Emma Allen To Succeed New Yorker Cartoon Editor Bob Mankoff

 

 

 

 

 

 

 

 

 

 

 

In a memo to all New Yorker Cartoonists this afternoon, the magazine’s editor, David Remnick announced that  Emma Allen, a New Yorker editor will succeed Bob Mankoff as cartoon editor in two months time.

In part, the memo reads:

The person I’ve chosen to be the next cartoon editor is Emma Allen, who has worked in recent years an editor of The Talk of the Town, a writer, and the driving force behind Daily Shouts, which is one of the best features of newyorker.com. Unlike Bob and Lee, she is not a cartoonist, but then neither was James Geraghty, who did the job before Lee. (Hell, William Shawn was not a writer, either, and he wasn’t too bad in the editing department.) Emma has a terrific eye for talent, knows the history of cartooning deeply, and is an immensely energetic and intelligent and sympathetic editor. She will work with Colin Stokes on selecting cartoons, running the caption contest, and creating a bigger digital footprint for cartoons. I am quite sure that we have only just begun to figure out new ways to explore and exploit digital technologies as a way to distribute your work to more and new readers. All of this is intended to stake out a healthy future for cartoons at The New Yorker.

Ms. Allen will be the third person in the magazine’s history in charge of editing its cartoons (Rea Irvin, who helped the magazine’s founder develop the New Yorker’s cartoon culture, was considered the art supervisor).  James Geraghty,  hired in 1939, was the first official cartoon editor (his title was Art Editor).  Lee Lorenz succeeded Mr. Geraghty in 1973 and held that position (as Art Editor from 1973 -1993 and then as cartoon editor from 1993-1997) until Mr. Mankoff was appointed in ’97.

Update: In a statement released to the press, Mr. Mankoff had this to say:

“My greatest gratitude goes to the cartoonists. I know how much easier it is to pick a good cartoon than do one, much less the many thousands they have done and will continue to do,” Mankoff said. “And, continue they will, with Emma Allen who now takes over this most iconic of all New Yorker features. I wish her and them the best of luck. And me, too—I’ve got to find that old cartoon pen of mine.” 

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The filmmaker Sally Williams has been hard at work on her documentary about James Stevenson. Here’s a brief clip from the film.

Link here for even more on Sally Williams

Link here to see some of Mr. Stevenson’s New Yorker work

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Being Eustace Tilley; Roger Angell Remembers James Stevenson; Oscar Time! Liza Donnelly Back on the Red Carpet Live Drawing the Oscars, Drooker’s Oscar Cover, Eckstein’s Oscar Wielding Eustace

 

 

Eustace Tilley is of course a fictional character — commonly referred to as The New Yorker‘s mascot.  There is a suggested backstory to Tilley himself in Lee Lorenz’s Art of The New Yorker: 1925-1995; there are best guesses elsewhere as to why Rea Irvin (see below) decided to submit the cover to Harold Ross to adorn Ross’s inaugural issue and there are probably just as many best guesses as to why Ross chose to use Irvin’s submission.

Following the advent of the New Yorker, it didn’t take long for a Tilley stand-in to show up; a New Yorker in-house publication featured Harold Ross as Tilley and Alexander Woollcott as the butterfly hovering at Tilley’s eye-level.  Over the years there have been innumerable parody New Yorkers (Ink Spill has a selection here).  But how many real people, after Harold Ross, have stood in for Tilley on a New Yorker cover or on another magazine’s cover.

If you search online you’ll see perhaps hundreds of Tilley stand-ins, some on the cover of The New Yorker itself, many submitted to the New Yorker as part of a contest, many just for personal amusement (Tilley as Disney’s Goofy, or Mad’s Alfred E. Neuman, Dr. Seuss’s Cat In The Hat, etc., etc.)    But here I’m concentrating on published covers featuring real people (and one real dog) as Tilley.   I’ve found just a few (please let me know of others that fit this category…update: my thanks to Attempted Bloggery for reminding me about the Eustace Clinton/Obama cover ):

 

First the real deal: Rea Irvin’s classic cover:

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The New Yorker‘s in-house issue featuring Harold Ross.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Renata Adler as Tilley on Manhattan, Inc. November 1986

