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- Title
- Clearing a Path
- Date Created
- 2000
- Description
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The cartoon shows a school with children waiting at the bottom of the stairs for a school custodian to shovel the snow so that they can get into the building. A student in a wheelchair asks the custodian, "Could you please shovel the ramp?" he replies, "All these other kids are waiting to use the...
Show moreThe cartoon shows a school with children waiting at the bottom of the stairs for a school custodian to shovel the snow so that they can get into the building. A student in a wheelchair asks the custodian, "Could you please shovel the ramp?" he replies, "All these other kids are waiting to use the stairs. When I get through shoveling them off then I will clear the ramp for you." The student in the wheelchair replies back, "But if you shovel the ramp we can all get in!" The tag line reads, "Clearing a path for people with special needs clears the path for everyone!"
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- Title
- Flush It!
- Date Created
- 2000
- Description
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The cartoon shows a toilet with four buckets of money being poured into it; each with a different label: (a) Inadequate Instruction, (b) Questionable Curriculum, (c) Untrained Staff, and (d) Inadequate Staffing Ratios. The tag line reads, "Unless you spend enough money to meet a basic threshold...
Show moreThe cartoon shows a toilet with four buckets of money being poured into it; each with a different label: (a) Inadequate Instruction, (b) Questionable Curriculum, (c) Untrained Staff, and (d) Inadequate Staffing Ratios. The tag line reads, "Unless you spend enough money to meet a basic threshold of effectiveness, you might as well just flush it!"
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- Title
- Inclusion Patrol
- Date Created
- 1999
- Description
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This cartoon has two panels stacked vertically. The top panel is divided, showing two people talking on the phone. The man on the left says, "Inclusion patrol can I help you?" the woman on the right (Mrs. Snippett) says, "Yes. We are trying to develop a model to transition our preschool students...
Show moreThis cartoon has two panels stacked vertically. The top panel is divided, showing two people talking on the phone. The man on the left says, "Inclusion patrol can I help you?" the woman on the right (Mrs. Snippett) says, "Yes. We are trying to develop a model to transition our preschool students with disabilities into inclusive settings when they reach school age. Have you heard of any good models?" In the bottom panel the same two people are on the phone. The man says, "Yes, ma'am. It's called kindergarten in the neighborhood schools." She replies, "Right?! We hadn't thought of that!" The tag line under the cartoon reads, "Another annoying true story from the files of the inclusion patrol."
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- Title
- "Beauty and the Beast" - Pete and Mrs. ? at the Camel's Hump Club Hut
- Date Created
- 1919
- Description
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Camel's Hump was previously referred to also as "Couching Lion."
- Title
- "Bridge" over a stream
- Title
- "C.H."s tree 474
- Description
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Winter, 1951
- Title
- "Decap box" in sugar bush
- Description
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Winter, 1957
- Title
- I Wanna Be a Psychologist
- Date Created
- 1999
- Description
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This cartoon is two panels. In the top panel the teacher is facing a boy sitting at a desk with his hand up. The teacher says, "So Jimmy, what do you want to be when you grow up?" Jimmy says, "I wanna be a Psychologist." In the bottom panel the teacher is looking confused and says, "That is...
Show moreThis cartoon is two panels. In the top panel the teacher is facing a boy sitting at a desk with his hand up. The teacher says, "So Jimmy, what do you want to be when you grow up?" Jimmy says, "I wanna be a Psychologist." In the bottom panel the teacher is looking confused and says, "That is interesting. Can you tell me what a Psychologist does?" Jimmy is sitting at the desk with a thought bubble above his head with a dinosaur skeleton in it and says, "Sure! They put dinosaur bones together!" The tag line reads "Confusion regarding "ists" and ologists" starts at an early age."
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- Title
- I don't do windows
- Date Created
- 2000
- Description
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The cartoon shows an administrator interviewing woman sitting across from him. He says to her, "The final clause in your new job description says, "The paraeducator will engage in other tasks assigned by the teacher or principal." She replies, "I need to make one thing clear. I don't do windows."...
Show moreThe cartoon shows an administrator interviewing woman sitting across from him. He says to her, "The final clause in your new job description says, "The paraeducator will engage in other tasks assigned by the teacher or principal." She replies, "I need to make one thing clear. I don't do windows." The tag line reads, "Having been a paraeducator for a couple years, Dorothy knew that the final clause could mean just about anything." The acknowledgement on the left side of the cartoon reads, "Inspired by Linda Backus."
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- Title
- I thought Pat was a boy
- Date Created
- 1998
- Description
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This cartoon has two panels stacked vertically. In the top panel a physical education teachers says to the class, "Boys, 50 crunches! Girls, 5 laps!! Let's go!" The second panel shows the girls running are led by a female paraprofessional pushing a student in his wheelchair. One of the girls says...
