Funny Ladies at The New Yorker: Cartoonists Then and Now

”With the vote won in 1920, and a new found freedom, many women moved to the city to find work. In 1925, journalist Harold Ross and his wife Jane Grant, a reporter for the New York Times, created The New Yorker, a humor magazine for the urban elite. When Ross began to look for talent to contribute to this new endeavor, he sought the best. Some of the best included cartoonists who were women; with the support of The New Yorker, they became some of the most heralded cartoonists the art form has known.” [source]

”I’m going to leave him – I’m tired of being Duse* inside.” – by Barbara Shermund

*Eleonora Duse (1858-1924) was an Italian actress, often known simply as Duse. She is regarded as one of the greatest actresses of all time, noted for her total assumption of the roles she portrayed.”

Barbara Shermund
Dear no, Miss Matberry – just the head.” – by Mary Petty
Doris Matthews
Liza Donnelly
Mary Lawton
Carolita Johnson
Liana Finck
Victoria Roberts
Pia Guerra
Maggie Larson
Maggie Larson
Bishakh Som
Julia Suits
Nurit Karlin
Nurit Karlin
Kim Warp
Kim Warp
Roz Chast

These were just a few of the many talents showcasing their work in this exhibition, their creative, witty personalities expressed in their cartoons and beyond – as in Roz Chast’s bio, above.

All of the cartoons shown in the exhibition were published in The New Yorker magazine, © The New Yorker & the artist. The majority of art is the property of the cartoonist.

The Society of Illustrators

July 28th, 2018

Scrambled Yeggs in Party Dresses

Original art from the Museum of Illustration

The Scrambled Yeggs by Robert McGinnis
Cover illustration for the story by Richard Prather
Fawcett Gold Medal Books, 1960, 1968
Designers Colours and Casein White on hot press illustration board


Cafe Sinister by Martha Sawyers
Illustration for the story of the same name by Ben Hecht
Caption: ”I noticed a few evenings later that the baron had a different girl with him. ‘Well, we’ve got a new clue,’ I said. ‘We’ve found out the baron has a redhead fetish.”’
Collier’s magazine, August 21, 1943
Pastel


Hail and Farewell by A. Carter
Illustration for the story by Williston Rich
The American Magazine, December 1938
Oil on canvas


The Party Dress by Henry Patrick Raleigh
Interior illustration for the serialized novel by Joseph Hergesheimer
Caption: ”Lea cut in on Francis. ‘Against my better judgement,’ he said to Nina, ‘I am obliged to tell you are a sweet affair.’ Nina was in a glow of triumph. What especially engaged her was the fact that men rather than women spoke of her dress and praised it.”’
Hearst’s International combined with Cosmopolitan, November 1929
Ink and watercolour on illustration board


Portrait of Billie Burke by Frederic L. ”Eric” Pape
Published in the theatre section of the Sunday New York Herald Tribune, advertisement for ”The Truth Game”, December 28, 1930
Litho crayon on paper


Society of Illustrators

July 28th, 2018

The Art of The Avengers and Other Heroes

For all the Marvelites out there…!

Daredevil King-Size Special #1
Electro, and the Emissaries of Evil! – 1967
Written by: Stan Lee || Penciled by: Gene Colan
Inked by: Marie Severin || Lettered by: Sam Rosen


The Avengers #1
Once an Avenger… Page 16-17 – 1968
Written by: Kurt Busiek || Penciled by: George Pérez
Inked by: Al Vey || Lettered by: Richard Starkings


Marvel Knights = Black Widow #1
The Itsy-Bitsy Spider 1/3: ”Uninvited” Cover – 1999
Written by: Devin Grayson || Art by: J.G. Jones
Lettered by: Richard Starkings


The Amazing Spider-Man #94
On Wings of Death! Page 4 – 1971
Written by: Stan Lee || Penciled by: John Romita Sr.
Inked by: Sal Buscema || Letter by: Artie Simek


The Amazing Spider-Man #94
On Wings of Death! Page 6 – 1971
Written by: Stan Lee || Penciled by: John Romita Sr.
Inked by: Sal Buscema || Letter by: Artie Simek


