The Monday Tilley Watch: The New Yorker Issue of February 26, 2018

Always glad to return to weekly issues of the magazine after doubles. This new issue sports a cover that seems like the sum of the equation: Olympics + North Korea =.

  Here’s what cover artist Mark Ulriksen had to say about it on newyorker.com

The Olympics + North Korea equation continues with the very first spot drawing appearing on the opening page of The Talk of The Town. And, as long as we’re mentioning that page,  let’s get this out of the way: Rea Irvin’s classic Talk masthead is still a-missin’.  Here’s what it looks like:

Could be wrong, but it seems like there are slightly more Otto Soglow spot drawings scattered throughout Talk than usual (along with Tom Bachtell’s always top-notch drawings). 

Doesn’t take long to get to the first cartoon of the issue (it’s on page 18). P.C. Vey delivers a very P.C. Vey-like piece of work (that’s always a good thing).  Love the little fish Mr. Vey has drawn, but wish it was still swimmin’. Five pages later Lars Kenseth takes us to the land of the pitchman. Funny drawing. Love how Mr. Kenseth uses the language. I did something in that vein a long time back — in the New Yorker, April 6, 1981, to be exact.  I remember it being a ton-o-fun playing with the structure of the television pitch. 

On the very next page one of my favorite subjects: the old west (or possibly it’s a cowboy and his horse in the contemporary west).  Zach Kanin’s coffee-drinking horse is well drawn.  I wish the cowboy’s face was easier to see on the digital edition — this is where print (might) come in handy. 

Nine pages later, a well-placed-on-the-page Frank Cotham cartoon. Cartoonists usually love to show gangsters about to toss a guy off a pier.  Mr. Cotham gives us a prequel. Nice.

Four pages later Roz Chast with an at-home Olympics moment.  A very Chastian drawing any which way you look at it. Another four pages brings us to the second-ever New Yorker drawing (unless I’m mistaken) by Olivia de Recat.  Similar to her first in that it’s mostly text. This one is approximately 97% text (handwritten text).  Her first was perhaps 91% text.  Though we don’t see them as much as we used to, the aforementioned Ms. Chast has done a number of text-driven (to use a Tina Brown era term) drawings over the years. Without doing research (unforgivable, I know!) I’m going out on a limb by suggesting Ms. Chast may have pioneered this particular form of New Yorker cartoon. If anyone wants to shoot that down, please contact me.

Five pages later, Maddie Dai weighs in on a fellow’s mid-life crisis times two.  His motorcycle (which lacks a gas tank — maybe it’s one of those new electric bikes) has at least one (unintentional?) funny feature: the bike’s training wheels are attached to the hub of the rear wheel.  If this cartoon bike was a real bike the training wheels would spin around with the tire, complicating things even further for the crisis guy.  No matter — it’s a nice drawing. 

On the very next page, a debut New Yorker cartoon by Navied Mahdavian*, that answers the oft-asked question, “What did we do before the internet?” Funny drawing.

Four pages later, veteran cartoonist, Mick Stevens gives us death having just died.  Looking at Mr. Stevens’ drawing I asked myself if this fell into the double negative column.  If death dies, isn’t death then alive? Way too much of a headache-inducing thought for this cartoonist (me, not Mr. Stevens).

Eight pages later Sara Lautman takes us to a contemporary bar moment. Found myself studying the shelves and bottles of booze in the background.  There’s a Robert Weber-ish looseness to that area.

Seven pages later a Bruce Eric Kaplan gem of a caption.  And on the very next page, the last drawing of the issue (not counting those on the Caption Contest page).  Liana Finck gives us a bird chase. Not sure what the surface is that they are on — is it pavement with a sidewalk in the rear?  It probably doesn’t matter.  The big bird — the one that’s chasing the little bird —  has an expression indicating confidence she/he will succeed, despite the lack of arms. 

*For those keeping track, Navied Mahdavian is the thirteenth new cartoonist introduced under the magazine’s current cartoon editor, Emma Allen, since she was appointed in May of 2017, and the second newbie introduced so far in 2018.

