The Tilley Watch Online; More Mischa on Attempted Bloggery

The Daily Cartoons (not 100% Trumpian, but close!) were handled this past week by the following cartoonists: Darrin Bell, Ellis Rosen, Emily Flake, Drew Panckeri, and Brendan Loper. 

And over on Daily Shouts, the contributing New Yorker cartoonists were Liana Finck, and a team effort by Jason Adam Katzenstein and Sophia Warren.

All of the above work and more can be found here.

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More Mischa on Attempted Bloggery

Stephen Nadler continues his Mischa Richter fest on Attempted Bloggery.  Mr. Richter is a member the Spill’s K Club  (the club’s 23 member have sold a thousand or more cartoons to The New Yorker). Mr. Richter’s New Yorker career spanned sixty-one years (I believe the cartoonist record-holder is William Steig at seventy-three years).

Robert Grossman’s Second New Yorker Cartoon & More; Sh!tshow with Flake, Chast

Tributes and obits for Robert Grossman, who passed away last week, are now appearing online. I’ve gathered a few here while also showing you Mr. Grossman’s second New Yorker drawing, published December 14, 1963. It’s interesting (to me) that when Mr. Grossman’s association with the New Yorker is mentioned, it is as an assistant to James Geraghty, then the magazine’s art editor; it’s worth noting too that Mr. Grossman was a published New Yorker cartoonist at the age of 22 (his first drawing appeared in the issue of January 13, 1962). Unless I’m mistaken the precedent for this evolution within the Art Department began with Frank Modell, who worked at first as Mr. Geraghty’s assistant before his own cartoons began appearing in the New Yorker

Here’s Mr. Grossman’s second cartoon as published in the magazine (it sits on the same page as an S.J. Perelman piece):

Link to The Washington Post obit here.

Link to Rolling Stone‘s piece on Mr. Grossman here.

Link to Steven Heller’s essay on Mr. Grossman on Design Observer here.

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Sh!tshow with Flake, Chast

Here’s the poster with all the info:

 

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:

 

 

 

The Monday Tilley Watch: The New Yorker Issue of March 19, 2018

The latest New Yorker is the “Spring Style” issue (it says so right at the top of the Table of Contents). The huge feathered Carol Channing-esque hat on the cover (by Maira Kalman) sets the tone, or theme. There’s a lot of color in this issue (ads, illustrations, and one cartoon) — more so than usual, I think.  Makes sense: Spring = color.

Was hoping Rea Irvin’s iconic masthead (below) would be reborn for Spring, but alas. Had it popped up in this issue, it would look exactly like this.

And now off to the cartoons. The first, on page thirty-three, is by Carolita Johnson. For those visiting New York, or living in New York, Ms. Johnson’s titled drawing,  Dressing For the Manhattan Climate, will ring true any time of year.  Six pages later a Harry Bliss drawing. Mr. Bliss’s single panel cartoons are instantly recognizable — they’re always in a box. I’ll be curious to see how the fellows at the Cartoon Companion dissect this drawing.  

Five pages later, Joe Dator brings us a variation of pin the tail on the donkey.  For me, Mr. Dator’s drawings belong in that category of cartoonists work that amuses at first sight, even before the caption is read. Four pages later, a Roz Chast drawing that drove me to a dictionary. The drawing is titled Deux Ex Caffeina. I recognized it as a play on deus ex machina — a phrase I know but never bothered (til now) to understand.  Here’s how Mirriam -Webster defines it:

The New Latin term deus ex machina is a translation of a Greek phrase and means literally “a god from a machine.” “Machine,” in this case, refers to the crane that held a god over the stage in ancient Greek and Roman drama.

Got it now. Very nice drawing.

Opposite Ms. Chast’s drawing is a P.C. Vey drawing. With a caption that concerns paper shredding and includes the words “incriminating documents” there’s a heavy overtone of criminality.  By the way, both Ms. Chast’s drawing and Mr. Vey’s sit well on their respective pages, sized and balanced well off each other.

The next two pages contain two cartoons as well.  Mary Lawton’s, with a cat hogging a shaft of late afternoon sun and  Paul Noth’s comment on gun control (or lack thereof). Following a few pages later is a drawing by relative-newbie Olivia de Recat with another in her series of word-based cartoons. Time will tell if this is her specialty.

