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]]> Wed, 15 Jul 2015 03:08:10 EDT http://www.drawger.com/edel/index.php?section=articles&article_id=15238

This is my new cover for Newsweek, it's been in the news and received commentary, both positive and negative, online lately.   The cover story can be read online here.  Glad it started a conversation on the topic, as all covers should. Here are interviews I gave to Katharine Zaleski, the President of a woman owned Tech Company in Silicon Valley, "PowerToFly", and to the PBS NewsHour: --------------------------------------------------------- PowerToFly: Yesterday I interviewed Edel Rodriguez, the artist behind the Newsweek cover that has people tweeting in shock and exclaiming their outrage on the nation’s morning shows. As the cofounder of PowerToFly, the first platform that places women in tech positions they can do in offices or from home, I’m glad Rodriguez’s cover has generated a conversation that is too often considered a side issue despite sexism’s effect on fifty percent of the world’s population. My own theory is that  Rodriguez is confronting us all with a raw and very unpleasant image of the Valley that’s applauded for creating the world’s most progressive companies when, in fact, women are calling it a place stuck in the 1950s. As someone who used to write about the Valley’s “innovative spirit” as a journalist, the cover makes me feel disgusted with myself for celebrating a culture without questioning its disparities. What follows are Rodriguez's answers to my questions over email. First of all, congratulations on creating a cover that people are really talking - or freaking out -  about. How do you feel about all the reaction it's getting? Part of my job is to help make that happen.   I think the reaction is good.  It’s an important topic at this point in time, it’s great when people are compelled to discuss the issue in one way or another.   You have done illustrations on many divisive topics like gun control, the turmoil in the middle east, and race in America. Have any of your other pieces caused such a strong reaction?   I’ve been illustrating for about 20 years and have had thousands of images published.  There have been a number of images that have gotten reactions during that time, but the reactions were through letters or blogs.  Reactions are exponentially different nowadays because everyone uses Twitter, Facebook, etc. That’s a relatively recent form of commenting on imagery.   Your work is being called "sexist"... When it's an article about sexism... It’s kind of getting killed as the messenger here, no? We know what people in the media and on Twitter think, but have any of your colleagues shared their reactions?   Most of my colleagues, both illustrators and art directors, love the image and think it’s an accurate representation of the story.   They work with controversial topics every day and have a good sense of how to portray complex topics.  They understand that our job is to provoke the viewer into reading a story.   Why did you choose to use an image of a woman's skirt being lifted? I’d love to hear your thought process around creating the cover a little bit more.   I wanted to depict the harassment that women suffer.  How the harassment can be unexpected and come out of nowhere.  To show that frozen moment of shock, when a woman is just going about their life at work and something like this happens.  I wanted to have the viewer see that moment when they look on a newsstand, and to be shocked themselves.  Then be compelled to pick up the magazine and read the story behind the cover.   These harassers have spent much of their lives behind a computer, seeing women as objects.  I wanted them to be confronted with their stupidity as well.  Hopefully by seeing it there, frozen in time, they could come to terms with what they are doing.   When you were creating this cover did you get any direction from Newsweek beyond the content of the article? And this might seem like a silly question but many of our readers might not know the answer - were you able to read the entire article before you worked on your illustration?   Yes, I was given the entire article and read it before starting my sketches. There was no direction on images.  I came up with the ideas and the art director, a woman, felt that this one fit best with the point of view of the story.   I'm curious what you thought about the actual article written by Nina Burleigh. As a woman who recently raised a seed round for PowerToFly with my female cofounder Milena Berry, I found the stories about women struggling for funding to be beyond sad and discouraging. Luckily we didn't have the same experience. But considering the article maybe you should have done an image of a woman having to grope a man with one hand and ask for money with the other?   It’s a great article that describes a disgusting pattern of behavior.  I have two daughters, ten and five, who love technology and I don’t want them to have to deal with this in their careers in the future.   As to your idea for an image, you stick to Tech, I’ll make the pictures, ok?  Kidding!   After this experience what would you say to your media colleagues in general about their analysis of your work? I saw a Today Show host call the cover “obscene and just despicable, honestly” (and then she mentioned she had never read the piece). Over a year ago, I saw this same host comment on a segment about Miley Cyrus twerking at the VMAs. She offered no opinion except that she didn’t know “what to think.” Yes, I’m alluding to a double standard where we pin up barely legal actresses as sex symbols and then are aghast when someone illustrates sexism.   Television media is hyper and sensationalist for the most part.  I can’t take a bunch of talking heads on the Today show seriously.  Does anybody?   One moment they’re outraged about this supposed sexist image and the next segment is about ’50 Shades of Grey’ followed by a ‘hot new swimsuits’ segment.  It’s too ridiculous to even consider.  I’ll read articles or comments by people whose opinions I respect, that I’ll do.   Does this firestorm mean that print is not dead? Or at least print covers?   This firestorm and the recent events at Charlie Hebdo prove that print has a real place in contemporary society.  People still want to hold something real and permanent in their hands.   