Jack Ziegler, One of The New Yorker’s Greatest Cartoonists, Has Died

Posted on 29th March 2017 in News

 

 

Jack Ziegler, one of The New Yorker’s greatest cartoonists, passed away this morning in Kansas City. Last October I interviewed Jack — we had such a good time and there was so much to cover that it spread into two parts. Jack selected the above photo to run with one part of the interview — a fitting photo to run today.   I believe that it’s best to let that interview serve, for today, as my appreciation for the friend I loved and respected.

The Jack Ziegler Interview, Pt.1

The Jack Ziegler Interview, Pt. 2

 

 

 

 

 

Here’s Ink Spill’s “New Yorker Cartoonists A-Z” entry for Jack:

Jack Ziegler Born, Brooklyn, NY July 13, 1942. Died, Kansas City, March 29, 2017.  NYer work: 1974 – . Key collections: all of Ziegler’s collections are must-haves. Here’re some favorites: Hamburger Madness (Harcourt Brace Jovanovich, 1978), Filthy Little Things ( Doubleday/Dolphin, 1981) and The Essential Jack Ziegler, Complied and Edited by Lee Lorenz ( Workman, 2000)

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.

Donnelly’s Oscar Drawings; Found: A 34 Year Old Jack Ziegler Greeting Card

Posted on 27th February 2017 in News

A slide-show of Oscar drawings  by New Yorker cartoonist and CBS News resident cartoonist, Liza Donnelly. Ms. Donnelly was on the scene (see left)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Here’s a greeting card from 1983 I ran across today while sorting materials in the Ink Spill archives. Good stuff from the great Jack Ziegler! I’ll post some other materials re-discovered throughout the week.

Jack Ziegler Collection Goes to Ohio State’s Billy Ireland Library & Museum

Posted on 23rd December 2016 in News

jack-ziegler-1985-300x219Jack Ziegler has donated his work (including archival materials) to Ohio State’s Billy Ireland Cartoon Library & Museum. From the OSU announcement:

This collection spans half a century of cartooning, from the sketchbooks of a budding artist and early days at The New Yorker to recent work. Ziegler says about his donation, “It was important to me to locate a place that would properly preserve all my original published cartoon art from The New Yorker magazine, et al., along with related miscellany, for future scholars and the general public or other interested parties to peruse.”

Go here to read the entire press release.

 

 

 

Peter Porges, New Yorker & MAD Graphic Raconteur, Has Died.

Posted on 21st December 2016 in News

peter-porgesporges-1st-nyer-drawing-july-3-1965

 

 

 

 

 

 

 

 

 

 

 

Peter Porges, who began his New Yorker career in the summer of 1965 (his first drawing in the magazine appears above) died this week at age 89.  Mr. Porges was perhaps more widely known as a MAD artist (one of its famed Usual Gang of Idiots), but his New Yorker career spanned thirty-five years. Jack Ziegler, a New Yorker colleague, told Ink Spill today:

I used to love running into Peter Porges at the New Yorker on look days.  He never failed to make me laugh with that dead ringer Victor Borge Viennese (or wherever) voice of his.  I always thought those two might have been brothers separated somehow during the war.  He didn’t appear a lot in the magazine; he was mostly a Mad and a Playboy contributor, but I think he liked to show up mainly for the conversation with the rest of us and to just plain goof around, then go to lunch.  At some point we traded drawings.  My take-away was one of his large Playboy originals, but what I really cherish is a lithograph(? – possibly just a print) he gave me at a later date – I’m don’t remember the occasion – that depicts a spacious, obviously European restaurant full of top-hatted gentlemen seated before a bunch of glass bowls containing what appear to be two yellow balls in each.  The drawing is called “Poets in a Vienna Kaffeehause having eggs in a glass cup.”  I have no idea why this strikes me as so funny – it’s on the wall in front of me now – but it just indefinably is.

Born in Vienna, Austria on February 7, 1927, he emigrated to the United States, served in the military, then studied at what is now called The School of Visual Arts.  After his work appeared in Stars and Stripes, The American Legion Magazine,  and Successful Farming, he became a contract artist for The Saturday Evening Post in the late 1950s.  According to Bill Crouch in The World Encyclopedia of Cartoons, his work for MAD magazine  “began in this period, born out of a great motivational force, survival.”   Mr. Crouch noted that Mr. Porges considered himself “not only a cartoonist but a graphic raconteur.”

On a personal note: what I loved about Mr. Porges’s work was its MAD-like energy — it was imprinted with great joy, excitement and, of course, hilarity.

 

A 1991 MAD paperback by Mr. Porges.

porges-mad-lobsters

See some of his New Yorker work here

Link here for a brief biography on Mr. Porges

Mr. Porges’ Wikipedia page

Link here for a MAD Q & A with Mr. Porges

The Godfather of Contemporary New Yorker Cartoonists, Jack Ziegler, Exhibits Work in Kansas

Posted on 17th November 2016 in News

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A rare treat! The work of the great New Yorker cartoonist, Jack Ziegler, will be exhibited at  Love Garden in Lawrence, Kansas, beginning November 25th. Info here.

 

jack-ziegler-1985-300x219 Mr. Ziegler was recently the subject of a two-part interview on Ink Spill.

Below, Ink Spill’s New Yorker Cartoonists A-Z entry for Mr. Ziegler: 

Born, Brooklyn, NY July 13, 1942. New Yorker work: 1974 — . Key collections: all of Ziegler’s collections are must-haves. Here’re some favorites: Hamburger Madness (Harcourt Brace Jovanovich, 1978), Filthy Little Things (Doubleday/Dolphin, 1981) and The Essential Jack Ziegler, Complied and Edited by Lee Lorenz ( Workman, 2000)

 

Photo: courtesy of Liza Donnelly

New Yorker Cartoons of the Year 2016 Index

Posted on 14th November 2016 in News

new-yorker-best-cartoons-of-the-year-2016

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

An Ink Spill tradition continues with the posting of an Index for the Cartoons of the Year bookazine.   Why an Index you might ask.  Mostly because I always enjoyed seeing them in the magazine’s hardcover anthologies (the New Yorker‘s Cartoon Albums) and missed having an Index for these yearly bookazines (they started in 2010). I wouldn’t read too too much into the numbers of drawings you see listed for each cartoonist, but the Index itself is a reasonably good snapshot of the New Yorker‘s somewhat boisterous stable of cartoonists in these last few years.

