So I used to be a painter. If you're a painter you have painter friends. One of my painter friends is Edgar Jerins.

This is a drawing that Edger did of our buddy Steve and his girlfriend. (Steve's an artist too.)

As an artist you often hear this: "I don't know art but I know what I like."

That's bullshit actually. If you knew about art, the art you like would drastically change. Saying that you don't know art but you know what you like is a complete manifestation and admittance that wallowing in ignorance is preferable to interest and knowledge. Here's what a critic said of Edgars work.

A recent show at the Tatistscheff Gallery in New York City (May 13–June 26) showed six works by Edgar Jerins that stretched the definition of drawing. There was nothing offhand or intimate about these huge charcoals on sheets of paper often measuring five-by-eight feet. The Nebraska-born artist describes these unsettling interior genre scenes as narrative portraits. The figures—friends and relatives, worked up from hundreds of photographs—are depicted in emotionally fraught domestic situations. Jerins admits to a special interest in the discontents of the middle-aged American male, as one title, The Artist’s Family, “We have to Move” (2004), suggests. Alienation is a venerable American theme, most notably embodied by Edward Hopper, but Jerins’s pictures are far more