All the Art That's Fit to Print (And Some That Wasn't): Inside The New York Times Op-Ed Page
All the Art That's Fit to Print reveals the true story of the world's first Op-Ed page, a public platform that& mdash;in 1970& mdash;prefigured the Internet blogosphere. Not only did the New York Times's nonstaff 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. Art director Jerelle Kraus, whose thirteen-year Op-Ed tenure 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& mdash;whose story was told in the movie The Killing Fields& mdash;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.Product Details
Editorial Reviews
From Publishers Weekly
The enduring relevance of the New York Times op-ed illustrations are explicated with literary flair by Kraus, a former art director of the page, who contends that the groundbreaking pictures changed the very purpose and potential of illustrations... to stir the political and cultural pot. Episodic essays accompanied by illustrations re-create the battles between art directors and editors that have raged since the Times created the world's first op-ed page in 1970. The works of famous Times illustrators like Brad Holland and Roland Topor, are enriched by Kraus's presentation of the controversies associated with their publication or rejection. The book serves as a chronicle of late 20th-century history, replete with sardonic images of tyrants and visual commentaries on the fall of communism; the works of Eastern Europeans who fled totalitarian regimes are some of the most challenging and resonant. In this overflowing treasure chest of ideas, politics and cultural critiques, Kraus proves that art is dangerous and sometimes necessarily so. 306 illus. (Nov.)
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Review
"A chronicle of late twentieth-century history, replete with sardonic images of tyrants and visual commentaries on the fall of communism; the works of Eastern Europeans who fled totalitarian regimes are some of the most challenging and resonant. In this overflowing treasure chest of ideas, politics and cultural critiques, Kraus proves that 'art is dangerous' and sometimes necessarily so. " -- Publishers Weekly "Readers will be entertained and come away with a deeper appreciation of the power of illustration." -- Library Journal "Worth the price of the book is Kraus's 2 1/2-hour encounter with former President Richard Nixon." -- History Wire "An intensely personal history of the [op-ed] page as it weathered tempests and tinpot tyrannies at the Times." -- Columbia Journalism Review
About the Author
Jerelle Kraus is the award-winning art director whose thirty-year tenure at the New York Times includes a record thirteen years at Op-Ed. She also worked as an art director at Time and as the art director of Ramparts magazine and of Francis Ford Coppola's City magazine. The New Yorker and the New York Times Magazine have published Kraus's writing, including an "On Language" column that subbed for William Safire. Fluent in four languages, she was educated at Swarthmore and Pomona colleges and at l'Ecole des Beaux-Arts in Paris. She received an MA from the University of California, Berkeley, and a Fulbright scholarship to Munich. Her Web site is jerellekraus.com.
Customer Reviews
A True Masterpiece of Political Humor and Graphic Absurdity
Jerelle Kraus's unveiling of forbidden New York Times illustrations is powerful, delightful, and gut rippingly funny! A tour de force of insightful commentary and hysterical viewing, it's also an amazing reference for artists and lay people alike. To tickle your intellectual funny bone with the perfect feel-good cocktail of sneers, jeers, cheers, and endorphins, grab this book!
--Robert Rendo, PoliticalCartoonsOnline.com
All The Art That's Fit To Print
Excellent book with many great illustrations. A must for all editorial illustrators and the people who love them.
A Feast for the Eyes and Mind
A provocative and revealing window into some of the most influential art of the 20th century, filled with wickedly subversive art, much of it never seen before.
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