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The Art of Controversy: Political Cartoons and Their Enduring Power, by Victor S. Navasky
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A lavishly illustrated, witty, and original look at the awesome power of the political cartoon throughout history to enrage, provoke, and amuse.
As a former editor of The New York Times Magazine and the longtime editor of The Nation, Victor S. Navasky knows just how transformative—and incendiary—cartoons can be. Here Navasky guides readers through some of the greatest cartoons ever created, including those by George Grosz, David Levine, Herblock, Honoré Daumier, and Ralph Steadman. He recounts how cartoonists and caricaturists have been censored, threatened, incarcerated, and even murdered for their art, and asks what makes this art form, too often dismissed as trivial, so uniquely poised to affect our minds and our hearts.
Drawing on his own encounters with would-be censors, interviews with cartoonists, and historical archives from cartoon museums across the globe, Navasky examines the political cartoon as both art and polemic over the centuries. We see afresh images most celebrated for their artistic merit (Picasso's Guernica, Goya's "Duendecitos"), images that provoked outrage (the 2008 Barry Blitt New Yorker cover, which depicted the Obamas as a Muslim and a Black Power militant fist-bumping in the Oval Office), and those that have dictated public discourse (Herblock’s defining portraits of McCarthyism, the Nazi periodical Der Stürmer’s anti-Semitic caricatures). Navasky ties together these and other superlative genre examples to reveal how political cartoons have been not only capturing the zeitgeist throughout history but shaping it as well—and how the most powerful cartoons retain the ability to shock, gall, and inspire long after their creation.
Here Victor S. Navasky brilliantly illuminates the true power of one of our most enduringly vital forms of artistic expression.
- Sales Rank: #634957 in Books
- Published on: 2013-04-09
- Released on: 2013-04-09
- Original language: English
- Number of items: 1
- Dimensions: 9.56" h x 1.03" w x 7.00" l, 1.33 pounds
- Binding: Hardcover
- 256 pages
Features
From Booklist
The highly acclaimed, longtime editor and publisher of the Nation and the author of the National Book Award–winning Naming Names (1980) here takes on a compelling subject, one nearly ideal for him and one that will appeal to his many adherents and deservedly earn him new readers. Although a bit repetitive, this heavily illustrated, entertainingly written look at poltical cartoons is both personal—Navasky’s experience with controversial drawing as well as writing is considerable—and thoroughly researched. It is also deeply insightful, particularly in the discussion of caricature, a unique form of satire. Though the book’s main focus is on Americans (Herblock, Edward Sorel, David Levine), Navasky also discusses well- and lesser-known twentieth-century cartoonists from around the world, and his inclusion of a time line of their persecution (and prosecution) is eye-opening and lends closure to his persuasively made conclusions. --Mark Levine
From Bookforum
In his survey of the genre, Navasky wants to know why cartoons are so effective at conveying political messages—an understandable quandary for a self-proclaimed "word person." Navasky is admittedly working outside of his element, but he attempts to tackle the problem in the style of his word-focused tribe. This early dissection of the subject can be pretty abstract, but it does yield one concrete and intriguing interpretation of the power of the political cartoon: the idea that caricatures overload our facial-recognition circuitry and thus seem more face-like than actual faces. —Josh Fruhlinger
Review
“Thoughtful and deftly illustrated…an engaging meditation on cartoon history.”
—The New York Times Book Review
“The visuals in The Art of Controversy: Political Cartoons and their Enduring Power are irresistible and the passionate Victor S. Navasky is a wonderful storyteller.”
—The Boston Globe
“[Mr. Navasky] is agreeable company…a man who knew many of the great cartoonists of the 20th century and has stories to tell.”
—Dwight Garner, The New York Times
“Accessible, yet acutely academic…With The Art of Controversy, Navasky has made a substantial effort to bring understanding to the power of caricature.”
—The New York Daily News
“Mr. Navasky’s wonderful book is a spirited homage to the art and craft of political caricature.”
—The Wall Street Journal
“This heavily illustrated, entertainingly written look at political cartoons is both personal—Navasky’s experience with controversial drawing as well as writing is considerable—and thoroughly researched. It is also deeply insightful.”
—Booklist
“A lavishly illustrated, witty, and learned look at the power of the political cartoon throughout history.”
—Publisher’s Weekly
“Engaging and often illuminating.”
