In a relatively short period of time Liana Finck has done something that just a few New Yorker cartoonists have managed: working successfully in two distinct styles; in Ms. Finck’s case, one in The New Yorker and the other on Instagram. I think back to John Held, Jr. as a previous example. His New Yorker woodcut work was in a different universe than the work that brought him fame: delicate flowing lines capturing the roaring twenties crowd. Ms. Finck’s styles aren’t as far apart as Mr. Held’s, but they are easily IDed as her Instagram work and her New Yorker work. Most of the drawings included in Excuse Me, out today, focuses on Ms. Finck’s Instagram work (the New Yorker drawings included here appeared on the magazine’s Instagram account).
These are highly personal drawings — “complaints, and notes to self” — transmitted to her readers via lists, charts, diagrams, serial drawings telling a story, or a single drawing telling a story (i.e., a New Yorker cartoon moment). Like the very best of New Yorker artists, Ms. Finck’s work seems to be of her, not just by her. Think of Steinberg, Ziegler, and most especially, Roz Chast. In the Publisher’s Weekly blurb accompanying my copy of Excuse Me the reviewer refers to “Finck’s brick of a gag collection…” One thing this collection is not is a collection of gag cartoons (oh how I dislike that term). Do not expect the classic arrangement of a drawing hovering over a caption as you see in The New Yorker. My hope is that there’s a Finck collection of her New Yorker drawings in the wings that’ll bookend Excuse Me.
Part of the delight of Ms. Finck’s Instagram drawings is that they are of-the-moment. Just about every cartoonist I know works like this, laying down rough work of words and sketched impressions that may or may not go anywhere. But few post them on Instagram within seconds of completion. The New Yorker cartoonist Liza Donnelly, for instance, has developed a bustling cottage industry over the years out of her “live-drawings” posted immediately online.
The above mentioned PW blurb says this is a brick of a book. Correcto! It’s four hundred pages, 6″ x 8″ — the perfect size to carry around and delve into whenever you need Ms. Finck’s genuinely absorbing graphic company.
Peter Steiner, the cartoonist behind the cartoon above, talks to WAMC’s Joe Donahue about The Good Cop, Steiner’s latest novel. Link here to hear it.
Mr. Steiner’s entry on the Spill‘s A-Z:
Peter Steiner Born, Cincinnati, 1940. New Yorker work: 1979 – . Collection: “I Didn’t Bite the Man, I Bit the Office” ( 1994). Mr. Steiner is responsible for one of the most famous (and most republished) New Yorker cartoons in modern times, “On the Internet, nobody knows you’re a dog.” (published July 5, 1993). An indication of its enduring popularity in our culture: a wikipedia page is devoted to it. He has also had novels published, as well as the limited edition “An Atheist in Heaven.” Website: www.plsteiner.com/
Today’s Daily Cartoonist & Cartoon
A newsy-ish David Sipress Daily. Mr.Sipress has been contributing to The New Yorker since 1998.
When One Cartoon Is (Very) Much Like Another’s
From The Boston Globe, September 5, 2019, “Did a biotech exec crib a New Yorker cartoon?”— this piece about a cartoon recently published that closely resembles one by the late great Eldon Dedini published in The New Yorker November 17, 1986.
Here’s Eldon Dedini’s entry on the Spill’s A-Z:
Eldon Dedini ( Photo source: Esquire Cartoon Album, 1957) Born 1921, King City, Calif. Died Jan.12, 2006, Carmel, Calif. NYer work: 1950 – 2003. Collection: The Dedini Gallery ( Holt, Rhinehart and Winston, 1961)
The Latest Blitt Kvetchbook
From Mr. Blitt: Trump’s revised weather map.
Mr. Blitt has been contributing to The New Yorker since 2006.
Visit his website here.
Today’s Daily Cartoonist & Cartoon
And here’s Tim Hamilton’s take on Trump’s weather map.
Mr. Hamilton began contributing to The New Yorker in 2015. Visit his website here.
Jeremy Nguyen on Spiderman. Mr. Nguyen has been contributing to The New Yorker since 2017. Visit his website here.
A Barry Blitt Interview I Missed
Luckily the Design Observer just brought this Barry Blitt interview out of their archive and re-posted it. I missed it when it was originally posted in December of 2017. And lucky forThe Spill, it caught the eye (and ear) of a friend who’s in the design biz up Beantown way — I thank him for it.
A Back to school Daily by Mark Thompson. Mr. Thompson began contributing to The New Yorker in 2010.
Tim Hamilton delivered yesterday’s very Planet of the Apes-ish Daily. Mr. Hamilton began contributing to The New Yorker in 2016. Visit his website here.
A Q&A With Bob Eckstein
A short Q&A marking Bob Eckstein’s return to the Annual Writer’s Digest Conference. Read it here.
Mr. Eckstein began contributing to The New Yorker in 2007. He is, among many other things, the world’s greatest snowman expert. Visit his website here.
Spiegelman, Marvel, and the “Orange Skull”
Art Spiegelman of Maus fame (and a former contributor to The New Yorker) is in the news again. Read all about it here on Bado’s Blog and in The Guardian.