An Overflow Crowd at the Society of Illustrators Event: Funny Ladies at The New Yorker: Then and Now

Some of the cartoonists in the exhibit, left to right: Sharon Levy, Roz Chast, Liza Donnelly, Carolita Johnson, Liana Finck, Emily Sanders Hopkins (nee Richards), Sophia Warren, Mary Lawton, and Maggie Larson

A Packed House and Then Some

Last night’s event, “Funny Ladies at The New Yorker: Then and Now” was most decidedly An Event. Before the panel discussion began an announcement was made that the crowd in attendance had reached capacity; outside on West 63rd Street, the line of people still waiting to get in stretched east to the corner of Lexington Avenue. We heard from a source that the only event rivaling this one in attendance was the Spiderman opening at the Society in June of 2017.  The Funny Ladies exhibit itself is, as we’ve been saying throughout the week, a must-see.

(Above: standing, l-r: Carolita Johnson (holding Hammy), Emma Allen, Roz Chast. Seated, l-r: Liana Finck, Liza Donnelly) — this photo and the group shot of cartoonists courtesy of Stephen Nadler of Attempted Bloggery. Mr. Nadler was the Spill‘s official photographer for the evening.  My thanks to him.

The crowd was treated to a lively, often hilarious discussion between the New Yorker‘s cartoon editor, Emma Allen, and cartoonists Roz Chast, Carolita Johnson (who held her dog, Hammy, on her lap), Liana Finck, and Liza Donnelly.  Ms. Donnelly curated the exhibit, and moderated.  Link here to a recording of the event.

Among the artists spotted in the crowd: George Booth, David Borchart, Bishakh Som, Ellis Rosen, Hilary Fitzgerald Campbell, Maddie Dai, Amy Hwang, Maria Scrivan, Tom Bloom, Karen Sneider, Tim Hamilton, Jeremy Nguyen, Marisa Acocella, Sara Lautman, Sam Marlow, Isabella Bannerman, Flash Rosenberg, Emma Hunsinger, Neil Dvorak, Jenny Kroik and Gayle Kabaker.  Also spotted: The New Yorker‘s editor, David Remnick.

 

 

 

Be There! “Funny Ladies at The New Yorker: Cartoonists Then and Now” Exhibit/Panel Discussion @ The Society of Illustrators

If you love New Yorker cartoons, you’ll want to be at The Society of Illustrators tomorrow night to see this wonderful exhibit as well as see and hear a panel discussion that includes the New Yorker‘s cartoon editor, Emma Allen, and New Yorker cartoonists Liana Finck, Carolita Johnson, and Roz Chast.  Their colleague, Liza Donnelly, who curated the exhibit, will moderate. 

Info here …and Here

Move Over Addams, Steinberg Did An 89 Foot Long Mural; Dick Buchanan’s Tip Of The Hat To Funny Ladies At The New Yorker Show, and …A First Glimpse of the Exhibit

Steinberg’s 89 Foot Mural

We recently learned of a fourteen foot mural Charles Addams executed (a good Addamsy word!); well here’s a piece in Cincinnati Magazine about an eighty-nine foot Steinberg mural.  Wowzers.

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Dick Buchanan’s Tip Of The Hat To Funny Ladies At The New Yorker

Via Mike Lynch’s site: “From The Dick Buchanan Files: Women Cartoonists: Barbara Shermund, Hilda Terry, Mary Gibson, and Dorothy McKay 1935-1952”

Mr. Buchanan’s latest file finds are in honor of the upcoming Society of Illustrators exhibit, Funny Ladies At The New Yorker: Cartoonists Then and Now

Liza Donnelly, who curated the show, has posted (on Instagram) a preview photo. Nice blow-up of a Helen Hokinson drawing! : 

 

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

The early release Barry Blitt Trump flat-on-his-face cover (above, right) was mentioned here last week, so onward we go to the brand new issue.  Fifteen cartoons in the issue, eighteen illustrations.  With five of those illustrations full page, I’d say the magazine is most definitely in a new age of illustration (the old age was during Tina Brown’s reign as editor. She brought illustration, including photographs, big-time into the magazine). The magazine had a golden age of cartoons that began in the late 1930s and roughly extended into the early 1950s. A new age of sorts (golden, platinum, silver — does it really matter?) began in the late 1960s, early 1970s and lasted several decades. I wouldn’t put a label on the age we’re in now because we’re in it (kind’ve a can’t see the forest for the trees thing).  

Three cartoons really stand out for me in this issue:

Kim Warp’s Dog Watching A Guy Grill Burgers Cartoon

I immediately saw a good bit of Jack Ziegler’s work in Ms. Warp’s wonderful cartoon.  The burgers, of course (see Mr. Ziegler’s classic collection: Hamburger Madness) as well as the situation of the guy grilling on the deck.  And then there’s the deck itself, with the deck boards so well delineated. Mr. Ziegler loved that kind of detail. The dog’s thought balloon also recalls Ziegler’s work as does the wording.  What’s so great is that while the drawing has its Ziegleresque elements and a Ziegleresque feel to it, it’s 1000% Warp. I asked Ms. Warp if her drawing was in any way Ziegler inspired and she replied in an email:

In some way it was inspired by Jack Ziegler’s food/BBQ cartoons as I loved his work and they are in my brain forever. I was thinking of our dog, Maggie, who always has an eye out for spills, and somehow the Ziegler vibe came through. I think it sold partly because of the word ‘bungle’ which they said they hadn’t seen in a while. It comes up in my life all the time.

