Weekend Spill: Signing Of Interest: J.A.K. At Word Brooklyn; Eckstein’s Books; The Tilley Watch Online, October 21-25, 2019

Signing Of Interest: J.A.K.

Mark your calendar: J.A.K. will be signing The White Man’s Guide To Male Writers Of The Western Canon November 13th at Word Brooklyn.  Info here.

Mr. Katzenstein has been contributing to The New Yorker since 2014.

 

 

_________________________________________________________

Eckstein’s Books

From East Coast/West Coast/North Coast, October 27, 2019,  “Bob Eckstein and His World’s Greatest Bookstores”

— Mr. Eckstein began contributing his cartoons to The New Yorker in 2007.  Visit his website here.

His latest book is Everyone’s A Critic.

_______________________________________________________________________

An end of the week listing of New Yorker artists who’ve contributed to The Daily Cartoon and/or Daily Shouts

The Daily Cartoon: Ellis Rosen, Johnny DiNapoli, Peter Kuper, and Teresa Burns Parkhurst.

Daily Shouts: Amy Kurzweil, J.A.K. (with Dana Schwartz).

…and Barry Blitt’s Kvetchbook

To see the above and much more link here.

Obscure Gluyas Williams From Bloom’s Vault; Today’s Daily Cartoonist & Cartoon; A Cartoon Excerpt From “Everyone’s A Critic” On Lit Hub

Obscure Gluyas Williams From Bloom’s Vault

Tom Bloom, who has graciously provided these images from his collection, tells the Spill that the below were “produced as samples for a paper mill c. 1950 or so…the artwork still looks quite crisp (as usual). Each one opens up like a booklet and then again as a broadside presenting examples of printing, paper, technological selections promoting their “Workbook.”

Here’s Gluyas (pronounced Glue-yaz) Williams entry on the Spill‘s  A-Z:

Gluyas Williams  Born, San Francisco, 1888. Died, Boston, Mass., 1982. One of the pillars of Harold Ross’s stable of artists, and one of Ross’s favorite cartoonists. His beautiful full page drawings were a regular feature in the magazine. Mr. Williams illustrated a number of Robert Benchley’s collections, providing the cover art as well as illustrations. New Yorker work: March 13, 1926 – Aug 25, 1951. Key collections: The Gluyas Williams Book ( Doubleday, Doran & Co., 1929), The Gluyas Williams Gallery (Harper, 1956). Website: http://www.gluyaswilliams.com/

Further reading on Mr. Williams, link here to Edward Sorel’s 1984 American Heritage piece, “The World Of Gluyas Williams”

____________________________________________________________

Today’s Daily Cartoonist & Cartoon

Spooky NYC Real Estate by Lila Ash, who began contributing to The New Yorker in 2018.  Visit her website here.

 

 

___________________________________________________________

A Cartoon Excerpt From “Everyone’s A Critic” On Lit Hub

From Literary Hub, October 24, 2019, “Six Cartoonists On Critical Failure, One Panel At A Time”

— the selection includes work from Barbara Smaller, Mick Stevens, Edward Koren, William Haefeli, and this one from P.C. Vey.

“My wife! My best friend! Advance uncorrected galleys of my new book!”

 

 

 

 

More Gahan Wilson; A Peter Arno Rarity From The Bloom Vault; Today’s Daily Cartoonist & Cartoon; Humor Mag Of Interest: American Bystander #12; Today’s Daily Shouts…By Amy Kurzweil; Preview Of Interest on Salon: Shannon Wheeler’s “Mueller Report”

More Gahan Wilson

From 27East.com, October 24, 2019, “Cartoonist Gahan Wilson Is Looking To Find His Way”  — this piece by Annette Hinkle on one of the modern masters of the form.

…and this Chicago Sun-Times column from Neil Steinberg, October 24, 2019, “‘Lucky to be alive’ — morbid cartoonist faces dementia”

_________________________________________________________

A Peter Arno Rarity From The Bloom Vault

The illustrator Tom Bloom is surely one of our cartoon world’s great collectors.  Some years back  I naively thought I’d found most everything New Yorker cartoon-related that could be found. Then Mr. Bloom began sending me scans of items in his collection. It was as if someone had just opened the door to a New Yorker materials filled annex the size of Macy’s.