You’ll see that few of the entries have a “(cc)” beside certain page numbers.  The “cc” refers to the Caption Contest.  So those particular drawings appeared on the magazine’s back page.  You might notice that there’s an asterisk next to Julia Wertz’s name.  That’s because her name does not appear on the list of contributing cartoonists found on page 4 of the bookazine. She is, however, included on the Contributors page (p.2).

And here you go:

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Darrin Bell   62

Harry Bliss 5, 12, 15, 45, 53, 57, 60, 77, 115, 142 (cc)

David Borchart 12

Pat Byrnes 32

Roz Chast 7, 55, 75-76, 89, 117, 138

Tom Cheney 9, 48

Tom Chitty 29

Frank Cotham 30, 34

Michael Crawford 78, 96, 133

Joe Dator 46, 120, 134, 139(cc)

Drew Dernavich 60, 90, 117

Matthew Diffee 138

Liza Donnelly  28

J. C. Duffy 59

Bob Eckstein 70, 102

Liana Finck 13, 37-40, 55, 95, 137

Emily Flake 26, 28, 87, 121

Seth Fleishman 79, 80

Alex Gregory 70, 124

Sam Gross 135

William Haefeli 22, 122

Kaamran Hafeez 74, 94, 123

Tim Hamilton 93

Charlie Hankin 6, 25, 36, 56, 88

Amy Hwang 21, 51, 54

Carolita Johnson 136

Zachary Kanin 11, 27, 59, 69, 93, 140(cc)

Bruce Eric Kaplan 14, 25, 67, 91, 123,

Farley Katz 11, 15, 24

Jason Adam Katzenstein 10, 13, 57, 62, 136

John Klossner 91

Edward Koren 8

Ken Krimstein 19, 82

Peter Kuper 17

Amy Kurzweil 122, 124

Robert Leighton 53, 72, 98, 101, 102, 104

Christian Lowe 78

Robert Mankoff 35, 119

Michael Maslin 80, 132

William McPhail 23, 42, 45, 63, 81, 98, 141(cc)

Paul Noth 61, 65, 71, 73, 74, 79, 83, 85, 92, 97, 135

John O’Brien 44

Drew Panckeri  88

Jason Patterson  86, 133

Victoria Roberts  120

Dan Roe  14

Benjamin Schwartz  13, 33, 56, 64, 83, 84, 101, 116

Danny Shanahan  8, 9, 23, 64, 141 (cc)

Michael Shaw  67

David Sipress 10, 24, 33, 52, 58, 66, 71, 116, 119, 134

Barbara Smaller  19, 22, 27, 30, 36, 54, 94, 118

Trevor Spaulding  43, 85

Edward Steed  16, 34, 43, 44, 49, 68, 86, 99, 103, 105-114

Avi Steinberg  96, 99

Mick Stevens  6, 47, 52, 86, 89, 103

Matthew Stiles Davis 18

Mark Thompson  61

Tom Toro 16, 21, 46, 48, 50, 69, 82, 104

P.C. Vey 31, 35, 90, 95, 137, 140(cc)

Liam Walsh 18, 41, 47, 49, 50, 84

Kim Warp 7

Julia Wertz * 125-131

Christopher Weyant  31, 42

Shannon Wheeler  73

Gahan Wilson  20

Jack Ziegler  63, 66, 100

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Robert Weber 1924 – 2016: An Ink Spill Appreciation

Posted on 2nd November 2016 in News

The great cartoonist Robert Weber, a major contributor to the New Yorker for 43 years, has passed away at age 92.  Mr. Weber began his New Yorker career in 1962 and went on to contribute nearly 1500 cartoons and 11 covers. The cartoonist Jack Ziegler, a New Yorker colleague, had this to say about Mr. Weber: “One of the all-time New Yorker greats.  Gorgeous drawings.  Beautiful settings.  Elegant. ” In a telephone interview, another New Yorker colleague, George Booth, said this about Mr. Weber: “He was an outstanding artist and a keen cartoonist.  He was top of the pile.”

   

weber

 

 

Born April 22, 1924, in Los Angeles, Mr. Weber was perhaps one of the most unassuming cartoonists  in a sea of unassuming cartoonists at the magazine.  Although he is solidly in the top tier of most published New Yorker cartoonists, with his work in  numerous New Yorker anthologies, he never published a collection of his own work. He told Lee Lorenz (who succeeded James Geraghty,  Mr. Weber’s first Art editor at The New Yorker)  that he “wasn’t interested” in having a collection. His low profile belied the work he delivered to the magazine: assured drawings, sometimes on a grand scale, usually, but not always focused on Manhattanites and  suburban dwellers  as far north as  Westport, Connecticut. His style was bold and exceptionally focused. Yet he managed to convey an irresistible fluency.   Weber’s people stood tall (or especially squat if they were children). His captions — his writing — in true New Yorker cartoon fashion, always delivered the unexpected punch, never disappointing.

He seemed to arrive graphically fully formed at The New Yorker (his first drawing appears below). His drawings featured well-defined characters imbedded within an exuberantly sketched environment, whether it was a parking garage or the Manhattan skyline. Like fellow New Yorker artists  Charles Saxon and Peter Arno, he handled the full page with ease.  In a letter to me in 2000, discussing Arno, he wrote: “I don’t think I ever consciously tried to emulate him, although I’ve learned  a lot from his superb sense of composition and drama. He had a marvelous ability to simplify. He never permitted anything extraneous, and he developed a powerful style unlike anyone else.”  Of course, he could have been talking about himself.

robert-weber-1st-nyer-drawing-july-14-1962

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Besides Jack Ziegler and George Booth, Edward Koren, Liza Donnelly, Peter Steiner, Mort Gerberg, David Sipress , Felipe Galindo and Dana Fradon weighed in on Mr. Weber. Jack Ziegler’s first New Yorker cartoon appeared in 1974, George Booth’s in 1969, Edward Koren’s in 1962, Liza Donnelly’s in 1982,  Peter Steiner’s in 1979, Mort Gerberg’s in 1965, David Sipress’s in 1998, Felipe Galindo’s in 2002, and  Dana Fradon’s in 1948. 

