Event of Interest: Not OK: Great Cartoons That Weren’t Good Enough; Cartoon Companion’s Latest Ratings; Next Week’s New Yorker Cover Revealed

Event of Interest: Not OK: Great Cartoons That Weren’t Good Enough

What fun!  An exhibit of cartoons that did not make the cut at The New Yorker. Many of the contributing artists are newbies at the magazine, either in the print version and/or on the magazine’s website.

“Not OK” refers to the two letters every New Yorker cartoonist (and every prospective New Yorker cartoonist) longs to see in her or his inbox at week’s end in an email from the New Yorker‘s cartoon editor: OK (or sometimes: O.K.).  An OKed cartoon is a drawing that has been bought by The New Yorker. The Not OK show is comprised of selected drawings submitted to the magazine but not bought. 

Here’s a list of the participants:

Hilary Fitzgerald Campbell, Mitra Farmand, Jason Adam Katzenstein, Lars Kenseth, Amy Kurzweil, Maggie Larson, Sharon Isadora Levy, Brendan Loper, Sam Marlow, Jeremy Nguyen, David Ostow, Drew Panckeri, Ellis Rosen, Julia Suits, Colin Tom

For more info on these artists please consult the Spill’s A-Z or the personal websites of each cartoonist.

Day, time  & place:

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Cartoon Companion’s Latest Ratings

The CC boys are back (sans Mystery Cartoonist!) with a look at this week’s cartoons. I particularly enjoyed their dissection of Jeremy Nguyen’s Picasso cartoon.  Go here to see what they have to say about that drawing and all the others in the issue.

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Next Week’s New Yorker Cover Revealed

It’s become somewhat routine these days for the New Yorker to allow us a look at the upcoming issue’s cover, most especially if the cover is tied-in to current events. Here’s the cover artist, Eric Drooker, talking (very briefly)  about his cover for the September 18th issue. And here’s Mr. Drooker talking about it a little more to The Washington Post’s Michael Cavna.

The Monday Tilley Watch: The New Yorker, Sept. 4, 2017: The Television Issue

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

I can think of no better way to kick-off The New Yorker’s very first “Television Issue” than with a cover by Bruce Eric Kaplan who is in the New Yorker/Television Hall of Fame because he wrote the famous and exceptionally funny Seinfeld episode “The Cartoon”;  Mr. Kaplan has television creds to spare — he was a producer for “Girls” and “Six Feet Under”… learn more here. Wearing one of his other  hats — that of New Yorker cartoonist, he’s been contributing his boxed-in world to the magazine since 1991. Here’s Mr. Kaplan talking about this week’s cover.

No disrespect to the front of the book, but as our concern here is cartoons, we need to zip through GOAT (Goings On About Town) and get right to the cartoons…but first: a brief stop at The Talk of The Town. For those new to this site, let me explain: I’m trying to will the long-standing Rea Irvin masthead back home.  This is the one that greeted New Yorker readers every week beginning in the issue of January 26, 1926 through to this past issue of May 15, 2017.  It was replaced in the issue of May 22, 2017 by a revamped version. My potted history of Mr. Irvin’s masthead can be found here on an earlier Spill post where you’ll see all the incarnations of the masthead.

Okay, with that out of my system (til next week?), off to the cartoons. 

Last Monday I mentioned that that week’s first cartoon didn’t appear until page 45; this week’s first cartoon appears on page 22 — my gut tells me that this is in the range of the norm for first cartoons. The first cartoon (hey, it’s a Bruce Eric Kaplan-esque boxed-in drawing) is by T.S. McCoy, whose first New Yorker appearance seems to have been in the issue of August 15, 2014.  I say “seems” because I cannot locate any info on this artist on the Cartoon Bank site, nor in the database (someone please contact me and set me straight if I’m wrong). The subject of McCoy’s drawing is therapy, with the help of buffalo. From the number of Youtube videos showing people getting too close to buffalo, I’d suggest sticking with dogs, rabbits, birds, horses, cats, etc., as therapy pals. [Update: T.S. McCoy has reached out to the Spill, and confirmed that the Aug.15, 2014 drawing was this artist’s first appearance in The New Yorker.  I’ve added McCoy to the Spill’s A-Z under the cartoonist’s preferred moniker: The Surreal McCoy]

Five pages later we come to a title drawing  — that is, a drawing without a caption, but with the essential wording appearing above — or sometimes below — the drawing. In this case the title reads: The Annual Hamptons End of Summer Back-To-Wall Street Tie Fly. It’s by David Sipress, whose first New Yorker drawing appeared in 1998. I like the action of the blowing-in-the-wind neckties — very beachy. Unsure if this drawing was referencing a real Hamptons tradition I asked Mr. Sipress about it this morning. He said in an email:  “Not a real thing. In fact it’s one of those ridiculous, totally silly and meaningless ideas that begin as a drawing that I find funny and then the words pop into my head. A frisson of disdain for both Wall Street and the Hamptons is in there somewhere as well.”

