New American Bystander Cover Revealed; Advertising Work by New Yorker Cartoonists, Pt. 23: Anatol Kovarsky; More Spills: A Blitt Book Party

New American Bystander Cover Revealed

Michael Gerber, publisher of The American Bystander has released the cover for issue #6.  Needless to say the art is by Arnold Roth (needless to say because he’s signed the art and  it could only be the work of Mr. Roth.  No one else draws like that).

If you love New Yorker cartoons, you’ll love the Bystander.

Go here to read more, to contribute to the Kickstarter campaign, to order a copy, and/or better yet, subscribe.

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Advertising Work by New Yorker Cartoonists, Pt. 23: Anatol Kovarsky

Continuing on in this series now with the first of a number of ads sent to the Spill by Anatol Kovarsky’s daughter, Gina. You’ll be seeing Mr. Kovarsky’s wonderful art pop up on the Spill throughout the holiday season as we head toward the opening of an exhibit of his work at the Society of Illustrators in January. Here are three undated ads for an underwear company.

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The New Yorker‘s editor, David Remnick hosted a book party  for Barry Blitt last night celebrating the release of Mr. Blitt’s Blitt (Riverhead, 2017).  Among those seen in the crowd: illustrators Steve Brodner, Joe Ciardiello, John Cuneo, Gayle Kabaker, Istvan Banyai and the New Yorker‘s art editor, Francoise Mouly;  cartoonists Liza Donnelly, Art Spiegelman, Maggie Larson, Peter Kuper, Jeremy Nguyen, and the New Yorker‘s cartoon editor, Emma Allen  and the New Yorker’s assistant cartoon editor, Colin Stokes.

Below: Blitt by Blitt

 

 

The Monday Tilley Watch: The New Yorker Issue of November 27, 2017

The Monday Tilley Watch is a meandering take on the cartoons in the current issue of The New Yorker.

I’ve spent a little time this morning looking through New Yorker Thanksgiving covers over the years. My all-time favorite — it’s the only cover I ever detached from the magazine (for shame!) so I could hang it on the wall — was Steinberg’s from 1976 (the same year he produced the now iconic so-called view from New York cover). His Thanksgiving cover, to my way of thinking, was and is the New Yorker cover at its best (not including Rea Irvin’s very first cover) — and I believe it was Steinberg at his best.  Disagree with me if you’d like, but you’ll never change my mind.

There have been many other great New Yorker  Thanksgiving covers, so very many.  I saw some beauties this morning  by George Booth, one by Anatol Kovarsky, Arnie Levin, Peter Arno, Frank Modell(!), James Stevenson, CEM (Charles E. Martin), William Steig…and on and on.  Gems all. Someone should do a book of them.

This Monday Tilley Watch will be a little different than the ones that have come before. For most, this is a busy week, with a lot of rushing around.  I actually saw people rushing around while I was in a grocery store yesterday.  In that spirit (of rushing) I’m going to mention just five drawings in this new issue (there are 19, with a full page “Comic Strip” by Edward Steed making the total 20). For more on the others I suggest visiting the Cartoon Companion at week’s end [to those who have asked if the Spill is affiliated with the Companion, the answer is nay.  We’re in touch, but their numbered opinions are strictly their own]

And now on to the five:  the first is BEK’s (Bruce Eric Kaplan) drawing (it’s on page 39).  Wonderful caption, perfectly capturing the mood (for many) of the times.  Four pages later, on page 42, a terrific commuter drawing by David Sipress.  Mr. Sipress delivers a drawing that lives up to Peter Arno’s high-bar one-two punch test.  On the opposite page another winner by Liana Finck. She has a knack for taking us away in fairy tale situations. Moving on to page 76, a cartoon by the ever-reliable Paul Noth.  I love that Mr. Noth has put so much into his Thanksgiving football drawing.  Opposite the Noth cartoon, a feast for the eyes: an Edward Koren drawing. Mr. Koren is our longest active contributing artist, having first published in the New Yorker in 1962. 

The “mix” of these drawings is what has always been one of my favorite parts of that first look through every issue of the magazine. Great writing, combined with interesting, oft-times exceptional drawing.

Final notes: Regular Monday Tilley Watch readers perhaps have grown weary of my unrelenting campaign to bring back the Rea Irvin Talk of The Town masthead to the magazine.  Sorry to disappoint, but here it is again:

 To me, removing Mr. Irvin’s creation from the magazine is akin to removing the top of the Chrysler building and replacing it with the top of Philadelphia’s One Liberty Place :

Further note:  debut appearances in this week’s issue by Emma Hunsinger and Sofia Warren, bring the number of new cartoonists introduced under Emma Allen’s cartoon editorship to seven — an average of one new cartoonist a month (Ms. Allen began editing the cartoons this past May).  

