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How It Works by Austin Kleon To create his famous Newspaper Blackout Poems, artist Austin Kleon “blacks out” newspaper articles with a marker, creating poetry out of the words that remain. “How it works: I will give you whatever you want for all the cartwheels you’re doing for me,” Kleon unearths from an article about hedge fund investing. “Like many of my poems, it’s about my wife,” he sweetly explains.  This romantic print is among our special Valentine’s Day selections—see them all here. Prints of this edition begin at $60. Check out Austin Kleon’s excellent Tumblrs, newspaperblackout.com and tumblr.austinkleon.com.

How It Works by Austin Kleon

To create his famous Newspaper Blackout Poems, artist Austin Kleon “blacks out” newspaper articles with a marker, creating poetry out of the words that remain. “How it works: I will give you whatever you want for all the cartwheels you’re doing for me,” Kleon unearths from an article about hedge fund investing. “Like many of my poems, it’s about my wife,” he sweetly explains.  This romantic print is among our special Valentine’s Day selections—see them all here.

Prints of this edition begin at $60. Check out Austin Kleon’s excellent Tumblrs, newspaperblackout.com and tumblr.austinkleon.com.

Low Water; Fort Point Road, Weymouth, Nova Scotia and Abandoned House; Digby Neck, Nova Scotia by Mark Marchesi Some things need very little introduction. Some things are difficult to put your finger on. These new works by 20x200 artist and Hot Shot Mark Marchesi—Low Water; Fort Point Road, Weymouth, Nova Scotia and Abandoned House; Digby Neck, Nova Scotia—have the powerful whispering of a creeping siren song, making them seem as if they have always just been. Inspired by the epic 1847 poem by Henry Wadsworth Longfellow, Evangeline: A Tale of Acadie, the photographs in his Evangeline Trail project weave a narrative that is both comforting in familiarity and, in contrast, peculiar for being so intangible. There is a subtle magic in the work. Read more, and enjoy a bit of Longfellow.
Low Water; Fort Point Road, Weymouth, Nova Scotia and Abandoned House; Digby Neck, Nova Scotia by Mark Marchesi Some things need very little introduction. Some things are difficult to put your finger on. These new works by 20x200 artist and Hot Shot Mark Marchesi—Low Water; Fort Point Road, Weymouth, Nova Scotia and Abandoned House; Digby Neck, Nova Scotia—have the powerful whispering of a creeping siren song, making them seem as if they have always just been. Inspired by the epic 1847 poem by Henry Wadsworth Longfellow, Evangeline: A Tale of Acadie, the photographs in his Evangeline Trail project weave a narrative that is both comforting in familiarity and, in contrast, peculiar for being so intangible. There is a subtle magic in the work. Read more, and enjoy a bit of Longfellow.

Low Water; Fort Point Road, Weymouth, Nova Scotia and Abandoned House; Digby Neck, Nova Scotia by Mark Marchesi

Some things need very little introduction. Some things are difficult to put your finger on. These new works by 20x200 artist and Hot Shot Mark Marchesi—Low Water; Fort Point Road, Weymouth, Nova Scotia and Abandoned House; Digby Neck, Nova Scotia—have the powerful whispering of a creeping siren song, making them seem as if they have always just been.

Inspired by the epic 1847 poem by Henry Wadsworth Longfellow, Evangeline: A Tale of Acadie, the photographs in his Evangeline Trail project weave a narrative that is both comforting in familiarity and, in contrast, peculiar for being so intangible. There is a subtle magic in the work. Read more, and enjoy a bit of Longfellow.

