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During the 90s, I was involved with the Goebel “Looney Tunes Spotlight Collection,” which brought the characters into sculpted form. Here is one of the drawings I did depicting the final shot in Marvin the Martian’s inaugural cartoon, 1948’s “Haredevil Hare.” I think I saw this one in some phase of being sculpted, but don’t know if it ever went on to be produced.
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SOLIDARITY FOREVER! LABOR AND LEARNING
Solidarity Forever!: Labor and Learning, a Spotlight on the Collections display assembled by the Oberlin College Office and Professional Employees union (OCOPE) Solidarity Committee, is currently on view just outside Azariah’s in Terrell Main Library. Using a variety of images, book covers, and descriptive captions as well as a selection of approximately 50 books from the Oberlin College Libraries, the display invites the viewer to explore some of the many--and often surprising--ways that labor and education intersect.
The left panel of the display focuses on the role of workers as students within the rich history of American labor schools and colleges, which were at their height in the first half of the 20th century. Embracing a view of education as a tool for social change, schools like Brookwood Labor College, Commonwealth College, and Bryn Mawr’s Summer School for Women Workers, equipped tens of thousands of worker-students to become active and effective leaders and rank-and-file members within their unions.
Above: Cover & first page of Oberlin SSOW booklet (Source: Administrative Records, Office of the Secretary, Oberlin College Archives)
In 1933 Oberlin hosted the nation’s first Summer School for Office Workers (SSOW), joined on campus the following year by a new school for unemployed office workers under the aegis of the New Deal Federal Emergency Relief Administration (FERA). However, political hostility to the programs from members of the surrounding community led the College to rescind its welcome to both schools, and after 1934, sessions were held elsewhere.
Politically-motivated attacks, along with internal strife and a dearth of funds, resulted in the closure of many labor schools in the years prior to World War II. One exception, the Highlander Folk School (founded in 1932 in Tennessee), served throughout the 1940s as a regional education center for the Congress of Industrial Organizations (CIO) and went on to play a central role in the civil rights movement of the ‘50s and ‘60s.
Above: Los Angeles teachers strike, January 2019
The display’s right-hand panel features the role of educators as workers, focusing in particular on the recent wave of teachers’ strikes across the country, from West Virginia to California and beyond, which were a powerful response to years of budget cuts, austerity campaigns, and right-to-work legislation. Images of the 1933 Chicago teachers’ revolt highlight a historic forerunner to today’s strikes.
Included among the books selected for the display is the recently-acquired 55 Strong: Inside the West Virginia Teachers’ Strike from Cleveland-based Belt Publishing. All featured books are available to browse and check out. For a complete list, see here, or go to the Reserves tab in OBIS and search under “Spotlight”.
The display will be on view until April 19.
Michigan J. Frog struts and performs in the spotlight for a very selective audience, in this drawing made for the cover of “Looney Tunes Spotlight Collection Vol. 5” 2007.
Drawn for the cover art of “Looney Tunes Spotlight Collection Vol. 5” 2007, Porky Pig dressed in his costume from Robert McKimson’s “Paying the Piper,” 1949.
Little Henery Hawk can hardly get a word in edge wise as the blustering Foghorn Leghorn pontificates on a subject of interest, in this drawing made for the cover of “Looney Tunes Spotlight Collection Vol. 5” 2007.
Yosemite Sam in pirate mode, faces off against Bugs Bunny, using two of my drawings from the “Looney Tunes Spotlight Collection Vol. 5,” painted up and placed over a background from “Buccaneer Bunny,” 1948.
Drawing of Bugs Bunny from the cover art for “Looney Tunes Spotlight Collection Vol. 5” 2007, colored and placed in front of a background from “Buccaneer Bunny,” 1948.
