LEADER 03739nam 22005175 450 001 9910788214103321 005 20210422021323.0 010 $a0-231-53323-3 024 7 $a10.7312/krau13824 035 $a(CKB)3170000000065147 035 $a(EBL)1634819 035 $a(OCoLC)874320310 035 $a(DE-B1597)459473 035 $a(OCoLC)863057070 035 $a(OCoLC)979969538 035 $a(DE-B1597)9780231533232 035 $a(MiAaPQ)EBC1634819 035 $a(EXLCZ)993170000000065147 100 $a20190708d2008 fg 101 0 $aeng 135 $aur|nu---|u||u 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aAll the Art That's Fit to Print (And Some That Wasn't) $eInside The New York Times Op-Ed Page /$fJerelle Kraus 210 1$aNew York, NY :$cColumbia University Press,$d[2008] 210 4$dİ2008 215 $a1 online resource (281 p.) 300 $aDescription based upon print version of record. 311 $a0-231-13825-3 327 $tFront matter --$tContents --$tIllustrations --$tForeword --$tAcknowledgments --$tPrologue --$tOrigins --$tThe Seventies --$tThe Eighties --$tThe Nineties --$tThe Aughts --$tNotes --$tIndex 330 $aAll the Art That's Fit to Print reveals the true story of the world's first Op-Ed page, a public platform that-in 1970-prefigured the Internet blogosphere. Not only did the New York Times's non-staff bylines shatter tradition, but the pictures were revolutionary. Unlike anything ever seen in a newspaper, Op-Ed art became a globally influential idiom that reached beyond narrative for metaphor and changed illustration's very purpose and potential. Jerelle Kraus, whose thirteen-year tenure as Op-Ed art director far exceeds that of any other art director or editor, unveils a riveting account of working at the Times. Her insider anecdotes include the reasons why artist Saul Steinberg hated the Times, why editor Howell Raines stopped the presses to kill a feature by Doonesbury's Garry Trudeau, and why reporter Syd Schanburg whose story was told in the movie The Killing Fields stated that he would travel anywhere to see Kissinger hanged, as well as Kraus's tale of surviving two and a half hours alone with the dethroned peerless outlaw, Richard Nixon. All the Art features a satiric portrayal of John McCain, a classic cartoon of Barack Obama by Jules Feiffer, and a drawing of Hillary Clinton and Obama by Barry Blitt. But when Frank Rich wrote a column discussing Hillary Clinton exclusively, the Times refused to allow Blitt to portray her. Nearly any notion is palatable in prose, yet editors perceive pictures as a far greater threat. Confucius underestimated the number of words an image is worth; the thousand-fold power of a picture is also its curse. Op-Ed's subject is the world, and its illustrations are created by the world's finest graphic artists. The 142 artists whose work appears in this book hail from thirty nations and five continents, and their 324 pictures-gleaned from a total of 30,000-reflect artists' common drive to communicate their creative visions and to stir our vibrant cultural-political pot. 606 $aAmerican wit and humor, Pictorial 606 $aEditorial cartoons -- New York (State) -- New York 606 $aNew York times 615 4$aAmerican wit and humor, Pictorial. 615 4$aEditorial cartoons -- New York (State) -- New York. 615 4$aNew York times. 676 $a071 .471 700 $aKraus$b Jerelle$01520810 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a9910788214103321 996 $aAll the Art That's Fit to Print (And Some That Wasn't)$93759592 997 $aUNINA