Out today is Richard Gehr’s I Only Read It for the Cartoons (New Harvest), a collection of interviews with the following: Lee Lorenz, Sam Gross, Roz Chast, George Booth, Edward Koren, Charles Barsotti, Arnie Levin, Victoria Roberts, Gahan Wilson, Jack Ziegler, Zach Kanin, and Bob Mankoff. A wonderful addition to any cartoon library.
In last night’s installment of 60 Minutes, Morley Safer & Company brought us “The Cartoonist” — a look at the weekly selection process for New Yorker cartoons, a glimpse of some of the cartoonists who show up at the magazine’s office every Tuesday, a peek at Editor David Remnick choosing which cartoons to buy, and a min-profile of the magazine’s current cartoon editor, Bob Mankoff.
An impressive number of cartoonists managed on-screen time in the thirteen-and-a-half minute segment including Robert Leighton, Paul Noth, Joe Dator, Bob Eckstein, Marisa Marchetto, Drew Dernavich, Corey Pandolph, Carolita Johnson, Emily Flake, Sam Gross, Mort Gerberg, Farley Katz, Charlie Hankin, Ben Schwartz, David Sipress and Roz Chast. Go to The New Yorker‘s Cartoon Bank site to see work by any or all of these cartoonists.
This is third part of an Ink Spill series looking at newer New Yorker cartoonists. I asked three of the most recent additions to the magazine’s stable of artists to tell us a little about themselves and how it was they ended up at The New Yorker (previously we heard from Liana Finck and Edward Steed). The series wraps up with the newest of the trio: Charlie Hankin, whose first cartoon appeared in The New Yorker this past August (a Hankin cartoon from The New Yorker, October 14, 2014 appears below).
And now, here’s Charlie:
My interest in cartooning went through cycles. I did single-panel bits for my high school newspaper, and then nothing until a single installment of a graphic-novel/zine I drew in college. After school, I got deep into realist painting. I also started a comedy webseries called Good Cop Great Cop with my friend Matt Porter. Maybe the merging of art and comedy finally attracted me to cartooning for The New Yorker. Either way, it seemed like a good fit: both the webseries and my paintings have undertones of dry, quiet absurdity.
Since entering the fold, it’s been great to meet some of the big names in cartooning–Roz Chast, David Sipress, Sam Gross, and of course Bob [Mankoff]. Ben Schwartz and Liam Walsh have both given me guidance. And I dig around the archives for extra inspiration. Much older generations aside (Chas Addams, Peter Arno, et al.), I love Mick Stevens, Mike Twohy, Tom Cheney, Leo Cullum, Jack Ziegler, Danny Shanahan, and too many others to name.
To see Charlie Hankin’s New Yorker work, link here to The New Yorker‘s Cartoon Bank.
Link here to visit Charlie’s webseries, Good Cop Great Cop.
To visit his website, link here: charliehankin.com.
Photo: Sasha Arutyunova
And here’s part two of Ink Spill‘s look at some of the newest New Yorker cartoon contributors. If you saw the piece about Liana Finck the other day you’ll remember I’ve asked a trio of fresh faces to tell us a little about themselves and how it was they ended up at The New Yorker. Today we hear from Edward Steed, who hails from England (joining a stellar cast of our colleagues from across the Atlantic, including Alfred Leete*, who was in the very first issue of The New Yorker).
Mr. Steed’s first New Yorker appearance was in the issue dated March 4, 2013 (an example of his work is below. The cartoon appeared in The New Yorker September 16, 2013). Mr. Steed has graciously provided Ink Spill with a self portrait.
The floor is now all his:
I discovered New Yorker cartoons recently, just a couple of years ago. I saw them online and decided I would like to do that too. I hadn’t been interested in cartoons since I’d outgrown the stuff I looked at when I was young, but these were clearly different. I started writing down ideas straightaway.
When I had a bunch of what I thought were good ones I sent them in. Didn’t know about the Tuesday deadline or how the system worked, I just kept sending as many as I could come up with. I hadn’t really drawn cartoons since I was a child. I had no style. So I hoped to impress with quantity. I did that for a few months and heard nothing. Eventually, Bob Mankoff phoned and said he wanted to buy a few of them.
After that, I quit my job and went to New York (I’m from England). I bought the New Yorker magazine for the first time at the airport and read it on the plane, I liked it.
Went to the Tuesday meeting and met Bob and some of the other cartoonists. Everyone was great, very kind and welcoming. Karen Sneider took me to an art shop and explained what kinds of pens cartoonists are supposed to use. Sam Gross showed me round the cartoon section of the Strand bookshop.
& I’ve been drawing cartoons for the magazine fairly regularly since then.
See Edward Steed’s New Yorker work here on the magazine’s Cartoon Bank site.
*Additional reading: here’s Alfred Leete‘s entry on Ink Spill‘s “New Yorker Cartoonists A-Z”:
Alfred Leete (photo above) Born at Thorpe Church, Northamptonshire, England, August 28, 1882; Died in London, June 17, 1933. The son of a farmer, Leete had no formal art training. According to his obit in The Times of London, June 6. 1933: “…his work early showed a keen sense of humour and a bold technique, and was welcomed by the principal illustrated weekly papers and magazines.” NYer work: appeared in the very first issue of The New Yorker, February 21, 1925. Mr. Leete is uncredited in The New Yorker’s database (listed only as “unidentified”). As of February 27, 2013, he’s been identified (with the assistance of colleagues, Rick Marschall, Mike Lynch and Brian Moore). A website bio