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Quote by Khalil Bendib

“Because of my ethnic background, the Israeli occupation of Palestine is a huge issue for me—it hits me very hard on many different levels. (From 2005 on ihsan-net)”

Quote by Khalil Bendib

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Khalil Bendib

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“Admit it-the world is mighty wacky. Dan Quayle is a heartbeat away from bravely leading us into the New World Order. Our intelligentsia are running around declaring that we have reached both the End of History and the apex of political evolution-we're the kings of the global jungle. At the same time, sensing new opportunities, the forces of reptilian nationalism-from Pat Robertson to militant mullahs, from David Duke to the ancient reactionary movements of Eastern Europe-are crawling out from under their rocks, getting facelifts, and learning how to use teleprompters and Stinger missiles. Meanwhile, back in the cradle of democracy, the "opposition" response to all this is to offer a choice between Jerry Brown and None of the Above.”

DemocracyEastern EuropePolitical CartoonistsPat RobertsonDan QuayleDavid DukeNew Worl Order
Book:Standing Tall in Deep Doo-Doo/a Cartoon Chronicle of Campaign '92 and Bush/Quayle Years
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“I wasn't really interested in doing cartoons at that time, but I had one teacher, Miss McCoy, who used to call me and the other Black pupil in the school to the front of the room and present us to the class. She'd say. "These two, being Black, belong in a waste basket." Well, there was no way of defending oneself against that. So, I began to build up a kind of rage against her. There was no way that I could have gotten back at her because if I had, it would have been much more serious than it turned out. In the end, it turned out rather beneficial to me because I began doing cartoons of Miss McCoy in my notebooks.”

RacismPolitical CartoonsPolitical Cartoonists
Book:Why I Left America and Other Essays
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“I was in deadly earnest about developing my talent, and carousing had no lure for me. I applied myself assiduously to the work in hand, and as I proceeded I became more and more convinced that graphic art was my road to recognition. Painting interested me no less, but I thought of it as having no influence. If one painted a portrait, or a landscape, or whatever, for a rich man to own in his private gallery, what was the use? On the other hand, a cartoon could be reproduced by simple mechanical processes and easily made accessible to hundreds of thousands. I wanted a large audience. . . The prevailing art of that period embraced a thorough, almost photographic, lens-like observance of detail. Gerome, Messonier, Cabanel, Vibert, and Bougeaureau were in the forefront of the artworld then, because they were accurate, precise draftsmen.”

ArtPaintingGalleryCartoonsPolitical CartoonsPolitical CartoonistsGraphic Arts
Book:Art Young: His Life and Times
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“In my youth I hoped for no higher status in life than to be among those who would follow in the wake of Thomas Nast, Joseph Keppler, and Bernard Gillam, outstanding artists in the field of political caricature. And when in my early twenties I grew familiar with the political and social satires of the graphic artists of England and France across two centuries, these gave even greater stimulus to my ambition. Dreamily I anticipated that my destiny was to succeed as a caricaturist of some influence in public affairs.”

EnglandFrancePolitical CartoonsPolitical CartoonistsCaricatureJoseph KepplerThomas Nast
Book:Art Young: His Life and Times
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“Print media started collapsing in the mid-2000s. When I first started out, it seemed like alternative news weeklies were the future of newspapers. It was a booming industry. It was a product of the nineties and that nineties mentality. At the time, I had a day job at the University of Virginia and I was sending my strip out and picked up one paper here and another paper there very gradually. I was building up a client list and then that fateful day where Village Voice Media dropped comics across the entire chain. I was actually spared the worst of that. I think I was just in the Village Voice at the time, but that was a big loss. [laughs] Not that the pay was all that great, but it had been my goal to get into that paper. At the time I really wasn’t sure whether I would be able to continue, but then dailykos came along and picked up a bunch of alt weekly cartoonists and breathed some life into our industry online. They did really well on dailykos they were shared a lot and got good traffic and I think it set a precedent. Not that it was the first home for political cartoons online, but something about dailykos at that moment turned the tide a bit. A few more websites started running political cartoons – and paying fairly for them. People started realizing that they were highly shareable and that they could do well online. I’ll add that print has stabilized. At least it had stabilized under the second Obama administration. I actually added papers during that time. I wouldn’t say this is a growth industry. I think it would be very hard to break into now, but I did get the sense that print media had stabilized and some papers were doing okay. For me it’s really a hybrid now between print and digital. Certainly the digital side of things has grown the most in the past few years. (Interview with Comicsbeat)”

Political CartoonsPolitical Cartoonists
Author:Jen Sorensen
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“The thing I like most about political cartooning is the relevance of the work to the real world. And if you do this long enough you get to look back and see yourself in historical context, sometimes on the right side and sometimes on the wrong. But I’m proud of the work I was doing in the runup that bamboozled us into the Iraq War and that horrible chapter where Cheney and Bush drove the country into the ditch, the one we’re still in. (2010 interview with Washington City Paper)”

Iraq WarGeorge W BushPolitical CartoonistsDick Cheney
Author:Matt Wuerker
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