![]() ![]() I was complaining about the tribalization of the Democratic Party which was split into warring ethnic factions and careening toward a mayoral election it was sure to lose. ![]() Maira Kalman and I were driving through the Bronx on our way upstate. While they were being bombed by us, we were, in turn, bombarded in the news with strange names: Pukhtuns and Pashtuns Tajiks and Turkomen Uzbeks and Baluchis Khandihar: Khunduz Jalalabad Veryverybad… Speaking of iconic maps of New York City on New Yorker covers-who could forget New Yorkistan? Here’s the story of the cover’s creation, as Rick Meyerowitz tells it:īy early November 2001 the people of New York had settled into a deep funk, and the war against the Taliban had begun in Afghanistan. “New Yorkistan,” by Maira Kalman and Rick Meyerowitz, December 10, 2001 This cover has been parodied countless times-Steinberg famously said that he “could have retired on this painting”-had he gotten royalties. Yet the thieving of Steinberg’s easily thieved premise rankled him for the rest of his life, the most visible sign of his success legitimizing yet also blurring the importance of his contributions to cartooning, to say nothing of twentieth-century art. To this day it remains the magazine’s most famous cover not featuring its unofficial mascot, Eustace Tilley. It spawned countless city-centered rip-offs that spiraled their particle trails through 1970s dens across the nation, including mine. Historically speaking, “View of the World from 9th Avenue” was a cartoon nuclear reaction, smashing together what New York thought of itself with what the world thought of New York, all on the cover of The New Yorker itself. In a review of a recent exhibition of Steinberg’s work at the Art Institute of Chicago, Chris Ware wrote: ![]() as “just friends” or otherwise.” “View of the World from 9th Avenue,” by Saul Steinberg, March 29, 1976 after all, they’ve been together for almost 50 years. ![]() “While I’m certainly not the first person to speculate about Bert & Ernie’s more personal and private relationship, I thought they were well suited to represent how a lot of gay couples must have felt hearing Obama’s comments. “The theme this week was “The Gays”, reflecting Obama’s recent statements about his evolving views regarding Gay Marriage,” Hunter wrote after being selected as the weekly winner. It’s too soon-and we see his face enough on the internet.) “Moment of Joy,” by Jack Hunter, July 8 & 15, 2013Īrtist Jack Hunter originally submitted this design for Françoise Mouly and Nadja Spiegelman’s Blown Covers project. (NB: I’m consciously not including any Trump covers. Others are simply unforgettable as images. The cultural capital of the New Yorker cover has waxed and waned over the years, but there’s no denying that many iconic images of New York (and for New Yorkers) have originated there-as well as quite a bit of beauty, as well as some ugliness. Predictably, some of the most iconic New Yorker covers are the ones that address tragedy, or illustrated some kind of upheaval-political, environmental, social-that affected New Yorkers and other Earthlings on a large scale. ![]()
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