Museum of Comic & Cartoon Art Fest 2018: Liniers! Chast! Karasik! & More!; New York Times Robert Grossman Obit; Tilley Trivia

If it’s Spring, it’s time for the Museum of Comic and Cartoon Art’s annual fest, otherwise known as MoCCa Fest (it’s produced by The Society of Illustrators).

The two day event begins April 6th. Scheduled events include Roz Chast being interviewed by the Virtual Memories host, Gil Roth, a conversation with Liniers (and an exhibition of his work), and a Nancy panel discussion with Paul Karasik and friends.  Link here to all the info


New York Times Robert Grossman Obit

Here’s the Times obit of Mr. Grossman written by Neil Genzlinger — it’s in today’s paper.  Glad to see Mr. Genzlinger mentioned Mr. Grossman’s stint at the New Yorker as well as including The Yew Norker.


Back in 2013 the Spill posted a map of Manhattan (“The New Yorker’s New York”) showing where various New Yorker  folk once lived. Here’s another address I’ll eventually add to the map:  75 1/2 Bedford Street, otherwise known as  the narrowest house in New York City. It was once the home of William Steig. 

— My thanks to Gretchen Maslin for the info. 


A Kenseth in The White House; Brief Interview of Interest: Ben Schwartz; PR: The New Yorker Encyclopedia of Cartoons Listed

A Kenseth in The White House

Lars Kenseth posted on social media that one of his New Yorker drawings (shown above. It was published January 30, 2017) found its way to the White House.

Here’s the link to the New York Times story. As Mr. Kenseth suggests in his Facebook post, to see the mention of his drawing scroll to the final paragraph.

Link here to Mr. Kenseth’s website.

For more, here’s a recent Spill piece on Mr. Kenseth’s drawings.


Brief Interview of Interest: Ben Schwartz

From Scarsdale 10583, January 30, 2018, “Balancing Act: A Doctor Who Creates Cartoons for The New Yorker”— this interview with Ben Schwartz.


…The listing shown below recently popped up online. The “Semi-Serious” in the title seems to be a bit a cross-promotion with a 2015 documentary starring the magazine’s former cartoon editor, Bob Mankoff.  Note that we are not shown the final cover (it says so right there: “Cover Not Final”), but it’s a start! Additional copy from the publisher appears below in green. Note to the publisher, Black Dog & Leventhal: you might want to correct the length of Mankoff’s tenure: it was close to twenty years, not thirty years.

Further copy from the publisher’s website:

The is the most ingenious collection of New Yorker cartoons published in book form, The New Yorker Encyclopedia of Cartoons is a prodigious, slip-cased, two-volume, 1,600-page A-to-Z curation of cartoons from the magazine from 1924 to the present. Mankoff–for thirty years the cartoon editor of the New Yorker–organizes nearly 3,000 cartoons into more than 250 categories of recurring New Yorker themes and visual tropes, including cartoons on banana peels, meeting St. Peter, being stranded on a desert island, snowmen, lion tamers, Adam and Eve, the Grim Reaper, and dogs, of course. The result is hilarious and Mankoff’s commentary throughout adds both depth and whimsy. The collection also includes a foreword by New Yorker editor David Remnick. This is stunning gift for the millions of New Yorker readers and anyone looking for some humor in the evolution of social commentary.





Interview of Interest: Kim Warp; Cartoon Companion Reviews Latest New Yorker Cartoons; PR: Blitt Speaks with Studio 360; Applause Applause: Karasik & Newgarden’s NYTs How To Read Nancy Review; Opp Art Launch, Kuper’s World War 3 Illustrated Release Party, Arroyo’s Unnatural Election

Interview of Interest: Kim Warp

From The Q&A with APC,  November 28, 2017: “Episode 32 — Kim Warp”

Visit Ms. Warp’s website


The Cartoon Companion Reviews the Latest New Yorker Cartoons

This week’s cartoons, rated from 1 to 6 (6 being the tops, 1 being the opposite of the tops) courtesy of “Max” and “Simon” — see it all here.


From Slate, November 30, 2017, “New Yorker Cover illustrator Barry Blitt” Interviewed by Studio 360.