Two pages later a Will McPhail bathroom drawing.  I found the terror of the fellow in the tub very funny, but I do wonder why the text, in horror typeface, is within the drawing itself. This is the kind of big cartoon question that keep some of us awake at night. 

Opposite Mr. McPhail’s tub terror is Bishakh Som‘s debut in the New Yorker.  For those keeping track, Mr. Som is the fourteenth new cartoonist to make their debut since Emma Allen assumed the position of cartoon editor in May of 2017. 

Three pages after Mr. Som’s drawing is one by this cartoonist, putting to use perspective I learned in a high school Mechanical Drawing class. Thank you, Mr. Minchin.

Two pages later Ed Steed employs a bit of color in a drawing featuring little identical gentlemen.  At first I thought Mr. Steed had joined the cartoon tiny wind-up toy people club (Charles Addams did a lot of those drawings).  But closer inspection reveals these tiny folk to be real cartoon people and not toy cartoon people (you can tell they’re not toys because they lack wind-up keys). It being an Ed Steed drawing I don’t suppose it makes any sense to wonder why these dapper miniature men are tiny and identical and appear to have some Snidely Whiplash characteristics (the hats and mustaches). Funny is funny.

Three pages later, an Emily Flake family in crisis drawing, followed thirteen pages later by a Liana Finck drawing. Ms. Finck’s style, like the aforementioned Mr. Dator’s style, is immediately welcoming (and, of course, humorous). 

Eight pages later, the last drawing in the issue (not counting the Cartoon Caption Contest drawings) and the newest entry in the New Yorker‘s cartoon subway series. This one is by newbie (though not debut newbie) Sharon Levy. Having never been out west, I needed someone with left coast experience to explain it to me.  Okay then.

Note: all of the above cartoons can be seen on the New Yorker‘s website here.   Scroll down to Cartoons from the Issue

–See you next week

 

 

 

 

 

 

A Visit to “Jim’s Bench”; Cartoon Companion Rates The Latest New Yorker Cartoons; Tilley Watch Online; Live New Yorker Cartoons Part VI on Late Night with Seth Meyers

A Visit to “Jim’s Bench”

The filmmaker Sally Williams recently asked me if I’d like to meet with her at “Jim’s bench” on Central Park West and 77th Street, right across the street from the Museum of Natural History. I couldn’t possibly resist the invitation. Ms. Williams has been working on a documentary about James Stevenson for quite some time now; we’ve had numerous conversations over the years about Mr. Stevenson and, of course, The New Yorker. 

 Mr. Stevenson is on a long list of New Yorker cartoonists who have lived and worked in New York City (some still do) and whose work reflected their city. I think also of Steinberg and Alan Dunn as cases in point.

Sitting on this bench near where Mr. Stevenson lived I couldn’t help but imagine him experiencing the traffic, the sounds, sights, types of individuals bicycling by, walking by, running by; the dogs and dog-walkers, the flurry of activity at the museum. I could see it all in Stevenson’s style: gracefully casual, with spark. Ms. Williams confirmed that Mr. Stevenson was, like so many cartoonists, a watcher (I once likened cartoonists to sponges. Consciously or subconsciously, we take everything in).  

If you find yourself near the Museum of Natural History, you might want to take a seat on Jim’s bench and spend a few moments watching Manhattan go by, Stevenson-style. 

  The bench is the one closest to the Humboldt StatueIt bears a small plaque:

 (I’ve written about Mr. Stevenson here on the Spill a number of times.  Here’s one piece which might be of interest). 

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Cartoon Companion Rates the Latest New Yorker Cartoons

Messrs. Max and Simon are back with thoughts & ratings on work by Frank Cotham, Carolita Johnson, Drew Dernavich, Avi Steinberg, Emily Flake, Roz Chast, Olivia de Recat, Mike Twohy, Bob Eckstein, Edward Koren, and Darrin Bell.  Read it here!

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Daily Cartoons this week by: Paul Noth, Mary Lawton, Kim Warp, David Sipress, and Lars Kenseth (4/5ths of the drawings were Trumpian).

