The Wednesday Tilley Watch… Article Of Interest: Gahan Wilson; Meet Tom Chitty; Liza Donnelly At SXSW; Short-Listed For The Cartoonist Studio Prize: Summer Pierre, Liana Finck, Tom Tomorrow, Hartley Lin, and Gabrielle Bell; Today’s Daily Cartoonist: Ellis Rosen

Article Of Interest: Gahan Wilson

From the Sag Harbor Express, March 12, 2019, “A Call For Help For A World-Famous Cartoonist, Formerly Of Sag Harbor” — a good article about the ailing New Yorker cartoonist and the GoFundMe campaign underway to help him.

(photo: Mr. Wilson and his late wife, Nancy, with a Gahan Wilson character between them, 1970)

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Meet Tom Chitty

From Playjunkie, March 12,2019, “Meet Cartoonist Tom Chitty And his Humorous Work”  — a short piece with examples of Mr. Chitty’s drawings.

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

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Liza Donnelly At SXSW

Liza Donnelly spoke and live-drew at SXSW last week.  Here’s an article from interrobang mentioning her appearance.

Ms. Donnelly began contributing to The New Yorker in 1982.  Link here to her website.

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Pete Holmes Crashing Ends

From Vulture, March 8, 2019, “Pete Holmes Crashing Shall Crash On HBO No More”.

Mr. Holmes began contributing to The New Yorker in 2006.  Link here to his website.

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Short-Listed For The Cartoonist Studio Prize: Summer Pierre, Liana Finck, Hartley Lin, Tom Tomorrow, and Gabrielle Bell

From Slate, March 11, 2019,   “The Cartoonist Studio Prize: The Short List”

Among those short-listed are these New Yorker contributors (their New Yorker debut years are listed beside their names):

Summer Pierre (2018).

Liana Finck (2013).

 Hartley Lin (2019).

Tom Tomorrow (1999).

Gabrielle Bell (2017).

Congrats to all!

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Today’s Daily

 Today’s Daily cartoon, by Ellis Rosen, is related to the higher education cheatin’ scandal.  Mr. Rosen began contributing to The New Yorker in 2016. Link here to his website.

 

 

 

 

 

Ms. Pierre’s piece appeared on newyorker.com in December of 2018. Her website.

 

 

 

Ward Sutton Guest Edits Society of Publication Designers Blog; Steig Album Cover Art at RISD Exhibit

WardWard Sutton’s been guest editing SPD’s blog all week, conducting short interviews with some familiar names.  Go see!

Link to Mr. Sutton’s website.

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Steig lps 1Steig lps 2

 

Back in February, Ink Spill noted an exhibit of illustrated album covers at the Rhode Island School of Design. Paul Karasik(who teaches at RISD) sent in these photos of the William Steig covers on display.

Sipress Sees The Birds; Feiffer, Katchor, Burns, Tomorrow, Mankoff & more at Small Press Expo; Books on the Horizon

 

birds

From newyorker.com, August 27, 2014:

“A Fear of The Birds — a piece by the cartoonist, David Sipress.

 

 

 

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SPX_Poster_Gif1

From Michael Cavna’s  Washington Post “Comic Riffs” column, August 27, 2014, “SPX 2014: From alt-weeklies to web-comics, Small Press Expo announces its programming slate”

Among those scheduled to appear are Ben Katchor, Tom Tomorrow, Jules Feiffer, Charles Burns, and Bob Mankoff.

 

 

 

 

 

 

 

 

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Far off in the distance,  a few books of interest have been listed on some popular bookseller websites:

From Thomas Kunkel, who authored  one of the very best New Yorker biographies, Genius in Disguise: Harold Ross of The New Yorker (Random House, 1995), comes Man in Profile: Joseph Mitchell of The New Yorker.  Due  April 21, 2015, from Random House.   No cover image & scant few details  as of now.

 

And in February of 2015, Writing For The New Yorker: Critical Essays on an American Periodical by Fiona Green (Edinburgh University Press). 9780748682492_p0_v1_s260x420Here’s what the publisher has to say:

Original critical essays on an iconic American periodical, providing new insights into twentieth-century literary culture

This collection of newly commissioned critical essays reads across and between New Yorker departments, from sports writing to short stories, cartoons to reporters at large, poetry to annals of business. Attending to the relations between these kinds of writing and the magazine’s visual and material constituents, the collection examines the distinctive ways in which imaginative writing has inhabited the ‘prime real estate’ of this enormously influential periodical. In bringing together a range of sharply angled analyses of particular authors, styles, columns, and pages, this book offers multiple perspectives on American writing and periodical culture at specific moments in twentieth-century history.