Today on the site, R.C. Harvey looks at Robert Mankoff's tenure as the cartoon editor of the New Yorker, and his recent exit.
And what kind of cartoon editor was Mankoff? Not bad, over the long haul. In fact, very good, all things considered. And with Mankoff, there are a lot of things to consider. He was the fourth person to fill that function but the first to have the title “cartoon editor.” The first to act as cartoon editor was Rea Irvin, a cartoonist and artist who was at foundering editor Harold Ross’s elbow since the magazine started in February 1925. Irvin’s taste in art and in comedy established the basic aura of New Yorker cartoons—as well as the design of the magazine. Irvin quit his unofficial role when Ross died in 1951, but by then, Jim Geraghty (not a cartoonist himself) had joined the staff in 1939 and held the cartoon editing post until 1973 when Lorenz assumed the cartoon editorship (albeit still without that title; both Geraghty and Lorenz were called “art editor”; Irvin was called “art supervisor”).
At first, Mankoff concentrated on the Cartoon Bank. At The New Yorker, the process of submitting and selecting cartoons and a stable of cartoonists whose talents were proven meant that the cartoon operation could proceed with little guidance from Mankoff. But the Cartoon Bank was still in a start-up phase, and he spent comparatively more of his time as its “president” and chief operating officer.
Once the Cartoon Bank was running as smoothly as could be expected, Mankoff shifted more of his attention to the cartoon editorship. Critics carping from the sidelines had complained that the quality of the artwork and the sophistication of the humor in New Yorker cartoons wasn’t what it used to be. To which, Mankoff, writing his memoirs, responded: “It never was.”
I recommend this print by Carol Tyler honoring the late Jay Lynch, with proceeds to benefit the National Cartoonists Society Foundation, which provides financial assistance to cartoonists and their families in times of hardship.
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