He’s been kind enough over the years to share some of the more obscure pieces from his collection with the Spill.  Here’s another: a four page promotional brochure for Peter Arno’s first book,Whoops Dearie!, published in 1927 by Simon & Schuster.* If you read my bio of Arno you might remember how important the Whoops Sisters were to the resuscitation of The  New Yorker in its infancy. I’d never seen this brochure until yesterday (and this after nearly 20 years of making it my business to find Arno material).

*While Arno provided the drawings for the book it was actually written by Philip Wylie. Much more on him and his place in The New Yorker‘s early years can be found in the Arno biography.

Here’s Arno’s entry on the Spill‘s A-Z:

Peter Arno (Photo source: Look, 1938) Born Curtis Arnoux Peters, Jr., January 8, 1904, New York City. Died February 22, 1968, Port Chester, NY. New Yorker work: 1925 -1968. Key collection: Ladies & Gentlemen (Simon & Schuster, 1951) The Foreword is by Arno.

 

 

_____________________________________________________

Today’s Daily Cartoonist & Cartoon

Barging Republicans, by Ellis Rosen, who has been contributing to The New Yorker since 2016.  Visit his website here.

 

 

_______________________________________________________________

Humor Mag Of Interest: American Bystander #12

American Bystander #12 just arrived at the Spill. Not sure how often I’ve said this, but here goes again: if you love cartoons, especially those we associate with New Yorker artists, you’ll find  bushels-full in the Bystander. Three cheers for Michael Gerber, the Bystander‘s editor and publisher.

Here are the New Yorker contributors found in this latest issue:  Joe Ciardiello (the issue’s cover artist), Edward Sorel, Tom Chitty, P.S. Mueller, Rich Sparks, Lars Kenseth, Lila Ash, Roz Chast, John Cuneo, Mort Gerberg, Barry Blitt, George Booth, Joe Dator, Nick Downes, Bob Eckstein, Emily Flake, David Ostow, Jeremy Nguyen, Sara Lautman, Farley Katz, John Jonik, and Sam Gross.

Link here to subscribe.

_________________________________________________

Today’s Daily Shouts…By Amy Kurzweil

“A Subway Tableau” by Amy Kurzweil, who has been contributing to The New Yorker since 2016. Visit her website here.

 

________________________________________________

Preview Of Interest From Salon: Wheeler’s “Mueller Report”

From Salon, “Exclusive: ‘Mueller Report’ Graphic Novel Sneak Preview From New Yorker Cartoonist Shannon Wheeler”

— and…there’s a Q&A with Mr. Wheeler within the piece.

 

New Yorker Cartoons On The Empire State Building’s Walls; Jimmy Kimmel’s Cartoon Rejected By The New Yorker; Today’s Daily Cartoonist & Cartoon

New Yorker Cartoons On The Empire State Building Walls

The iconic Empire State Building now boasts half-a-dozen New Yorker cartoons on its walls.  One each by Robert Leighton, Liana Finck, John O’Brien, Tom Cheney, Jason Patterson,  and Frank Modell.

Through the courtesy of Mr. Leighton (who is shown below, at The Empire State Building, with his drawing*) the Spill shows you three of the six cartoons in situ, and tell you a little about their installation and how their installation came to be.

Left: Frank Modell’s drawing, published in The New Yorker, 1975

Mr. Leighton has shared the information he received when the project was first proposed to him:

“As part of ongoing upgrades to the Empire State Building Observatory experience, we’re looking into the idea of installing certain New Yorker cartoons in the stairwells between the 80th floor and the 86th floor.

When visitors come to the Observatory of the Empire State Building, they take the elevator to the 80th floor and transfer to another set of elevators to arrive at the 86th floor open-air Observatory deck. Guests have the option to take the stairs between 80 and 86 instead of the elevator to avoid the lines. We’d like to reward the stair-takers with a whimsical display of New Yorker cartoons in the stairwells. The cartoons would all be thematically appropriate – either relating to the Empire State Building/high rise construction, general unique New York moments or stairs. We think this will be a great “hidden New York” feature that will help guests feel like insiders.”

