Pat Oliphant

Last updated

Pat Oliphant
Born
Patrick Bruce Oliphant

(1935-07-24) 24 July 1935 (age 89)
Maylands, South Australia, Australia
Nationality American
Known for Caricature, painting, sculpture
Awards Pulitzer Prize

Patrick Bruce "Pat" Oliphant (born 24 July 1935) is an Australian-born American artist whose career spanned more than sixty years. His body of work primarily focuses on American and global politics, culture, and corruption; he is particularly known for his caricatures of American presidents and other powerful leaders. Over the course of his long career, Oliphant produced thousands of daily editorial cartoons, dozens of bronze sculptures, and a large oeuvre of drawings and paintings. He retired in 2015.

Contents

Early life and education

Oliphant was born on 24 July 1935, in Maylands, a suburb of Adelaide, Australia, to Donald Knox Oliphant and Grace Lillian Oliphant (née Price) of Rosslyn Park. He was raised in a small cabin in Aldgate, in the Adelaide Hills. His father worked as a draftsman for the government, and Oliphant credited him with sparking his interest in drawing. [1] His early education took place in a one-room schoolhouse, followed by Unley High School. [2]

Career

In 1952, while still a teenager, Oliphant began his career in journalism as a copy boy at Adelaide's evening tabloid newspaper, The News , [3] which had recently been inherited by Rupert Murdoch. [4] He had no interest in attending college, as he had an ambivalent relationship with formal education and already knew he wanted to be a journalist. In 1955, he moved to The News' rival, The Advertiser , a morning broadsheet with 200,000 subscribers. [5]

Before long, editors noticed his interest in drawing, and he began producing both cartoons and illustrations. [4] However, the paper's conservative editorial policies frustrated him, and after frequent vetoes of his commentaries on Australian politics, he learned that cartoons on international affairs were less likely to be censored. [6] During this period, he found inspiration in the work of English cartoonist Ronald Searle, Western Australian cartoonist Paul Rigby, and the political commentary in Mad magazine, which he described as a "shot in the arm." [6]

The Denver Post

In 1959, Oliphant traveled to the United States and Great Britain to learn about cartooning in those countries. He decided he wanted to move to the United States, [6] but he had to wait five years until his contract with The Advertiser expired. [6] In 1964, while preparing to move without a job, he learned that cartoonist Paul Conrad was leaving the Denver Post . Oliphant sent a portfolio of work to the Post [6] and was hired over 50 American applicants. [5] He moved to the United States with his wife, Hendrika DeVries, and their two children. [5] The Post featured a small snippet of Oliphant's cartoon on the front page as a "teaser" for what would be found on the editorial page. [7]

Announcing his arrival, Time magazine stated, "Few U.S. cartoonists have so deftly distilled the spirit of [Lyndon B. Johnson and Barry Goldwater] as Australia's Patrick Bruce Oliphant, 29, a recent arrival who has not yet set eyes on either Johnson or Goldwater." [5] Less than a year after Oliphant began working at the Denver Post, in April 1965, his work was syndicated internationally [4] by the Los Angeles Times Syndicate. [8] Oliphant's reputation grew rapidly, and in 1967, he was awarded the Pulitzer Prize for Editorial Cartooning for his 1 February 1966 cartoon They Won't Get Us To The Conference Table... Will They? [9] In this cartoon, Ho Chi Minh is depicted carrying the body of a dead Vietnamese man in the posture of a Pietà . Oliphant had intentionally submitted what he considered one of the weakest cartoons he had published that year. [10] When it won, he criticized the Pulitzer board, stating that they had selected the cartoon for its subject matter rather than the quality of the work. [10] He refused to be considered for the award again and became a regular critic of the Pulitzer. [10]

According to Ralph Steadman, Oliphant would have been Hunter S. Thompson's "first choice of a 'cartoonist collaborator.'" [11]

The Washington Star

In 1975, Oliphant moved to The Washington Star , [12] attracted by editor Jim Bellows. [13] In 1980, he switched syndication companies, joining Universal Press Syndicate. The Star ceased publication in 1981.

