If you have read my work here at The Norwich Radical and elsewhere (shameless self-promotion, I know) it should be apparent that I enjoy satire. And as reality subtly blends in a dystopian crap-scape, one of the very few plus sides is that the satire game is booming. In addition to the plethora of late night hosts to match personal preference (Colbert does it for me) keeping us informed and helping us to laugh instead of cry, the humble illustration has been holding a mirror up to the corrupt, the cruel, and the incompetent and making them look ridiculous, and they know it.
by Rosie Rawle
by Asia Patel
by Daniel Delargy
Since graduating from UEA, things kind of went downhill for me. I graduated with the grade I wanted, but I was stuck as to what to do next. I had no job, no sense of personal accomplishment, deteriorating relationships, and to top it all off I moved back in with my parents and felt ashamed because as the eldest child, I had this expectation that I had to be this success story which my siblings could look up to.
My old habits started returning. I tried to get back into an old hobby of mine, running – but quickly dismissed it. I hid myself away.
by Jess Howard
Often, we start out with an initial opinion of a topic, event or article, and end up completely changing sides once we have engaged in an in-depth exploration, and this is exactly what has happened with an article I recently read.
In early May 2016, a particularly scathing opinion piece was written by Guardian journalist Jonathan Jones regarding the presence of magazine covers in gallery spaces. The article, titled ‘Kate’s Vogue shots shouldn’t be in a gallery. They’re not art.’ discusses Jones’ opinions on whether or not photographs of Kate Middleton have the right to be hanged in The National Portrait Gallery. Regardless of how we feel about the photographs, or indeed the monarchy, it does raise an important question. Namely, what constitutes high or low art, and what is deserving of exhibition space.
The series of coordinated sexual assaults and robberies across Cologne on New Year’s Eve, prompted an outcry from the media when it came to light that a majority of the perpetrators were refugees from the Middle East and North Africa. A steady stream of articles surfaced examining and criticising Angela Merkel’s mantra of “refugees welcome”, all of them reeking with an infuriatingly smug “I told you so”. The tabloids dealt with the news with as little finesse as you’d expect—publishing quotes from questionable sources about how some refugee was overheard to be describing western women as sex objects (as if this was somehow representative of the opinions of all refugees). Others have taken a more sympathetic approach, pointing out that these refugees probably didn’t understand our esteemed cultural practice of not robbing and sexually assaulting people.
Amidst all of this was a cartoon published by Charlie Hebdo depicting Alan Kurdi, the drowned toddler whose body was photographed washed up on a beach in Turkey. This haunting image has come to represent the plight of refugees. In this particular cartoon he was portrayed to be all grown up and groping a woman in Germany. Rightfully, this elicited a furious media backlash.
by Jess Howard
The majority of us will have seen articles featuring ‘Disney princesses redesigned as’. They’ve been tattooed, hungover and turned into pin ups. This time, however, writer and illustrator combo Danielle Sepulveres and Maritza Lugo have teamed up to produce a cartoon featuring Disney princesses visiting the gynaecologist, to promote sexual health awareness and cervical cancer. I have previously discussed why I disagree with cartoons being used to highlight sensitive issues, and this example is no exception.