Must See! Funny Ladies Panel Part 2 At The Society Of Illustrators, October 11th

If you enjoyed Funny Ladies Part 1 at the Society of Illustrators this past summer, you’re sure to enjoy Part 2 this Thursday night. Liza Donnelly, who curated the exhibit of women New Yorker cartoonists (running through October 13th), returns as moderator for a panel discussion with New Yorker cartoonists Sara Lautman, Amy Kurzweil, Amy Hwang and Emily Flake. 

 

 

All the info here

Funny Ladies Panel #2 at The Society of Illustrators: Five New Yorker Cartoonists Discuss The New Now At The Magazine

This past July at The Society of Illustrators, it was standing room only (and then some) for the first Funny Ladies panel discussion. Don’t be left out on the sidewalk this time around. On October 11th The Society will present a second panel discussion:  “Funny Ladies: The Changing Landscape of Cartooning”  —  All the info here.

The Panel, left to right: Amy Hwang, Sara Lautman, Amy Kurzweil, and Emily Flake.

 Liza Donnelly (below), who curated the Funny Ladies exhibit, will moderate. 

Amy Hwang began contributing to The New Yorker in 2010.

Sara Lautman began contributing to The New Yorker in 2016.

Amy Kurzweil began contributing to The New Yorker in 2016.

Emily Flake began contributing to The New Yorker in 2008.

Liza Donnelly began contributing to The New Yorker in 1982.

— cartoon by Liza Donnelly.

 

The Monday Tilley Watch: The New Yorker Issue of April 30, 2018

Baseball in the air, on the field and on the cover of the latest issue of The New Yorker (actually, stickball’s on the cover, which appears, to me anyway, as if it’s a page out of an illustrated book).

Fewer illustrations/photos this week than last, but still, there are three full pages (including a full page photo of Hitler), and close to full page photo on the Goings On About Town lead page. How I wish we could see cartoons occupy a larger space every so often. Below are two pages from the issue of November 15, 1930. You can see how the drawings dominate the page and how the type follows the drawing. For instance: in the drawing on the left, by the great Barbara Shermund, the hanging plant is allowed to push up and compress the column of text. Notice too how the space afforded her beautiful drawing allows us to get far more visually involved in her work than if it had been squished in a rectangle.   

And now on to the issue’s cartoons.  A fun issue, mostly.

  It starts off well with a Danny Shanahan politically tinged(?) monkey drawing. Going out on a limb here, but Mr. Shanahan’s fabulous monkeys are the obvious heirs to Charles Addams’ takes on our ancestors.

Next up, three pages later, Jason Adam Katzenstein (aka JAK) goes to where many-a-cartoonist before him has gone: to the myth of Sisyphus. After I sped through an online refresher course about the King’s uphill struggle, I realized how this scenario beloved by cartoonists has oftimes become untethered from its backstory. No matter — that’s how we cartoonists roll. As Robbie Robertson wrote: “Ya take what ya need and ya leave the rest…”

Speaking of backstories, three pages later Ben Schwartz gives us Beethoven on stage. What’s really interesting about the drawing is Mr. Schwartz’s sly nod to the great Al Hirschfeld.  Do I, or do I not see Nina-esque shout-outs in the drapes. I do.

Five pages later, a Mick Stevens cave man drawing (he also had one two issues back). I like that he’s used the words stalagmites and stalactites. A little memory trick I learned back in fourth or fifth grade — how to tell the difference between stalagmites and stalactites: stalactites are the ones pointing down; they need to hold on “tite” to the ceiling. 

Three pages later, a shrink meets legume drawing by the wonderful Victoria Roberts. A fun and funny drawing. What more can one ask for.

Next up,  a domestic situation courtesy of Will McPhail. Funny. Another three pages brings us to a sidewalk scene from Pia Guerra. Dogs lined up to use a fire hydrant. I found myself wishing for a line-jumping dog instead of a fireman…

Two pages later another intensely graphic drawing from William Haefeli. Detail-city! And very slice-o-life.

Three pages later, a typically formatted (three panel) Roz Chast drawing. The word “Comix” pops out here. On the very next page, A Haefeli-like (in its use of detail) drawing by Jeremy Nguyen. Yet another slice-o-life drawing. I like how he’s given us two folks in silhouette in the foreground — that’s different. 

Four pages later a subway drawing from P.C. Vey (although here the subway is not central to the drawing — the situation could’ve taken place in any number of situations). A few pages later A Zach Kanin drawing focused on recreational drugs. On the very next page, A Lars Kenseth drawing.  You know it’s his work within a nano-second of turning the page. No one draws like this. I don’t rate cartoons like the Cartoon Companion boys do, but occasionally I applaud a drawing. 