Print will evolve, but it will never die. --------------------------------------------------------------------   PBS News Hour: Newsweek’s current cover story on sexism in Silicon Valley is getting negative attention for dressing up what it defiles: unequal footing for women in technology. The cover was ridiculed as “desperate/inappropriate/offensive” and described by a national TV host as “despicable.” But many defended its intent, including the cover story’s author, Nina Burleigh. “The cover illustrates disgusting behavior that has been described in literally hundreds of easily available tweets, blogs and articles online as well as in the many interviews I conducted with women,” she told PBS NewsHour. In Burleigh’s article, she fleshes out the stereotypes behind Silicon Valley’s legends, who she describes as being unimpressive physically but capable of walking into venture capital firms and leaving with a million dollars. Presented in parallel are the many women who have reached for the same support who were not rewarded because, as Burleigh suggested, they are lacking “the sine qua non of the fabled Silicon Valley startup”: penises. Burleigh’s article investigated why this disparity existed, but her reporting was lost on “Today Show” host Tamron Hall, who said she hadn’t read the article but “you want to rip the cover off.” “Where were all these offended people when women like Heidi Roizen published accounts of having a venture capitalist stick her hand in his pants under a table while a deal was being discussed?” asked Burleigh. Artist Edel Rodriguez, who was TIME’s art director for Canada and Latin America from 1994 to 2008, created the provocative cover and discussed his process at length on Facebook. PBS NewsHour spoke to Rodriguez today.   What did you take away from Nina Burleigh’s article? It’s hard to like something that’s so difficult to read. I liked it as a written piece but I don’t like the subject. It was about how men have been in a computer mode for so much of their life that they treat women the same way: like tools. That’s the most disturbing thing and one of the main things I took away from it. What’s your process when you approach illustrating a magazine cover? I usually get a story synopsis about a paragraph long and soon after, a rough draft of the article. My process is to start doing quick sketches, several pages of rough ideas and concepts. I hone it down to more developed ideas in pencil. When I have enough ideas, I send them to the art director. This one was Grace Lee. She looked through my ideas and picked the one that was used on the cover and the one on the inside. When she picked those ideas,  I did the final artwork. The whole thing took two days and I finished last Friday. What were your other ideas? They were all over the place. I had ones that were variations of the arrow attacking the woman or raising her dress. Others showing men as pigs in a way. A hand holding a cell phone and a thumb down on a woman, keeping her down. A woman inside a cell phone. A laptop with the pig’s face on it. A woman being pulled by different electronic cables. Woman getting trampled or devoured by a laptop. Did you have a conversation with Grace Lee about which was the best for the cover? In this case, I sent a bunch of ideas and she said, “I want this one for the cover and this one for the inside.” That was it. Sometimes there are revisions. There were no revisions or extra sketches in this case. She also talks to the staff at Newsweek, the writer and editor. They decided that that got the point across in the story. The headline, which was written later is “What Silicon Valley thinks of women.” Did you anticipate the backlash? I thought there might be a few letters or something. I didn’t realize there would be that much commenting on it. Many women think this cover is right on the money. There might be 30 to 40 percent who have a problem, and 70 to 60 who think it shows it perfectly. That’s the sign that it’s getting people’s attention. And that’s what a magazine cover should do. To get people to try to figure out what the image is. The article could possibly eliminate what they were first outraged about, but you have to read it. The cover is supposed to get them to read. Tamron Hall on the Today Show described it as “the lowest common denominator” used to sell something. Is that what it is? They had Miley Cyrus twerking half naked on that show and a whole feature on “50 Shades of Grey.” They’re accusing me of using sex to sell something? There’s a big outrage machine in the media. The next day, they’ll be outraged at something else. I’m interested in opinions and thoughtful articles about it, not talking heads on television. They’re using it themselves as titillation, but that wasn’t my intent. It was to show a problem. A lot of commentators said that this image “revictimized” women who have experienced sexual harassment at work and that it “punched down” to them. It’s a difference of opinion. I don’t see how a woman working her life and showing that this still happens to her is pushing her down. It’s punching at the person moving the cursor. If someone feels revictimized, I’m sorry that’s the case. People are affected by images; it happens all the time. But I am illustrating this story and it’s about harassment. You created two images: one for the cover and one for the interior. Do you think the messages they conveyed were the same? I think that there are two different messages. One is about sexual harassment in the workplace and the second image is more about women’s careers. That you’re high up and this stuff knocks you down. I’ve been doing this for 20 years. It’s not like I don’t know what images mean and what they indicate. In terms of the visual for the cover, the one that ended up on the cover is better, because, graphically, it’s smarter. There is more room for the headline and the whole cover can be taken in as a complete statement. The image in the interior takes up too much space on a cover and doesn’t have the same impact. When you read negative criticism and saw a lot of women were offended, did you ever doubt yourself and think maybe it was sexist? I would be rethinking if every woman or more than 50 percent of women I saw were offended. But many of the women [who are offended] didn’t read the article. The outrage industry jumps into full effect immediately. News sources embed five tweets and it becomes “what people are thinking.” It’s tiresome how it happens on a repetitive basis. I wouldn’t change this image. There’s a huge percentage of women who think it’s very appropriate. Even women in tech. After what happened to Charlie Hebdo, there has been a lot of scrutiny of cartoons and images in the media. Do we live in an era of heightened awareness about images? Or have racism and sexism always been topics that are too touchy? I think if there’s a heightened awareness about images in print, that’s wonderful. Is there actually a more heightened awareness? The one thing that’s changed is that responses are immediate. If there was a question about the cover, someone would write a letter to the editor, the editor would pick five to publish. But now, everyone’s writing everything immediately online and it’s starting a discussion. Nowadays it happens in larger amounts and much quicker. I’m fine with that. The idea is that it starts a conversation. If every week, there’s a conversation, and it’s happening in a civil way, that’s what it’s supposed to do.  

