Today’s Daily Cartoonist & Cartoon; Strand Event Of Interest; A Daily Shouts With Emily Flake; Ryan Flanders’ TCJ Friday Links; Anthologies For The Waning Dog Days Of Summer

 

Today’s Daily Cartoonist & Cartoon

Peter Kuper gives us three reasons Trump wants to buy Greenland.

Mr. Kuper has been contributing to The New Yorker since 2011.

Visit his website here.

_____________________________________________

Strand Event Of Interest

On September 16th the Strand will host a panel discussion centered on Drawing Power: Women’s Stories of Sexual Violence, Harassment, and Survival.  All the info here.

Drawing Power contributors include New Yorker artists Aline Kominsky-Crumb and Liana Finck.

_______________________________________

A Daily Shouts With Emily Flake

Yesterday’s Daily Shouts by David Bradley Isenberg and Emily Flake: “Possible Explanations For Why Your Subway Car Is Empty”

Ms. Flake has been contributing to The New Yorker since 2008.  Visit her website here.

______________________________

Ryan Flander’s TCJ Friday Links

Mr. Flanders’ Friday gathering of comics (and comix) related links. Included here on the Spill as it offers a ton of non-Tilley avenues to explore, if that’s your thing. There’s one New Yorker mention this week (the magazine’s Peanuts article, “How ‘Peanuts’ Created A Space For Thinking”). 

________________________________

Anthologies For The Waning Dog Days Of Summer

Some wonderful dog-centric books selected from the Spill‘s library.

Thurber’s Dogs (Simon & Schuster, 1955)

The New Yorker Book of Dog Cartoons (Knopf, 1992)

The Big Book New Yorker Book of Dogs (Random House, 2012)

Dogs by Henry Morgan & George Booth (Houghton Mifflin, 1976)

Dogs Dogs Dogs edited by Sam Gross (Harpercollins, 1985).

 

The Monday Tilley Watch, The New Yorker (Double) Issue Of August 5 & 12, 2019; Today’s Daily Cartoonist & Cartoon

The Cover: Lotsa ice cream on Olimpia Zagnoli’s second New Yorker cover. I’m immediately reminded of any number of early Vogue covers.  Read the Cover Story here.

The Cartoonists:

…a newbie: Lisa Rothstein is the 22nd new cartoonist added to the magazine’s stable this year, and the 48th new cartoonist added since cartoon editor Emma Allen’s tenure began in May 2017.

The Cartoons: quite the surprise seeing a cartoon (on p.61) by the late great Jack Ziegler.  It got me to wondering if perhaps The New Yorker might set up a special online section for the contributors who left us with a lot of work still in the bank (or, as originally designated, “on the bank” — that is,  work bought, but not yet published). When William Steig passed away there was a rumor that hundreds of his drawings (and some covers) were still on the bank. One wonders about the on the bank work of Charles Barsotti, as well as Mr. Ziegler, Leo Cullum, and Michael Crawford, to name but a few dear departed colleagues. Wouldn’t it be great to see this work gathered online.  

Also of interest in this double issue: a cartoon by the one-and-only Sam Gross, who celebrates his 50th year at The New Yorker in August. His first New Yorker drawing appeared in the issue of August 23, 1969 (the Spill will further note the occasion on August 23, 2019).

Speaking of Jack Ziegler, Ed Steed’s squid drawing (p. 37) calls to mind Mr. Ziegler’s classic squid drawing from the issue of September 16, 1996 (it was also used as the cover drawing, and title of Ziegler’s 2004 food cartoon anthology). A quick search for squid cartoons in the Cartoon Bank’s database brought up just two other squid drawings: this one by Danny Shanahan, and this one by Farley Katz).

Also of note:

… J.A.K.’s drawing (p.21) — my fave Jason Adam Katzenstein drawing of all time (so far)

…Chris Ware’s 8 page “Mr. Ware” (he talks about it here).

… Sizing of drawings this issue: most seem right on the money (examples: Sam Gross’s, Zach Kanin’s, Roz Chast’s, Lars Kenseth’s).

…:A goodly number of non-human centric drawings this issue: cockroaches (McNair), the aforementioned squid by Mr. Steed, a bull (McNamee), a parrot (Gross), a blender (Chast), hugging dogs (Rothstein), rocks (Hwang), shishto peppers (Kenseth).

