Weekend Spill: More On Peter Steiner’s “…Internet…Dog”; The Tilley Watch Online, October 2-6, 2023

More On Peter Steiner’s “…Internet…Dog” Here’s A screenshot of two Heritage Auction tweets following up on the sale Of Peter Steiner’s iconic New Yorker drawing:  Peter Steiner’s A-Z Entry:  Peter Steiner (above). Born, Cincinnati, 1940. New Yorker work: July 9, 1979 — . Collection: “I Didn’t Bite the Man, I Bit the Office” ( 1994). Mr. Steiner is responsible for one

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Wednesday Spill: In Praise Of Robert Weber’s Art; Hilary Campbell’s Book Event & Gallery Show; New Book: Pat Achilles’s “Zeitgeist Meetup”

In Praise Of Robert Weber’s Art  I began my usual daily online search this rainy chilly morning to see what New Yorker cartoonist news had come in during the past 24 hours. What showed up — what always shows up — was a mixed bag: old news that’s somehow considered new, new posts that are new, fringy stuff, and occasionally

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Weekend Spill: The Tilley Watch Online, The Week Of April 18- 22, 2022; Latest Caption Contest Podcast

The Tilley Watch Online, The Week Of April 18-22, 2022 An end of week listing of New Yorker artists contributing to newyorker.com features The Daily Cartoon: David Ostow, Luke Kruger-Howard, Ali Solomon, Trevor Spaulding, Pat Achilles. Daily Shouts: Liana Finck.    _________________________________________________________________ Liam Walsh Is The Latest Guest On The Cartoon Caption Contest Podcast Mr. Walsh began contributing to The

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Weekend Spill: Personal Cartoon History; Unfinished Business: Shaw’s Blank New Yorker Drawing & Alan Dunn’s; From Attempted Bloggery…S.J. Perelman & Victoria Roberts Intersect At A French Laundry; The Tilley Watch Online, November 1-5, 2021

________________________________________________________________________________ Personal Cartoon History I was wandering around The New Yorker’s online archive this evening when I came across this drawing of mine from the January 9, 1984 issue. I looked at it for a few seconds then realized that it’s very different from all of my work in the magazine as it’s blatantly autobiographical. What you see is the

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