carlyn yandle
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Dancing on the edge

11/3/2024

 
This craftiest time of year is laced with pain
​

When you’ve recently lost a loved one, certain annual occasions are rough: Christmas, birthdays, anniversaries. For me, it’s Halloween. That’s when my brother was a full-steam-ahead creative force and crafty collaborator.
Right about now I’m missing his super-charged energy. I need the distraction from the dead-heat US election campaign. Whenever I’m in near fetal position watching the news of the latest misogynist spew, I wish he would walk through the front door and shatter that chatter with his usual greeting, Hey. What’s goin’ on?

My brother has been my biggest backer, my major motivator. His material explorations, unlike my mincing attempts, were bold. He took keen notice of my flirtations with trendy crafty products over the years and turned them up to 11, sponge-painting, glue-gunning, Mod-Podging and needle-felting the ridiculous and the outsized. One Halloween, in the days (weeks?) before, he and his two sons papier-maché’d two gigantic skulls that he illuminated and suspended at their front door to create all the charm of Colonel Kurtz’ camp in Apocalypse Now. He did it for the kids — all the kids.

He designed craft beer labels and websites, hand-built playhouses and kitchen cabinetry from scratch and baked up a scale-model gingerbread house of his own house. He decorated birthday cakes with panache and had a penchant for dinner plating. His Instagram account is (still) full of irreverent, self-deprecating and appreciative posts of various craftiness.
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Nothing I made was too weird for his liking. Sometimes our unsolicited viewpoints clashed, which I liked because there was good takeaway there. He wasn’t shy about serving up some meaty feedback about my work-in-progress but scoffed at the notion that he was an artist himself. He often ran his well-rendered hand-drawn or Illustrator sketches by me. I would tell him that they were overly complex. He would give me the screw-you look and eventually edit his design.
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My brother never saw himself as an artist.
Two years ago, as summer turned to Fall he was couch-bound and riding waves of excruciating pain. I would text him stoopid videos of us synchro-dancing at a house party or bloopers from our teenage nephews’ film projects.

A couple of days before that Halloween my brother was on a fentanyl drip in the palliative care ward when the younger teenage son showed up for his dad’s creative input, in an almost-finished Semi-Pro costume. He spent the evening bedside, drawing the logo with felt pens on the singlet fashioned from an old T-shirt. Meanwhile our niece, 12, had asked for my assistance in transforming her into a strip of bacon. I received the required hand-rendering of her idea and figured it out. She cut and sewed up red and brown strips of felt to a body-height casing of white felt. It was as hasty as her drawing. I took a photo and sent it to my brother.

The day before Halloween he critiqued it. “Needs some ‘distressed’ coloring around the edges,” he texted from his hospital bed. “Maybe some of that bacon scent spray that I always see in dollar stores… what about a sash or banner that says ‘Maple Leaf’ on it?” But basic bacon was all I could muster and when I forwarded him our sister’s Halloween-night reveal photo of three girls in character of butcher, pig and bacon he texted back: “You nailed it!” Liar. But I lived for his praise.

Three days before he left this world on Christmas Day I texted him a video of our crotch-rock front-porch lip-sync from Halloween the year before.

He replied with a heart emoji.
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Leader of the pack

