Alan E. Cober was both of his time and ahead of it. An expressionist and satirist, he diverged from the realism and romanticism of his peers. While others drew purely from imagination, Cober’s journalistic approach brought gritty, graphic commentary to American illustration, influencing even institutions like the Society of Illustrators in the late 1960s.
He was among the few illustrators who introduced modern art principles to a post-WWII commercial art world, which was then steeped in sentimentality. Rejecting realistic narrative painting, Cober’s expressive, symbolic style complemented rather than mimicked the texts he illustrated, pioneering an approach now commonplace. His work graced prominent publications, including TIME, Rolling Stone, and The New York Times.
Inspired by the economical line of Ben Shahn and the conceptual acuity of George Grosz, Cober’s loose, linear style often included scrawled text. His notable projects included documenting NASA’s shuttle launches, Pope John Paul’s 1987 U.S. visit, and the 1980 presidential campaign. His groundbreaking book The Forgotten Society (1972), focused on the marginalized, showcased his investigative artistry and belief that narrative art could inform public opinion.
Cober’s journals—filled with everything from quick sketches to fully realized paintings—formed the backbone of his creative process. He drew inspiration from manuscripts, social events, and his surroundings, blending reality with his unique visual language. His passion for drawing extended to personal moments, such as portraits of acquaintances at a local swimming pool.
A descendant of 19th- and early 20th-century artist-journalists, Cober pushed boundaries, navigating the evolving media landscape as traditional outlets for illustration declined. Though he faced challenges, his tenacity led him to explore alternative platforms, such as books and exhibitions.
Cober was also a revered educator, holding positions at the University of Buffalo, the University of Georgia, and the Ringling School of Art. At the time of his death in 1998 at age 63, he was experimenting with clay as an extension of his drawing practice.
A maverick to the end, Cober bridged fine art and illustration, demonstrating that illustrators could embrace multiple creative identities. Through his legacy, he opened the door for future generations to explore boundless artistic possibilities.
Steven Heller
Co-Chair, MFA Design Department
School of Visual Arts, New York