— See you next Monday

 

 

50 Years Ago This Week: Peter Arno’s Last New Yorker Cartoon

Every so often the Spill likes to take a look at the last cartoon published by one of the magazine’s artists. This week it’s a drawing by Peter Arno — the cartoonist the New Yorker‘s Roger Angell called “the magazine’s first genius.”  I won’t go on and on here about why Arno is one of the magazine’s greatest — some say the greatest of the magazine’s artists, but if you want more on the subject there is a biography of him floating around (forgive me for lifting the bolded passage below from the aforementioned biography). 

(Above: Arno’s drawing as it appeared in the issue)

Sometime in the fall of 1967, Arno finished working on a full-page drawing of Pan blowing on his pipes as he frolicked through a glade.  In the forefront of the picture is a young, well-endowed woman, who says to him, “Oh, grow up!”  Brendan Gill [in his wonderful book, Here At The New Yorker] described the drawing this way:

“…in content and composition it was a characteristic piece of work…the drawing is a matter of some forty or fifty bold strokes of black against white, bound together by a gray wash; it has been built up as solidly as a fortress, though built in fun, and its dominant note is one of youthful zest.  Nobody could ever tell that it was the work of an aging man, let alone a dying one.”

“Oh, grow up!” wasn’t the last Arno published by the New Yorker.  His last cover appeared the following June, and the magazine has, from time-to-time brought out one of his older covers or drawings. But it was certainly the last published in his lifetime. The drawing appeared in the anniversary issue, dated February 24th, 1968. It would’ve been out on the newsstands a week earlier, the week of February 18.  Arno died on February 22. 

If you have access to the New Yorker‘s digital edition or happen to have a print copy, it’s certainly worth a visit to this issue — it’s a gem.  Rea Irvin’s Eustace Tilley is, of course, on the cover (and Mr. Irvin’s classic masthead for the Talk of The Town is in its place). The issue’s cartoons are by some of the greatest names on the magazine’s roster of artists (the magazine had a history of making sure the anniversary issue was loaded up with a good number of its big guns. In my Arno research I came across a note to Arno from the New Yorker‘s founder and first editor, Harold Ross expressing concern he (Ross) did not have a Arno drawing available for the upcoming anniversary issue). 

In this issue you’ll find terrific cartoons by Robert Weber, Alan Dunn, George Price, James Stevenson, William Steig, Steinberg, Richard Decker, Warren Miller, Frank Modell, Syd Hoff, Charles Addams, Whitney Darrow, Jr., Lee Lorenz, Mischa Richter, and Barney Tobey. (At this particular time the magazine’s stable of cartoonists was all male. Mary Petty’s piece appeared in 1966, and Nurit Karlin’s work did not begin appearing until 1974).

Next week, the Spill will return with its usual Monday Tilley Watch.   

 

A 32 Year Old New Yorker Cartoon Sampler

This being a Monday, the Monday Tilley Watch would normally be here, but last week’s issue was a double — we won’t see a new issue until next Monday.  So here’s an addendum to yesterday’s post (about the magazine’s 60th anniversary album):  A Cartoon Sampler, published in 1985 (wow, what a celebratory mood the magazine was in).  Samplers were not new then, but they have somewhat fizzled out since.  I believe this Sampler would’ve been offered to new subscribers (a lot of, if not most of, other samplers were themed, and sent out as advertising incentives). 

Sitting above an Eldon Dedini drawing on the very first page is this intro:

Almost 50 pages, this isn’t a cheap-o toss-away booklet, but something savable — it tucks nicely into the 1975-1985 Album. The cartoons, all on reasonably good paper stock, are usually placed one a page with just a couple of exceptions.  There’s even a double page spread of Steinberg’s drawings (“Women”).  The cartoonists are represented in a fine balance, from George Price, the elder (in terms of years at the magazine; his first New Yorker appearance was in 1929) to newbie, Richard Cline, who was first published in the New Yorker in 1981.