Home isn't someone else's investment unit

9/17/2024

 
New modular building blocks create a visual for more humane density
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I blame my dream-home fantasies on that OG influencer Martha Stewart.
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When the thick, slick Martha Stewart Living was queen of the magazine racks I was there for the Crafts: the rustic doorstop animals made of French linen tea towels; the velvet lavender sachets for drawers and for gifts. Soon I was sucked into the glossy paper vortex of step-by-step tableaux of Martha — in cropped jeans and crisp Oxford shirt — engaged in various Good Things like washing her paned windows using vinegar from a glass sprayer or sweeping her freshly-painted porch with a birch-twig broom. I was led to believe that people who weren’t already trained pastry chefs or architects could create the Halloween gingerbread haunted mansion, and that one day I too would have a fireplace mantle to display handmade snowglobes nestled between mason jars of glittered cedar boughs dangling with tiny crocheted snowflakes. Never mind that my wreath of pinecones tied with tartan ribbon and tacked to my apartment door wasn’t adding any rustic Christmas vibes to the purple-and-teal common hallways. This was all temporary.
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By the time Martha finished doing her five months for fraud, I was half way through 20 years in the same apartment, engaged in the more practical project of trying to live a creative life in a small space (sprawling in comparison to the majority of new builds in Vancouver). I ended up writing a weekly newspaper column on the subject and even partnered in a home re-vamp service that funded four years of art school. Dwelling design remains one of my Special Topics so when I heard first thing this morning (at the time of this writing) that the provincial government had released some free modular plans for small-scale multi-unit housing, I jumped onto the site for a look-see.
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Streetscape concept of multi-unit integration with single-family homes, Standardized Housing Catalogue, BC Ministry of Housing
Because when it comes to affordable housing in this town, things can’t get worse (barring, of course, the imminent earthquake a.k.a. “The Big One”). According to one report, last year Vancouver’s median home price was more than 12 times the median household income, making it the third most expensive housing market in 94 cities around the world. Many of the investment units in Vancouver’s soaring glass towers are now languishing on the market, because even if they were affordable, “home” does not conjure up visions of 35 floors of stacked 500-square-foot rectangles with one wall for windows and no outdoor space.
​

The customizable building blocks are an attempt to provide an option to this modern-day warehousing of humans, a step toward addressing the missing middle between standalone houses and condo towers. They were developed following recent zoning changes that allow three or four units on the standard city lot, to the horrors of NIMBY owners in those single-family-home neighbourhoods and to cheers from developers. To curb design and construction costs and expedite the permitting process, the limited options of modular blocks are basic. One shows two bedrooms with a shared bathroom. The common-area block shows a surface that is both dining table and kitchen island with sink, with the rest of the kitchen along one wall. No balconies are indicated and there are not a lot of windows. Every unit shows stairs.
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Placement options on various lot sizes, from the Standardized Housing Catalogue, BC Ministry of Housing
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Common space options, Standardized Housing Catalogue, BC Ministry of Housing
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Multi-family dwellings on a standard city lot, Standardized Housing Catalogue
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On the upside, they are connected to the earth and integrate into established communities. They open up the possibility of having a baby, aging in place, living with or beside other relatives or families of choice. They are the kind of home that might incline a crafty type to collect pinecones from the mature trees in those longstanding neighbourhoods and glue-gun a wreath to hang on the front door. 
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It’s a Good Thing.

Awkward family moment informs art-making aesthetic

7/14/2024

 
When I first started out as a suburban-newspaper reporter I had a single original artwork tacked to the wall in my basement suite. It was a life-sized acrylic-on-paper, a nude holding her maybe-pregnant belly against a landscape of spewing factories and techni-coloured streams.

I watched this gaunt, world-weary figure emerge in watery brushstrokes from the hand of the newspaper photographer's girlfriend. This is how she worked, in their basement suite, pulling yardage from a large roll of cheap paper, painting straight from her head and heart, with no plan to keep or show or sell her paintings. She saw that this one resonated with me too — what twenty-something in a committed relationship doesn’t have this weighing on her mind? So she gave it to me.

Hanging it felt like supporting an ally, even if it was only hanging in my dark, featureless space that nobody would see besides the boyfriend on weekends. Then one day some of his family made the trip for a visit. They complimented my hanging flower baskets, my thrifty decor. I didn’t hear until much later that the painting had become a topic of conversation among various relatives, a bit of a joke about that subject and, by extension in my mind, this girlfriend.

I had none of the inner fortitude to see this painting or my choices as acceptable and eventually I rolled it up and hid it in a closet. I married into that family within three years. The boxed wedding dress joined the poster tube containing the offending painting for two more moves until I finally ditched the artwork at the Sally Ann. The dress is another story.
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Detail from 'Unbridled,' the artist's handmade silk wedding dress embroidered with significant events. (Carlyn Yandle photo)
Picture'I Dissent,' aesthetic design with a political position marking the death of Ruth Bader Ginsburg. Acrylic on panel, 2020 (Carlyn Yandle)
But I did keep something from that painting: some lessons that have informed an aesthetic that I carry to this day but might not even recognize until after each artwork is completed, or is at least on its trajectory.