On the next page Kim Warp  has drawn a Spill favorite scenario: a bakery (in this case, a cupcake bakery). I didn’t realize at first that there as an enormous Charles Addams-like cupcake involved in the drawing (initially saw the drawing on a tablet screen before switching to a laptop).  An unusual cartoon in that I think it works both ways (with the big cupcake, and without).  Sweet. 

On the following page, a Paul Noth drawing with a splash of color.  You have to be familiar with the commercial character who’s central to this cartoon. Three pages later a Carolita Johnson umbrella triptych just in time for May showers. Six pages later, immediately following that aforementioned full page photo of Hitler, is an Amy Hwang domestic situation — another go-to for many cartoonists: the couple discovered in bed by a significant other. Three pages later, the last cartoon of the issue (not counting the caption contest drawings): an online whack-a-mole scenario from Sam Marlow.

Finally: we are oh-so-close to the one year anniversary of the disappearance of Rea Irvin’s classic Talk Of The Town masthead. Here’s a Spill piece about it from last Fall when I was convinced the masthead would soon return. Not giving up hope on this, folks! 

Here’s the missing masthead:

 

*Dept of Corrections: an earlier version of the Monday Tilley Watch for the April 30th issue incorrectly listed Sam Marlow as Sam Means.

 

 

 

 

 

 

 

 

 

Article of Interest: A Wave of New Yorker Cartoonists; Cartoon Companion Rates Latest Cartoons; The Attempted Bloggery E. Simms Campbell Fest Continues

Article of Interest: A Wave of New Yorker Cartoonists

Graham Techler’s article in Paste, March 1, 2018,  “The Exciting New Wave of New Yorker Cartoonists” spotlights eight cartoonists — all veteran newbies (meaning they are not among the very latest cartoonists appearing in the magazine), and a few cartoonists who’ve moved beyond the newbie classification (I’ve provided the year each began contributing to the magazine): Charlie Hankin (2013), Paul Noth (2004), Jason Adam Katzenstein (2014), Tom Toro (2010), Amy Hwang (2010), William McPhail (2014), Maddie Dai (2017), Emily Flake (2008).  For what it’s worth, the eight mentioned are among the 128 cartoonists that have debuted since 2004, the year of Mr. Noth’s first New Yorker cartoon. More a New Tsunami than a New Wave.

A couple of Spill footnotes on the below segment of Mr. Techler’s piece:

“They [the cartoons] were never actually bad (I mean, come on, each era of the magazine was represented by everyone from Peter Arno to James Thurber to Bruce Eric Kaplan—legend has it that the improved quality of the cartoons in the 1940s was attributed to office boy Truman Capote throwing away the ones he didn’t like); they were just perceived as a little out of touch with what the rest of the comedy world was embracing.”

First: “…legend has it that the improved quality of the cartoons in the 1940s was attributed to office boy Truman Capote throwing away the ones he didn’t like)”:

Perhaps it’s time to retire the myth that Mr. Capote was throwing away drawings he didn’t like.  Mr. Capote worked as a copy boy at the New Yorker for approximately two years in the early 1940s (he was hired sometime in 1942 and left the magazine sometime in 1944). One of his responsibilities was going through the unsolicited drawings in the slush pile looking for anything with promise. The drawings with some promise were then gone through by the art editor, James Geraghty.  If he found anything worthy he’d bring it along to the art meeting. If you go to page 73 of Gerald Clarke’s biography, Capote (Simon & Schuster, 1988), you’ll hear find this passage with Mr. Capote talking about the lost drawings:

 “Sometimes I would get the cartoons all messed up and confused.  Then I would just throw them into one of those holes and say to myself, ‘Well, I’ll straighten that out later.’ I managed somehow to to lose about seven hundred of them that way. I didn’t deliberately destroy them, and I don’t know how I lost track of them. But I did…”

Second: “they were just perceived as a little out of touch with what the rest of the comedy world was embracing.”

I’m not exactly sure what Mr. Techler means.  Which era or eras is he referring to?  A specific era? All eras?  When were they “perceived as a little out of touch” (and who was doing the perceiving?).

(If Mr. Techler wishes to clarify, The Spill will gladly post his remarks). 

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Cartoon Companion Rates Latest Cartoons

If it’s Friday (and it is), then a brand new Cartoon Companion awaits. The CC boys “Max” and “Simon” have run their trusty fine tooth combs through the cartoons in the latest New Yorker. Read it here.

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The Attempted Bloggery E. Simms Campbell Fest Continues

Stephen Nadler has posted a lot of interesting pieces in the last few days, including cartoons appearing in a small promotional Esquire booklet (or sampler); a bunch of work by Dorothy McKay, and of course more work by his current fest focus: E. Simms Campbell. Go look!

