 |
Operated by the Calgary Contemporary Arts Society Current Exhibit: January 16 - March 1, 2003 |
|
|
Home
The history of graphic social satire is a long one. An acid-tinged line can be traced from Francisco de Goya's etchings exposing Napoleon's brutal Spanish campaign to Honore Daumier's lithographs lampooning the French class system.
The INX Group was formed with a core of editorial illustrators who worked for The New York Times at the dawn of the Age of Reagan. Their name "INX" was a play on the essential medium employed by these pen and brush artists.
As of early 2002, INX turned to the internet to realize its original goal of self-syndication at www.inxart.com.
From broad caricature to somber surrealism, from ink to paint to collage to computer, this work represents a wide range of moods and media. |
FEVER
LINES:
The history
of graphic social satire is a long one. An acid-tinged line can
be traced from Francisco de Goya's etchings exposing Napoleon's
brutal Spanish campaign to The INX
Group was formed with a core of editorial illustrators who worked
for The New York Times at the dawn of the Age of Reagan. Their name
"INX" was a play on the essential medium employed by these pen and
brush artists. They shared a desire to produce and
"It's wonderful that the INX cartoon collection has so many different artistic styles and viewpoints," says Amy Lago, Vice President of Comics and Graphics for United Feature Syndicate. "The best illustrators around come together to bring us their take on social and political events--and the result is relevant, expert artwork."
Thomas
Kerr and Martin Kozlowski Artist Credits:
|
|
|
| Home | Exhibits | Events | Boutique | Information | Sponsors | Contact Us | Site Map | |
||
Honore
Daumier's lithographs lampooning the French class system. It links
Thomas Nast's newspaper drawings that cut to Tammany Hall's corrupt
heart with Georg Grosz's graphic excoriation of decadent post-Weimar
Germany. This impulse to hold up a looking glass to an imperfect
world 
lives
on in the INX artists represented in this exhibition. Since 1980,
the INX Group has produced compelling visual commentary on the major
events that have spanned the millennial divide.
distribute
uncensored political images to the news marketplace, keeping editorial
control in the hands of the creators. Free-lancers granted such
freedom were galvanized, producing sharp, cutting illustrations,
even when the remuneration was meager. Camaraderie and passion for
the work sustained the group for over three years until the complexities
of managing a small business drove many members away. Those who
stayed stabilized INX by negotiating a long-term contract with the
United Feature Syndicate. Under this new arrangement, which lasted
until late 2001, the contributors were encouraged to concentrate
on their art instead of its promotion and distribution. 
Subscribers
to the service have included The Boston Globe, The Philadelphia
Inquirer, The Seattle Times, The Washington Post, and numerous publications
in the U.S. and abroad. As of early 2002, INX turned to the internet
to realize its original goal of self-syndication at 
Fever
Lines: 20 Years of Graphic Social Satire by INX Group, an exhibition
of black and white editorial page drawings stretching from the Age
of Reagan to today's War on Terrorism offers highly opinionated
perspectives on world affairs by over 50 widely published illustrators
in a variety of styles and techniques. From broad caricature to
somber surrealism, from ink to paint to collage to computer, this
work represents a wide range of moods and media. The show features
the international 
perspectives
of artists including Horacio Cardo, Felipe Galindo, Janusz Kapusta
and Igor Kopelnitsky as well as the American homegrown viewpoints
of Yvonne Buchanan, 
Randy
Jones, Thomas Kerr, David Klein, Martin Kozlowski and Peter Kuper,
the group's art directors. The show serves as an illustrated history
lesson full of biting humor, surprising insight, startling images
and extraordinary craft.
