Loyal Retainer: Final Chapter —  Mu Pan


Loyal Retainer: Final Chapter, 2018 by Mu Pan (b. 1976)


Big Bad Wolves: Chapter 6 — Mu Pan


Big Bad Wolves, 2017 by Mu Pan (b. 1976)


S.O.S. — Jamie Wyeth


S.O.S, 1981 by Jamie Wyeth (b. 1946)

Hemingway Never Ate Here — Patrick Caulfield

Hemingway Never Ate Here 1999 by Patrick Caulfield 1936-2005

Wittgenstein the Soldier — Eduardo Paolozzi

Wittgenstein the Soldier 1964 Sir Eduardo Paolozzi 1924-2005 Presented by Rose and Chris Prater through the Institute of Contemporary Prints 1975 http://www.tate.org.uk/art/work/P04768

Woman with Ice Cream Sundae — Dieter Asmus

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Stay! — Parra

Peter Max Library Poster

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One or the Other — Thomas Bayrle

Marilyn — Allan D’Arcangelo

Great American Nude — Tom Wesselmann

The More Superman Spoke — Jayson Musson



Little Hostess — Emmy Lincoln



Raymond Pettibon: “I read as I write, write as I read”

Read a 1999 interview with Raymond Pettibon in BOMB. Excerpt:

I read as I write, write as I read. If it used to take me five minutes to read the whole newspaper, now, my mind wanders, and then five minutes later I wonder, Gee, did I read that? I used to take notes, and I have notebooks full of drawings and notes that were partly quotations, and I’ve done a lot of marginalia, writing in books. I’m usually reading a number of books at a time, and whether I get through an individual one is probably unlikely. I’ve lost interest in narrative. (sigh) At least in the sense of seeing how a story comes out at the end. There’s a type of reading where you get lost in the narrative and you become part of the story and you’re compelled to finish. I don’t really have any interest in that. For me, reading has become more microscopic, more about dissecting the work. It may start on the level of the novel, then go down to theme or style, then to a paragraph, and finally a sentence. Or the sentence itself becomes about structure, or the words in it. Probably the most obvious example of that kind of reading is James Joyce. It becomes a kind of disease. Every text becomes related to another one, even in a different language, down to each individual word, which then becomes a clue into the etymology of the word, and then that etymological tree. A different context, a different language…you’re just making these associations from one thing to another. I used to start out with a simple drawing that would begin as an idea, and then my writing would make some associations with something else. And then, you know, a day later, or a year later, or whenever, the whole page would be covered with small, finely written text. And it would become a lot of things that were meant to be just in one drawing, expanded into this while still part of my notes. Voluminous notes. You do actually get lost in that morass of associations.


Kill Mulan — Rodolfo Loaiza


Big Electric Chair — Andy Warhol


It’s a Psychological Fact Pleasure Helps Your Disposition — Eduardo Paolozzi