Edward Koren
I did know Bob in the 70’s and 80’s–but never well. I saw him fleetingly during those days ,when Geraghty was the ringmaster for his “talent”, (as we humble laborers in the arts are referred to now,)  and presided over the  fabled Tuesday and Wednesday lunches. Like many New Yorker artists then who lived in an isolated diaspora (as, increasingly,now), those lunches provided the week’s social capital. And Bob would train in from Connecticut to show his work and then proceed , with the rest of the crew to the Blue Ribbon or the Lobster for drinks and grub and talk.–and then the train.I remember him as  sweet, shy and a wryly funny guy. Generous and amiable and, to me, appreciative and encouraging. Qualities in his work, too, as manifested in the lead drawing in the New Yorker Album, 1975-1985. It is  one of his hallmark masterworks, a commanding, full page drawing of New York’s towers , executed in Bob’s masterful  signature style– , nervous charcoal accretions of marks subtly toned and colored in black and white . The  point of view he chooses– from out in the river looking at the waterfront as if he were in a low riding boat–gives the skyscrapers an overwhelming presence in the drawing. And into this stage set, he draws, on an exaggerated , foreshortened pier, a  tiny couple and their bicycles, sharply accented by a white space he’s carved out of the grey buildings. They have taken a pause in their ride, and  she is lounging on the pier, while he is sitting on its edge, turning to her–the body language saying what he is articulating:” The thing I like about New York, Claudia, is you.”
A quiet, deeply understood , sweetly funny masterpiece—Bob  himself.
Liza Donnelly
When talking about New Yorker cartoons, and I am asked whose work I love, I always mention Bob Weber’s work. His cartoons personally speak to me in a way that is hard to describe. But I can point to the following: his line work is masterful. Weber drew in charcoal, and any artist knows how difficult that is. He once told me that he began with a blank sheet of paper and drew from the left side to the right to complete the drawing without it getting smudged. In other words, he had the image in his head and just proceeded to put it on paper.  Weber’s people are lovable in how they look and often what they say. In one drawing, he has a gorgeous drawing of NYC filling the page, skyscrapers and all;  in the foreground are two tiny figures, a man and a woman sitting on the edge of the dock. The man says, “The thing I like about New York, Claudia, is you.” Another one I love is a living room scene: man and child are about to play ball and we see a sad little dog in the corner. The woman says to the man,  “Sweetheart, could you maybe include the dog?”
Weber’s captions were always perfectly crafted to work in concert with his beautiful drawings. His cartoons are not always sweet, but they have a gentle tone to them that I liked, and they were true to Weber’s voice. Bob Weber was not unlike his drawings: tall, thin and classy; when I would run into him, he didn’t use many words, and he seemed to chose his words carefully. He was always kind to me when we would meet at parties and in The New Yorker office waiting to see the editor. If I complimented his work, he would almost dismiss it with a thank you and lowered head, as if to say I was being silly.  I will miss his quiet presence and his wonderful cartoons.
Peter Steiner
Robert Weber was, to my mind, one of the New Yorker‘s greatest artists, which (again to my mind) means they showed both exquisite draftsmanship and marvelous humor.  His gorgeous, lush drawings made you smile even before you read the caption which made you smile all over again.  His art was to combine insight into our foibles with generosity and genuine affection.  His cartoons always left me amazed.  Once at a New Yorker Christmas party I went up to him to tell him just that.  He was a shy and modest man, and  seemed mostly embarrassed by my naked admiration.  I always regretted embarrassing him.  Still, if I could, I’d do it again.
Mort Gerberg
I always thought that Bob Weber’s drawings, besides being among the most sensitive and artful among the thousands that appeared in The New Yorker, were also truly unique.
Bob drew directly, with ulta-soft, difficult-to-find Swiss charcoal sticks that were extremely responsive to his delicate touch.  He usually worked on smooth ledger paper, producing fuzzy strokes that could smudge effortlessly, to form lush, flat grays.
In fact, the soft charcoal smeared so easily that Bob would often draw his characters and backgrounds from top to bottom, starting on the left and then drawing vertical areas, moving right across the sheet, completing the picture in one sweep, to avoid re-touching any part of it.
Then he’d spray the drawing with fixative, to give it permanence. He wore a surgical mask when he sprayed and would go outside or open a window, to avoid inhaling fixative fumes.
I never knew anyone else who drew that way. And, the drawings gave his cartoons an air of innocence that made them quietly hilarious.
Also, somehow it seemed that Bob’s drawing style reflected his personality.  Soft-spoken, sensitive, generous.
I met him for the first time (he was wearing his wearing his surgical mask) at an advertising agency, where he was subletting workspace for his freelance advertising illustrations, and I was just starting to think seriously about cartooning.  I was awed. He was approachable and happy to share advice about this quirky profession, and always, in the years following, easy to talk to, and helpful in so many ways, both personal and professional.
And I still feel especially grateful and honored for his contributions to my collection, “Last Laughs.” It contains eight Weber cartoons.  Unique, classic art.  Unique, classic person.
David Sipress
I was saddened to hear that one of my cartoon heroes, Bob Weber, had died recently, at the age of ninety-two. Bob’s gorgeous, unfettered, sublimely assured drawings graced the pages of The New Yorker for more than forty years. Bob’s great talent was his ability to create convincing, knowable, complex, fully formed characters in his cartoons, and to do it with a few deft strokes of his charcoal pencil.( To read more of David’s piece link here on newyorker.com)
 Felipe Galindo
I had the honor of meeting Bob Weber at the Cartoon Lounge at the The New Yorker offices in Times Square. Very tall, quiet and an affable person. We spoke about traveling to the other side of the world (me to Bali, Thailand & Cambodia and his wife to the same places plus Myanmar). When one day I showed him my cartoons, he said: “Oh, your work might not be suitable for this magazine, you are too nice, too kind!” I took it as a compliment and as a warning as well! I consider him a fine artist who liked to draw cartoons. His style was sketchy yet elegant, balanced and bold and representative of a particular era, a classic. I also shared lunch with him and other cartoonists at Pergola’s, our regular joint to vent. I was also amazed at his resilience to continue working, despite having wrist and hand problems. He would show up quite often.
I was surprised that he stopped going to the office after one of his cartoons was criticized in the letters section for making fun of of a Polish name, the letter coming from the Polish ambassador. I think that cartoon was the last he ever published in the magazine. A casualty of the PC era? Perhaps. Or perhaps he couldn’t care less. In any case, Bob Weber knew he was already a legend.
Dana Fradon
Although I shared a New York apartment with the Webers for a couple of years — I had it on weekdays and he and his wife had it on weekends — we never really became close friends. My only thoughts about him are that I greatly admired his work. He was an exceptionally good artist and ‘idea’ man. I envied his ability to create his ideas while expending, perhaps, one-tenth the time and energy I had to spend on mine. I own several of his originals and I treasure them.
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   (photo of Robert Weber, taken on an Amtrak train heading to Washington, D.C., mid 1980s.  Courtesy of Liza Donnelly)
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More Weber (I’ll continue to add Bob Weber obits, tributes, etc. as they come in): link here to the New York Times obit; here for a newyorker.com post, and here for a ComicsDC  post.