RO-0011-16A and BG-0004 by Bert Teunissen  “So far I have covered over 50,000 kilometers of road for the project Domestic Landscapes,” says photographer Bert Teunissen. “The roads that I have passed were either randomly chosen or pointed out to me by locals.” This calls for some Robert Frost! The Road Not Taken, by Robert Frost TWO roads diverged in a yellow wood, And sorry I could not travel both And be one traveler, long I stood And looked down one as far as I could To where it bent in the undergrowth; Then took the other, as just as fair, And having perhaps the better claim, Because it was grassy and wanted wear Though as for that the passing there Had worn them really about the same, And both that morning equally lay In leaves no step had trodden black. Oh, I kept the first for another day! Yet knowing how way leads on to way, I doubted if I should ever come back. I shall be telling this with a sigh Somewhere ages and ages hence: Two roads diverged in a wood, and I— I took the one less traveled by, And that has made all the difference.
RO-0011-16A and BG-0004 by Bert Teunissen  “So far I have covered over 50,000 kilometers of road for the project Domestic Landscapes,” says photographer Bert Teunissen. “The roads that I have passed were either randomly chosen or pointed out to me by locals.” This calls for some Robert Frost! The Road Not Taken, by Robert Frost TWO roads diverged in a yellow wood, And sorry I could not travel both And be one traveler, long I stood And looked down one as far as I could To where it bent in the undergrowth; Then took the other, as just as fair, And having perhaps the better claim, Because it was grassy and wanted wear Though as for that the passing there Had worn them really about the same, And both that morning equally lay In leaves no step had trodden black. Oh, I kept the first for another day! Yet knowing how way leads on to way, I doubted if I should ever come back. I shall be telling this with a sigh Somewhere ages and ages hence: Two roads diverged in a wood, and I— I took the one less traveled by, And that has made all the difference.

RO-0011-16A and BG-0004 by Bert Teunissen

 “So far I have covered over 50,000 kilometers of road for the project Domestic Landscapes,” says photographer Bert Teunissen. “The roads that I have passed were either randomly chosen or pointed out to me by locals.”

This calls for some Robert Frost!


The Road Not Taken, by Robert Frost

TWO roads diverged in a yellow wood,

And sorry I could not travel both

And be one traveler, long I stood

And looked down one as far as I could

To where it bent in the undergrowth;

Then took the other, as just as fair,

And having perhaps the better claim,

Because it was grassy and wanted wear

Though as for that the passing there

Had worn them really about the same,

And both that morning equally lay

In leaves no step had trodden black.

Oh, I kept the first for another day!

Yet knowing how way leads on to way,

I doubted if I should ever come back.

I shall be telling this with a sigh

Somewhere ages and ages hence:

Two roads diverged in a wood, and I—

I took the one less traveled by,

And that has made all the difference.

Creativity is Subtraction and Open Road are part of Austin Kleon’s ongoing series of Newspaper Blackout Poems: poetry made by taking an article from the New York Times and blacking it out with a Sharpie marker, leaving only a few choice words behind. Find more art for word lovers, and take 25% off of your order of $100 or more through midnight ET with the code TICKTOCK. 
Creativity is Subtraction and Open Road are part of Austin Kleon’s ongoing series of Newspaper Blackout Poems: poetry made by taking an article from the New York Times and blacking it out with a Sharpie marker, leaving only a few choice words behind. Find more art for word lovers, and take 25% off of your order of $100 or more through midnight ET with the code TICKTOCK. 

Creativity is Subtraction and Open Road are part of Austin Kleon’s ongoing series of Newspaper Blackout Poems: poetry made by taking an article from the New York Times and blacking it out with a Sharpie marker, leaving only a few choice words behind. 

Find more art for word lovers, and take 25% off of your order of $100 or more through midnight ET with the code TICKTOCK. 

It’s been a joy to read your 20x200 stories, and we hope to spread some of that joy by sharing Dorthe Alstrup’s Untitled (Arika). This beautiful print is among the sold out editions from which our five favorite storytellers will be able to choose an Artist’s Print. See contest details. When 20x200 introduced this edition, Jen Bekman included a excerpt from Baudelaire’s poem Invitation to the Voyage. Here it is again—enjoy! Gleaming furniture, Polished by the years, Will ornament our bedroom; The rarest flowers Mingling their fragrance With the faint scent of amber, The ornate ceilings, The limpid mirrors, The oriental splendor, All would whisper there Secretly to the soulIn its soft, native language. There all is order and beauty, Luxury, peace, and pleasure.

