The Monday Tilley Watch: The New Yorker Issue of October 16, 2017

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

Wowzers! 23 cartoons in this issue, and it’s not even a double issue.

The cover was mentioned here last week.  If you want to read what David Plunkert, the cover artist had to say about his design, go here

Without pausing at the renovated Rea Irvin Talk of The Town masthead (yes, that’s still an “issue” here at the Spill) we move onto the very first cartoon — it appears on page 22.  Bruce Kaplan’s been on a roll these past many weeks, with two covers and weekly appearances.  This makes sense to me, and reminds me of the system once in place at the magazine that kept us in touch with a number of artists over time. In this case, Mr. Kaplan gives us a Kaplanesque restaurant scene with a Kaplanesque caption.  Nice.

Nine pages later, following David Remnick’s “Postscript” about the late Si Newhouse,  we come to a well-placed Mick Stevens caveman drawing. I wonder sometimes if we will ever reach the end of the road, cave people drawings-wise.  Hope not. Imagine how much material has come from so little: cave people, their caves and rocks.  Someone should really do a book of these drawings.  Five pages later we come to a Sara Lautman art museum cartoon.  From a distance (that is, viewing it on a tablet) its use of blocks of black ink resembles an Ariel Molvig drawing. As I’ve mentioned a few times on the Monday Tilley Watch, certain brand new drawings immediately summon up drawings out of the magazine’s deep catalog. I cannot see an art museum cartoon these days without recalling this (captionless) Helen Hokinson classic from the issue of February 6, 1926.

 

Three pages later a gingerbread man-inspired drawing by the one-and-only Danny Shanahan. I’m assuming the carrot cake man’s hair(?) is made of frosting. The world could use more talking cake drawings right about now; Mr. Shanahan is the cartoonist for the job.

Five pages later P.C Vey dips into the literary world as well as the world of apartment plumbing.  Men-in-bathtub drawings always make me think of George Booth’s recurring guy in a claw foot tub (usually viewed from an adjoining room).  Here, Mr. Vey takes us right into the bathroom. I particularly enjoyed the recessed soap tray.  

On the very next page is a Liana Finck drawing.  I needed to reach out to a family member in her mid 20s for help on this one, and here is what she emailed me, cautioning she is not an expert on the subject, having never used the app:

I believe it’s a Tinder thing. I think if you like someone, you swipe right. Then if you match (if they swiped right on you too) you can talk to the person. Some people swipe right for everyone just to increase their chances. I think that’s what she’s commenting on: people frantically, desperately looking for love on their phones to the point that they’re numb to Cupid’s arrows.

Three pages later is a drawing by newbie, Maddie Dai.  This is graphically ala Roz Chast, utilizing a magazine cover as a humor conveyance vehicle. There’s some pointed messaging going on in this cartoon.

On the very next page a drawing by Kate Curtis,  a not-so-newbie relative to Ms. Dai.  There’s some helpful color in this cartoon (pinkish chewing gum).  I’ve spent most of my time on this one trying to understand if the gum was pre-chewed. It looks pre-chewed. I hope it’s not though.

Five pages later, A Will McPhail drawing.  Somewhat atypical for this cartoonist (at least  of his work I’ve seen in the magazine), the drawing is not a close-up of an individual or individuals.  Even enlarging the drawing on my laptop, the mouth of the woman speaking seems a black-hole void. Is that intentional, or smudged ink, or or or…?  Bonus(?) element: a guy with a man-bun.

Three pages later a Zach Kanin drawing.  Having just yesterday driven past and heard some part of a marching band competition in a nearby metropolis, I’m delighted to see this drawing. Kanin cartoon children are always a treat.  On the very next page, a Trevor Spaulding drawing concerning 401(K)s. Interesting drawing style, sort of a mash up of Kim Warp,  Marcellus Hall and Herge (the fellow responsible for Tintin).

Four pages later, Roz Chast gives us a Trumpian geography lesson. This would’ve made for a good New Yorker cover back in late September when the president came up with the nonexistent country, Nambia.

A Tom Toro Frankenstein-related kitty drawing is next. As with all of Mr. Toro’s drawings, we get more than our money’s worth in the detail department.  Two Frankenstein-ish drawings in two weeks (Liana Finck’s drawing of last week had some  Frankensteinian elements) — we must be getting close to Halloween. Two pages later, a drawing I momentarily mistook (again, while looking at the small screen of my handheld tablet) for a Charles Addams drawing.  But it’s an illustration by Bill Bragg, not an Addams cartoon. It would’ve been quite a shock had it been a full page cartoon. As mentioned here from time-to-time, full page single panel cartoons are rarities in The New Yorker. 

