The Monday Tilley Watch: The New Yorker Issue of November 13, 2017

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

Surprise, surprise — two non-political New Yorker covers in a row. Last week was John Cuneo‘s wonderful big falling leaf; this week, in a debut appearance, Jenny Kroik gives us a lovely bookstore scene (it’s titled “At the Strand” but really it could be almost any bookstore). You can read about her cover here.

Before wading in to the magazine’s cartoons (there are only eight in the issue, so it will be an abbreviated wade this week), two graphic pieces in the front of the magazine caught my eye. One’s an illustration, and the other an ad. Bendik Kaltenborns Coney Island illustration on page 16 is a whole lot of fun. Perhaps I’m already getting a little wistful about summer past, but I think it’s more the playfulness of the piece. Besides, I’m glad summer is over.

The other piece (the ad) is for an exhibit of work by Henry Martin Gasser, an artist I never heard of until this morning. I’m posting the ad here in the hope the advertiser won’t mind. Lovely work, judging by this one piece shown. Having just looked him up, I was delighted to find he was born in Newark, New Jersey. A fellow Jerseyite!

Okay, now into and onto the magazine’s cartoons and cartoonists. Oh wait, first let me check and see if Rea Irvin’s classic Talk of The Town masthead has been returned to its rightful place. Nope. Darn. Sigh.  If it was back in place, you’d certainly recognize it. It would look exactly like this:

This issue’s first cartoon appears on page 30.  Ben Schwartz gives us a family in a car, drawn head on through the windshield (geez, this is sounding like an accident report). You have to be familiar with the game “I Spy” to get at the humor in the caption, but you don’t need to be familiar with divorce to fully appreciate the uncomfortable situation. I like car drawings, and in particular, like it when a cartoonist takes on this scenario (that is, the challenge of drawing head-on into a car, or the reverse, drawing from the back seat looking forward). Charles Addams, who loved cars, and loved drawing cars, did several of these kinds of drawings. Here’s one:

In the next drawing, five pages after Mr. Schwartz’s, Emily Flake mixes religion with pizza. Understanding this drawing may also require you to seek out, via your search box, the Temptation of Christ (no joke!, or yes joke?). In Ms. Flake’s drawing, Jesus finds himself in a situation many of us have found ourselves in: seeing doughnuts* in a box, and debating whether or not to partake. I found, in my just completed research of the Temptations (not these Temptations) that one of the them was hedonism (hunger/satisfaction), so doughnuts as a temptation really does work here.

*[correction: in an earlier post I referred to the food in the box as pizza.  On my screen the object on the boxtop looks exactly like a pizza.  I stand corrected. My thanks to the corrector!]

On the way to the next cartoon, on page 45, we pass a “Sketchbook” by Roz Chast. It is, as Tina Brown would say, “text driven” with some drawings of children in party hats surrounding the text. Not a cartoon, but something that really does look to be out of a sketchbook.

On page 45 is an offering from Amy Hwang. A clothing store scene (babies clothing, to be more precise). The store is woefully low on inventory. Good luck to the proprietors!

Four pages later, following a double page photograph, is a Harry Bliss drawing. Talking pets in a jam (talking pets in jam might be funny too, I think). You may need to search for “Tang Dynasty Urn” to understand the severity of the pooch and kitty’s situation.

Five pages later, Liana Finck takes us into outer space with a drawing I have notched in my brain as memorable. Well drawn, amusing, and beautifully placed on the page.  What more could we ask for. (I note it’s the second footwear drawing in recent times. Carolita Johnson had one back in September).

Another five pages brings us to newbie Maddie Dai‘s drawing of an icky hairbrush (I say “icky” because I’m not a fan of snakes). You may or may not have to go to your search box to look up Medusa to refresh your graphic memory. Oh heck, despite my not wanting to see more snakes, here’s a version, in marble, by Gian Lorenzo Bernini, from 1630.

And yet another five pages later (hey, is this a pattern, this five pages apart thing?) is a Glen Le Lievre drawing, and amazingly(!) the first politically tinged cartoon of the issue. Why politically-tinged?  There’s the the word “subpoena” in the caption plus the background appearance of the Washington Monument and the U.S. Capitol Building (sans the Statue of Freedom, shown below).  Both structures are handled in light wash, and looking a little ghost-like.

