Liza Donnelly’s Norman Rockwell Museum Virtual Opening Tonight!

                  “A Master Class In Using Humor”

                                                              — The Boston Globe, July 9, 2020

Here’s the notice from the Globe:

LIZA DONNELLY: COMIC RELIEF (NORMAN ROCKWELL MUSEUM): Donnelly, a cartoonist and children’s book author, has been making wry, powerful cartoons for the New Yorker for more than 30 years. Don’t let the show’s name fool you: Charged with political awareness from feminism to Black Lives Matter, Donnelly’s career is a master class in using humor to heighten and amplify a dead-serious point of view.

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Here’re a few photos from Ms. Donnelly’s exhibit opening this Sunday. There’ll be a live virtual tour at 5:30 by the artist this evening on the Norman Rockwell Museum YouTube channel.

 

 

Lars Kenseth To Zoom And Talk Toon…Cartoon,That Is; Thurber Thursday: The Male Animal

Funny guy, Lars Kenseth is set to Zoom today, talking cartoons with a panel of contributors to Alta Journal of California.  To watch (it’s free)...link here!

Here’s Lars’ entry on the Spill’s A-Z:

Lars Kenseth: New Yorker work: November 14, 2016 –. Lars is a cartoonist whose lumpy people have appeared in The New Yorker, Barron’s and Food And Wine’s FWx. With a heavy background in animation, Lars has spent the last decade drawing and writing for Fox, Disney, Mondo, Maker, MTV and, most recently, Adult Swim. He’s a 2016 Sundance Institute Fellow, a Dartmouth graduate and a long suffering acolyte of the New York Jets. A New England native, Lars wisely lives in Los Angeles with his wife Liz and their two feline dependents, Omelet and Honeybear. New Yorker work: November 14, 2016 –. Website: larskenseth.com/

For More Lars: Here’s a Spill piece from August of 2017:  “Lars Kenseth Talks About Deodorant People and His First New Yorker Cartoon”

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Thurber Thursday: The Male Animal

In my earlier years of collecting Thurber, and reading about Thurber, I was quite aware of Thurber & his pal, Elliot Nugent‘s play (and later a film), The Male Animal thanks to Burton Bernstein‘s Thurber biography.  But it wasn’t until  my wife and I drove, for the first time, to find Thurber’s home in Cornwall, Connecticut (the home he called “the great good place”) that I became aware of and saw the book shown here (not this exact book — another copy). It was on display in a small building in Cornwall (a welcome center or something?).

Years (and years) later, I finally found a copy — the one shown here (the arrival of the internet helped).

The book has, as you see below, a full page photo of Nugent, but not one of Thurber.  Perhaps the publisher thought the inclusion of Thurber drawings sort of balanced the graphics. Who knows!

There are, if my count is correct, eleven Thurber drawings scattered through the book, plus two full page b&w photos from the stage play. Here’s one of the eleven drawings:

 

 

 

Henry Martin’s New York Times Obit; Personal History: Cartoonist Correspondence; Article Of Interest: New Yorker Cover Artist Gayle Kabaker; Today’s Daily Cartoonist & Cartoon

Henry Martin’s New York Times Obit

From The New York Times, July 7, 2020, “Henry Martin, Wry New Yorker Cartoonist, Dead at 94″

Here’s Richard Sandomir’s obit for the wonderful Henry Martin, who passed away a week ago today, just two weeks shy of his 95th birthday.

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Personal History: Cartoonist Correspondence

One of the many pleasures of being a New Yorker cartoonist has been, and continues to be communicating with so many other cartoonists, both new and veteran. I opened my binder of cartoonist correspondence this afternoon to remind myself of the content of the half-dozen letters I exchanged with Henry Martin. One, dated March 10, 2000, was in response to a letter I had written him asking about his Spot work for the magazine (you’ll see a link in The N.Y. Times obit for more on his Spots). Here’s how he replied:

“…almost no one is [interested in Spots] but I loved them and they helped me get my foot in the door at The New Yorker. Most of them were done on scratch board — not much in use anymore — and nearly all were done exact size.

I did that so that I knew just how they would look in the magazine and didn’t have to worry about how they would look enlarged or reduced. In many ways they were more fun to do than cartoons, but of course, they didn’t pay as well and had no reprint value except for The New Yorker…at some point around 1965 I quit doing spots, thinking I’d return to them later. When I did, sometime after Lee took over [Lee Lorenz, The New Yorker‘s art editor, who succeeded James Geraghty in 1973] I found my eyes could no longer adjust to the small size, and I was having trouble finding good scratch board. The best I found was made in Austria and the manufacturer went out of business!…There were many great artists doing Spots…I thought they added so much to the magazine.” 

