Liza Donnelly Live Draws The Oslo Freedom Forum; New Yorker Cartoons and Parenting; Andrea Arroyo’s Worldwide Artists Project; Christopher Weyant on Newspapers & Editorial Cartoons; The Tilley Watch: Ellis Rosen’s Subway Drawing, Changes for The Daily Cartoon, Another Fave Photo

Liza Donnelly Live Draws The Oslo Freedom Forum

From Extranewsfeed, “Oslo Freedom Forum, 2017” — a selection of Liza Donnelly‘s live drawings from that recent event.

Link to Ms. Donnelly’s website.


New Yorker Cartoons and Parenting

From Mental Floss, “Changing Parenting Attitudes, As Seen Through New Yorker Cartoons”

—   Indiana University sociologists “examine cultural feelings about parenting through cartoons published in The New Yorker between 1925 and 2006”

Note: The New Yorker collected a bunch of its kids cartoons back in 2001 (with a Jack Ziegler cartoon on the cover).


Andrea Arroyo’s Worldwide Artists Project

 New Yorker cover artist, Andrea Arroyo tells Ink Spill this project was “launched hours after election. So far I have over 230 international artists participating (from over 30 countries,) and more joining weekly. The exhibit is online indefinitely and I’m planning exhibits in Alaska, New Jersey  & New York City.”

A number of New Yorker artists are represented including Tom Toro, Barry Blitt, Bob Staake, Peter Kuper, Felipe Galindo (feggo), Rich Sparks, and R. SikoryakGo here for all the info, and a list of all the artists. 


Christopher Weyant on Newspapers and Editorial Cartoons

From Editor & Publisher, “Digital Publishing: Why Newspapers Need to Invest More in Political Cartoons” — long-time New Yorker cartoonist Christopher Weyant has been studying just that.  Read it here.





…Nice to see: The Gothamist posted this about Ellis Rosen’s current New Yorker cartoon.  Visit Mr. Rosen’s website here.


…Visitors to The New Yorker‘s Daily Cartoon will probably note that it has been revamped. The now defunct version featured one of the magazine’s cartoonists work for a number of weeks (sometimes months). This new version abandons the one cartoonist model and presents a variety of cartoonists work within the week. 

…Here’s another favorite photo from Jack Ziegler’s memorial last Saturday at the Society of Illustrators. We see Roz Chast working on some tiny paper shirt constructions (yes, tiny shirt constructions), with Edward Koren looking on.  The Spill will post scans of the shirts in a few days. (photo courtesy of Liza Donnelly).












Seth Returns to The Virtual Memories Show; A Tune Jokes Cover; Now That’s What I Call Marketing…

New Yorker cover artist, Seth (Gregory Gallant) returns to Gil Roth’s Virtual Memories podcast.  Hear it here.  And while you’re there check out Mr. Roth’s  archive of interviews with other cartoonists, including, among others, these New Yorker contributors: Edward Koren, Roz Chast, Sam Gross, Liza Donnelly, R.O. Blechman, Peter Kuper, and John Cuneo.  



We have not heard the last of the cartoonist, Buford Tune (mentioned here yesterday).  To the left is a snippet of a Tune cover that has surfaced courtesy of Columbia University’s Karen Green.  See the entire cover over at Attempted Bloggery.



Here, by way of Danny Shanahan, who donates most generously to the Spill‘s archives, is a box of  Le Pen markers with an understated New Yorker connection.




Wall-to-Wall Cartoonists at David Remnick’s Hello Goodbye Party

 The New Yorker‘s editor, David Remnick threw a Hello Goodbye party last night (Hello, Emma Allen, the magazine’s new cartoon editor; Goodbye, Bob Mankoff, the former cartoon editor). It was, by far, the largest gathering of New Yorker cartoonists since  1997, when forty-one gathered for an Arnold Newman group photo (it appeared in the magazine’s first cartoon issue, December 15, 1997). Here are a bunch of photos from the evening, courtesy of Liza Donnelly, the Spill‘s official photographer for the evening; additional  photos by  Sarah Booth, Marshall Hopkins, and Paul Karasik.

Photo above, l-r: Drew Dernavich, Sarah Booth, John Klossner, George Booth, Chad Darbyshire (back to camera), Matt Diffee, (New Yorker writer) Sarah Larson, Ken Krimstein, Bob Mankoff, Eric Lewis, Bob Eckstein

Edward Koren and Francoise Mouly (The New Yorker‘s Art Editor)






Emma Allen, The New Yorker‘s Cartoon Editor, and Stanley Ledbetter, the magazine’s jack-of-all trades.






George Booth and Roz Chast.  That’s Lars Kenseth in the background (photo courtesy of Sarah Booth)






Paul Karasik, Liana Finck and Gabrielle Bell (photo courtesy of Paul Karasik)





Jason Adam Katzenstein, unidentified, Roz Chast speaking with Sara Lautman (back to camera), and Chris Weyant far right.




