Interview of Interest: Barry Blitt; Fave Photos of the Day: Gross, Eckstein, Booth, Byrnes, Nguyen, Cotham, and Le Lievre

From Politico, “‘Wry Titters’ in the Age of Trump” — an interview with Barry Blitt, who has an anthology of his work coming out next week.

________________________________________________________________

Fave Photos of the Day

New Yorker cartoonist, Julia Suits took these fine photos at 1 World Trade Center (home of the New Yorker) this past September. My thanks to Ms. Suits for allowing them to be posted here.

Above: standing left-right: Bob Eckstein, Sam Gross, Pat Byrnes, George Booth.  Seated: Frank Cotham.

Below: Sam Gross and George Booth 

Glen Le Lievre in silhouette

Sam Gross, Jeremy Nguyen, and Frank Cotham

 

 

 

 

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

 

 

 

 

 

 

 

 

 

New Yorker Cartoonists Gather for Cartoon Bank Event

Just a few days after a gathering of New Yorker cartoonists in Brooklyn (for the Not Ok exhibit) there was another gathering — this one last night at 1 World Trade Center.  Conde Nast, The New Yorker’s parent company hosted at get-together to introduce its new Cartoon Bank team to the artists. In the photo above from left to right: Felipe Galindo, Liana Finck, Colin Stokes, Jeremy Nguyen, Colin Tom, Farley Katz, Robert Leighton, and Ben Schwartz.

Above: the placard greeting visitors to the event.

Liza Donnelly provided all the photos here as well as this synopsis of the event:

We were greeted with glasses of wine and fancy little bites of food served on trays, and met by very friendly folks from Condé Nast. At 6:00 on the dot, there were already around six cartoonists there, and many more started filtering in —  the number reaching probably 40-50+ cartoonists. Everyone seemed so happy to be able to just hang out with each other and catch up. I saw friends I hadn’t seen for decades, and met new friends. It was a lovely mixture of new cartoonists and seasoned cartoonists, talking together. Remarks were made by our Condé Nast hosts, as well as from New Yorker editor David Remnick, who went casual in a short sleeved shirt. New cartoon editor, Emma Allen also spoke and welcomed the cartoonists.

There were classic cartoons framed on the gallery wall (all art from those in attendance). Interestingly, the breathtaking view from the 34th floor of the World Trade Center where the event was held quickly took a back seat to talking and laughing with pals. The whole evening had a fun buzz- and by 8:30 when I left, a large group was still lingering.

Photo Sep 25, 6 33 23 PM.jpg

Left photo: foreground, Huguette Martel, David Borchart on the left in profile; Evan Forsch is directly above Ms. Martel, looking over his glasses.  Robert Leighton in checked shirt. Photo right: Tom Hachtman in background, left. Chris Weyant in black polo shirt facing away from camera, Marisa Acocella Marchetto center. Mark Alan Stamaty in background in plum colored shirt talking with Tom Bachtell.

Below: the New Yorker’s cartoon editor, Emma Allen on left, then Ed Steed,  Julia Suits and the magazine’s assistant cartoon editor, Colin Stokes

Below, left photo: David Borchart, Pat Byrnes, John O’Brien; Right photo: New Yorker editor, David Remnick addresses the crowd.

Below, left photo: Frank Cotham, Sam Gross, Ed Steed. Photo right: Julia Suits and Bob Eckstein

Below: Andrea Arroyo, Felipe Galindo and Peter Kuper

Below, left photo: Liana Finck and Liza Donnelly. Photo right: Sam Marlow and Ellis Rosen

Below: Felipe Galindo and George Booth

Below: front and center, Barbara Smaller with Chris Weyant, and to the left, Huguette Martel speaks with Arnie Levin

Below left photo: Emily Flake, Jeremy Nguyen, Sara Lautman.  Photo right: Joe Dator and Ben Schwartz.

Below: Colin Tom, J.A.K. (Jason Adam Katzenstein) and Pat Byrnes, in profile

Below: Glen Le Lievre, John Jonik, and John O’Brien

Below: New Yorker publisher, Lisa Hughes speaks with George Booth. In the background, center, is Teresa Nash, part of the Cartoon Bank team.

 

Below left photo: Tom Bachtell, Marisabina Russo. Photo right: David Sipress, Ben Schwartz.

Below, foreground,  Emma Allen talks with Frank Cotham. That’s George Booth on the left and Barbara Smaller on the far right.