A sample from the Sampler:  work by Robert Weber (the full page) and on the opposite page, Roz Chast, and Edward Koren:

The back cover:

 

 

The Monday Tilley Watch: The New Yorker Issue of October 2, 2017

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

October already? Well yes — that’s the way it is on magazine covers.  Always one week ahead of reality (or if it’s a monthly, one month ahead of reality). The cover of this weeks issue, graphically speaking, reminded me of Gretchen Dow Simpson’s work (she did 58 covers for the New Yorker ). A number of Ms. Simpson’s  covers involved stairs, and all the wonderful shadows and angles associated with stairs. She did one New York City stoop cover as well (it was this cover that came to mind when I first saw the latest one by Kadir Nelson. Like Mr. Nelson’s,  Ms. Simpson’s cover has a somber cast of its own. 

I note while zooming though the Goings On About Town the ad for Spielberg (“Direct From the Heart”) — he looks a little like John Lennon there, specifically the photo of Mr. Lennon taken outside Mr. Lennon’s New York City Bank Street address.

Spielberg and Mr. Lennon (with stethoscope):

Okay, now in to the issue and onto the cartoons. The first, on page 20, is by Barbara Smaller, who began contributing to the New Yorker in 1996.  An excellent sizing of Ms. Smaller’s drawing — we can really see her work here. It’s funny, but with this kind of space, her work makes me think somewhat of the late great Robert Weber’s. Perhaps it’s the caption, or tone of the caption — very Webery (Webbery?). Google search Robert Weber New Yorker images and you’ll get an eyeful. I’d direct you to a Weber collection but, sigh, there never was one (some day I hope!).   

Four pages later is a mob drawing by relative newbie, Christian Lowe (first New Yorker appearance: February 2016).  Again, nice placement on the page. The caption forced me to visualize cinematic baseball bat moments involving mobsters.  Did Robert De Niro’s  Al Capone do a bat flip in that memorable scene from The Untouchables?  Nope. 

Four pages later a rapunzel drawing by J.A.K. (Jason Adam Katzenstein).  Mr. Katzenstein (first New Yorker drawing: 2014) manages, in a two-part drawing no less, and using barely any of Rapunzel’s tower or hair, to succinctly convey an idea. Most cartoonists would show the whole tower and all the hair, as well as the sun, and Icarus. In this case, not necessary. J.A.K.’s drawing is immediately followed by a two page color spread by Roz Chast (her work began appearing in the magazine in 1978). An incident taken from a day in Ms. Chast’s life, involving a knife.  Three pages later a  drawing by  — I believe! — a brand new newbie, Jon Adams.  The drawing features a burning bed that is in no way connected to the 1984 Farrah Fawcett film, The Burning Bed.  

Two pages later, an Avi Steinberg drawing set in one of a cartoonist’s best friend scenarios: the doctor’s office.  I toyed with the idea that the caption should read “Just as I suspected. This thing makes everything louder” instead of the published “Just as I suspected. These things make everything louder” —  it’s the kind of brow furrowing decision-making that makes this cartoon biz so darn demanding.

Four pages later, the distinctive work of Lars Kenseth (first New Yorker cartoon: 2016).  Sharks! I wish we could see a Kenseth shark some day.  In this case the fins suffice. The fellow in the foreground is holding a small piece of wood.  I appreciate the care Mr. Kenseth has taken drawing that little piece of wood — the detail makes me laugh. 

After another four pages is a well placed Paul Noth drawing incorporating a wee bit of color.  Mr. Noth’s first drawing appeared in The New Yorker in 2004.  Like Mr. Steinberg’s doctor’s office, the wise man on the mountaintop is also a favorite of New Yorker cartoonists (I’ve done a number of both, and will continue to do more — they’re like potato chips: you can’t stop at one, or even a dozen).  On the very next page is a Farley Katz drawing.  Mr. Katz, like Mr. Kenseth, has a truly distinctive style.  You know it’s his work before you’ve had time to even wonder whose work it is (if that makes sense). There are certain cartoonists whose every drawing is akin to coming upon a blind curve — you have absolutely no idea what you are about to see. This is a very very good thing. In this latest drawing, there’s shopping action that (for me anyway) recalls the game show Supermarket Sweep. Again, Mr. Katz does not fail to deliver something unusual. 

A Tom Chitty drawing follows Mr. Katz. Talk about your distinctive styling. This is a three parter, with the third part using a party punch bowl, something not seen in New Yorker cartoons very often. If there’s been a punch bowl in recent times, I can’t recall it. Please correct me if I’m mistaken. The first Chitty New Yorker drawing appeared in 2014.  Three pages later, Emily Flake mashes pirates with ‘splaining. I’m curious as to where this  pirate get-together takes place. It looks kind of like a lodge, or a finished basement.  Ms. Flake’s first New Yorker cartoon appeared in 2008. On the very next page is a BEK (Bruce Eric Kaplan) drawing.  Another distinctive stylist with the added bonus of some of the best written captions the magazine publishes. They just flow.  Mr. Kaplan’s first New Yorker cartoon appeared in 1991. 

Eight pages later, the final drawing of the issue (not counting the Caption Contest drawings) and it’s by newbie, Teresa Burns Parkhurst. Technically not Ms. Parkhurst’s first appearance in the magazine — she was part of last week’s caption contest.  Another cartoonist’s chestnut scenario: the boardroom.  This time the focus is on the always awkward situation of whether or not to tell someone they’ve some foreign body (food, usually) stuck on their face. 

And that is that. See you next Monday.

 

 

 

 

 

 

 

Fave Photo of the Day: Dator & Le Lievre Down Under; Attempted Bloggery on Advertising Work By New Yorker Cartoonists; A Spill Note

Fave Photo of the Day

Here’s Joe Dator, in the land down under with New Yorker cartoonist colleague, Glen Le Lievre, August 2017.

Mr. Dator began contributing toThe New Yorker in 2006.

Mr. Le Lievre began contributing toThe New Yorker in 2004.

 

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Attempted Bloggery On Advertising Work by New Yorker Cartoonists

I’d planned to briefly detour from the Warren Bernard New Yorker cartoonists ad collection that’s been appearing here and show the Absolut ads — all appeared in 1991 —  by a bunch of colleagues (Robert Weber, William Hamilton, Edward Koren, Victoria Roberts, Roz Chast, Jack Ziegler, Mischa Richter, Danny Shanahan, and Lee Lorenz).  I soon discovered that Stephen Nadler’s Attempted Bloggery had already done just that in a January 2016 post.  It includes scans of all the ads.  See them here. __________________________________________

A Spill Note

Normally, today’s Spill would consist entirely of The Monday Tilley Watch, but alas, the New Yorker that appeared last week (dated August 7 & 14, 2017) is a double issue, so no new cartoons until next Monday.

 

 

 

 

50 Years Ago in The New Yorker

Every so often I like to take a look at a random issue of The New Yorker from well before my time there, or well before my time, period. This issue, of April 29, 1967 is solidly in the former category. The New Yorker was not yet on my mind —  I was in fact, just about to begin transitioning out of comic books, and into underground comics. My last (non-underground) comic book bought at the time of its release was this one, Superman and The Flash, December 1970 (yes, I still have it — I don’t throw much away).

 

 

Flipping through this Spring-time issue of The New Yorker, the first thing I noticed, besides the lovely Abe Birnbaum cover, was the  very simple Table of Contents, when the magazine seemed intent on just offering up a few clues as to what was inside. No listing of artists or writers, just column headings such as “The Air” and “Current Cinema”  — we’ve come a very long way since then.

Of the seventeen cartoonists represented in this issue, not one was a woman. This was a time when only one veteran female cartoonist was still on the scene, the great Mary Petty.  But her run at the magazine had ended a year before in the issue of March 19, 1966 (she died in 1976). The next female cartoonist to show up was Nurit Karlin, and she wouldn’t begin publishing until 1974. 