The Ink Spill Jack Ziegler Interview, Pt. 2

Posted on 13th October 2016 in News

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In Part 1 of my interview with Jack Ziegler he mentioned having a few certain favorite drawings among [his] “children.” I asked him to name several for us to discuss over the phone. I also picked out a handful of my Ziegler favorites to discuss. As Jack said he’d like to be surprised, I had a number of other drawings in mind to bring up. What follows is a lightly edited transcript of that conversation, recorded less than a week ago.

 

MM: Let’s talk hamburgers.

 

JZ: Ok, why not.

 

MM: What is it about hamburgers?

 

JZ: There’s something funny about hamburgers. Hamburgers, toasters. parking meters…

 

MM: …Mr. Coffees…

 

JZ: I was thinking at one point of just doing a book about hamburgers, but I thought it might get a little tired.

 

MM: Well, I don’t know…right now I’m looking at the drawing on the back cover of Hamburger Madness.

hamburger-madness-back-cover-drawing

JZ: That was done especially for the book.

 

MM: Lee Lorenz’s Essential Jack Ziegler has a hamburger drawing on the cover.

 

JZ: Yeah…that’s true.

 

MM: You’re like Mr. Hamburger, or something.

 

JZ: I guess. People always used to connect me with toasters, but after all these years the hamburgers are starting to shine through.

 

MM: That’s funny, because before I started looking through the collections of your drawings, that’s what I thought of: toasters. I thought: I’m gonna have you talk about toasters.

 

JZ: I still do some toasters. I like those old 1930s toasters.

 

MM: I looked at one of your latest drawings in the New Yorker… the airplane. The airplane itself – is that sort’ve based on…

 

[laughter]

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JZ: it’s not based on any experience of mine. If you’re drawing a regular airplane there’s nothing amusing about it. So you try to just make it a little bit nicer.

MM: It’s a grand airplane.

JZ: It looks like a big cargo plane that’s designed to carry tanks and villages.

MM: I love the way you draw trucks, such as the one in this drawing. Is this truck an amalgam?

JZ: It’s not based on any real truck. Nothing I draw is based on anything real. Even when I’m drawing an elephant, it’s certainly not anywhere near a real elephant. I like them with shorter legs and fatter than they really are.

MM: So you’re suggesting it’s an improvement?

JZ: Yes –it’s an improvement.

MM: I also like the little guy in the plane window, He looks a bit woeful.

JZ: I always like to put in an onlooker.

MM: That’s a good title for a book for you.

JZ: Onlookers Anonymous

MM: I like these vista or panoramic drawings you do, like the Where the Great Wall Ends, the Empire State Building, Pipeline TV, Great Moments from the Silver Screen. This might sound like a stretch, but the Silver Screen drawing looks a little like Steinberg to me.

 

ziegler-silver-screen

 

JZ: Yeah, I guess. This was a drawing that never appeared anywhere but in this book [Hamburger Madness]. I like to get drawings out that I particularly like, that nobody else likes.

 

MM: All these drawings we’re looking at elicited a laugh beyond my brain, if you know what I mean. There’s a drawing right across from Silver Screen in Hamburger Madness — a guy in a phone booth saying Hare Krishna…very funny.

ziegler-krishna

JZ: They’re essentially really stupid drawings. Y’know, drawings for dopes. Stuff that strikes me funny, a lot of the times for absolutely no reason at all. There’s just something there that’s funny, and I don’t know why. This Hare Krishna one is hardly even a joke, but it is. There’s definitely something wrong with me.

MM: Lucky for all of us.

MM: I love the pencil sharpeners with the pencil stub [“Had enough?”]

JZ: A drawing like that is from a doodle. I just started drawing the pencil sharpener that used to be on my desk. I started drawing several of them and they looked like they were looking at something. I had to put something there they were looking at, so I went with the logical.

MM: You feel sorry for the little pencil?

ziegler-sharpeners-2

 

JZ: Yeah, it does look kind of pathetic.

 

 

 

 

 

 

MM: The drawing Hamburger Madness itself I identify with you a lot, back in the early 70s – the quintessential Jack Ziegler drawing.

 

ziegler-hamburger-madnessJZ: When the New Yorker bought it they didn’t run it for the longest time and I knew I wanted to use that title [for the book] so I had to kind of pressure Lee [Lorenz] to get that drawing in the mag before this thing got published. He was great about it, and within a couple of weeks it appeared.

 

MM: Tell me again – maybe I read it in Lee’s book [The Essential Jack Ziegler] or somewhere – that you created this idea of the box around the drawing?

 

JZ: No, I don’t think so. Kliban was doing stuff sorta but not quite like this. Almost all of his drawings were in boxes. And a lot of times there’d be a title usually up at the top, almost like a panel newspaper cartoon.

I don’t think anybody at the New Yorker was doing it. Right from the beginning I was doing drawings like that, a lot of times they weren’t boxed-in though. Eventually I realized they’d be more attractive and logical if there was box around the whole thing.

MM: The drawing with hooty owl took me by surprise, and that’s what you want right?

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 JZ: That’s exactly what you want. I would think you’d want that of all cartoons as you turn the page — that there’s a surprise.

MM: What about the Electrolux vacuum cleaner that’s in the sea. That’s kind of out there.

JZ: Another unpublished drawing as I recall.

MM: Love the drawing. I don’t expect you’d remember where it came from?

JZ: I’ve done a lot of drawings about Moby Dick, y’know. I’m sure this came from a doodle. I Probably drew the vacuum cleaner in the ocean first.

MM: You would agree that this one is fairly on the spectrum of crazy.

JZ: It’s unorthodox

[laughter]

ziegler-vacuum-cleaner

MM: Let’s talk about “Damn it, man, do I look like I have any yellow ochre?” Another one of those panoramic, sort of vista drawings.

ochre-2

 

 

JZ: Yeah, right. I wanted to make it look like a painting by one of the Impressionists. Based on those lines of trees, those tall trees. It might be from a little after I was in France that one time in 2000. There was a New Yorker gig on the QEII and a bunch of us went over and we were drawing for the passengers and the folks in steerage. It was fun –they brought us to England, and then we went over to France and stayed there for awhile. It was so great. We visited Givenchy, Monet’s hometown. Really inspirational to look around there. You couldn’t help but want to be a painter when you looked at the color and the way things were set up.

MM: A beautiful drawing. You got the little car in there.

JZ: Well he had to get there, right?

[laughter]

MM: True, true. Very practical.