Show moreThis cartoon has two panels stacked vertically. In the top panel a physical education teachers says to the class, "Boys, 50 crunches! Girls, 5 laps!! Let's go!" The second panel shows the girls running are led by a female paraprofessional pushing a student in his wheelchair. One of the girls says, "I thought Pat was a boy!?" and another girls says, "He is!!" The tag line under the cartoon reads, "The instructional assistant assigned to Pat experiences ongoing gender confusion."
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- Title
- "Stub" Mould on Whiteface Mountain from trail over White Rocks
- Date Created
- 1921-10-01
- Title
- (Alva)
- Description
-
(Alva's) original collection in the Archive spans eight years, 1976-1985, ages 5 to 13. The full collection contains 952 items, which are reproduced on microfiche in the Reference Edition. The collection stands out for (Alva's) attention to composition. She uses boundaries, framing, corner...
Show more(Alva's) original collection in the Archive spans eight years, 1976-1985, ages 5 to 13. The full collection contains 952 items, which are reproduced on microfiche in the Reference Edition. The collection stands out for (Alva's) attention to composition. She uses boundaries, framing, corner treatments, and lines to divide the space of a page. Pattern, repetition, symmetry, and layering appear across the collection and within individual pieces. Lines, bands, panels, and columns recur, with a preference for the vertical, but also intersecting lines and bands. (Alva) uses a variety of media, including chalk, cray-pas, pencil, crayon, colored pencil, watercolor, tempera, printing, rubbings, marbling, and collage, and she mixes media within a piece of work. Consistent motifs include natural and outdoor scenes, animals (often in groups), hills, suns, water, houses with trees and flowers, bursts of color, and patterned or geometric forms. Vivid color permeates the visual collection. Much of (Alva's) written work deals with relationship, with strong feeling at the core. The strength of feeling is contained by a style that is structured and attentive to detail and by a straightforward tone. Animals (especially horses and mice) in her written work experience changes of relationship and feeling. Relationships among people are explored as well, and in her later work values of equality and justice come to the fore.
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- Title
- (Emma)
- Description
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(Emma’s) original collection in the Archive spans nine years, 1976-1985, ages 5 to almost 14. The full collection contains 1588 items, which are reproduced on microfiche in the Reference Edition. (Emma's) work is colorful; characteristically these colors are lush rather than primary and the color...
Show more(Emma’s) original collection in the Archive spans nine years, 1976-1985, ages 5 to almost 14. The full collection contains 1588 items, which are reproduced on microfiche in the Reference Edition. (Emma's) work is colorful; characteristically these colors are lush rather than primary and the color combinations can be offbeat. Small imaginary worlds, landscapes, and, from her third year of school on, abstract designs (symmetric early on, later more syncopated), are favorite subjects. A charged atmosphere is sometimes created through such means as scribbled lines or transparency. “Light shining through” recurs. Her style includes fine but quick detail and qualities of lyricism and rhythm along with humor. The consistency across the collection is part of the evidence of persistence, of sustained effort. Each year shows increasing technical command of a widening range of media, with an explosion of productivity and emotional power in the later years. The later years include many drawings from life. (Emma’s) unassigned writing throughout the file is often in the style of a fairy tale in which (Emma) is the storyteller describing small worlds, magical transformations. There are also reports of historical events retold in quick, conversational style. Poetry and fictional work often rely on a strong sense of animation, sometimes making subjects out of colors or mundane objects, often in the context of family-like relationships. Some of the later writing shows a more self-reflective side. Throughout the file there is a breathless vivaciousness.
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- Title
- (Gus)
- Description
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(Gus’) original collection in the Archive spans 8 years, 1972-1980, ages 5 years and 4 months to 13 years and 4 months. The full collection contains 870 items, which are reproduced on microfiche in the Reference Edition. Houses and dwellings are prominent in (Gus’) work, often elaborated with...
Show more(Gus’) original collection in the Archive spans 8 years, 1972-1980, ages 5 years and 4 months to 13 years and 4 months. The full collection contains 870 items, which are reproduced on microfiche in the Reference Edition. Houses and dwellings are prominent in (Gus’) work, often elaborated with strong color applied in contiguous blocks or patterns ofstripes or grids, with variations in chimneys and other elements that indicate the form is a structure for variation. Ghosts, monsters, robots, and vehicles appear in his work, although with inattention or ambiguity as to setting or narrative. He experiments with ways of using visual media to represent invisible forces in physics and spirit. In pictures and stories, sports and popular culture are a motif. In stories, as well as in visual work, there can be a shift from the particular and present, to a more ambiguous space/time. An implied largeness is worked, as it were meditatively, through ordered repetition and variation of color or elements. Number, pattern, and color are important and serve as means of relationship, though relationship may also be conveyed by, for example, a tree leaning into another. The largeness and general absence of story or continuous action evoke a sense of archetypal forms or ideas and of incipience, beginning, or promise. Non-figurative work is particularly abundant at ages 8-9, 10-11, and 12-13. The quantity of visual work falls off in the last two years of the collection, but suggests involvement with large ideas of space, time, and spirit. His production of writing increases somewhat. In writing and in visual works, he explores themes of world citizenry and personal self-determination. His writing style remains lean, spare.
