New Yorker Cartoonists Gather for Cartoon Bank Event

Just a few days after a gathering of New Yorker cartoonists in Brooklyn (for the Not Ok exhibit) there was another gathering — this one last night at 1 World Trade Center.  Conde Nast, The New Yorker’s parent company hosted at get-together to introduce its new Cartoon Bank team to the artists. In the photo above from left to right: Felipe Galindo, Liana Finck, Colin Stokes, Jeremy Nguyen, Colin Tom, Farley Katz, Robert Leighton, and Ben Schwartz.

Above: the placard greeting visitors to the event.

Liza Donnelly provided all the photos here as well as this synopsis of the event:

We were greeted with glasses of wine and fancy little bites of food served on trays, and met by very friendly folks from Condé Nast. At 6:00 on the dot, there were already around six cartoonists there, and many more started filtering in —  the number reaching probably 40-50+ cartoonists. Everyone seemed so happy to be able to just hang out with each other and catch up. I saw friends I hadn’t seen for decades, and met new friends. It was a lovely mixture of new cartoonists and seasoned cartoonists, talking together. Remarks were made by our Condé Nast hosts, as well as from New Yorker editor David Remnick, who went casual in a short sleeved shirt. New cartoon editor, Emma Allen also spoke and welcomed the cartoonists.

There were classic cartoons framed on the gallery wall (all art from those in attendance). Interestingly, the breathtaking view from the 34th floor of the World Trade Center where the event was held quickly took a back seat to talking and laughing with pals. The whole evening had a fun buzz- and by 8:30 when I left, a large group was still lingering.

Photo Sep 25, 6 33 23 PM.jpg

Left photo: foreground, Huguette Martel, David Borchart on the left in profile; Evan Forsch is directly above Ms. Martel, looking over his glasses.  Robert Leighton in checked shirt. Photo right: Tom Hachtman in background, left. Chris Weyant in black polo shirt facing away from camera, Marisa Acocella Marchetto center. Mark Alan Stamaty in background in plum colored shirt talking with Tom Bachtell.

Below: the New Yorker’s cartoon editor, Emma Allen on left, then Ed Steed,  Julia Suits and the magazine’s assistant cartoon editor, Colin Stokes

Below, left photo: David Borchart, Pat Byrnes, John O’Brien; Right photo: New Yorker editor, David Remnick addresses the crowd.

Below, left photo: Frank Cotham, Sam Gross, Ed Steed. Photo right: Julia Suits and Bob Eckstein

Below: Andrea Arroyo, Felipe Galindo and Peter Kuper

Below, left photo: Liana Finck and Liza Donnelly. Photo right: Sam Marlow and Ellis Rosen

Below: Felipe Galindo and George Booth

Below: front and center, Barbara Smaller with Chris Weyant, and to the left, Huguette Martel speaks with Arnie Levin

Below left photo: Emily Flake, Jeremy Nguyen, Sara Lautman.  Photo right: Joe Dator and Ben Schwartz.

Below: Colin Tom, J.A.K. (Jason Adam Katzenstein) and Pat Byrnes, in profile

Below: Glen Le Lievre, John Jonik, and John O’Brien

Below: New Yorker publisher, Lisa Hughes speaks with George Booth. In the background, center, is Teresa Nash, part of the Cartoon Bank team.

 

Below left photo: Tom Bachtell, Marisabina Russo. Photo right: David Sipress, Ben Schwartz.

Below, foreground,  Emma Allen talks with Frank Cotham. That’s George Booth on the left and Barbara Smaller on the far right.

 

Below: Mark Alan Stamaty, Marcellus Hall, and Peter Kuper

Below: Marisa Acocello Marchetto and Sam Gross (Tom Hachtman in the back, right)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The Monday Tilley Watch

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

The week begins with the eclipse eclipsing political news, if only for a moment. Good luck with that, eclipse.  As noted here last week the cover of the new issue (dated August 28, 2017) has received more notice than usual.  Read about it, and two covers from different publications, here. This is the first New Yorker cover for David Plunkert (it says so right on the  Contributors page in the issue. How did we ever manage before Tina Brown instituted a Contributors page many moons ago. Wait –don’t answer that.  It’s a rhetorical question).