Three pages later a full page Roz Chast drawing (in color).  Ms. Chast has, appropriately enough, a television themed drawing, “The Seven Ages of Me and TV” (for those who were reading the New Yorker pre-Cartoon Caption Contest you might remember there was a period when the back page was dedicated to full page color drawings by Ms. Chast).  Ms. Chast’s first New Yorker drawing appeared in 1978.

Four pages later, a Will McPhail cartoon.  At first glance, I thought the magazine had erred and rerun a McPhail drawing from May of this year. The drawing from the May issue is on the left, the current issue’s drawing is on the right:

 

But no, they’re two different drawings. Perhaps the woman splayed out on a chair will become a sort of (George) Boothian man in the bath tub thing for Mr. McPhail. Mr. McPhail’s first New Yorker appearance: December 22, 2014.

On the very next page is a Peter Kuper cartoon. Mr,. Kuper’s first New Yorker cartoon appeared June 6, 2011. I’m a fan of cops & robbers cartoons (no cops in this drawing, fyi). A number of colleagues have spent time graphically visiting the criminal underworld.  When the subject comes up nowadays, I’m reminded of the late Michael Crawford’s paintings.  

Five pages later, a restaurant scene courtesy of Avi Steinberg (note: if a cartoonist does not have a website I will link you to the New Yorker’s Cartoon Bank site where filling in the search box and clicking on “Search” will take you to some of the artist’s work.  Here’s the CB link). Avi Steinberg’s first cartoon appeared in the issue of 2012.  About five pages later is a talking magic bean genie cartoon by Farley Katz,  one of the off-the-wall specialists in the New Yorker’s stable.   Not sure I’ve ever seen a talking magic bean genie drawing before.  I’m intrigued by the level of the woman’s head as it relates to the counter-top. Did she drop to the floor after the bean began to float and speak, then slowly rise up to counter level see what the heck was going on? I’m a fan of cartoon back stories. 

Eight pages later is a Liana Finck drawing (first New Yorker appearance: February 13, 2015. CB link here). Ms. Finck’s style is immediately and welcomingly identifiable — an achievement not to be pooh-poohed in this age of a gazillion styles. Five pages later is a subway themed drawing by Carolita Johnson (first New Yorker drawing: 2003). I am reminded of an exhibit some years ago of New Yorker subway drawings. Here’s a quick read about it.

Next up, a generously placed Ed Steed drawing (CB link here).  The second of Mr. Steed’s drawings in a row featuring a large rectangle.  In this case we’re looking out onto a field that’s sporting a huge ping pong paddle and a ping pong ball. There’s a heavy military presence in this drawing: the trucks on the field, the uniform of the fellow speaking, the matching outfits of three figures, the map on the table — the sign reading “Top Secret” strangely placed on the inside of the room, instead of outside where you’d expect it.  But why split hairs? And then there’s the guy wearing the hood and athletic footwear. I guess I shouldn’t ask why there’s only one paddle and only one (potential) ponger or player, or whatever. Mr. Steed’s first New Yorker appearance: March 4, 2013.

Sixteen pages until the next cartoon. There’s a television-themed photo essay in-between.  One of the photos is of Pete Holmes, who touched down, briefly, in the New Yorker, between 2006 through 2008, with three cartoons. Following the photos is a witch drawing by J.A.K. (Jason Adam Katzenstein). His first drawing appeared in the issue of November 17, 2014. Those are some happy/scary creatures bubbling up from the big pot. Mr. Katzenstein’s drawing reminds me ever-so-slightly of how the late great Donald Reilly handled witch drawings.  Here’s one of Mr. Reilly’s from October 17, 1988:

Six pages later, a socks and Spielberg drawing by relative newcomer, Maggie Larson (first New Yorker appearance in the double issue dated July 10/17, 2017).  As this is the last drawing in this televIsion issue (not counting the Caption Contest drawings on the last page) I thought it appropriate to return to Jerry Seinfeld and his classic sock routine.

 — See you next Monday

 

 

 

 

 

 

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.

 

 

 

 

 

 

   

 

 

 

 

 

 

 

 

New York Times Article of Interest: Emma Allen; Radio: Liza Donnelly on “Tell Me Something I Don’t Know”; The Tilley Watch: New New Yorker Cartoonists

New York Times Article of Interest: Emma Allen

From The New York Times, July 2, 2017, “At The New Yorker, the Cartoonists Draw, But the Vision is Hers” —  Ms. Allen,  two months into her new position as the magazine’s cartoon editor. 

 

 

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Radio: Liza Donnelly on “Tell Me Something I Don’t Know”

Ms. Donnelly as a panelist on Episode #20: Family Matters, discussing “parenting, cousins, genealogy and more.” Hear it here.

Link here to visit Liza Donnelly’s website

 (Photo: Lucy Sutton)

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Three New New Yorker Cartoonists

…if the Spill‘s record keeping is correct (and someone please correct me if it’s wrong) there are three new cartoonists in The New Yorker’s  double issue, July 10 & 17: Maggie Larson, Jason Chatfield, and Sharon Levy