A Quote by Camille Henrot

In a way, the political cartoon drawings are things that are small and have humor and a childhood aesthetic and are often stronger to spread an opinion. — © Camille Henrot
In a way, the political cartoon drawings are things that are small and have humor and a childhood aesthetic and are often stronger to spread an opinion.
I often felt like that Mr. Magoo figure in the cartoon, who just wanders through traffic, and somehow it never hits him. I kind of feel that way about my whole childhood: Why do I have a normal life?
Evidence that [feminine aesthetic preferences and ways of expressing oneself] may be hardwired comes from the fact that they typically appear early in childhood and often in contradiction to one's socialization. […] This indicates that some aspects of feminine verbal and aesthetic expression precede and/or supersede gender socialization.
The political cartoon, in a way, is one of the highest forms of expression about our times. I don't believe in dramatic statements when it comes to political critique. It doesn't communicate in a way that's subversive enough.
I suspect that many of the great cultural shifts that prepare the way for political change are largely aesthetic. A Buick radiator grille is as much a political statement as a Rolls Royce radiator grille, one enshrining a machine aesthetic driven by a populist optimism, the other enshrining a hierarchical and exclusive social order.
One way to escape the universe in which everything is a kind of media cartoon is to write about the part of your life that doesn't feel like a cartoon, and how the cartoon comes into it.
The cartoon me writes the books cartoon people read in the cartoon world, because they need things to read there too.
The humor is essentially dark for a cartoon and sophisticated. But at the same time, being a cartoon gives the writers more freedom than in a normal sitcom. It always pushes the line that, despite human failings, the Simpsons are really decent people.
I'm not sure about that role any longer. The role used to be to mix things up and I think to a great extent it still is, but the quality of the work of the political cartoon has been succeeded by the wisecrack, the gag cartoon, so that the cartoonist becomes more of the equivalent of the Jay Leno monologues, or David Letterman monologues.
I think up until the point when we started in the business, which was in the early '70s, most of the humor was political. The smart humor was political satire.
I think up until the point when we started in the business, which was in the early 70s, most of the humor was political. The smart humor was political satire.
I do not miss childhood, but I miss the way I took pleasure in small things, even as greater things crumbled.
The drawings that I show - the drawings that I present to people are finished works in themselves. They're meant to be thought of that way and not necessarily lead to larger pieces or anything like that. And that's the way I work now.
Quite often, intent on conveying how things can go wrong for a culture (science fiction) or an individual (horror) or all of magical creation (fantasy), works of fantastika often preclude comedy, because humor gets in the way of messages of doom or struggle.
My favorite drawings at the Muhammad cartoon festival in Texas were the two chalk outlines out front.
I do not miss childhood, but I miss the way I took pleasure in small things, even as greater things crumbled. I could not control the world I was in, could not walk away from things or people or moments that hurt, but I took joy in the things that made me happy.
I can't look at TV without seeing something that's been influenced by rap. Even commercials for cereal. When I was small, I was a fan of cartoon characters - now the cartoon characters are rapping!
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