MM: A number of your drawings have a far eastern influence. 30 Sumos Over Tokyo for instance.

hibachi-2

JZ: I think that was done after Sunrise on Mount Hibachi. I like looking at Japanese prints. Those woodblock prints.

MM: The clouds [in the Hibachi] drawing are great.

JZ: That’s the way the Japanese did the clouds in those days. Very organized.

MM: Bud Handelsman did a bunch of Japanese influenced New Yorker covers…

JZ: Yeah, Japanese type things. I don’t remember why.

MM: And Anatol Kovarsky with his Greek urns. Something for others to think about, I suppose. Interesting how a select few got into these different…

JZ: You have these peripheral interests in things and they kind of pop up every once in awhile when you’re doodling.

MM: The cowboy thing. We both have that in common. Why are they so fun, cowboys?

JZ: They’re just fun to draw. It’s an American icon. Everybody loves cowboys. Every guy wants at some point to be a cowboy, or have been a cowboy or hang out with cowboys. When you live out here [Kansas] you can drive up to Montana and see them all over the place.

munch-munch-munch

MM: Munch Munch Munch was another that took me by surprise. I just thought he was munching. I just realized the double meaning today.

JZ: Really? Well you have to look very closely. I’ve done a whole bunch of drawings about Munch – it’s an image everyone knows. It’s like Moby Dick if you want to refer to a book, you almost always go to Moby Dick.

MM: Here’s another far eastern themed drawing: Fleetwood Mac. I’ve always loved it because I never understood Fleetwood Mac.

JZ: This was a much earlier Fleetwood Mac I was referring to, around the time they got mega platinum. I just needed the name of a band there.

MM: You just imagined this scene?

fleetwood-mac

JZ: Yeah, right. Almost everything I do is as far as the scene background settings – it’s all made up.

MM: What are those little things off to the left on the bottom.

JZ: Oh those are just little houses down the hill. What did you think they were?

[laughter]

MM: Structures of some kind – I just wanted to be sure.

 

MM: About the burger hut franchise. I like it when you…draw.

jack-ziegler-the-burger-hut-franchise-decides-to-add-sesame-seeds-men-hammer-seeds-o-new-yorker-cartoon

JZ: I like doing a city-scape like that, as it were — a street scene. It just adds so much to it I think.

MM: Yeah, well context, of course. Although I guess you didn’t have to have those great buildings there but…

JZ: No, I didn’t but it just works so much better that way. It’s funnier I think.

MM: And that guy, who’s paused, almost paused, stopping and looking back at the work being done.

JZ: My onlooker!

[laughter]

MM: I found myself doing this today while working on a drawing — I kept drawing behind the main thing, adding buildings, rooftops. Is that what happened here?

JZ: It probably did. You know that giant duck on Long Island. You think about selling various things out of various houses… those wiener houses. I just kept drawing buildings in the background until it looked right, until I didn’t think it needed anymore.

MM: It looks like it could actually be a thing.

JZ: I know –you drive in, you drive out.

MM: It’s all very believable. These guys could be adding sesame seeds — not real sesame seeds. It could happen.

JZ: It probably did happen. I’m sure it has, somewhere.

[laughter]

MM: The cashews drawing: pretty wild drawing.

jz-spray-cashews

 

JZ: I just love the way the cashews are coming out of that spray can.

MM: It in a way reminds me of early underground stuff. It has that freaky quality to it.

MM: And First marriage?

JZ: It’s a standard set-up. I thought it’s just a funny thing for the new husband to say.

MM: I’m looking at the details, the guy taking the photo, the stained glass. When you’re drawing these things are you slightly laughing out loud, amused?

jz-first-marriageJZ: When I get the original idea yeah, I’m amused. I like that line. I’m not particularly amused when I’m drawing finishes.

MM: That’s why I don’t draw finishes. Does it happen with you – it happens with me all the time — that you come up with a drawing you really like but know the caption you come up with that moment is terrible, so you wait on it?

JZ: That’s true. That happens to me a lot. Well, not a lot, but occasionally.   I have a drawing I think is really nice but I don’t have an idea to go with it. And then I hang onto to it until something eventually comes to me.

MM: I can sit here and try to come up with something, and nothing. It happened yesterday. I did a drawing I liked, but there wasn’t a caption. And then this morning, I was in the motion of sitting down to look at that drawing and the right caption came to me.

JZ: Yeah, never throw those drawings out. The last drawing I sold The New Yorker was of a cat and dog looking at each other. I didn’t have any real caption. I put it away for a week and I got the proper caption.

MM: The Olympic guy. It’s a different kind of drawing. The guy’s in a little vestibule…

 

olympic-torch-guy

JZ: A little alleyway off the street.

MM: Very little.

JZ: Yes, very little. Very tiny.

MM: Could be a niche.

JZ: Could be a niche. What the hell is that?

MM: How about the doggy in the window drawing. You do a lot of bar drawings.

 

JZ: Well, I’m a bar guy. I’m always drawing from the bartender’s point of view.

doggie-in-the-window

MM: There’s a quote that keeps popping up in interviews with you: “I just want to do funny drawings.”

JZ: When I say funny drawings, I mean funny to me. A lot of my drawings are funny to me but definitely not funny to anyone else. But I always hope that if it’s gonna appeal to me it could possibly appeal to others as well.

MM: What you’re saying is fundamentally the way I operate. I’m trying to please my own sense of humor. Several people over the years have said to me, “I wonder what Lee Lorenz finds funny,” or “I wonder what Bob [Mankoff] finds funny,” or “what does [David] Remnick find funny,” and I always say to them, don’t think like that.

JZ: You can’t — you have to just really think about yourself; whenever I do drawings I never think about the New Yorker – I’m just trying to come up with drawings that I like.

MM: That’s the key to success.

JZ: That’s what I tell all the new kids.

MM: One more hamburger drawing: the big hamburger on the beach. Wondering if this is a Gulliver’s Travels thing?

JZ: Yes, Gulliver’s Travels. It has no meaning.

MM: So that’s his hamburger that’s arrived in the little people’s land?

JZ: Your guess is as good as mine.

big-hamburger-on-the-beach

 

 

 

 

(Photo of Jack Ziegler edging closer to Lake Erie, Windsor, Ontario, c.2008,  courtesy of Mr. Ziegler. Photo by Kelli Ziegler)

Jack Ziegler’s favorites among his children:

Sunrise on Mt. Hibachi – New Yorker May 7, 1984

Spray Cashews – New Yorker November 19, 2001

“…yellow ochre…” New Yorker November 11, 2004

“…bitchin’ set of wheels…” New Yorker  June 30, 2008…shown in Part 1 of the interview

“First marriage?” New Yorker  July 20, 2009

Cannon in bushes  New Yorker  February 9, 2015…shown in Part 1 of the interview

 

The Ink Spill Jack Ziegler Interview

Posted on 10th October 2016 in News

jack-ziegler-1985

Jack Ziegler, recently referred to on this site as the Godfather of Contemporary New Yorker Cartoonists, has been contributing to the magazine since February of  1974.

