Linda Barry: Biblio

Barry Biblio

  • Girls and Boys (Real Comet Press 1981) ISBN 0-941104-00-1
  • Big Ideas (Real Comet Press, 1983) ISBN 0-941104-07-9)
  • Everything in the World (HarperCollins 1986) ISBN 978-0060961077
  • Down the Street (HarperCollins 1988) ISBN 978-0060963040
  • The Fun House (HarperCollins 1988) ISBN 0-06-096228-3
  • The Good Times Are Killing Me (Perennial/HarperCollins, 1988) ISBN 0-941104-22-2
  • Come Over, Come Over (HarperCollins 1990) ISBN 0-06-096504-5
  • My Perfect Life (Perennial/HarperCollins 1992) ISBN 978-0060965051
  • The Lynda Barry Experience (spoken word cassette tape/CD 1993) ISBN 1-882543-17-3
  • It’s So Magic (Perennial/HarperCollins 1994) ISBN 978-0060950460
  • The Freddie Stories (Sasquatch Books 1999) ISBN 978-1570611063
  • Cruddy (Simon & Schuster hardcover 1999; paperback 2000) ISBN 978-0684838465
  • The Greatest of Marlys (Sasquatch Books 2000) ISBN 1-57061-260-9
  • One! Hundred! Demons! (Sasquatch Books 2002) ISBN 9781570613371
  • The Two Questions
  • What It Is (Drawn and Quarterly 2008) ISBN 978-1897299357
  • Picture This: The Near-Sighted Monkey Book (Drawn and Quarterly 2010) ISBN 1-897299-64-8
  • Blabber Blabber Blabber: Volume 1 of Everything (Drawn and Quarterly 2011) ISBN 978-1770460522
  • Syllabus: Notes from an Accidental Professor (Drawn and Quarterly 2014) ISBN 978-1770461611

First Reads

  1. What It Is (Drawn and Quarterly 2008) ISBN 978-1897299357
  2. Picture This: The Near-Sighted Monkey Book (Drawn and Quarterly 2010) ISBN 1-897299-64-8
  3. Syllabus: Notes from an Accidental Professor (Drawn and Quarterly 2014) ISBN 978-1770461611

Her well known book is The Good Times Are Killing Me, but the books for an early art effort, or as an item of restart, that pat or kick you need, read the “First Reads” list. She is on tumblr, so you’ll find her if you are interested.

Jump Start: Restart

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at least one way to get yourself doing/working/playing/making again

Series: Photographers at Work

Friends and Relations
Photographs by Tina Barney

Panoramas of the Far East
Photographs by Lois Conner

Horses and Dogs
Photographs by William Eggleston

llllaria
Photographs by Lee Friedlander .

Pure Invention: The Tabletop Still Life
Photographs by Jan Groover

Partial to Home
Photographs by Birney lmes

Travels in the American West
Photographs by Len Jenshel
Dancers
Photographs by Annie Leibovitz

The Wild West
Photographs by David Levinthal

On Assignment
Photographs by Jay Maisel
The Photo Essay
Photographs by Mary Ellen Mark
Creating a Sense of Place
Photographs by Joel Meyerowitz
Minor League
Photographs by Andrea Modica

Family Pictures
Photographs by Nicholas Nixon

Hotel Room with a View
Photographs by Bruce Weber

Everyday Things
Photographs by Neil Winokur

Voice: First Part

The artist, clearly, can render only what his tool and his medium are capable of rendering. His technique restricts his freedom of choice…. Sitting in front of his motif, pencil in hand, the artist will, therefore, look out for those aspects which can be rendered in lines…he will tend to see his motif in terms of lines, while, brush in hand, he sees it in terms of masses.
Ernest Gombrich, The Essential Gombrich