A Must See at The Society of Illustrators! “Funny Ladies at The New Yorker: Then and Now”

On Thursday, July 26th, the center of the New Yorker cartoon universe will temporarily shift from 1 World Trade Center (the magazine’s home) to the Society of Illustrators as the exhibit, “Funny Ladies at The New Yorker: Then and Now” kicks off with a panel of some of the best in the biz. New Yorker artist, Liza Donnelly, who curated the exhibit will moderate the panel discussion featuring the New Yorker‘s Cartoon Editor, Emma Allen, and New Yorker artists Roz Chast, Carolita Johnson, and Liana Finck. 

(Above: the panelists. Top row, left to right: Emma Allen, Roz Chast, Carolita Johnson. Bottom row:  Liana Finck, and the moderator, Liza Donnelly)

The exhibit features work (the majority of it original art) by thirty-four New Yorker cartoonists, past & present. (below: an Alice Harvey drawing, published in The New Yorker, October 24, 1925, and below that, a drawing by Maddie Dai from the issue of August 21, 2017)

Here’s the full list of artists:

Marisa Acocella, Kendra Allenby, Julia Bernhard, Roz Chast, Maddie Dai, Liza Donnelly, Liana Finck, Emily Flake, Pia Guerra, Carolita Johnson, Alice Harvey, Helen Hokinson, Emily Sanders Hopkins (nee Richards), Emma Hunsinger, Amy Hwang, Nurit Karlin, Amy Kurzweil, Maggie Larson, Sara Lautman, Mary Lawton, Sharon Levy, Huguette Martel, Doris Matthews, The Surreal McCoy, Mary Petty, Ethel Plummer, Victoria Roberts, Barbara Shermund, Barbara Smaller, Bishakh Som, Julia Suits, Kim Warp, Sofia Warren, Sophia Wiedeman

 

Link here to The Society of Illustrators for more info.

 

The Wednesday Tilley Watch: Carolita Johnson’s “A Woman’s Work”; Chast’s Work in Vermont

 

A Longreads of interest: A Woman’s Work: Home Economics* (*I Took Woodworking Instead)

— this auto-biographical piece by New Yorker cartoonist, Carolita Johnson.  Ms. Johnson began contributing to the magazine in 2003. 

______________________________________________________________________

Exhibit of Interest: Chast at BMAC

From the Rutland Herald, June 16, 2018, “Five new exhibits open at BMAC” — this news of an exhibit of work by Roz Chast at Vermont’s Brattleboro Museum and Art Center. Ms. Chast began contributing to the New Yorker in 1978.

 

The Monday Tilley Watch: The New Yorker Issue of April 30, 2018

Baseball in the air, on the field and on the cover of the latest issue of The New Yorker (actually, stickball’s on the cover, which appears, to me anyway, as if it’s a page out of an illustrated book).

Fewer illustrations/photos this week than last, but still, there are three full pages (including a full page photo of Hitler), and close to full page photo on the Goings On About Town lead page. How I wish we could see cartoons occupy a larger space every so often. Below are two pages from the issue of November 15, 1930. You can see how the drawings dominate the page and how the type follows the drawing. For instance: in the drawing on the left, by the great Barbara Shermund, the hanging plant is allowed to push up and compress the column of text. Notice too how the space afforded her beautiful drawing allows us to get far more visually involved in her work than if it had been squished in a rectangle.   

And now on to the issue’s cartoons.  A fun issue, mostly.

  It starts off well with a Danny Shanahan politically tinged(?) monkey drawing. Going out on a limb here, but Mr. Shanahan’s fabulous monkeys are the obvious heirs to Charles Addams’ takes on our ancestors.

