A two-page spread depicts a вЂњsandwich beverageвЂќ (a scribbled sandwich with a straw sticking out of it) and on the facing page a watercolor diagram of a BLT being assembled, with plywood in place of the bread.

Like other fine artists such as Saul Steinberg or Faith Ringgold, Wegman makes good use of the tools of comics and cartooning to convey the power and hilarity of his visual imagination. plow my garden and help me move some stuff plow something for me The group excursions are devastating.ДЄre you the man they call TRACTOR? I was told to look you up when I got to the city and that you might be able to move some stuff for me. Each flight departure is a little like a death in the family. Some highlights:ДЄ Travel AgentвЂ™s job is never done. The corporate logo, a woman gazing to the right, her green and blue hair blowing in the same direction, lends his typewritten assertions a demented authority. Wegman, delightfully, got his hands on a stack of Princess Cruises stationary. вЂњDRY GOODSвЂќ SPELLED BACKWORDS IS WOULD BE вЂњSLOPE GOOFвЂќ IF вЂњDRY GOODSвЂќ WERE SPELLED вЂњFOOG EPOLS.вЂќ In another, he drops a truth bomb with the smug confidence of someone who does all their own research online: I am very smart however and also being the teacher I get high grades.

School is very difficult here in Virginia. One handwritten note delivers an insane twist: Page after page of text, some typed, some written by hand, and images drawn, photographed, and painted reveal again and again WegmanвЂ™s seemingly bottomless inventiveness and humor.Д®ach of WegmanвЂ™s texts is a small world, easy to read in the same monotone he uses in his films with his dogs. But these are small matters when youвЂ™re looking at so many treasures. This looseness is by design, as Lampert freely admits: вЂњNo attempt whatsoever has been made to place works in chronological order because there is no way to conclusively know when they were created.вЂќ More production work could have been done to brighten or darken some of the scans so the reader doesnвЂ™t have to squint at WegmanвЂ™s pencil lines and paint strokes. There isnвЂ™t a page number in sight after the introduction, and at times it can feel less like a curated volume than a self-guided rummage through WegmanвЂ™s archives. Selections of this work, along with videos and recent paintings by Wegman, are on view at Sperone Westwater in a show of the same title, also curated by Lampert.Д¬locking in at 352 pages, the book is made up of materials primarily from the 1970s and 1980s. Though WegmanвЂ™s films and photography with his dogs are his best-known work, he has an entire other oeuvre that has remained mostly unseen: a practice of visual and textual humor that is collected in the book William Wegman: Writing by Artist, edited by Andrew Lampert. Fay is best known to a generation reared on Sesame Street in the late 1980s, in skits featuring her in costume and WegmanвЂ™s deadpan voiceover. Man Ray would die the year of the Letterman interview, but Wegman eventually began working with another Weimaraner, Fay Ray, as well as FayвЂ™s offspring. He moved to Southern California in 1970, where he adopted Man Ray and began including him in his videos. While teaching at the University of Wisconsin between 19, he acquired a video camera that the school used to record lectures (Letterman on that acquisition: вЂњStole it, eh?вЂќ) and began making short, experimental films. Though he began his career in fine arts, getting a BFA and MFA in painting, Wegman quickly turned toward conceptual art and photography. The appearance on Letterman came during WegmanвЂ™s early forays into video art, which had made Man Ray famous internationally. William Wegman and a cutout of one of his dogs, Bobbin, 2008

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