Asked how the drawings were applied to the walls Mr. Leighton was told:

The design firm, Thinc, used a company called Applied Image. Thinc prepared the graphic image including the title block. They printed the image on a durable, graffiti-resistant, wide format wall vinyl. The vinyl extends to the edges of the available space to avoid picked edges. Then they apply it with adhesive.Here are the official specs: Printed and installed by Applied Image.   Production Method: 3M Envision Print Wrap Film with Avery Anti-Graffiti overlaminate. Anti-Graffiti protects image from scratches, chemicals, solvents or graffiti paint.

—  Above: John O’Brien’s drawing on the wall. Published in The New Yorker 2018.

I asked Mr. Leighton what it meant to him having his drawing chosen:

“When we’re thinking up our cartoons, the most we imagine is that they’ll be printed, saving them from a lifetime of obscurity. For those that see print, our hope is that they’ll be re-printed somewhere, maybe becoming part of a book. To be reprinted like this–becoming a permanent part of the iconic skyscraper of all time–is just a pure undiluted thrill.”

*Mr. Leighton’s drawing, published in The New Yorker February 4, 2013, carried the caption “Escher! Get your ass up here!”  The caption, edited by Mr. Leighton, appearing in the Empire State Building: “Escher! Get back up here!”

_____________________________________________________________

Jimmy Kimmel’s Cartoon Rejected By The New Yorker

Here’s a fun segment from last night’s Jimmy Kimmel program. It features The New Yorker‘s cartoon editor, Emma Allen, in magazine’s offices, as well as on stage in Brooklyn with The New Yorker‘s editor, David Remnick.

___________________________________________________________________________________

Today’s Daily Cartoonist & Cartoon

NYC Basketball by Johnny DiNapoli, who began contributing to The New Yorker in 2019. Visit his website here.

 

Editor Of The New Cartoon Collection “Everyone’s A Critic” Talks To The Spill; Today’s Daily Cartoonist: Peter Kuper… And Yesterday’s:Teresa Burns Parkhurst; Podcast Of Interest With Emily Flake

Today’s pub day for Everyone’s A Critic (Princeton Architectural Press), the second in what will be a series of cartoon anthologies edited by Bob Eckstein, New Yorker cartoonist, best-selling author, and world’s leading snowman expert.

Here at the Spill, the arrival of a cartoon collection is always cause for a cartoonist hoo-rah.  This second book in the series features thirty-seven cartoonists, thirty-five of them New Yorker cartoonists (including this cartoonist, and the late great Jack Ziegler, whose “Critic” multi-panel  drawing appears here).  As with the first book in the series, The Ultimate Cartoon Book of Book Cartoons, Everyone’s A Critic is hardcover with the drawings printed on heavy stock (so no annoying bleed through images). An introduction by Mr. Eckstein is bookended by contributors bios. The cover drawing is by one of The New Yorker‘s modern masters, Danny Shanahan.

Over the course of a few days last week Mr. Eckstein and I had the following email exchange about his new book.

Michael Maslin: I’m holding in my hand your latest cartoon anthology, Everyone’s A Critic.  Size-wise it’s similar to the fleet of New Yorker anthologies that have come out over the years (The New Yorker Book of Cat Cartoons, The New Yorker Book of Dog Cartoons, and the like). Were those New Yorker anthologies a kind of inspiration for this series of yours?  If not, what was the inspiration?

Bob Eckstein: There are more cartoonists and cartoons than ever, and quite frankly too many to support in shrinking real estate for the work, in part to do with the departure of Harvard Business Review, MAD magazine, Barron’s and many others. And right now I’m not going to concede that the internet is infinite space and exposure because that’s just fragmented eyeballs. Part of a successful cartoon (or article or illustration) is it has to be seen, right? And that’s certainly Problem #1 in our field. So creating the book was creating a new, admittedly tiny, space.

The New Yorker anthologies of the past have nothing to do with this series, per se. The selection process is totally different. But the packaging, the size, the quality of the binding, etc., was 1) dictated by current market concerns (the books you referenced are mostly two decades ago, on a different playing field, publishing-wise) and 2) based on my first goal when I do any book—what would I want to buy? Am I getting my money’s worth?