Now in 2016 he is solidly in the K Crowd — meaning he’s published well over a thousand cartoons and one cover in The New Yorker (we’ll get to the cover later).  Considering that Jack has been the subject of former New Yorker Art Editor, Lee Lorenz’s The Essential Jack Ziegler and more recently as one of Richard Gehr’s subjects in I Only Read It For the Cartoons, I thought it would be interesting to talk about things that, for the most part, weren’t brought up in those books. I highly recommend seeking out both those titles for a full account of Jack’s personal and public shenanigans over the years.

This is Part 1 of my interview with Jack. Later in the week I’ll post Part 2, where we discuss a number of Jack’s favorite drawings, and a number of my favorite Ziegler drawings.

__________________________________________________________________________

 

I’d heard from Jack years ago that he was a CBS page during the Beatles historic Ed Sullivan debut, but what I didn’t know was that he also paged for the Jackie Gleason and Garry Moore shows. It seemed the perfect place to begin our interview.

MM: So, this inquiring mind wants to know: did you get to meet  “The Great One” (Jackie Gleason) when you were a page at CBS?

JZ: I never got to meet Gleason.  He wasn’t around all that much and when he was in the studio he was referred to as “God.”  I think we taped the show on Tuesday nights & he wouldn’t show up till sometime that afternoon so that he could watch the dress rehearsal.  That was apparently all he needed to absorb everything he needed to do onstage.  Barney Martin, who eventually played Jerry’s father on Seinfeld, was his stand-in.  It was a fat guy to fat guy transference.

As a page, or glorified usher, I did get to watch all the tapings from Studio 50, now the Ed Sullivan Theatre, at Broadway & 53rd in NYC, from the audience until the Gleason Show moved – lock, stock & barrel – to Miami.

[In Gehr’s book, Jack mentions an elevator ride with Jackie O.  I wanted details]

MM: What about the elevator ride with Jackie O.  Just the two of you?

JZ: I had sold my second book, Filthy Little Things, to Doubleday – and Jackie Kennedy happened to snag a job there around that time as an editor.  I had just dropped off a bunch of drawings for the book and then took the elevator down.  The car stopped at another floor and she got on and it was just the two of us, sans Secret Service escorts.  Then we rode that baby down another couple of floors before she hopped off, exhausted but elated (they tell me), and I stayed on till I hit the street, at which point I had a chance to exhale.

MM: Do you remember the first time walking into the New Yorker’s art department [the magazine’s offices were then located at 25 West 43rd St]  What was that like for you? Who’d you meet?

JZ:  It was a Wednesday in November of 1973.  There was to be an annual Cartoonists Guild meeting & cocktail party later and I was wearing a sports coat and a heavy sweater so that I wouldn’t have to deal with an overcoat later.  I thought I was just going to drop off my usual batch, but there was a note from Lee Lorenz included in my returns asking me to come back to chat about one of my drawings.  Oh, boy!  Natasha the receptionist opened the gates and pointed me in the direction of the Inner Sanctum.

new-yorker-hallway-25-west-43rd-st-ldLeft: the New Yorker‘s Inner Sanctum at 25 West 43rd St.

It was a warmer than usual Nov. day and I was starting to perspire in my excessive outfit.  The first person I saw in the office was Henry Martin, whom I’d already met at True magazine while on rounds.  Sam Gross was there, too; I’d met him a few weeks back at National Lampoon.  I was then introduced to the other people who were there: Dana Fradon, Donald Reilly & Charlie Sauers.  By the time I got to sit down with Lee, the perspiration had turned to flop sweat.  Lee asked if I was OK as he handed me my first OK.  Then he gave me a little pep talk and basically just said to make the drawing a little bit better.  I was a wreck, but in a good way.  When I got back down to earth, i.e., 43rd St., I headed for the nearest pay phone to break the good news to my wife.

MM:  How aware were you of the work of veteran New Yorker cartoonists who were around when you began at the magazine…for example: Frank Modell, Warren Miller, Dana Fradon, Charles Saxon, Mischa Richter and on and on.

JZ: I knew of them all.  When I was a kid, my parents subscribed to a lot of magazines, but not the New Yorker.  Fortunately, a friend of mine’s parents did, so from the late ‘40s, early ‘50s, I was a big fan.  Some neighbors down the block had a copy of the New Yorker 25th Anniversary Album, with which I was fascinated.

nyer-25th-anniversary-album  Every time I went over there, I’d head for a quiet corner with that book.  One day I asked if I could borrow it & the owner said if I could find it, I could have it.  I interpreted “have” as “keep.”  I still “have” it.  After that, I started buying the mag on my own.

MM: Let’s talk about your one and only (as of this week, anyway) New Yorker cover.  Curious as to why there wasn’t a bushel basket full of more Ziegler covers following that one.  You obviously submitted more.   Did more sell that didn’t run?

jack-ziegler-nyer-cover

JZ:  Selling that cover was very encouraging, and i submitted a lot of them, but that was the only one that got bought until 1991, when I sold a fall-themed cover.  They weren’t able to run it that year because all the fall slots had been taken, so it got pushed back to ’92.  Then editor Robert Gottlieb left and Tina Brown took over and killed everything that was scheduled to run.  It was the beginning of The Tina Years.  So – that was that.  It did eventually run inside as a full-color full-pager with the title, Fall Sweeps.  Oh, well.  But I’d love the chance to redo that one cover – ya know, just to make it right.

MM: What about the cover would you change?

JZ: I like the guy.  The bricks should’ve started higher, instead of going all the way down to the sidewalk.  I had to take 3 stabs at the sandwich board before Lee was satisfied and you can almost see that it’s pasted on.  The final (sandwich board) came out OK, though.

MM: I’m going to ask you the same question I asked Woodman [Bill Woodman, who was the subject of an Ink Spill interview in September of this year]: when you began at the New Yorker were you aware your work was quite different than what the magazine had been publishing in its previous fifty years? (Ed Koren, who preceded you in the magazine by  a dozen years would be an exception).