Eight pages later (so much for the five pages pattern) is a Frank Cotham castle. It’s the last drawing of the issue (not counting those in the Caption Contest). Mr. Cotham’s drawing is allowed generous space on the page. The fellow speaking (a King) has done a major renovation on his property, leaving just a safe space (the castle’s redoubt) in case there’s big trouble. I like the outfit his visitor is wearing as well as the vaguely 1960-ish architecture of the new addition. 

and that’s that. See you next Monday for the issue of November 20th. It being the issue closest to Thanksgiving (on the 23rd), I’m really hoping for a turkey cartoon to appear somewhere in the issue, or on the cover.

Until then, here’s  some food for thought — a drawing of mine published in the December 8, 2014 New Yorker.

 

 

 

  

 

 

 

 

 

 

 

 

 

 

The Monday Tilley Watch: The New Yorker Issue of November 6, 2017

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

 I think it’s safe to say we have in our hands this week the New Yorker’s official Fall issue what with John Cuneo‘s beautiful giant leaf descending cover. 

For a change, I looked through this week’s issue (the digital issue, of course) on my laptop instead of on my tablet. It’s helpful seeing everything in an immediately readable format instead of having to zoom in, but it also removes a layer of mystery I’ve come to enjoy: seeing the cartoons small, and trying to figure out (sometimes) who did them and guessing what the caption might be. Back to the tablet next week.

Skipping through the front of the magazine, I did pause to admire the illustration on page six by Roman Muradov. It sort of has a Arthur Getz and Eugene Mihaesco mash-up feel — a 1960-ish vibe.  Nice.

Passing by the “redraw” of Rea Irvin‘s  iconic never-shoulda-been-replaced Talk of The Town masthead (above) we get to the first cartoon on page 22, a couple of beavers, courtesy of Kaamran Hafeez.  One of the beavers suffers from an age-old problem that was used to great effect on The Mary Tyler Moore Show when  newsman Ted Baxter read, on air: “I’ve just been handed a bulletin: ‘You have something on your front tooth!'” Curious about whether there was any significance to running a beaver drawing now, I consulted Wikipedia for a snap education. The entry included this:“Maintenance work on the dam and lodges is particularly heavy in autumn.”

Here’s a photo of a beaver, just because:

 Five pages later is a Zach Kanin drawing of a fitting room. I like the louvered fitting room doors, which could easily double for those steel roll-down gates you see on storefronts. Below left: Kanin louvered door.  Right: steel roll-down gate.

Eight pages later a Paul Noth mobster-tinged bar scene based on  “if a tree falls in the forest…” Nice expression on the woodsman’s face.  Good caption. Four pages later an Ed Steed drawing (i.e., dark). Shades of Charles Addams’ kids home from camp drawing

On the very next page, Julia Suits takes us out west to the reliable compound of cowboys at a campfire plus modern technology (I’ve done it myself a few times — it’s an irresistible scenario). Can’t see a cowboy campfire without thinking about Mel Brooks’ classic scene. Three pages later an interesting garage drawing by Ellis Rosen. One of our grandmasters, George Booth did a number of memorable garage drawings. Here’s one (published in the issue of December 28, 1998):

Mr. Booth has had a lot of company over the years. Mr. Ellis gives us a lovely drawing with an excellent caption. And, bonus: it sits well on the page. An Amy Kurzweil drawing is on the very next page.  A chess scenario, perfectly timed for Halloween. I like this drawing, but did find myself pondering why the chess pieces have arms. Are these actual chess pieces dressed up for Halloween, or are they people dressed up in chess pieces for Halloween who have decided to further Halloween-ize their chess costumes? So many questions…

Five pages later a Roz Chast triptych (her preferred construct in recent years). The third panel is a gem.

Six pages later, a Sara Lautman drawing leaning heavily on a pun. Five pages later, appearing just a day after International Cat Day, is an Amy Hwang cat drawing. If you want even more cartoon cat drawings, find these somewhere online or in your favorite used book store:

Five pages later, veteran Mick Stevens brings us back to much earlier times. I’m aware of the cartoon takes of Moses passing by a burning bush (hmmm, that was him, wasn’t it?) and him famously getting hold of the tablets containing the Ten Commandments. But the Biblical-era press conference is new to me.  I note that Moses looks weary.

