The Monday Tilley Watch (Part 1)

Double issues (as we’ve just experienced) have a way of creating the impression it’s been ages since the last new issue. So, yay, finally: the late August New Yorker (dated, for the record:  August 21, 2017). There are a lot of cartoons in this issue, so the Monday Tilley Watch will be broken up into two parts. I’ll post the second half in a few days…possibly tomorrow (a Tuesday Tilley Watch?)

The cover, by Adrian Tomine, is certainly summery (and a sort of summary of some summers). 

Skipping through the front of the magazine (this is, after all, a look at the drawings in the issue) I pause to note that Rea Irvin’s classic Talk of the Town masthead is still on holiday (wishful thinking that it might’ve returned!).  Now on to the cartoons:

The first, Mr. Tator Tot, is descended from the world of Mr. Potato Head and is pure Danny Shanahan.  I can see these being sold in nice little packages wherever toys are sold (with a warning that they should be kept out of the hands of small children).  As a side note, when Mr. Shanahan was discussing this drawing with me not long ago we went off into a brief recounting of the various potato-related drawings we’d both done.  Someone should do a New Yorker book of potato cartoons.  The next drawing (I’ll shorthand it as “hip disease”)  is by Jason Adam Katzenstein, who is closing in on his third anniversary of appearing in The New Yorker. I’m a big fan of doctor office drawings. The eye chart in this one really caught my…eye (sorry). I’d say someone should do a book of New Yorker doctor cartoons, but it’s been done, and done well. 

A few pages later we come to a summertime baseball in the park drawing by yours truly. For those who keep track of things, this is my second major appliance-related drawing in the magazine (there was at least one cartoon of mine featuring a small appliance (a blender) back in the 1980s).  Seven pages later we come to a Tom Toro desert island drawing (Mr. Toro was profiled here on the Spill not long ago, talking about his new book Tiny Hands, among other things). The desert island fellow, judging by his look, has somehow managed to survive on the island for a very long time. Good for you, island guy. I’m a little worried about the cruise ship being so close to shore, but then remind myself that this is a cartoon. (fyi: Mr. Toro’s been contributing to The New Yorker since 2010).  Next up is a drawing by newish-comer, Kate Curtis (she’s been contributing to the magazine for about a year-and-a-half).  I love set piece cartoons (folks sitting at a dining room table or a kitchen table, people in bed or sitting on living room sofas, etc.). Challenging, and so much fun when they work out well, as this one has. Several pages later is another newcomer, Maddie Dai (Her first New Yorker cartoon appeared this past June).  A hopscotch drawing! We don’t see many of those.  This one has a Charles Addams-ish flavor to it.  And speaking of Mr. Addams, who did a number of wonderful gingerbread house drawings in his time, our next drawing, by Liana Finck, is of a house made of kale.  Worth noting here: as has been the case for at least the past five issues of the magazine, the placement and sizing of most drawings has been splendid. (Ms. Finck’s first cartoon appeared in The New Yorker, February 2013). The next drawing, by Sara Lautman (first cartoon in The New Yorker: March, 2016) is a blast of color…and madras (!) — making for an exciting visual. A few pages later, and again, well-placed and sized, is an Ed Steed cartoon. Love the child-like house on the horizon. Mr. Steed’s first appearance in the magazine: March 2013. There’s a Sketchbook by Will McPhail a few pages following Mr. Steed’s drawing.  The use of the Sketchbook — and I could be very wrong — goes back to the Tina Brown era. Next up is a drawing by Emily Flake (like Mr. Toro, she was the subject of a piece on The Spill not long ago). Ms. Flake has been contributing to the magazine since September of 2008. This is a set piece drawing, with a lot of emotion.

Part 2 of The Monday Tilley Watch coming later this week…

Video of Interest: Chris Ware; Karasik’s Oyster Report; Chast on Library of Congress Panel; Finck’s Neighborhood Cult

Video of Interest: Chris Ware

Here’s a video, “Someone I’m Not” with Chris Ware.  See it here

Mr. Ware has been contributing to The New Yorker since 1999.

 

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Paul Karasik’s Oyster Report

Another of Paul Karasik’s Graphic Reports from  the Vineyard Gazette...this time it’s oysters. Read it here.

Mr. Karasik has also been contributing to The New Yorker since 1999. His latest book (with Mark Newgarden) is How to Read Nancy (Fantagraphics).

