The Monday Tilley Watch, The New Yorker Issue of June 4 & 11, 2018

The Fiction/Childhood Issue? Well that’s what it says, in red and black on the Table of Contents:

First, the paperwork:

See that beautiful masthead just above?  It was drawn and designed by Rea Irvin.  It’s been missing since Spring of last year after appearing in the New Yorker for 92 years. It was replaced last year by a redrawn version (redrawn by Christoph Niemann). Here’s hoping that one day Mr. Irvin’s work will be returned and replace the replacement. If  you wish to read more on the original and the replacement and see their elements compared side-by-side, link here.

From the Dept. of Just Sayin’

There are 22 Illustrations in this week’s issue (that includes photographs, but does not include Tom Bachtell’s wonderful drawings appearing in the Talk of The Town, nor does it include the Spot drawings appearing throughout the issue).  6 of the illustrations are full page.  There are 14 cartoons (none full page).

And now to the issue’s cartoons. Here are the cartoonists whose work appears this week:

As is becoming customary, I’m going to mention just a few cartoons instead of looking at each in the issue. The first, by Robert Leighton, is a particular favorite. I won’t show it, but you can see it here among all the others just published  (just scroll down to the heading “Cartoons from the Issue”). Mr. Leighton, whose classic Escher drawing was profiled here awhile back, has given us a charming and delightful drawing somewhat reminiscent of Frank Modell‘s work with a bit of Nurit Karlin tossed in (I’d link you to Ms. Karlin’s fabulous work, but sad to say that the New Yorker‘s Cartoon Bank site does not seem to have archived it).

Mr. Leighton’s drawing deserves a hearty round of applause.

It was just last week that a co-credited drawing (Kaamran Hafeez and Al Batt) was mentioned here as being somewhat rare, and now the very next week is another co-credited cartoon. This time it’s a drawing by Hilary Fitzgerald Campbell and Ellis Rosen. Suddenly co-credits are not so rare.

As usual, for those who want a critical take on all the cartoons, I’m pointing you to Cartoon Companion.  The site usually posts on Thursdays or Fridays.

Note:  The Monday Tilley Watch will return in two weeks as this current issue is a double.

 

 

Video of Interest: Paul Noth; Audio of Interest: Carolita Johnson; Tom Bachtell Speaks!

Video of Interest: Paul Noth

From Fox6Now, April 11, 2018,  “‘Inspired to keep me going:’ Well-known cartoonist shares his talents with kids in Milwaukee” — This video piece on Paul Noth

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Audio of Interest: Carolita Johnson

From Radio Kingston WKNY, this radio broadcast featuring Carolita Johnson

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Tom Bachtell Speaks!

From ysnews, April 12, 2018, “‘New Yorker’ Cartoonist at Little Art” — this piece on Tom Bachtell

The Monday Tilley Watch: The New Yorker Issue of February 26, 2018

Always glad to return to weekly issues of the magazine after doubles. This new issue sports a cover that seems like the sum of the equation: Olympics + North Korea =.

  Here’s what cover artist Mark Ulriksen had to say about it on newyorker.com

The Olympics + North Korea equation continues with the very first spot drawing appearing on the opening page of The Talk of The Town. And, as long as we’re mentioning that page,  let’s get this out of the way: Rea Irvin’s classic Talk masthead is still a-missin’.  Here’s what it looks like:

Could be wrong, but it seems like there are slightly more Otto Soglow spot drawings scattered throughout Talk than usual (along with Tom Bachtell’s always top-notch drawings). 

Doesn’t take long to get to the first cartoon of the issue (it’s on page 18). P.C. Vey delivers a very P.C. Vey-like piece of work (that’s always a good thing).  Love the little fish Mr. Vey has drawn, but wish it was still swimmin’. Five pages later Lars Kenseth takes us to the land of the pitchman. Funny drawing. Love how Mr. Kenseth uses the language. I did something in that vein a long time back — in the New Yorker, April 6, 1981, to be exact.  I remember it being a ton-o-fun playing with the structure of the television pitch. 

On the very next page one of my favorite subjects: the old west (or possibly it’s a cowboy and his horse in the contemporary west).  Zach Kanin’s coffee-drinking horse is well drawn.  I wish the cowboy’s face was easier to see on the digital edition — this is where print (might) come in handy. 

Nine pages later, a well-placed-on-the-page Frank Cotham cartoon. Cartoonists usually love to show gangsters about to toss a guy off a pier.  Mr. Cotham gives us a prequel. Nice.