 

The Think And The Ink: The New Yorker Album of Drawings 1925 – 1975

After spending time in the early years of the New Yorker Albums these past few Sundays I thought it would be fun to skip a few decades and look at how the magazine celebrated its 50th anniversary. I love the simplicity of this Album, its no-frills approach. Beginning with the no-nonsense cover featuring the title (set in the so-called Irvin typeface) and Rea Irvin’s bowing Eustace Tilleys. I look at these Tilleys as time period bookends, greeting each other from two very different eras. They are not quite mirror images of each other: the one bowing from 1975 is microscopically different than the one from 1925. If there’s any intended symbolism in that (and I doubt it), my guess would be that the magazine mascot was shown as true to its roots while allowing for subtle change (glacial change in those years).

The only introductory text is found on the inside front flap. It’s as if the magazine’s editor (William Shawn at that time) wanted to say that whatever needed to be said about this amazing body of work was going to be said by the work itself and not by “opinionaters.”

In a first for one of the Albums, there’s a dedication (Lee Lorenz had succeeded Mr, Geraghty in 1973):

The back cover lists the contributors (“Artists”) from Charles Addams to the new kid on the block, Jack Ziegler.

Appropriately enough, the Album leads off with a full page drawing by Peter Arno (one of his drawings led off the very first Album).  The volume ends with a small drawing by William Steig; a first drawing and a last by artists whose work was, in the words of the flap copy above, visually beautiful. The work in between is, of course, also visually beautiful, as well as funny. In more modern times, in the era post-Geraghty, post-Lee Lorenz, a different approach to the magazine’s cartoons was espoused: “it’s the think, not the ink.” But for the first 72 years of New Yorker‘s existence, it was the magazine’s dedication to the think and the ink, that allowed the New Yorker cartoon to make its considerable mark.

 

 

 

Smilby Cartoons Auctioned; New Yorker cartoon editor (and associate cartoon editor) Sing; Soglow Covers Judge

Smilby Cartoons Auctioned

From the Rugby & Letterworth Observer, November 17, 2017 “Rugby Cartoonist’s Playboy Art Raises Eyebrows at Auction”  — this piece on auctioned work by the late cartoonist Francis Wilford-Smith, known professionally as Smilby. His work appeared in the New Yorker from 1962 through 1971.

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New Yorker cartoon editor (and associate cartoon editor) Sing

In this week’s episode of  “Cartoons, Etc.” there’s singing.  See it here. (on the left is Emma Allen, the magazine’s cartoon editor, and on the right, Colin Stokes, the  associate cartoon editor).

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Soglow Covers Judge

More fun stuff over on Attempted Bloggery.  See the great Otto (“Little King”) Soglow’s color work on the cover of Judge here.

Cartoon Companion Rates Latest New Yorker Cartoons; Event of Interest: Addams in the City

Cartoon Companion Rates the Latest New Yorker Cartoons

A new issue of The New Yorker means a new batch of cartoons for the Cartoon Companion‘s “Max” and “Simon” to examine, explore, and evaluate. They consider the merits (or lack thereof), then apply their rating system of 1 through 6 (6 being tops). Read it here.

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Event of Interest: Addams in New York 

From The New York Times, November 16, 2017″ Events For Children in NYC This Week”:  Family Day: Addams

According to the Times, a “celebration that revolves around the [Morris-Jumel] mansion’s new exhibit, “Charles Addams: Family & Friends” which features 35 of his works, along with photographs and memorabilia”

 

 

The Tilley Watch Online; Lost then Found

The Tilley Watch Online

Two Blopers this week on the Daily.  It’s actually Brendan Loper — he signs  his work “Bloper” which to this cartoonist’s eyes and ears involuntarily suggests “blooper” (sorry, Mr. Loper)… Nice elephant in the brush drawing by Mr. Loper.  Other drawings feature Putin (by Loper), the Clintons and our president (by Lars Kenseth) and the Panamanian files (by Maddie Dai), and a marathoner, courtesy of Farley Katz (with enjoyable forest animals by Mr. Katz). And over on Daily Shouts, an advice column (to appear every other week) makes its debut.  Liana Finck answers tough questions about “how to act in difficult situations”…

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Lost Then Found

Back in February of 2008 I was asked to be what was jokingly called a “cartoon captain” for a month.  That meant contributing pieces to newyorker.com on a daily basis (in my case, I alternated between a graphic series called Cartoonography  and written pieces).  These pieces were all archived on the magazine’s site.  That is, until a few months ago, when all of the written pieces suddenly (and mysteriously) disappeared (the Cartoonography pieces were not disappeared).

Following the disappearance, I decided to post all the written pieces here on the Spill, but found I could not find a single copy of any of them here at home (either hard copies or digital files). All seemed lost. The online folks at the New Yorker also (initially) came up empty-handed (or empty-filed). Then just last week, all of the pieces suddenly reappeared online. I want to thank Michael Agger at newyorker.com for his diligence. The pieces on newyorker.com are exactly as first published.  For the Spill, I updated the piece titled “Glossary” to reflect the new cartoon editor era.

I’ve collected the pieces on the Posted Notes section of the Spill (just scroll down past all of the Rea Irvin Talk mastheads)…so they can be read as a whole.  And you can now also find them once again here on newyorker.com among other pieces I’ve contributed (Cartoonography is there still, and it can be found on the Bio section of the Spill).  Whew.