Cartoonists On Abbey Road; Today’s Daily Cartoonist & Cartoon; Kurzweil’s Daily Shouts; Next Week’s New Yorker Cover

Cartoonists On Abbey Road

As today is the 50th (!) anniversary of the photo shoot for the cover of The Beatles Abbey Road album I thought it was a good time to link to a piece I wrote back in 2011 about the Abbey Road live webcam (the piece appeared on The New Yorker‘s site).  Today’s a great day to visit the action.  Last I checked in there was a fellow dressed all in white, ala John Lennon on the album cover, posing for pictures as he accompanied visitors back-and-forth across the street. It’s a happy scene all around.  But of course what else would you expect from a Beatle event.

Since Ink Spill is a site dedicated to New Yorker cartoonists, I dug out a couple of photos of New Yorker cartoonists crossing Abbey Road in March of 2000.  That’s me in the top photo and Liza Donnelly in the bottom photo. Our two Beatlemaniac daughters were with us.

 

 

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Today’s Daily Cartoonist & Cartoon

Beach reading by Felipe Galindo (aka Feggo).  Mr. Galindo began contributing to The New Yorker in 2002.  Visit his website here.

 

 

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Today’s Daily Shouts

Amy Kurzweil’s  “How Long Have I Had That”  — Ms. Kurzweil began contributing to The New Yorker in 2016. Visit her website here.

 

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Next Week’s New Yorker Cover

As happens from time-to-time, The New Yorker gives us an advance look at an upcoming cover. Here’s next week’s Toni Morrison tribute by Kara Walker.

A Q&A with Kara Walker here about her cover.

Ken Krimstein’s New York Times Book Review Sketchbook; Exhibit Of Interest: Felipe Galindo’s ‘Washington Takes Manhattan’; The Tilley Watch Online

Ken Krimstein’s New York Times Book Review Sketchbook

From The New York Times Book Review, May 12, 2019, “How Questioning Hannah Arendt Made Me Question Myself”

Mr. Krimstein on writing his latest book,The Three Escapes of Hannah Arendt: A Tyranny of Truth Mr. Krimstein began contributing to The New Yorker in 2011.  Visit his website here.

 

 

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Exhibit of Interest: Felipe Galindo’s ‘Washington Takes Manhattan’

An exhibit of work at the Morris Jumel Mansion by Felipe Galindo (aka feggo), who began contributing to The New Yorker in 2002. Visit his website here.

 

 

 

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A round-up of work by New Yorker cartoonists appearing on newyorker.com

The Daily Cartoon: Tim Hamilton, Peter Kuper, Tom Chitty, Avi Steinberg, and Teresa Burns Parkhurst. Not one, but two castle drawings this week!

To see all the above and more go here.

 

Article of Interest: “When Did New Yorker Covers Get So Thirsty?”; Fave Photo of the Day: Five New Yorker Cartoonists in Times Sq (2002)

From Slate, October 25, 2017, “When Did New Yorker Covers Get So Thirsty?”

— a piece by Matthew Dessem on the evolution of “specific people” New Yorker covers.

The first one, Nov 22, 1941, by Rea Irvin:

Top of the post, left: the second one: October 31, 1942 by Rea Irvin ; on the right, the most recent by Carter Goodrich.

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Fave Photo of the Day: Five New Yorker Cartoonists in Times Sq. (2002)

The photo, taken in Times Square, September 2002,  came to the Spill courtesy of Paul Wood, who lives and works across the pond. The cartoonists are from left to right: Sam Gross, Felipe Galindo (aka feggo), Paul Wood, John Kane, and Sid Harris. 

My thanks to Mr. Wood (an Ink Spill One Clubber: his drawing appeared in the New Yorker  January 24, 2000).

Felipe Galindo on Porges and Leeds; New Yorker Caption Contest Mechanics; Sikoryak’s Carousel

Felipe Galindo (aka Feggo) who reliably takes photos at cartoonist gatherings,  sent in this wonderful photograph of the late Peter Porges. Felipe also added some thoughts on Mr. Porges and the late Stuart Leeds.