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Chast on Library of Congress Panel

Roz Chast will be part of what the Library of Congress’s National Book Festival calls the Graphic Novels Stage. All the details here.  Ms. Chast has contributed to The New Yorker since 1978.  Her upcoming book is called Going Into Town: A Love Letter to New York (Bloomsbury). Out in October.

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Finck’s Neighborhood Cult

From newyorker.com’s Daily Shouts, August 3, 2017, Liana Finck’s “A Guide to the Neighborhood Recycling Cults” —

Read it here.

Ms. Finck has been contributing to The New Yorker since 2013.

 

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.

The Monday Tilley Watch

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

 

 

Expecting something political on the July 31st cover it was a surprise when Javier Mariscal‘s water’s edge pastoral popped up on my screen (I’m looking at the digital version of the magazine; I’ll look at the print version when it arrives. Two different experiences). My first thought: if James Stevenson had worked in stained glass, this might be the result. Here’s an example of what I was thinking (a Stevenson cover from October 1975, and Mr. Mariscal’s on the new issue):

 

 

 

 

 

 

 

A note before heading into the issue: I have a habit of not looking at the cartoonists listed on the Table of Contents — I look at everything else on the TOC, but want to be completely surprised by the cartoons as I page through. I see on the TOC that Bruce McCall has a Shouts & Murmurs piece — things are already interesting.  On my way to “The Talk of The Town”  I stopped to examine the illustration on page 8 by Henning Wagenbreth. Glad I stopped — enjoyable illustration, and, bonus: the name Henning Wagenbreth is now a new favorite name.

Moving on: a quick look at the Talk masthead —  it’s still the revamped version brought in a few months back. I ask the power(s) that be to reconsider and bring back Coke Classic (i.e., Rea Irvin’s masterpiece masthead  — shown directly below — that led off Talk from January 30, 1926 through May 15, 2017). 

It should be noted (and maybe I did note it once on this site): Tom Bachtell is the contemporary artist behind the drawing appearing on the opening Talk page and many of the others sprinkled through the rest of Talk, but the small spots that look like this:

are by the late great Otto Soglow (fondly remembered by many for his creation,  “The Little King”). Mr. Soglow supplied the Talk spot drawings in earlier times (pre-Lee Lorenz years as Art Editor).   We are lucky his work is still appearing here some forty-two years after his death.

And now, finally to the cartoons: the first is by Sara Lautman, whose first New Yorker drawing appeared in March of last year. If the search function on the digital edition is correct, this is her 6th New Yorker appearance. A few pages later is a David Sipress drawing.  Mr. Sipress’s active line is immediately recognizable, as is the New York City subway setting (the subway has been in the news quite a lot, with the Mayor of NYC taking a well -publicized ride just yesterday). Next is a drawing by Paul Karasik (whose new book, How to Read Nancy was mentioned here last time, so I’m mentioning it again). In Mr. Karasik’s drawing, Grant Wood’s American Gothic farmer returns to the New Yorker.  During Charles Addams’ long run at The New Yorker he had a lot of fun with Mr. Wood’s pitchfork-wielding farmer, as well as at least one of the other folks at the bar in Mr. Karasik’s drawing.

Here’s Addams working with the American Gothic duo– this from The Charles Addams’ Mother Goose.

And here’s a link to another.

And here’s Addams with a roomful of recognizable subjects, including Mona Lisa

But I, uh, digress…so back to the issue at hand. Opposite Mr. Karasik’s barflies is a timely drawing by Liza Donnelly featuring colluding ice cubes. As with Roz Chast’s drawing from the last issue, I like the way this drawing has been placed on the page.  Today’s New York Times carries the headline “‘I Did Not Collude,’ Kushner Plans to Tell Senate Investigators” — hmmm

Several pages later we come to another well-placed/sized drawing — this one’s by Harry Bliss. As noted on yesterday’s Spill, it’s “Shark Week” on The Discovery Channel. It’s also summertime. Mr. Bliss manages to celebrate both, as well as tipping his hat to lifeguards (a New Yorker colleague, John O’Brien, was a longtime lifeguard in Wildwood, New Jersey. I believe he’s the only New Yorker artist with those intersecting credentials). Next is a kangaroo cartoon (also well placed & sized) by Liana Finck (who was mentioned on the Spill yesterday for several reasons…both good). Here we have a drawing that, stylistically (and maybe even thematically) brings to mind a cross between Ed Arno and Arnie Levin, with even a dash of Bill Woodman tossed in to the mix.  In the end, of course, it’s pure Finck.