Independent work

After The Washington Star folded, Oliphant received offers from other newspapers but chose to remain independent, relying on the earnings from his extensive syndication. [14] He was the first political cartoonist in the twentieth century to work independently from a home newspaper, [13] which provided him with unique independence from editorial control. By this time, he had become a nationally recognized figure. In 1976, a survey of 188 cartoonists found that fellow professionals regarded Oliphant as the "best all-around cartoonist" on the editorial pages. [15] A decade later, a similar survey reached the same conclusion, noting Oliphant's original and influential aesthetic. [16] By 1983, Oliphant was the most widely syndicated American political cartoonist, with his work appearing in more than 500 newspapers. [17] His work influenced the field's overall appearance. For example, when he stopped using Duoshade, a chemical process for creating textured backgrounds, in the early 1980s, other cartoonists followed suit. In 1990, The New York Times described him as "the most influential editorial cartoonist now working." [18]

In 1979, Oliphant was naturalized as an American citizen. [19] In 1983, he married his second wife, Mary Ann Kuhn, [20] but they divorced in 1994. He married Susan C. Conway in 1996, and they remain married today. [20]

By 1995, Oliphant had reduced the frequency of his daily cartoons to four days a week. [21] At this time, he began submitting his cartoons in digital form as scans of his original drawings. [22] By 2014, he was submitting three cartoons a week. [4]

In 2004, Oliphant moved from Washington, D.C. to Santa Fe, New Mexico.

In 2012, Oliphant was the Roy Lichtenstein Artist in Residence at the American Academy in Rome for three months.

In January 2015, Oliphant retired from publishing syndicated cartoons. [23] However, in February 2017, he came out of retirement with two cartoons for The Nib featuring Donald Trump and Steve Bannon. [24] One cartoon depicted Trump as a childlike member of the Hitler Youth, asking a ghoulish Bannon what he thought of his outfit.

Style

Oliphant's earliest cartoons in Australia often mimicked the style of his elders, but his mature style is easily identifiable and distinctive. His caricatured subjects are immediately recognizable and are made "grotesque" through "extreme distortion." [15] He is recognized for his skilled drafting, [25] and for his innovative use of the horizontal format in editorial cartoons. [15] As Rick Marschall noted in 1999, "Oliphant offered a style totally his own and revolutionary in the field. The Oliphant look—long-faced characters, sparse use of icons and labels, arresting 'camera angles'—still dominates the field, at least in the minds of cartoonists who aspire to Oliphant's unflagging brilliance." [26] Curator Harry Katz has called him "one of history's finest comic artists." [27]

Oliphant has specialized in caricaturing American presidents, and multiple exhibitions have featured his work organized by presidential administration. He developed specific tropes for various presidents: His dark, brooding Nixon is sometimes depicted naked and ashamed, covering his privates like Adam and Eve, and at other times making the "Victory" sign. Oliphant regularly portrayed the accident-prone Gerald Ford with a bandage on his forehead. [28] His fondness for Ronald Reagan did not prevent him from portraying the president as an oblivious buffoon in a parody of one of his films. George H. W. Bush sometimes appears clutching a handbag and at other times is swathed in cloth as "Bush of Arabia." During the Clinton administration, Oliphant regularly used Socks the cat and Buddy the dog as a sort of "Greek chorus" to comment on the events. [29] He famously portrayed Barack Obama as an Easter Island head worshiped by voters. Oliphant found that it took time to find the right look for a new president, noting, "I hate changes of Administrations. It takes six months to 'get' a new man." [30]

"Punk"

Early in his career, Oliphant began to include a small penguin in almost every one of his political cartoons. This character, which he named Punk, joined a tradition of such secondary figures, termed "dingbats" by cartoonist R. C. Harvey. These figures appear in the work of earlier cartoonists such as Fred O. Seibel of the Richmond Times-Dispatch, whose cartoons featured a small, ironic crow, [31] and earlier by W.K. (William Keevil) Patrick of the New Orleans Times-Democrat and later Times-Picayune, who had a signature duck character. [32] Punk was inspired by a penguin brought back by a colleague from South Australia's south coast, who delivered the penguin to the zoo. Oliphant decided to include a penguin in his cartoon as a result. [13] Initially, Punk was depicted as an easily identifiable Adelie penguin, [33] but he soon became stylized and remained so throughout Oliphant's career. Punk adds a layer of commentary to the subject of the cartoon, [3] and is often placed in conversation with another tiny figure. Punk proved popular with both adults and children, who enjoyed the game of finding him in each cartoon. [5] In 1984, Oliphant briefly drew a full-color comic strip featuring Punk for the Sunday funnies, titled Sunday Punk, but found the work too laborious and soon discontinued the strip. [34]

Oliphant originally created Punk as a space for subversion in the conservative editorial environment of the Adelaide Advertiser. [31] Punk provided a platform for Oliphant's own opinions, while the overall cartoon needed to align with the views of the paper's editors. [31] Punk's perspective varies from cartoon to cartoon: sometimes bemused, sometimes ironic, and sometimes trenchant, and does not always represent Oliphant's personal viewpoint.