Four pages later Roz Chast with an at-home Olympics moment.  A very Chastian drawing any which way you look at it. Another four pages brings us to the second-ever New Yorker drawing (unless I’m mistaken) by Olivia de Recat.  Similar to her first in that it’s mostly text. This one is approximately 97% text (handwritten text).  Her first was perhaps 91% text.  Though we don’t see them as much as we used to, the aforementioned Ms. Chast has done a number of text-driven (to use a Tina Brown era term) drawings over the years. Without doing research (unforgivable, I know!) I’m going out on a limb by suggesting Ms. Chast may have pioneered this particular form of New Yorker cartoon. If anyone wants to shoot that down, please contact me.

Five pages later, Maddie Dai weighs in on a fellow’s mid-life crisis times two.  His motorcycle (which lacks a gas tank — maybe it’s one of those new electric bikes) has at least one (unintentional?) funny feature: the bike’s training wheels are attached to the hub of the rear wheel.  If this cartoon bike was a real bike the training wheels would spin around with the tire, complicating things even further for the crisis guy.  No matter — it’s a nice drawing. 

On the very next page, a debut New Yorker cartoon by Navied Mahdavian*, that answers the oft-asked question, “What did we do before the internet?” Funny drawing.

Four pages later, veteran cartoonist, Mick Stevens gives us death having just died.  Looking at Mr. Stevens’ drawing I asked myself if this fell into the double negative column.  If death dies, isn’t death then alive? Way too much of a headache-inducing thought for this cartoonist (me, not Mr. Stevens).

Eight pages later Sara Lautman takes us to a contemporary bar moment. Found myself studying the shelves and bottles of booze in the background.  There’s a Robert Weber-ish looseness to that area.

Seven pages later a Bruce Eric Kaplan gem of a caption.  And on the very next page, the last drawing of the issue (not counting those on the Caption Contest page).  Liana Finck gives us a bird chase. Not sure what the surface is that they are on — is it pavement with a sidewalk in the rear?  It probably doesn’t matter.  The big bird — the one that’s chasing the little bird —  has an expression indicating confidence she/he will succeed, despite the lack of arms. 

*For those keeping track, Navied Mahdavian is the thirteenth new cartoonist introduced under the magazine’s current cartoon editor, Emma Allen, since she was appointed in May of 2017, and the second newbie introduced so far in 2018.

— See you next Monday

 

 

The Monday Tilley Watch: The New Yorker Issue of December 11, 2017; Event of Note: “How To Read Nancy” Authors at The Society of Illustrators; A “More Spills” Correction Re: Jack Ziegler

The Monday Tilley Watch is a meandering take on the cartoons in the current issue of The New Yorker.

Up above, in red, I use the word “meandering”; after this morning’s look- through of the new issue  I double-checked my usage.  “Aimless” is a good part of the definition (as I sensed when I first used the word “meandering” to describe the Tilley Watch) — as in “aimlessly moving through” something or someplace.  Aimlessly wandering through is exactly what the Monday Tilley Watch is all about.  It’s not a critique of the cartoons (or drawings as traditionalists refer to them), although there’s sometimes a critical ‘tude lurking within the paragraphs.

I wander through each issue as I might wander through a bakery or book store, appreciating this or that and ignoring that or this.  You never know as you pass by books or baked goods what might attract you — plenty of it is just a blur.   And so it was with this new issue. This is a different Monday Tilley Watch because I’m not going to go drawing by drawing, I’m only going to mention a few things I saw that attracted me.  Just like at a bakery, these are the things I might think about for a  while once I’ve walked out of the store. For instance, I’m still thinking about these cookies I saw yesterday in our local supermarket’s bakery:

And now on to the issue: first, the “spot drawings”;  I’ve not mentioned spots much, if at all.  They tell a story (a modern thing: they didn’t through most of the magazine’s history) but admittedly I don’t follow the stories they tell.  I look at them as I page through the magazine and if they’re pleasing I note that they are. I find this issue’s spot drawings exceptionally pleasing (again, I didn’t follow the story being told).  But story or no story, they’re lovely. The spot artist is Clo’e Floirat

Also of note are Tom Bachtell‘s Talk of the Town drawings.  I’ve mentioned him before, and with good reason.  His work is a welcome modern tradition.

Among this weeks cartoonists is Jon Adams who(m?) I owe an apology to.  I noted last week that he was making his debut (with the Michelin Man drawing).  Wrong. He made his debut this Fall in the October 2nd issue of The New Yorker.  In the Spill‘s ongoing count of Emma Allen’s newbies (Ms. Allen is the magazine’s cartoon editor) Mr. Adams is one of 8 cartoonists introduced in 8 months.  Slightly keeping ahead of the average of one newbie a month, there are two debuts in this issue:  Mary Lawton and Maggie Mull, who are  Ms. Allen’s 9th and 10th new cartoonists. (sorry, I cannot find a website for either cartoonist. Please let me know if either or both have one).  If 10 sounds like a lot of new creative blood we should remember that her predecessor introduced approximately 130 cartoonists. 

