Alan Charles Moir (born 1945 in Hāwera, New Zealand) is a renowned Australian editorial cartoonist and caricaturist, widely celebrated for his long-standing work at The Sydney Morning Herald. Over the course of his career, Moir has distinguished himself through sharp, insightful, and often satirical depictions of political and social issues, becoming one of the most influential cartoonists in Australia and beyond. His work has not only shaped Australian political commentary but has also gained international acclaim, regularly syndicated through The New York Times Syndicate. Moir has received numerous awards and accolades, and his cartoons are preserved in significant collections in national institutions across Australia and New Zealand.
Infobox: Alan Moir
| Field | Information |
|---|---|
| Full Name | Alan Charles Moir |
| Born | 1945, Hāwera, New Zealand |
| Nationality | New Zealand-born Australian |
| Occupation | Editorial cartoonist, Caricaturist |
| Notable Employers | The Sydney Morning Herald, The Bulletin, The Courier-Mail |
| Years Active | 1973–present |
| Style | Political cartooning, satire, caricature |
| Key Themes | Politics, social issues, international affairs |
| Notable Works | ANZUS alliance cartoon (1986), Global warming cartoon (2019) |
| Syndication | The New York Times Syndicate |
| Awards | 6× Australian Editorial Cartoonist of the Year, Walkley Awards, Churchill Fellowship, Stanley Awards, UN Award for Political Cartooning |
| Collections | National and State Libraries in Australia and New Zealand, Private Collection of Kofi Annan |
| Residence | South Coast, New South Wales, Australia |
| Family | Wife: Diana; Children: Nick, Virginia, Miranda, Bridget |
| Hall of Fame | Inducted into Australian Cartoonists’ Association Hall of Fame (2018) |
Early Life and Education
Alan Moir spent his formative years in Dunedin, New Zealand, a city known for its strong artistic and literary heritage. It was here that his artistic talents began to emerge in earnest. From a young age, Moir exhibited a fascination with drawing, often sketching caricatures and humorous depictions of people and events around him. His interest in cartooning was solidified through exposure to the influential work of David Low, a fellow Dunedin native and celebrated political cartoonist whose bold style and fearless commentary left a lasting impression on the young Moir.
He began drawing political cartoons during his final year of primary school, a passion that flourished throughout his teenage years. While attending Kaikorai Valley High School, Moir was mentored by Sid Scales, a respected cartoonist for the Otago Daily Times, who not only offered artistic guidance but also provided valuable insights into the realities of working in the newspaper industry. These early encounters were pivotal in shaping Moir’s aspirations and commitment to cartooning as a professional path.
After high school, Moir enrolled at the Elam School of Fine Arts in Auckland, seeking formal artistic training. However, feeling constrained by academic structures and eager to experience the world, he left the institution and took on a range of manual jobs—including factory work, wharf labor, and construction—in order to save money for travel. This period of working-class labor instilled in him a deep understanding of everyday struggles, which later informed the social consciousness evident in his cartoons.
Moir’s journey took him across New Zealand and eventually led him to Australia in 1970. Arriving first in Sydney and later spending time in Perth, he continued to support himself with various odd jobs while persistently submitting cartoon samples to local publications. This relentless pursuit of his dream ultimately set the stage for his breakthrough into the professional world of editorial cartooning.
Career
Entry into Cartooning
After arriving in Australia in 1970, Alan Moir initially found employment in a plastics factory in Sydney while steadily pursuing his long-held ambition of becoming a political cartoonist. Though he faced financial challenges and cultural adjustments as a new immigrant, Moir remained undeterred in his mission. He later relocated to Perth, where he spent more than a year working various jobs, using his spare time to refine his drawing skills and keep abreast of local political developments.
His unwavering focus culminated in early 1973, when he submitted a portfolio of sample cartoons to The Bulletin, a historically prestigious publication that had seen its cartooning tradition decline. At the time, the magazine had not featured original editorial cartoons since Les Tanner’s departure in 1967. The newly appointed editor, Trevor Kennedy, was determined to revitalize The Bulletin’s political coverage and saw in Moir’s work the sharp wit, artistic fluency, and incisive political commentary needed to do so.
Recognizing his promise, Kennedy hired Moir, who then played a pivotal role in restoring The Bulletin’s relevance in visual political journalism. His debut cartoons received immediate praise for their bold satire and distinctive visual style, signaling the arrival of a major new voice in Australian editorial cartooning. This opportunity not only launched Moir’s professional career but also marked the beginning of a transformative era for the magazine’s visual identity.
The Courier-Mail and Early Recognition
In 1979, Moir accepted a position at The Courier-Mail in Brisbane, succeeding veteran cartoonist Stuart McCrae. At the time, Brisbane’s media landscape was notably conservative, and Moir’s appointment marked a bold shift in tone and editorial direction. His incisive cartoons quickly made waves, challenging the political status quo and raising eyebrows among influential figures within Queensland’s government. Moir’s illustrations, often biting and uncompromising, directly targeted the entrenched political power structures led by Premier Joh Bjelke-Petersen.
Moir’s fearless approach came to a head in 1983 when a cartoon depicting politicians Llew Edwards and Joh Bjelke-Petersen provoked outrage. When pressured by the newspaper’s legal counsel to issue an apology, Moir stood by his work and refused to retract or apologize. Demonstrating his integrity and commitment to editorial independence, he resigned from his post rather than compromise his principles. The incident garnered widespread admiration within journalistic and artistic circles, solidifying his reputation as a courageous and principled cartoonist.