Courting controversy

Oliphant's cartoons are rarely warm towards their subjects. He has often stated that his job is to criticize, and he deliberately avoids getting to know his subjects for fear of liking them. He intentionally courts backlash, saying in Rolling Stone in 1976, "This really isn't a business ... it's a cause. I'm an outcast because of it. A writer can’t really say, 'This man's an idiot,' because the law holds him back. We can say it." [35]

Oliphant has often remarked on his intention to draw criticism from all political perspectives and has indeed received strong criticism from ethnic and religious groups for some of his cartoons. In 2001, the Asian American Journalists Association accused Oliphant of "cross[ing] the line from acerbic depiction to racial caricature." [36]

In 2005, the American-Arab Anti-Discrimination Committee expressed concern that some of Oliphant's caricatures were racist and misleading. [37] In 2007, two Oliphant cartoons produced similar responses. One cartoon [38] about Israel's December 2008 offensive against Hamas in Gaza sparked criticism among some American Jews. The cartoon featured a jackbooted, headless figure representing Israel in a goosestepping posture, looming over a small female figure holding a baby labeled "Gaza." [39] The Los Angeles-based Simon Wiesenthal Center said the cartoon denigrated and demonized Israel and mimicked Nazi propaganda. It called on the New York Times and other media outlets to remove the cartoon from their websites. [40]

A 2005 cartoon showing Condoleezza Rice as a parrot perched on George W. Bush's shoulder was criticized by some readers for depicting her with buck teeth and exaggerated lips. [41]

Oliphant's cartoons featuring Catholic scandals have also been controversial. The Catholic League has called him "one of the most viciously anti-Catholic editorial cartoonists ever to have disgraced the pages of American newspapers." [42] On Christmas Eve 1993, Catholic readers were angered by a cartoon associating Michael Jackson and priests with child molestation. [43] One of his most famous cartoons, "Celebration of Spring at St. Pedophilia's – the Annual Running of the Altar Boys," sparked nationwide debates in print, radio, and television when it was published on 20 March 2002. [44] The New York Times and Washington Post, as well as other papers, chose not to include the cartoon online, [44] while some did not run it at all. [45]

In 1987, Oliphant protested the selection of Berkeley Breathed for the Pulitzer Prize for Editorial Cartooning. Oliphant's concern was that Breathed's work "has, so far as I know, not appeared on one editorial page in the country." [46] Addressing the Association of American Editorial Cartoonists convention to hearty applause, Oliphant represented the views of many of his colleagues: that the seriousness of editorial cartooning as a journalistic pursuit was at risk and that the Pulitzer was encouraging the valuing of humor over political statement. [47]

Non-newspaper drawings

Newspaper editorial cartoons were not Oliphant's only genre. In his early days in Australia, he produced a wide variety of newspaper illustrations. Later in his career, he created illustrations for numerous books, and his work, often in full color, was featured in the pages and on the covers of many magazines. For a time, he drew cartoons for Rolling Stone; this body of work was intended for a different audience than his newspaper cartoons and was often more graphic or intentionally offensive than his syndicated work. In the 1990s, he drew for a Northwest Airlines advertising campaign advocating the "open skies" policy concept. (Oliphant has flown privately and holds a pilot's certificate.) [48] By the early 1980s, Oliphant had begun producing sculpture in addition to his editorial cartoons. In 1988, he started attending William Christenberry's figure drawing classes at the Corcoran School of Art. His work in various media has been featured in several exhibitions, most notably at the National Portrait Gallery. He has worked in pen and ink, oil, lithography, and other media.

Sculpture

Oliphant began working in bronze in the early 1980s and produced a significant body of work throughout the remainder of his career. His bronze caricatures have been favorably compared with those of the nineteenth-century French caricaturist Honoré Daumier. [4] Oliphant's bronzes often depict heads, busts, or full-figure portraits of major political figures, although he also sculpted animals, various human types, and compositions featuring multiple figures. His sculptures vary in scale, from a diminutive Jimmy Carter to a larger-than-life depiction of Angelina Eberly, an important figure in the famous Texas Archive War, which is located on the sidewalk along Congress Avenue in Austin, Texas, near the Capitol.