Now, I do realize that the New Yorker itself has EVERYTHING to do with these books. They made the single gag cartoon an art form that didn’t exist before. And plus I’m indebted and grateful to the magazine for any leverage I had. The publisher, Princeton Architectural Press, liked my cartoons and liked my track record in book sales. That all goes back to the New Yorker and it happened in a very short time (I started gag cartooning in 2007 and began writing for them shortly afterwards). But I didn’t use the specific New Yorker BOOKS of yesteryear as a template in any way except to make sure we (the editor and I) avoided any blatant similarities. Unavoidable would be that we used many cartoonists who have appeared in the New Yorker because the ultimate criteria for inclusion into the books was it’s a very funny cartoon. But to address your question specifically about size, that was decided by what size the cartoons liked best, what was too big for production costs, bookshelf space, shipping weight, gravitas to be competitive in the Gift book arena and other sales factors I took into account with my marketing team.

The inspiration for the series was independent bookstores. I wanted to create a thank you card to them for making my World’s Greatest Bookstores a bestseller (which they made happen) and also they asked me what was next. So what better than to do a fun light book about them, again. I thought I could tap into a resource I had. I personally knew and became friends with the funniest cartoonists in the world. The book would at the same time pay small tribute to them for the inspiration they gave me. Again, this is not like the New Yorker and not an open call but a pet project where I would have to be asking favors of the contributors yet I wanted to have fun doing this. Everyone in the book I sincerely like. So after that initial group, a core group of friends who could arguably be placed in the category of world’s greatest cartoonists—almost all the contributors in the book have been published over a 1,000 times in different publications!—work was chosen by merit alone. I had thousands of submissions to choose from and I did my best to pick the funniest. I admittedly have more in the book than I deserve. But I didn’t pick my own cartoons, my editor did.

MM: Here’s a nuts and bolts question.  You decide you want to do this second book, and the publisher agrees to do it, then what?  What’s your decision-making process at that point? Do you send out a mass email?

BE: Yep, a mass email. I begged the contributors to be a part of it. I know collectively they and the publisher did a great job on the first book and wanted to keep it going. Only one or two people declined. I’m doing the third book now and again only one or two people didn’t reply that they were willing to be on board.

When I met with the editors and publisher the first time we both knew that a goal would be to produce more than one book. It was understood. It’s the new landscape of publishing. Very few successful authors are one and out. You must produce a series, a following. Each book theoretically supports the other. Unfortunately, the working business model is all about exposure. And I’m doing everything I can to get momentum. Book trailers, making trades with magazines for ad space, special promotions with bookstores (placing them within cartoons)…oh, anything to get the word out. I believe in these books. I believe in books. I have given this a lot of thought: that it took man 4,500 years before he produced books. One hundred years to devise the gag cartoon. I’m not onboard for phasing out either and want to do my part keeping the art form going. Cartoons in magazines, great. Cartoons in physical hardcover books, even better. I like giving cartoons the weight they deserve.

MM: Looking through the book — looking through any cartoon collection — it’s always the drawings that make me pause that I’ll remember days, weeks, sometimes years later.  In this case, let’s talk about a few of many that caught my attention:

Sam Gross‘s “What riles me is that he got a genius grant and I didn’t.”  Absolutely love this drawing. Of course Sam’s a cartoon god, so it isn’t surprising that he’s struck gold (again). How was it selecting drawings from Sam?

BE: I was just trying to give this kid a break.

Actually, for those who don’t know, Sam just celebrated his 50th anniversary of being in the New Yorker. Probably working for them earlier, when he sold jokes to Charles Addams. Yeah, great drawing, nice caption. Coincidentally, he summed up the whole psychological make-up of a good chunk of cartoonists in this one cartoon. Anyhoo, I picked this cartoon along with six other Sam Gross cartoons on one of my visits to his studio on the Upper East Side. For the first book we went through together almost 800 prospective cartoons he had on books and bookstores. He has over 30,000 cartoons total. But no bed, couch or a place to relax in that apartment. Just a place for coming up with ideas and cranking out cartoons. I wish I had his engine for work.

