R.C. Harvey’s Trip Down Mankoff Lane

Posted on 27th March 2017 in News

From The Comics Journal, March 27, 2017, “A Look Back at 20 Years of Mankoff’s New Yorker” — R.C. Harvey takes a look at Bob Mankoff’s not-quite 20 year term (August of 1997 – April of 2017) as The New Yorker‘s cartoon editor in this longish piece that covers much ground found in Mankoff’s memoir, How About Never — Is Never Good For You: My Life in Cartoons (Henry Holt, 2014), as well as the very current events surrounding Mr. Mankoff’s imminent departure.

There are a few things in Mr. Harvey’s piece I’m going to quibble with. I’ve reproduced them here, bolded and italicized.

New Yorker cartoons are topical (and always have been) but not as front-page topical as newspaper editorial cartoons. For decades, thanks to the magazine’s founder’s Puritan bent, sex was taboo as a subject for cartoons.

New Yorker cartoons can be topical, but they are not always topical, and they have not always been topical, nor are they all topical now.  For instance,  these two drawings, perhaps two of the most famous in the magazine’s canon: James Thurber’s so-called Seal in the Bedroom, and Charles Addams famous skier who has somehow managed to ski through a pine tree.  If there’s something topical about them, I don’t see it.

As for sex as a taboo, well what are we talking about here exactly?  Barbara Shermund’s and Peter Arno’s work mined the subject of sex in the New Yorker for decades on end.  Mr. Arno, of course, made quite a nice career out of providing the New Yorker‘s readership with sex-based drawings.

By the time Lorenz was cartoon editor, cartoonists were expected to both write and draw their cartoons. (In fact, to reveal an undisguised bias of mine, true cartooning, blending words and picture, can most happily take place in a cartoonist’s mind, not a writer’s. Which may account for the typically inert comedy that prevailed at The New Yorker for so many of its first decades. And, even—inevitably—into current decades.)

Not really sure where  “by the time Lorenz was cartoon editor, cartoonists were expected to both write and draw their cartoons” comes from. It is simply not the case.  As one who was brought into The New Yorker by Mr. Lorenz, the subject of what was expected never came up. The word “expect” just isn’t part of the New Yorker cartoonist/editor language. Forty years later, I can say that the subject never came up with Mr. Lorenz, or his successor.

As for “…the typically inert comedy that prevailed at The New Yorker for so many of its first decades” Mr. Harvey has a right to his opinion, of course, but “inert” is not a word I’d apply to the earliest New Yorker cartoons. In fact, if you look through the magazine’s first three decades  what you will see is plenty of cartoon movement across the page and within the cartoons themselves. Take a look at the work of Reginald Marsh, or Thurber, or Barlow, or Hoff or Johan Bull (I could go on listing names, but you get the point).   Mr. Bull was a frequent contributor in the magazine’s earliest days –his lovely drawings  were barely kept within the borders of the page. And Mr. Marsh’s drawings were electric.  There was a graphic  playfulness to much of the work then; it subsided, appropriately enough, with the advent of the second world war.  If you want to go looking for inert drawings, you’ll find them easily enough and in every issue, but I would say they did not prevail — they were a bit of balance, some down-time Harold Ross so wisely provided his readers.

“The Place Was Especially A Mess After The Weekly Art Meetings”

Posted on 23rd March 2017 in News

 

 

… “The artists, who waited for the verdicts, scrambled for desk space where they could retouch their cartoons and spots according to what Wylie, or Katharine Angell, told them what Ross wanted.”*

 

— So said New Yorker editor and writer Rogers Whitaker to Thurber biographer, Harrison Kinney. He was describing a wonderfully fun and exciting time and place: The New Yorker in its infancy, ninety some years ago.

