(Source: comicsdotcom)

(Source: comicsdotcom)

cavetocanvas:

Romare Bearden, Tenor Sermon, 1979

cavetocanvas:

Romare Bearden, Family, 1986

(Source: andrewlaumann)

(Source: samgascan)

(Source: qviet)

neo-rama:

that run at the end…

(Source: dailyportalz)

neo-rama:

Ducks get stole (Taken with instagram)

austinkleon:

Saul Steinberg, Autogeography, 1966 (via)

From “Descent from Paradise: Saul Steinberg’s Italian Years”:

For most of his adult life, Saul Steinberg (1914-1999) drew maps—maps of real or imaginary locations, maps of words and of concepts. Often the maps are of actual places refracted through the artist’s mental constructs, as in View of the World from 9th Avenue, his famous March 29, 1976 New Yorker cover, which, reprinted as a poster, copied, and appropriated for many other cities of the world, became his personal nightmare; even today, it remains the icon that most easily identifies him. There is, however, another splendid map, completed ten years earlier; although intended for The New Yorker, it was never fully published in Steinberg’s lifetime. Entitled Autogeography, it is a bird’s-eye view of a green territory dotted with the names of many locales, large and small, from every corner of the world. A very blue, winding river flows through the territory, and on the bottom right it skirts a small lake with an island. On the island is the word “Milano,” while on the shore northeast of the island we find a locality named “Tortoreto (Teramo).”

toutplacid:

Voiture de police à Angoulême 2007 — stylo bille 4 couleurs, extrait du livre 2007 (l’Association, 2008)

austinkleon:

Jonathan Lethem, The Ecstasy of Influence

I tore through this. Lethem’s original 2007 Harper’s essay was a huge influence on Steal Like An Artist and probably a bunch of other people. (Heck, David Shields took the method of the essay and turned it into a whole book, although I’m guessing from Lethem’s acknowledgements, their influence on each other is a two-way street.) I had fun in the book version of the essay, highlighting and annotating the passages from other sources, showing the unmarked passages that Lethem wrote as the glue between them.

It’s such a big book (over 400 pages) that it’s impossible to share all my underlines, but this passage from the intro says a lot:

[I pit myself] compulsively against bogus valorizing notions of originality, authenticity, or naturalism in the arts….For if we consent that what appears natural in art is actually constructed from series of hidden postures, decisions, and influences, etc., we make ourselves eligible to weight the notion that what’s taken as natural in our experience of everyday life could actually be a construction as well.

Other than his writing on other writers and influence, I really loved his pieces about musicians. His piece on Rick James, his profile of James Brown, and interview (!) with Bob Dylan are all very much worth reading.

Again, it’s a huge book, not as tight or as focused as The Disappointment Artist, but not meant to be either.

Recommended.

Currently reading. Almost finished. Agreeing with this mini-summary.