Hear the interview here.


The Sunday New York Times Book Review has very nice things to say about Paul Karasik & Mark Newgarden’s How To Read Nancy. Read it hereCongrats to Messrs. Karasik and Newgarden!


Release Party for World War 3 Illustrated…Opp Art Launch…Unnatural Election

World War 3 was founded in 1979 by Seth Tobocman and New Yorker cartoonist, Peter Kuper. All the below copy appears on Facebook’s Events page :

Tuesday December 5, 7pm at the SVA Amphitheater; 209 East 23rd Street, room: 311 —Join us in celebrating the release of comic book anthology World War 3 Illustrated Issue # 48 “Fight Fascism!”

—Also making its debut: the recent launch of the daily political art website: “Opp Art” -sponsored by The Nation magazine, Opp Art posts powerful artistic reactions from around the world five days a week. and Unnatural Election International artists from fine artists to illustrators respond to the 2016 election -curated by Andrea Arroyo
—Come see live comic book readings, art performances, and presentations by contributors to all these projects.


CBS Sunday Morning to Run a Jack Ziegler Piece; New York Times Ziegler Obit Posted; One of The New Yorker’s Greatest Cartoonists, Jack Ziegler,Has Died; New Yorker Cartoonists Pay Tribute








CBS Sunday Morning will air a piece on Jack Ziegler tomorrow between 9 and 10.


The New York Times obit for Jack is online (it includes a slideshow of 14 cartoons).  Read it here.


Jack Ziegler, one of The New Yorker’s greatest cartoonists, passed away this morning in Kansas City. Last October I interviewed Jack — we had such a good time and there was so much to cover that it spread into two parts. Jack selected the above photo to run with one part of the interview — a fitting photo to run today.   I believe that it’s best to let that interview serve, for today, as my appreciation for the friend I loved and respected.

The Jack Ziegler Interview, Pt.1

The Jack Ziegler Interview, Pt. 2






Here’s Ink Spill’s “New Yorker Cartoonists A-Z” entry for Jack:

Jack Ziegler Born, Brooklyn, NY July 13, 1942. Died, Kansas City, March 29, 2017.  NYer work: 1974 – . Key collections: all of Ziegler’s collections are must-haves. Here’re some favorites: Hamburger Madness (Harcourt Brace Jovanovich, 1978), Filthy Little Things ( Doubleday/Dolphin, 1981) and The Essential Jack Ziegler, Complied and Edited by Lee Lorenz ( Workman, 2000)


Tributes From Jack’s Colleagues Are Coming In: 

Peter Steiner:

It’s hard for me to imagine that my friend and colleague Jack Ziegler is no more. He was a really lovely man. He and I did not see each other that often, but when we did, it was a pure joy for me. I said colleague because we were both cartoonists. But Jack was in a league of his own. His funniness was funnier by far than most other funniness. His superb drawing skills came from a place only he could inhabit. And there was a decency and humanity in his cartoons that made them irresistible. I already miss him badly.

Roxie Munro:

So so sad. Jack had a unique cartoon style, and was a really sweet guy. I remember when I had just started coming into the New Yorker on Tuesdays…one day, nervously sitting in the little “waiting room” outside Lee’s office, a tall bearded guy (Jack) asked me what I was doing there. Full of fear and trembling, I told him I was bringing in a cover idea. “Well,” he said, “Someone has to do it. Might as well be you.” It was perfect – gave great context, relaxed me, and I’ve never forgotten his insightful, and kind, comment.