 

What’s changed since then?  Well, the cartoonists no longer wait in the office to hear the verdict for that week’s submissions (email now alerts them to a sale, and more often, rejection). However, many cartoonists still head to the New Yorker every week to sit across from the cartoon editor. It’s a chance to connect with the editor, to get feedback, to discuss that week’s submissions.  It’s also a chance to socialize with colleagues.  Cartoonists, as has been said many times, are mostly solitary creatures, whiling away at their drawing boards or tablets without the company of other humans.

 

Using the clues of the personalities Mr. Whitaker mentioned we know that the artists (cartoonists for the most part with some cover artists tossed in) began showing up at the New Yorker from the very first days of the magazine. What we don’t know is exactly when the cartoonists began showing up to see the Art Editor — a ritual that began sometime during James Geraghty’s tenure as the magazine’s first Art Editor.

 

Rea Irvin, the New Yorker‘s Art Supervisor did not meet the artists flooding into the office. So who actually saw the artists coming in? It was, in the very beginning, Ross’s secretary, Helen Mears, who was soon fired and replaced by a young man named Philip Wylie. He was the unofficially titled artists “hand-holder” — the link between the editorial staff and the cartoonists.   Most importantly to The New Yorker‘s history, and to its success, Wylie is the person who, while looking through twenty-one year old Peter Arno’s portfolio one day in 1925  happened to spot a drawing Arno hadn’t intended to show: a sketch  of “two old bats about to charge obliviously into a trap — made by the rise of a sidewalk elevator. It [the drawing] greatly amused me.”   The  “two old bats” came to be called The Whoops Sisters, and also came to be credited as very likely rescuing The New Yorker from an early demise.  This moment was one of the so-called “happy accidents” that saved the New Yorker and propelled it forward. And it could have only happened because Arno came into the office and sat down with Wylie.

 

We know that upon James Geraghty’s appointment as Art Editor in 1939 he began working closely with the magazine’s staff cartoonists on Look Day (Tuesdays back then, and for many years after. Wednesdays now).  What has always endeared me to the editor/artist dance at the magazine is that editorial prompts are not directives — they are suggestions.  This practice continued on during Lee Lorenz’s twenty-four years as art editor after he succeeded Geraghty, and it continues right up to today.

 

Mr. Lorenz ran a very tight ship in those twenty-four years; artists had to be invited in to the office on Look Day.  Even some long-time contributors did not receive the coveted invitation.  They had to drop off their work at the receptionist’s glassed-in cubicle at the end of the hallway near the elevators. To be invited back was well-earned. And what you found once you were buzzed through the hallway door and then walked down the dog-legged hallway to the Art Department was a small cream-colored waiting room filled with cartoonists whose names would most likely be as familiar as the names of your family members. Their work, of course, would be familiar as well. The days of artists messing up the office were in the rear view mirror.  Some of the cartoonists actually had “studios” in the building (Charles Addams, Frank Modell, James Stevenson, Edward Koren among them).  Mr. Lorenz had an editorial light touch when working with artists — a shade lighter than Geraghty’s, or so I’ve been told; like Geraghty, Lorenz’s advice was succinct, and spot-on.

 

When Bob Mankoff succeeded Mr. Lorenz, he instituted what he called an “open door” policy,  saying, “I’ll see anyone.”  And in they came. To be sure, it created a different climate in what is called the cartoonists lounge.  Lots of new faces, many unpublished in The New Yorker, or anywhere, mingled with veteran contributors such as Sam Gross, George Booth, and Mort Gerberg. The scene wasn’t messy, as in the old days, but it was lively (they’ve had to be “hushed” on more than one occasion.  Dana Fradon, recalling the pre-Mankoff days, told Ink Spill: “Once, when someone down the hall voiced an official complaint about ‘noise’ coming from the cartoonists waiting room, Ed Fisher and I went out into the hall and sang, in close harmony, ‘The Beer-Barrel Polka’. “Roll out the barrel…”).

