From The New York Times Sports section, April 16, 2011, this piece by Bob Eckstein, “Weathering a Midlife Crisis in the Haunts of Table Tennis.” ( Bob Mankoff content)
From The Huffington Post, April 10, 2011, this piece by The New Yorker’s current Cartoon Editor, Bob Mankoff: “The People of the Joke: Exploring the Covenant of Jewish Comedy.”
From The Wall Street Journal, this video profiling Matilda III, the latest of a long line of in-house cats residing at The Algonquin Hotel.
From mycentraljersey.com, April 4, 2011, this article –“Rutgers presents free April 7 program on Yiddish, Jewish Cartooning” (with The New Yorker’s Cartoon Editor, Bob Mankoff).
From Sequential Tart, April 4, 2011, this interview with Kate Beaton.
From David-Wasting-Paper’s continuing Cartoonist/Artist survey (#217 in the series), this interview with illustrator/musician Marcellus Hall.
If you’re out on the west coast, you might want to check out this evening’s talk by Roz Chast at Campbell Hall at The University of California, Santa Barbara. Info here.
And here’s a related piece from the Santa Barbara Independent, April 1, 2011, “New Yorker Cartoonist Roz Chast gives Slide Lecture”
I’m betting that a good number of The New Yorker’s readers (you know, those folks who go to the cartoons before looking at anything else in the magazine) have noticed something colorful going on with the cartoons.
Four out of the first five issues of the new year have a color cartoon (the cartoons in the issue of January 24th are black & white, while the issue of January 31 has two color cartoons).
Any article that mentions color cartoons and The New Yorker in the same breath would be ridiculously remiss without including the famous line attributed to the magazine’s founder, Harold Ross. When asked why The New Yorker didn’t run color cartoons, Ross was reported to have said, “What’s so funny about red?” The magazine itself used this Rossism as a heading back in its 2007 Cartoon Issue when it ran five cartoons “testing the possibilities” of using red in cartoons. And more recently, in October of 2010, The New Yorker’s current Cartoon Editor, Bob Mankoff, taking part in a live online chat on the magazine’s website had this exchange with a questioner:
Q: Do your artists feel limited by black and white?
A: I don’t think so. Everyone once in a while a cartoon demands color for the joke to be understood or better understood but for the most part color is a distraction. Harold Ross, the first editor of The New Yorker when asked why the cartoons didn’t use color answered ” What’s so funny about red?”
Color New Yorker cartoons were once such a rarity that The New York Times, in an article dated February 15, 1989, noted William Steig’s four-page color contribution in the magazine’s 64th Anniversary issue. Robert Gottlieb, the magazine’s editor at the time, told the Times, ”Cartoons and maps are not suddenly going to be in Day-Glo.” Wouldn’t that have been something? The Times noted that the last known use of color cartoons was in 1926, when it ran a two-page spread by Rea Irvin. [Rea Irvin’s two page color spread, The Maharajah of Puttyput Receives a Christmas Necktie From the Queen, actually ran in the issue of December 12, 1925]
The first use of color single panel cartoons in The New Yorker occurred during the tenure of Gottlieb’s successor, Tina Brown. In the March 21, 1994 special issue, The New Yorker Goes to the Movies, three color cartoons appeared, one each by Peter Steiner, Liza Donnelly, and J.B. Handelsman.