It’s been a joy to read your 20x200 stories, and we hope to spread some of that joy by sharing Dorthe Alstrup’s Untitled (Arika). This beautiful print is among the sold out editions from which our five favorite storytellers will be able to choose an Artist’s Print. See contest details.

When 20x200 introduced this edition, Jen Bekman included a excerpt from Baudelaire’s poem Invitation to the Voyage. Here it is again—enjoy!

Gleaming furniture,
Polished by the years,
Will ornament our bedroom;
The rarest flowers
Mingling their fragrance
With the faint scent of amber,
The ornate ceilings,
The limpid mirrors,
The oriental splendor,
All would whisper there
Secretly to the soul
In its soft, native language.

There all is order and beauty,
Luxury, peace, and pleasure.

How To Be Cool by Austin Kleon (left)Open Road by Austin Kleon (right) In the newsletter, Sara writes: Today we’re adding two new prints to Austin Kleon’s arsenal of wise and witty wordsmithings. That there are now eight editions available is testament to Austin’s ceaseless creativity, as well as our inability to keep up with him. This writer who draws, after all, has filled a book of Blackout Poems and has another tome on the way. His much anticipated How to Steal Like an Artist won’t hit the shelves till March 2012, but you can pre-order a copy (or a few, they’re a ridiculous deal at $5.82!). For faster gratification, I present to you now: How To Be Cool and Open Road. As Austin himself says, “Black(out) goes with everything. [And] art is the best gift you can give.” As you know, we whole-heartedly agree. So, might I suggest that these two prints are best for your most difficult to shop for—namely the dudes and lone rangers that you adore? Ante up because, like Austin’s other editions, I’m guessing these won’t last for long. If you’re seeking instant inspiration: Watch and listen to Austin’s insights here. Or read two recent interviews here and here. Hope that tides you over till tomorrow!
How To Be Cool by Austin Kleon (left)Open Road by Austin Kleon (right) In the newsletter, Sara writes: Today we’re adding two new prints to Austin Kleon’s arsenal of wise and witty wordsmithings. That there are now eight editions available is testament to Austin’s ceaseless creativity, as well as our inability to keep up with him. This writer who draws, after all, has filled a book of Blackout Poems and has another tome on the way. His much anticipated How to Steal Like an Artist won’t hit the shelves till March 2012, but you can pre-order a copy (or a few, they’re a ridiculous deal at $5.82!). For faster gratification, I present to you now: How To Be Cool and Open Road. As Austin himself says, “Black(out) goes with everything. [And] art is the best gift you can give.” As you know, we whole-heartedly agree. So, might I suggest that these two prints are best for your most difficult to shop for—namely the dudes and lone rangers that you adore? Ante up because, like Austin’s other editions, I’m guessing these won’t last for long. If you’re seeking instant inspiration: Watch and listen to Austin’s insights here. Or read two recent interviews here and here. Hope that tides you over till tomorrow!

How To Be Cool by Austin Kleon (left)
Open Road by Austin Kleon (right)

In the newsletter, Sara writes:

Today we’re adding two new prints to Austin Kleon’s arsenal of wise and witty wordsmithings. That there are now eight editions available is testament to Austin’s ceaseless creativity, as well as our inability to keep up with him. This writer who draws, after all, has filled a book of Blackout Poems and has another tome on the way. His much anticipated How to Steal Like an Artist won’t hit the shelves till March 2012, but you can pre-order a copy (or a few, they’re a ridiculous deal at $5.82!).

For faster gratification, I present to you now: How To Be Cool and Open Road. As Austin himself says, “Black(out) goes with everything. [And] art is the best gift you can give.” As you know, we whole-heartedly agree. So, might I suggest that these two prints are best for your most difficult to shop for—namely the dudes and lone rangers that you adore? Ante up because, like Austin’s other editions, I’m guessing these won’t last for long.

