Late Notice: A Launch Party Tonight With Hilary Fitzgerald Campbell Live-Drawing
From the Facebook Invite:
Come celebrate the release of Sarah Dooley’s new book ‘Are You My Uber?’ which is a parody of the P.D. Eastman classic ‘Are You My Mother?’ Listen to comedians Sydnee Washington, Eva Victor, Larry Owens, Pat Regan, Marcia Belsky, Gabe Gonzalez, and Taylor Ortega tell hilarious stories of wild cab experiences while Hilary Campbell, the book’s illustrator, does live drawings.
Ms. Campbell began contributing to The New Yorker in 2017. Visit her website here.
Today’s Daily Cartoonist & Cartoon
A leafy Daily from Chris Weyant, who began contributing to The New Yorker in 1998. Visit his website here.
The Cover: I see leaves. The fifth cover (below right) by Brigit Schossow. Read a Q&A with her here.
There’ve been a lot, a whole lot, of leafy New Yorker covers, but this current one by Ms. Schossow brought to mind (courtesy of a helpful New Yorker colleague) the beauty below left by the magazine’s former art & cartoon editor, Lee Lorenz.
A scattering of thoughts about just a few of the cartoons in this issue:
P.C. Vey’s bear and couple in the woods (on page 33) made my day.
Something totally unexpected cartoon-wise is usually always good, and so it was coming upon a Jack Ziegler cartoon. Especially nice that the drawing is set in one of his favorite cartoon scenarios: a bar.
A fun Pete Mueller drawing (p.27). Two Mueller drawings in two issues. Yay!
Ellis Rosen’s friend’s shower (p.56) is different. Like the choices of warm/cold and cold/warm.
Needed a ten second Googled refresher course with Liana Finck’s drawing (p. 60). Not so much what her drawing means, but the meme’s origin (just curious, y’know).
The Rea Irvin Talk Masthead Watch:
Am hoping to open the issue one day and see Mr. Irvin’s iconic design has returned. No dice this week. For now, there’s that re-draw. Read about the classic Irvin Talk masthead here.
Here’s the real deal:
Some Thoughts After Seeing The James Stevenson Documentary Film, Stevenson Lost And Found
A few random thoughts after attending last night’s premiere of Sally Williams’ fab documentary film, Stevenson Lost And Found. There are are so many moments in the film — too many to go into here — that cartoonists and people who love New Yorker cartoons will treasure.
One instance I found particularly fascinating: the animated sequence showing what might go through cartoonists brains as they sit down and begin the day’s work. We’re shown a series of cartoons covering a wide variety of subject matter. It is, for this cartoonist, a relatable experience, as the mind careens through unlimited places every morning.
Another instance: in some eye-popping sequences we’re shown images of Mr. Stevenson’s children’s books lined-up, as well as Mr. Stevenson’s New Yorker black scrap books (shown above) kept in the magazine’s library. These books contain every single signed New Yorker contribution by Stevenson, whether it’s his writing or drawing (including covers of course).* Most of The New Yorker’s nearly 650 cartoonists (from 1925- present) have not had their work collected in one scrap book, let alone five. **
At the screening, I was lucky enough to be seated next to the legendary artist, Edward Sorel. During one of the sequences in the film where we are grasping the enormous amount of work Stevenson did (both published and unpublished) Mr. Sorel leaned over and said to me, “Do you feel as much like an underachiever as I do?”
In a perfect cartoon world, there’d be films such as Lost And Found for a number of the magazine’s artists. It’s heartening that there is already a Thurber film out there, and an Addams documentary in the works, as well as a film about George Booth. But how about a Steinberg documentary, and one about Steig***? I can dream, can’t I. For now, we are quite fortunate to have this gem on Stevenson showing on the big screen. Go see.
* I say “signed” because The New Yorker did not and does not scrap book cartoon ideas handled by other artists. Mr. Stevenson, early in his New Yorker career, wrote a large number of captions for some of the magazine’s artists (read about his “secret job” here).
**Artists (and writers) without an enormous amount of work are scrap booked in alphabetically cataloged books, along with other contributors.
***A short video accompanied the Steig exhibit that ran at The Norman Rockwell exhibit.
There is a 20 minute film about Edward Sorel available here.
A 40 minute Eldon Dedini film here,
And a short film about C.E.M. (Charles E. Martin) here.