 

 

 

 

 

 

 

 

 

 

 

 

 

New York magazine, July 20, 1992,  with Tina Brown as Tilley

 

 

 

 

 

 

 

 

 

 

 

 

 

The New Yorker’s 75th anniversary issue, February 21, 2000, with a William Wegman dog as Tilley (and one of his dogs standing in for the butterfly)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

“Eustace Tillarobama” (credited to Rea Irvin and Seth) February 11, 2008

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

And that brings us to the March 6, 2017  The New Yorker, with Barry Blitt’s  “Eustace Vladimirovich Tilley” and Donald J. Trump as the butterfly

Image result for eustace tilley putin

 

Rea Irvin’s entry on Ink Spill‘s “New Yorker Cartoonists A-Z”:

Rea Irvin  (pictured above. Self portrait above from Meet the Artist) *Born, San Francisco, 1881; died in the Virgin Islands,1972. Irvin was the cover artist for the New Yorker’s first issue, February 21, 1925.  He was the magazine’s  first art editor, holding the position from 1925 until 1939 when James Geraghty assumed the title. Irvin became art director and remained in that position until William Shawn succeeded Harold Ross. Irvin’s last original work for the magazine was the magazine’s cover of July 12, 1958. The February 21, 1925 Eustace Tilley cover had been reproduced every year on the magazine’s anniversary until 1994, when R. Crumb’s Tilley-inspired cover appeared. Tilley has since reappeared, with other artists substituting from time-to-time.

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…From the New Yorker‘s Culture Desk, February 25, 2017, “Looking At The Field” Roger Angell on James Stevenson’s art and writing.

photo: Mr. Stevenson in Westport, Connecticut in 2015

 

 

 

 

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Oscar Time!

…Liza Donnelly has been out in Hollywood all week drawing  the scene as the Academy Awards prepares for its big night. Following her historic appearance last year as the first ever cartoonist live drawing on the Red Carpet, she will be back again tomorrow night drawing the stars and the hooplah.

Check out her drawings @lizadonnelly  and  @CBSThisMorning

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The New Yorker’s  Oscar cover, February 27, 2017 by Eric Drooker (titled “#OscarsNotSoWhite”)

 

 

 

 

 

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…I’ll wrap up this post appropriately enough with Bob Eckstein’s Eustace holding an Oscar. Be sure to follow Mr. Ecksteins coverage of the big event on newyorker.com 

 

 

 

 

 

 

 

 

Lee Lorenz On James Stevenson; Cartoon Companion Rates the Latest New Yorker Cartoons

“Postscript: James Stevenson”

James Stevenson is remembered by the great cartoonist  Lee Lorenz  who, as The New Yorker‘s  Art Editor guided the magazine’s Art Department (that included the cartoons and the covers) from 1973 through 1993, and then served as Cartoon Editor from 1993 through 1997.  Mr. Lorenz was Mr. Stevenson’s editor from 1973 through 1993.

 

More Stevenson:

…from the Greenwich Times, February 21, 2017,  “James Stevenson, New Yorker Cartoonist, Cos Cob Resident, Dies”

…from The New York Times, February 24, 2017, “James Stevenson, Ex-New Yorker illustrator, Dies at 87” *

*If only someone at The New York Times could change “Ex-New Yorker Illustrator” to “New Yorker Cartoonist” — Mr. Stevenson was first and foremost a New Yorker cartoonist.

UPDATE: The online headline for Mr. Stevenson’s New York Times obit has just been changed to read “New Yorker Cartoonist” …thank you, NYTs!

…Special Note: Attempted Bloggery has been featuring art by Mr. Stevenson all week.  Check it out!

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The latest Cartoon Companion is posted. The two anonymous critics take a close look at the cartoons appearing in the issue of February 27th.  A new rating system is in effect.

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New Yorker Cartoonist Extraordinaire, James Stevenson, Has Died

 

Ink Spill has learned  this morning that James Stevenson, who contributed to The New Yorker for nearly half a century and was the very definition of a New Yorker cartoonist, has died. The news was conveyed by his wife, Josephine Merck.