Speaking of rarities, the very next cartoon is a duo effort: Emily Flake and Rob Kutner. Here’s a Spill post from 2013 about collaborating cartoonists. This cartoon, based on one of the classic scenes in the film, Casablanca, was also the subject of a Bob Eckstein cartoon not too long ago (November 30, 2015, to be precise):

Perhaps Casablanca airport farewell scenes will take the place of desert island cartoons.  Nah…

Two pages following the collaborative effort is a drawing by Frank Cotham. A sparser look than usual for Mr. Cotham, but the subject matter is as Cothamy as you can get.  As much as I love his horses I think I love the little hut in the background even more.

Two pages later, a cartoonist making his debut in The New Yorker (if I’m wrong about this, someone please advise).  Joseph Dottino delivers a prayer at bedtime cartoon;  a seldom seen scene (seldom anymore that is.  They were once nearly as plentiful as talking parrot drawings).   Again, my thoughts go to several from the archives, but I’ll mention just one, by one of the masters, Dana Fradon (from the issue of September 23, 2002).

 

Opposite Mr. Dottino’s drawing is a beautifully placed John O’Brien cartoon. Mr. O’Brien is the magazine’s contemporary master of caption-less drawings.  This time round though,  he provides a caption (in a speech balloon).  As I’ve said in almost every one of these Monday posts, I try to stay away from heaping praise on any one drawing, but I can’t resist applauding this particular drawing (there are a few others in this issue as well, but once I begin applauding this one and that one, or holding my applause for that one or this one, I’m well into Cartoon Companion territory).

Following Mr. O’Brien’s drawing is another reliable cartoonist scenario: human evolution. This one’s from J.A.K. (Jason Adam Katzenstein). I’m a big fan of evolution drawings having returned to the standard human evolution graphic (seen below) a number of times.

Five pages later, yet another brand new cartoonist (again, if I’m wrong, someone please let me know).  Sophia Wiedeman debuts with a drawing of a person experiencing a mole or crumb moment.   Five pages later, Robert Leighton has us in space. The floating woman astronaut is close to Thurber-like. Thurber-like is always a very good thing. Three pages later, is a William Haefeli  drawing, the polar opposite of Thurber’s minimalism.  Mr. Haefeli’s caption reminds me of Kevin Bacon’s line in the Chisholm Trail scene in Diner: “You ever get the feeling there’s something going on we don’t know about.”

Three pages later work by yet another newbie.  Teresa Burns Parkhurst brings us a touch of Fall with a farm stand-like setting featuring apples.  A nicely placed drawing. 

And lastly in the issue (not counting the contest drawings on the last page) is a Harry Bliss drawing incorporating Sherlock Holmes, Watson, and a missing, or misplaced  illegal substance.

–See you next week

 

 

 

 

 

 

 

 

 

The Monday Tilley Watch (Part 1)

Double issues (as we’ve just experienced) have a way of creating the impression it’s been ages since the last new issue. So, yay, finally: the late August New Yorker (dated, for the record:  August 21, 2017). There are a lot of cartoons in this issue, so the Monday Tilley Watch will be broken up into two parts. I’ll post the second half in a few days…possibly tomorrow (a Tuesday Tilley Watch?)

The cover, by Adrian Tomine, is certainly summery (and a sort of summary of some summers). 

Skipping through the front of the magazine (this is, after all, a look at the drawings in the issue) I pause to note that Rea Irvin’s classic Talk of the Town masthead is still on holiday (wishful thinking that it might’ve returned!).  Now on to the cartoons:

The first, Mr. Tator Tot, is descended from the world of Mr. Potato Head and is pure Danny Shanahan.  I can see these being sold in nice little packages wherever toys are sold (with a warning that they should be kept out of the hands of small children).  As a side note, when Mr. Shanahan was discussing this drawing with me not long ago we went off into a brief recounting of the various potato-related drawings we’d both done.  Someone should do a New Yorker book of potato cartoons.  The next drawing (I’ll shorthand it as “hip disease”)  is by Jason Adam Katzenstein, who is closing in on his third anniversary of appearing in The New Yorker. I’m a big fan of doctor office drawings. The eye chart in this one really caught my…eye (sorry). I’d say someone should do a book of New Yorker doctor cartoons, but it’s been done, and done well. 

