Book Launch Reminder: Wertz’s Tenements,Towers & Trash; Books Of Interest: R. Crumb: From the Underground to Genesis; Cartoon County: My Father and His Friends in the Golden Age of Make-Believe

Book Launch Reminder: Wertz’s Tenements, Towers & Trash

A book launch for Ms. Wertz’s book will be held October 5th at the Powerhouse Arena. All the info here! Joining Ms. Wertz will be two New Yorker colleagues, Emily Flake and Liana Finck

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 R. Crumb: From the Underground to Genesis

Due December 26th, 2017 from IDW Publishing, R. Crumb: From the Underground to Genesis.  

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Cartoon County

From F,S & G in November, Cartoon County. An excerpt of this book recently appeared in Vanity Fair.  The author, Mr. Murphy, is the editor at large at that publication.

From Publisher’s Weekly: “Immensely evocative . . . [Murphy] writes with a personable mix of affection and realism that offers a vivid sense of what it was like to . . . be a working cartoonist in the decades following WWII.”

 

Latest New Yorker Cartoons Dissected on Cartoon Companion; Chast’s New Book Reviewed; Exhibit of Interest: “Unnatural Election”; Conversation of Interest: Art Young Authors Discuss the Artist; Event of Interest: Julia Wertz in Brooklyn

Latest New Yorker Cartoons Dissected On Cartoon Companion

The Cartoon Companion is back with a look at the cartoons in the latest issue of The New Yorker.  The CC’s “Max” and “Simon” inspect cartoons by Joe Dator, J.A.K., BEK, Barbara Smaller, and Paul Noth,  among others. While on the site be sure to read part 2 of their interview with Amy Hwang. 

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Chast’s New Book Reviewed

From The Berkshire Eagle, September 14, 2017, ” Letter From New York: A Graphic look at city via memoir, maps”  — the first review I’ve seen of Roz Chast’s upcoming Going Into Town: A Love Letter to New York

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Exhibit of Interest: Unnatural Election

From New Jersey Stage, September 14, 2017, “Puffin Cultural Forum Presents “Unnatural Election: Artists Respond to the impact of the 2016 US Presidential Election” — according to the article, this is the third physical installation of the exhibit (the previous two: New York and Alaska). 

Among the many artists represented in the show are Andrea Arroyo,  Barry Blitt, Steve Brodner, Sue Coe, Liza Donnelly, Randall Enos, Felipe Galindo, Peter Kuper and Robert Sikoryak.

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Conversation of Interest: Art Young Authors Discuss the Artist

From The Comics Journal, September 14, 2017, “Art Young, To Laugh That We May Not Weep: A Conversation with Glenn Bray and Frank M. Young” — this discussion about  the great Art Young, whose work appeared in the New Yorker from 1925 through 1933.

— thanks to Mike Rhode for bringing this piece to the Spill’s attention

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Event of Interest: Wertz at Brooklyn Public Library

From Brooklyn Library.org, this notice of an appearance, October 11th,  by Julia Wertz, whose latest book is Tenements, Towers & Trash.

 

 

 

Alex Noel Watson: 1929- 2017

 

The Professional Cartoonists Organisation  has posted the sad news that Alex Noel Watson has passed away. You will read that he was a delightful person, a real character –and that was exactly the case; he was a high-spirited exceptionally friendly man of many talents. 

  Read the announcement here.

Mr. Watson’s work appears in The New Yorker Cartoon Album 1975-1985He contributed seven drawings to The New Yorker between 1970 and 1997 (his first appears below — it was in the issue of August 29, 1970).  Also shown is the cartoonist company he kept in that issue.

 

 

 

 

 

 

 

 

 

 

Link here to Mr. Watson’s entry in The British Cartoon Archive

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 Book of Interest: I Actually Wore This

Here’s an uncartoony book, with a few New Yorker cartoon folks in it, namely Roz Chast and the magazine’s assistant cartoon editor, Colin Stokes.  

Written by Tom Coleman, with photographs by Jerome Jakubiec.  Published by Rizzoli.  Published this past March.  

