Link here to Mr. Steiner’s website, where you can see more of his work, including his writing and, of course, his cartoons.
Visitors to this site are likely quite aware of Arno’s work and what it meant to the struggling New Yorker in its first year of publication. Today I offer up another toast: this one’s to Arno for winning what might appear to some as a small victory, but to cartoonists themselves is a victory quite meaningful.
During the later years of Harold Ross’s editorship (Ross is the fellow who created The New Yorker and was its first editor) Arno became incensed that some of his cartoon captions were being edited and published without his approval. He created a document that would ensure the magazine would agree to pay a fine if such editing occurred without his approval. I believe this brought about an awareness and a policy that exists to this day at the New Yorker. Arno’s document is a thing of the past, but the magazine will not add or subtract so much as a comma in a cartoon caption without first running their suggestion by the artist for approval. It is a policy that symbolizes editorial respect for the magazine’s artists and their work.
My glass is raised to Arno for that and for so much more!
Above: Arno in the 1950s
If you want to read more about Arno may I suggest you check out his biography.
From The Comics Journal, January 6, 2017, “Jerry Dumas, Cartoonist and Poet” — Mr. Dumas, who died this past November, is profiled by a comics writer, R.C. Harvey.
Mort Gerberg will give a talk, “The Magazine Cartoon: Telling a Story in Only One Panel” at the New School in late February.
Left: The Art of Cartooning, published by Scribner in 1975, edited by Ron Wolin, Mr. Gerberg, and the late New Yorker cartoonist, Ed Fisher.
From AI-AP, “Illustrator Profile – R. Kikuo Johnson ‘You’ll Never regret making the work you want to make'” — this interesting piece on a New Yorker cover artist. (His cover from May of last year appears to the left)
From the publisher:
“A new cartoon collection from the mind of Eisner Award-winning, Harvey-nominated, and current New Yorker cartoonist, Shannon Wheeler! Too Much Coffee Man, the long-underwear-clad hero, returns to the printed page in his first new adventures since having his life remade in opera form.”
A recent New York Times article, “The Making of Virtually Real Art with Google’s Tilt Brush” (January 4, 2016) named just two of the New Yorker cartoonists who joined Bob Mankoff and Roz Chast in exploring, what the Times described as Google’s “virtual reality setup that allows people to paint with light….”
In the article we are told that “Bob Mankoff, Roz Chast and other cartoonists for The New Yorker have also checked it out…” and further down in the article: “Mr. Mankoff, the cartoon editor at the New Yorker, came up with some characteristically Mankoff-like 3-D drawings during the two days he spent using Tilt Brush with Ms. Chast and other colleagues at Google’s offices.”
The “other cartoonists”(“other colleagues”) were The New Yorker‘s Danny Shanahan, Emily Flake, Ben Schwartz, Farley Katz, and Liana Finck.
Jane Mattimoe’s wonderful blog, A Case For Pencils begins the new year by spotlighting New Yorker cover artist, John Cuneo. For those who pay extra close attention to Ink Spill, the inclusion of a cover artist here will possibly come as a surprise. For the sake of clarity I define a New Yorker cover artist as someone whose contributions to The New Yorker are solely covers (and sometimes illustrations) and not cartoons. I’ve wanted to include cover artists on the Spill for some time. This is a first or second (or third or fourth?) step to slowly introducing them.
The above cartoon by Will McPhail, a relative newcomer to the New Yorker‘s stable of cartoonists (his first drawing appeared December 22, 2014) has been receiving a lot of social media attention.
Some sites mentioning the cartoon:
Geez, what a year. I’ve spent this morning looking back through Ink Spill’s 2016 posts. This was the year we lost more New Yorker cartoonist colleagues than in any previous twelve month period in the magazine’s history: William Hamilton, John Caldwell, Gerald Dumas, Michael Crawford, Anatol Kovarsky, Frank Modell, Robert Weber, and Peter Porges.
Their combined published work in The New Yorker adds up to approximately 5,000 drawings. An astounding number. But of course what they really contributed to the magazine, and to us, whatever number of drawings published, were their distinct worlds, beautifully, thoughtfully, artfully and engagingly set down on paper.
All of these artists helped define what a New Yorker cartoon is, and what it could be. As as the old year takes a hike, and a sparkling new year begins, I suggest a fitting tribute to these fine fellows would be to seek out their work and revel in it.
Note: So Long, 2016. Howdy, 2017 is pinched from a line in Bob Dylan’s song, “Talkin’ New York”: “So long, New York. Howdy, East Orange”
Just added to Ink Spill‘s Library, courtesy of the cartoonist Mike Lynch: There Was A young Lady Named Alice (Dell Publishing, 1963) — limericks collected by John Armstrong, with illustrations by the great artist, Anatol Kovarsky.
A sample page:
Anatol Kovarsky (photo above, NYC, 2013. By Liza Donnelly) Born, Moscow. Died, June 1, 2016, NYC. Collection: Kovarsky’s World (Knopf, 1956) NYer work: 1947 -1969. Link to Ink Spill’s Anatol Kovarsky appreciation
The New Yorker‘s cartoon assistant, Colin Stokes took this wonderful photo at the magazine’s holiday party, Wednesday, December 14th of this year. Shown in the photo, left to right standing: Ben Schwartz, Harry Bliss, Joe Dator, Emily Flake, Amy Hwang, and Drew Dernavich. Kneeling, Corey Pandolph.
(photo courtesy of Colin Stokes)
Visit the New Yorker’s Cartoon Bank to see work by these artists.