“A Day at the Beach,” by Kadir Nelson.

via:thenewyorker

“Schomburg Center, Harlem, New York,” by Kadir Nelson

Kadir Nelson’s painting for the cover of this week’s issue celebrates the Schomburg Research Center, in Harlem. He says he wanted to create “a stylistic montage as an homage to the great Harlem Renaissance painters: Aaron Douglas, William H. Johnson, Norman Lewis, Jacob Lawrence, Elizabeth Catlett, Archibald Motley, and Palmer Hayden.” Also on Nelson’s mind were artists and performers like the Nicholas Brothers, Billie Holiday, and Duke Ellington; the activist Malcolm X; and writers such as James Baldwin and Zora Neale Hurston. via:TheNewYorker

“The hardest thing for me to draw was the happy little girl,” John Cuneo says of “Winter Delight,” his cover for this week’s issue. “Drawing unhappy adults in bulky winter clothes hunched over their phones is much more in my comfort zone. I’m on the misanthrope side of the coin, so, looking at this, my wife said, ‘Wow! This is uncharacteristically upbeat for the man who lives here.’ ”

via:The New Yorker by John Cuneo

“Let’s take a moment to celebrate the difficult ground that has been gained by courageous women throughout the world,” Frank Viva says regarding his cover for the first issue of 2016, “The Long View.”

via:The New Yorker

Ο Adrian Tomine σκιτσάρει το εξώφυλλο του The New Yorker, παρακάτω εξηγεί..

“I think it’s kind of beautiful and hilarious to see people eating their organic kale and quinoa salads while gazing across the opaque, fetid water,” Adrian Tomine says of his cover for this week’s issue, “Gowanus Canal, Brooklyn.” “It’s strange to see the recent proliferation of health-conscious and environmentally conscious restaurants and grocery stores, right next to the piles of scrap and rubble. I guess it proves that there’s no part of the city that can’t be revitalized, recontextualized, or ruined—depending on your point of view.”

Το εξώφυλλο του Kadir Nelson, για το περιοδικό, σχετικά με τον Τυφώνα Κατρίνα.

” I wanted to capture the memory of Hurricane Katrina and its aftereffects—the spirit of New Orleans, its resilience, its culture,” Kadir Nelson says of his cover for this week’s issue, which coincides with the tenth anniversary of Katrina. “And one of the first images that came to mind was a kid playing music, an image somber and hopeful at the same time.”via:newyorker

“It’s distressing contemplating another story like this,” Barry Blitt says about the appalling murders referenced on next week’s cover. “But not really surprising, I guess.” via:thenewyorker

via:thecuriousbrain.com

“Suiting Up”  by Mark Ulriksen more here

“Life in the Cuba of Tomorrow” by Bruce McCall 

“I love Cuban cigars, and this sways me more than it should,” McCall says of his own feelings toward the country. “The island’s history—Spanish exploitation, then American exploitation, then the dismal Castro era—is tragic, but Cuban musicians and artists still rule, attesting to an unquenchable creative impulse that has thrived amid all forms of chaos.”

previous covers inspired by momentous events in Cuba:

“On the Beach,” by R. Sikoryak, January 26, 1998.

“Fading,” by Ana Juan, March 3, 2008.

by Christoph Niemann

A Walk in the Snow by Mark Ulriksen

The snowfall last week may have fallen short of the “storm of the century” or “snowmageddon” predictions,  at least in New York City, but for city dwellers and their canine companions it was enough for a snow day, as portrayed in this week’s cover, by Mark Ulriksen.

In his recently published book, “Dogs Rule Nonchalantly,” Ulriksen explains his predilection for painting man’s best friend: “Dogs give you their undivided attention,” he writes. “They watch your every gesture, read your every emotion, listen attentively to every word you say—until they hear the rustle of a bag of chips being opened.” Or, in the winter after a snowstorm, until you open the door to go outside.

via:newyorker

“Limited Visibility’ by Jorge Colombo, who drew this cover on an iPad

 “It was a very foggy night, and the Empire State building kept appearing and disappearing—it was like a beacon, in and out of view. In Manhattan, if you’re ever lost, you sort of look for that spire of the Empire State Building and guide yourself where you’re going—it’s the quickest reference point. So it was very disorienting, standing there and seeing it appear and disappear. I thought, ‘Where am I painting?’ It was like a ghost ship in the middle of the sea.”

via:newyorker

Solidarité by Ana Juan

spotted:thecuriousbrain

“dance around a piano” by Jean-Jacques Sempé

via:newyorker

 1971, Arthur Getz

1927, Andre De Schaub

 1984, Anne Burgess

 1984, Iris Van Rynbach

 1986, William Steig

1986, Iris Van Rynbach

2007, Joost Swarte

by the newyorker’s archive

“Even though I secretly aspire to a de-cluttered apartment, the lower one pictured is what I identify with,” Ivan Brunetti said about this week’s cover. “I know that the dense remnants of the twentieth century can now be fitted into a few small devices; yet in my so-called real life, I have continually accumulated more and more impedimenta, trappings, and just plain stuff.” via:thenewyorker

