dialogue philip burke, drew friedman, robert grossman, and victor juhasz editorial caricaturists By Steven Heller In 1987, a peach-colored, broadsheet newspaper named The New York Observer appeared on newsstands throughout Manhattan. The paper’s initial incar- nation, funded by investment banker Arthur Carter, was pretty dull, but Graydon Carter became editor in 1991 and transformed it into a venue for savvy political coverage that also provided a generous helping of media and cultural dish. In the mid-’90s, editor Peter W. Kaplan, a veteran television and print journalist, began molding the Observer’s sophisticated flair. Kaplan heightened the weekly’s editorial panache by as- signing four artists—Drew Friedman, Robert Grossman, Philip Burke, and Victor Juhasz—to create cover illus- trations and caricatures. The quartet Philip Burke’s portrayal of Ana Ivanovic and Novak Djokovic had distinguished roots: Friedman had before the U.S. Open, August 21, 2007. illustrated a regular feature in Spy magazine, in which he lampooned the glitterati by depicting them in curiously few outlets, the Observer was an oasis Heller: The Observer is one of the few pub­ embarrassing situations. Grossman, for these four as well as an inspiration lishing venues in the U.S. that encourages the grand master of airbrush, had for many others. Last February, the social and political caricature. Do you think produced some of the most emblematic weekly altered its format from broad- there’s a dearth of strident caricature today? political and social caricatures during sheet to tabloid and shifted its editorial Friedman: There does seem to be, and I’m the ’60s and ’70s for magazines including emphasis from longer political analy- not quite sure why. Perhaps it’s because of New York and National Lampoon. Burke ses to shorter pieces. Yet after all the current trend in most magazines toward created colorfully expressionistic these years, the same quartet of artists running photos. And so many publications caricature paintings that had become continues to create some of the most don’t want to make waves. There are still staples in Vanity Fair and Rolling Stone acerbic—and funny—graphic com- great caricaturists—and some lousy ones— in the ’80s. Juhasz was known for his mentary in publishing. To mark the getting published, but it’s not like the glory elegant, 19th-century-inspired portraits, Observer’s 20th-anniversary year, PRINT days of the ’60s and ’70s. JuHasz: I’m frequently seen in The New York Times rounded up the crew to discuss the not sure there is a dearth of “strident” cari­ and other publications. During a period challenges and delights of having such cature itself. The dearth is in publications when current-affairs caricature had a prominent stage for their work. that are not part of some huge corporate 36 printmag.com dialogue complex; these publishing houses don’t The New York Times or The New Yorker would want to offend the powers that be. You see have run it. Heller: It appears that with fierce caricaturing all over, but not in publi­ the exception of “entertainment” carica­ cations with sizable markets. grossman: ture, in which the artist stretches a nose or With the advent of the internet, there’s more curls a lip for the portrait, editors are caricature than ever. For me, “stridency” as nervous about caricature making too I understand it is off­putting. Uglification profound a statement. Do you believe this is not my idea of caricature. Monstrous is true? Burke: This is definitely true. people who want to terrify us probably like Editors are under pressure from publishers being portrayed as monstrous and terri­ not to alienate any potential consumers. fying. To me, it’s better to show the bully Friedman: Usually, an editor or art director as the frightened baby he probably is. knows what to expect from me. Of course, Heller: What does the Observer enable you I’m trying to capture something a photo to do that you can’t do for anyone else? can’t, without going too far overboard. But Burke: Being featured on the cover once occasionally the subject or situation just a month is an awesome stage. And Peter demands it, and we’ve all been scolded from Kaplan is continuing a practice I first time to time. grossman: If I’m not amusing experienced while working with Fred someone at least a little, then why bother Woodward at Rolling Stone: He requires no doing what I do at all? Brad Pitt may not be preliminary sketch. He delights in really as morally reprehensible as Karl Rove, but Drew Friedman’s depiction of Julia Roberts for an article on glamorous city bikers, getting involved in each piece at the outset, that doesn’t mean a drawing of either of