Monday/Tuesday Tilley Watch

And now for Part 2 of the Monday Tilley Watch…

Continuing on:  a cat and twister drawing by Julia Suits  — who could ask for more. Ms. Suits first New  Yorker cartoon appeared in 2006. On the very next page, a cartoon, with a slip of color, by  P.S. Mueller (first New Yorker cartoon, 1998). Mr. Mueller specializes in what is sometimes referred to as “off-the-wall” humor. His work is well off the wall — the cartoon community is all the better for it.  A few pages beyond his cartoon is work by a relatively new contributor, Kendra Allenby, whose first drawing appeared in the New Yorker in August of 2016.  I see a hint — just a hint — of John Held, Jr.’s flapper drawings in this particular cartoon: the roundish heads — the angular bodies.

On the very next page is a Farley Katz drawing.  Mr. Katz began contributing to the magazine in 2007.  Mr. Katz is firmly in the P.S. Mueller school of off the wall, but in this particular case, not too far off.  I love storefront cartoons (Roz Chast has done a bunch); I’m happy to see this row of shops show up.  Just three pages later is a Lars Kenseth drawing based on what must be one of the longest running ads on tv. Here Mr. Kenseth dispenses somewhat with his usual roll-on deodorant style  depiction of people (he was the subject of a Spill piece just the other day), and gives us something close to realistic (with some Mr. Potato Head or bobble-head proportions).  Next up: a cutting edge-ish (another reminder: “cutting edge” usage courtesy of the Tina Brown era) Tom Chitty drawing.  Mr. Chitty’s work first appeared in the New Yorker in 2014. No one draws like Mr. Chitty. It’s beginning to seem like this issue is loaded with off-the-wallers.  How fun. 

On the very next page after Mr. Chitty’s drawing is the minimalist work of Bruce Eric Kaplan (BEK). I have to admit — and I don’t like admitting it because I don’t want to drag in the laugh-o-meter to these Monday Tilley Watches (rating the drawings falls in the jurisdiction of Cartoon Companion)but I did laugh out loud at this drawing. The drawing’s a perfect example of less is more. For the record: Mr. Kaplan’s first drawing appeared in the magazine in 1991.

Next up, a little touch of Hemingway from Paul Noth (first New Yorker drawing: 2004). As I mentioned when I began posting the Monday Tilley Watch, one of the things I look for while browsing through each new issue is whether someone has already done a drawing in the ballpark of something I’ve just submitted to the magazine or have yet to submit.  Here Mr. Noth uses the word (and the dish) “casserole” which happens to be central to a drawing I’d planned on submitting next week.  So my casserole drawing will now cool its heels for several months before it’s sent downtown to 1 World Trade Center (where the New Yorker’s offices are located). This juggling of what cartoon to send and when to send it or whether not to send it is about as complicated as this cartoonist life gets.

The final drawing of the issue (not counting those on the last page belonging to the caption contest) belongs to Vermonter,  Harry Bliss.  It’s a drawing thematically tied to the issue’s cover: summertime concerns.  As a footnote (related to Mr. Bliss’s drawing) the news that possum eat ticks has swept the upstate community where I live. The possum’s status has risen dramatically.

…see you next week.

 

 

 

The Monday Tilley Watch

A new feature in the new week. Around here at the Spill this roller coaster cartoon life begins anew every monday with the publication of the latest issue of the New Yorker. 

The latest issue is the klieg light for cartoonists; we go to it with some higher level of curiosity: to see who’s in and what our colleagues have come up with; to see, and yes, judge, whether we believe the work is great, good, bad, or so-so; whether there’s a just published drawing exactly like the one we were about to submit; whether there’s a drawing we’ll never forget, or never remember.  I’ve always thought of every new issue’s cartoons as fuel — whether I like what I see or dislike it, it somehow gets the new week going…with a bang.

The Monday Tilley Watch is a look at the latest issue. I’ll record whose work we see, and whatever peripheral thought about the cartoon or cartoonist hits me at the moment. I’ll likely wander into other departments as well (at least mentioning the Art Department’s baby: the cover).  It is not at all like what my friends over at the Cartoon Companion do. They dissect each cartoon and then rate it, bringing an objectivity to this party I can’t (neither of the Cartoon Companion fellows contribute to The New Yorker…yet).

And off we go. 

  The issue of July 24, 2017

… We begin with a political cover by Barry Blitt (surprise!) featuring the President and two of his children —  the cover was already mentioned, and shown here at the end of last week…I note on the Table of Contents that there are no special cartoon features this week (no full pages…at least, none listed here… no spreads, etc.)..and then onto The Talk of The Town, still headed by the newly modernized Rea Irvin masthead. I’m going to keep wishing the previous masthead returns — the one that was in place for 91 years. The magazine has, in very recent times, tried out redesigns up front only to pull them back. If only it would happen here.  I also note on the Talk page that there’s a wonderful Tom Bachtell drawing of the President and his in-the-news son; Donald and Donald, Jr. making their second appearance in the issue and we’re only 15 pages in. 