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Interviews of Interest: Julia Wertz, Mimi Pond

From the podcast Sagittarian Matters, two recent episodes:

Episode #68  with Mimi Pond (May 26, 2017)

Episode #64 with  Julia Wertz  (April 28, 2017)

Click here to reach the site.

 

John Donohue on Drawing Disappearing Eateries; Julia Wertz is Pencilled; The Tilley Watch: The New New Yorker Masthead

From  newyorker.com, May 23, 2017, ““Drawing the Vanishing Restaurants of New York” — this post by John Donohue, who has been tirelessly attempting to draw all the restaurants in New York.

 

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Next up on Jane Mattimoe’s Case For Pencils blog is Julia Wertz, whose new book, Tenements, Towers & Trash: An Unconventional, Illustrated History of New York City will be out this coming October. 

A bunch of links to Ms. Wertz’s work, New Yorker and otherwise can be found on the Pencils post.

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…Stephen Nadler, who runs Attempted Bloggery, one of my fave New Yorker-related sites, notified me last night that someone had been busy monkeying around with Rea Irvin’s  iconic New Yorker masthead. Now’s a good time to take a look at how the masthead has changed (and when it changed) in the magazine’s 92 years.

 

 

 

 

 

 

Above is how it looked in the very first issue, February 21, 1925, with Of All Things beneath Rea Irvin’s design. The Talk of The Town was elsewhere in the issue, but would soon find a better fit…

 

 

 

 

 

…in the next issue, in fact: February 28, 1925 (above). The above masthead stuck around only half-a-year…

 

 

 

 

 

…until the issue of August 22 1925 (above), when it was obviously redrawn; the typeface changed too. 

 

 

 

 

 

In January 30, 1926 a cleaner, un-boxed masthead appeared, and again redrawn. This is the masthead most of us have known our entire lives.  It has stayed like this, unchanged, excepting the disappearance of the tiny little white dots on Eustace Tilley’s shoulder — they faded away somewhere in time.  A modern addition was a designery horizontal thin line above it in the anniversary issue of February 21, 2000. 

 

 

 

 

 

This brings us up to date. The above redesign first appeared in the issue of May 22, 2017.  Mr. Irvin’s charmingly imperfect scroll-like line has met a white-out brush.  His owl has been re-drawn, his buildings re-drawn too (with the inclusion of One World Trade Center in this new assortment).  Tilley himself has changed just a bit, from the neck up.  The designery horizontal line from 2000 remains (why toss out a perfectly good clean straight line?).  

A fond farewell to Mr. Irvin’s brilliant diamond.  Perhaps we’ll meet again?  

More Tilley: here’s a piece I wrote for newyorker.com back in 2008, “Tilley Over Time”

 

 

 

 

 

 

 

A Thurber Poster (and A Steig Poster & A Soglow Poster): Book of Interest: Wertz’s Tenements, Towers & Trash

The other day I Spilled a beautiful Peter Arno poster being auctioned by the Swann Galleries;  here are three more posters by three  great New Yorker artists:  James Thurber, Otto Soglow and William Steig. All took a turn  illustrating a poster for the Washington Square Art Show.  Thurber’s was for the 1935 exhibit, Soglow’s for 1930, and  Steig’s for 1933. (Arno’s appeared in 1932).

All the info here on the Swann website. Enter the name of the artist in the search box, and presto! 

Note: Ink Spill is in no way connected to the Swann Galleries.  I’m posting these posters because they’re wonderful oddities.

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Coming in October from Black Dog & Levinthal — the folks who brought us the massive  Complete Cartoons of The New Yorker: Julia Wertz’s Tenements, Towers & Trash. 

From the publisher, Ms. Wertz’s bio:

Julia Wertz is a professional cartoonist and amateur historian. She has published five graphic novels and does monthly history comics for The New Yorker and Harper’s Magazine.

Link here to her website.

Here’s what Roz Chast had to say about Tenements, Towers & Trash:

“Julia Wertz’s Tenements, Towers, and Trash is nothing short of extraordinary. The meticulously researched histories of the various urban landscapes are fascinating, and Wertz’s drawings perfectly capture the visual poetry of the city- the ongoing struggle between past and present, and its unique blend of beauty and ugliness. A must for anyone who loves and appreciates the city, as Wertz so clearly does.”

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