Stephen Kroninger
October 2008
In keeping with the Halloween posts
  This was for Nancy Butkus for this week's New York Observer. The assignment was "Sexy Pumpkin." Although there were lots of directions to go with this I chose to follow a kind of demure  Marilyn Monroe path. Also, to tag on to Carl Wiens Frank Zappa reference----WOTTA PUMPKIN!
 And for those who don't get the reference---Zappa's CALL ANY VEGETABLE

Soft Sell Conclusion (Call Any Vegetable)
Joe Klein: Priorities for the New President
  My piece for this week's IN THE ARENA column by Joe Klein. Art directed by the wonderful Cynthia Hoffman who is always a real treat to work with. The photo heads are researched by Deirdre Read who has a knack for tracking down just the right image for what I'm seeing in my head. I always feel this piece is truly a collaboration between myself , Mr. Klein, Ms. Hoffman and Ms. Read.
Lou Dorfsman, Design Chief at CBS, Dies at 90
 Some years ago I had the privilege of working with Lou Dorfsman. It was for a re-release of Honeymooners episodes on home video. Mr. Dorfsman was hiring a different caricaturist to provide the illustration for every cover. Among them were Al Hirschfeld, Steve Brodner, Philip Burke and Drew Friedman. I was pretty green. Mr. Dorfsman said to me, "A lot of these guys can nail a likeness perfectly but you are a crap-shoot," I've always treasured that comment. Doubly so because after I turned in the piece and good naturedly reminded him of what he'd said he told me, "You were a crap-shoot and you nailed it!" High praise indeed. Last time I saw him was at the 2006 Art Directors Hall of Fame dinner. I got to say "hello" and thank him once again for the vote of confidence way back when. Terrific man.
Two Great Kim Deitch Events, Oct. 30 & Nov. 13
Cartoon Movie Night with Kim Deitch: Thursday, October 30,     7:00 pm
Kim Deitch Q & A: Thursday, November 13, 7:00 pm
The Museum of Comic and Cartoon Art - MoCCA -  is pleased to announce that legendary underground cartoonist and graphic novelist Kim Deitch will make two special appearances at the museum in association with MoCCA’s current exhibit, Kim Deitch: A Retrospective.
On October 30, Kim Deitch will host a Cartoon Movie Night featuring rarely seen animated cartoons from the 1920s and 1930s hand-picked for the occasion from Deitch’s own personal collection.  This period of animation inspired Deitch’s signature character Waldo the Cat and is the subject of his acclaimed graphic novel The Boulevard of Broken Dreams, which is featured in the exhibit.  As a special Halloween treat, MoCCA will also display for one night only selected specimens from Deitch and spouse Pam Butler’s extensive collection of antique toy cats.  The blurring of fact, fiction and autobiography in Deitch’s work is a major focus of Kim Deitch: A Retrospective, and this display will present a rare opportunity to see the historical artifacts that motivate the fictional narrative in Deitch’s graphic novel Alias the Cat.
On November 13, Kim Deitch will appear at MoCCA for a Q & A session with exhibit curator Bill Kartalopoulos.  In a unique and wide-ranging conversation, the two will discuss Deitch’s work and career to date.  Deitch will present examples of recent work and will also preview images from his current works in progress.
 Both events are free and open to the public, and run as part of a regularly scheduled series of “MoCCA Thursdays” events at the Museum.
Kim Deitch’s career spans the entire post-war history of avant-garde comics, from the underground to the literary mainstream. As an early contributor to the East Village Other, Deitch was a charter member of the underground comix scene that exploded with the 1968 publication of Robert Crumb’s Zap #1.  Forty years later, he stands alongside Crumb, Bill Griffith, Aline Kominsky-Crumb, and Art Spiegelman as one the most notable and prolific artists to emerge from that milieu.  Kim Deitch: A Retrospective features ninety-seven pieces spanning the artist’s entire career, including comics originals, preparatory sketches, prints, and animation cel set-ups.
The exhibit runs through December 5, 2008.
