It all started in 1990 with the publication of The New Yorker Book of Cat Cartoons, then the obvious follow-up, The New Yorker Book of Dog Cartoons. After Dogs the series expanded to all sorts of subjects — you know, the ones cartoonists tend to visit at one time or another: lawyers, politicians, love, doctors, etc., etc.).
Eventually the custom books began (MoMA, CNN, HBO, Harvard University…) My favorite in the array shown above is The New Yorker Custom Cartoon Book: a meta-ish sort of traveling salesman’s sampler.
Some years back I asked a Cartoon Bank employee how many of these custom books were produced (I was trying to understand if I should try for a complete collection). The answer was, “like a thousand” — a number I believe is probably a little high.
There are a number of titles missing from the Ink Spill library (to name a few: Art, Baseball (Edited by the late Michael Crawford) and Golf — there is, oddly, a French golf title in the Spill collection: Le Monde Du Golf). As for custom books, I’ve yet to score a copy of The Wit and Wisdom of Stephen Joel Trachtenberg, The President of George Washington University, among other titles. How many of these custom cartoon books are there? Your guess may be as good as the Cartoon Bank employee’s.
Two heavy hitters, Lee Lorenz and Edward Sorel will share a stage on September 26th for an event billed “Drawing Sides: A Timely Conversation on Political Cartoons” Details here.
Peter Kuper joins a very long list of New Yorker artists who’ve told us about their chosen tools of the trade on Jane Mattimoe’s terrif blog, A Case For Pencils. Read it here.
And speaking of Mr. Kuper, he’ll be appearing on a panel tonight at the New York Academy of Art. The discussion will center on the history and future of MAD magazine.
Joining two previous Ink Spill maps, The New Yorker’s New York, and New Jersey’s New Yorkers, is the Outer Boroughs’ New Yorker Cartoonists. Cartoonists included were born in the boroughs. I’m fairly certain this is not a complete picture — corrections and suggestions always welcome (for instance: please advise if Staten Island had at least one native born New Yorker cartoonist).
[Click on the map to enlarge it].
More than 50 Charles Addams originals are back on display at the Southampton Arts Center, having originally been exhibited three years back. A must see if you can. Details here.
Here’s Mr. Addams entry on Ink Spill‘s “New Yorker Cartoonists A-Z”:
Charles Addams Born in Westfield, NJ, Jan 7, 1912. Died Sept. 29, 1988, New York City. NYer work: 1932 – 1988 * the New Yorker publishes his work posthumously. Key cartoon collections: While all of Addams’ collections are worthwhile, here are three that are particular favorites; Homebodies (Simon & Schuster, 1954), The Groaning Board (Simon & Schuster, 1964), Creature Comforts (Simon & Schuster, 1981). In 1991 Knopf published The World of Chas Addams, a retrospective collection. Website: http://www.charlesaddams.com/
…This week’s issue of The New Yorker (September 19, 2016) marks the cartoon debut of Tadgh Ferry. Mr. Ferry is, by Ink Spill‘s account, the 15th new cartoonist to debut in the magazine this year, the 39th in the past 33 months, and the 119th new cartoonist to debut in The New Yorker during Bob Mankoff’s tenure as cartoon editor.
Circle the date! Emily Flake in conversation with Glen Baxter on September 19th. Details here.
Ms. Flake’s cartoons were first published in The New Yorker in 2008, Mr. Baxter’s in 1989. Mr. Baxter’s latest book, Almost Completely Baxter: New and Collected Blurtings, was published in May. Ms. Flake’s latest, Mama Tried, was published in the Fall of 2015.
Drawing Blood : Forty-Five Years of Scarfe will be out in October (Published by Little, Brown). Read more about Gerald Scarfe’s wide-ranging career, and this anthology here on Mr. Scarfe’s website.
Mr. Scarfe debuted in The New Yorker March 22 1993 with the Artist’s Sketchbook below:
Read all about Mark Alan Stamaty’s NYC illustrated subway car on Mike Lynch‘s blog here.
Mr. Stamaty’s New Yorker debut was with this cover in November of 1992. Here’s a link to his website.
From newyorker.com, September 8, 2016, “Salinger’s House, Artists Retreat” — the New Yorker‘s Sarah Larson visits Harry Bliss in a Salinger home, now owned by the cartoonist.
The new Swann catalog is now available online. Anyone interested in original New Yorker art will absolutely love looking through. New Yorker artists represented (both cartoonists and cover artists) are Charles Addams, Frank Modell, Ed Fisher, Tom Toro, William Steig, James Stevenson, Mischa Richter, Barbara Shermund, Ilonka Karasz, Laura Jean Allen, Beatrice Szanton, John Jonik, Peter Arno, Ludwig Bemelmans, Whitney Darrow, Jr., Richard Decker, Arthur Getz, and Leonard Weisgard.
The Fantagraphics Bookstore & Gallery will exhibit “R. Crumb: Early Works, 1965 – 1967″ Details here.
Mr. Crumb’s New Yorker debut was a cover for the 1994 anniversary issue. His cover, titled “Elvis Tilley” marked the first break in the magazine’s sixty-eight year old tradition of running Rea Irvin’s classic Eustace Tilley on the cover of the anniversary issue. (For more on Tilley’s anniversary appearances go here to a piece I wrote for newyorker.com back in 2008)
…here’s a short video for the blog, Skillshare featuring Liza Donnelly. A link to a longer interview with her can be found on the site.
…Link here to this interview of interest: “New Yorker Cartoonist Victoria Roberts: Write at Home in San Miguel”
…Here’s an article from Nieman Lab, “Video is giving The New Yorker a way to reach new readers without turning off existing diehards” (the newyorker.com‘s Cartoon Lounge is briefly mentioned).
Finally, this short piece from a Hudson Valley (NY) publication, Chronogram, “Parting Shot: Michael Crawford”
Available November 29, 2016 from IDW Publishing, Tom Tomorrow: 25 Years of Tomorrow. Mr. Tomorrow began contributing to The New Yorker in 1999. Details here
Link here to Mr. Tomorrow’s website.
Here’s something from the archives — an end of summer piece I submitted to The New Yorker back in the early 1980s. Just a few summers earlier (1976 to be exact) I was a college student working behind the bar and in the kitchen of a restaurant in Cape May making Oceanburgers and the like. This proposed (and rejected) cover is a blend of two very different Jersey shore towns. Cape May is represented by the beach tents, the bird watcher, and the lifeboat (its CMBP refers to Cape May Beach Patrol). I never saw a horse on Cape May’s beaches, but I liked to think a horse would be allowed on the beach the day after the last big weekend of the season. The boardwalk pier came out of my even earlier summers in Wildwood, just north of Cape May. The thing with the devils on it is based on a ride called The Hell Hole. Most definitely considered tame now, back then it seemed the scariest thing on the boardwalk. Inside the structure was a giant barrel that revolved at a terrific speed keeping the paying customers flattened to its wall. The floor dropped out at some point. Horrifying. I never went into the pirate ship — I’d heard it was filled with dancing skeletons.