JZ: I had no inkling of that.  I knew that I felt that I wasn’t quite seeing the type of cartoons I wanted to see in the magazine.  They were good cartoons, but too many of them weren’t making me laugh the way they had when I was a kid.  I wanted to do drawings that were funny to me, & not necessarily to anyone else.  I was out to please myself, so I never asked: Is this a New Yorker cartoon?  Who knows?  Is this a Jack Ziegler cartoon?  Yep.

MM: I remember the first time I saw you in person – it was an enormous book fair in midtown Manhattan, circa 1979.  That cartoon anthology Animals Animals, Animals had just been published and you were on a panel with Sam Gross out there on the street (West 50 something) in front of a large crowd.  Were you comfortable being in the spotlight?

JZ: It was probably either Doubleday or Rizzoli – also could have been part of NY Book Fair that year.  Ruth Gordon and Garson Kanin were also there signing books, but hadn’t appeared yet.  I kept telling people that we had them both tied up in the basement & they wouldn’t be set free until the cartoonists had sold a certain number of books.  Oddly, some people were there to buy the Gordon/Kanin book and got pissed off.  So far as spotlight goes, I was never uncomfortable.  When I was a page at CBS we used to have to be front and center to give various little speeches and instructions to our captive audiences.  I was uncomfortable with that for awhile, but quickly got over it and began to tell them silly, made-up stuff, as well as the crucial info.  When you’re signing a lot of books for a crowd and the books are being passed around from cartoonist to cartoonist, the time goes fast and you start doing riffs on the little drawings that the other cartoonists have done before the book got to you.  It was fun.

mankoff-stevens-cline-ziegler-donnelly-1984Left: Bob Mankoff, Mick Stevens, Richard Cline, Jack Ziegler, Liza Donnelly. New York, 1984.

MM: The next time I saw you was in early 1985, at The New Yorker.  William Shawn had called in a bunch of cartoonists to talk about the impending sale of the magazine to Advance Publications. Besides us “kids” sitting on a table along the back wall, I only remember Steig and Barney Tobey. What do you remember from that somewhat historic meeting?  Besides Lee Lorenz, and the aforementioned Steig and Tobey, what cartoonists do you remember being in the room? And…what do you remember how you felt being there with Shawn, in that crowd?  Had you met Shawn before?

JZ:  I had met (or rather, seen) Shawn before, usually exiting or entering his elevator and sometimes in the hallway (rare).  He gave another speech to the assembled troops several years prior to Advance’s acquisition.  It was probably late ‘70s, when a group of New Yorker employees were attempting to unionize the workers.  The unionization never happened, but as a result, we were promised health insurance and a pension plan.  Not a bad outcome at all.
I sort of remember the Advance meeting being in Lee’s office, but that’s probably incorrect – there were a lot of people there.  I noted it in my desk diary as Black Wednesday, 2/13/85.  Other than those you mentioned, also present were gagwriter and sometime cartoonist Richard McCallister, cover artist Gretchen Dow Simpson, Charles Addams, George Price, Frank Modell, Joe Farris, Roz Chast, Al Ross, Ed Frascino, George Booth, Ed Fisher, Bud Handelsman, Arnie Levin, Henry Martin, Bob Mankoff, you, and I.  I was quite impressed with Shawn’s lucid presentation of the complicated takeover process.

MM: It’s risky talking about current New Yorker cartoonists, unless you’re all nicey-nice, so I’d like to ask you to comment, however briefly you’d like, about some of our departed colleagues. Either comment on their work, or them personally, if you knew them.
> Richard McCallister
> Charles Saxon
> Steig
> Charles Barsotti
> Al Ross
> Chon Day
> William Hamilton
> George Price

JZ:  When I first moved to New Milford, CT, in 1975 I used to mail in New Yorker finishes from the local PO.  One day there was a gentleman in front of me who was also holding a manila envelope addressed to Lee Lorenz.  I tapped him on the shoulder and introduced myself, told him that he had to be either Richard McCallister or Stan Hunt (I knew that he, too, lived in the area, but had never met him).  It was McCallister.  We – my wife and I – became friends with him and his wife Alice and would occasionally socialize, at which times I would pump him with questions about the magazine and his (kind of) partnership with Peter Arno, for whom he supplied a buttload of ideas.

Bill Steig also lived in the area, about 20 miles north of us in Kent, CT.  We used to meet up by happenstance in various restaurants and would join each others’ table for the meal.  Bill was always saying that no matter how old they get, he still always worried about his kids. One day I mentioned that I would occasionally send in some resubmissions to fill out the batch if it was a particularly dry week.  He was amazed.  “You mean you can do that?,” he said.  I was stunned that in all his years with the New Yorker it had never occurred to him to do that.

I had communicated with Charley Barsotti for years prior to my moving to Lawrence, KS.  He was living only about 40 miles away in Kansas City, so it was only natural that we get together for lots of lunches & dinners – and we did that a lot, until he was diagnosed with a brain tumor and then died about a year later.  The last time I saw him was for a sun-filled patio dinner at Axois, a great restaurant a block from his house.  He was frail that evening, but still full of spunk, and I’ve never seen a nattier couple.  In comparison, I looked like a dropout in shorts and a Hawaiian shirt.  He wanted a side of potatoes with his meal, but his wife Rae told him they weren’t part of his strict diet.  He just looked at her and ordered the potatoes anyway.  He, as always, just wanted to have a good time.  He died about 2 weeks later.  And, no, it wasn’t the damn potatoes.

I still get together with Rae for the occasional meal and we talk about Charley and all the amazing work he left behind.

I would see Al Ross only occasionally at the magazine and he was always friendly and jovial.  I would see both Hamilton and Saxon at the mag, but they seemed more remote.  I never met Chon Day and only had a glimpse of Price once at the aforementioned Shawn meeting.

MM: Lee Lorenz brought you into the magazine. What was it like working with him? Did he just kind of let you do your thing once you began or was he working closely with you — a combination, perhaps?

JZ: My first meeting with Lee was when he invited me back into his office to “discuss” one of my drawings.  That was a big deal, a life-changing deal.  He gave me a few hints, very loose, very casual, about how to approach the finish.  I think I did 3 versions before it looked right to him.  After that, I sold sporadically for about 6 months before they started buying on a fairly regular basis.

Below: Mr. Ziegler’s first New Yorker drawing, published February 11, 1974

jack-ziegler-1st-new-yorker-drawing

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

I do remember having a hard time for some reason drawing older people – I was in my early thirties at the time and I guess I just couldn’t identify.  After several attempts with one idea, Lee gave up on me and had Whitney Darrow, Jr. do the finish. But I’ve come a long way now and drawing old codgers these days comes naturally.