Chris Weyant (partially obscured), Farley Katz, unidentified, David Sipress, New Yorker writer Matt Dellinger (in checked shirt), Andy Friedman, Danny Shanahan. The group in the back: Drew Panckeri, Mitra Farmand, Sara Lautman, Kendra Allenby


Sam Gross and Robert Leighton


Bob Mankoff and David Remnick







Chris Cater, with the New Yorker‘s assistant cartoon editor, Colin Stokes, and Avi Steinberg




George Booth and David Borchart






Joe Dator and Peter Kuper



Felipe Galindo and Carolita Johnson




John O’Brien and Bob Eckstein



Three former cartoon department assistants: Marshall Hopkins, Emily Votruba, and Andy Friedman (photo courtesy of Marshall Hopkins)






Chris Weyant and Paul Noth



Matt Dellinger with  Stanley Ledbetter, and Matt Diffee (and way back by the window: Chad Darbyshire to the left, and Amy Hwang to the right)





P.C. Vey and Trevor Hoey






Kim Warp, Pat Byrnes, and George Booth




Sam Gross and Roz Chast





l-r: P.C. Vey, Liza Donnelly, Danny Shanahan, George Booth, and Michael Maslin (photo courtesy of Sarah Booth)








Chris Weyant and Liana Finck.







Sam Gross and Lars Kenseth






Eric Lewis, Andy Friedman, and Barbara Smaller







Pat Byrnes, Paul Karasik, and Peter Kuper







Marc Philippe Eskenazi and Ben Schwartz







Charlie Hankin, Amy Hwang, Kendra Allenby, and Avi Steinberg




Marshall Hopkins with Bob Mankoff’s first assistant, Emily Votruba (Mr. Hopkins was also at one time Mr. Mankoff’s assistant)




Far left: David Sipress speaks with Andy Friedman.  Foreground: Barbara Smaller, Emily Flake and P.C. Vey.







l-r: Felipe Galindo, Marshall Hopkins, Sam Gross, Mort Gerberg, and Ed Koren






Edward Koren, Michael Maslin, Liza Donnelly and a photobombing David Remnick. That’s Charlie Hankin in the back, far right.





Here’s an  incomplete list of all the cartoonists who were there (if you were there and don’t appear on this list, please let me know)

Kendra Allenby, George Booth, David Borchart, Pat Byrnes, Chris Cater, Roz Chast, Joe Dator, Chad Darbyshire, Drew Dernavich, Matt Diffee, Liza Donnelly, Bob Eckstein, Mitra Farmand, Liana Finck, Emily Flake, Andy Friedman (aka Larry Hat), Felipe Galindo(aka feggo), Mort Gerberg,  Sam Gross, Charlie Hankin, Marshall Hopkins, Amy Hwang, Edward Koren, Trevor Hoey, Carolita Johnson, Paul Karasik, Farley Katz, Jason Adam Katzenstein, Lars Kenseth,  John Klossner, Ken Krimstein, Peter Kuper, Amy Kurzweil, Sara Lautman, Robert Leighton, Eric Lewis, Bob Mankoff, Sam Marlow, Michael Maslin,  Paul Noth,  Jeremy Nguyen, John O’Brien, Drew Panckeri, Corey Pandolph, Ellis Rosen, Jennifer Saura, Ben Schwartz, Danny Shanahan, David Sipress,  Avi Steinberg, P.C. Vey, Kim Warp, Chris Weyant.  

50 Years Ago in The New Yorker

Every so often I like to take a look at a random issue of The New Yorker from well before my time there, or well before my time, period. This issue, of April 29, 1967 is solidly in the former category. The New Yorker was not yet on my mind —  I was in fact, just about to begin transitioning out of comic books, and into underground comics. My last (non-underground) comic book bought at the time of its release was this one, Superman and The Flash, December 1970 (yes, I still have it — I don’t throw much away).



Flipping through this Spring-time issue of The New Yorker, the first thing I noticed, besides the lovely Abe Birnbaum cover, was the  very simple Table of Contents, when the magazine seemed intent on just offering up a few clues as to what was inside. No listing of artists or writers, just column headings such as “The Air” and “Current Cinema”  — we’ve come a very long way since then.

Of the seventeen cartoonists represented in this issue, not one was a woman. This was a time when only one veteran female cartoonist was still on the scene, the great Mary Petty.  But her run at the magazine had ended a year before in the issue of March 19, 1966 (she died in 1976). The next female cartoonist to show up was Nurit Karlin, and she wouldn’t begin publishing until 1974. 

These are the seventeen  cartoonists in this issue: Charles Saxon, Warren Miller, Lee Lorenz, William Hamilton, James Mulligan, Dana Fradon, William O’Brien, Edward Koren, Ton Smits, James Stevenson, Robert Kraus, Donald Reilly, J. B. “Bud” Handelsman, Carl Rose, Barney Tobey, Robert Weber, and William Steig. Many of these names will ring a bell with New Yorker cartoon aficionados, and some names will ring a very large bell.  Edward Koren and Lee Lorenz are still contributing to the magazine.  Dana Fradon and Warren Miller are still hail and hearty.  James Stevenson, Robert Weber, and William Hamilton  were among the recently departed slew of New Yorker cartoonists this past year. 

