William Graham Anthony, an artist whose satirical drawings and paintings blend humor with profound commentary, created a unique world where art and laughter collided in unexpected ways. Known for his parodying of both classical and modern masterpieces, his work humorously critiques contemporary culture while offering pointed reflections on the human condition. Anthony’s distinctive style, rooted in exaggerated proportions and absurd, childlike figures, evolved from his experiences teaching art. Observing his students' errors, he transformed these "how-not-to" mistakes into a style that broke free from traditional artistic norms, mocking the ideals of anatomical perfection and celebrating the flaws inherent in humanity.

Anthony’s irreverence extended to all subjects, from historical events like World War II to religious stories and contemporary politics. His works, such as Custer’s Last Stand (1984), turn solemn moments into comical farce, while Requiem for a Retard (2019) and Samson and Delilah (2011) take serious myths and reduce them to absurd, almost childish representations. This dark humor compels viewers to reflect on uncomfortable truths about power, history, and human behavior.

A significant part of Anthony’s later career was his close relationship with Sam Jedig and Stalke Galleri, where he exhibited regularly from the mid-1990s until his death. The gallery played a pivotal role in showcasing his work, fostering his reputation as a subversive figure in the contemporary art scene. It was through Stalke Galleri that two important books, Deviant Draftsmanship (2021) and Ironic Icons (2013), were produced. Both volumes, which chronicle Anthony’s career and artistic vision, were published by Sam Jedig, highlighting Anthony’s unique artistic journey and his relentless commitment to questioning art, culture, and societal norms.

Additionally, Anthony’s collaboration with Artstamp.dk marked a unique chapter in his career, where his art appeared on stamps, combining his satirical style with the traditional world of philately. Through Artstamp.dk, Anthony’s work was distributed in the form of stamps, further solidifying his influence on both the art world and popular culture. These stamps, like his drawings and paintings, turned everyday objects into vehicles for subversive humor, making art more accessible and bringing his absurdity into the homes of collectors and art lovers alike.

In his books Deviant Draftsmanship and Ironic Icons, his art is framed as a critique of both the art world and the human condition, filled with humor, irony, and irreverence. His “ironic icons” turn sacred cultural and religious symbols into reflections of human folly, challenging the sanctity of high art with humor that often bordered on the absurd. His works, while playful, ask serious questions about the nature of art and the role of the artist, providing an antidote to the pretensions of the art world.

Anthony’s art, though often dismissed as crude or childish, reveals a sharp intellect and an expert understanding of artistic technique. While it may appear simple, it holds a complexity rooted in its defiance of conventional artistic standards. His work remains a powerful reminder that art does not need to be serious to be meaningful—often, it’s the humor that uncovers deeper truths about society, power, and the human experience. His collaborations with Jedig, Stalke Galleri, and Artstamp.dk ensured that his unique perspective would continue to provoke laughter and reflection long after his death.