And the contributing New Yorker cartoonists on Daily Shouts:  P.C. Vey, Hilary Fitzgerald Campbell, Liana Finck, Emily Flake, and JAK (with Hartley Lin).  

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Live New Yorker Cartoons Part VI on Late Night with Seth Meyers

The New Yorker‘s editor, David Remnick returns to Late Night with Seth Meyers in the best segment yet. Cartoons by Carolita Johnson, Charlie Hankin, Will McPhail, Maddie Dai, and Ellis Rosen brought to life.   See them here!

 

 

The Monday Tilley Watch: The New Yorker Issue of March 12, 2018

Despite the snow scene outside my window and the forecast for another wallopin’ of snow here in a few days, I know Spring is just around the corner. The latest New Yorker cover — the second by Jenny Kroik — is in the same realm of wishful thinking. Her cover is a welcome respite from politics, which are always just around the corner too. 

Paging through the issue, I noticed a photo under the “Videos” heading at the bottom of the “Contributors” page.  A new online feature: “The New Yorker Interview” — a swell idea.  I’m hoping future interviews will include the magazine’s artists.

Moving quickly now through pet peeves: the use of a near full page photo leading off Goings On About Town; the absence of Rea Irvin’s iconic Talk of The Town masthead. 

And now the cartoons: the first of the issue, a Frank Cotham drawing that on my tablet appeared to show a fellow running along a beach (I thought he was running near dune grass).  On the laptop it’s quite clear he’s running in a field.  The runner’s toned legs — a funny touch –are unexpected (in a Cotham drawing) but certainly do indicate this fellow’s been in training. 

Seven pages later, a Carolita Johnson bar drawing. I think this just might be my favorite drawing of hers. The caption is textbook (New Yorker textbook, that is), from the use of the name “Jer” to the mid-caption set-up use of the word “empty” to last word, “peanut.”

Six pages later, another new favorite by a veteran cartoonist.  Drew Dernavich‘s Batman drawing delivers: caption, the drawing itself. Wonderful (I would’ve loved to see the drawing occupy a larger space). Three pages later, Avi Steinberg gives us a turn-about on a favorite pastime for many: people watching. Mr. Steinberg has removed the generally accepted casualness of people-watching and turned it into people-staring.  Awkward.

Three pages later, a moment with an aging couple via Emily Flake. A few pages following Ms. Flake’s drawing, a Roz Chast drawing which made me happily recall cartoonists’ lunches of yore (and even more recently than yore). 

Four pages later, an Olivia de Recat drawing.  As with her two previous drawings, this is text-driven (a Tina Brownism, I think) but not as text-driven as her previous efforts. If Ms. de Recat’s “Big City Sound Machine” was actually being produced I might spring for one if only for the “Dump Truck in Rain” sound — what poetry.

Three pages later a drawing by veteran cartoonist, Mike Twohy.  I associate sack races with town picnics in summertime, but I suppose they’re not exclusive to a season (I played around with a sack race and a seasonal reference many years ago, It appeared in the New Yorker  June 21, 1982, to be exact. See below). I’m also reminded of Robert Day’s 1945 collection, All Out For The Sack Race! I know there’ve been a few other sack race drawings in the magazine but not yet enough to fill up a New Yorker Book of Sack Race Cartoons.

Three pages later a Bob Eckstein game show drawing. Without diving into the piece (that’s what they do over on Cartoon Companion) I really enjoyed the well-situated and funny Tom & Mom contestants.  We used to see game show drawings every so often; it would be great if we got to see more. They are silliness vehicles.

Directly opposite Mr. Eckstein’s drawing (and why it’s directly across is a puzzle — why not in the upper right hand corner?) is a beauty by Edward Koren. A lot to look at in this drawing, as is usually the case with Mr. Koren’s work.

The final drawing in the issue (not counting the Caption Contest drawings) is by Darrin Bell. Criminals on their way to a caper (there’s a word that’s been retired for at least 50 years). Two of the would-be robbers are masked. The driver — who’s quite a large fellow – is unmasked.  This reminded me for some reason of that great scene in The Town, when the guys don rubber nun masks — even the driver. I guess in these situations it’s up to the individual would-be perpetrator to make the masked or unmasked call.