 

Below: Mark Alan Stamaty, Marcellus Hall, and Peter Kuper

Below: Marisa Acocello Marchetto and Sam Gross (Tom Hachtman in the back, right)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The Nib Looks at New Yorker Cartoons in 2040; Of Interest: Cartoon Companion’s Frank Cotham Interview, Part 2

The Nib Looks at New Yorker cartoons  in 2040

 

 

 

Here’s an amusing piece from The Nib, August 8, 2017,  “New Yorker 2040” — too bad the author didn’t try imagining various cartoonists styles 23 years from now instead of just using one vaguely  1950s – early 1960s similar style…or is that what’s in store?  Bonus: the zillionth take-off on Steinberg’s iconic New Yorker cover. ________________________________________________________________________________

Cartoon Companion’s Frank Cotham Interview, Part 2

Cartoon Companion has posted the second half of its interview with veteran New Yorker cartoonist, Frank Cotham (shown to the left wearing the pointed party hat; this is a cropped screen grab from the Arnold Newman group photo that appeared in the very first Cartoon Issue of The New Yorker, Dec. 15, 1997). To the left of him is Dean Vietor, to the right of Mr. Cotham is Mick Stevens in his customary top hat. That’s Lee Lorenz, lower left, joyously tossing confetti in the air, and Mike Twohy, lower right, tentatively tossing confetti).

Read Part 2 of the CC’s Cotham interview here.

The Monday Tilley Watch

 

 

 

 

 

 

 

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

 

Are these the dog days of summer? According to Wikipedia, Sweden’s dog days are  bracketed by the dates July 22nd through August 23rd.  That seems reasonable for the United States as well.  My mental inventory of New Yorker covers from this time of year include a whole lot of beach scenes and summer in the city scenes, as well as covers depicting shore towns. This week’s New Yorker cover (a double issue, dated August 7 & 14) by Bob Staake (the artist responsible for this iconic cover) takes us underground in NYC.  The magazine has the NYC subway system on its mind — just last week we saw a David Sipress NYC subway cartoon, and in this very issue is a full page Sketchbook, “Subway Substitutes.”  Mr. Staake’s red hot cover brought to mind another red hot cover of just a few years back, at this exact same time of year (the aforementioned dog days): Mark Ulriksen’s cover of August 3, 2015.

The opposite of a red hot dog days of summer cover is (to my mind) this deeply moving New Yorker cover by Mary Petty, published 72 years ago this week in the summer of the last year of WWII, approximately midway between the close of the European theater and the close of the Pacific theater. A quiet, peaceful moment on a beach with a woman and her dog, while war continues to rage in the Pacific. 

Now on to the inside of the magazine:

I note as I turn to The Talk of The Town that my campaign to reinstate Rea Irvin’s classic Talk  masthead is not going well. The new one installed in May is still there. The Irvin masthead ran, barely untouched, for 91 years. This campaign, despite its odds of success, will press on. 

Joe Dator, who has been contributing to The New Yorker since August of 2006, leads things off with a zebra cartoon. I took a quick look back at some zebra New Yorker cartoons and found each and every one appealing.  This one by J.B. “Bud” Handelsman, caught my eye (published in November of 1992).

 

Next is a theater marquee drawing by Charlie Hankin (his first New Yorker appearance was in August of 2013).  Beautifully placed on the page. I’ve noticed (and noted) that many of the cartoons in the past few issues have been given more breathing space on the page. This is a very good thing.  Half a dozen pages later we come to a William Haefeli drawing (his last name rhymes with “safely”).  Last week I mentioned how super-detailed his original work is. Get out your magnifying glass. (Mr. Haefeli’s first New Yorker drawing appeared in 1998). 

A couple of pages later is a Frank Cotham drawing (first New Yorker drawing, 1993). As with Mr. Haefeli, Mr. Cotham’s style is instantly recognizable.  I’d add that his subject matter is also instantly recognizable, with cave people, heathens, and the like playing a big part in his world.  Part 1 of a fun interview with Mr. Cotham ran on Cartoon Companion just a few weeks ago — check it out.    A Liana Finck drawing follows Mr. Cotham. Ms. Finck’s first New Yorker cartoon appeared in February of 2013.  Ms. Finck shows us a cast cartoon —  like zebra cartoons, something we don’t see a whole lot of in the New Yorker. When I think of them, I’m happily reminded of this fabulous  Chon Day cartoon from  September of 1948:

A couple of pages later is a dog and businessman cartoon by Chris Weyant (first New Yorker cartoon, 1998)Ink Spillers may remember that it was just a few days ago we learned Mr. Weyant now has a weekly op-ed cartoon in The Boston Globe. 

On the very next page, a touch of color in an Ed Steed cartoon (first New Yorker cartoon, 2013). An artist paints a nude. I know, I know — you see a nude woman in a New Yorker cartoon you think Peter Arno. I’d argue that Sam Cobean was the New Yorker’s king of nude cartoons. Take a look at the cover of his 1950 collection of cartoons.

In Mr. Steed’s drawing he incorporates 3-D (thus the color) —  a rarity in the New Yorker. 3-D was used to great effect in this classic by Bob Eckstein from 2012. It remains one of my favorite New Yorker drawings of modern times.