Joe Dator’s “…rock-based content” Cartoon

Mr. Dator’s work continues to fascinate. You can just see how much he enjoys drawing his world. I especially like his attention to detail in this drawing: the lighting, the instruments…geez, it’s all clicking.

 Danny Shanahan’s Excellent Jack-and-the-Beanstalk Cartoon

Mr. Shanahan’s giants drawing is solid work, an evergreen. Seeing a drawing that works as well as this reminds me of what someone said about the difference between Fred Astaire’s and Gene Kelly’s dancing: with Kelly, you see the sweat.  In cartoonville, I’d rather not be distracted by seeing the sweat. With Shanahan, you don’t see the sweat. I asked Mr. Shanahan if there’s anything we should know about this drawing, and he replied via email:

No real interesting back story, other than that I was a bit disappointed when it wasn’t run fairly quickly after being purchased (the week of 6/28/2016!), because I thought that it might lose its topicality. No such luck- some gifts just keep on giving.
 

Of Further Interest

In this issue is a Talk piece by the magazine’s cartoon editor, Emma Allen, who went to a cartoonists lunch and spoke with the lunching cartoonists as well as “crasher” Gus Van Sant (his new movie is based on a memoir by the cartoonist, John Callahan). I’m searching my memory bank now to recall the last time a New Yorker cartoon editor showed up at a cartoonists lunch. It was a very very long time ago, perhaps as long ago as the James Geraghty years (he was the art editor from 1939- 1973).

Some paperwork: Elisabeth McNair‘s work debuts in this week’s New Yorker.  Ms. McNair is the 14th cartoonist to be brought in by Emma Allen since she took up the position of cartoon editor in May of 2017.

For the record, the 14 are (with their debut issue alongside their name):

1. Sharon Levy (July 10, 2017)

2. Joseph Dottini (October 16, 2017)

3. Jon Adams (October 16, 2017)

4. Sophia Wiedeman (October 16, 2017)

5. Hilary Fitzgerald Campbell (November 20, 2017)

6. Emma Hunsinger (November 27, 2017)

7. Sophia Warren (November 27, 2017)

8. Maggie Mull  (December 11, 2017)

9. Mary Lawton (December 11, 2017)

10. Pia Guerra (December 18, 2017)

11. Julia Bernhard  (January 1, 2018)

12. Navied Mahdavian (February 26, 2018)

13. Bishakh Som (March 19, 2018)

14. Elisabeth McNair (July 30, 2018)

Rea Irvin’s Talk Masthead

Before this post wraps up, I’d like to bring in a guest, David Ochsner. Mr. Ochsner, the fellow behind A New Yorker State of Mind: Reading Every Issue of The New Yorker Magazine, has graciously allowed the Spill to run his findings about the changes to Rea Irvin’s Talk Of The Town masthead over the years. As regular visitors to the Monday Tilley Watch know, there’s a weekly nod to Mr. Irvin’s Talk masthead due to its having been dismayingly eighty-sixed in May of 2017 for a redrawn version by Christoph Niemann (his redraw appears all the way at the bottom right below — you can read about it here).

Here’s Mr. Ochsner:

The first change I noticed was six months after the magazine launched (Aug. 22, 1925), when the masthead lost some of its shading and some shadow structures were introduced in the foreground. A week later Woollcott was dropped from the masthead and replaced by Hugh Wiley. The following January the editors’ names were dropped altogether. On Jan. 30, 1926, the letters were enlarged and superimposed over the buildings, which rose up on the notched, curving line that Irvin introduced. Then 54+ years later, in 1980, the letters shifted to the right, the “K” rather than the “E” now superimposed over the tower (to accommodate the re-drawing or standardization of the Irvin font–most noticeable is the serif clipped from the “N”). 

— Til next week

 

Liza Donnelly’s NYT’s Op-Ed: “I Broke My Arm and Had to Rethink Everything”; The New Yorker’s Women Cartoonists: Then And Now

From The New York Times, July 22, 2018, “My Left Hand vs. My Right Hand” — this Op-Ed piece by Liza Donnelly about breaking her right arm — the one with her drawing hand.  Here’s an Ink Spill piece about it from last Fall.

Below: a tweet from Ms. Donnelly the day of the break.

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And speaking of Ms. Donnelly and cartoons, here’s her just posted newyorker.com piece about the upcoming exhibit, Funny Ladies at The New Yorker

It includes a fab slide show of work by some of the artists in the show.

Link here for info about the exhibit at the Society of Illustrators