A few pages later we come to a summertime baseball in the park drawing by yours truly. For those who keep track of things, this is my second major appliance-related drawing in the magazine (there was at least one cartoon of mine featuring a small appliance (a blender) back in the 1980s).  Seven pages later we come to a Tom Toro desert island drawing (Mr. Toro was profiled here on the Spill not long ago, talking about his new book Tiny Hands, among other things). The desert island fellow, judging by his look, has somehow managed to survive on the island for a very long time. Good for you, island guy. I’m a little worried about the cruise ship being so close to shore, but then remind myself that this is a cartoon. (fyi: Mr. Toro’s been contributing to The New Yorker since 2010).  Next up is a drawing by newish-comer, Kate Curtis (she’s been contributing to the magazine for about a year-and-a-half).  I love set piece cartoons (folks sitting at a dining room table or a kitchen table, people in bed or sitting on living room sofas, etc.). Challenging, and so much fun when they work out well, as this one has. Several pages later is another newcomer, Maddie Dai (Her first New Yorker cartoon appeared this past June).  A hopscotch drawing! We don’t see many of those.  This one has a Charles Addams-ish flavor to it.  And speaking of Mr. Addams, who did a number of wonderful gingerbread house drawings in his time, our next drawing, by Liana Finck, is of a house made of kale.  Worth noting here: as has been the case for at least the past five issues of the magazine, the placement and sizing of most drawings has been splendid. (Ms. Finck’s first cartoon appeared in The New Yorker, February 2013). The next drawing, by Sara Lautman (first cartoon in The New Yorker: March, 2016) is a blast of color…and madras (!) — making for an exciting visual. A few pages later, and again, well-placed and sized, is an Ed Steed cartoon. Love the child-like house on the horizon. Mr. Steed’s first appearance in the magazine: March 2013. There’s a Sketchbook by Will McPhail a few pages following Mr. Steed’s drawing.  The use of the Sketchbook — and I could be very wrong — goes back to the Tina Brown era. Next up is a drawing by Emily Flake (like Mr. Toro, she was the subject of a piece on The Spill not long ago). Ms. Flake has been contributing to the magazine since September of 2008. This is a set piece drawing, with a lot of emotion.

Part 2 of The Monday Tilley Watch coming later this week…

Fave Photo of the Day: Dator & Le Lievre Down Under; Attempted Bloggery on Advertising Work By New Yorker Cartoonists; A Spill Note

Fave Photo of the Day

Here’s Joe Dator, in the land down under with New Yorker cartoonist colleague, Glen Le Lievre, August 2017.

Mr. Dator began contributing toThe New Yorker in 2006.

Mr. Le Lievre began contributing toThe New Yorker in 2004.

 

____________________________________________________________________

Attempted Bloggery On Advertising Work by New Yorker Cartoonists

I’d planned to briefly detour from the Warren Bernard New Yorker cartoonists ad collection that’s been appearing here and show the Absolut ads — all appeared in 1991 —  by a bunch of colleagues (Robert Weber, William Hamilton, Edward Koren, Victoria Roberts, Roz Chast, Jack Ziegler, Mischa Richter, Danny Shanahan, and Lee Lorenz).  I soon discovered that Stephen Nadler’s Attempted Bloggery had already done just that in a January 2016 post.  It includes scans of all the ads.  See them here. __________________________________________

A Spill Note

Normally, today’s Spill would consist entirely of The Monday Tilley Watch, but alas, the New Yorker that appeared last week (dated August 7 & 14, 2017) is a double issue, so no new cartoons until next Monday.

 

 

 

 

The Monday Tilley Watch

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

 

 

Expecting something political on the July 31st cover it was a surprise when Javier Mariscal‘s water’s edge pastoral popped up on my screen (I’m looking at the digital version of the magazine; I’ll look at the print version when it arrives. Two different experiences). My first thought: if James Stevenson had worked in stained glass, this might be the result. Here’s an example of what I was thinking (a Stevenson cover from October 1975, and Mr. Mariscal’s on the new issue):

 

 

 

 

 

 

 

A note before heading into the issue: I have a habit of not looking at the cartoonists listed on the Table of Contents — I look at everything else on the TOC, but want to be completely surprised by the cartoons as I page through. I see on the TOC that Bruce McCall has a Shouts & Murmurs piece — things are already interesting.  On my way to “The Talk of The Town”  I stopped to examine the illustration on page 8 by Henning Wagenbreth. Glad I stopped — enjoyable illustration, and, bonus: the name Henning Wagenbreth is now a new favorite name.