Next up, three pages later, Jason Adam Katzenstein (aka JAK) goes to where many-a-cartoonist before him has gone: to the myth of Sisyphus. After I sped through an online refresher course about the King’s uphill struggle, I realized how this scenario beloved by cartoonists has oftimes become untethered from its backstory. No matter — that’s how we cartoonists roll. As Robbie Robertson wrote: “Ya take what ya need and ya leave the rest…”

Speaking of backstories, three pages later Ben Schwartz gives us Beethoven on stage. What’s really interesting about the drawing is Mr. Schwartz’s sly nod to the great Al Hirschfeld.  Do I, or do I not see Nina-esque shout-outs in the drapes. I do.

Five pages later, a Mick Stevens cave man drawing (he also had one two issues back). I like that he’s used the words stalagmites and stalactites. A little memory trick I learned back in fourth or fifth grade — how to tell the difference between stalagmites and stalactites: stalactites are the ones pointing down; they need to hold on “tite” to the ceiling. 

Three pages later, a shrink meets legume drawing by the wonderful Victoria Roberts. A fun and funny drawing. What more can one ask for.

Next up,  a domestic situation courtesy of Will McPhail. Funny. Another three pages brings us to a sidewalk scene from Pia Guerra. Dogs lined up to use a fire hydrant. I found myself wishing for a line-jumping dog instead of a fireman…

Two pages later another intensely graphic drawing from William Haefeli. Detail-city! And very slice-o-life.

Three pages later, a typically formatted (three panel) Roz Chast drawing. The word “Comix” pops out here. On the very next page, A Haefeli-like (in its use of detail) drawing by Jeremy Nguyen. Yet another slice-o-life drawing. I like how he’s given us two folks in silhouette in the foreground — that’s different. 

Four pages later a subway drawing from P.C. Vey (although here the subway is not central to the drawing — the situation could’ve taken place in any number of situations). A few pages later A Zach Kanin drawing focused on recreational drugs. On the very next page, A Lars Kenseth drawing.  You know it’s his work within a nano-second of turning the page. No one draws like this. I don’t rate cartoons like the Cartoon Companion boys do, but occasionally I applaud a drawing. 

On the next page Kim Warp  has drawn a Spill favorite scenario: a bakery (in this case, a cupcake bakery). I didn’t realize at first that there as an enormous Charles Addams-like cupcake involved in the drawing (initially saw the drawing on a tablet screen before switching to a laptop).  An unusual cartoon in that I think it works both ways (with the big cupcake, and without).  Sweet. 

On the following page, a Paul Noth drawing with a splash of color.  You have to be familiar with the commercial character who’s central to this cartoon. Three pages later a Carolita Johnson umbrella triptych just in time for May showers. Six pages later, immediately following that aforementioned full page photo of Hitler, is an Amy Hwang domestic situation — another go-to for many cartoonists: the couple discovered in bed by a significant other. Three pages later, the last cartoon of the issue (not counting the caption contest drawings): an online whack-a-mole scenario from Sam Marlow.

Finally: we are oh-so-close to the one year anniversary of the disappearance of Rea Irvin’s classic Talk Of The Town masthead. Here’s a Spill piece about it from last Fall when I was convinced the masthead would soon return. Not giving up hope on this, folks! 

Here’s the missing masthead:

 

*Dept of Corrections: an earlier version of the Monday Tilley Watch for the April 30th issue incorrectly listed Sam Marlow as Sam Means.

 

 

 

 

 

 

 

 

 

Video of Interest: Paul Noth; Audio of Interest: Carolita Johnson; Tom Bachtell Speaks!

Video of Interest: Paul Noth

From Fox6Now, April 11, 2018,  “‘Inspired to keep me going:’ Well-known cartoonist shares his talents with kids in Milwaukee” — This video piece on Paul Noth

______________________________________________________________________

Audio of Interest: Carolita Johnson

From Radio Kingston WKNY, this radio broadcast featuring Carolita Johnson

______________________________________________________

Tom Bachtell Speaks!