 

It was recently announced that a New Yorker editor, Emma Allen would replace Mr. Mankoff in May. A Cartoon Department email soon followed announcing that Mr. Mankoff would not see cartoonists on Look Day in these last weeks of his editorship.  How eerily quiet it will be around the cartoon lounge on Wednesday mornings!  I imagine that come May, the non-existent doors to the cartoon department will swing open again (there are waist-high partitions everywhere now, and just a few doors) and the cartoonists will flood in, as lively and boisterous as they’ve been for over ninety years.

 

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*A Who’s Who of those mentioned above

Emma Allen:  Ms. Allen has worked as an editor of Talk of The Town, a writer, and editor of Daily Shouts, and as of May this year, The New Yorker‘s Cartoon Editor.

Ed Fisher: Mr. Fisher’s first cartoon appeared in The New Yorker October 27, 1951; he went on to contribute over 700 cartoons. He died in 2013.

Dan Fradon:  Mr. Fradon, whose first cartoon appeared in The New Yorker, May 1, 1948,  is the doyen of the magazine’s artists. He has published well over a thousand cartoons in the magazine.

James Geraghty: a former gag-writer, hired in 1939, he became the magazine’s first Art Editor.  Before Geraghty, there was no one single person at the magazine dedicated to overseeing all the art (Harold Ross was the overseer of everything in his magazine).  Ross’s successor, William Shawn said of Geraghty: “Along with Harold Ross…he set set the magazine’s comic art on its course and he helped determine the direction in which the comic art would go and is still going.”  Mr. Geraghty was the art editor from 1939 through 1973. He died in 1983.

Rea Irvin: Mr. Irvin is a huge part of the New Yorker’s DNA as he’s responsible for the New Yorker‘s first cover (featuring the fellow referred to as Eustace Tilley); Mr. Irvin adapted the typeface that we now call the Irvin typeface; he contributed a record number of New Yorker covers, and last but not least, he helped “educate” Harold Ross, art-wise. He died in 1972.

Harrison Kinney: A reporter for The New Yorker from 1949-1954; his massive biography of James Thurber: His Life & Times was published in 1995.

Lee Lorenz: Geraghty’s successor as Art Editor (and later, under Tina Brown’s editorship, as Cartoon Editor).   He began as editor in 1973, handing over the reigns to Bob Mankoff in 1997. Mr. Lorenz is also one of, if not the most prolific New Yorker cartoonists. He is also the author of numerous books about New Yorker cartoonists, including the must-read history, The Art of The New Yorker:1925- 1995.

Bob Mankoff: Mr. Mankoff, also a cartoonist for the magazine, has been its cartoon editor for over nineteen years.  His memoir, How About Never — Is Never Good For You?: My Life In Cartoons was published in 2014.

Helen Mears: Harold Ross’s first secretary and the first person delegated to be a go-between the editorial department and the artists. She was fired by Philip Wylie on orders from Harold Ross. Mr. Wylie then assumed Ms. Mears duties.

Harold Ross: The founder and first editor of The New Yorker. There are three biographies of Mr. Ross. Thomas Kunkel’s biography Genius in Disguise is essential reading. Mr. Ross died in 1951.

William Shawn: Appointed in January of 1952 as Harold Ross’s successor. He remained editor until 1987. He died in 1992.

Rogers E. M. Whitaker: hired in 1926 he headed the checking department and later the make-up department.  Mr. Whitaker went on to become an editor and contributor to the New Yorker, working under various names:  “E.M. Frimbo”  (“The World’s Greatest Railroad Buff”) for pieces chronicling his journeys on the nations railways; “J.W.L.” for his pieces about Ivy League football; “The Old Curmudgeon” when he wrote for The Talk of The Town.   Mr. Whitaker died in 1981.

Katharine White: Hired in August of 1925, Ms. White (then Angell) was the magazine’s first Fiction Editor.  According to the New York Times: she…”exerted a profoundly creative influence on contemporary American literature…having transformed The New Yorker from a humor magazine into the purveyor of much of the best writing in the country.” Before James Geraghty consolidated the Art Department, the art was under the umbrella of the Fiction Department.  Lee Lorenz has written of her that “she was a powerful voice in the selection of the magazine’s art.” She died in 1977.  Linda Davis’s biography, Onward & Upward: A Biography of Katharine S. White is essential reading.

