Best of 2015: Illustrations

Illustration by Roman Muradov

Here are my favorite New Yorker illustrations of 2015:

1. Conor Langton’s “Meredith Monk,” for Alex Ross’s "Guided By Voices," January 5, 2015.

2. Riccardo Vecchio’s “Matteo Renzi,” for Jane Kramer’s "The Demolition Man," June 29, 2015.

3. Daniel Krall’s “Molly Rankin,” for "Goings On: Spring Preview," March 9, 2015.

4. Chang Park’s “Kazuo Ishiguro,” for James Wood’s "The Uses of Oblivion," March 23, 2015.

5. Roman Muradov’s “Celebrating the Holidays,” for "Goings On About Town," November 30, 2015.

6. Barry Blitt’s “Donald Barthelme, Mavis Gallant, John Updike, J. D. Salinger, Muriel Spark,” for Deborah Treisman’s "Nine Decades of the Magazine: 1965-1975," February 23, 2015.

7. Rebecca Monk’s “Holiday Cocktail Lounge,” for Sarah Larson’s "Bar Tab," May 11, 2015.

8. Matthew Hollister’s “Lazy Point,” for Emma Allen’s "Bar Tab," August 10, 2015.

9. Ping Zhu’s “Cianciolo’s Kit,” for Andrea K. Scott’s "Boxing Days," June 29, 2015.

10. André Carrilho’s “Jeb Bush,” for Ryan Lizza’s "What Would Jeb Do?," October 26, 2015.

Credit: The above illustration, by Roman Muradov, is from Ian Frazier's "Greetings, Friends!," The New Yorker, December 23, 2015.

January 13, 2014 Issue

The New Yorker’s “Bar Tab” isn’t just a food-and-drink review column; it’s a series of miniature illustrations. The most striking of them are by Matthew Hollister. Luminous, fresh, and deliciously hued, they attract the eye, decorate the text, and symbolize the bar under review. They lean towards abstraction and simplification. They’re a superb reduction of the bar’s essence, expressed in geometry and arrangement. This week’s “Bar Tab,” a review of a wine bar called Old Man Hustle, features a delectable orange-brick-purple-neon-pearl-tile-tan-cork beauty that went straight into my digital collection of favorite New Yorker artworks. Hollister has a wonderful way with shimmery coppers and satiny whites. See, for example, his exquisite illustration for Rob Fischer’s “Bar Tab” review of The Shanty (also in my collection).

Hollister has a knack for picking out a detail in the review and including it in his picture. For example, Fischer’s Shanty piece mentions “the metal vats and oak barrels that now line the factory floor.” Sure enough, there in Hollister’s illustration are partial views of four barrels with their checkered patterns of light-and-dark wood, and a gorgeous rendition of a bright, bulbous copper distillery vat. In this week’s “Bar Tab,” also by Fischer, Old Man Hustle is described as “this tiny brick-walled wine bar and performance space.” Hollister’s picture incorporates a beautiful horizontal band of orange-brown-buff brickwork. The burnt orange, setting off the black wine bottles with their tan corks, and the ravishing grape-colored neon sign, and the intricate gray-and-white tiles above, are satisfying to the point of sensuousness. I can practically taste the wine.  

Credit: The above artwork is by Matthew Hollister; it appears in The New Yorker (January 13, 2014), as an illustration for Rob Fischer’s “Bar Tab: Old Man Hustle.”