The first is the power of attraction. Not to be confused with the pseudoscientific Law of Attraction, this is a drive to create aesthetically-pleasing, familiar domestic objects and fields that upon closer inspection have something else to say besides cozy or pretty. An early example of one of my pretty/pretty disturbing objects is Clutch (2007). Hundreds of sewing pins were pierced into a thrifted clutch purse in a colourful beaded pattern covering the entire surface. The clasp opens to reveal an impenetrable thicket of steely pointy ends.

Another valuable lesson is context, or time and place. Gallery-goers may prepare themselves to be confronted by artwork but I don’t wish that on houseguests. There are none of those Live-Love-Laugh type directives or IKEA Eiffel Towers and tulips on the walls at home, but what is there is selected to engage, not repel. Home is a place to feel safe. The studio is a place to not play it safe, but it’s still a covert operation, playing on that first impression of domestic objects that reveal cracks in the beauty of the everyday.

I’ve also learned that my creative energy comes from joy, not pain. I have no urge to make when I barely have enough hope for the day to put on pants. Heavy realities may be the driving force but the work develops from a position of hope for comfort and social connection, a hunger for nourishment of new ideas and new materials to explore. The joy is in learning while doing, imagining new collective futures.

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What first appears as a frilly white textile barely conceals the chaotic armature of conduit casing, hazard tape, metal pipes, and other construction-site debris behind layers of discarded Tyvek building wrap. (Nate Yandle photos)
Finally, my position is not fixed. In my mind I have that 1985 photo portrait of Lily Tomlin in a black T-shirt with white lettering that screams EVOLVE OR DIE. And look at her now. My sensibilities are always shifting and I am growing more at peace with the idea that what other people say about me is none of my business. When an artist friend turned 50 on an artists’ retreat the rest of us toasted her in a welcome to the I Don’t Give a Shit Club. When you’re part of that club you stop second-guessing every decision and tending to other people’s feelings first.

This is how I recently became the owner of Fuckwit. I was attracted by the sweet rosebud fabric appliqued in tiny blanket stitches precise as Letraset on a lacy linen. I like the artist's choice of font and word. It’s an overt, uncomplicated work that hangs near the front door, visible before guests would even have their coat off. If people get offended, blame the artist, not me. I just like the beauty in that crack.
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Original artwork by Kathryn Lissack (@kathrynlissack)

VIDEO tour: 'Joyful Making in Perilous Times'

4/21/2021

 
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Click HERE for a 10-minute journey through the methods and motivations behind this MFA thesis. (Film made by Ana Valine, Rodeo Queen Pictures, August 2020)

Tripping on this troublesome rug

12/6/2019

 
In the final critique of my final work in this second-to-final semester of graduate studies, I could see that there was going to be trouble. 
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​From the start, there was the trouble of actually getting a full view of this sprawling, chaotic, twisted mass of deconstructed jeans. It required everyone to stand around the perimeter of the low-lit white-cube gallery, in a circle, facing in, looking down at this problem child.
 
There was the troubling of its position: Why not on the wall or hung from the ceiling? Since it’s sprawled out on the floor, does it invite being walked on?
 
There was the troubling of method: Why the knotting and weaving and braiding? Why the obvious waistbands and labels? Why spend all this time and labour? Why not just a pile of denim strips?
 
And there was the troubling over concept: Is it too obvious? Too simple? Too many signifiers? Not enough points of entry? Or too many? Is it art or craft? Who is this talking to? And to what end?
 
And those are just my questions. 

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​I question everything, especially as I work, with my hands, intuitively. But my first line of questioning is directed at the material itself. What do you want from me? (Or, to borrow from my then-eight-year-old nephew, in an inexplicable situation: What are we even doing here?)
 
