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Title : Is the new New Yorker cover shockingly depressing?
link : Is the new New Yorker cover shockingly depressing?
Is the new New Yorker cover shockingly depressing?
Simonson also tweets: "This woman is alone, living in squalor and drinking." Prescription drugs too.Is this cover intentionally dark? Christ pic.twitter.com/2CryDhwTAd
— Joe Gabriel Simonson (@SaysSimonson) December 1, 2020
Simonson adds: "People say it’s meant to be dark but this interview with the artist doesn’t make that clear." And he links to this piece in The New Yorker, an interview with the artist Adrian Tomine.
And I must say that before I read the interview, I went to Amazon and bought a hardcover book of his, "The Loneliness of the Long-Distance Cartoonist." That's how much I love that beautifully drawn cover.
I think the cover is about the built-up effects of lockdown for a young person in a small apartment and how it remains nonetheless possible to present a pulled-together image within the frame of a video call. The woman is struggling with the long ordeal of isolation but still optimistic and looking out into the world for social interaction. She has a pretty cocktail in her hand, so it must be a social, not a business call. She's got her polished looks — lipstick, ruffled blouse, earrings. She's ready to move forward, optimistic. Outside of the frame of the call, the place is a mess, but it's a homey mess, with kitty cats and snack containers. She's comfortable, in shorts and fluffy slippers. And now that I'm looking closely, unshaved legs. The expression on her face is a serene smile.
Now, I'm reading the interview. The book on the floor — lower right — is the book I just bought. Nice. The artist was influenced by Edward Hopper. Here's the closest thing to a statement about the darkness/nondarkness of the cover:
In your book, and in your New Yorker covers, you seem to home in on painful moments to find the humor in them. Do you experience a eureka moment when you locate that contradiction?I think that’s a good way of putting it. To be honest, I don’t know how someone could get through life without being able to bask in that contradiction. In my personal life, I’ve often felt very moved by that act of finding humor in pain. If someone can authentically pull that off and be really funny, that’s worth more than a hundred words of earnest consolation to me.
At Amazon, where I bought the book, there are no 1-star reviews. There is one 2-star review. A classic Amazon unfair bad review: "The book is great. The way it was shipped to me was awful. Completely damaged corners."
There are two 3-star reviews. One is solely about the sticky spot left on the cover after the removal of the price tag. The other is at least semi-substantive: "I’ve been a fan of Tomine’s work for ages. For the life of me, I’ll never understand why he decided to muddy up all of his art in this book with the graph paper background. It’s completely distracting."
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Simonson also tweets: "This woman is alone, living in squalor and drinking." Prescription drugs too.Is this cover intentionally dark? Christ pic.twitter.com/2CryDhwTAd
— Joe Gabriel Simonson (@SaysSimonson) December 1, 2020
Simonson adds: "People say it’s meant to be dark but this interview with the artist doesn’t make that clear." And he links to this piece in The New Yorker, an interview with the artist Adrian Tomine.
And I must say that before I read the interview, I went to Amazon and bought a hardcover book of his, "The Loneliness of the Long-Distance Cartoonist." That's how much I love that beautifully drawn cover.
I think the cover is about the built-up effects of lockdown for a young person in a small apartment and how it remains nonetheless possible to present a pulled-together image within the frame of a video call. The woman is struggling with the long ordeal of isolation but still optimistic and looking out into the world for social interaction. She has a pretty cocktail in her hand, so it must be a social, not a business call. She's got her polished looks — lipstick, ruffled blouse, earrings. She's ready to move forward, optimistic. Outside of the frame of the call, the place is a mess, but it's a homey mess, with kitty cats and snack containers. She's comfortable, in shorts and fluffy slippers. And now that I'm looking closely, unshaved legs. The expression on her face is a serene smile.
Now, I'm reading the interview. The book on the floor — lower right — is the book I just bought. Nice. The artist was influenced by Edward Hopper. Here's the closest thing to a statement about the darkness/nondarkness of the cover:
In your book, and in your New Yorker covers, you seem to home in on painful moments to find the humor in them. Do you experience a eureka moment when you locate that contradiction?I think that’s a good way of putting it. To be honest, I don’t know how someone could get through life without being able to bask in that contradiction. In my personal life, I’ve often felt very moved by that act of finding humor in pain. If someone can authentically pull that off and be really funny, that’s worth more than a hundred words of earnest consolation to me.
At Amazon, where I bought the book, there are no 1-star reviews. There is one 2-star review. A classic Amazon unfair bad review: "The book is great. The way it was shipped to me was awful. Completely damaged corners."
There are two 3-star reviews. One is solely about the sticky spot left on the cover after the removal of the price tag. The other is at least semi-substantive: "I’ve been a fan of Tomine’s work for ages. For the life of me, I’ll never understand why he decided to muddy up all of his art in this book with the graph paper background. It’s completely distracting."
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