Attempted Bloggery: Mark Ulriksen

Showing posts with label Mark Ulriksen. Show all posts

Monday, August 3, 2015

New 2016 Calendars: The New Yorker and Edward Gorey

The new wall calendars for 2016 have arrived. They are probably on sale just about everywhere by now but I came across them over the weekend at the Museum of Fine Arts in Boston. The New Yorker's 2016 entry calls itself The New Yorker Covers Poster Calendar 2016 which is nearly as awkward to read to yourself as it is to say out loud. The calendar's cover reproduces the 2012 Innovators Issue magazine cover "The Cloud" by Bob Staake. On the calendar's back cover, we get to see the magazine describe itself as "Iconic design. Iconic New Yorker." Apparently they left out the part about humble. Calendar covers are by Mark Ulriksen, Charles E. Martin, Maira Kalman, Jacques de Loustal, Birgit Schössow, Adolph K. Kronengold, Garrett Price, Christoph Niemann, Eric Drooker, Arthur Getz, Jorge Colombo, and once again Bob Staake. Helpful advice is offered for those who wish to "First hang it as a calendar--then frame it as art!" Let's face it: you could do worse.

The New Yorker Covers Poster Calendar 2016

Now the Edward Gorey 2016 Calendar describes the artist as "famous for masterful pen-and-ink cross-hatched drawings and ironic, offbeat humor." While I might quibble a bit with the use of "cross-hatched" to describe the great variety of detailed pen-and-ink work for which Edward Gorey is acclaimed, I nevertheless find this calendar's blurb to be pretty accurate and without pretense. The cover illustration is a wonderful set-piece called "An Exhibition." I certainly would have no quibbles about gazing at an image of this quality every month.

Edward Gorey 2016 Calendar

Note: You're in luck! This blog has a few posts on many of these artists:

Bob Staake

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Saturday, September 10, 2011

The World Trade Center in Pre-9/11 New Yorker Covers

The World Trade Center opened in 1973 in lower Manhattan. The twin towers were briefly the world's tallest buildings until the completion of the Sears Tower in Chicago, now the Willis Tower. They were massive structures boldly dominating the New York City skyline and, love them or hate them, they just couldn't be ignored.

R. O. Blechman's 1974 New Yorker cover put the World Trade Center front and center and paid homage to the City's Dutch origins by depicting fanciful windmills on the buildings. Arthur Getz's 1982 cover gives the best sense of the towers's scale against the lower Manhattan skyline. In most of the New Yorker's cover art that appeared prior to 9/11, though, the World Trade Center was not the sole focus, but rather was the most outsized of the many notable landmarks of which the City boasted.