As much as I could have sat and gazed at the striated piles of folded jeans collected, machine-washed and line-dried by my mother and hauled to my studio by my others, now those jeans demanded more of me.
 
Seams, the index of the work by mainly women in foreign factories, needed to be exposed, so I cut them away from the yardage, bound them up in my own hand-stitching into tight, potent fast-fashion/slow-craft units. For what? For now, just for today: my daily reminder not to overthink or force solutions.
 
The labels and tags required daylighting, too, and the more collisions the better between fonts and texts and all that those brands try to stand for.
 
That left the denim textile, the fabric of this whole fraught, toxic industry. Shucked from their constraints of style and function, I ripped them into strips and watched them fall from my cutting table into heaps on the floor like tidepools.

PictureImage-searching "jeans industry" produces a blue-stained global-reality horror show.
As much as I love the immersive works of minimalist textile installations, more would be more here. I would be mining all my own making methods and circulating them into this circles-within-circles piece, in allegiance with all of those who work with their hands for a living or for the love of material. Or both.
 
Like most makers I know, I love the challenge of constraining the work to some specific rules of material engagement so I limited mine to a single material, a knotting/binding additive process and two tools: scissors and sewing needle (well, three, if you count my hands).
 
I intrinsically start from the centre in an almost innate process learned over a lifetime, from macramé plant-hangers (1970s) to braided rugs (1990s) to crocheted giant doilies (2000s) created to cover and protect in the public sphere.

​The work begins with a gathering of material-energy into a tight nucleus of force (I’ve been mixing up issues of 
astrophysics and making over the last year) and spreads outward, finding pattern then breaking that pattern toward new horizons. It’s a process of allowing the material to ebb then roil up again into forces that break into near disintegration, a rhythm that keeps me in the swim of things. As it flows outward into small tsunamis, then eddies, I feel an oceanic, topographic, geologic personality wash over this thing.

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And this definitely wants to be a thing, not an immersive installation. This is an object that requires some finishing, a symphony of soundwaves that started with a bang but wants to end in a hum, in the round. It is a rug you can’t walk on, borne of Seismic Rug that emerged while I was confined to the floor with sciatica,  watching footage of the horror of the 2011 Japan Tsunami flood in.
 
It is a resurgence of that making, and that fear of that flood and of the oncoming higher waters, but also the resurgence of my ability to grab hold of physically-challenging handwork after falling on the low-tide foreshore this summer and breaking my ‘good’ arm in two places. I cast aside those fears of not being able to make/do from the cast-offs of this unsustainable era of human history.
 
Resurge feels right for the piece formerly known as the Monster that raises issues from the ground up, this fuzzy menace.

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Left: A colleague lists initial reactions during critique; right: pattern and collapse seen in one section.
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We're taking on capitalist forces, one stitch at a time

8/30/2019

Comments

 
Back when I was still transitioning from workaday newspaper editor to mainly work-for-free artist I applied for a Nexus card.
"Whaddaya you do for a living?" asks the clerk in her American drawl, without looking at me.
When I get this question I always wish there was an easy answer, some simple keystroke like in the relationship status options on Facebook.

"It's complicated," I say. She sighs.

I start in about how I was a journalist but then quit to go into full-time Fine Arts studies, then after graduation I got a studio and am now developing an art practice and doing work for upcoming projects... and stop as her eyes fall to half-mast. We go back and forth for a while like this when she announces: "I'm gonna put you down as housewife."
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Even though I've always been self-supporting I decide not to waste my breath defending my non-conforming life choices. But really, I'm using the best skills I have to be a contributing member of society and I'm grateful to be a part of the ever-expanding, borderless community of crafters, craftivists and visual artists, all connected beyond language by hand-making for peace of mind and social, political connection.
Craft creates wellness, it brings humanity during turbulent times, it breaks down hierarchies and is the connecting thread between those who make for personal, tactile pleasure or for use and those who make art for art's sake. Craft is as at home in the home as it is on Etsy or in the white-cube gallery. It has footholds in ancient practices and the avant-garde. It complicates categorization and won't be fenced in (or out).
One of my pieces is currently at home among the works of 20 spinners, weavers, felters, quilters, garment designers, knitters, rug-hookers and others in a current Gulf Island fibre-arts show. Some of those sharing their work self-identify as artists and some as specific kind of makers but all of our pieces hang together in conversation, sparking more conversation and more ideas among visitors.