The Incredible Hulk #287
Loose Ends Cover – 1983
Written by: Bill Mantlo || Penciled by: Ron Wilson
Inked by: Al Milgrom || Lettered by: Jim Novak


Incredible Hulk Special Vol 1
Battles the Inhumans (Preliminary) – 1972
Art by: Jim Steranko


Avengers Assembled – Private Commission, 2009
Art by: John Byrne


The Mighty Thor #159
The Answer at Last! Page 20 – 1968
Written by: Stan Lee || Penciled by: Jack Kirby
Inked by: Vince Colletta || Lettered by: Sam Rosen


The Amazing Spider-Man #119
The Gentleman’s Name is… Hulk! Page 1 – 1973
Written by: Gerry Conway || Art by: John Romita Sr.
Lettered by: John Costanza


The Amazing Spider-Man #86
Beware… The Black Widow! Page 9 – 1970
Written by: Stan Lee || Penciled by: John Romita Sr.
Inked by: Jim Mooney || Lettered by: Sam Rosen


From an exhibition at the Society of Illustrators with original artwork showcasing characters from the Marvel Universe, featuring the Avengers and other heroes. It run between July – October 2018.

July 28th, 2018

Postcards from the past

Life seemed so much simpler then.

Slobodan Milićević || Hotel Croatia, Cavtat, 1971-73
Slobodan Milićević || Hotel Croatia, Cavtat, 1971-73
Andrija Čičin-Šain & Žarko Vincek || Libertas Hotel, Dubrovnik, Croatia, 1968-74
Bogoljub Kurpjel || Hotel Astarea, Mlini, Croatia, 1969-70
Boris Magaš || Haludovo Hotel complex, Malinska, Krk, Croatia, 1969-72
Andrija Čičin-Šain & Žarko Vincek || Libertas Hotel, Dubrovnik, Croatia, 1968-74
Branko Žnidarec || Hotel Adriatic II, Opatija, Croatia, 1970-71
Slobodan Milićević || Hotel Croatia, Cavtat, 1971-73

 

From ”Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980”,  an exhibition that ran between July 2018–January 2019 @MoMA.

July 24th, 2018

Groundbreaking Design

In the form of a humble Kiosk.

”The K67 kiosk system was a highly successful design for modular units that could be used for all kinds of street-level businesses and amenities. The prototype for the system was developed in 1967 by Saša Janez Mächtig, who was experimenting with the new technology of fiberglass-reinforced polyester. He invented a joint that could connect individual units into double- and triple-fronted kiosks and other configurations. The design was mass-produced and in widespread use by 1970, as fast-food stands, key-copy shops, grocery stores, newspaper and lottery kiosks, and many other enterprises.”

Images:

  • The shape-shifting K67 Kiosk, by Saša Janez Mächtig & its many applications.
  • Stills from Living Space/Loving Space (2018)
    Twelve-channel video by Mila Turajlić
  • Telephones (even one with a rotary dial, similar to one we used at home until well into the ’80s), by Davorin Savnik.
    Models are: ATA 21 K2 telephone, c. 1970, ETA 80 telephone, 1979, ETA 85 telephone, 1979

From ”Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980”,  an exhibition that ran between July 2018–January 2019 @MoMA.

July 24th, 2018

Groundbreaking Architecture

The Seagram Building.  Completed in 1958 to house the headquarters of Canadian distillers Joseph E. Seagram & Sons, solely thanks to Phyllis Lambert, the daughter of Samuel Bronfman, Seagram’s CEO, a young sculptor at the time, who later on became an architect herself.

Unhappy with the initial design of the skyscraper her father intended to have built, Phyllis took control of the project, contacted Philip Johnson – who was about to quit his post as director of the architecture department at the Museum of Modern Art to devote himself fully to his architectural practice, and together they enlisted Ludwig Mies van der Rohe, an architect largely regarded as one of the pioneers of modernist architecture. They went on to change Manhattan’s office architecture forever.

