“big cartoons”

dm0909.jpg
[Close-up of desertmanhattan, in its early "pencil" phase, Autumn, 2008.]
I was thinking earlier today how I had made my reputation drawing very, very small cartoons [i.e. "drawn on the back of business cards"], and now here I am, with The Marfa Series, going in the opposite direction i.e. very, very big cartoons. Two sides of the same coin, perhaps…
Yes, I’m still calling them “Cartoons”, even if the rest of the world will want to call them something else- “Paintings” or whatever. No matter where life takes me these days, I still consider myself first and foremost a cartoonist. Like I said over at Lateral Action, “I never liked calling myself an ‘Artist’. I think History decides if you’re an artist or not, not yourself.”
With the traditional cartoonist’s business model looking increasingly untenable (And it was in trouble LONG before the Internet came along , believe me), I think it’s a good time to ask the question, well, what is a cartoon, anyway?
Does the cartoon HAVE to be what it’s always been? Or can it evolve into something else more interesting? Does the cartoon have to be figurative, or is abstract perfectly valid, as well? Does the cartoonist HAVE to have an editorial or humorous slant, or are there OTHER spheres of human existence worth exploring?
It’s good to push the edges…

[Backstory: About Hugh. Twitter. Newsletter. Book. Interview One. Interview Two. EVIL PLANS. Limited Edition Prints. Private Commissions. Cube Grenades.]

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His work acknowledges the absurdity of workaday life, while also encouraging employees to respond with passion, creativity, and non-conformity...   MacLeod’s work is undeniably an improvement over the office schlock of yore. At its best, it’s more honest, and more cognizant of the entrepreneurial psyche, while still retaining some idealism.

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