This exhibition is another reminder that craft is embedded in deeply-personal making activity, the tactility of the culturally-rich materials and the creative communities we live in.
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Making and their makers form an essential humanizing force more encompassing and enduring than even advanced capitalism but there's no way to show that value on a Nexus form.
I reject that line of questioning. And I am not married to a house. 
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The power of fiber seen in the corridors of power

3/20/2015

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PictureRania El-Alloul says she a Quebec judge told her to remove her headscarf. (cbc.ca photo)
When I see the debate raging around women wearing the hajib (head scarf) or niqab (cloth covering the face) in Canada, I think about the male gaze. 

The latest controversy surrounds the woman who was reportedly told to remove her hajib in a Quebec courtroom last month -- by a female judge, for the record -- but it's another example of denying women's personal boundaries.

The court order that she remove this square of fabric so connected to her identity and religion and expose herself in the public sphere reminds me of the long history of the male gaze evident throughout the corridors of the world's most prestigious art museums. It is there in the countless images of nude women created by white heterosexual male artist-geniuses, for the perspective of an implied white, heterosexual male audience. It is the why for the Guerrilla Girls protest movement that began with women donning gorilla masks in 1985 and taking on the Museum of Modern Art's status quo. 

When the male gaze is reversed -- when a woman can watch, unwatched -- it is at the very least disconcerting in this culture that values women for their appearance. Whether she is covered by a gorilla mask or a niqab, she induces a quiet horror for the status quo, sparking debate. Our society is hardly the voice of reason when it comes to female oppression; not when a woman in a niqab shopping at Whole Foods may incite more controversy than any number of women in the same aisle who've altered their bodies through toxin injections or the surgeon's scalpel. 

The issue, whether we're talking priceless portraits or shifting demographic landscapes, is freedom of choice. 

While our male-dominated courts and all levels of government wrestle with appropriate women's garments, three women tell it like it is from their point of view -- under the veil or in defiance of it -- on CBC Radio's The Current here.

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Everything I know about design I learned in newspapers

2/6/2015

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One of the biggest lessons learned from a career in newspaper journalism was, surprisingly, the difference between decoration and design. It began when I built up basic layout skills using paper dummies, reduction wheel, metal pica-pole (also good for gouging into office drywall when it was all Just. Not. Working), non-repo pen and something my favourite production foreman coined 'The Yandleometer' — a sort of parallax-viewfinder deal I improvised. 

When I finally got the gist of that, we were required to give up the physical tools and wrestle with clumsy emerging computer design programs. But this wasn't the big lesson part; that came when I truly understood that laying out a compelling page of stories and photos was function first, form second. And if that form included a bunch of clip-art snowflakes or needless drop shadows, those had to go. The scanning eye needs white space over decoration.

Good design requires a good editor, but too much editing can kill the soul of the visual field, whether that's a newspaper double-spread (I'm dusting off all the ol' industry relic terms here) or a building.
PictureThe staircase at Les Haras in Strasbourg is functional sculpture. (Photo from sncf.com)
The editor likes her windows clean of pouffy valances and floors free of scatter-rug litter, but she doesn't want her voice to echo in her interior space, either. There's a fine line between the functional beauty of the spare Bauhaus-based International Style and objects that are designed primarily to optimize mass-production.

The residual of a near-dead layout skill is that I'm constantly second-guessing structures and spaces with a specific line of questions: Too much? Too little? How much is design and how much is decoration?

I see this image of the astonishing staircase at the Les Haras brasserie in Strasbourg, designed by Jouin Manku Studios, and I wonder, is all that strapping structural? If not, what would it look like with the superfluous strapping removed?

