The Earliest Football

It’s become somewhat of an Ink Spill tradition to bring this cartoon out of storage and let it see some sunshine every Super Bowl Sunday.  Published in The New Yorker, October 16 2006, it’s the only football drawing I’ve ever had in the magazine.

Gil Roth’s Virtual Memories Ink Spill Podcast

gil-roth-in-our-kitchen-sept-2016From the Department of Self-Promotion:

Gil Roth (shown standing in our kitchen last week) has an awful lot of cartoonists on his podcast,Virtual Memories. He visited recently to tape two more (with Liza Donnelly and myself).  The interview with Ms. Donnelly will show up a few Tuesdays from now, but in the meantime you can hear Gil grill me here.

More Peter Arno; The Tilley Watch

Arno cover 2

Arno workbooks

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Another installment from the Department of Self-Promotion, this interview by Alex Dueben posted today on The Comics Journal site.

 

 

 

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Tilley Watch...

 

 

 

 

 

Finck:Stokes

Here’s a fun video featuring cartoonist Liana Finck and Colin Stokes, The New Yorker‘s Cartoon Assistant (and occasional cartoon collaborator).

Peter Arno Bio Excerpted on Newyorker.com

PA: nyer.com

 

Whoops Dearie ad

 

 

 

 

 

 

 

If you haven’t gotten around to thumbing through a copy of Peter Arno: The Mad Mad World of The New Yorker’s Greatest Cartoonist, the New Yorker‘s website has posted an excerpt along with two slideshows: one of Arno’s Whoops Sisters and a second spanning Arno’s (non-Whoops Sisters) work for the magazine .  Read it here.

Attempted Bloggery Interviews Author of Peter Arno Biography

arno-

I couldn’t be more pleased that Attempted Bloggery has posted its first interview; the occasion  happily coincides with the publication of Peter Arno: The Mad Mad World of The New Yorker’s Greatest Cartoonist.

 

Read it here.

 

 

 

 

Here’s a snippet of the interview:

Q: …In 1925  Arno came to the New Yorker during the magazine’s rocky first year. How did a 21-year-old come to establish himself at the young magazine? He had talent, to be sure. Did he also have connections?
A: He had zero connections at The New Yorker.  He brought his work in, unsolicited, like so many have done since. If we want to let our legs go wobbly for a moment, consider that Arno’s first visit to the New Yorker was going to be, in his own words, his “last try” at selling his art.  Had the New Yorker not taken his work (one from that very submission), he would’ve headed fully into his other passion: music.