Rea Irvin: Mr. Irvin’s iconic Talk masthead (it appeared for 92 years) disappeared in the Spring of 2017 (read about it here) — replaced by — gasp! — a redraw (not redrawn by Mr. Irvin, who passed away in 1972). Will the original ever return? Here it is until then:

______________________________________________

Today’s Daily Cartoonist & Cartoon

Brendan Loper, who began contributing to The New Yorker in 2016, on opinions/films.

 

 

 

 

Fave Photo Of The Day: George Booth, Mort Gerberg, And Sam Gross; A Chitty Shouts; Article Of Interest: Working At Mad Past Its Heyday; Today’s Daily Cartoonist & Cartoon; Two Collaborative Daily Shouts

Fave Photo Of The Day

Via Sarah Booth’s Instagram account, three long-time New Yorker cartoonists in front of a tattoo parlor,  July 2019.

Left to right: George Booth, Mort Gerberg, and Sam Gross.  Mr. Booth and Mr. Gross began contributing to The New Yorker in 1969, and Mr. Gerberg in 1965.

And…another group photo appears on the drawinglifemovie Instagram account (it’s attached to the George Booth Drawing Life documentary film in progress) .

— My thanks to Attempted Bloggery‘s Stephen Nadler for bringing the photos to my attention.

__________________________________

A Chitty Shouts

Yesterday’s Daily Shouts from Tom Chitty: “Some Questions You May Be Asked When Applying For Ginger Citizenship”

— Mr. Chitty began contributing to The New Yorker in 2014.  Visit his website here.

 

____________________________________

Working At MAD Past Its Heyday

From The Comics Journal, July 17, 2019, this excellent piece by Ryan Flanders, “An Unusual Gang Of Idiots: The Joy Of Working At MAD Past Its Heyday”

 

 

 

________________________________

Today’s Daily Cartoonist & Cartoon

Today’s Daily, courtesy of Ellis Rosen: Technology Meets Wilde.

Mr. Rosen began contributing to The New Yorker in 2016.  Visit his website here.

______________________________

 

Two Collaborative Daily Shouts

Olivia de Recat (contributing to The New Yorker since 2017) teamed up with Sarah Vollman for “Gifts To Commemorate Lesser-Know Milestones”

Visit Olivia de Recat’s website here. 

And also today, this duo Daily Shouts by Colin Stokes and Ellis Rosen, “Facial Expressions For Reacting To The New York Times Crossword” 

Mr Stokes is The New Yorker‘s assistant cartoon editor.  He has also contributed written pieces to the magazine.

 

Two Peacocks Walk Into A Room; Rare Book Of Interest: A John M. Price Cartoon Anthology: Sara Lautman’s Daily Shouts; Today’s Daily Cartoonist: Avi Steinberg

In one of those million-to-one cartoon moments, both my colleague Harry Bliss (with his collaborator Steve Martin) and I have similar drawings out this week (his in his syndicated daily spot, and mine in The New Yorker). What’s unusual, besides the timing of publication, and the peacock standing in a doorway in both drawings, is the use of the peacock itself. A quick visit to the New Yorker‘s Cartoon Bank site turned up peacock drawings by a dozen artists. I have to think there were a number more in the magazine’s ninety-four years (the Cartoon Bank site does not provide every cartoon in the magazine’s archive). The listed peacock drawings are by: Mick Stevens, Sam Gross, Will McPhail, John O’Brien, George Booth, Bernard Schoenbaum, George Price, Edward Koren, Saul Steinberg (he has three), Robert Day, Mort Gerberg, and Victoria Roberts. There were also three peacock covers shown. The artists:  Joseph Low (the peacock is a minor character in his cover), Steinberg, and the one-and-only Rea Irvin. 

I asked Mr. Bliss if he’d like to comment on our dual peacock drawings, and here’s what he had to say:

That’s crazy! I didn’t get my new issue of The New Yorker yet, so I didn’t even know that was in there.  When I initially did my drawing, from an idea given to me by Steve Martin, I think I mentioned to Emma [Emma Allen, The New Yorker‘s cartoon editor] that I wanted it to be in color. Seeing yours now, makes me wonder if they bought yours before they had seen mine and the reason they didn’t buy mine and Steve’s is because they had already bought yours… Similars? Anyway, I think the reason there aren’t that many peacock cartoons out there is because the damn thing is so hard to draw!

