARD TRICKSYAO XIAO’S SXSW FESTIVAL ART
FROM HANOCH PIVEN’S “FAMILY MATTERS” PROJECT.
RANDALL ENOS’ DAILY STRIP: CHICKEN GUTZ
CLEOPATRA WORKING IN ASP DEVEOPMENT BY KOREN SHADMI
Tuesday Nov. 5, 7PM, at the SVA amphitheater, open to the public. An update of a lecture I gave in 2010 discussing the work that artists are doing outside the traditional editorial framework. This is in acknowledgement of the changing world we all live in. I didn't feel I was doing a complete enough job as teacher (I have both sophomore and senior portfolio classes) unless I could represent, to the best of my ability, a picture of the world of illustration as it is, and what it is becoming. This is not to say that I feel that print is going away. It is changing in its presence and role. Many of the projects seen in Illustration Next have found their way into books, various new publications. Also web-based entities are finding print to be an interesting iteration of work done online. The main thing that has changed is that artists are becoming much more content-providers and producers. Project ideas originate with us much more now. Of course the phone will ring with projects that we are right for. But these are living more and more, side by side with one's own projects, born, raised and sent off into the world (and then sending home a golden coin) by artists.
More than ever the world of illustration is the stuff that dreams are made of. Here, below, are a few of the more than 50 artists who will be featured in our talk.
All colleagues and students very welcome.
Ellen Weinstein directly addressing the very issue of print vs. pixel, for online magazine, Nautilus.
John Hendrix contemplates The Cosmopolitan Ape, also for Nautilus, art directed by Len Small.
Peter Kuper, famous for a generation of World War 3 comics, as well as a long freelance career, also pitches and sells books to publishers around the world. This is his latest, his New York Diary.
Viktor Koen's amazing montage work became a design idea for snowboards. This one is called "Global Warning".
Richard Borge's animations are highly accomplished and well known. Here is where his work moved into the commercial world. A clever ad for Rawporter.
Fernanda Cohen not only does boutique windows, but does them live and in person (and on camera) in Buenos Aires.
I have been finding interesting online magazines, click-through components for traditional venues and trips into the world of video. Here I draw Cab Calloway for the great Gail Levin's film, "Cab Calloway: Sketches" for American Masters, PBS.