Works in bronze

Publications

Exhibitions and catalogues

Cartoon collections

Illustrated by Oliphant

Text contributed by Oliphant

Book cover art

Contributions to anthologies

Animated films

Awards and honors

Personal life

Oliphant is the nephew of Sir Mark Oliphant, the Australian physicist who worked on the Manhattan Project during World War II and later became the Governor of South Australia. [53] For more on his Australian relatives, see Oliphant brothers.

Pat Oliphant enjoys flying and holds a commercial pilot's certificate. He has been a longtime member of the Bad Golfers Association. Additionally, he is a left-handed vegetarian. [54]

Archives and collections

Oliphant's papers are housed at the Albert and Shirley Small Special Collections Library at the University of Virginia. The collection includes nearly 7,000 daily cartoon drawings, numerous sketchbooks, fine art on paper, sculpture, fan and hate mail, and extensive documentation of Oliphant's career. [55] His works are also held in the permanent collections of the Library of Congress, National Portrait Gallery, Gerald R. Ford Presidential Museum, George W. Bush Presidential Library, the University of Colorado Boulder Libraries, and the New Mexico Museum of Art in Santa Fe. [56]

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References

  1. ↑ West, Richard Samuel (Summer 1982). "Quintessential Cartooning: The Political Art of Pat Oliphant". Target: The Political Cartoon Quarterly (4): 5–12.
  2. ↑ Ross, Bruce Clunies (May 1999). "At a Distance". Australian Literary Studies. 19 (1): 84.
  3. 1 2 The Outspoken Oliphant, by Kat Yancey, at CNN.com; published 15 February 1998; retrieved 6 August 2014
  4. 1 2 3 4 5 Landi, Ann (18 March 2014). "Master of "A Dying Art"". The Wall Street Journal. Vol. 263, no. 63.
  5. 1 2 3 4 5 "Down Under to Denver". Time. 18 September 1964. p. 82.
  6. 1 2 3 4 5 West, Richard Samuel (1984). "Oliphant Down Under". Target: The Political Cartoon Quarterly (12): 16–20.
  7. ↑ Stein, Ed (Winter 2004). "Squeezing Originality out of Editorial Cartoons". Nieman Reports. 58 (4): 38–40.
  8. 1 2 Erwin, Ray (22 May 1965). "Oliphant's Editorial Cartoons Distributed". Editor and Publisher: 48.
  9. ↑ Oliphant, Pat. "Early Works in America – Oliphant's Anthem: Pat Oliphant at the Library of Congress | Exhibitions – Library of Congress". www.loc.gov.
  10. 1 2 3 "Mooning the Pulitzer Board". Columbia Journalism Review. Retrieved 17 December 2018.
  11. ↑ Sabin, Roger; Steadman, Ralph (October 2007). "Indulging a Filthy Habit". Journalism Studies. 8 (5): 774–778. doi:10.1080/14616700701504740. S2CID   142807143.
  12. ↑ "The Star's All-Stars". Newsweek: 15. 31 March 1975.
  13. 1 2 3 "CNN – The Outspoken Oliphant – Feb. 15, 1998". www.cnn.com. Retrieved 18 January 2019.
  14. ↑ Astor, David (18 May 1996). "Cartoonists Without a Home Newspaper". Editor & Publisher. 129 (20): 40.
  15. 1 2 3 Hynds, Ernest C. (April 1979). "Herblock, Oliphant, MacNelly Lead Cartoon Resurgence". Newspaper Research Journal: 54–60.
  16. ↑ Best, James J. (Winter 1986). "Editorial Cartoonists: A Descriptive Survey". Newspaper Research Journal. 7 (2): 29–37. doi:10.1177/073953298600700204. S2CID   157510060.
  17. ↑ Gibson, Tom (22 March 1983). "Political Cartooning Losing Its Savagery". USA Today.
  18. ↑ King, Wayne (5 August 1990). "What's So Funny About Washington?". The New York Times Magazine.
  19. ↑ Hori, Brian (18 July 1981). "Cartoonist Says His Job Is to Make People Mad". Kansas City Times.
  20. 1 2 "Pat Oliphant". IMDb. Retrieved 17 December 2018.