I will briefly derail to mention that I often return to the contributors page that accompanied the very first Cartoon Issue (December 15, 1997). It wasn’t identified as the Contributors page — it simply said “Cartoonists” but you get the idea. It’s handy for tidbits of information not found elsewhere. A sample:

Back on track now and breezing through the front of the current issue.  After pausing, briefly, to stare blankly at the rejiggered Rea Irvin Talk of The Town masthead (sorry — this is very much a dog worrying a bone thing with me), we see several graphic eclipse references (one by the late great Otto Soglow, the other by the contemporary illustrator, Tom Bachtell).  I have to admit I was fooled into thinking that the Goings On About Town full page photo of the fellow very obviously pointing skyward was also an eclipse thing, but after reading the text, I was set straight.

Now to the issue’s cartoons.  Getting ahead of things, I noticed that the first three out of four drawings are death-or-injury related. An unannounced theme issue, perhaps? (Don’t answer that either.  It’s another rhetorical question).  I also noticed that the first cartoon didn’t appear until page 45. I don’t keep track of when the first cartoon appears in every issue (and I won’t start now, or should I?) but it’s noticeable. That first cartoon is a kitty drawing by David Borchart, whose first New Yorker drawing appeared nearly ten years ago (September 24, 2007).  Here’s an interesting piece about Mr. Borchart on Jane Mattimoe’s Case For Pencils blog. 

A few pages later a rats-and- sauna drawing by Will McPhail (first New Yorker appearance: 2014). I can almost guarantee that this scenario has never appeared in the magazine before. It’s a caption-less drawing, yet the rat to the extreme left appears to be speaking. Just idle rat chat I guess. I had to look up the spoon used by the third rat in from the left. My search tells me it’s a ladle used to pour water over hot rocks to produce even more steam. I was unaware that hot rocks figured into manhole covers. You live, you learn. 

A couple of pages later we come to a beautifully placed Roz Chast drawing (Ms. Chast’s first New Yorker cartoon appeared in 1978). I’m a fan of Ms. Chast’s summertime drawings (and covers).  On the very next page is a Liam Walsh drawing (his first New Yorker drawing appeared in July of 2011) —  the third of the aforementioned death-or-injury related cartoons (the other two: Mr. Borchart’s elderly kitty, and Ms. Chast’s lottery winner).  There are an awful lot of caskets in this cubicle-related drawing. Someone should really do a book of cubicle cartoons (Harry Bliss authored a book of death cartoons, Death By Laughter, back in 2008).

Next up is an Ed Steed drawing (his first New Yorker cartoon appeared in 2013).  Mr. Steed recently had a run of death-or-injury related cartoons, but here the subject is Romantic Poets (that’s the title of the drawing).  I’m wondering (still) if the couple in bed are in one of those laboratories where people’s dreams, sex lives (etc.) are monitored. The large observation-like window suggests as much.  I like Mr. Steed’s sensitive lettering in this drawing.  Three pages following Mr.Steed’s drawing is newcomer, Maddie Dai (first New Yorker drawing appeared this past June). I wonder how many dentist offices will hang reprints of this cartoon.  The drawing seems firmly rooted in the school of Kanin (Zach Kanin), which was itself in the school of Addams (Charles Addams). Blue ribbon lineage. 

Three pages later is a Julia Suits drawing featuring crocs. (Ms. Suits first New Yorker cartoon appeared in 2006). I’ve a passing familiarity with crocs (in other words, I’ve seen them worn) but the use of “hosed off” caused me to go to Google for a refresher course. This passage in the article cleared things up for me, hosing off-wise:

“The shoes’ original home was Boulder, Colo. The early Crocs customer was probably a Pacific Northwesterner who liked to boat or garden…”

Next up is an eye-catching cartoon by David Sipress (first New Yorker cartoon: 1998).  I’m a sucker for animated luggage cartoons. I’m surprised that only one other person in the area — that fellow with a suitcase nearest the animated luggage — acknowledged the luggage was alive.  Following Mr. Sipress’s cartoon is another caption-less cartoon with a character who is speaking. In this case, the speaker is likely reading out loud from Stories About Crumbs (I would definitely buy that book). Someone should really do a book of park bench cartoons.  (P.C Vey is the artist here. His first New Yorker cartoon appeared in 1993). A broken-record aside: this is another well-placed cartoon. It’s so great seeing cartoons sit on the page as they should.

Five pages later is the familiar boxed drawing style of Harry Bliss (first New Yorker appearance: 1998).  This drawing requires some familiarity with Scooby-Doo

Five pages later is a Barbara Smaller drawing with,  as you might have expected for this late August issue of The New Yorker, a back-to-school reference. Ms. Smaller’s first New Yorker appearance was in 1996. Following Ms. Smaller’s cartoon is a Carolita Johnson cartoon. Of interest:  this 2015 Case For Pencils post about Ms. Johnson’s tools of the trade.