__________________________

Rare Book Of Interest: A John M. Price Anthology

Warren Bernard (of SPX fame) has alerted the Spill to another rarity: a cartoon collection of work by John M. Price who contributed four drawings to the magazine (Mr. Bernard tells me that three of Mr. Price’s four New Yorker drawings appear in the collection). Here’s Price’s rather skimpy bio on the A-Z (if anyone out there has more info please send this way):

John M. Price Born  (Pennsylvania?) February 5, 1918, died January 19, 2009, Radnor, Pennsylvania. New Yorker work: February 17, 1940, March 9, 1940, June 8, 1941, and August 30, 1941. His work appeared in many publications, including The Saturday Evening Post, Esquire, The Country Gentleman, and Colliers. Key collection (self published) Don’t Get Polite with Me.

*Chris Wheeler’s fabulous site also has a scan of Price’s book (including the back cover), but I have to admit the cover never registered in my brain’s cartoon catalog. Now, having registered it, the book becomes a must-have for the Spill‘s library.  

____________________

A Daily Shouts By…

Sara Lautman, who began contributing to The New Yorker in 2016, contributed yesterday’s Daily Shouts.

 

 

___________________

Today’s Daily Cartoonist/Cartoon

 

An Avi Steinberg summer vacation/global warming cartoon. Mr. Steinberg began contributing to The New Yorker in 2012.  More about him here on Jane Mattimoe’s Case For Pencils.

 

 

George Booth’s New Yorker Golden Anniversary!

Let us raise our cartoon glasses and toast to the great New Yorker artist, George Booth. His very first New Yorker drawing appeared in the issue dated this day in 1969. His most recent drawing appeared in the magazine’s issue of June 10, 2019. My math tells me that he has now been contributing to The New Yorker for half a century.

I’ve always felt that Mr. Booth’s arrival at The New Yorker  was part of a transitional moment for the magazine’s art, helping it move from its mid-1950s Eisenhower-ish slumber to the excitement right around the bend in the late 1960s and 1970s. In the decade Mr. Booth’s work appeared, The New Yorker had lost two of its giants: James Thurber in 1961, and Peter Arno in 1968. Tremendous losses, but also a decade of tremendous gain for the magazine when the art editor, James Geraghty brought in a number of artists who would also become giants in their field: Edward Koren in 1964, Charles Barsotti, Sam Gross, and George Booth in 1969.  How fortunate we are that three of these artists continue showering us with their work right up to today (Charles Barsotti passed away five years ago this week).

By the time I was making a serious effort to get into The New Yorker in the mid 1970s (my work rejected a mountain of times by Mr. Geraghty), Booth, Koren, Barsotti and Gross had already been added to the New Yorker’s  Mt. Rushmore of cartoonists; their work impossibly inspiring. I felt (and still feel) about Booth’s drawings as I felt about work by Thurber and Hokinson and Steig and Saxon, and Peter Arno and Steinberg (and many more): it cannot get any better than this

(above: A Booth New Yorker cartoon from the issue of March 25, 1991)

As with so many, if not all of the New Yorker great artists, there is an education for aspiring cartoonists, and published cartoonists as well, in every single one of their drawings. Even this morning looking through Booth’s work, I find my electrical cartoon current even buzzier than usual. There’s beauty and excitement in Booth’s art, and of course, there’s that signature Boothian barrel of fun.

For those wanting more of his work, Omnibooth is a great place to dive in.  Find Lee Lorenz’s The Essential George Booth (Workman Publishing Company, 1998) and you’ll be treated to a mini-bio of Booth as well as samples of pre-New Yorker work. There is also his classic 1975 collection, Think Good Thoughts About A Pussycat (Dodd, Mead & Co.).

And very luckily for us all, Nathan Fitch’s documentary film on Booth, Drawing Life  is well on its way.

I  leave you with a small sample of Mr. Booth’s cover work, and with hearty applause for George Booth — a fine person, and an exceptional artist.

 

Note: Here’s what Fred Taraba of Taraba Illustration Art had to say about the Skittish Dog drawing shown at the head of this post: Not published, rather a version of one of Booth’s most recognized cartoons. The published version appeared in The New Yorker on August 15th, 1977. A third version appears in the book, Omnibooth: The Best of George Booth.