I learned a lot from him since I started gag cartooning in ’07. Never would have started if he didn’t dare me to try––we met not through cartooning but from using him in my first book about the history of snowmen. Don’t think I would have even done these books if not for him. I would have quit cartooning years ago if not for his encouragement. When I see him, I always blame him for being in this mess.

Photo Bob Eckstein, on the left, in work mode with Sam Gross

MM: Michael Shaw‘s drawings have always fascinated me. Perhaps it’s the bit of Thurber DNA I see in his work. His drawing “Minimalism folks. Nothing to see here” just seems to work every which way. Was this a shoe-in drawing?

BE: Yeah, he’s got a little Thurberism with his drawings but his lines underneath are laugh out loud funny. He is, I think, one of the most underrated living cartoonists there is. Although he often has a cartoon in any Top Ten Cartoons of All Time lists. This is a very good cartoon but typical for him. He often shares with me his weekly batch, now being sent over the airwaves from Green Bay. Which is a real shame because I’m convinced if we lived in the same town we would work on pitching TV shows together or something. That, and if I could understand what he says. I have to look up half the words he uses. I don’t want to call him genius because he may read this but he is smarter than the average bear. I actually think I’m a good editor for him because when if his cartoons miss, it’s because they go over everyone’s head. Being an idiot, I’m a good test for comprehensibility.

MM: . Speaking of minimalism, Liana Finck‘s Swim Critic drawing looks great on the page. Any thoughts on her work, or this particular drawing?

BE: It’s good to see Liana’s work given a full page and see the lines bigger. Liana is one of the few new people in the book, because one motive for the book was to share work not always readily seen nowadays from artists with a deep backlog. But I made an exception for Liana (and Ed Steed) who are now both already accomplished and blazing a trail for a new wave of cartoonists––creating cartoons that are confessional vignettes. I see that as the new agenda across a bunch of disciplines from podcasts (like Allison Rosen’s My New Best Friend; as I’m answering this question I learned that Liana was just her guest –- a weird triangle I’m compelled to point out: Ms. Rosen was my old editor at Time Out NY and Adam Carolla’s ex-cohost. I did a New Yorker cartoon with Mr. Carolla. It’s goes further than that but I’ll stop)…I forgot where I was…yes, to Presidential debates. Candidates have to share a confessional response to keep up in this age of  full disclosure.

I actually think Liana does it better than a number of stand-ups and is a true pioneer like comedian Maria Bradford, although Liana would probably not appreciate me bestowing these accolades on her. She’s too modest and hasn’t changed much from when I first met her and had yet to be published. Her style was different and I remember her telling me that each time she did a cartoon she wasn’t sure what style to use. Well, she not only found her voice but she’s the voice for the generation her work resonates with.  I look forward to seeing her soon at the Miami Book Fair. We’re going to be in conversation together, each talking our new books. Her new book is a survey of her beloved Instagram output called Excuse Me: Cartoons, Complaints, and Note to Self.

MM: Alex Gregory‘s “You’re right. Things are funnier in threes”  is such a great drawing. Anything to add here about Alex’s work, and/or this particular drawing? 

BE: Alex is the consummate cartoonist. I’m not even sure what that means, but it sounds good. This is maybe my favorite all-time cartoon. In my brain, which, granted, is like a pea rattling in a soda can, there’s a part reserved for a handful of cartoons that I wish I had thought up first.This cartoon is one of them. At the risk of being totally wrong, I think Alex’s style is so simple so that it allows the idea and caption to be as unobstructed as possible since they are so strong.This cartoon helped me decide that the next book could have three themes: love, marriage and divorce. 

Above: the Everyone’s A Critic  contributors.

_______________________________________________________

Today’s Daily Cartoonist & Cartoon…and Yesterday’s

Other G-7 Venues, by Peter Kuper, who began contributing to The New Yorker in 2011. Visit his website here.

Yesterday’s Daily: a beet maze, by Teresa Burns Parkhurst, who has been contributing to The New Yorker since 2017.

__________________________________________________________________

Podcast Of Interest with Emily Flake

A 49 minute podcast from Write About Now with Emily Flake, whose new book The Art and Etiquette of the Awkward Hug is just out. Ms. Flake began contributing to The New Yorker in 2008.