]]> Sat, 31 Jan 2015 22:38:14 EDT http://www.drawger.com/edel/index.php?section=articles&article_id=15216

]]> Sat, 10 Jan 2015 20:47:18 EDT http://www.drawger.com/edel/index.php?section=articles&article_id=15140

I'm having my first show in Cuba, opening December 5th, at Casa de las Américas.  I'm traveling to Havana for the exhibition next week.  Print magazine has put together a feature and interview on many aspects of the exhibition.  Here is a link to the article by Ellen Shapiro:  http://www.printmag.com/design-inspiration/edel-rodriguez-returns-to-havana-for-a-solo-exhibition/

]]> Thu, 27 Nov 2014 06:14:50 EDT http://www.drawger.com/edel/index.php?section=articles&article_id=14913

This is my contribution to The Friends of Bob Newman auction. An original painting, acrylic and ink on bark paper, 16" x 23", originally published on the cover of a novel by Chinua Achebe, titled "Girls at War". Bidding starts at $375, go to this link to put in a bid: http://tinyurl.com/ltxbao3 This is a benefit auction, featuring art from over 60 illustrators and photographers. It runs until June 11, and all proceeds will go to continue to help art director Bob Newman pay off medical bills as a result of an accident he endured last year. Bob has been wonderful to me since I began illustrating about 20 years ago. My first published illustration was for The Village Voice, where he was design director at the time. I later worked for him at VIBE magazine and Fortune magazine.