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- Title
- (Iris)
- Description
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(Iris’) original collection in the Archive spans 8 years, 1978-1986, from ages 5 years to 12 years and 9 months. The full collection contains 1,544 items, which are reproduced on microfiche in the Reference Edition. (Iris’) work is full of people. Both the visual work and writing reveal a deep...
Show more(Iris’) original collection in the Archive spans 8 years, 1978-1986, from ages 5 years to 12 years and 9 months. The full collection contains 1,544 items, which are reproduced on microfiche in the Reference Edition. (Iris’) work is full of people. Both the visual work and writing reveal a deep sense of wonder about human activity, the internal life of people and the nature of relationships. (Iris’) figures are highly expressive, full of movement and emotion. (Iris) captures human qualities, like wickedness, in details of clothing, hairstyle and facial expression. Portraits of striking women appear throughout the work, some with mysterious, dream-like qualities. (Iris) also tells stories, first with drawings of favorite fairy tales, then writing her own. Houses also appear. Drawings of exteriors show an interest in structure and design, and cross-sections revealing the “story” of each room through furnishings and activities of characters. Houses also hold secrets, concealed staircases, and hidden treasure. Humor runs through the visual work and writing with a particular emphasis on mischief and trickery. Drawings made with marker and pencil predominate. The line is quite varied, and color ranges from vibrant to drab. Painted landscapes and perspective appear later. (Iris) uses a form, the arch, for multiple purposes. It appears as window, door, face, and repeated pattern. (Iris’) writing begins as simple journal entries about school, friends and family. Over time it expands to include poems and other reflective pieces on time, change, history, war and peace, and the natural world. There are also lengthy serialized stories. Conversation, and especially dialogue, dominates the writing during (Iris’) fifth year (age 9). Stories read like scripts. In the later years, poetry becomes a means of expressing complex moral/philosophical ideas concerning human nature, which remains a persistent interest for (Iris).
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- Title
- (Leo)
- Description
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(Leo’s) original collection in the Archive spans 10 years, 1975-1985, ages 4 years and 11 months to 14 years and 8 months. The full collection contains 1,907 items, which are reproduced on microfiche in the Reference Edition. (Leo) primarily used markers to create narratives in line, with color...
Show more(Leo’s) original collection in the Archive spans 10 years, 1975-1985, ages 4 years and 11 months to 14 years and 8 months. The full collection contains 1,907 items, which are reproduced on microfiche in the Reference Edition. (Leo) primarily used markers to create narratives in line, with color highlighting or adding to the action. Narratives are often adventures, voyages, journeys, or paths of discovery, including encounters with the unexpected. Mapping, large space, and distance are characteristic of the settings in which adventures occur, with copious detail and motion as well as extreme variation in the line unifying the work. (Leo) appears to be gathering, recording, and explicating experience. Treatment of scenes implies events preceding and following, as opposed to studies of single moments. Over the 10 years, (Leo’s) work evinces increasing interest in and capacity for control and precision of line and decrease in ambiguity about space and perspective. Cartooning begins to appear in year 5, linear perspective in year 6, humorous treatment of previously serious subjects in years 7 and 8, with more character study, less narrative, and increased range of mediums and of color and form in years 8 and 9. (Leo’s) early written stories are transcribed from dictation, often as captions for the adventure drawings. As he increasingly writes the stories down himself, he continues adventure stories in a variety of settings, often blending elements from history, folklore, or legend. He also writes descriptions, reports, and opinion essays. Humor permeates much of his writing (including word play, captioned cartoons, exploration of idioms). His later adventure stories are full of action and conflict, with detailed and descriptive language.
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- Title
- (Mick)
- Description
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(Mick’s) original collection in the Archive spans eight years, 1975-1983, ages five to thirteen. The full collection contains 2,511 items, which are reproduced on microfiche in the Reference Edition. (Mick’s) persisting preferences include multiple fields of action covering vast expanses,...