On the following page is the last drawing of the issue (not counting the Cartoon Caption Contest drawings appearing on the very last page). I can’t think of a better way to end the issue than with   a truffle-related cartoon by Joe Dator (his first New Yorker appearance: 2006).  I really do not want to get into “liking” certain drawings but since the die was recently cast when I liked a Bruce Kaplan drawing,  I’ll admit this drawing registered quite high on my inner laugh-o-meter.  For evaluations and ratings of every drawing in every issue I recommend going over to Cartoon Companion. They usually post their ratings for each new issue by the end of the week. I’ll say this about Mr. Dator’s work: for me, he is representative of that wonderful continuum of New Yorker artists who have their very particular world.  Think of George Price, or Richard Taylor, or Syd Hoff or Jack Ziegler.  I’m not suggesting that Mr. Dator’s sense of humor is similar to these artists (although you might be tempted to compare the senses);  I’m suggesting that he, like those artists, is as successful in providing us with a world of his own.  Good stuff.

 

 

 

 

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.

 

 

 

 

 

 

   

 

 

 

 

 

 

 

 

Show of Interest: Tom Bachtell’s Talk of The Town Illustrations; Whither MAD Magazine?; Roz Chast’s Tiny Shirts

Show of Interest

If you’ve opened up the New Yorker to The Talk of The Town you’ve seen Tom Bachtell’s work.  Now you can see the drawings in person at The Bower Center For the Arts .

Here’s a fine article  about the exhibit and Mr. Bachtell.

Link here to Tom Bachtell’s website.

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Whither MAD Magazine?

Every so often I post something that might seem out of the range of The Spill‘s concerns, but MAD magazine is very much a part of the New Yorker cartoonist universe. Many a New Yorker cartoonist will tell you that MAD was an early comic education and inspiration.  What’s more, a number of New Yorker cartoonists contribute to MAD.  So here’s a thoughtful piece focused on a rumor concerning MAD’s fate.  

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Roz Chast’s Tiny Shirts

This photo appeared on yesterday’s Spill .  It shows Roz Chast (with the great Edward Koren looking on) working on a tiny paper shirt construction at Jack Ziegler’s memorial last Saturday.  As promised, here are the shirts (they made their way out of The Society of Illustrators to The Spill‘s archives via the vest pocket of Danny Shanahan’s jacket).

 

 

 

 

The Talk of The Town’s Tom Bachtell is Pencilled; Liza Donnelly: “Cartooning the New President”; From the Spill’s Library: Another Spot Artist

Tom Bachtell, whose wonderful spot drawings are featured weekly in the New Yorker‘s Talk of The Town section is the subject of Jane Mattimoe’s Case For Pencils this week.  Check it out here.

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Liza Donnelly on drawing the new President (with a selection of her latest cartoons). See it here

 

 

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As long as the subject of New Yorker Spot artists has come up  (with Mr. Bachtell’s work) here’s a little something from the Spill‘s archives:  Suzanne Suba was one of the very few  New Yorker spot artists to have her work collected in book form.  Below is an example of her art from the lovely little (4″x5″) book titled, Spots by Suba: From The New Yorker (E.P. Dutton & Co. 1944).  Ms. Suba passed away in  2012

 

 

Cartoons & Politics Mix

img-20170105-132631_3_orig-300x300From The Comic Book Legal Defense Fund, “Exclusive Interview: Francoise Mouly and Nadja Spiegelman Resist!” Resist will be  distributed, free of charge,  on the day of the Women’s March on Washington in these cities:  Washington, D.C., New York City, Des Moines,, Portland, Chicago, Dallas, Los Angeles, and San Francisco.  It includes work by comic artists from abroad and the United States, including a number of New Yorker artists.

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From dnainfo, January, 13, 2017: “Artists Respond to Election in Hairpin Arts Center’s Newest Series”New Yorker artist Tom Bachtell‘s work appears (among others) in this Chicago exhibit.

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Vassar James Palmer GalleryComing soon to Vassar College’s James Palmer Gallery, “The World After January 20, 2017: Works By Contemporary Artists and Poets, February 2-16, 2017” — the exhibit features work by a number of artists (several New Yorker cartoonists are represented, including Liza Donnelly, and Peter Steiner)