]]> Thu, 29 May 2014 01:03:24 EDT http://www.drawger.com/edel/index.php?section=articles&article_id=14824

A couple of years ago I was in France to attend a cooking class with my wife for a week at Le Calabash Petit Conservatorie de la Cuisine, a culinary school in the Loire Valley, about three hours Southwest of Paris.  While my wife cooked, I spent much of the time drawing and painting at the school and in the countryside.   The chefs, Sidney and Alison Bond, noticed what I was up to and struck up the idea of teaching a class together sometime, an art and cooking class. We've worked out all the details and are offering this class for the first time this Summer, June 22-28, 2014.   The experience at Le Calabash was memorable for us and I hope to have some friends come along this year.   The classes are limited to 10 people, from beginners to professionals.  Each course will adapt to everyone's skill level, with a sense of discovery for everyone.  There will be trips to chateaus and local markets along the way.  The setting, classes, food, and new friends will make it a trip to remember.   Below are all the details, along with photos from my trip a couple of years ago.  For booking, please contact Sidney and Alison Bond via e-mail: bonds@wanadoo.fr Website:  http://www.lecalabash.fr/ -----------------------------------------------------------



Le Calabash 6 Night 5 Day Le Calabash ‘An Easel and Kitchen Adventure in France’ Itinerary Sunday Day 1 Arrive after lunch and check into and settle into your accommodation 19.00  A welcome champagne cocktail, followed by a Moroccan Dinner with Alison, Sidney, and Edel



Monday Day 2 09.00 Traditional French Breakfast You will be taught the best catch for each season and how to identify your fish and how to ensure it is fresh. The day will include techniques of preparing your fish. Dishes will include; Roast Fillet of Sea bass with Chorizo, Aubergine Caviar and Fennel ·      Classique Normandy Moules Marinière and Moules ‘en Papillote. ·      Hot Smoked Salmon with an Avocado Crème and Beetroot. ·      Turbot Grenoblois Lunch. For lunch we enjoy our dishes we prepared this morning with Alison and Sidney’s favourite French artisanal cheeses and freshly baked bread. This afternoon you start with your first lesson with Edel, which will be on site at le Calabash and will prepare you for the week ahead and your artistic journey in the Loire.  The art classes will be geared to all levels of art experience, with a sense of fun and discovery each and every day. After an introduction in the history and techniques of landscape sketching, Edel will guide you through our village for on site sketchbook lessons.  You will be directly immersed in the village life of artists like Vincent Van Gogh, Paul Cezanne, and Claude Monet, who took similar steps throughout the French countryside in their own search for the perfect composition.  You will be provided with your own travel sketchbook and supplies and use them to keep a journal as a memento of your entire week in the wonderful French countryside.  This is the start of Summer, when all is in full bloom, an artist’s dream come true. Upon your return back to the art studio at Le Calabash, Edel will teach you several unique printmaking techniques that have garnered his work international acclaim.  You will then make your own prints, using your day’s sketchbook work as a guide. 16.00 Leisure time until dinner You can relax or explore the area this afternoon, cycle, walk along the river, play boules in the village square, or why not spoil yourself to a relaxing massage, or spa treatment at La Roch Posay’s Renowned Spa 19.30 We enjoy a dinner of Seasonal Fish and Alison will prepare you one of her latest dessert creations.



Tuesday Day 3 Traditional French Breakfast After Breakfast we visit our local Goats Cheese farm and producer where we taste and experience what is known as the best goat’s cheese in the world, St Maures AOC. When we return from the goat’s cheese farm, we are exposed to the art of Soufflés ·      Cheese Soufflé ·      Lemon Soufflé ·      Chocolate Soufflé Lunch. For lunch we enjoy our dishes we prepared this morning with Alison and Sidney’s favourite French artisanal cheeses and freshly baked bread. This afternoon you will be transported to Angles sur Anglin where Edel will take you on the journey of capturing this fantastic medieval town. You will be taught techniques practiced by French artists such as Georges Seurat and Edgar Degas, learning about perspective, atmosphere, and space to create your own charcoal and color pastel drawings of this idyllic French town. 19.30 Picnic next to the River in Angles sur Anglin, weather permitting, if not we enjoy dinner in our family’s favourite casual restaurant overlooking the castle ruins. At the boundaries of Poitou and Berry, the village of Angles sur l'Anglin is a jewel. Of course, a stroll is highly recommended in this village listed as one of the most beautiful villages of France. Its paved streets, its winding alleys will drive you to: la Tranchée des Anglais, la Huche Corne, to the castle of the XI and XV century, to the Sainte Croix chapel