The first cartoon of the issue is by a relative newcomer, Amy Hwang, who’s closing in on her seventh year contributing to the magazine…it’s followed by a P.C. Vey cartoon featuring nudity. There haven’t been all that many nude cartoon characters in the New Yorker in recent years, so, a novelty.  Mr. Vey’s been contributing to The New Yorker for quite some time (his first appeared in 1993)…then a Barbara Smaller drawing — it might possibly be related to the Trump family, or not (Ms. Smaller’s first New Yorker cartoon appeared in 1996); an Edward Koren drawing is up next.  Mr. Koren is our senior (in terms of years contributing) cartoonist, and a national treasure — his first New Yorker drawing appeared in May of 1962…

Paul Karasik, whose first drawing appeared in 1999, has the next drawing. No cartoonist can resist drawing talking fish in a fishbowl.  Mr. Karasik’s other lines of work include teaching and authoring (his new book, How to Read Nancy, was noted on the Spill  last week). Liana Finck is next.  We rarely see scout drawings in the magazine anymore.  I think back to some classics by Peter Arno and Charles Addams.  It should be noted that Ms. Finck, whose first drawing appeared in the magazine in 2013,  has an opening this week of her Instagram work.   Next is a doctor-themed drawing by one who knows about doctors, Ben Schwartz

…Sam Gross, another national treasure, has the next cartoon — let’s just say it’s about the working life of dogs.  Mr. Gross’s first New Yorker cartoon appeared in 1969. Mr. Gross is among a small group whose work I enjoy at first sight, before even taking in the what the drawing is all about (George Booth and the aforementioned Edward Koren come to mind as among the others in that group — I love seeing their work).  Next up is another relative newcomer (first drawing in The New Yorker in 2013), Ed Steed.  Three on-the-dark-side cartoons by Mr. Steed in the last three issues. Of note: this one stretches along the very bottom of two pages…

…Mr. Steed’s drawing is followed by the veteran, Roz Chast (her first cartoon was published in the magazine in 1978).  I love how this particular cartoon looks on the page (yesterday’s Spill concerned itself with placement). William Haefeli‘s drawing is next (first New Yorker drawing: 1998).  Mr. Haefeli has one of the most distinctive styles of this current stable of cartoonists.  And speaking of distinctive styles, Drew Dernavich has the next cartoon.  Some cartoonist’s styles are easily summarized (“the dot guy” for instance) —  Mr. Dernavich’s tag might be “the woodcut guy.” (Mr. Dernavich should not be confused with John Held, Jr., the New Yorker ‘s much earlier “woodcut guy”).   A Robert Leighton cartoon is next. Mr. Leighton is the artist behind this classic cartoon. His first drawing appeared in The New Yorker in 2002. In this new drawing he mixes crime with a food cart.   Alex Gregory’s very Summery drawing follows.  Mr. Gregory, like a few other cartoonists, has another whole career: he’s a writer for the award-winning televison show, VEEP.  His first New Yorker cartoon appeared in 1999.

As usual, The Cartoon Caption Contest ends the issue. Drawings by David Borchart (first New Yorker cartoon published 2007), Tom Cheney (first New Yorker cartoon published 1978), and P.C. Vey. The drawings feature a food cart (two food carts in this issue!), a whole lot of business men following some ancient warriors on horses, and a hospital scene that blends in a little stadium gear.   

 

 

 

Time Capsule

Staring me in the face as I sit at my desk is a wooden Cuban cigar box, stamped “Ramone Allones Trumps.” I began using it as a filing system back in the late 1970s when  I moved to Manhattan and began taking this whole business of becoming a New Yorker cartoonist very seriously.  Each week, on a 5×7” index card, I listed and numbered the cartoons I would bring up to the magazine’s offices on West 43rd Street.  The card system  began before I was accepted by The New Yorker and ended in the early 1980s  when it suddenly dawned on me that writing down the captions each week was pointless. The cigar box, jammed with these cards, has remained untouched all these years—it’s a time capsule documenting my early attempts to grab the golden ring.

For me, the card dated August 22nd, 1977  marked a major turning point.  Up til then I’d managed to sell zip, nada, nothing to The New Yorker.  But with the August 22nd card everything changed.  Among the fifteen drawings sent in that week were such curious captions (curious to me now) as caption #13, “I’ve been able to find mittens, but no Mickey” and caption #2, “Are you really buying the old Tony Curtis place?” But it was caption #10, “Nothing will ever happen to you” that The New Yorker bought and then  handed over to Whitney Darrow, Jr.  to draw up.  It was an odd moment, being accepted and rejected ( the editor rejected my drawing, but accepted the caption). It would take a number of months for the The New Yorker to finally “OK” one of my drawings and run it under my own name.