From ysnews, April 12, 2018, “‘New Yorker’ Cartoonist at Little Art” — this piece on Tom Bachtell

The Monday Tilley Watch: The New Yorker Issue of April 16, 2018

Tom Gauld’s cover for this new issue is one of the best covers I’ve seen in the post-Lee Lorenz as editor era (Mr. Lorenz was the New Yorker‘s art editor from 1973 through 1993, and cartoon editor from 1993 through 1997. During his years as art editor he edited both covers and cartoons). Here’s Mr. Gauld talking about his Spring offering. 

Ink Spill puts its hands together for the cover.

My first run through of the issue earlier today made me wonder if this was the Illustration Issue (there isn’t an official Illustration Issue, but if there was, this could be it).  Here’s what I saw:

Goings On About Town, is as usual nearly a full page photograph.

A small color illustration in the Theater section.

A nearly half-page illustration for Night Life.

A three column wide photograph for Food & Drink.

A more than quarter-page photograph for Personal History.

A two column wide illustration for Shouts & Murmurs.

A nearly half-page photograph for The Sporting Scene.

A full page illustration for Profiles.

A page-and-a-half illustration for The World of Fashion.

A full page photograph for Fiction.

A three-quarter page illustration for The Theater.

An large illustration center of the page for Vinson Cunningham’s review in Books.

A more than quarter-page illustration for James Woods review in Books.

A center of the page illustration for Cinema.

And now to the cartoons:

The very first cartoon is by the veteran Mick Stevens. It’s an inside a whale cartoon. I immediately paused to consider the bend in the gullet of the whale. Having never been inside a whale I don’t know what it looks like in there but the cartoonist in me has always thought the inside of a whale was one huge space, like an airplane hanger. So yes, the bend caused me to stop and think awhile.

Up next five pages later is a super-dee-duper detailed William Haefeli drawing. Its graphic-ness (I don’t think that’s really a word) is startling. Perhaps it’s the use of so much black space (windows especially).  

Five pages later a Paul Noth drawing (Mr. Noth has a new book out, so congrats to him). This is an airlines passengers themed cartoon. As someone who has almost never flown I’m outta the loop on the whole boarding routine, so…

Two pages later a Seth Fleishman captionless drawing (as mentioned in previous posts here, Mr. Fleishman is solidly in the captionless cartoon school — which isn’t to say there are never captions). Here we have brick-oven pizza blended with a fossil fuel. I can’t get enough of pizza parlor cartoons. I’m sure everyone remembers this classic from Gahan Wilson.

Six pages later, a P.C. Vey cartoon. Not sure anyone else could’ve done this (maybe the aforementioned Mr. Wilson). There’s a tiny bit of sinisterism (is that a word?) in the air with this drawing. Seven pages later an outta the box (or boxes) Roz Chast drawing. We’ve become accustomed to her comics-like structure of three panels (or more). This single panel is striking, graphically.

Equally striking on the very next page is a teethy Edward Koren drawing starring one of his famous beasts. Perhaps the best placed drawing in the issue (there are several cartoons vying for worst placed cartoons). Breathing room galore for Mr. Koren’s dental drawing.

Four pages later Kate Curtis three bears cartoon (one bear unseen, as is Goldilocks). The window in the drawing looks out onto a dark forest. My gaze kept returning there, expecting to see something. But no…

Three pages later an ashes in an urn drawing from David Sipress. Comedic use of ashes in urns summons up (for me) this scene from Meet the Parents Mr. Sipress makes use of Milton Glaser’s I heart NY campaign, introduced in 1977. 

Two pages later a Ben Schwartz scientists observing behavior cartoon. The cartoon rests on the hope that the reader has some familiarity with a particular author mentioned. If you’re not familiar with the author then it’s off to Wikipedia for a crash course.

Four pages later, Julia Suits has a toga drawing featuring some lovely draping. On the very next page Trevor Spaulding has a cartoon related to a recent cultural movement.  Interesting drawing.