These are the seventeen  cartoonists in this issue: Charles Saxon, Warren Miller, Lee Lorenz, William Hamilton, James Mulligan, Dana Fradon, William O’Brien, Edward Koren, Ton Smits, James Stevenson, Robert Kraus, Donald Reilly, J. B. “Bud” Handelsman, Carl Rose, Barney Tobey, Robert Weber, and William Steig. Many of these names will ring a bell with New Yorker cartoon aficionados, and some names will ring a very large bell.  Edward Koren and Lee Lorenz are still contributing to the magazine.  Dana Fradon and Warren Miller are still hail and hearty.  James Stevenson, Robert Weber, and William Hamilton  were among the recently departed slew of New Yorker cartoonists this past year. 

For me, the most surprising cartoonist to see  in the issue was Carl Rose (“surprising” because I unfairly tend to place his work more in the 1920s – 1940s). Mr. Rose contributed his very first cartoon to The New Yorker in the Halloween issue of 1925, when the magazine was about nine months old; his last cartoon appeared in the summer of 1971. (Below: Mr. Rose’s April ’67 drawing)

Though he had  a great run in the New Yorker,  he only published one collection, One Dozen Roses — but what a collection.

 And here, for a little more on One Dozen Roses and other noteworthy New Yorker cartoon moments in Mr. Rose’s career, I’m going to lift some of the info from his entry on the Spill‘s  “New Yorker Cartoonist A-Z” section: 

this collection contains essays by Rose on cartoon themes. Especially of interest is his essay concerning Harold Ross, “An Artist’s Best Friend is His Editor”. Carl Rose will forever be linked to E.B. White for the December 8, 1928 New Yorker cartoon of the mother saying to her child, “It’s broccoli, dear.” and the child responding, “I say it’s spinach, and I say the hell with it.” The drawing was by Rose, the caption was adapted by White from Rose’s original idea (for a slighty expanded explanation go here). Rose also had a Thurber connection. In 1932, Rose submitted a drawing captioned, “Touche!” of two fencers, one of whom has just cut off the head of the other. Harold Ross ( according to Thurber in The Years With Ross) thinking the Rose version “too bloody” suggested Thurber do the drawing because “Thurber’s people have no blood. You can put their heads back on and they’re as good as new.” The drawing appeared December 3, 1932.

One last thing about Carl Rose: there aren’t a lot of photographs of him around but when Irving Penn (whose work is now being celebrated at New York’s  Metropolitan Museum), photographed a number of The New Yorker‘s artists in 1947 for a spread in Vogue, an unassuming looking Carl Rose was right up there on the top-most platform with Otto Soglow and Alajalov, seated just behind Charles Addams. Among the others in the photo: Steinberg, Steig, Helen Hokinson, George Price, Richard Taylor, Perry Barlow, Barney Tobey,  Barbara Shermund and Whitney Darrow, Jr. —  an array, if ever there was one, of New Yorker cartoonist royalty. 

Getting back to Mr. Rose’s colleagues work appearing in the April issue, the magazine was, in 1967, still laying-out the cartoons with the graphic gusto it always had: a beautiful full page by O’Brien , an equally beautiful half-page Warren Miller drawing;  other drawings were run in various shapes and sizes.  The subject matter seemed to be bridging the older New Yorker art with the new: businessmen and housewives appear, as do people dealing with obviously modern cultural keystones such as  long-haired men and  hip young woman;  personal computers courtesy of Donald Reilly and  politics via Lee Lorenz, whose drawing depicts Robert Kennedy photo bombing a couples vacation picture. Dana Fradon’s drawing, about recharging electric cars,  could’ve run in modern times.  Needless to say (so why am I saying it?) that the issue was a blast to look through.  The cartoonists were in top form, providing us with a lot, a whole lot, to look at. As Jack Ziegler told me in an interview last year:  “…it’s always nice when cartoonists know how to draw so that they can give us something pleasant and fun to look at.”