Peter Porges

I first met him at one of those cartoonists lunches. He had a grouchy expression that all of a sudden transformed into a comical act, making funny noises, like a marching band, imitating instruments. I recall that afterwards I went along Sid Harris and him to visit his studio at Union Square. He showed us stuff he was working on and his drawing technique with India ink and quill on large rag paper. Beautiful artistic renditions. He sometimes would lick the quill, his tongue and lips will be all black and Sid horrified, screamed: “Don’t do that, you’re going to get cancer!”. He said, “No way, I’ve been doing this for ages!” He did that 3 or 4 times. He would also tell me some words in Spanish. He was good pal of Sergio Aragones, my compatriot. I asked him where was he from, and told me he was born in Vienna. A comment that impacted me was: “When I was a kid I saw Hitler marching into Vienna in 1938! Later my family sent me away for protection.” He is the only person I’ve met that saw Hitler. Talk about 5 degrees of separation.
I was familiar with his work from Mad Magazine but later I enjoyed his cartoons from The New Yorker; he had several captionless gags, my cup of tea. But I liked in particular one about characters from a famous Velazquez painting: “Dauphin! Stop teasing La Infanta!”
Always a riot, in paper and in life.
Left: a Felipe Galindo sketch of Peter Porges at a cartoonist gathering in 1988
Stuart Leeds
I met Stuart at The New Yorker offices in Times Square, probably in 2002 or 2003. He would sit quietly at the sofa in the lobby, reading books after showing his batch. In 2008 I began to teach at an after school program in the Bronx and I was surprised to see him there and he me. He was moonlighting teaching cartooning to 4th graders and I was just learning how to teach, how to do mini graphic novels to 3rd graders. We used to chat a bit before class and share teaching methods.
He showed up at a couple of my exhibitions.  The late John Kane (they were neighbors in the Chelsea vicinity) once mentioned that he asked him to babysit Harry his parrot for a week, not at his apartment but at John’s place…and free range inside!
I think his his style was simple and his forte was in the ideas more than in a particular technical skill, but that simplicity – experimental at times- was just right to convey his wit. One favorite that comes to mind is his Greek Orders, showing 3 columns (Doric, Ionic, Corinthian) and at the end the iconic coffee cup with the Greek motifs labeled “To Go”. His humor was very New York City oriented where he most probably felt at home. Stuart liked baseball and adored the former NY Giants before they moved to San Francisco. He would wear with pride a vintage Giants cap.
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From Isthmus, February 2, 2017, “Hi-tech Humor: UW Powers New Yorker Contest” — this piece on Rob Nowak, who created the program that reduced the eye-balling time spent on the magazine’s caption contest.
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Robert Sikoryak’s next Carousel is coming up.  This one includes the very same Felipe Galindo mentioned at the top of today’s SpillAll the information here.

 

Blitt and Kuper on Society of Illustrators Panel; Gil Roth Roth Interviews Glen Baxter; Another Look at Abner Dean; Felipe Galindo In Conference on Political Satire in Latin America; A Case For Pencils’ Pencils

 

 

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Last Minute Notice!

“Can Art Affect Social Change?”  Barry Blitt and Peter Kuper, among others, will discuss tonight at The Society of Illustrators.  Details here

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Check out Gil Roth’s wonderful interview with Glen Baxter on Mr. Roth’s Virtual Memories podcast here.

(Mr. Baxter talks about coming to The New Yorker in the Robert Gottlieb era).

While on the Virtual Memories site also be sure to take a look at past episodes, especially the long list of cartoonists (full disclosure, this cartoonist is among those listed).

 

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dean jacket.inddFrom New York Review Comics comes a new edition of Abner Dean’s What Am I Doing Here? originally published in 1947.  Read Mark Frauenfelder’s piece on it here on Boing Boing.

Here’s Mr. Dean’s entry on Ink Spill’s New Yorker Cartoonists A-Z:

Abner Dean Born, New York City, March 18, 1910. Died, June 30, 1982, NYC.  According to his New York Times obit (July 1, 1982) Dean “started his career at the National Academy of Design and went to Dartmouth College, where he graduated in 1931.”  He published numerous collections of his work, including It’s A Long Way to Heaven  (Farrar & Rinehart, 1945) and Wake Me When It’s Over (Simon & Schuster, 1955). Although primarily a cover artist for The New Yorker (he contributed five, all in the 1930s), he did publish one drawing in the magazine: January 2, 1960. 

 

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71440 Felipe Galindo  (aka Feggo) is participating in  Bitter Laughter: A Conference on Political Satire and Press Freedom in Latin America — a conference taking place in New York City this coming Saturday:  Details here.

 

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a-case-for-pencils-logoJane Mattimoe, who runs the wonderfully informative blog, A Case For Pencils, wherein New Yorker cartoonists share their tools of the trade, is sharing her own tools of the trade this week.  Check it out here.