September 4, 2007. and part of what I look forward to every them can’t be equally perceptive and funny. month is our time on the phone, when we It seems to me that editors are often nervous strangling each other. JuHasz: Not every­ have a kind of back­and­forth free asso­ these days with anything that seems “diffi­ one is famous and loathsome. There’s ciation until we have nothing more to say. cult” or requires a bit of thought. It may a big difference between Dick Cheney and Friedman: Working for the Observer is be that some have trouble even reading some stock analyst you’ve never heard of. unique because Peter Kaplan trusts us to the any kind of drawing. They seem to accept There are plenty of those assignments where point of letting us conceive the image uncritically the idea that a photograph is you have no personal or emotional stake in following that brief conversation with him. “real”—yet drawings can be real without the person you’re caricaturing. In those That’s a dream situation. grossman: For the being “realistic.” JuHasz: I can tell you instances, it becomes a matter of being Observer, I can be naughtier. And nuttier. from experience—and happily, this doesn’t professional and doing the best drawing I showed Hillary in a bikini recently; I doubt apply to the Observer—that I’ve had to possible. grossman: “Caricature” has drastically revise and tone down caricatures a root related to “carry,” meaning that the on orders from editors because the publi­ portrait is supposed to be “loaded.” If it’s cation wanted to remain on good terms neutral, then it’s something else entirely. with their sources in the White House. The Heller: What can a caricature do that no current administration absolutely takes other art form can achieve? Burke: With the cake for intimidation. Heller: Can the intense elasticity of caricatura, we can caricature be neutral? Friedman: If you can amplify those physical facets that reveal the pull off “neutral,” you’re successful. You inner life of a character. I think that in want the work to be as honest as possible, great caricature, you can see not only the and be true to yourself, whether it’s a draw­ subject but also something of yourself ing of Dick Cheney or Mother Teresa. It’s and every human. Friedman: Hopefully, best not to take sides, although I certainly it can make you laugh—better yet, scream do have an opinion. An example of my work with laughter. And it should expose that I think succeeds because you can’t something about the subject that a photo tell who I prefer—or dislike the least—was just can’t: what’s inherently and uniquely Barack Obama and Hillary Clinton face off an Observer cover depicting Bush as Dracula repugnant, or even wonderful, about that in Robert Grossman’s March 26, 2007, drawing. and John Kerry as the Frankenstein monster person. grossman: Caricature to me is 38 printmag.com dialogue the essence of irony, in which a statement is train wrecks populating the gossip pages. glaringly right and wrong at the same time. That’s shooting fish in a barrel. Or, if you’re Heller: How have your victims reacted portraying Saddam Hussein, that’s like to your satiric images? Friedman: Over dropping a grenade in a barrel. But the the years, I’ve gotten mainly positive feed­ real potential fun is in the political. Burke: back from the subjects, and many have If the individual is offensive, then I think bought the originals. The movie producer a true caricature will be quite offensive— Harvey Weinstein, whom I’ve drawn a but hopefully funny at the same time. number of times and occasionally wondered grossman: I’d encourage artists to go as if I had gone too far, has ended up pur­ far as they like; editors and art directors chasing several pieces. One exception was will put on the brakes as they see fit. If the Woody Allen. He penned a piece for the subjects are offended, so be it. Surely, Observer about his lifelong love of the New Victor Juhasz’s caricature of Rupert Murdoch the worst of them knows that a doodle is for a piece on the media baron’s Wall Street York Knicks. I drew him courtside as an Journal acquisition, July 30, 2007. less painful than a bullet. Heller: Other old­fashioned, fedora­wearing sportswriter, than doing work that makes you happy, clacking away at his Underwood typewriter. always on! JuHasz: First, get good refer­ what satisfactions do you get from carica­ Pretty benign, I thought, but I must have ence, and second, get really good reference. ture? grossman: After many years of doing gone a tad overboard with the freckles, More often than not, my images aren’t it, I still find it magical that a few lines on because he promised never to write for situational.