Show more(Mick’s) original collection in the Archive spans eight years, 1975-1983, ages five to thirteen. The full collection contains 2,511 items, which are reproduced on microfiche in the Reference Edition. (Mick’s) persisting preferences include multiple fields of action covering vast expanses, sometimes covering both sides of a large sheet of newsprint; overviews, often with huge sky and tiny figures; and cross-sectional views depicting actions on the surface of the water and below; in writing, stories may be told from two perspectives. Gesture and intensity is depicted in energetic activity with favored motifs being sports and physical activity including kickball, skiers, motorcyclists, soldiers, Vikings, explosions, bursts, and swirls of brilliant color. Action often exceeds the boundaries of the page and ground lines tend to be omitted. In counterpoint, there is a penchant for precision and detail as in maps, diagrams, football grids, insignia, uniforms, and equipment. In play with this attention to detail is an emphasis on practice in both visual and written work. Vikings have a storehouse for their supplies and practice their swordplay. (Mick) himself practices forms and shapes that serve multiple purposes: an extended “v” shape, upright or on its side used for the legs of kicks and the prow of a ship. Ships, houses, and trees recur across the collection. Writing about animals introduces most directly an element of sweetness that can be inferred elsewhere. Humor, verbal play, visual jokes, and verbal facility span the collection. Later works, especially landscape paintings, have a lyricism not visible earlier. Writing as a preferred medium takes off at age nine, producing adventure stories, drama, and descriptive writing.
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- Title
- (Neil)
- Description
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(Neil’s) original collection in the Archive covers 9 years, 1970-1979, ages 5 years and 2 months to 13 years and 11 months. The full file of originals numbers 324 visual items and 186 written items, which are reproduced on microfiche in the Reference Edition. (Neil’s) work is notable for these...
Show more(Neil’s) original collection in the Archive covers 9 years, 1970-1979, ages 5 years and 2 months to 13 years and 11 months. The full file of originals numbers 324 visual items and 186 written items, which are reproduced on microfiche in the Reference Edition. (Neil’s) work is notable for these persistent themes: mapping, overview and landscape; patterning, and schematics; machinery and equipment, both invented and realistic; mystery and hiddenness; adventure, conflict, and threats of danger; dwellings, both interiors and exteriors, home, representing safety and comfort; subtle humor running throughout work; deep interest in nature. Some enduring characteristics of his style include preference for line,particularly pencil; outline, but also selective and fine details and shading; humorous inventiveness both in machinery and people in costumes and poses; interest in tools and history; color used sparingly for emphasis; and rhythm and movement conveyed within compositions. An overall characteristic is his eye for detail and upbeat approach. Changes in his work are characterized by a growing variety and range of content; increased use of other mediums, including pastels and water color; bright colors, geometric design; a light, impressionistic touch, as well as realistic illustrations of texts; more writing: long travel/adventure narratives that end in safe refuge at home; story development with understated emotion, and dry humor.
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- Title
- (Sean)
- Description
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(Sean’s) collection spans nine years, 1971-1980, ages 4 years and 9 months to 13 years and 6 months. The collection contains 1,140 items, which are reproduced in full on microfiche in the Reference Edition. (Sean’s) work is marked by a spirit of experimentation, a sense of the artist himself as a...
Show more(Sean’s) collection spans nine years, 1971-1980, ages 4 years and 9 months to 13 years and 6 months. The collection contains 1,140 items, which are reproduced in full on microfiche in the Reference Edition. (Sean’s) work is marked by a spirit of experimentation, a sense of the artist himself as a medium, and continuing preoccupation with such ideas as transformation, doubleness, reversibility, magic, trickery, disaster and rescue, the hidden world, and befallenness. In visual work, (Sean) used every physical medium available, from paint to prints, photography, and sewing, with preference given to plain pencil. His experimental attitude is further visible in lots of reworking and preliminary and marginal sketches. He is a virtuoso of line; his rare use of color is charged. In both visual and written work, work within the same year veers from great sophistication to less accomplished pieces. Overall, he seems to privilege experimentation over finished statements. Figures are singular, generic. The eye and the self-portrait are two continuous, striking motifs in visual work. Mirroring, images within images (a hand drawing a picture), figure-ground ambiguity, and forms of trickery, punning, magic, and tantalizing/provocative ambiguity, often with an edge of sly humor, are characteristic. In writing, (Sean) also practiced many genres. Unnamed, singular characters and un-located events abound—the boy, the deer, the lady, the cowboy, the river. His language is spare and economical, with occasional stunning adjectives. Action consists of movement and progress is dream-like. Compositional structure is by repetition, recurrence, parallelism, alternation or reversals, which often confuse figure and ground. In the later years, a new lyricism appears, especially in watercolors of land- and seascapes, or, in writing, descriptions of nature.
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