 

Photo: James Stevenson in the 1960s

 

Mr. Stevenson, born in New York City in 1929, found his way to The New Yorker in 1947. “I was not hired on merit,” Mr. Stevenson wrote in The Life, Loves and Laughs of Frank Modell — “My mother was  a friend of the Fiction Editor, William Maxwell.” He worked for that summer as an office boy, and a part-time supplier of cartoon ideas.  Nine years later he was hired by the Art Editor, James Geraghty, as a full-time ideaman.  Mr. Stevenson recalled that Mr. Geraghty turned to him after the hiring handshake and said, “You must not tell anybody at the office or anywhere else what you do.”

 

 

 

 

Stevenson’s own drawings were eventually  published in the magazine beginning in March of 1956 (his first appears here).  He went on to become one of scant few New Yorker contributors who could say they had contributed written pieces in the magazine as well as covers, cartoons, and illustrations, or spot drawings. James Thurber, Lou Myers and Peter Arno come to mind as the only other members of that club. I once mentioned to Mr. Stevenson how energetic he seemed, considering the amount and variety of his contributions to The New Yorker.  He replied, “I had to be energetic — I had a large family.”  In a career at the magazine that lasted 47 years, he published nearly 80 covers.  His astounding  number of cartoons –1,987 — places him, according to Ink Spill’s calculations, in the top five contributing artists in the magazine’s history (the other four being William Steig, Lee Lorenz, Alan Dunn, and Helen Hokinson).

 

Below: a Stevenson cartoon from The New Yorker, June 11, 1999

For me, as a kid just out of college beginning at The New Yorker, Mr. Stevenson’s work and the work of his colleagues, was my real education. I noted immediately that Stevenson’s world was inhabited by drawings that connected to the very moment. His seemingly effortless line flowed buoyantly across the page, welcoming us in, and then, as the best cartoons do, surprising us with a caption we never saw coming; in those pre-social media days, Stevenson expertly distilled and commented on a news item or cultural event as quickly as a cartoonist working for a weekly publication could possibly manage. It’s difficult enough for any cartoonist to successfully do that kind of drawing on any given week, but Stevenson’s gift allowed us to laugh out loud (or on the inside) nearly 2000 times, almost weekly, for close to half a century.

In 2013 Mr. Stevenson published a book about his best friend, and New Yorker colleague, Frank Modell.  Mr. Stevenson is shown here, to the left, with Mr, Modell in a photo taken in the mid-to-late 1970s or early 1980s.

Below: one of my all-time favorite Stevenson covers.  The best New Yorker artists share with us a moment.  This moment has stuck with me.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

On a personal note: I had an opportunity to meet Mr. Stevenson within the first few years of my time at The New Yorker, in February of 1980.  Standing in a circle of cartoonists at the magazine’s annual  anniversary party in the grand ballroom of The Pierre, Mr. Stevenson was directly across from me. But instead of reaching out my hand and introducing myself, I kept mum;  he was, after all, one of the magazine’s biggest stars. It took more than thirty years for us to finally connect, first on the telephone and later in person. Our first meeting, via a telephone call (he graciously agreed to speak with me about his early days at The New Yorker) was filled with good cheer and plenty of laughs — it was as if we’d known each other for years.

 

 

Here’s Ink Spill’s New Yorker Cartoonists A-Z entry for Mr. Stevenson:

James Stevenson Born, NYC, 1929.  NYer work: March 10, 1956 -.   Stevenson interned as an office boy at The New Yorker in the mid 1940s when he began  supplying ideas for other NYer artists. Nine years later he was hired a full-time ideaman, given an office at the magazine and instructed not to tell anyone what he did. He eventually began publishing his own cartoons and covers as well as a ground-breaking Talk of the Town pieces (ground breaking in that the pieces were illustrated). His contributions to the magazine number over 2000.   Key collections: Sorry Lady — This Beach is Private! ( MacMillan, 1963), Let’s Boogie ( Dodd, Mead, 1978).  Stevenson has long been a children’s book author, with roughly one hundred titles to his credit.  He is a frequent contributor to the Op-Ed page of The New York Times, under the heading Lost and Found New York. Stevenson’s recent book, published in 2013, The Life, Loves and Laughs of Frank Modell, is essential.