Mort Gerberg:

Jack Ziegler’s death this morning was a heavy body blow.  Not only because Jack was one of the great modern-day cartoonists, but because, in this contemporary world of truly bad people, Jack was one of the truly good ones. Jack and I were friends —mostly by long-distance —- but the quality of the contacts we did have were what counted for me — and I relished sharing common interests and values with him that were of the world outside the single panel.  Jack was an old-fashioned, generous, straight-ahead, sensitive good guy — with no bullshit or artifice about him, all seasoned with a warm, wicked sense of humor; his attitude to life was direct and refreshing, and I admired it

His cartoons had their own zany, surreal vocabulary, delivered in his unique voice. I thought he was enormously talented and one of the most exciting “new” cartoonists to appear in the ’70s. His drawings and compositions were as clean and precise as his studio space and he worked hard on them. I met him when he was making his first appearance with a cartoon batch at The Saturday Review, to see Norman Cousins. We liked each other right from “oh, are you cartoonist too?” He told me he had written a novel and was working on other writing but was going to try cartooning; he later told me that he was very surprised that he liked cartooning more than writing. Lucky for the world; Jack left a large, deep footprint.

Tom Toro:

Jack Ziegler and I lived near one another for the last few years – a forty-five minute drive apart, which counts as close neighbors in the Midwest.  I visited Jack as often as I could and we became casual friends.  By the gentle, humble way he carried himself you’d never guess that he was a rare genius.  His influence on cartoonists cannot be overestimated, nor can his generosity as a companion and mentor.  Jack gave me an original drawing as a gift after we’d first met – a cartoon of two prisoners.  One is holding a book and weeping uncontrollably while his cellmate says, “Hey, it’s ‘Crime and Punishment.’  You had to know the second half was going to suck.'”  Jack’s joke seems sadly appropriate today.  The second half of whatever comes next, minus Ziegler, is going to suck.  Rest in peace, sir.
One afternoon Jack took me to a used bookstore in downtown Lawrence, The Dusty Bookshelf.  We naturally gravitated toward the Comics & Cartoons section, a dimly lit nook at the far back, where down on the bottom shelf the spine of a George Booth anthology peeked out at us.  A prize find.  But it was wedged in tight.  Together we attempted to pry it from the stack but it wouldn’t budge, and at some point during the comical struggle Jack looked over at me and said, “This is pretty much our relationship to George.”  How apt, how funny and humble – in other words, a patented Ziegler observation.  Even as a living legend himself, he didn’t hesitate to join a fellow fanboy on all fours to dig out a secondhand edition of wonderful cartoons.  And maybe it was Jack’s curiosity, openness and utter lack of pretense that in turn raised him to true greatness.




The New Yorker is beginning to post tributes from Jack’s colleagues. Click on the following…

New York Times Raves About Arno’s “The New Yorkers”

“So this is what Manhattan looked like in the tipsy yesterday of Prohibition”

— Ben Brantley, The New York Times

The New Yorkers was a hit when it opened in  December of 1930 (done in by the Depression, it closed after 168 performances) and here it is back in 2017, albeit in altered form, heralded one more time. Too bad it won’t be around long.

Inspired ever-so-slightly by an idea Peter Arno shopped around in early 1930 as Manhattan Parade, The New Yorkers showed up at The Broadway Theatre with music by rising star, Cole Porter.

Arno supplied the graphics for the sheet music and the program (shown above), and was the driving force behind the scenery (uncredited as he wasn’t a union member). What we should hold onto really is that, according to Robert Baral’s Revue: A Nostalgic Reprise of The Great Broadway Period, Arno inspired “the mood of the show”  much as he inhabited, distilled and reflected the times he caroused around in during the late 1920s and beyond.

Here’s a link to Mr. Brantley’s review of Encores! Production of The New Yorkers

(and thanks to the New York Times for a shout-out — in the form of a link — to my piece on Arno, “The Peter Arno Cartoons That Helped Rescue The New Yorker”)

The Evolution of a Hair Raising Cartoon; Donnelly, Chast, Finck and Flake on a Pen America Festival Panel

From Liza Donnelly, “The News is Hair-Raising: The Evolution of a New York Times Cartoon Gif” — Ms. Donnelly explains how a drawing developed into an animated piece that accompanied a recent New York Times op-ed piece.











This event of note from The Pen World Voices Festival: Gender and Power:

Women in Ink: The New Yorker’s Liza Donnelly brings together cartoonists Roz Chast, Liana Finck and Emily Flake to talk about the unique challenges of succeeding in a traditionally male-dominated field. (Dixon Place; Saturday, May 6)

Link here to the site for further events and information.