A hundred years ago, New Yorker He left the afternoon dreams of young journalists, Jane Grant and Harold Ross. New from their time in Paris during the First World War – where Ross was liberated Stars and stripesAnd Met Grant, one of the first journalists in New York TimesImagine the creation of an advanced weekly humor inspired by European magazines.
Rea Irvin, a cunning town, designed the first cover, planned in February 1925. He rejected the initial concept of the curtain that rises on the city horizon. Instead, he decided to answer the invitation of the editors, “Anything that might suggest development and inflammation”, decided to display awe, and find inspiration in the eleventh edition of the Britisha Encyclopedia, which clarified the concept of “costume” with a drawing in 1834 d’Orsay. Irvin realized the delicious irony to use this FOPPISH – which was eliminated even in its time – as is the case New YorkerThe amulet. By getting this super -Monocle training on a modest butterfly, Irvin has invented what will become one of the most famous symbols in the history of magazines.
Irvin found an inspiration for Dandy in a d’Orusay draw.
Ross embraced this image for the non -advanced semester, although it barely reflects the feelings of his falling employees while stumbling during the first months of publication. When the inner part of the front cover lacks the advertisement, Ross has recruited the humor Korea Ford to fill it with the tongue marketing pages in the cheek. Ford delivered “Magazine” in installments through twenty -one issues, describing fake details how “Master makes Estace Tilley paper from breach and ink from squid to support New YorkerWide operations. Thus, through a little promotional mockery, our Dandy has become an immortal name, Justas Tele.
In 1926, it is a pleasure that the magazine had survived its first year, Ross and its employees celebrated the republishing the same cover. This new tradition has continued unaccounted for nearly seventy years – until 1994, when R. Crumb re -imagined Estace as a porn in a backboul hat that examined the bulletin newsletter in Times Square, where the magazine offices were then located. It has been reaffirmed. Since then, the anniversary issue included the re -interpretation of many artists about Dandy, as in 2013 when Simon Greiner photographed him as a discrimination Brooklynite, with a fog fogged Manhattan horizon in the distant distance.
“Elvis Tele”, written by R.
“Brooklyn Youstas”, written by Simon Grener
This year, artists from all over the world offer new views on this advanced symbol. Diana Igita, who works between Lagos, Nigeria and Berlin, Germany, turns into a female figure who shares the nature of the butterfly. Anita Konz, which is based in Toronto, completely spoils the relationship, indicating a high -quality frog that does a short work of an insect flutter.
Art Written by Diana Igita.
Art by Anita Konz.
Art by Javier Mariskal.
Art by Camilla Rosa.
Spanish artist Javier Marisical is in advanced innocence, while Brazilian artist Camilla Rosa is reformulating Justas as a woman in Latin America, “Reflecting a heritage. The dynamic of the power between the observer and the observer.
Art by Kerry James Marshall.
Kerry James James Marshall Eyes Yustas opens closely watching a drone. But now we also get to know the butterfly view in the Dandy robot box – a complex comment that can only be achieved by a briefly visual narration. The Marshall cover extends to Erfin’s original intelligence in our century, which leads to a reflection on how technology and Amnesty International understanding our human nature.
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