A Seth Fleishman Newton’s Cradle cocktail drawing follows Ms. Finck’s. Mr. Fleishman, like the aforementioned Ms. Lautman, started at The New Yorker in the early months of last year —  his generous use of black against white made (and make) his work easy to pick out in the crowd. A Roz Chast six-parter follows (Ms. Chast’s first New Yorker appearance was in 1978). I failed to mention last week that Ms. Chast has a new book coming out this Fall: Going Into Town: A Love Letter To New York.

A Paul Noth prison drawing is next (Mr. Noth’s first New Yorker appearance was in 2004)  — Mr. Noth has a book coming out as well — it’s not due until next year, but I’ll mention it here anyway.  Someone should do a collection of New Yorker prison cartoons. Three pages following Mr. Noth’s drawing is the very recognizable work of Drew Dernavich.  If you want to know a little more about how he works, visit Jane Mattimoe’s Case For Pencils post here.  Three more pages brings you to one of the newest kids on the block (first New Yorker appearance: November 14, 2016): Lars Kenseth. In this drawing, Mr. Kenseth meets King Arthur, sort of. For some reason I wanted the caption to have the word “sticky” in it, but “licked” comes close enough.

Two pages on we find a drawing by cat and elephant-lover, Danny Shanahan, who’s been contributing to The New Yorker for 30 years.  No one draws  elephants like Mr. Shanahan (he’s even had a New Yorker elephant cover).   

Another new kid, Ellis Rosen is up next (first New Yorker appearance: December 12, 2016). I like birds-in-flight cartoons. Carl Rose, Lee Lorenz, and a number of other colleagues have offered them up to us over the years.

On the opposite page from Mr. Ellis’s drawing is a drawing executed in the instantly recognizable  style of William Haefeli (first New Yorker appearance: 1998). The Spill’s archive is lucky enough to have one of Mr. Haefeli’s original New Yorker drawings.  Visitors who are shown the piece are usually surprised by its size (it’s quite small) and its complexity (his originals look even more complex in person than on the printed page or screen).

A few pages later, we have what looks like a Smith Bros. cough drop board meeting —  a bunch of bearded men courtesy of Carolita Johnson (first New Yorker appearance: 2003), followed by a cat and dog living room situation by Christopher Weyant (first New Yorker appearance: 1998; Mr. Weyant is the  illustrator of a recent childrens book, I Am (Not) Scared by Anna Kang).  I love the way Mr. Weyant draws cats (he joins the Well-drawn Cat Club; I won’t list all the members for fear of possibly leaving someone out).  Tom Toro’s next (first New Yorker appearance: 2010) with a rarity: a lethal-signage cartoon. Kudos to the author of Tiny Hands. 

Mr. Toro’s drawing is followed by a Liam Walsh cartoon featuring a smallish fish with a big appetite (Mr. Walsh’s first New Yorker appearance: 2011). I already mentioned Bill Woodman above, but I’ll mention him again. I see fishing cartoons and I think Woodman. For some examples check out his book, Fish and Moose News (published in 1980). 

 

Lastly, the newest of the newbies, Maggie Larson, whose first New Yorker drawing appeared in last week’s issue.  I can’t recall how many massage-related cartoons have been in The New Yorker. At least one, now (someone with a better database than mine please let me know of others).

 

And that’s that.

 

 

 

 

 

 

   

 

 

 

 

 

 

 

 

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.

 

 

 

 

Fave Photos of the Day: Liana Finck’s Opening; Attempted Bloggery Looks at Proposed New Yorker Cover Art

Fave Photos of the Day: Liana Finck’s Opening

Liza Donnelly put on her Ink Spill photographer’s hat last night while attending Liana Fincks opening at the Equity Gallery in lower Manhattan (that’s Ms. Finck holding the flowers).  My thanks to Ms. Donnelly for providing the photos below:

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Attempted Bloggery Looks at Proposed New Yorker Cover Art

All this week, Stephen Nadler’s Attempted Bloggery is looking at cover art proposed, but rejected by The New Yorker.  Here’s a portion of a piece submitted by Julian de Miskey.  For the whole piece, and a lot more info, go here.