Three pages later a somewhat complex drawing from Lars Kenseth combining fringe mob activity with fine art (see Mickey Blue Eyes for more on this). 

Seven pages later, the last drawing in the issue (not counting those that are part of the caption contest): a Carolita Johnson cartoon in a slim space on the bottom of page 72. The drawing is about lip balm which strangely(?) reminds me of an interview I saw the other day with Joseph Kennedy III wherein he discusses “Chapstick-gate.” 

And that’s that, except for this *

*Rea Irvin’s classic Talk of the Town masthead design has been missing for nearly a year now. Just as a reminder, it looks exactly like this:

 

 

 

 

 

The Monday Tilley Watch: The New Yorker Issue of March 26, 2018

The cat, or, uh, cover’s been outta the bag for several days now, so we can move right on to the cartoons in the issue. (I’ll mention Rea Irvin‘s missing masthead later on in this post).

Roz Chast has the first drawing (p.19). The setting of several folks lined up on a sofa hard up against a wall seems to belong to her.  It’s her signature, as much as George Booth’s guy-in-the bathtub scenario is his. 

Six pages later a Zach Kanin cozy-under-a-blanket-by-a-fire drawing (coincidentally, the action in the drawing is set on a sofa). The cartoon is anchored by the use of the word “breasts” in the caption.  A quick online search shows a modest number of New Yorker breast-related cartoons, with very few actually mentioning breasts in the caption. One that came readily to mind is this classic courtesy of Jack Ziegler from November of 1997.  

  Nine pages later, a fun Seth Fleishman drawing (captionless, of course. His specialty).  Succinct clean lines and ideas. The same could be said for the very next cartoonist: William Haefeli. Unlike Mr. Fleishman, he works with a caption. This particular drawing is textbook Haefeli. Even the inconsequential fruit in the bowl (in the foreground) is rendered as if it is essential to our grasp of the entire piece.

On the very next page is a grand drawing from Charlie Hankin, well-placed on the page. A crime scene by P.C. Vey is on the opposite page. I love how he’s drawn the victim. This compact set of drawings is one of my favorites in quite awhile (the set consisting of Fleishman, Haefeli, Hankin, and Vey).

Five pages later, the second New Yorker drawing from Bishakh Som, who delivers the magazine’s weekly subway drawing. Subway drawings are now certifiably the new crash test dummy drawings.  [a second subway drawing, by this cartoonist, appears as this weeks Caption Contest challenge] 

Fifteen pages later (following a photo spread) is a colorful and intricate drawing by Peter Kuper. An excellent piece of work. Five pages later, Carolita Johnson takes us to a concert hall. I like that she’s brought us somewhere we typically don’t go much (anymore) in New Yorker cartoons. Ms. Johnson’s handled the scene well, with the audience, drawn in grey, driving our focus to the sniffling quartet. I am curious about the tiny dash and “c”  appearing next to her signature:

Three pages later a well-drawn Tom Cheney cartoon (is there any other kind?).  NYC apartment seekers who don’t have money to burn will find this drawing especially hilarious. On the very next page, Emily Flake brings us a demographic not often seen in the magazine: senior citizens. It appears the fellow’s had enough and is taking a walk.  He can’t be planning on being away very long: he has no coat or jacket, and just one piece of luggage not much bigger than a bowling ball bag.

The last drawing in the issue (not counting those on the Caption Contest page) is by Edward Koren, who will, this May, celebrate his 56th year of contributing his drawings to The New Yorker.  No one draws birds like Mr. Koren, and, need I say it (sure, why not) — no one draws like Mr. Koren.

 Link here to see all of the drawings referenced in this issue.

And don’t forget to check out The Cartoon Companion (they usually post at week’s end) for their rated take on all the issue’s cartoons.

— See you next week

ps: Couldn’t help but notice that Rea Irvin’s iconic Talk of the Town masthead is still a-missin’.  There’s a substitute in its place.  This is what the real deal looks like: