Bob Eckstein Named Writer’s Digest Columnist; The Tilley Watch: A Steed Full Page; Emma Allen Plays Ball

 

 

Writer’s Digest has announced that Bob Eckstein, whose latest book (shown to the left) has received great notices, will become their recurring columnist beginning this summer. Read all about it here.

Visit Mr. Eckstein’s website here (where you’ll find links to his New Yorker work, and work elsewhere)

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In the latest episode of The Cartoon Lounge, The New Yorker‘s cartoon editor, Emma Allen plays ball with Colin Stokes, the associate cartoon editor.  And they also take a look at Ed Steed’s full page (yes, a full page!) drawing appearing in the magazine’s latest issue. Nice glimpse of the Thurber wall drawing around the 2:05 mark.

also of note: Kim Warp is now doing the Daily Cartoon.  

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.  

The New Yorker Cartoon Editor’s First Look Day

Yesterday was a starred day on many New Yorker cartoonist’s calendar — it was  Emma Allen’s first Look Day in her new position as the magazine’s cartoon editor.  Look Day is the day cartoonists have traditionally come into the magazine’s offices to sit with the editor and hand over their latest work.  In an email to contributors a few weeks ago, Ms. Allen suggested that Look Days with her “won’t really involve you handing over cartoons to be reviewed in person (although I’m happy to take a look if you’d like), but rather will be a chance for catching up and checking in…”

Admittedly, I’ve never done the Look Day thing (a habit begun in my earliest days going into the office, when I’d drop off my work with a receptionist at the end of a hallway, then make my escape via the nearby elevator).  Back then, the idea of sitting across from Lee Lorenz while he looked at my work was unimaginable (and scary). So unimaginable that not going in turned into a habit. I like the sound of Ms. Allen’s Look Day  — it’s imaginable.

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Bob Mankoff’s Third Act; An Update: Mankoff Puts the Kibosh on an Esquire Look Day

On his 73rd birthday, Bob Mankoff, newly un-hitched from his duties as cartoon editor of the New Yorker, let the word go forth he was immediately beginning a new job as cartoon editor (and humor editor) of the 83 year old men’s magazine, Esquire.  Pre-dating Playboy, Esquire was once one of the major markets in this country for cartoons embracing more risque work than The New Yorker (when Playboy came along in the early 1950s, its cartoons made Esquire’s risque cartoons seem tame).  When Esquire was reinvented in the late 1970s there was initially great interest in bringing back cartoons.  After I sold a bunch of cartoons to them during the planning phase, I was invited in to meet with Clay Felker, Milton Glaser and then Esquire cartoon editor, Harvey Kurtzman  — it was all very exciting,  but the excitement was short-lived as using cartoons was abandoned before the first new-look Esquire was printed (it was, after all, the age of illustration, ushered in by the success of Mr. Felker’s and Mr. Glazer’s New York magazine).  But that’s all ancient history. It’s 2017 — with new cartoon markets hard to come by.  If Esquire has its own Look Day, cartoonists can head uptown to the Hearst Tower after first seeing Emma Allen at The New Yorker.

UPDATE:

Shortly after the above Spill piece was posted, Michael Cavna posted a piece on Mr. Mankoff’s intentions, viv-a-vis an Esquire Look Day.  Mr. Mankoff now calls the “open call” Look Day he inaugurated and presided over during his  twenty year New Yorker stint as cartoon editor, “delusional”; Mr. Mankoff’s  “open call”  was in stark contrast to his predecessor’s Look Day, which was open only to veteran cartoonists.  He told the Washington Post’s Michael Cavna what his new approach as Esquire‘s cartoon editor would be:

The idea: What if he were to work closely with a handful of different cartoonists every issue, in a process that he says would “feel less hierarchical” and “more productive”?

The piece continues:

… Mankoff wouldn’t just work with artists, but also performers. “I want stand-up comedians to work with cartoonists, too, to [explore] what a stand-up sensibility could be in a magazine.”