Moving on: a quick look at the Talk masthead —  it’s still the revamped version brought in a few months back. I ask the power(s) that be to reconsider and bring back Coke Classic (i.e., Rea Irvin’s masterpiece masthead  — shown directly below — that led off Talk from January 30, 1926 through May 15, 2017). 

It should be noted (and maybe I did note it once on this site): Tom Bachtell is the contemporary artist behind the drawing appearing on the opening Talk page and many of the others sprinkled through the rest of Talk, but the small spots that look like this:

are by the late great Otto Soglow (fondly remembered by many for his creation,  “The Little King”). Mr. Soglow supplied the Talk spot drawings in earlier times (pre-Lee Lorenz years as Art Editor).   We are lucky his work is still appearing here some forty-two years after his death.

And now, finally to the cartoons: the first is by Sara Lautman, whose first New Yorker drawing appeared in March of last year. If the search function on the digital edition is correct, this is her 6th New Yorker appearance. A few pages later is a David Sipress drawing.  Mr. Sipress’s active line is immediately recognizable, as is the New York City subway setting (the subway has been in the news quite a lot, with the Mayor of NYC taking a well -publicized ride just yesterday). Next is a drawing by Paul Karasik (whose new book, How to Read Nancy was mentioned here last time, so I’m mentioning it again). In Mr. Karasik’s drawing, Grant Wood’s American Gothic farmer returns to the New Yorker.  During Charles Addams’ long run at The New Yorker he had a lot of fun with Mr. Wood’s pitchfork-wielding farmer, as well as at least one of the other folks at the bar in Mr. Karasik’s drawing.

Here’s Addams working with the American Gothic duo– this from The Charles Addams’ Mother Goose.

And here’s a link to another.

And here’s Addams with a roomful of recognizable subjects, including Mona Lisa

But I, uh, digress…so back to the issue at hand. Opposite Mr. Karasik’s barflies is a timely drawing by Liza Donnelly featuring colluding ice cubes. As with Roz Chast’s drawing from the last issue, I like the way this drawing has been placed on the page.  Today’s New York Times carries the headline “‘I Did Not Collude,’ Kushner Plans to Tell Senate Investigators” — hmmm

Several pages later we come to another well-placed/sized drawing — this one’s by Harry Bliss. As noted on yesterday’s Spill, it’s “Shark Week” on The Discovery Channel. It’s also summertime. Mr. Bliss manages to celebrate both, as well as tipping his hat to lifeguards (a New Yorker colleague, John O’Brien, was a longtime lifeguard in Wildwood, New Jersey. I believe he’s the only New Yorker artist with those intersecting credentials). Next is a kangaroo cartoon (also well placed & sized) by Liana Finck (who was mentioned on the Spill yesterday for several reasons…both good). Here we have a drawing that, stylistically (and maybe even thematically) brings to mind a cross between Ed Arno and Arnie Levin, with even a dash of Bill Woodman tossed in to the mix.  In the end, of course, it’s pure Finck.

A Seth Fleishman Newton’s Cradle cocktail drawing follows Ms. Finck’s. Mr. Fleishman, like the aforementioned Ms. Lautman, started at The New Yorker in the early months of last year —  his generous use of black against white made (and make) his work easy to pick out in the crowd. A Roz Chast six-parter follows (Ms. Chast’s first New Yorker appearance was in 1978). I failed to mention last week that Ms. Chast has a new book coming out this Fall: Going Into Town: A Love Letter To New York.

A Paul Noth prison drawing is next (Mr. Noth’s first New Yorker appearance was in 2004)  — Mr. Noth has a book coming out as well — it’s not due until next year, but I’ll mention it here anyway.  Someone should do a collection of New Yorker prison cartoons. Three pages following Mr. Noth’s drawing is the very recognizable work of Drew Dernavich.  If you want to know a little more about how he works, visit Jane Mattimoe’s Case For Pencils post here.  Three more pages brings you to one of the newest kids on the block (first New Yorker appearance: November 14, 2016): Lars Kenseth. In this drawing, Mr. Kenseth meets King Arthur, sort of. For some reason I wanted the caption to have the word “sticky” in it, but “licked” comes close enough.