His work during this period was both provocative and insightful, frequently drawing attention for its unflinching portrayal of political figures and events. On one occasion, after depicting politician Russ Hinz as a bulldog, Moir was summoned to the editor’s office following a personal complaint from Hinz. Ever witty, Moir offered to depict him as a Pekingese instead—a suggestion that Hinz ultimately declined, opting to remain portrayed as a bulldog. This episode not only illustrates Moir’s clever sense of humor but also highlights the uneasy, yet oddly respectful, relationship between his subjects and his satirical art.
The Sydney Morning Herald
In 1984, Alan Moir was appointed to succeed the esteemed George Molnar as the editorial cartoonist for The Sydney Morning Herald, marking the beginning of a transformative and influential era in Australian visual journalism. Over the next 34 years, Moir’s cartoons became a staple of the publication, renowned for their sharp wit, intellectual depth, and incisive portrayal of national and global politics. His work consistently captured the public imagination and provided nuanced perspectives on complex issues ranging from domestic policy to international diplomacy.
Moir’s editorial illustrations were particularly lauded for their ability to distill multifaceted political controversies into single, impactful images that resonated with both everyday readers and political insiders alike. His bold yet thoughtful commentary established him as a trusted voice in political journalism, and his legacy as a cartoonist helped shape public discourse across generations.
In 2018, following the editorial decision by The Sydney Morning Herald to reduce the frequency of its weekday cartoon features, Moir adapted by launching his own subscription-based online cartoon service. This venture not only allowed him to maintain direct engagement with a dedicated audience but also exemplified his adaptability in an evolving media landscape. Through this platform, he continued to produce timely, thought-provoking cartoons, ensuring his artistic voice remained an integral part of Australia’s socio-political conversation.
Style and Influence
Alan Moir’s art is characterized by a deft combination of caricature, satire, and artistic sophistication, enabling him to distill intricate socio-political issues into compelling and accessible imagery. His illustrations are marked by a refined yet impactful style, often featuring exaggerated expressions and minimalistic compositions that draw viewers directly into the subject matter. Through carefully crafted metaphors and symbolic allusions, Moir reveals the core tensions underlying political debates, offering not only criticism but also provoking thoughtful reflection.
Among his most notable works is the 1986 cartoon critiquing the ANZUS alliance, which cleverly depicted the strained relationship between New Zealand, Australia, and the United States. The cartoon captured the shifting geopolitical allegiances of the time and served as a visual commentary on regional diplomacy. Similarly, his 2019 cartoon on global warming, featured in The Oxford Illustrated History of the World, exemplifies his ability to engage with pressing global concerns, using stark imagery to underscore the urgency of climate action. This piece, widely acclaimed, demonstrated how editorial cartoons can serve as poignant vehicles for environmental awareness.
Beyond his published work, Moir has also contributed significantly to public understanding of cartooning as an art form and tool of political expression. He has delivered lectures and presentations on the history and evolution of Western political cartooning in cities across the globe, including Sydney, Canberra, Auckland, Wellington, New Delhi, Trivandrum, and Kochi. His talks blend art history with practical insights, offering audiences a deep appreciation for the cartoonist’s role in shaping democratic discourse. Notably, following the 2006 Danish Prophet cartoon controversy, Moir was invited to speak in the Australian Senate. There, he addressed the ethical responsibilities and freedoms of political cartoonists, emphasizing the balance between provocative critique and cultural sensitivity.
Awards and Honors
Alan Moir’s achievements are widely recognized across journalistic and artistic circles. His major honors include:
- Six-time winner, Australian Editorial Cartoonist of the Year
- Two-time Walkley Award winner for Excellence in Journalism (2000, 2006)
- Stanley Awards for Political Cartooning (1985, 1988, 1989, 1990, 1991)
- Gold Stanley Award (1985)
- Churchill Fellowship recipient (1999)
- UN Award for Political Cartooning (1994)
- Runner-up, Ranan Lurie Political Cartoon Award, United Nations Correspondents Association (2004)
- Inducted into the Australian Cartoonists’ Association Hall of Fame (2018)
Collections and Publications
Moir’s work is preserved in several significant public and private collections, including:
- National Library of Australia
- National Museum of Australia
- State Library of New South Wales
- State Library of Victoria
- State Library of Queensland
- National Library of New Zealand
- Private collection of Kofi Annan, former UN Secretary-General
Published Works
Over the years, Alan Moir has authored and illustrated numerous books compiling his best cartoons, including:
- Joh’s Family Album (1980, with Mac Vines)
- Flo Goes to Canberra (1981, with Mac Vines)
- Brisbane Lines (1982, with Donald Greenfield)
- The Bob Book (1984, with Mac Vines)
- Alan Moir’s Joh’s Party Album (1987)
- Moir’s Gulf (1991)
- I, Cassius (1995)
- Are We Nearly There Yet? (2010)
These collections showcase Moir’s wit and artistic skill and provide historical insight into political climates over multiple decades.
Personal Life
Alan Moir became an Australian citizen while proudly maintaining his New Zealand roots—famously supporting the All Blacks rugby team throughout his life. He resides on the South Coast of New South Wales with his wife, Diana. He is the father of four grown children: Nick, Virginia, Miranda, and Bridget. His family has played an important role in supporting his career and creativity.
Even after officially retiring from daily newspaper publication, Moir remains active in the art of political cartooning through digital platforms, lectures, and public exhibitions. His legacy continues to inspire upcoming cartoonists and political artists around the world.