Philip Wylie: “The New Yorker‘s first bona fide applicant” was the magazine’s second artist hand holder.  He attended hundreds of the magazine’s first art meetings.  His short stint at The New Yorker was followed by a long and successful career as a writer including the best-selling Generation of Vipers.  He died in 1971

 

 

Swann’s Ad with Addams “Z” Subway Car; Cartoon Companion Rates the Latest New Yorker Cartoons; Book of Interest: Shannon Wheeler’s “Sh*t My President Says: The Illustrated Tweets of Donald J. Trump”

Posted on 16th March 2017 in News

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Was pleased and surprised to come across this full page Swann ad in today’s New York Times (the special “F” section devoted to Museums).  The Addams drawing, included in an upcoming auction, originally appeared in The New Yorker October 1, 1979. That issue, to me, is memorable. For starters the cover, by R.O. Blechman,  is one of my all-time favorite New Yorker covers.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The roster of cartoonists in the issue included some heavy hitters from the magazine’s golden age, including George Price (whose drawing in the issue is three-quarters of a page), William Steig, Addams of course, and James Stevenson (represented by a full page drawing).  Also in the issue are some of James Geraghty’s best additions from his later years manning the art editor’s desk: Lee Lorenz, Warren Miller, Edward Koren, Robert Weber, and J.B. Handelsman.  And there are a number of the new kids brought in by Geraghty’s successor, Lee Lorenz: Arnie Levin, Jack Ziegler, Bob Mankoff, Roz Chast and yours truly (another reason the issue was memorable for me: it contained my first sequential drawing).

Looking through the issue at the cartoons one can’t help but notice how the  cartoons sit in a wide variety of space. Price’s three-quarters page, Stevenson’s beautiful full page, my own multi-panel spread bleeding onto a second page, Ziegler’s drawing (the first of two Zieglers in the issue) in an upright rectangle surrounded on three sides by text; Mankoff’s drawing and Arnie Levin’s as well as Addams’s allowed to spread across the width of the page. Weber’s gorgeous drawing run large, and  set so perfectly on the page. What’s even more remarkable about this issue is that it wasn’t unusual — this is what was normal in that time.

 

Here’s what the Addams drawing looked like in that issue:

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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The only blog offering a critical take on each week’s New Yorker cartoons returns with a look at  cavemen pondering their wardrobe, a drafty Hades, a King’s best friend, King Kong’s mom & pop, and 8 more.   Read it here.

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Coming from Top Shelf Productions this summer, Shannon Wheeler’s Sh*t My President Says: The Illustrated Tweets of Donald J. Trump.

From the publisher:

Acclaimed cartoonist Shannon Wheeler (The New Yorker, God Is Disappointed in You, Too Much Coffee Man) transforms Donald Trump’s most revealing tweets into razor-sharp cartoons, offering a subversive and illuminating insight into the mind of the most divisive political figure of our time. Whether you love him or hate him, this take on Trump will help you come to grips with the man and his ideas thanks to Wheeler’s signature mix of slapstick and sophistication.

Details here.

From Ink Spill’s Archives: An Early Cartoon Bank Brochure

Posted on 11th March 2017 in News

As we rapidly approach the end of Bob Mankoff’s tenure as the New Yorker‘s cartoon editor, Ink Spill takes a quick look back to the mid 1990s (before Mr. Mankoff was appointed by Tina Brown to that position) when he founded something called the Cartoon Bank. The CB (as it came to be called in the cartoon community) was eventually sold to Conde Nast.

Mr. Mankoff wrote in his memoir, How About Never — Is Never Good For You: “I agreed to sell the Cartoon Bank [to Conde Nast] as long as two conditions were met: (1) I would continue to be its president and (2) I would also become cartoon editor.”

