At the Archive: Laurie Rosenwald's Delightful "On the Horizon" Illustrations

Laurie Rosenwald, "The Bacon Takedown" (2010)

The New Yorker used to have a “Goings On About Town” section called “On the Horizon,” highlighting notable upcoming events. It was discontinued in 2013. One of the best “On the Horizon” illustrators was Laurie Rosenwald. Here are three examples of her work:

Laurie Rosenwald, "Picasso at the Met" (April 12, 2010)

Laurie Rosenwald, "The Egg Rolls & Egg Creams Festival" (May 17, 2010)

Laurie Rosenwald, "Abraham Lincoln's Big, Gay Dance Party" (July 12 & 19, 2010)

At the Archive: Nick Paumgarten's "Tables For Two: Tony Luke's"

Today, I’m in the Archive devouring Nick Paumgarten’s “Tables For Two: Tony Luke’s” (April 11, 2005). Early in his New Yorker career, Paumgarten wrote a slew of “Tables For Two” pieces. “Tony Luke’s” is one of his most inspired, featuring this memorable description of a Tony Luke’s cheesesteak:

The cheesesteaks here are about a foot long, and they are served without the benefit of being cut in half. As a result, as you eat one, the structural integrity starts to go; well-cheesified clumps of steak ooze out the sides. Quick flanking bites along the roll’s perimeter don’t much help, and soon you find yourself pushing the thing into your mouth like a log into a chipper.

That last line makes me smile every time I read it. 

At the Archive: Robert Andrew Parker's "Erich von Stroheim"

Robert Andrew Parker, "Erich von Stroheim" (1999)

This is the first post in a new series called “At the Archive,” in which I visit The New Yorker’s vast online archive in search of intriguing articles and images. If something catches my eye, I’ll dust it off, hold it up to the light, and say why it appeals to me. Today’s find is Robert Andrew Parker’s portrait of Erich von Stroheim (“Goings On About Town,” July 5, 1999). Parker is one of my favorite New Yorker illustrators. His work regularly appeared in the magazine back in the late nineties and early aughts. I relish this von Stroheim picture for its luminosity and saturated color. I’m not sure what movie it’s based on. From the stars on the collar, I’m guessing it’s Blind Husbands (1918) – von Stroheim’s first film as writer, director, and star.