“Hole: The Original Soundtrack” was a 3-page, 8-picture absurdist spread that the New Yorker bought.  Lee had spread out all the drawings on the floor of his office and we were crawling around among them trying to figure out various sizings.  Lee turned to me and mentioned what a ridiculous way this was for two grown men to be earning a living.  And it was.  He was serious about cartoons and great fun to work with.

MM: I know Charles Addams did at least two of your ideas. [Nevermore and the little mail truck…is that right?]  Were there more — and were there ideas given to anyone else other than the Whitney Darrow you mentioned?

JZ: Nope, that’s it.  Only those 3 – and they all looked great.  I couldn’t have done them better myself – I mean, the Darrow drawing I couldn’t do at all – his version is lovely.

whitney-darrow-idea-by-zieglerLeft: drawing by Whitney Darrow, idea by Jack Ziegler

MM: What did you think of Addams’ versions of your ideas?

JZ: Addams’ Nevermore drawing has a layout that closely follows my original (as I remember it – of course, I never saw it again) – there wasn’t anything much different you could have done with it.  His mail truck version is more elaborate and detailed and far, far better than mine.

MM: You began at the New Yorker with Shawn and you’ve seen Bob Gottlieb, Tina Brown and now David Remnick move into the big chair.  Have any of these changes meant some kind of change for you, your work?

JZ:  There’s always a worry when a new editor takes over, but I never had any major problems with any of them.  I didn’t have to make any adjustments, with the exception of the Gottlieb years.  For some reason, Bob G. didn’t like white space in drawings, so every square centimeter had to be filled with something, sometimes to the detriment of the drawing.  The words in a balloon caption had to rub up against the sides of that balloon.  No air allowed.  Seemed silly to me and the drawings of almost everyone suffered.

Tina Brown was different.  She was an anything-goes girl, the nuttier, the edgier, & sometimes the sexier the drawing, the better.  I submitted a rather rude cartoon, “I just did a huge one in my diaper,” a drawing for the hell of it that I knew the New Yorker would never buy.  But, to my surprise, Tina did and it made me very happy.  I love it when a surprise like that happens.

ziegler-huge-one-in

MM: So what’s the thrill, some forty-three years since you began at the magazine: is it that moment an idea works for you, the drawing itself, selling the drawing, seeing it published in The New Yorker?

JZ:  It’s always a blast when you come up with an idea that you know no one has ever come up with before.  Also, it’s fun just thumbing through a stack of old drawings and coming across something that you’ve totally forgotten about and it makes you laugh out loud.

Selling a drawing is always nice for the bottom line, but the choices of what gets bought are almost invariably a surprise.  Personal favorites rarely get chosen.  Sometimes the worst idea in the batch is bought – and then, once it’s published, it turns out to be a huge hit.  Seeing anything of one’s own in the magazine is always a thrill, no matter how many times it happens – especially if it’s sized correctly.  Judging the value of one’s own work has always been impossible.  And I’ll always have certain favorites among my thousands of children, no matter how crappy everyone else thinks they are.

MM: Not long ago someone asked me how I could come up with ideas without getting out in the world. Do you think it’s necessary to “get out in the world” for your work?

JZ: You certainly have to have some background of having been out in the world, but as far as a day-to-day thing, nah.  I have very little live contact during the week, except for dog walks and buying the newspaper.  I rely on the blank piece of paper on my clipboard to reveal the secrets within.  I had normal jobs and contacts for my ten years between college and cartooning, so I was aware of the ins and outs of daily workplace socializing, so I rely on those not-so-fond memories to get me through the batch.

MM: I know you read everyday before you begin working on drawings.  Does the reading actually translate into drawings or is it something that, let’s say, exercises the brain?

JZ: It’s more a case of getting the brain moving in the morning.  Sometimes ideas spring from that, but mostly not.  After reading, I check out the New York Times, just the first page of each section, to see if anything leaps out at me.  With all the budget cuts and downsizing of that paper over the past few years, there’s far less there, so that formerly useful tool has become kinda useless.  But I still look, just in case.  I rarely get to delve into the interior until lunchtime.

MM: Is there a certain cartoon scenario that your happiest working on/workin in? (marital situations, barbeques, the old west, business people, etc) or are you happiest with whatever you’re working on at the moment?

JZ: Whatever I’m working on at the moment, whatever ideas pop into my head, no matter the genre.  I do like drawing cowboys on horses and almost anything to do with the “Wild West,” however.  Whenever I’m stuck I invariably start drawing guys on horses, and ninety per cent of the time that leads somewhere.

MM:  I love your  drawing of the cowboy kissing the gal while covering his horse’s eyes.  It’s one of those not laugh out loud drawings (although it could be), but some other kind of humor.

j-ziegler-aug-19-1991

JZ: I really like that one too.  My memory of it is that it’s something that emerged totally out of a doodle that I just kept adding things to, including the frame.

MM: I’m not one for dissecting what’s successful, but I think of that as a very successful drawing, an evergreen. Any comment on that drawing, or evergreen drawings in general (as in: do you prefer them to topical drawings?). 

JZ:  I do like drawings where there really isn’t any joke — or kicker, as Sam Gross would say. The cannon in the bushes is like that.  I’m sure a lot of people scratched their heads over that one, but it’s just a cannon poking out of some suburban bushes and that’s all it is. There can be many interpretations.  It amuses me and I have no idea why. I far prefer these types of drawings to topical.  They have a longer shelf life, at least in my own mind.

jz-cannon

MM: The New Yorker‘s current cartoon editor, Bob Mankoff memorably said, “It’s the think, not the ink.”  Agree, disagree?

JZ: Agree.  But it’s always nice when cartoonists know how to draw so that they can give us something pleasant and fun to look at.

 

(Photo of Jack Ziegler at the very top of the piece, taken in 1985;  photo of the New Yorker‘s Inner Sanctum, taken in 1991: both courtesy of Liza Donnelly)

A Jack Ziegler selected bibliography:

ziegler4ziegler5

 

 

 

 

 

 

 

Hamburger Madness  Harcourt Brace Jovanovich, 1978.

Filthy Little Things    Dolphin, 1981.

Marital Blitz   Warner, 1987.

Celebrity Cartoons of the Rich and Famous   Warner, 1987.

Worst Case Scenarios    Fireside, 1990.

The Essential Jack Ziegler (Edited by Lee Lorenz)  Workman Publishing, 2000.

How’s the Squid?   Harry N. Abrams, 2004.

Olive or Twist? Harry N. Abrams, 2004.

ziegler11

ziegler13