Stu Goldman, an award winning syndicated editorial cartoonist, produced illustrations for the Philadelphia newspaper, The Jewish Exponent, from 1981 until his retirement in 2009. For many years, Goldman also served as a regular and feature cartoonist for a variety of periodicals: Centre Democrat (Bellefonte, PA), Prince George’s Sentinel (Hyattsville, MD), and the predecessor to the alternative press publication, Philadelphia Weekly, previously known as Welcomat, which featured “Eavesdrawing,” a cartoon illustrating eavesdropped true-life conversations heard throughout the city.
At the height of syndication, Goldman’s editorial cartoons were featured in over 70 publications. Similar to the work of fellow Philadelphia newspaper cartoonist Samuel R. Joyner, also held by the Special Collections Research Center, Goldman’s cartoons used political satire to comment on issues that affected his own community as well as those of national and international importance. During the 1988 presidential campaign season, for example, Goldman drew a number of cartoons depicting the struggle between then Massachusetts Governor Michael S. Dukakis and then Vice President George Herbert Walker Bush to attract the Jewish vote.
In addition to his editorial cartoons, Goldman’s papers also includes his sketchbooks, many of them produced during his travels in the United States and abroad. His sketchbooks contain images on a range of subjects from the 1984 annual meeting of the American Jewish Press Association in Washington D.C. to a 1985 Dr. Who Convention at the Valley Forge Convention Center.
To learn more about Stu Goldman’s Editorial Cartoon Collection, contact the Special Collections Research Center at email@example.com .
Born in Philadelphia in 1924, Samuel R. Joyner is among a small number of early African-American cartoonists in the United States. His pioneering work influenced many generations of African American comics and commercial artists. While working as a paper boy for the Philadelphia Tribune, his artistic talents were first recognized by publisher E. Washington Rhodes. Following his service in the United States Navy during World War II, Joyner enrolled in the Philadelphia Museum School of Industrial Art (now known as the University of the Arts) to pursue a career as a commercial artist. He graduated in 1948.
After some difficulty finding employment, Joyner succeeded in selling his work to the Philadelphia Inquirer and Pittsburgh Courier. However, he soon realized that he was not fully valued for his creations at these papers because he was not allowed to attach his name to his art work or draw any non-white characters. In the 1950s, Joyner secured employment as an art director for the African American magazine Color. The magazine was originally based in Charleston West, Virginia, but moved its headquarters to Philadelphia in 1954. While working there Joyner gained national attention for his social and political commentary and satire and used it to encourage other African Americans to engage in activities and dialogues toward the defeat of discrimination and injustice.
In the 1960s, Joyner operated a print and graphics shop with his wife and four children. He continued to further his education by taking classes at the Pennsylvania Academy of Fine Arts and Temple University. From 1974 until his retirement in 1990, he taught art classes and graphic communications at Rhodes Middle School, and Bok Technical High School in Philadelphia. His work was published in over 40 different publications, and he received awards and recognitions from Temple University, The National Newspapers Publishers Association, and the Houston Sun Times, among other organizations.
Located in the Special Collections Research Center, the Samuel R. Joyner Artwork Collection includes photographs, original artwork and sketches, posters, news articles, publications, and ephemera, dating from 1947 to 2005. Joyner’s art work reveals how greatly influenced he was by the sociopolitical happening in society ,and how he used his talents to challenge racism, discrimination, exploitation, and American political culture in order to give a critical “visual voice” to a range of frustrations in the African American community.