If you’re seeking instant inspiration: Watch and listen to Austin’s insights here. Or read two recent interviews here and here. Hope that tides you over till tomorrow!


Reindeer by Lisa Congdon In the newsletter, Sara writes (oh so poetically): Lisa Congdon’s Reindeer, an elegantly clad, familiar creature, Rings in the season of giving and lots more art to be featured,The upcoming abundance of editions in your inbox,Will make much nicer presents than sweaters, ties or socks. So don’t wait till the moon over new-fallen snow,Gives the luster of mid-day to objects (above and) below.Because to your wondering eyes might (also) appear,A miniature sleigh and eight (not just one) tiny reindeer… But by then, it will be much, much too late,To give your nearest and dearest something really great. Like this Icelandic-inspired work by dearSan Francisco-based Lisa who you can read about here and listen to here. With that it is time for me to disappear,But I’ll be back soon (sans terrible rhymes) never fear.

Reindeer by Lisa Congdon

In the newsletter, Sara writes (oh so poetically):

Lisa Congdon’s Reindeer, an elegantly clad, familiar creature, 
Rings in the season of giving and lots more art to be featured,
The upcoming abundance of editions in your inbox,
Will make much nicer presents than sweaters, ties or socks.

So don’t wait till the moon over new-fallen snow,
Gives the luster of mid-day to objects (above and) below.
Because to your wondering eyes might (also) appear,
A miniature sleigh and eight (not just one) tiny reindeer…

But by then, it will be much, much too late,
To give your nearest and dearest something really great. 
Like this Icelandic-inspired work by dear
San Francisco-based Lisa who you can read about here and listen to here.

With that it is time for me to disappear,
But I’ll be back soon (sans terrible rhymes) never fear.

New on 20x200: Overheard on the Titanic by Austin Kleon 10”x8” ($20) | 14”x11” ($50) | 20”x16” ($200)  In the newsletter, Jen writes: I introduced Austin’s The Travelogue shortly after returning from my Austin-with-Austin travels and what I wrote back then is still the best description I can think of to describe why I find Austin’s work so enchanting: His selection-by-omission practice is the semi-illogical next step in a process that I go through constantly, one which I’ve pursued, involuntarily at times, for as long as I can remember being able to read. Nearly all my reading is a swim against an undercurrent of my unending search for a motto, a rallying cry or a mantra. Whether it’s a poignant refrain of a pop song, a quote from a dead person or a few lines swiped from an admired poet, my constant search for a few good words is… constant. But, my ceaseless scanning of a page for a string of resonant words is thoroughly trumped by Austin’s talent for stringing them together. He doesn’t find poetry, he makes it—and he doesn’t just make it, he publishes it. Which is to say that this creative-writing-major-with-a-concentration-in-poetry college dropout makes me both green with envy and glowing with pride.

New on 20x200: Overheard on the Titanic by Austin Kleon

10”x8” ($20) | 14”x11” ($50) | 20”x16” ($200) 

In the newsletter, Jen writes:

I introduced Austin’s The Travelogue shortly after returning from my Austin-with-Austin travels and what I wrote back then is still the best description I can think of to describe why I find Austin’s work so enchanting:

His selection-by-omission practice is the semi-illogical next step in a process that I go through constantly, one which I’ve pursued, involuntarily at times, for as long as I can remember being able to read. Nearly all my reading is a swim against an undercurrent of my unending search for a motto, a rallying cry or a mantra. Whether it’s a poignant refrain of a pop song, a quote from a dead person or a few lines swiped from an admired poet, my constant search for a few good words is… constant. But, my ceaseless scanning of a page for a string of resonant words is thoroughly trumped by Austin’s talent for stringing them together. He doesn’t find poetry, he makes it—and he doesn’t just make it, he publishes it. Which is to say that this creative-writing-major-with-a-concentration-in-poetry college dropout makes me both green with envy and glowing with pride.