Here for the record are this week’s cartoonists:

Ps:  what I wish I did see as I looked through the issue is Rea Irvin’s classic masthead for The Talk of The Town (shown below). Alas, it’s been shuffled off to Buffalo, or wherever classic mastheads are shuffled off to. 

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Event of Note: How To Read Nancy Authors at The Society of Illustrators

Paul Karasik & Mark Newgarden join Columbia’s Karen Green at The Society.  Details here!

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A More Spills Correction

My colleague,  Joe Dator has Tweeted a correction to the  Jack Ziegler drawing mentioned here yesterday.

Here’s Mr. Dator’s Tweet:

 

 

 

New Yorker Cartoonists Gather for Cartoon Bank Event

Just a few days after a gathering of New Yorker cartoonists in Brooklyn (for the Not Ok exhibit) there was another gathering — this one last night at 1 World Trade Center.  Conde Nast, The New Yorker’s parent company hosted at get-together to introduce its new Cartoon Bank team to the artists. In the photo above from left to right: Felipe Galindo, Liana Finck, Colin Stokes, Jeremy Nguyen, Colin Tom, Farley Katz, Robert Leighton, and Ben Schwartz.

Above: the placard greeting visitors to the event.

Liza Donnelly provided all the photos here as well as this synopsis of the event:

We were greeted with glasses of wine and fancy little bites of food served on trays, and met by very friendly folks from Condé Nast. At 6:00 on the dot, there were already around six cartoonists there, and many more started filtering in —  the number reaching probably 40-50+ cartoonists. Everyone seemed so happy to be able to just hang out with each other and catch up. I saw friends I hadn’t seen for decades, and met new friends. It was a lovely mixture of new cartoonists and seasoned cartoonists, talking together. Remarks were made by our Condé Nast hosts, as well as from New Yorker editor David Remnick, who went casual in a short sleeved shirt. New cartoon editor, Emma Allen also spoke and welcomed the cartoonists.

There were classic cartoons framed on the gallery wall (all art from those in attendance). Interestingly, the breathtaking view from the 34th floor of the World Trade Center where the event was held quickly took a back seat to talking and laughing with pals. The whole evening had a fun buzz- and by 8:30 when I left, a large group was still lingering.

Photo Sep 25, 6 33 23 PM.jpg

Left photo: foreground, Huguette Martel, David Borchart on the left in profile; Evan Forsch is directly above Ms. Martel, looking over his glasses.  Robert Leighton in checked shirt. Photo right: Tom Hachtman in background, left. Chris Weyant in black polo shirt facing away from camera, Marisa Acocella Marchetto center. Mark Alan Stamaty in background in plum colored shirt talking with Tom Bachtell.

Below: the New Yorker’s cartoon editor, Emma Allen on left, then Ed Steed,  Julia Suits and the magazine’s assistant cartoon editor, Colin Stokes

Below, left photo: David Borchart, Pat Byrnes, John O’Brien; Right photo: New Yorker editor, David Remnick addresses the crowd.

Below, left photo: Frank Cotham, Sam Gross, Ed Steed. Photo right: Julia Suits and Bob Eckstein

Below: Andrea Arroyo, Felipe Galindo and Peter Kuper

Below, left photo: Liana Finck and Liza Donnelly. Photo right: Sam Marlow and Ellis Rosen

Below: Felipe Galindo and George Booth

Below: front and center, Barbara Smaller with Chris Weyant, and to the left, Huguette Martel speaks with Arnie Levin

Below left photo: Emily Flake, Jeremy Nguyen, Sara Lautman.  Photo right: Joe Dator and Ben Schwartz.

Below: Colin Tom, J.A.K. (Jason Adam Katzenstein) and Pat Byrnes, in profile

Below: Glen Le Lievre, John Jonik, and John O’Brien

Below: New Yorker publisher, Lisa Hughes speaks with George Booth. In the background, center, is Teresa Nash, part of the Cartoon Bank team.

 

Below left photo: Tom Bachtell, Marisabina Russo. Photo right: David Sipress, Ben Schwartz.

Below, foreground,  Emma Allen talks with Frank Cotham. That’s George Booth on the left and Barbara Smaller on the far right.

 

Below: Mark Alan Stamaty, Marcellus Hall, and Peter Kuper

Below: Marisa Acocello Marchetto and Sam Gross (Tom Hachtman in the back, right)