The life and work of Art Young, who contributed his work to The New Yorker from 1925 through 1933, will be celebrated big time in Bethel Connecticut. Marc Moorash, curator of the Art Young Gallery tells Ink Spill that in “March and April we’re giving Art his first solo show since his exhibition at the ACA Gallery in 1939. We’ll have 40 original illustrations and 120 pieces of ephemera – letters, books, magazines, etc.”
All the information here.
Mr. Moorash also notes that “we’ve just published his long lost manuscript – Types of the Old Home Town – a collection of Americana images and writings, some of which appeared in The Saturday Evening Post, some never published. The manuscript was rescued from the back of a bookseller’s warehouse.”
Link here for information on Types of the Old Home Town
Today’s the day, ninety years ago to be exact, when the new weekly mentioned above turned up on newsstands across Manhattan. The cover, by Rea Irvin, was surprising. It featured a drawing of an as yet unnamed gentleman from an earlier time. How odd, how very strange. Who is that fellow, and why did The New Yorker’s founder and first editor, Harold Ross, decide to place the top hatted dandy on the inaugural issue. I can’t help but think that Ross made a very human decision: art won out over commerce.
I like to think that The New Yorker has survived 90 years, through tough times (in its infancy) through great times, and golden times, through times of editorial upheaval, and these current times of hourly change, because it has held to its promise from the start, that “it will be human.”
Coming soon to the Society of Illustrators: Alternative Weekly Comics: The Exhibit, curated by Warren Bernard (Comics Historian and Executive Director of the Small Press Expo) and Bill Kartalopoulos (Series Editor, The Best American Comics). All the info here.
From A Case For Pencils, a look at the tools used by four cartoonists: Edward Steed, Chris Cater, Julian Rowe, and Jason Adam Katzenstein (links to their websites found on the linked site).
[Photo of pencil sharpener with SpongeBob SquarePants pencil by Liza Donnelly]
Fave Photo of the Day: (l-r) Ken Krimstein, Bob Eckstein and Pat Byrnes in Chicago this week.
From The Stripper’s Guide, February 5, 2015, “News of Yore 1973: William Hamilton Profiled” — this piece by Lenora Williamson that originally appeared in Editor & Publisher, April 7 1973
(thanks to Mike Lynch for bringing this to my attention)
Link here to see some of William Hamilton’s New Yorker work.
From The Paris Review, “Portrait of the Artist as a Young Fan” — this piece by Jeet Heer on John Updike’s relationship with cartoons.
From Live Talks Los Angeles, this notice: On Thursday, April 30, Bruce Eric Kaplan (known to New Yorker cartoon afficiandos as BEK) will be in conversation with B.J. Novak, discussing Kaplan’s upcoming memoir, I Was A Child (Blue Rider Press), All the info here.
From Bob Mankoff’s newyorker.com blog, this video post: “Downtown is Looking Up,Up,Up” — a look at skyscraper cartoons from the New Yorker’s early years.
From Bob Eckstein’s Facebook post, this photo of he and Chris Ware at the Chicago Cultural Center’s film premiere of Hairy Who.
(photo by Meg Handler Photography)
From The Providence Journal, February 8, 2015, “RISD exhibit: Album covers were just another canvas for artists” – this story about a current exhibition of album cover art. The exhibit includes work by William Steig, Arnold Roth,and Edward Sorel.
( left: A Sorel album cover)
The New Yorker’s current cartoon editor, Bob Mankoff on Joe Farris, who passed away last week at the age of 90. “Joe Farris’s Top-Of-The- Line Cartoons”
Emily Flake has returned to the The Daily Cartoon. Last time around was the summer of 2013.
When you move, it’s always reassuring unboxing something you love from the old place and setting it down in the new place. In 1991 when The New Yorker left its long time offices at 25 West 43rd Street, the magazine brought along a number of office wall drawings by James Thurber. The drawings were carefully extricated from 25 West 43rd Street and eventually installed across the street at 20 West 43rd Street. These very same drawings were moved again when the magazine moved west to 4 Times Square in 1999.
In a tradition at The New Yorker that goes back to the magazine’s founding in 1925, cartoonists come in on Tuesdays to show their latest efforts to the cartoon editor. Greeting them this Tuesday — their first Tuesday at the new offices at One World Trade Center — were Thurber’s drawings, in a new neighborhood, in a new building, at a higher elevation, and installed on a new wall, but still, as Brendan Gill might’ve said, here at The New Yorker.
[photo courtesy of Liza Donnelly]