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Article Of Interest: New Yorker Cover Artist, Gayle Kabaker

From The Washington Post, July 6, 2020, “Sketching My Way Through Crisis”

–this second piece in a series by Ms. Kabaker.

Visit her website here.

Left: Ms. Kabaker’s January 30, 2017 New Yorker cover

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Today’s Daily Cartoonist & Cartoon

Amy Kurzweil on no more funding for the arts.

Ms. Kurzweil began contributing to The New Yorker in 2016.

Visit her website here.

A Bonus Daily From John Cuneo; Today’s Daily Cartoonist & Cartoon…And Yesterday’s

A Bonus Daily Cartoon From John Cuneo.

A second wave drawing from one of the magazine’s best cover artists. See it here.

Mr. Cuneo’s first New Yorker drawing was published in May of 2019, but he’s been contributing covers for close to a decade.

Today’s Daily Cartoonist & Cartoon: Patrick McKelvie on forever dishes. 

Mr. McKelvie’s first New Yorker drawing appears in this week’s issue.

Yesterday’s Daily Cartoonist & Cartoon: J.A.K. on fireworks. Mr. K began contributing to The New Yorker in 2014.

The Monday Spill: The New Yorker Cartoonists Glossary (Updated)

No Monday Tilley Watch today as we’re in the second half of a double issue stretch (the latest issue is dated July 6 & 13, 2020). The next new issue, dated July 20, 2020 will be out next Monday).

Just for fun, I thought I’d dust-off and update the Glossary I compiled some years back for a newyorker.com feature. The original version appears there, but here’s a slightly expanded version reflecting changes at the magazine’s Cartoon Department. Even though the magazine’s employees are working from home during this time, it’s temporary, and so I’ve left in the areas referring to the cartoonists going into the magazine. They will return!

The Glossary 

If the average person happened to sit down with a group of New Yorker cartoonists, they would likely hear some common words and expressions used in unfamiliar and possibly confusing ways. Here is a glossary of commonly used words and expressions by the magazine’s cartoonists:

Batch: As in “I faxed my batch early.” Or “My batch is thin this week.” A batch is the collective term for the drawings a cartoonist submits weekly to the magazine [see Magazine, the].

Cartoon: Drawing

Colin: Colin Stokes, the assistant cartoon editor. Usage: “I’m not sure if there’s a meeting this week—I’d better give Colin a call.”

Daily: Refers to a drawing used online as a Daily cartoon, or to the online feature itself, as in “Did you see today’s Daily?” or, “Who did today’s Daily?” A Daily cartoon does not appear in the print magazine; print magazine cartoons do not appear as Daily cartoons. Go here for a fuller explanation.

David: David Remnick, the editor of The New Yorker. His is the final word on whether art is bought. [see O.K. and/or Meeting, the]

Drawing: Cartoon.

Emma: As in “I spoke to Emma about it.” Or “I’ll run it by Emma” or “Emma held [see Held] twelve this week.” Emma is Emma Allen, The New Yorker’s cartoon editor.

Finish: As in “I’ll get that finish to you by the next week.” Finish is short for “finished drawing.” It refers to an O.K.ed drawing that has been readied by the cartoonist for publication.

Held: The drawings Emma holds on to from your batch. A held drawing has the potential of being O.K.ed, although it could still be rejected.

I’m going in : As in “I’m going in next week.” If you’re going in, you’re going in to the magazine to see Emma and show her your batch.

I’m in: As in “I’m in this week.” Or “I’m not in this week.” Refers specifically to one of your drawings being published in the current issue of the magazine.

I went in: As in “I went in last week.” “Went in” refers to going to The New Yorker’s offices, specifically to the art department.

Magazine, the: The New Yorker. As in “I haven’t seen this week’s issue of the magazine—am I in it?”

Meeting, the: The weekly art meeting, at which David Remnick and Emma look over, discuss, and decide which drawings will be bought. David, as the magazine’s editor-in-chief, has the final say on whether a drawing is O.K.ed or rejected.

O.K.: As in “you got an O.K. this week” or “I got an O.K. this week” or “I haven’t had an O.K. in seven months.” This is the two-letter word that every cartoonist lives for—it means that The New Yorker has bought a drawing [see Drawing] from you ( i.e., O.K.ed a sale).

Pitch/Pitching: see Submit/Submitting: “pitch” or “pitching” has begun to take the place of “submit” or “submitting”; I prefer (and argue for retaining) submit to pitch, as pitch seems like a Hollywoodism. It conjures up the artist sitting before a few people and verbally trying to sell an idea. Cartoonists traditionally let the work speak for itself.

Resub: As in “I sent in mostly resubs this week.” Resub is short for “resubmitted.” Cartoonists sometimes send rejected drawings back to Emma for another shot.

Submit/Submitting: What you do when you send in your batch, or bring it in for Emma to see. As in “Yeah, I submitted this week — did you?”