The Tilley Watch Online, May 29 – June 2, 2023
An end of the week listing of New Yorker artists whose work has appeared on newyorker.com features
The Daily Cartoon: Brendan Loper, Paul Noth, Mick Stevens, Yasin Osman, Emily Bernstein.
Barry Blitt’s Kvetchbook: “Putin Complains About The Noise”
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Out June 6th, from Darrin Bell, who began contributing to The New Yorker in 2016, The Talk (Henry Holt & Co.).
Publisher’s text: “Through evocative illustrations and sharp humor, Bell examines how The Talk shaped intimate and public moments from childhood to adulthood. While coming of age in Los Angeles?and finding a voice through cartooning?Bell becomes painfully aware of being regarded as dangerous by white teachers, neighbors, and police officers and thus of his mortality.”
Mr. Bell’s book is excerpted today online at newyorker.com.
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A Visit To The Robert Andrew Parker Exhibit
If you are able to get to the Robert Andrew Parker exhibit in Washington Depot, Connecticut before tomorrow, June 4th, when it ends, you’re in for a treat. This past Thursday, I drove across the New York State border with my New Yorker colleague, John Cuneo to take a look-see. We met up with another New Yorker colleague, Peter Steiner, then motored south, passing by Thurber country (Cornwall) on the way.
Mr. Parker is not a New Yorker cartoonist, but his illustrations have appeared in The New Yorker; the Spill has been known to stretch its embrace of fellow New Yorker artists from time-to-time. (heck, we’re all in this together). Adding to the New Yorkeryness of the event: Mr. Parker’s wife Judy Mellecker, worked at The New Yorker and contributed pieces to the magazine’s Talk Of The Town back in the William Shawn era.
The gallery space was, to my way of thinking, just the right size: an entrance way (with several monkey and parrot paintings), and then several rooms with enough art on the walls to keep your eyes busy, but not so much to overwhelm you. I don’t think I’d ever seen Mr. Parker’s work in person before (I have seen Mr. Parker in person before). Printmaking, more than painting seemed to be the leading process in this show: etchings, engravings, monotypes, traced monotypes (Mr. Steiner patiently tried to explain to me what traced monotypes are. I still don’t “get” it. Don’t tell my college professors that — I majored in printmaking). The terrific piece shown above, “Shark Lamis-Tiburov,” is a monotype.
Of all the pieces on the wall (and Mr. Parker’s homemade airplanes hanging from the ceiling), I particularly loved the wall of etchings in the last room on the side of a partition facing away from the entrance-way. Mr. Parker hand colored each piece, using deep bright colors. The colors and his particular way of drawing figures (see the gallery work here to see what I’m talking about) are, to my way of thinking, his signature. Good show!