In 2023, people continued to hire me to draw stuff for them. For this, I am eternally grateful. Here’s some stuff from the year that was that I enjoyed working on.

I was on the R Train (and the E, F, G and 7 trains, too). Public art is great, and I’m honored that I got to create some for the MTA. Sorry if it jinxed the Mets and Yankees.

I broke out the gouache and India ink for the first time in a long time for The New Yorker. Françoise and Genevieve asked. What was I gonna do, say no?

Generative AI ‘art’ was all over the place this year. I made this for a story in The Wall Street Journal that asked whether or not people would care if AI made their favorite piece of art. It turns out they would!

(Good luck to The New York Times in their lawsuit against ChatGPT and OpenAI)

I live in Bay Ridge, in the shadow of the Verrazzano and frequently serenaded by foghorns. In my free time, I drew something and it was good enough for American Illustration and the 3 x 3 Illustration Annual. Thanks to the judges.

I got to draw a bunch of travel stories in the Wall Street Journal, as in years past. It’s great to have such loyal clients who keep coming back to you.

Succession ended, but it gave me an opportunity to draw rich folks getting crushed (metaphorically) by TV writers (congrats on the big contract win) for the LA Times.

“Nobody wants to work anymore!” A recurring, if incorrect, complaint heard throughout the year, netted a few images for variuos business publications.

The Peabody Institute of Music (and the rest of Johns Hopkins University) opened a campus in Washington, D.C. To celebrate, they commissioned this piece showing the intersection of art and democracy.

There are real estate deals to be had in Manhattan, according to The Property Chronicle. (Tell me where they are please)

It’s been a dynamite year. None of this would have been possible without the tireless work of Joanie Bernstein or the support of my family.

Let’s blow the roof off this place in 2024!