That collaborative approach, he notes, is more like what the New Yorker was still doing a half-century ago, when illustrators and gag writers might be paired on a cartoon.

 Mr. Mankoff  would seem to be thinking of returning, in part, to an approach that began to lose favor at The New Yorker in 1952, when William Shawn  began encouraging the magazine’s artists to develop their own voice, rather than to rely on gagwriters.  While using gagwriters is still an approach a very small number of New Yorker cartoonists employ, it has been largely out of favor at the magazine since the early 1970s (Roz Chast, in a brochure for an exhibit of New Yorker cartoons,  wrote that she felt the use of gagwriters was “like cheating.”)

In The New Yorker‘s earliest days, working on cartoons was a collaborative effort carried on in the Art Meeting, wherein a number of editors (and Rea Irvin, the magazine’s Art Supervisor) joined in on helping sharpen work. When Mr. Shawn was appointed the magazine’s editor, he abandoned that collaborative effort.

It will be fascinating to see how Mr. Mankoff’s retro-collaborative approach plays out in the pages of Esquire

   

 

 

 

The Tilley Watch: Emma Allen’s First Week

It is the rare moment when a new cartoon editor begins their first day on the job at the New Yorker.   The last time it happened was in the summer of 1997, and before that it was in 1973 (when the title of cartoon editor was wrapped up within the title of art editor), and before that, in 1939 (there was no one with the title of art editor before then;  editing the cartoons was mostly in the realm of the fiction editor with assistance from Rea Irvin, the art supervisor, and with major input and  final decisions made by Harold Ross). 

Today is Emma Allen’s first day as the magazine’s cartoon editor, and Ink Spill wishes her all the best as thousands upon thousands of cartoons head her way via email, and untold numbers more show up, the old fashioned way, on paper at her desk at 1 World Trade Center. Next week Ms. Allen will “slide open [her] door” for her first Look Day as cartoon editor, continuing on the decades long tradition so valued by many of the magazine’s cartoonists.

Onward and upward, Ms. Allen!  Onward and upward, New Yorker cartoons and cartoonists!

The Passing of the Baskets

 

This week, as has been noted here, and plenty of places elsewhere, is Bob Mankoff’s last as the New Yorker‘s cartoon editor.  Emma Allen, who is the magazine’s Daily Shouts editor, will become the center of the New Yorker cartoon world next week, and as such, will automatically become the focus of all existing New Yorker cartoonists and all want-to-be New Yorker cartoonists on the planet. And along with all the perks and pecks of being cartoon editor, Ms. Allen will take the New Yorker cartoon version of the baton from Mr. Mankoff  — the baton in this case: three wire baskets —  the three most important baskets in the New Yorker cartoonists’ universe. The baskets, labeled Yes, No, and Maybe are brought to the editor’s desk every week along with a pile of submissions selected by the cartoon editor out of thousands that have come into the office.

  David Remnick, the current editor of the New Yorker, then sifts through the pile, selecting the chosen few that land in the Yes basket. These are the “OKed” drawings so valued by every cartoonist submitting to the magazine. 

In Mr. Mankoff’s twenty years, he’s carried those baskets to Mr. Remnick’s office countless times (there’s possibly or probably a log noting the date of every Art Meeting, so technically, they can be counted, but who’s counting). The Yes basket has been filled and refilled hundreds of times with  the work of veteran cartoonists and over a hundred new cartoonists Mr. Mankoff brought into the magazine. A couple of years ago, when I interviewed Lee Lorenz, Mr. Mankoff’s predecessor, he told me that he felt the most important part of his job was finding new artists for the magazine. Mr. Lorenz, who held the job for twenty-four years, brought in approximately forty cartoonists (I’ll list them someday.  And note, I’m only talking about cartoonists here, not artists who were strictly cover artists).  Mr. Mankoff, whose “open door” policy made it far easier to sell a cartoon to the magazine, brought in close to one hundred and thirty (by my unofficial but not too off the mark count). Cartoon scholars will no doubt debate the ripple effects of these two schools of introducing new cartoonists. 