The Seagram, built of a steel frame and large non-structural glass walls, became the prototype for future office buildings that largely define Manhattan’s skyline today; buildings that look rather similar yet not quite the same.

There is a reason for this: Mies intended for the steel frame to be visible, but American building codes required that structural steel be covered in a fireproof material, usually concrete, which – if used – would hide the structure, the exact opposite of Mies’ plans. In order to comply, Mies used bronze to create bronze-toned I-beams, which would follow the structural frame that is underneath. These are the beams you see running vertically along the glass windows, a method that has been copied countless times since – although it never seems to be as aesthetically successful as on the Seagram.

But this was not the only pioneering feature implemented on the Seagram: in a move that would differentiate himself from the then architectural establishment, Mies had the whole building set back 100 feet (about 30,5 metres) from the street, creating a large marble plaza which became a very popular gathering area. It also set an example and in 1961, when New York City proposed a revision to its 1916 Zoning Resolution, it included incentives for developers to create similar public spaces.

So, whenever you take a break in one of these cool public spaces within and in-between high buildings in Manhattan, that’s who you have to give your thanks to.

Meanwhile, in the country I grew up knowing as Yugoslavia: ”architects responded to contradictory demands and influences, developing a postwar architecture both in line with and distinct from the design approaches seen elsewhere in Europe and beyond. The architecture that emerged—from International Style skyscrapers to Brutalist “social condensers”—is a manifestation of the radical diversity, hybridity, and idealism that characterized the Yugoslav state itself. Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980 introduces the exceptional work of socialist Yugoslavia’s leading architects to an international audience for the first time, highlighting a significant yet thus-far understudied body of modernist architecture, whose forward-thinking contributions still resonate today.” [source]

Milan Mihelič
S2 Office Tower, Ljubljana, Slovenia
1972-28, Model


Andrija Mutnjaković
National and University Library of Kosovo, Pristina, 1971-82
Exterior view, 2016


Andrija Mutnjaković
National and University Library of Kosovo, Pristina, 1971-82
Μodel, 1:200, 2017-18


Poster for Janko Konstantinov retrospective, 1984
Collage of different building projects, including the Counter Hall of the Telecommunications Center in the background


Janko Konstantinov
Telecommunications Centre, Skopje, North Macedonia, 1968-81
Perspective, Print on tracing paper


Kenzō Tange and team, working on the Skopje master plan, 1965


Vjenceslav Richter
Reliefometar (Reliefmetre) 1964


Yugoslav pavillion at the International Labour Exhibition, Turin, Italy


Vjenceslav Richter
Yugoslav Pavilion at Expo 58, Brussels, Belgium


Milan Mihelič
Stoteks Department Store, Novi Sad, Serbia, 1968-72
South elevation, 1:50


Jože Plečnik
Slovenian Parliament, Ljubljana, 1947-48
Model 1:100


Juraj Neidhardt
Residential Neighbourhoods for Socialist City, 1969


Janez Lenassi (sculptor) & Živa Baraga (architect)
Monument to the Fighters Fallen in the People’s Liberation Struggle
Ilirska Bistrica, Slovenia, 1965


Iskra Grabul & Jordan Grabul
Monument to the Ilinden Uprising, Kruševo, North Macedonia, 1970-73


Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980,  was an exhibition @MoMA that ran between July 2018–January 2019.

In 1992, following a series of political and economical crises, Yugoslavia broke up into six independent countries: Serbia, Montenegro, Bosnia & Herzegovina, Croatia, Slovenia and North Macedonia.

The Seagram Building is located at 375 Park Avenue, between 52nd & 53rd Streets, in Midtown Manhattan.

July 24th, 2018

Train of Thought

Seagram Building on Park Avenue
David Hammons || Untitled (Night Train) 1989 || Glass, silicone glue and coal (detail)
Ellsworth Kelly || Black Form II, 2012 || Painted aluminum
David Hammons || Untitled (Night Train) 1989 || Glass, silicone glue and coal

Louise Bourgeois || Articulated Lair, 1986 || Painted steel, rubber and metal


@MoMA, Midtown Manhattan

July 24th, 2018