Françoise Mouly
Françoise Mouly has been the art editor at The New Yorker since 1993.
Roz Chast’s “Fireworks Megastore”
The artist discusses stumbling across surprises while shopping, and rebelling against efficiency.
Sasha Velour’s “The Look of Pride”
The artist discusses gender, self-expression, and how drag can be an antidote to shame.
Masha Titova’s “The Art of Music”
The magazine publishes its first synesthetic, collaborative, and interactive cover.
Marcellus Hall’s “Open House”
The artist discusses rent, real estate, and making a home in the city.
R. Kikuo Johnson’s “Perennial”
The artist discusses nature in New England, and mourning the old while celebrating the new.
Bruce McCall’s “Safe Travels”
McCall’s friends and colleagues reflect on the late artist’s zeal for life.
Barry Blitt’s “Room at the Top”
The artist discusses being young and adrift in London, and gives King Charles tips for painting with watercolors.
JooHee Yoon’s “Drawing Hands with A.I. (After M. C. Escher)”
The artist discusses artistry, artificial intelligence, and the human experience.
Jane Rosenberg’s “Courtroom Sketch, Manhattan Criminal Courthouse”
Truth is stranger than fiction: for the first time in its long history, The New Yorker is publishing a courtroom sketch on the cover.
Mark Ulriksen’s “About Time”
The artist discusses spring training, the clock, and the love of baseball.
Luci Gutiérrez’s “Rise and Shine”
The artist discusses the first rays of spring sunlight, and the pleasures and challenges of routine.
Sammy Harkham’s Unbleached Perspective on an Oft-Maligned Medium
In “Blood of the Virgin,” the cartoonist chronicles the spectrum of surprises that his protagonist encounters at home and on set in Hollywood of the nineteen-seventies.
Sarula Bao’s “Fresh Gear”
The artist discusses design as a playground for self-expression and connection.
Sergio García Sánchez’s “Pulling Ahead”
The artist discusses capturing movement, creation as a collaborative endeavor, and the ways that visual communication can transcend eras.
Remembering Ian Falconer, the New Yorker Artist and Author of the “Olivia” Books
Falconer won a Caldecott medal in 2001 and contributed more than thirty New Yorker covers.
Diana Ejaita’s “Cultivated”
The artist discusses the spaces in which creative work can flourish.
Barry Blitt’s “The Florida Book-of-the-Month Club”
The artist on what makes children’s books captivating, and the role of humor in exploring complex topics.
John W. Tomac’s “New Tricks”
The artist reimagines our dandy mascot as a man-about-town’s best friend.
Malika Favre’s “Connected”
The artist discusses seeking inspiration from her surroundings and experiencing new ways of living.
Roz Chast’s “Fireworks Megastore”
The artist discusses stumbling across surprises while shopping, and rebelling against efficiency.
Sasha Velour’s “The Look of Pride”
The artist discusses gender, self-expression, and how drag can be an antidote to shame.
Masha Titova’s “The Art of Music”
The magazine publishes its first synesthetic, collaborative, and interactive cover.
Marcellus Hall’s “Open House”
The artist discusses rent, real estate, and making a home in the city.
R. Kikuo Johnson’s “Perennial”
The artist discusses nature in New England, and mourning the old while celebrating the new.
Bruce McCall’s “Safe Travels”
McCall’s friends and colleagues reflect on the late artist’s zeal for life.
Barry Blitt’s “Room at the Top”
The artist discusses being young and adrift in London, and gives King Charles tips for painting with watercolors.
JooHee Yoon’s “Drawing Hands with A.I. (After M. C. Escher)”
The artist discusses artistry, artificial intelligence, and the human experience.
Jane Rosenberg’s “Courtroom Sketch, Manhattan Criminal Courthouse”
Truth is stranger than fiction: for the first time in its long history, The New Yorker is publishing a courtroom sketch on the cover.
Mark Ulriksen’s “About Time”
The artist discusses spring training, the clock, and the love of baseball.
Luci Gutiérrez’s “Rise and Shine”
The artist discusses the first rays of spring sunlight, and the pleasures and challenges of routine.
Sammy Harkham’s Unbleached Perspective on an Oft-Maligned Medium
In “Blood of the Virgin,” the cartoonist chronicles the spectrum of surprises that his protagonist encounters at home and on set in Hollywood of the nineteen-seventies.
Sarula Bao’s “Fresh Gear”
The artist discusses design as a playground for self-expression and connection.
Sergio García Sánchez’s “Pulling Ahead”
The artist discusses capturing movement, creation as a collaborative endeavor, and the ways that visual communication can transcend eras.
Remembering Ian Falconer, the New Yorker Artist and Author of the “Olivia” Books
Falconer won a Caldecott medal in 2001 and contributed more than thirty New Yorker covers.
Diana Ejaita’s “Cultivated”
The artist discusses the spaces in which creative work can flourish.
Barry Blitt’s “The Florida Book-of-the-Month Club”
The artist on what makes children’s books captivating, and the role of humor in exploring complex topics.
John W. Tomac’s “New Tricks”
The artist reimagines our dandy mascot as a man-about-town’s best friend.
Malika Favre’s “Connected”
The artist discusses seeking inspiration from her surroundings and experiencing new ways of living.