  21. ↑ "Classifications of Syndicated Features by Subject Matter". Editor & Publisher: Supplement. 128 (30). 30 July 1995.
  22. ↑ "Classifications of Syndicated Features by Subject Matter". Editor & Publisher: Supplement. 128 (30): 119S. 30 July 1995.
  23. ↑ "Pat Oliphant's Retirement Announcement". GoComics.
  24. ↑ Oliphant, Pat (2 February 2017). "How Do I Look, Herr Bannon?". The Washington Post.
  25. ↑ Day, Anna (Summer 2000). "The Wizards of Oz: Aussie Cartoonists Do It Their Way". Harvard International Journal of Press/Politics. 5 (3): 96. doi:10.1177/1081180x00005003009. S2CID   143173239.
  26. ↑ Marschall, Richard E. (1 May 1999). "The Century in Political Cartoons". Columbia Journalism Review.
  27. ↑ Katz, Harry (Winter 2004). "An Historic Look at Political Cartoons". Nieman Reports. 58 (4): 44–46.
  28. ↑ Aucter, John (14 October 2016). "Auchter's Art: Do You Learn from Your Mistakes, or Are You Donald Trump?". www.michiganradio.org. Retrieved 18 December 2018.
  29. ↑ Clines, Francis X. (4 May 1998). "A Cartoonist Who Mourns Bad Old Days". The New York Times.
  30. ↑ Griffith, Thomas (8 October 1984). "Finding a Face for Fritz". Time.
  31. 1 2 3 "Rabbits Galore". The Comics Journal. Retrieved 18 December 2018.
  32. ↑ "Cartoons Magazine". H. H. Windsor, Editor and Publisher. 9 December 1915 – via Google Books.
  33. ↑ "The Reason for That Penguin". Advertiser PI: 7.
  34. ↑ "Pat Oliphant". lambiek.net. Retrieved 25 March 2021.
  35. ↑ Katz, Donald R. (4 November 1976). "Bill Mauldin: Drawing Fire". Rolling Stone.
  36. ↑ Ginsburg, Marsha (24 June 2011). "Crisis Inflames Bias Against Asians / Ethnic Stereotypes in Broadcast, Print Media Prompt Protests". The San Francisco Chronicle.
  37. ↑ "Home Page". ADC.
  38. ↑ http://www.gocomics.com/patoliphant/2009/03/25/ March 2009
  39. ↑ "Jewish Groups Call Oliphant Cartoon 'Anti-Semitic'". 26 March 2009.
  40. ↑ "Content Search | Simon Wiesenthal Center". Archived from the original on 4 March 2016.
  41. ↑ Goldstein, Richard (21 February 2005). "Cartoon Wars". The Nation. 280 (7): 6–8.
  42. ↑ "Inside...". Catholic League Newsletter. 10 (9): 1. September 1983.
  43. ↑ Astor, David (12 February 1994). "Priesthood Cartoon Causes Controversy". Editor & Publisher. 127 (7): 45.
  44. 1 2 "Oliphant Priest Cartoon Angers NY Readers" . Retrieved 18 December 2018.
  45. ↑ "'St. Pedophilia' Cartoon Outrages Catholics". Free Republic. Retrieved 18 December 2018.
  46. ↑ Oliphant, Pat (Summer 1987). "Pat Oliphant Tells Us What To Do (a speech delivered to the AAEC Final Banquet, Saturday, 9 May)". Notebook of the Association of American Editorial Cartoonists: 23–25.
  47. ↑ Grauer, Neil (September–October 1987). "The Great Bloom County Feud". Columbia Journalism Review. 26 (3).
  48. ↑ Astor, David (7 February 1998). "Cartoonist Dropped for Doing Ad Work". Editor & Publisher. 131 (6): 41.
  49. 1 2 "National Cartoonists Society". www.reuben.org. Retrieved 17 December 2018.
  50. ↑ "Golden Plate Awardees of the American Academy of Achievement". www.achievement.org. American Academy of Achievement.
  51. ↑ "Winners of the Thomas Nast Prize". Archived from the original on 3 May 2012. Retrieved 15 July 2012.
  52. ↑ Inkpot Award
  53. ↑ "Mick Joffe, Interview with Sir Mark Oliphant". www.mickjoffe.com.
  54. ↑ "The Killingly Funny Pat Oliphant: If He Couldn't Cartoon, Says a Critic, He'd Be An Assassin". People. Retrieved 21 December 2018.
  55. ↑ "'It Is What We Dream Of': UVA to Host Patrick Oliphant's Archives". UVA Today. 30 April 2018. Retrieved 19 December 2018.
  56. ↑ "Patrick Oliphant". New Mexico Museum of Art. Retrieved 9 December 2013.

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