Exhibit of Interest: James Stevenson

An exhibit, “Century Masters: James Stevenson” is up and running at the Century Club at 7 West 43rd Street in New York.  The exhibit, although in a private club, is open to the public Monday – Friday,  10am – 10pm through March 17th.

According to the Century:

“Century Masters is a series of occasional exhibitions celebrating the work  of venerated Centurions who in their later years continue to make significant contributions to the art world and to the club.”

 

Here’s James Stevenson’s entry on Ink Spill’s   New Yorker Cartoonists A-Z:

James Stevenson Born, NYC, 1929.  NYer work: March 10, 1956 -.   Stevenson interned as an office boy at The New Yorker in the mid 1940s when he began  supplying ideas for other NYer artists. Nine years later he was hired a full-time ideaman, given an office at the magazine and instructed not to tell anyone what he did. He eventually began publishing his own cartoons and covers as well as a ground-breaking Talk of the Town pieces (ground breaking in that the pieces were illustrated). His contributions to the magazine number over 2000.   Key collections: Sorry Lady — This Beach is Private! ( MacMillan, 1963), Let’s Boogie ( Dodd, Mead, 1978).  Stevenson has long been a children’s book author, with roughly one hundred titles to his credit.  He is a frequent contributor to the Op-Ed page of The New York Times, under the heading Lost and Found New York. Stevenson’s most recent book, The Life, Loves and Laughs of Frank Modell, is essential.

Here’s Stevenson’s collection of cartoons from 1978:

Frank Modell Celebrated

ModellCartoonists mostly live solitary work lives. When they’ve finished a drawing, sit back and take a look at it, the feedback usually comes from within; then there’s the occasional  laugh from their spouse, friend, room mate or visitor. In the reverse, it’s also usually a solitary experience for someone looking at a cartoon in a magazine.  More often than not, the reaction is internal, and yes, sometimes a laugh, out loud.

It is always slightly jarring — at least for me — to sit in a crowd and hear the collective roar of laughter at cartoons projected on a screen. Such was the experience last night at an evening dedicated to celebrating the life and work of the great New Yorker cartoonist Frank Modell, who passed away in May at age 98.

The event was held a few doors east of  the 44th Street entrance to The New Yorker‘s former longtime address at 25 West 43rd Street (the building’s main lobby stretches from 43rd to 44th).  A plaque attached to the magazine’s one-time residence bears Frank’s name alongside a number of other heavy hitters: Harold Ross, E.B. White, James Thurber, Helen Hokinson, Peter Arno, Charles Addams, Katharine White and James Stevenson to name but a few.  Mr. Stevenson, Frank’s best friend, was in attendance last night, as were a number of other New Yorker colleagues, including Warren Miller, Mort Gerberg, Edward Sorel, Arnold Roth, Liza Donnelly, Charles “Chip” McGrath, Roger Angell,  Anne Hall Elser, Thomas Vinciguerra  and Linda Davis.

Remarks from Frank’s close friends, Flicker Hammond, Edgar Lansbury, Tom Meehan, and the long-time New Yorker writer, Kennedy Fraser were preceded by the presentation of a wonderful array of Frank’s work. Watching the drawings come up on the screen, with each caption read by Nancy Franklin (the New Yorker‘s former television critic), the laughter moved from the front of the room to the rear — a true wave of laughter.  Each drawing was a reminder of Frank’s ability to reach us with elegant drawings (it was noted that Frank’s long-time colleague and editor Lee Lorenz had said that Frank’s drawings “popped off the page”) topped off by a disarmingly precise caption:  nothing elaborate, nothing obtuse — just plain funny. Funny, and evergreen; that magic ingredient  that for many many years was the hallmark of New Yorker cartoons.

As each cartoon was presented I was also reminded of the friendliness of Frank’s work — work as friendly as the man himself. The people he drew were people we knew, or know, or are. His animals, whether mythical or not, are animals we feel an attachment to, whether it’s the unicorn riding a unicycle or a dog sleeping on a stuffed chair.  One of the drawings shown, “Boy, am I glad to see you.” was greeted with exceptionally riotous laughter.  I couldn’t help but think of Frank himself at that moment.  Boy, Frank, were we glad to see you.

modell-boy-am-i-glad-to-see-you