—Kirkus Reviews
“Navasky argues eloquently and convincingly [that] censorship of caricature artists amounts to an assault on individual free speech. The Art of Controversy is an amazing historical document from a political journalist all too familiar with caricature’s intuitive and divisive power.”
—Shelf Awareness
"A novel approach to the history of political cartoons. From Picasso, Grosz, and Daumier through Herblock and Ralph Steadman, Navasky illuminates an underappreciated art form."
-Oliver Stone
"As Victor Navasky, a word man, investigates the wordless art of the political cartoon -- what, he asks, accounts for its implosive power? -- we find ourselves in the hands of a writer of indefatigable curiosity and are caught up in the tempestuous history of newsprint art. An expansive, illuminating work. I know of nothing comparable."
-E.L. Doctorow
"Victor Navasky's The Art of Controversy is an entertaining and instructive reminder of the important place of political cartoons in exposing lies, hypocrisies, stupidity, and corruption in the public arena. Be prepared to laugh and get angry all at once."
-Tom Brokaw
"Victor Navasky pulls it off - he showcases the significance and power of political cartoons without taking the 'funny' out of them or cloistering the amazing rage they evoke that is far beyond the power of mere words to explain."
-Ralph Nader
“For the political junkie, journalist, artist, cartoonist or student, The Art of Controversy is a wonder story of an amazing art form.”
-New York Journal of Books
“An invaluable account of two centuries of comic art, with a galvanizing emphasis on the specific conditions of its creation.”
—Barnes & Noble
“Thought-provoking…a compelling meander through the complex world of satirical cartooning.”
—Ashbury Park Press
“An entertaining tour through a wonderfully affecting mode of illustration.”
—Drawing Magazine
Most helpful customer reviews
16 of 16 people found the following review helpful.
Good . . .As far as it goes.
By David R. Anderson
Victor S. Navasky, well-credentialed to examine the uses and abuses of the editorial cartoon, does a credible job of it in his latest book, "The Art of Controversy." Former editor and publisher of The Nation and the founder of Monocle, "a radical sporadical" , his new book offers a survey of the role and power of the political cartoon here and around the world. Still and all, I came away from the book wanting more. The book has two parts: His overview (52 pages) examines the form from three angles: content, image and stimulus, followed by a chapter on caricature. "The Gallery", which makes up the remaining 157 pages of text, examines the work of 31 cartoonists starting with the early masters of the form: Hogarth, Daumier, Goya and Nast.
In the opening text Navasky explains why the cartoon is so much more likely to get under its subject's skin than mere words; cartoons have the "capacity to enrage, upset and discombobulate otherwise rational people." Sir David Low, the great British cartoonist for the "London Evening Standard" is cited as an example. Hitler put Low on his kill list for making the dictator look childish and imbecilic. Navasky quotes Low's explanation:, "What he [Hitler] does not want to get around is the idea that he is an ass, which is really damaging."
There is no question of Navasky's mastery of the subject. My reservation is that he doesn't do enough with the material. For example, Theodore Seuss Geisel, our beloved Dr. Seuss, also made his mark in the 1930's and 40's as a political cartoonist, publishing some 400 in all. He was to the United States what David Low was to Britain. See "Horton Hears a Heil", my review of "Doctor Seuss Goes to War" published May 8, 2011 on Amazon. Seuss doesn't rate a mention. Neither do Tom Toles, the current Washington Post cartoonist who succeeded Herblock; Daniel Fitzpatrick, who won two Pulitzer Prizes for his editorial cartoons during his 45-year career at the St Louise Post-Dispatch, and who, with Herblock did the most to show up Senator McCarthy for the demagogue he was. Nor does Navasky speak to the contributions to the form made by Al Capp, Walt Kelly and Joe Sacco, to mention just three.
The "Gallery" does include brief vignettes about and an example or two of the work of Art Young, George Grosz, Ed Sorel, Robert Grossman and Bill Mauldin and others in addition to those mentioned above. These are informative, but are too brief to fully evaluate the artists' impacts. To explain, and, perhaps justify, the fact that all but one of his subjects are men (Kathe Kollwitz), Navasky points out that women are rarely hired as newspaper editorial cartoonists. Had he wanted to demonstrate that women are able hold their own in the field, he might have described the work of Kara Walker, the African American whose silhouettes and pen and ink drawings shine a vivid light on the evils of racial discrimination. They are as powerful as any work by any of the men whose cartoons Navasky includes. To see Walker's work, track down a copy of her book "My Complement, My Enemy, My Opponent, My Love" (2007) published by the Walker Art Center.
