A Quote by Mort Walker

None of the established museums were treating cartoons seriously. It was considered a lesser art or no art at all, just a way to sell newspapers. Even the syndicates who were dedicated to the cartoons were throwing them out, figuring they had no value after they were printed.
I loved animation and cartoons, even when it was not cool when you were in high school. I raced home to see the Bugs Bunny cartoons.
Trying to use all the existing technologies that were out there wouldn't work for us because none of them were flexible. Everything was rigid in some way, so we had to go on a manhunt, essentially for something that was a viable technology. So it was a good four-months of just designing and figuring out the lights.
Being female was just one more way I felt different and weird. I was also a young 'un, and also my cartoons were not like typical 'New Yorker' cartoons.
My drawing came out of editorial-style cartoons. Music was one thing and art was another, and there weren't really any standards for my art. My work was just drawings. They weren't done with any aspirations of becoming a part of punk scene. They weren't about punk. They were just collections of drawings, some of which I xeroxed and sold.
I used to draw cartoons. I'd just show them to some of my friends, expecting that they were going to appreciate them, that they were going to enjoy reading them.
It's hard to describe to people how terrible it was when you could only watch cartoons at a certain time in your life. But no, I would watch all of them - the Warner Bros. cartoons and the Bugs Bunnys and then the Tex Avery stuff. Looking back on it, they were so incredibly subversive for their time. You'd think, "Oh, they're just making jokes and this or that." But when you watch them as an adult, you think, "Oh no, they were talking about some pretty deep stuff."
I watched a ton of cartoons growing up, but I don't remember specifically what networks they were on, I'll be honest. But I did like cartoons as a kid.
During the curfew, whoever went out, the people were watching you. Any Japanese home, there was some person figuring he's a good American citizen by doing his duty, and they were watching every move each family were doin'. Or if they went out, they followed them to see where they were goin'.
Cartoons were very conservative. The country was very conservative. Although the liberals were allegedly in charge for a long time, there was a very acceptable balance what people would talk about in public. And I wanted to stretch those and move further out. And as the civil rights movement began, I started doing cartoons on that and on sit-ins and I was, along with Bill Mauldin, a great cartoonist out of World War II, arguably one of two white cartoonists doing this kind of work, Bill and me.
I've never canceled a subscription to a newspaper because of bad cartoons or editorials. If that were the case, I wouldn't have any newspapers or magazines to read.
Fashion has been collected and exhibited for many years. People were picking up clothing of famous individuals, like Marie Antoinette's shoe or Napoleon's hat. That part of the resistance to having fashion in museums had to do with it being associated with femininity, and with the female body. Yet, as early as the 18th century, some people were recognizing that just as you collected art, you, might think about collecting fashion for museums, because it would provide insight into the way people thought about their lives and, and the way they envisioned themselves.
I had the impression in art school that cartooning was thought of as a lesser art than painting because cartoons are reproduced, so the "work" is not the single thing like a painting, but instead is the reproduced image.
It's strange because even in the vaudeville days, ventriloquists were never the main attraction. They were the guys brought out to stand in front of the curtain while sets were being changed. Ventriloquism wasn't even celebrated as an art until Edgar Bergen came along in the 1930s.
Most museums in Moscow, like Tretyakov, were established by philanthropists, whose passion for art allowed the development of culture on many levels.
We were young, we were wild, we were restless Had to go, had to fly, had to get away Took a chance on that feelin' We were lovin' blind borderline wreckless We were livin' for the minute we were spinnin' in Baby we were alot of things, but we weren't crazy
We were told, quite seriously, that there never would be a Canadian art because we had no art tradition.
This site uses cookies to ensure you get the best experience. More info...
Got it!