“I wanted to comment on the tragic rift that we’re witnessing,” Bob Staake “I lived in St. Louis for seventeen years before moving to Massachusetts, so watching the news right now breaks my heart. At first glance, one might see a representation of the Gateway Arch as split and divided, but my hope is that the events in Ferguson will provide a bridge and an opportunity for the city, and also for the country, to learn and come together.”

via:newyorker

by Chris Ware via:newyorker

” The voice in my mind nagged me all through October: “Get your flu shots.” An otherwise fairly responsible parent, I was for some reason late to the inoculation party this year, a tardiness for which I had no real excuse, especially amid the Dallas Ebola scare, which sent me and my wife to our iPhones for the latest news when we should have been paying closer attention to more mundane matters of family health. But the real-life Hollywood movie appeared to have been green-lit, filming as we watched: the government was bumbling, the Dallas hospital was ass-covering, guys in yellow suits were disinfecting doorways in the middle of the night, parents were pulling their children out of school, protocols were being breached, caution was abundant, and soon, surely, we’d all be fogging our safety goggles and duct-taping ourselves into homemade Hefty-bag hazmat suits to fight over potable water, probably even here in Oak “

by Peter de Sève

“It’s an unprecedentedly excellent time to drink beer in Brooklyn, as the cover suggests. Just don’t become a snob about it.” Read more about Peter de Sève’s cover for our food issue.”

” In September, the Brooklyn restaurant Luksus became the world’s first beer-focussed eatery to receive a Michelin star. A year ago, I visited the restaurant, which is in the heart of Polish Greenpoint, and loved the Nordic-influenced tasting menu. There is no wine or liquor served; instead, each course is served with a beer. For me, the most memorable was a Berliner Weisse called Justin Blåbær, which is aged in Brunello barrels and tastes like cherries and Christmas. The blueberry-and-wintergreen sorbet that accompanied it evoked a sensation of trudging through a snowy forest singing carols on a wintry night.”

via:thenewyorker

When Tom Gauld sent the first sketch for this week’s cover, “Fall Library,” we discussed a variant where the woman was holding an electronic-book reader. “But I decided against the e-reader,” Gauld says. The image “ended up having too much going on, which made it less interesting. I think the fact that she’s holding one of her millions of books is what’s nice.” via:newyorker

“Mom & Pop Mega Superstore”by Bruce McCall

“Everything that I knew in 1964 is gone,” says this week’s cover artist, Bruce McCall, who came to New York from Canada that year. “I realize there’s a natural cycle. Nothing lasts more than thirty years. No shop, no franchise, even, ever stays more than thirty years. It all just keeps flipping over all the time.

“What’s going on in New York today, and I guess in most cities—the turnover of small parcels of property to big megastores and apartment buildings with large chain stores—it leaves you feeling very nostalgic. The restaurants I went to, the dry cleaner, the bank, the greasy spoons—they’re all different now. I lived on East Seventy-first Street for my first three years in Manhattan. Now a lot of the old brownstones there have been torn down, and they’re huge apartment buildings. You can’t live in this city anymore unless you’re a millionaire.”

Danny Shanahan discusses the inspiration behind his cover of this week’s issue.

“I used to always go in the ocean, but the last few times I’ve been to the beach, I’ve done exactly what those guys are doing,” Danny Shanahan says about this week’s cover. Shanahan didn’t tell us how he wears his trunks, but he explained why he now stays close to the shore. “The last three consecutive times I went in at the Cape, I ended up with a scratched cornea and in the urgent-care center there. Three times in a row, and it was just incredible pain. I couldn’t open my eyes, I couldn’t close my eyes, all because I had opened them underwater and got sand in there. It was just unbearable. So now I tend to either go to the mountains or play golf. The last vacation I had, I went to Scotland and played golf, and I didn’t even think about going in the water. I didn’t have to—with all the rain, the water comes to you.”

via:newyorker

“Fifty-ninth Street Bridge,” by Eric Drooker via:newyorker

” Outside of New York, people are utterly dependent on cars to get anywhere at all,” Eric Drooker, the artist behind this week’s cover, “Fifty-ninth Street Bridge,” says. “No doubt the romantic lives of Americans are totally wrapped up in automobiles,” he adds. “But, as a native New Yorker, my experience has always been gloriously different. Instead of making out in the back seats of cars, I came of age making out on fire escapes, down in the subway, up on rooftops, and on bridges.”

via:newyorker spotted:thisisnthappiness

‘All Together Now’ New Yorker Cover By Chris Ware

“This is the first cover of 2014. I drew the first of 2013 after chaperoning my daughter’s school class to a production of “The Nutcracker” and hearing about the Newtown shooting shortly after the school bus pulled into the parking lot.”

via:newyorker

“December 11, 1937,” by Constantin Alajálov.

“December 24, 1960,” by Peter Arno.

“December 14, 1963,” by Arthur Getz

“December 25, 1965,” by Garrett Price.

“December 13, 1969,” by Charles Saxon

“Santa City,” by Max, December 18, 1995.

 “’Twas the Night Before Hanukkah,” by Art Spiegelman, December 18, 2000.

“Holiday Howls,” by George Booth, December 24, 2004.

Covering Christmas by TheNewYorker

Barry Blitt’s “Snow Angel” via thenewyorker