More MoCCA Today (With Photos) & “My First MoCCA”; David Sipress On A 1969 Harvard Protest

More MoCCA Today

At least three New Yorker cartoonist events scheduled today: Liana Finck in conversation with Gabrielle Bell; a “spotlight” on Mark Alan Stamaty; Emily Flake as part of a panel, “Narratives On Motherhood”; cover artist Ivan Brunetti in a panel on “Comics and the Teaching Artist” (right: Ms. Bell and Ms. Finck today. Courtesy of Stephen Nadler).

And more photos from today (all courtesy of Liza Donnelly, with the exception of the Mark Alan Stamaty photo.  That’s another courtesy of Stephen Nadler):

Top row, l-r: Peter Kuper, Felipe Galindo, Mark Parisi, Ellis Rosen.

Middle row: Arnold Roth & Caroline Roth, Liza Donnelly, Keith Knight.

Bottom: Mark Alan Stamaty (l), and Bill Kartalopoulos, who, among other things, is MoCCA’s Programming Director, and Series Editor for The Best American Comics series. 

My First MoCCA:  A Personal Take

Judging by the scene I dove into at yesterday’s MoCCA Fest, the appetite for, and practice of comics and cartoons is booming. The place (the Metropolitan West on West 46th Street) was at capacity, loud and energized. I took in the must-see Cartooning For Peace exhibit on the second floor (curated by The New Yorker cartoonist, Liza Donnelly) then immediately ran into Dick Buchanan (who for quite some time has been sharing his voluminous cartoon file via Mike Lynch’s site). Mr. Buchanan had told me earlier in the week  that he’d be at the fest, and would bring along a copy of a book I’d never seen before:  Bernard Wiseman’s Cartoon Countdown (published in 1959). Mr. Wiseman contributed 197 cartoons to The New Yorker, from April 19, 1947 – June 11. 1960.

In the pr copy on the first page:

This is the first book of cartoons devoted exclusively  to he Conquest of Space. Let the Russians Match That! 

(to the right: The Cartooning For Peace Exhibit)

With  thanks to Mr. Buchanan for Cartoon Countdown, it was on to a tour of the fest.

 

  The illustrator Tom Bloom was seen engaged in conversation with an exhibitor, the illustrator/educator, Steve Guernaccia blew by (he’s hard to miss, sartorially). The multitude of people, of tables laden with products bearing graphic images, posters, cards, etc., etc., was astounding. Along with me on the tour was one of my co-panelists, Danny Shanahan.  We were moving along at a good pace with the flow of the crowd when a familiar book cover on the New York Review Comics table got our attention: Saul Steinberg’s recently reissued Labyrinth (also on the table were a number of Maira Kalaman titles).  I bet Steinberg would’ve enjoyed the scene passing by his book.

Closing in on the slotted time for our panel with Mort Gerberg, we headed over to Ink48 on 11th Avenue, where the panels took place. Ran into Stephen Nadler of Attempted Bloggery  who reminded us that Mark Alan Stamaty was signing his anniversary edition of MacDoodle Street.

Co-panelist Bob Eckstein awaited us in the Garamond Room, where we were soon joined by Marisa Acocella, and the man of the hour, Mort Gerberg. Spotted in our audience were New Yorker contributors,  R. Sikoryak, and Sophia Warren, as well as friend to all comics creators, Karen Greene of Columbia University. Below photos of the panel courtesy of Mr. Nadler (l-r, Danny Shanahan, Bob Eckstein, myself, Marisa Acocella, and Mr. Gerberg).

One of the fun things to come out of paneling with colleagues is the unexpected nugget or two of New Yorker history. As he discussed selling his first cartoon to The New Yorker back in 1965 , Mr. Gerberg told us — and this is something I had never heard, and didn’t realize was even possible — that he had talked the then art editor, James Geraghty into allowing what was supposed to be a bought idea of Mr. Gerberg’s to become a bought drawing. New Yorker history buffs know that it was routine at the magazine back then to buy ideas and give them to established cartoonists. It’s quite a thing that Mr. Gerberg, with his first sale to the magazine, was not only able to buck that well-entrenched system, but to deliver the full page below (published in October 20,1965).

  After our panel concluded we panelists stayed in the same room to attend the next panel,  “Professional Development 101: Art Directors Roundtable.” How could we not –it included our very own cartoon editor, Emma Allen. As we moved into the audience we spotted fellow colleagues, Kendra Allenby, Tracey Berglund, and cartoonist, Marc Bilgrey. Ms. Allen was joined by Matt Lubchansky (of The Nib), Alexandra Zsigmond (formerly The New York Times), Will Varner (formerly Buzzfeed), and artist/educator, Viktor Koen, who moderated.  The “101” in the panel title was accurate — we heard what the scene was like for today’s beginning illustrator/artists trying to break in. One piece of advice from Ms. Allen that stood out for me:  something that would make her laugh while looking at [written and drawn] humor for four hours in a day, had an excellent shot.

By the way, the place was packed.

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David Sipress On A Harvard Protest In 1969

Mr. Sipress, who began contributing to The New Yorker in 1998, has a Personal History piece on newyorker.com: “Fake News, 1969: My Slightly Infamous Role In The Harvard Antiwar Protests”

 

 

Liza Donnelly on the 10th Anniversary of Cartooning For Peace

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From newyorker.com, November 26, 2016, “A Celebration of Editorial Cartooning” — this piece by Liza Donnelly on the organization, Cartooning For Peace now celebrating its 10th anniversary with an exhibit and upcoming panel discussion in New York.

