Society of Illustrators Exhibits New Yorker Cartoonists’ Cartoon Collection







On the Society of Illustrators October 2013 calender of exhibits: “The Collection of Michael Maslin and Liza Donnelly” — the exhibit runs from October 29 through December 21. (above: a Jack Ziegler drawing that appeared in The New Yorker July 28, 1980)

Here’s the event listing on the Society’s site:

Michael Maslin and Liza Donnelly, long-time contributors to The New Yorker Magazine, are also huge fans of the magazine’s cartoons, past and present.  For over thirty years they have been collecting cartoons by New Yorker artists any way they can (gifts, ebay purchases, auctions, and as trades with their contemporaries).  This exhibit represents the decades-long obsession with works by such cartoon luminaries from the magazine’s past as James Thurber, Gluyas Williams, and Helen Hokinson and present: Jack Ziegler, Roz Chast, Bob Mankoff, Mick Stevens, Drew Dernavich, Zachary Kanin, Barbara Smaller.


A Lecture and Reception will be held on October 30th to celebrate the opening of the exhibit.


Note: the exhibit, on display on the third floor Hall of Fame Gallery, consists of original work by approximately 40 New Yorker cartoonists, some of whom are tagged below.  A full list will eventually appear on Ink Spill.






Birthday of Interest: Bob Dylan…a look at New Yorker Cartoons mentioning the Bard


In honor of his 72nd birthday, here are links to four New Yorker cartoons mentioning Bob Dylan (if you have access to the magazine’s archive, seek out Nat Hentoff’s great Profile of Dylan in the October 24, 1964 issue)

Mick Stevens’ drawing, (above) published December 10, 2007

Michael Shaw’s drawing, published October 25, 2010

John S. P. Walker’s drawing,  published June 24, 1991

Danny Shanahan’s drawing,  published March 9, 1998


Michael Shaw: Let Us Now Praise Bad Cartoonists


Note: After my colleague Michael Shaw posted the following piece on Face Book this afternoon, I asked if he’d share it with Ink Spill. Accompanying the piece is Michael’s illustration, an homage to James Thurber’s drawing, “Touche!” originally published in The New Yorker,  December 3, 1932.


Call me Thurberesque. Why? Because it’s a nice way of saying I can’t draw very well. Oh, if it were as simple as failing eyesight or a lack of limbs. I could package myself as a triumph over indefatigable odds— maybe score a papal au- dience like that guy who plays guitar with his feet. Nope, it’s just the way I draw. Or more precisely, it’s the way the things I draw look— desks are made of cheese, wrists are optional, hands are switched, fingers missing, necks incomplete. Float- ing heads! The world I draw is an ill-at-ease chaotic jumble of multiple perspectives and lines meandering in all direc- tions. Just like real life. Or more precisely, life here in the Midwest.
I am a Midwestern by birth, temperament, and cholesterol count. This is no Keilloresque Midwest. That’s Minnesota. Minnesota is not the Midwest. Here are the boundaries— the Midwest may creep as far north as Madison, Wisconsin (but only in deference to Michael Feldman.) The Midwest stops at Kansas City. Ask Calvin Trillin or George Booth. They’ll tell you the Midwest pretty much stops in Missouri. Columbus, Ohio forms the eastern border, (but only as an homage to James the Thurb). Please go no further south than Hannibal, Missouri. (Which may be north of Colum- bus.) And there you’ve got the psychic map from which my work springs. Hope this helps!
One question still stands— why continue to inflict Michael Shaw’s cartoons on a largely innocent readership? First— my occasional appearance is the driving force behind my moth- er-in-law’s subscription. (Though the photograph of Charles Ray’s sculpture “Oh! Charley, Charley, Charley” almost sent her back to The Saturday Evening Post.) Second, and most importantly— one Christmas morning, now largely lost to the murk of memory, I received, along with a strapping G. I. Joe, a copy of “Thurber and Company”. And that was that.
The New Yorker was in no way responsible for this event. But what do I know? There are forces at work here both vast and inscrutable. And in the next installment, we’ll sniff the daisy chain of events that have nurtured the peculiar subspe- cies of outsider art that is a Michael Shaw cartoon. Don’t miss chapter two—Tragedy Plus Time Equals Tragedy, But Who Has Time Anymore?
First in a series of faxed advertorials on behalf of the cartoons of Michael Shaw. By Michael Shaw. (Originally sent Tuesday, August, 17th, 2004, 1:57pm)