  Here’s a brochure cover from those pre-Conde Nast Cartoon Bank days and a page out of the brochure describing the “birth of the Cartoon Bank”:

 

An Edward Koren Exhibit & Talk; New Yorker’s Latest Cartoons, Rated On A Scale of 1 to 6; The Tilley Watch: Fact-Checking At The New Yorker

Posted on 9th March 2017 in News

An exhibit of original art by one of The New Yorker‘s Cartoon Gods, Edward Koren, will open Saturday March 18 at Vermont’s  Brattleboro Museum & Art Center. BMAC’S Website here.

From the press release:

Quirky creatures will…inhabit the exhibit SERIOUSLY FUNNY in the museum’s East Gallery. The exhibit consists of 16 original drawings and prints by longtime New Yorker cartoonist Ed Koren, best known for his iconic, fuzzy-haired, long-nosed denizens of New York’s Upper West Side. Koren and curator Jeff Danziger will give a talk at BMAC on Thursday, April 20 at 7 p.m.

 

Here’s Mr. Koren’s entry on Ink Spill‘s “New Yorker Cartoonists A-Z”:

Edward Koren (photo above,Fall 2016,courtesy of Gil Roth)  Born, 1935. New Yorker work: May 26, 1962 — . Key collections: Do You Want To Talk About It? (Pantheon,1976), Well, There’s Your Problem (Pantheon, 1980), Caution: Small Ensembles (Pantheon,1983).

Link here to Edward Koren’s website

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The mysterious “Max” and “Simon” have returned (along with the equally mysterious Mystery Guest New Yorker Cartoonist) to assess the latest New Yorker cartoons. This week: Krimstein’s coffee, Bliss’s spooky campfire story,  Borchart’s bees, and more.

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The Gray Lady sends off Bob Mankoff with a piece on his own cartoons (Emma Allen replaces Mr. Mankoff as the New Yorker‘s cartoon editor this Spring).

Mr. Mankoff tells Ink Spill that one of his post-editorship projects,  The Encyclopedia Of New Yorker Cartoons, will contain, in his words, “a massive 4,000 cartoons” —  look for it in 2018.

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From The Columbia Journalism Review, March 8, 2017, “The New Yorker’s chief fact-checker on how to get things right in the era of ‘post-truth'” —  Peter Canby (shown below), who has been  at The New Yorker since 1978, talks fact-checking. 

 

Emma Allen To Succeed New Yorker Cartoon Editor Bob Mankoff

Posted on 2nd March 2017 in News

 

 

 

 

 

 

 

 

 

 

 

In a memo to all New Yorker Cartoonists this afternoon, the magazine’s editor, David Remnick announced that  Emma Allen, a New Yorker editor will succeed Bob Mankoff as cartoon editor in two months time.

In part, the memo reads:

The person I’ve chosen to be the next cartoon editor is Emma Allen, who has worked in recent years an editor of The Talk of the Town, a writer, and the driving force behind Daily Shouts, which is one of the best features of newyorker.com. Unlike Bob and Lee, she is not a cartoonist, but then neither was James Geraghty, who did the job before Lee. (Hell, William Shawn was not a writer, either, and he wasn’t too bad in the editing department.) Emma has a terrific eye for talent, knows the history of cartooning deeply, and is an immensely energetic and intelligent and sympathetic editor. She will work with Colin Stokes on selecting cartoons, running the caption contest, and creating a bigger digital footprint for cartoons. I am quite sure that we have only just begun to figure out new ways to explore and exploit digital technologies as a way to distribute your work to more and new readers. All of this is intended to stake out a healthy future for cartoons at The New Yorker.

Ms. Allen will be the third person in the magazine’s history in charge of editing its cartoons (Rea Irvin, who helped the magazine’s founder develop the New Yorker’s cartoon culture, was considered the art supervisor).  James Geraghty,  hired in 1939, was the first official cartoon editor (his title was Art Editor).  Lee Lorenz succeeded Mr. Geraghty in 1973 and held that position (as Art Editor from 1973 -1993 and then as cartoon editor from 1993-1997) until Mr. Mankoff was appointed in ’97.