Link here to the  Cartooning For Peace website.

Link here to information about the exhibit and panel discussion at  The Society of Illustrators.

[Drawing: Angel Boligan, Mexico]

 

Liza Donnelly on Women on Men

Women On Men COVER FINAL

 

 

Liza Donnelly, the long time New Yorker cartoonist recently spoke with me, her husband, about her forthcoming book, Women On Men, and her recent trip to France, where she was invited to participate in  the Forum d’Avigon.

Michael Maslin:  Women On Men is your sixteenth book.  How does this one differ from your last book, When Do They Serve the Wine?

Liza Donnelly: It’s bigger and better!  Women On Men is a collection of my cartoons that I have drawn over the course of my 30 plus year career as a cartoonist.  A fair portion of what I draw is women speaking and making light of our world — snarky women who care.  I gathered the best of that type of cartoon that I do, and so Women On Men is about women being funny, and affectionately making fun of men. Like my previous book, Women On Men has my writing as well; but there’s more of it, and it’s grittier.  I like using that word.  Also, the writing in this new book is done all in my handwriting. Since this is an ebook, I wanted to give it a hand-done feel.

MM: Looking over the previous fifteen books, you’ve had what some might call — and some have called —  a checkered career.  There’re seven childrens books (all for Scholastic), a history of The New Yorker’s women cartoonists (Funny Ladies), a couple of anthologies, a compilation, a semi-autobiographical collection, and Cartoon Marriage, a collection we co-authored.  How did all this happen?

LD:  It’s all a blur. I just follow my instincts and keep pushing. The children’s books came out of an interest in doing a wordless book for little kids, and ended up being a series, with minimal words. The history about women cartoonists came about because I really wanted to understand why there are so few women in cartooning. So I researched The New Yorker‘s archives for over a year and discovered many wonderful cartoonists (The New Yorker had a women cartoonist in their first issue in 1925).  The “semi-autobiographical book” I assume you mean When Do They Serve The Wine?  The idea for that came about because I was teaching Women’s Studies at Vassar College (using cartoons in my class to illustrate points, of course), and came to the realization that the generations of women were not talking to each other.  So all the stupid things I have gone through in my life as a woman, if I could share with women just starting out as women in their 20’s–it might make their life a little easier.  And I could learn from them. So that book is about women navigating society and the pressures of life each decade they live, from birth to 60s (I’m not there yet!). You and I did Cartoon Marriage because we knew how much humorous material there is in marriage.

MM: Of all your books, Women On Men seems to come closest to a true collection of cartoons. Do you think of it that way?

LD:  I guess so, yes.  Primarily because most of the cartoons were not drawn for the collection, but gathered from my career (some are brand new, however).   And a good number of these were published in The New Yorker. The only thing that makes it not a true collection is that I draw a lot of cartoons about all kinds of subjects, not just women. Maybe someday I can collect it all in one spot.

MM: It also differs from all your previous books in that it’s an e-book. Knowing it would be published in that form — did that change the way you approached working on it?

LD: The only thing from the start that I thought might be interesting for an ebook is having handwritten copy for the text. That way it has a just-done, sketchbook feel.  The publication date is more fluid because buying an ebook is not tied to publisher-determined seasons, bookstore schedules, etc, as traditional publishers have usually worked.  Other than that, it wasn’t really any different.

 

MM:  Along with your work here at home you have a great interest in international cartoonists (including running a  website, World Ink, devoted to their work). You just got back from France. Tell us a little about what you did there.

LD: I have had an interest in international cartoons since I was in high school when I lived in Rome with my family. But I love international political art, it’s so powerful and in recent years I have met many cartoonist from around the world because of my being a part of Cartooning For Peace. Also, I am now a cultural envoy for the US State Department and have traveled to Israel, Palestine and Macedonia.  In France, I was invited to participate in the Forum d’Avigon, a think-tank about culture. I gave a short speech during a panel discussion of Culture and Peace; and along with five other cartoonists, we drew our impressions of the debates. They put our drawings on the wall immediately–it was fun and challenging.

MM:  I know you’ve several more books on the way.  What can you tell us about them?

LD: The next book I am working on is due in 2014, but will be published in 2015 by Holiday House, and it is a children’s book!  I am happy to be back in this world of writing and drawing for children, and will be doing two for them in the coming few years. The first one is called The Rainbow, and contrary to the title, is not about  same-sex marriage.  But it is about inter-species friendships.  Beyond that, I am working on another adult book, tentatively titled Kooky.

MM: A final question: you’ve been contributing to The New Yorker for over thirty years — a  career that spans four editors: William Shawn, Robert Gottlieb, Tina Brown and, currently, David Remnick.  What’s the best part of working for the magazine?

LD:  When I began at The New Yorker in 1979 (when they bought my first cartoon), I felt that it was a place where one could be creative and say something simultaneously.  This is still true, and I am proud to work there.

 

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 Click here for more information on how to obtain a copy Ms. Donnelly’s new book, Women on Men

Click here to see Ms. Donnelly’s recent post on forbes.com, where she begins a series of interviews with women in humor

To see Ms. Donnelly’s New Yorker work click here.

Click here to visit her website,  lizadonnelly.com