If Mr. Mankoff was not a cartoonist himself and the originator of the Cartoon Bank, I’d say these cartoonists he brought in were his legacy at the magazine.  But the cartoonists he brought in are surely a big part of what he leaves behind (as is how their work changed the magazine’s cartoon landscape).  And so in the spirit of wrapping things up with a nice big bow, I’m listing all of those whose work first hit the Yes basket on Mr. Mankoff’s watch (it is possible less than a handful of these cartoonists were brought in by the magazine’s art editor, Francoise Mouly.  As always, corrections are welcome).  Ink Spill will of course carry on noting the new cartoonists brought in under Ms. Allen.  Exciting times ahead!

Cartoonists are presented in order of the year their first cartoon appeared in The New Yorker

1997: Aaron Bacall

1998: Christopher Weyant, Pat Byrnes, Nick Downes, Joe Duffy, William Haefeli, Aline Kominsky (Crumb), Marisa Acocella Marchetto, David Sipress

1999: Paul Karasik, John Caldwell, Matt Diffee, Benita Epstein, Alex Gregory, Michael Shaw, Steve Way, Robert Sikoryak, Kim Warp

2000: Ken Krimstein, Eric Lewis

2001: Chad Darbyshire, Steve Duenes, Andy Friedman (aka Larry Hat)

2002: Jonny Cohen, Drew Dernavich, Felipe Galindo ( aka feggo), Robert Leighton, Seth

2003: Donna Barstow, Erik Hilgerdt, Carolita Johnson, John Kane

2004: Marshall Hopkins, Keith Bendis, John Donohue, Glen Le Lievre, Paul Noth, Jason Patterson, Emily Richards

2005: Zach Kanin, Rob Esmay, Arthur Geisert, Sam Means, Ariel Molvig

2006: Joe Dator, Pete Holmes, Evan Forsch, Martha Gradisher, Jason Polan, Julia Suits

2007: Farley Katz, Dave Coverly, David Borchart, Caroline Dworin, Bob Eckstein, Ward Sutton

2008: Emily Flake, John Klossner, Rini Piccolo, Michael Rae Grant, Jose Arroyo, Sean O’Neill

2009: Trevor Hoey, Karen Sneider, Shannon Wheeler

2010: Amy Hwang, Kate Beaton, Isaac LittleJohn Eddy, Kaamran Hafeez, Steve Macone, Mark Thompson, Tom Toro

2011: Corey Pandolph, Jennifer Saura, Ben Schwartz, Liam Walsh

2012: Avi Steinberg, Erik Bergstrom, Rich Feldman

2013: Liana Finck, Charlie Hankin. Julian Rowe, Ed Steed

2014: Tom Chitty, Jake Goldwasser, Jason Adam Katzenstein, Will McPhail, Jacob Samuel, Trevor Spaulding, Adam Cooper & Mat Barton, Chris Cater, T.S. McCoy, Jeanne Darst & Andrew Swift, Ali Rushfield, Peter Berkowitz, Michael Kupperman

2015: Zohan Lazar, Matthew Stiles Davis, Cameron Harvey, Mitra Farmand, Drew Panckeri, Dan Roe, Tim Hamilton, Julia Wertz & Josh Wertz, Colin Tom, Tom Hamilton, Dan Abromowitz & Eli Dreyfus, Brian McLachlan, Andrew Hamm

2016: Kendra Allenby, Seth Fleishman, Darrin Bell, Kate Curtis, Amy Kurzweil, Sara Lautman, Brendan Loper, Christian Lowe, John McNamee, Rich Sparks, Emily Nemens, Sam Marlow, Ellis Rosen, Lars Kenseth

2017: Jeremy Nguyen, Alice Cheng, Jim Benton, Maddy Dai
Maggie Larson, Jason Chatfield

Note:

  • Bolded names: these cartoonists were at one time cartoon department assistants
  • If you see two names joined by an “&” it means they worked as a team, and were acknowledged as such in the magazine’s Table of Contents.

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