Three pages later another cartoonist trope: the wedding scene. This one’s by Emily Flake. Understanding the definition of the word “algorithm” as used in the caption is key to understanding this drawing.  Someone should really do a book of New Yorker  dating/mating/algorithm related drawings (there was a dating cartoon in the magazine two weeks ago).

Four pages later, the last drawing in the issue (not counting the caption contest work): a banana peel domestic situation via J.A.K. (Jason Adam Katzenstein). The only thing as funny as someone slipping on a banana peel is someone getting slapped with a pie in the face. Danny Shanahan gave us both:

To see a slideshow of all the cartoons in this week’s issue, go here to the Cartoons page of newyorker.com and scroll down past the Daily Cartoon, Caption Contest to Cartoons from the Issue.

–See you next Monday

 

 

 

   

 

 

Must See: George Booth Exhibit at The Society of Illustrators

Here are a bunch of photos taken at last night’s opening reception for The Society of Illustrators exhibit, George Booth: A Cartoonist’s Life, curated by J.J. Sedelmaier

A ton of original George Booth covers and drawings in one place. What more could anyone ask for?  It’s a wonderful show. Go see it.

Above left, Danny Shanahan with Seth Fleishman (and right behind Mr. Fleishman is Stephen Nadler who runs Attempted Bloggery). Photo right: seated, John Cuneo, with the Director of the Society of Illustrators, Anelle Miller. Behind them is Felipe Galindo, and Stephen Nadler speaking with the cartoonist, Marc Bilgrey.

Below: two similar group photos. Can you spot the difference?

Top group photo: Mike Lynch, Michael Maslin, Liza Donnelly, Danny Shanahan, Jane Mattimoe, Felipe Galindo, George Booth, Mort Gerberg, Sam Gross, Ellis Rosen and Hilary Campbell.In the second group photo, Mike Lynch has disappeared and been replaced by John Cuneo, who is between Liza Donnelly and Danny Shanahan).

Below right: Seth Fleishman and the New Yorker‘s cartoon editor, Emma Allen.

Below: animator, Bill Plympton. Right: Eric Lewis

Above left: the show’s curator, J.J. Sedelmaier. Right: the Booth family

Below: Mike Lynch with Gina Kovarsky, daughter of the late very great New Yorker cartoonist and cover artist, Anatol Kovarsky

(photo courtesy of Mike Lynch)

Below: George Booth, with the illustrator,Tom Bloom in the background — he’s the fellow with the beard. (This photo courtesy of Stephen Nadler). 

Above left: Sam Gross.  Above right: Felipe Galindo with Colin Stokes, the New Yorker‘s assistant cartoon editor.

Below: Liza Donnelly, George Booth

 

–All photos above by Liza Donnelly, except where noted. My thanks to her for being the Spill’s official photographer.  

 

 

 

 

 

 

 

 

 

 

 

Fave Photo of the Day: Edward Sorel & Company; Karen Green Pencilled; A Cartoon Companion Two-fer: Mick Stevens Interviewed (Pt.1) & The Latest New Yorker Cartoons Dissected; Tilley Watch Online

Fave Photo of the Day: Edward Sorel & Company

Edward Sorel had a few friends over for lunch yesterday; a splendid time was had by all.

Front row, l-r: Danny Shanahan, Edward Sorel.  Back row, l-r: Michael Maslin, a wooden St. Peter,  James McMullan, and John Cuneo

(photo courtesy of Danny Shanahan who used the time-delay function on his phone)

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Columbia’s Comics & Cartoons Curator, Karen Green Pencilled

Jane Mattimoe’s wonderful blog, A Case For Pencils features Karen Green, who is the Comics & Cartoon Curator at Columbia University.  A good read!

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Cartoon Companion Two-fer: Mick Stevens Interview (Pt.1) and the Latest New Yorker Cartoons Dissected

The Cartoon Companion‘s Max & Simon are back with a close look at the cartoons in the New Yorker’s latest issue as well as part one of an interview with veteran New Yorker cartoonist, Mick Stevens.  Read the Stevens interview here And read the CC’s take on the current issue here.

