“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

“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

“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

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 “

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

by Christoph Niemann via:newyorker

“When I arrived in New York for the first time, it was pouring,” the German artist Christoph Niemann says. “Maybe that’s why, to my mind, there’s no place on earth where being stuck in traffic on a rainy day is more beautiful.”

“Doing fashion illustrations is part of my work, but for me it’s all about women,” Lorenzo Mattotti, the artist behind this week’s cover, says. Read more about his inspiration and look through a selection of his work.

via:newyorker

” Ferguson, Missouri” by Eric Drooker

“The police shooting of Michael Brown resonates on a personal level with me,” Eric Drooker says about next week’s cover, which was inspired by images from the scene.* (One of the most iconic was by Scott Olson, a Getty photographer, who was detained by police there.) “An artist friend of mine was killed by a cop in lower Manhattan, back in 1991. He happened to be black, and the police officer was never indicted.” Drooker continues, “As a resident of Manhattan’s Lower East Side, I witnessed the blurring distinctions between the police and military during the Tompkins Square riots of the eighties. I’ll never forget the day the N.Y.P.D. showed up in a military tank to evict nonviolent squatter friends from buildings on Avenue B and Thirteenth Street, where I grew up. This incident triggered a vivid childhood memory of the police driving a similar armored tank on East Fourteenth street, in 1968, to quell possible ‘disturbances’ after Martin Luther King was assassinated.

via:newyorker

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

“Siesta” by Lorenzo Mattotti

“I like to be here in Tuscany with Rina and Pulce,” says the Italian artist Lorenzo Mattotti, referring to his wife and their dog. Mattotti, who lives in Paris the rest of the year, continues, “Here in the country, we don’t see other houses around us—there aren’t really any. We’re on a hill and we see the sea in the distance. It’s a place where I like to pass the whole summer, a place where I can relax but also work. I don’t like to do nothing.”

via:newyorker

“Venus on the Beach” by Roz Chast 

“For me, seeing the ocean is just very primal,” Roz Chast says about her “Venus on the Beach” cover. We reached Chast in Narragansett, where she’s vacationing with her family. “We’ve been coming up here for about twenty-five years,” she continues “I feel like I have to go back every summer. I don’t know. I need to see the ocean again—to make sure it’s still there, I guess. And I go in eventually, no matter what the weather. Maybe this has something to do with growing up in Brooklyn and always going to the beach when I was a kid. First to Brighton, and then to Manhattan Beach. Now going to the beach is a very important part of my life, and of our kids’ lives—at least in the summer.”

via:thenewyorker

via:

“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.”

Coney Island by Mark Ulriksen

” Around here, one rarely goes to the beach in the summer because it’s so foggy, windy, and cold. You’d never go in the water unless you’re wearing a wet suit. Even though I ride my bike there all of the time, the beach is not a summer destination—it’s more of an end-of-the-line type of destination, better suited for flying a kite or walking a dog than catching rays. But, if you live in New York, Coney Island is the place to go when the weather is hot.”

via:thenewyorker

“Memorial Plaza,” by Adrian Tomine

“When I heard that the 9/11 memorial and museum were going to be the top tourist attractions in New York this summer,” Adrian Tomine says about this week’s cover, “I first sketched only tourists going about their usual happy activities, with the memorial in the background. But when I got to the site, I instantly realized that there was a lot more to be captured—specifically, a much, much wider range of emotions and reactions, all unfolding in shockingly close proximity. I guess that’s the nature of any public space, but when you add in an element of such extreme grief and horror, the parameters shift.”

“I went on a whale watching trip with my wife and daughter,” Bruce McCall, the artist of this week’s cover, says. “We were half an hour out of Montauk, in the middle of the ocean, between Block Island and the North Shore, and suddenly these huge things came rolling up. It was just amazing—they’re so gigantic and so beautiful. I’m not often impressed by nature, but I remember that feeling when we saw the whales suddenly appear besides us, and it was very magical.”

via:thenewyorker

Beware of the dog by George Booth
“That’s my house—it’s an 1834 house. I don’t know if that means anything or not. But the yard needs to be mowed now. I gotta go over and do that. As to why the dog is in the tree? I don’t know. That just happened. He’s not very smart. That’s not nice to say, but he’s guarding the house. I don’t really have that dog, just in my head. I once owned one—I took on a stray, in Pearl Harbor. ”

spotted:exitsmiling  New Yorker cover by David Mazzucchelli, 1993-94

by Joost Swarte

“I’ve always bought my glasses in the small town where I live and I started to talk to the owner of the eyewear shop: Are there glasses that not only make you look sharp, but that also influence the way you look? He told me that wasn’t the purpose of glasses, but, I thought, let me give it a try. Of course, there is not so much space on glasses, so there was a technical aspect to solve. But there’s always a little space in the corner. Many of the manufacturers use it for a logo.”

via:newyorker

by Bruce McCall

” I’ve been trying forever to find a way to honor the food-delivery guys,” Bruce McCall, the artist who painted this week’s cover, says. “I wanted to show what heroes they are; they’re intrepid, pedaling along at any time of night to deliver food to New Yorkers. We usually rely on my wife Polly’s cooking—she’s marvelous at it—but when she comes home late after a long day of work, then we’ll take the easy way out. Well, easy for us, at least.”

via:newyorker

by Saul Steinberg “Love of Baseball”

” Saul Steinberg, who escaped from Italy and came to America during the Second World War, believed that in order to understand this country you had to study baseball. He and I were friends for the last twenty years of his life, and by then he had the subject mastered.”

via:newyorker

“A Bright Future,” by Eric Drooker

Mother’s Day via Roz Chast

“There must be some long German compound word for the feelings that most people have about their parents, this mix, this stew of gratitude and resentment,” says Roz Chast, “or maybe I’m just speaking for myself.”

Charles Berberian via: newyorker

“I used to have to go to Rue des Rosiers to get a bagel—now you can get one anywhere in Paris,” says Charles Berberian, the Parisian cartoonist who painted this week’s cover, “Out and About.” Berberian’s image shows a couple at a café terrace in Brooklyn—or is it Paris?

“The Cart Before the Horses” by:Bruce McCall via:newyorker

via:newyorker spotted:thisisnthappiness

“Getting There” via:Ivan Brunetti

“I’m someone who’d prefer to live in a hermetically sealed bubble,” says Ivan Brunetti about this week’s cover, “Getting There.” “But you can’t have a normal life that way, so I try my best to somehow be part of the world. But it’s not like everyone around me is the problem. Often times, I’m the problem!”

“A New Leaf,” by Peter de Sève

via:newyorker

“STRAPHANGERS,” By Liniers via:newyorker

“New York for me is just this American version of a huge city: a lot of concrete and no nature whatsoever,” says Liniers (who goes by Ricardo with his friends, though he prefers to be called by his pen name, which is his middle name). “I grew up in Buenos Aires and still live there,” he continues, “so I’m as metropolitan as you can get. I feel really at home in New York.”