Update: In a statement released to the press, Mr. Mankoff had this to say:

“My greatest gratitude goes to the cartoonists. I know how much easier it is to pick a good cartoon than do one, much less the many thousands they have done and will continue to do,” Mankoff said. “And, continue they will, with Emma Allen who now takes over this most iconic of all New Yorker features. I wish her and them the best of luck. And me, too—I’ve got to find that old cartoon pen of mine.” 

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The filmmaker Sally Williams has been hard at work on her documentary about James Stevenson. Here’s a brief clip from the film.

Link here for even more on Sally Williams

Link here to see some of Mr. Stevenson’s New Yorker work

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Gerberg at The New School Tonight; Another New Cartoonist at The New Yorker; An Early Sidney Harris Collection

Posted on 28th February 2017 in News

A reminder that long-time New Yorker cartoonist, Mort Gerberg will be speaking at The New School this evening. All the details here.

Mr. Gerberg’s entry on Ink Spill’s “New Yorker Cartoonists A-Z”:

Mort Gerberg Born, March 11, 1931, New York, NY.  NYer work: April 10, 1965 – .  Co-edited, with Ron Wolin & Ed Fisher,  The Art in Cartooning: Seventy-five Years of American Magazine Cartoons (Charles Scribner & Son, 1975).

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Earlier this month it was noted here that the work of two new cartoonists had been added to the magazine’s stable of cartoonists (Jeremy Nguyen and Alice Cheng). The number of new cartoonists added to The New Yorker’s stable of cartoonists  in 2017 is now  three.   The latest issue of the magazine, March 6, 2017 contains yet another new addition, Jim Benton.

Last year 16 new cartoonists were added (a record high). According to Ink Spill’s fairly reliable tally  of new cartoonists added since Bob Mankoff became cartoon editor in 1997 the total is now 128.  That number counts teams of cartoonists as one (sorry team members!).

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Following a discussion with a fellow cartoonist the other day about Sidney Harris’s cartoon collections, I went online to see if I could find a non-themed collection of his.  Mr. Harris has published a lot of  themed collections (his latest, 101 Funny Things About Global Warming is an anthology featuring his own work and the work of a number of his colleagues), but I could not recall what I think of as a standard collection, such as say Charles Addams’s Favorite Haunts.   In less than a few seconds the title shown here popped up. Pardon Me, Miss! was published by Dell in 1973 (his first cartoon appeared in The New Yorker in the issue of July 9, 1973).  The title will be added to Ink Spill‘s New Yorker Cartoonists Library.

 

Event of Interest: Mankoff in Florida

Posted on 12th January 2017 in News

cartoon-contest-homepage Bob Mankoff will appear at the Boca Raton Festival of Arts in early March.  Details here.

Sooner and closer to home: On January 18th, Mr. Mankoff will be in discussion with Ken Johnson.  Details here.

Signed & Drawn

Posted on 10th December 2016 in News

From the always interesting Attempted Bloggery, this fun piece, with scans, about a signed copy of Lee Lorenz’s The Art of The New Yorker. (Mr. Lorenz was the Art Editor of The New Yorker from 1973 — 1993, then Cartoon Editor from 1993 — 1997).

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Newest Addition to Ink Spill’s Library: Comically Correct

Posted on 29th November 2016 in News

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Courtesy of Danny Shanahan, this promotional booklet (offered with new New Yorker subscriptions?) from 1995 has been added to Ink Spill‘s Library. Of the many promo booklets produced by The New Yorker I’d never seen this one until today. Shown are the cover, the introductory page and the list of cartoonists whose work is within (yes, Bruce Eric Kaplan’s middle name is spelled wrong).

intro-comically-correct-edtcartoonists-comically-correct