Here’s Ms. McKay’s entry on the Spill‘s A-Z:


Dorothy McKay ( Self portrait above from Meet the Artist, 1943; Photo from Cartoon Humor, 1938) Born c.1904, died June, 1974 New York City. New Yorker work: 1934 -1936.

The Monday Tilley Watch: The New Yorker Issue of January 29, 2018

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

Always a pleasure to see a colleague’s work pop up as a New Yorker cover as I open up the digital edition early Monday morning. We (“we” meaning the New Yorker‘s contributing cartoonists) used to be responsible (my unofficial estimate) for 60% of the covers during the year. Since Tina Brown’s era it’s somewhere around 1% to 5%. Roz Chast, Bruce Kaplan, Danny Shanahan, Harry Bliss, and George Booth would be the five percent. In 2017, just Ms. Chast’s and Mr. Kaplan’s work appeared on the cover.  In 2016, it was just Mr. Shanahan’s; in 2015 just Mr. Bliss’s work appeared on the cover — well, you get the idea). This one by Ms. Chast is graphically eye-catching.  It was ever-so-slightly difficult to appreciate on the tablet, so it was off to the laptop for a bigger image. I think the cover perfectly captures some people’s notion  (or reality) of January in New York City. The scarf knitted, then lost days later on the train, is shown on the magazine’s strap (the traditional vertical border running on the left side of the magazine’s covers) — it’s a nice touch.

Moving into the magazine I noted an attractive snippet of a Grant Snider drawing from a Daily Shouts piece. The blues reminded me of William Steig’s blues he used in a great number of his children’s books.

Oh, here’s a thought: why not reinstate Rea Irvin’s iconic Talk of The Town masthead in the magazine’s 93rd anniversary issue — just a few issues away. How great would that be! Mr. Irvin’s is directly below, with the re-do directly below it. 

To read more on the Mr. Irvin’s gem and its replacement, check out this Spill piece

Now on to the magazine’s cartoons. The first, by Amy Kurzweil, appears on page 19. A somewhat dark (yet not-so-dark!) take on flight delays.  I’m guessing many would enjoy a bonus three hours of life.  Nice handling of the plane out on the tarmac. Eleven pages later, the aforementioned Bruce Kaplan has a couple of kitties chatting in a living room.  As one who came later to cat appreciation, I appreciate the sentiment of the drawing, as well (as usual) as the drawing itself.

Noted along the way from Ms. Kurzweil’s drawing to Mr. Kaplan’s: Rui Ruireiro’s spot drawings making good use of yellow.  I see the predominant use of yellow in the New Yorker (especially if it involves a yellow cab, such as on page 28) and I’m immediately reminded of Steinberg’s masterful use of it on a cover back in 1979:

Four pages following Mr. Kaplan’s kitties, a wonderful Edward Koren drawing (wait, is there any other kind?). As with the last number of Koren cartoons published this one is given ample space to breathe on the page. Textbook placement. 

On the very next page a drawing by a relative newcomer, Pia Guerra. Who knew guessing weights at a carnival could lead to violence.  By the look of the weight guesser he has yet to be pummeled.  

Three pages later, a rather large funnel, or, ah, tunnel, drawing by Colin Tom (sorry, no website for Mr. Tom, that i know of. Please advise). I kind’ve wish this wasn’t in a boxy border (it’s obvious by now — maybe?– that I believe New Yorker cartoons thrive in a roomy habitat). On the very next page, an Amy Hwang drawing with a terrific caption.  I was about to note that this was a cat-free Hwang drawing when I spied a framed kitty on the cubicle wall.

The cartoons keep-a-comin in this issue: two more on the next two pages. The first by David Sipress and and the next by Paul Noth. Mr. Sipress’s recalls David Letterman’s, “I do and do and do for you kids — and this is what I get.” Mr. Noth’s refers to one of my favorite scenarios: the old women who lives in a shoe. In this case she’s spending some down time at a bar. I must say that the self-proclaimed old woman in Mr. Noth’s drawing appears quite young.  Perhaps she’s just starting out in life, in the shoe? Ten pages later a subway drawing couched as a personal hygiene drawing by Carolita Johnson. Clipping one’s nails while riding the subway seems risky. 

On the very next page, a Joe Dator drawing that set-off the Spill‘s applause meter. I’m leaving the applause meter out for Tom Chitty‘s drawing five pages later. 

Another five pages later, a Mick Stevens doctor’s office. I spent a lot of time trying to figure out  if what appears to be a jar of rubber glue on the front right of the desk is in fact a jar of rubber glue.  Four pages later a Frank Cotham drawing in a very familiar Frank Cotham scenario. On the very next page, the last drawing of the issue, not counting the caption contest: a charming charming Liana Finck drawing. I don’t know why, but I wanted the Earl of Sandwich to be the one asking the other guy the question. The cartoonist’s fuss-o-meter never rests.