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.

 

 

 

 

 

 

   

 

 

 

 

 

 

 

 

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.   

 

 

 

Tom Toro: The Ink Spill Interview

New Yorker cartoonist, Tom Toro and I’ve been emailing now and then over the seven years he’s been contributing cartoons to the magazine, but it wasn’t until a month ago, when he came east from Kansas for Jack Ziegler’s memorial, that we finally met in person and were able to chat for awhile. The idea for an interview had been batted around by us earlier in the year; I like to think it began in earnest right there and then in a restaurant on Manhattan’s upper east side. With Dock Street Press’s release of Tom’s first book, Tiny Hands, a collection of the political work he did for The New Yorker’s Daily Cartoon slot, it seemed like the perfect time to turn our conversation into something more organized. Following the interview I asked Tom to select and comment on five favorites of his own work — you’ll see those at the end of this post.
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George Booth: Model; Michael Crawford’s Maps; Roz Chast’s National Book Festival Poster

George Booth: Model

The cartoonist , Mike Lynch has recently turned up an issue of Leatherneck (October, 1951) with George Booth on the cover.  Sarah Booth has confirmed that is indeed her father having his helmet painted, telling the Spill, “I’d know that  look of mischief anywhere!”

According to Lee Lorenz’s  The Essential George Booth (Workman, 1998), Mr. Booth, who had enlisted as a Marine in 1944, re-inlisted and joined the Leatherneck staff in 1946, contributing  cartoons,  spots, spreads, and covers.  In a 1998, he told The New Yorker’s David Owen (for a Booth Profile) that Leatherneck was “a global magazine, and a very good one. It was slick. It gave me my start, and I got to work with some top professionals. It was really better than any school I could have gone to, and I learned a lot.” 

Above: Booth on the cover, and below, a Booth cover

 

 

 

 

 

 

 

 

 

 

 

 

 

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Michael Crawford’s Maps

From newyorker.com’s Culture Desk, July 4, 2017,  “Michael Crawford’s Mixed-Up U.S.A.”

Matt Dellinger, the late Mr. Crawford’s friend, introduces us to a slide show of unusual maps.

 

 

 

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Roz Chast’s National Book Festival Poster

From finebooksmagazine.com, July 6, 2017, “Cartoonist Roz Chast Designs National Book Festival Poster”

Ms. Chast, in a press release:

“I wanted to make a poster that expressed the excitement, appreciation, and delight I have for the books of my life.”

 

 

 

 

 

 

Resist! #2 Arrives July 4th With An Abundance of New Yorker Contributors

 

The second issue of Resist!, a free “political comics zine of mostly female artists” (a “Man Cave” section is included) edited by Nadja Spiegelman and The New Yorker‘s art editor, Francoise Mouly, will be distributed this coming July 4th in comic book stores and out on the streets by volunteers (approximately 60,000 copies of the first Resist! were distributed this past January).

Go here to find out where you can find a copy near you

According to a press release “the free distribution of Resist! is intended as an Independence Day celebration of the First Amendment, of our diverse country and of our resilience.”

The Editors write in the introductory pages of #2: “These pages contain many individual realities.  They reflect topics as diverse as their contributors: the environment, immigration, racism and the economy.”

Artists represented in this 96 page anthology are from all over the world, but as the Spill’s focus is  primarily New Yorker contributors, I’m  listing the artists whose work has been published there.  In order of appearance:  Roz Chast, Kendra Allenby, Carol Lay, Ana Juan, Anita Kunz, Emily Flake, Amy Kurzweil, Kim Warp, Abigail Gray Swartz, Andrea Arroyo, Liniers, John Cuneo, Tom Toro, Peter Kuper,  Frank Viva, Paul Karasik, Art Spiegelman, R. Sikoryak, Dean Rohrer, Shannon Wheeler, and Daniel Clowes. 

 

 

 

 

 

 

 

 

For more information, link here to the Resist! website.

Credits:

Resist! #2 cover by Malika Fravre, a French artist living in London, England.

Across the Great Red States by Kendra Allenby, a cartoonist and storyboard artist living in Brooklyn, NY.  Her work has appeared in The New Yorker

“We’re looking for something that says ‘Death to the Patriarchy’…” by Amy Kurzweil, author of Flying Couches: A Graphic Memoir.  Her work has appeared in The New Yorker.

All art copyrighted by the respective artists.