MoCCA is located at 594 Broadway, Suite 401 (between Houston & Prince)
New York, NY 10012
Phone: 212 254-3511
MoCCA is open to the public Tuesday through Saturday from 12 – 5 pm, Thursdays 12 – 6 pm
Museum Admission: $5 Donation
Recent Caricatures for The New York Observer
Bruce Springsteen
 A few more caricatures for Nancy Butkus at the Observer. These are all scissors, magazines and glue. No photoshopping.
Martin Scorsese
Jay McInerney
Anna Wintour
Liz Smith
Billy Joel
If It's Album Cover Art You Want...
...You'll find links to twenty-one great sites HERE.
Sue Coe: Elephants We Must Never Forget
 ELEPHANTS WE MUST NEVER FORGET: New Paintings, Drawings and Prints by Sue Coe, on view from October 14 through December 20 at the Galerie St. Etienne, is the first exhibition ever to document the plight of circus elephants: gentle yet sometimes deadly beasts who have long been exploited for their entertainment value.
Comprising 14 new oil paintings and over a dozen ancillary drawings and prints, ELEPHANTS WE MUST NEVER FORGET: New Paintings, Drawings and Prints by Sue Coe chronicles the lives and deaths of both generic and historically specific circus elephants. Highlights include a sequence of 11 works telling the story of Topsy, an elephant who was electrocuted at Coney Island as a publicity stunt on behalf of Thomas Edison’s electric company. Jumbo—whose name became a synonym for “extra large”—experienced an equally violent death (reprised in two oil paintings, a large drawing and a lithograph) and was then “resurrected” as a stuffed display, seen in the painting The Dress Rehearsal (2008). One of the most moving paintings in the exhibition is Blind Children Feel an Elephant (2008), which shows how the simple sense of touch bridges the gulf between species.
ELEPHANTS WE MUST NEVER FORGET: New Paintings, Drawings and Prints by Sue Coe represents a turning point in the career of one of our foremost contemporary political artists. Sue Coe’s approach has undergone an immense shift since 2001, when she moved from Manhattan to Upstate New York. The tangible presence of nature and complex interactions with the local community have given Coe’s work a more solid basis in lived experience. A consummate draughtsman, she has for the first time felt compelled to paint, and the elephant series evidences a newly robust use of color. The paintings re-create the elephants’ world more completely than is possible with drawing, inspiring a more visceral emotional response from the viewer.
    “I think it is possible that in the near future elephants can be rescued from their forced role of doing silly tricks to entertain us, or of being part of stamp-album collections in zoos.  They can walk on soft grass, be with their own kind.  An elephant never forgets, we just forgot that they have complex feelings of friendship, family, loyalty.  They can be free of our oppression.”
    Sue Coe
Sue Coe, 57, has earned a broad following that ranges from grass-roots animal-rights organizations to major museums. Almost immediately after emigrating to the United States from her native England in 1972, Coe began working as an illustrator for such publications as The New York Times, Time and The New Yorker. In the late 1970s, she began to create extended series on subjects of her own choosing. Her first independent book, How to Commit Suicide in South Africa, was published in 1983 and subsequently widely used as an organizational tool on college campuses. Coe has frequently been profiled in the press and has been the subject of one-person exhibitions at many museums, including the Hirshhorn Museum and Sculpture Garden in Washington, D.C. Her work is in numerous public collections, including the Metropolitan Museum of Art and the Museum of Modern Art in New York. Although she has exhibited widely, publication is her preferred means of communication, because Coe’s goal as an activist is to reach the largest possible audience. Her book Dead Meat, published in 1996, details animal lives on factory farms. She turned her attention to abandoned dogs with Pit’s Letter (1999/2000) and examined the sheep industry in Sheep of Fools (2005). The artist is presently engaged in developing her elephant series into a book-length narrative.
 Baby Elephant at Sea 2007
 The Death of Jumbo 2008
Two Elephants Standing on Stools 2008
 Blind Children Feel an Elephant 2008
 An Elephant Never Forgets  2007
 all images (c) copyright Sue Coe 2008
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