Two pages on we find a drawing by cat and elephant-lover, Danny Shanahan, who’s been contributing to The New Yorker for 30 years.  No one draws  elephants like Mr. Shanahan (he’s even had a New Yorker elephant cover).   

Another new kid, Ellis Rosen is up next (first New Yorker appearance: December 12, 2016). I like birds-in-flight cartoons. Carl Rose, Lee Lorenz, and a number of other colleagues have offered them up to us over the years.

On the opposite page from Mr. Ellis’s drawing is a drawing executed in the instantly recognizable  style of William Haefeli (first New Yorker appearance: 1998). The Spill’s archive is lucky enough to have one of Mr. Haefeli’s original New Yorker drawings.  Visitors who are shown the piece are usually surprised by its size (it’s quite small) and its complexity (his originals look even more complex in person than on the printed page or screen).

A few pages later, we have what looks like a Smith Bros. cough drop board meeting —  a bunch of bearded men courtesy of Carolita Johnson (first New Yorker appearance: 2003), followed by a cat and dog living room situation by Christopher Weyant (first New Yorker appearance: 1998; Mr. Weyant is the  illustrator of a recent childrens book, I Am (Not) Scared by Anna Kang).  I love the way Mr. Weyant draws cats (he joins the Well-drawn Cat Club; I won’t list all the members for fear of possibly leaving someone out).  Tom Toro’s next (first New Yorker appearance: 2010) with a rarity: a lethal-signage cartoon. Kudos to the author of Tiny Hands. 

Mr. Toro’s drawing is followed by a Liam Walsh cartoon featuring a smallish fish with a big appetite (Mr. Walsh’s first New Yorker appearance: 2011). I already mentioned Bill Woodman above, but I’ll mention him again. I see fishing cartoons and I think Woodman. For some examples check out his book, Fish and Moose News (published in 1980). 

 

Lastly, the newest of the newbies, Maggie Larson, whose first New Yorker drawing appeared in last week’s issue.  I can’t recall how many massage-related cartoons have been in The New Yorker. At least one, now (someone with a better database than mine please let me know of others).

 

And that’s that.

 

 

 

 

 

 

   

 

 

 

 

 

 

 

 

Advertising Work by New Yorker Cartoonists, Part 1: Peter Arno; Shanahan’s Sharks

Advertising Work by New Yorker Cartoonists, Part 1

Warren Bernard, author of the wonderful book, Cartoons For Victory, as well as Executive Director of The Small Press Expo, has generously allowed the Spill access to hundreds of images he has collected that depict advertising work executed by New Yorker cartoonists. The Spill will post these from time-to-time. This is not an all-inclusive survey, but a look back at some interesting work mostly lost to time (many of these ads were unknown to me until recently).

We’ll start with a handful of ads featuring the unmistakable drawings of Peter Arno. Arno’s drawings were in high demand by Madison Avenue during the four decades he contributed to The New Yorker. They were the lucrative sideline that went a long way to helping him live the Park Avenue penthouse life he at times lived.

I’m only showing a few of his ads here, and not including the entire run of Pepsi-Cola ads that so riled Harold Ross (the New Yorker’s founder and first editor) — those will be for another time.  Also for another time: the Gem Razor ad campaign.

 

 

 

 

 

 

 

 

 

 

 

Mr. Bernard has helpfully identified the date of each ad:  Alemite (1949); Kindness (1968); Calvert Reserve (1944); Jockey (1939); Ry-Krisp (1941)

Here’s Mr. Arno’s entry on the Spill’s A-Z:


Peter Arno (Pictured above. Source: Look, 1938) Born Curtis Arnoux Peters, Jr., January 8, 1904, New York City. Died February 22, 1968, Port Chester, NY. New Yorker work: 1925 -1968. Key collection: Ladies & Gentlemen (Simon & Schuster, 1951) The Foreword is by Arno. For far more on Arno please check out my biography of him, Peter Arno: The Mad Mad World of The New Yorker’s Greatest Cartoonist (Regan Arts, 2016).

___________________________________________________________________________

Shanahan’s Sharks

Attempted Bloggery has found a Danny Shanahan New Yorker cover that’s been enhanced by the artist himself.

Mr. Nadler, who runs the AB, notes it’s a fine way to kick off the Discovery Channel’s Shark Week.

Link here to see Danny Shanahan’s New Yorker work on the magazine’s Cartoon Bank site.