PictureThe new arts centre on Lasqueti Island, shingling in progress. (Photo by Carlyn Yandle)
But, in the end, is less really more?

At first glance this Gulf Island community building is something out of a Bavarian folktale, more in line with the Volkisch movement that celebrates the hand of the craftsperson. 

Yet that decorative shingling is sound design in the rainforest vicinity, and uses locally-sourced renewable materials. The two planks flanking the window are structural components, too.  Above all, the design of the shingling hold the function of reflecting the mountainous region rising out of the sea, and the kind of creative activity that will take place at this new arts centre, while the planks are twin silhouettes of the tree trunk they came from.

The 19th Century English artist/designer/social activist William Morris would have loved it. He would have appreciated this collaborative work that integrates architecture with art and in so doing eliminates any boundary between form and function.

It's a happy, slightly chaotic dwelling-object, quite the opposite of the Bauhaus "minimal dwelling" ideal, but would it benefit from an editing?

No freakin' way.

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Defending the doily in 20 images, 20 seconds each

1/23/2015

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This just uploaded... Six and a half minutes devoted to that question I get a lot:
"What's up with the doilies?"

(Video courtesy of Terry Fox Theatre's PechaKucha program. More info on the entertaining, informative and globally-popular PechaKucha format here.)
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Oh the irony: freedom of expression in a corporate media world

1/9/2015

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I'm writing this as the radio airs a live report of gunfire. The French police have just killed the two brothers who hunted down particular editorial workers at the satirical Paris magazine two days ago, murdering 12.

A bloodbath over hand-drawn images is over (for now), while the global reaction is unfolding in drawings.
PictureFrench illustrator Lucille Clerc's image that she posted on Twitter went viral after it appeared on a fake Banksy Instagram account.
The call has been sent - and heard - far and wide: Defend free speech by publishing the triggering images of Mohammed, and by taking up the pen or pencil in a massive freedom of expression effort. (Some early responses by cartoonists can be seen here.)

As much as I am deeply offended by some of the cartoons printed in Charlie Hebdo (like this one of the naked young woman with her burqa up her ass, in line with the magazine's support of banning women's right to choose) I will defend all extremists' right to draw and publish extremist drawings. Respecting the right of all dissenting voices is part of a (still mythical) free and open society that nurtures rational thought and behaviour. The world witnessed the alternative on Wednesday morning.

Here in Vancouver, former Province editorial cartoonist Bob Krieger took to the drawing board hours after the news of the murders of his fellow cartoonists and others.

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But you won't find this one-panel in the local newspaper anymore; the last Province cartoonist was let go in 2013, the way cartoonists have been unloaded all over the country by their corporate media owners.

Surely it was simply a cost-saving measure, but the result is a pitiful amount of visual commentary, and a corporate curbing of free speech.

This week the Province (owned by Postmedia which also owns the only other paid daily newspaper in this town) ran a guest column on the topic of the need for cartoonists'  freedom of expression by Aislin (Terry Mosher) of the Montreal Gazette. That one voice ran in other Postmedia outlets including the Regina Leader-Post, Windsor Star and a whole whack of online news aggregators. And nothing against Aislin, but I miss our own, Vancouver-based critical drawings as we try to absorb the unfathomable. But as Krieger told The Tyee after he was shown the door, "corporate media is way too controlling and they don't want as much of a variety of opinion as newspapers should have." 

PictureYou can't keep good cartoonists down.
Yet suddenly Canada's corporate media can't get enough visual commentaries, and entire pages have been dedicated to the drawings, sometimes in full colour - a dream to many cartoonists. But look closer at the spread in yesterday's National Post  (also owned by Postmedia) and it's clear that less than half of the cartoonists are actually employed by newspapers. 

You can see the irony here. Freedom of expression: Yes! ... unless there's more money in clickbait that has no relevance to local readership.

Cartoonists are compelled to make art, to share their expression freely. The papers aren't paying like they used to but the people are clearly paying attention, via social media retweets, hits, and followers. There's a lot of value in that.

It's astounding that the penny has not yet dropped.



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