End note. Editorial independence is the sine qua non of the genre. Without it, the cartoonist becomes a house organ. In his chapter on Herblock, Navasky reports that the Washington Post's publisher asked Herblock to stop submitting anti-Ike cartoons during the 1952 election. Herblock agreed, but did not stop his criticism of Ike in his nationally syndicated work. That caused the publisher to relent. Thereafter, the story goes, Herblock had "a unique position on the paper; one of complete independence of anybody and anything." That's the way it should be. One of my prized possessions is a short note I received from Herblock in 1957 politely declining to accept a suggestion I offered for a cartoon: "I'm sorry I couldn't use the cartoon hunch, as I get up all my own stuff..." he wrote.
17 of 21 people found the following review helpful.
A real disappointment.
By Michael Engel
A very sloppy, superficial, and self-centered work. Navasky puts himself at the center of the book--which cartoonists he talked with, which ones he interviewed, which ones he knows and what he thinks of them, and so on. The book starts with what he calls "theorizing", which seems to be a polite word for a very confused and poorly focused discussion of different aspects of the art of caricature. At one point he offers some "country-by-country snapshots of what has been going on"--all of four pages covering Germany, Britain, France, the US, and Holland!
Then we get to the choice of artists, which seems arbitrary to say the least, and careless to say the worst. Hogarth, Gillray, Daumier, Nast, and Goya get glossed over in about 25 pages. Anti-Semitic propagandists "Fips" (from the Nazi "Der Stuermer"), and Holocaust denier Robert Edwards get 8--about the same as Herblock, Low, and Mauldin combined! There's a brief discussion about Picasso, who most certainly does not belong in this group. Navasky says absolutely nothing at all about the new generation of cartoonists--Ted Rall, Tom Tomorrow, and the like. Apparently the history of political cartooning stopped thirty years go.
A history of political cartoons deserves a scholarly, thorough, well-informed, and carefully researched study. This one is a mess.
4 of 4 people found the following review helpful.
The book's intention alonge is enough to warrant five stars
By P. Wagner
Navasky makes the single most important point that needs to be made with regard to political cartoons, which is that they have the proven potential to have a powerful emotional impact that goes beyond other forms of journalism. That may sound obvious or trivial to left-brained academics, journalists or bookworms. And I have no doubt those types are so envious of the reality that they want to deny and dirt-bag any mention of it. But the implications of this fact and the resulting failure of the "Fourth Estate" to allow and make use of the art form other than on rare occasion or by accident has been lost on newspaper publishers and editors throughout most of the history of the medium. They think of editorial cartoons as filler or illustrations, they think editorial cartoons should be merely clever rather than painfully funny, they think cartoons must be dumbed down to the lowest common denominator, they think genuine satire is too hot for the readers and advertisers to handle... come to think of it, they don't think clearly at all about this art form.
This book reminds us of what political cartoons can and should be. WHAT it says is more important than HOW it says it, in this case. But I find Navasky's writing to be quite stirring and lucid, and while I agree with some of the other criticisms being leveled at him here, like his choice of examples and the amount of attention given to particular cartoonists and artists, etc., the value of what he is directing our focus onto is so important that it outweighs any of those particulars, so I give it the highest rating. I don't think he was aiming for scholarship here, and there is no pretense in that direction, so why attack him on that basis?
I wrote another review of this title mentioning two books I wrote over 25 years ago which relate strongly to the thesis of Navasky's book, but Amazon deleted it. It was deleted apparently because somebody who has political or personal issues with Navasky didn't want to allow my point to be made, and used the fact that my "product links" to my own ancient books, which I could not possibly profit from in any way shape of form, which are only available as a very few copies of used books from faraway sellers I have no relationship to and receive no royalties from, was "promoting" them. The degree of cynicism, the suppressive personalities and the eagerness and glee and self-congratulation with which they try to shoot down any meaningful discussion of those who don't get the importance of the kind of point Navasky is making in this book are perfect illustrations of the kinds of ferocious defense of banality that Navasky and my books, which I will not do a product link to here to the delight of the literary Church Ladies who are out to throw water on passionate rabble rousers, stick in the craws of.
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