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…a Halloween video from the Cartoon Department…Daily Shouts from Ward Sutton, and Will McPhail (who seems to be in a Rear Window-esque mood lately — a recent piece for Esquire also featured a city building with individuals in various windows), and Daily Cartoons by, among others, Peter Kuper, and Kim Warp.  See it all here.  

Cuneo’s Klam Drawings; Sikoryak Illustrates Trumpisms; Finck Covers Closet and a Novel

Cuneo’s Klam Drawings

What fun! New Yorker cover artist and illustrator, John Cuneo, has supplied illustrations for Matthew Klam’s latest book, Who Is Rich?: A Novel ;  what’s fun, besides Mr. Cuneo’s work — called “…darkly humorous…” in The Washington Post’s  review of the book — is that the novel’s main character is a…cartoonist.

 

 

 

 

Here’s how the novel is described, in part, by the publisher: 

Every summer, a once-sort-of-famous cartoonist named Rich Fischer leaves his wife and two kids behind to teach a class at a week-long arts conference in a charming New England beachside town. It’s a place where, every year, students—nature poets and driftwood sculptors, widowed seniors, teenagers away from home for the first time—show up to study with an esteemed faculty made up of prizewinning playwrights, actors, and historians; drunkards and perverts; members of the cultural elite; unknown nobodies, midlist somebodies, and legitimate stars—a place where drum circles happen on the beach at midnight, clothing optional.

Above: drawings by John Cuneo from Who Is Rich?    Link here to Mr. Cuneo’s website.

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  • Sikoryak Illustrates Trumpisms

Robert Sikoryak’s The Unquotable Trump  (Drawn& Quarterly) was unveiled at Comic Con Diego.  This is the third Trump-related title from a New Yorker contributor (Tom Toro’s Tiny Hands and Shannon Wheeler’s Sh*t My President Says are the other two).

Read about the CBR’s article on Mr. Sikoryak here.

 

 

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Finck Covers Closet

This interesting piece by Ms. Finck in The New York Review of Books

…and more Finck: this interview from Bedford +Bowery

left: one of Ms. Finck’s drawings from the NYR

 

…lastly, leaving off where this day’s post began, it has been brought to the Spill‘s attention that Ms. Finck is the cover artist behind Matthew Klam’s aforementioned novel.

 

 

 

 

Resist! #2 Arrives July 4th With An Abundance of New Yorker Contributors

 

The second issue of Resist!, a free “political comics zine of mostly female artists” (a “Man Cave” section is included) edited by Nadja Spiegelman and The New Yorker‘s art editor, Francoise Mouly, will be distributed this coming July 4th in comic book stores and out on the streets by volunteers (approximately 60,000 copies of the first Resist! were distributed this past January).

Go here to find out where you can find a copy near you

According to a press release “the free distribution of Resist! is intended as an Independence Day celebration of the First Amendment, of our diverse country and of our resilience.”

The Editors write in the introductory pages of #2: “These pages contain many individual realities.  They reflect topics as diverse as their contributors: the environment, immigration, racism and the economy.”

Artists represented in this 96 page anthology are from all over the world, but as the Spill’s focus is  primarily New Yorker contributors, I’m  listing the artists whose work has been published there.  In order of appearance:  Roz Chast, Kendra Allenby, Carol Lay, Ana Juan, Anita Kunz, Emily Flake, Amy Kurzweil, Kim Warp, Abigail Gray Swartz, Andrea Arroyo, Liniers, John Cuneo, Tom Toro, Peter Kuper,  Frank Viva, Paul Karasik, Art Spiegelman, R. Sikoryak, Dean Rohrer, Shannon Wheeler, and Daniel Clowes. 

 

 

 

 

 

 

 

 

For more information, link here to the Resist! website.

Credits:

Resist! #2 cover by Malika Fravre, a French artist living in London, England.

Across the Great Red States by Kendra Allenby, a cartoonist and storyboard artist living in Brooklyn, NY.  Her work has appeared in The New Yorker

“We’re looking for something that says ‘Death to the Patriarchy’…” by Amy Kurzweil, author of Flying Couches: A Graphic Memoir.  Her work has appeared in The New Yorker.

All art copyrighted by the respective artists.