Wednesday Day 4 Traditional French Breakfast After breakfast we depart for the Market in Loches, where we identify and buy ingredients for our class The town is dominated by the medieval citadel, which is surrounded by 1.5 mi (2 km) of old walls. It embraces three separate buildings: the Royal Lodge (mainly 15th century), the Collégiale Saint-Ours (10th–11th century), and a ruined fortress with an 11th-century keep and a 15th-century tower cut into the rock. Fortified in the 6th century, Loches was fought over by the French and English during the 12th and 13th centuries. Today we enjoy a traditional French lunch at le Calabash using items and ingredients purchased at the market. After lunch we head to the art studio at Le Calabash where Edel will teach you about the art of collage.  A technique pioneered by modernist masters Georges Braque and Pablo Picasso while working in Paris, and later by Henri Matisse working in the South of France, collage became one of the most important artistic techniques of the 20th century.  This will be a fun morning of freestyle painting, cutting and gluing paper, experimenting with unique textures and forms.  Edel’s own published collages will be on hand for viewing, and he will take you on a step by step process of how they were created.  You will build a picture, one piece at a time, ultimately creating your very own self portrait in the process. 17.30 Leisure time till dinner 20.00 Tonight Alison and Sidney take you out for dinner to their friend, Michelin Star Jacky Dallay at the renowned Promenade Restaurant in le Petit Pressigny.



Thursday Day 5 Traditional French Breakfast 09.00 We Depart for Chateau Chenonceau where you have the morning to explore Chenonceau at your leisure Property of the Crown, then royal residence, Chenonceau Castle is an exceptional site not only because of its original design, the richness of its collections, its furniture and its decorations, but also because of its destiny, since it was loved, administrated and protected by women, who were all extraordinary and who, for the most part have marked history. For the historical background, the “Château des Dames” was built in 1513 by Katherine Briçonnet, and successively embellished by Diane de Poitiers then Catherine de Medici. Chenonceau was protected from the hardship of the revolution by Madame Dupin. 12.30 We enjoy lunch at the renowned Orangerie Restaurant at Chateau Chenonceau After we leave Chenonceau to visit one of the Frances finest white wine and sparkling wine areas, Vouvray. You will be taken on a guided tour of 3km of wine caves, holding on average 4 million bottles of wine, petillant and sparkling wine. You will be given an in-depth tour of the production and bottling plant and then return for a wine tasting. With Edel at your side and sketchbooks on hand, you will have a full day of drawing these two wonderful venues.   We will set up with our sketchbooks by the river and take in the palace’s unique architecture and gorgeous gardens, along with the winery’s vast caves. 18.30 We return to Le Calabash for a Surprise Dinner demonstration prepared by Sidney whilst you enjoy a glass of wine brought back from Vouvray.



Friday Day 6 Traditional French Breakfast Our journey into the pastry kitchen continues ·      Pear, Specoloos and Chocolate Delice ·      Profiteroles with a Madagascan Chocolate Mousse ·      Preparing chocolate sauce and hot chocolate ·      Ice Parfait ‘Josephine’ ·      Art of Dessert presentation to include Sugar Craft and Tuilles Lunch in the Orchard This afternoon Edel has a surprise in store for you and will take you on a ‘Walk on the Wild Side’ journey. Edel will teach you the unique creative process he has developed to conceptualize and bring to fruition graphically powerful and evocative travel, film, and theatre posters.  You will learn about lettering and design and discover innovative stencilling, masking, and painting techniques.  By the end of the day you will have created your very own poster. We finish off in the early afternoon to allow you to rest or take a last walk down to the river and prepare for our last evening together.



19.30Tonight, the week’s artwork will be on display for our very own ‘le Calabash’ art show.  Certificate presentation, champagne, and Sidney’s Zulu BBQ will follow. Saturday Day 7 Traditional French Breakfast Departure by 11am Should you wish to extend your stay or arrive a day earlier this can be arranged.



Le Calabash Cookery Experience includes: Accommodation for six nights Entrance into Chateaux Meals: daily breakfast, and meals as per itinerary, including selected wine with meals Transport for all activities in the itinerary. Personalised Apron and Recipe folder Additional nights accommodation 155.00€ including breakfast. The price does not include: Transport from and to airport or station / this can be arranged Optional excursions or meals not listed in itinerary or any additional expenses or ordered personally. Drinks that are personally ordered Laundry Phone Calls 6 Day ‘le Calabash’ Cookery Experience Residential €1975.00 Non-Participating, accompanying, but not taking classes €1695.00 Single Supplement €375.00 For further questions and booking please contact Sidney and Alison at Le Calabash: bonds@wanadoo.fr or Edel Rodriguez: edelrodriguez@gmail.com



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