Two pages later we run into a P.C. Vey drawing (first New Yorker appearance, 1993). For me, this is the Vey-ist of the Veys. The Spill doesn’t rate cartoons (that’s what they do over on the Cartoon Companion site), but if it did, this drawing would have all sorts of happy adjectives heaped upon it.

Next up is a drawing by a relative newbie, Kendra Allenby (her first New Yorker appearance was in August of last year). Ms. Allenby, who is a storyboard artist, opts for the storyboard-like look, i.e., a boxed drawing, employed with regularity by Harry Bliss, among others. Four pages later is a veteran newbie, Will McPhail (first New Yorker drawing, 2014). Heads on pikes…a rarity in the magazine (there are at least two in Charles Addams’s New Yorker oeuvre: one in the issue of January 4, 1941. Another, “Excuse me, Walter, that’s my cue”  contains a head on a pike, but it’s incidental.  There’s also, “Ready, dear?” on page 40 of Monster Rally  — but it’s not a New Yorker drawing). 

Next is a Roz Chast drawing (Ms. Chast’s first New Yorker appearance, 1978).  Love the flow of words (alas, no Ziegler-esque pop-up toaster). A Tom Chitty drawing follows Ms. Chast’s (Mr. Chitty’s first New Yorker drawing, 2014). On tomorrow’s Spill we’ll visit a cartoonist whose style is as out there as Mr. Chitty’s — maybe even more out there.  An Ellis Rosen musical courtroom  drawing follows (Mr. Rosen’s first New Yorker drawing, December of 2016).  Newyorker.com readers will remember that Mr. Ellis just appeared on a “Cartoon Lounge” video with  Emma Allen (the magazine’s cartoon editor) and Colin Stokes (the associate cartoon editor). See it here if you missed it. Three pages later is a Maddie Dai cartoon employing a fairy tale setting.  Mix in a little modern technology and bingo! (Ms. Dai’s first New Yorker appearance, June 5, 2017). I am reminded of an out of office discussion I had with former cartoon editor, Bob Mankoff, back in 2008, in which he declared,”No more fairy tale drawings!”  Well that didn’t happen.  A Barbara Smaller sidewalk conversation cartoon is next (Ms. Smaller’s first New Yorker appearance, 1996). Someone should really do a Sidewalks of New York cartoon collection.

As mentioned here last week, I avoid looking at the cartoonists listed on the Table of Contents for the express purpose of being surprised while looking through every new issue.  This week, that resulted in a wonderful moment toward the end of the issue with the appearance of a drawing by one of our cartoon gods, George Booth.  A classic Booth scene, with more cats than you can shake a fur ball at, this drawing is a real treat. Mr. Booth was the subject of a Fave Photo of the Day here on the Spill last week. In the photo he is shown working at his desk. According to a highly reliable source (his daughter), he works every day, perhaps that’s one of the secret ingredients for an artist who has been contributing to The New Yorker for nearly half a century.  This coming Fall we can all look forward to a Booth exhibit at The Society of Illustrators (October 24 through December 23, 2017).

And lastly in the issue (not counting the Cartoon Caption Contest — I’ve decided, for now,  to opt out of covering it) is a David Sipress words of wisdom drawing, cleverly distilling a page out of Pete Frames Rock Trees.  Mr. Sipress’s first New Yorker drawing appeared in the summer of 1998). It’s nice to see Blind Faith mentioned in a New Yorker cartoon.

Interview of Interest: Frank Cotham; Karasik Talks “Nancy”; Shannon Wheeler at SPX; The Tilley Watch: A Flake Follow-Up & Next Week’s New Yorker Cover

 

 

 

 

 

 

Cartoon Companion has posted Part 1 of an interview with long-time New Yorker cartoonist, Frank CothamRead it here.  Above: one of Mr. Cotham’s porch drawings published in the New Yorker,.  April 1, 2013 (click on it to enlarge).

Note: For more Cotham, you might enjoy this Spill interview from 2013

__________________________________________________________________

Karasik Talks “Nancy”

Paul Karasik and his co-author Mark Newgarden will be at The New York Comics & Picture-Story Symposium this Fall discussing their forthcoming How To Read Nancy.  Details here.

 

 

____________________________________________________________________

Shannon Wheeler at SPX

Too Much Coffee Man himself, Shannon Wheeler will appear at the upcoming Small Press Expo this Fall. Details here.

 

____________________________________________________________________

A Tilley Watch Follow-Up to “Checking In With: Emily Flake”

…For a Cartoon Lounge segment, released today featuring Emily Flake  at the New Yorker‘s offices with the magazine’s cartoon editor, Emma Allen, go here.

 

The New Yorker has rush released next week’s cover (by Barry Blitt):