For me, the most surprising cartoonist to see  in the issue was Carl Rose (“surprising” because I unfairly tend to place his work more in the 1920s – 1940s). Mr. Rose contributed his very first cartoon to The New Yorker in the Halloween issue of 1925, when the magazine was about nine months old; his last cartoon appeared in the summer of 1971. (Below: Mr. Rose’s April ’67 drawing)

Though he had  a great run in the New Yorker,  he only published one collection, One Dozen Roses — but what a collection.

 And here, for a little more on One Dozen Roses and other noteworthy New Yorker cartoon moments in Mr. Rose’s career, I’m going to lift some of the info from his entry on the Spill‘s  “New Yorker Cartoonist A-Z” section: 

this collection contains essays by Rose on cartoon themes. Especially of interest is his essay concerning Harold Ross, “An Artist’s Best Friend is His Editor”. Carl Rose will forever be linked to E.B. White for the December 8, 1928 New Yorker cartoon of the mother saying to her child, “It’s broccoli, dear.” and the child responding, “I say it’s spinach, and I say the hell with it.” The drawing was by Rose, the caption was adapted by White from Rose’s original idea (for a slighty expanded explanation go here). Rose also had a Thurber connection. In 1932, Rose submitted a drawing captioned, “Touche!” of two fencers, one of whom has just cut off the head of the other. Harold Ross ( according to Thurber in The Years With Ross) thinking the Rose version “too bloody” suggested Thurber do the drawing because “Thurber’s people have no blood. You can put their heads back on and they’re as good as new.” The drawing appeared December 3, 1932.

One last thing about Carl Rose: there aren’t a lot of photographs of him around but when Irving Penn (whose work is now being celebrated at New York’s  Metropolitan Museum), photographed a number of The New Yorker‘s artists in 1947 for a spread in Vogue, an unassuming looking Carl Rose was right up there on the top-most platform with Otto Soglow and Alajalov, seated just behind Charles Addams. Among the others in the photo: Steinberg, Steig, Helen Hokinson, George Price, Richard Taylor, Perry Barlow, Barney Tobey,  Barbara Shermund and Whitney Darrow, Jr. —  an array, if ever there was one, of New Yorker cartoonist royalty. 

Getting back to Mr. Rose’s colleagues work appearing in the April issue, the magazine was, in 1967, still laying-out the cartoons with the graphic gusto it always had: a beautiful full page by O’Brien , an equally beautiful half-page Warren Miller drawing;  other drawings were run in various shapes and sizes.  The subject matter seemed to be bridging the older New Yorker art with the new: businessmen and housewives appear, as do people dealing with obviously modern cultural keystones such as  long-haired men and  hip young woman;  personal computers courtesy of Donald Reilly and  politics via Lee Lorenz, whose drawing depicts Robert Kennedy photo bombing a couples vacation picture. Dana Fradon’s drawing, about recharging electric cars,  could’ve run in modern times.  Needless to say (so why am I saying it?) that the issue was a blast to look through.  The cartoonists were in top form, providing us with a lot, a whole lot, to look at. As Jack Ziegler told me in an interview last year:  “…it’s always nice when cartoonists know how to draw so that they can give us something pleasant and fun to look at.”




Fave Photos of the Day: Liza Donnelly Live Drawing at The White House; Latest New Yorker Cartoons Rated; More Koren; Men, Women & Cartoons


Fave Photo of the Day:  CBS News Resident Cartoonist and long-time New Yorker cartoonist, Liza Donnelly  is live drawing this morning at The White House. Follow her work on @LizaDonnelly and @CBSThisMorning. Here she is drawing CBS Chief White House Correspondent, Major Garrett out on the White House lawn and the Tweeted drawing.




Cartoon Companion returns with a look at the cartoons from The New Yorker‘s issue of April 24th 2017. The CC guys, joined, as usual by a “Mystery Cartoonist” dissect, among others,  cartoons about  bird watching, an avocado funeral, and one very large fish tank. Read it here.


Here’s another piece about the one and only Edward Koren: “Shaggy Line Story” from The Commons Online.  Read it here.





From MTV News,  April 19, 2017, “New Cartoon Tuesdays: How Female Cartoonists Are Changing Mainstream Publications” — read it here

[Note: cartoon Tuesdays (or “look day”)  at The New Yorker switched to Wednesdays in recent times]



Roz Chast’s West Coast Exhibit; Edward Koren on His Life & Work



Roz Chast‘s Retrospective Exhibit, Cartoon Memoirs, which opened at The Norman Rockwell Museum in Massachusetts then traveled to The Museum of The City of New York, has landed in San Francisco at the Contemporary Jewish Museum.  Read all about it here. 

(Opens April 27th, and runs through September 3, 2017)


Edward Koren, who is fast approaching his 55th year of contributing to The New Yorker (his first drawing appeared in the issue of May 26, 1962) will talk about his life & work at the Brattleboro Museum & Art Center on April 20th. Details here.