The Women of The NY Comedy Fest Live-Drawn by Liza Donnelly; Cartoons For Victory Reviewed; Sipress Pencilled

LD Live Drawing Comedy FestFrom newyorker.com, November 18, 2015, Liza Donnelly‘s  “Live-Drawing the Women of the New York Comedy Festival”  — see the piece here

[left: Ms. Donnelly’s drawing of Yamaneika Saunders]

Liza Donnelly’s website.

 

 

 

 

 

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Here’s a review via Animation Scoop of the brand new Cartoons For Victory by Warren Bernard (Executive Director of The Small Press Expo and co-author of Eisner nominated Drawing Power).

This a large format hard cover book, filled with beautifully reproduced art.  A good number of New Yorker artists are represented including Charles Addams, Gardner Rea, Gregory d’Alessio, Gluyas Williams, Garrett Price, Helen Hokinson, John M. Price, Louis Jamme, Barbara Shermund, Perry Barlow, and more.

 

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tumblr_inline_nxk6i1JlKG1sj0qh6_500David Sipress discusses his tools of the trade and more on Jane Mattimoe’s A Case For Pencils blog.  See it here.

An Ann Tenna Event; More Spills with Chast, Blechman & Others

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Check out this upcoming event (Wednesday, October 21st) for Ann TennaMarisa Acocella Marchetto‘s  New York Times Bestseller.

Link to Ms. Marchetto’s New Yorker work.

Link to her website here.

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…A possible record number (4) of new cartoonists debuted in the October 19th issue of The New Yorker (they are: Andrew Hamm, Dan Abromowitz, Eli Dreyfus, and Brian McLachlan)

…and in the same issue, the great R.O. Blechman provides the Spot drawings (link here to his website)

…Roz Chast will be in Michigan next week

David Sipress will be moderating in D.C

 

Ian Frazier on Steinberg’s 100th; New Yorker’s Daily Cartoon: Sipress Redux; New Yorker Publisher on the magazine’s Festival

St.From newyorker.com, October 8, 2014,  “Saul Steinberg At One Hundred” — this short piece by Ian Frazier. Mr. Frazier, a long-time contributor to The New Yorker,  will moderate a panel discussion on Steinberg at the New Yorker Festival, at noon, October 12.  Details here.

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Daily

Ben Schwartz has handed the New Yorker’s online Daily Cartoon baton to David Sipress, who, Daily fans will recall, has occupied the space before.

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NYer FestFrom Adweek, October 6, 2014,  “How the New Yorker’s Festival Has Become a Magnet for Brands”  — The New Yorker’s Publisher, Lisa Hughes on the magazine’s popular yearly event. (left: a snippet of Barry Blitt’s poster for the event, one of three posters commissioned)

Sipress Sees The Birds; Feiffer, Katchor, Burns, Tomorrow, Mankoff & more at Small Press Expo; Books on the Horizon

 

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From newyorker.com, August 27, 2014:

“A Fear of The Birds — a piece by the cartoonist, David Sipress.

 

 

 

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From Michael Cavna’s  Washington Post “Comic Riffs” column, August 27, 2014, “SPX 2014: From alt-weeklies to web-comics, Small Press Expo announces its programming slate”

Among those scheduled to appear are Ben Katchor, Tom Tomorrow, Jules Feiffer, Charles Burns, and Bob Mankoff.

 

 

 

 

 

 

 

 

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Far off in the distance,  a few books of interest have been listed on some popular bookseller websites:

From Thomas Kunkel, who authored  one of the very best New Yorker biographies, Genius in Disguise: Harold Ross of The New Yorker (Random House, 1995), comes Man in Profile: Joseph Mitchell of The New Yorker.  Due  April 21, 2015, from Random House.   No cover image & scant few details  as of now.

 

And in February of 2015, Writing For The New Yorker: Critical Essays on an American Periodical by Fiona Green (Edinburgh University Press). 9780748682492_p0_v1_s260x420Here’s what the publisher has to say:

Original critical essays on an iconic American periodical, providing new insights into twentieth-century literary culture

This collection of newly commissioned critical essays reads across and between New Yorker departments, from sports writing to short stories, cartoons to reporters at large, poetry to annals of business. Attending to the relations between these kinds of writing and the magazine’s visual and material constituents, the collection examines the distinctive ways in which imaginative writing has inhabited the ‘prime real estate’ of this enormously influential periodical. In bringing together a range of sharply angled analyses of particular authors, styles, columns, and pages, this book offers multiple perspectives on American writing and periodical culture at specific moments in twentieth-century history.