Here’s the print-on-demand zines I’ve got for sale (left to right, top to bottom)
APEZILLA DOUBLE DIGEST - 5.5x8.5” B+W 84 pages
APEZILLA 3 - 6x9” B+W 42 pages
PLANET OF THE APEZX - 8.5x11” B+W 32 pages
Pixel Smut 1 - 6x9” B+W 20 pages
Crystal Structures - 6x9” Full-color 32 pages
This Guy - 6x9” Full-color 10 pages
TV ONE - 6x9” Full-color 32 pages
TV2 - 6x9” Full-color 40 pages
You can also get free PDF versions of most of them. And there’s usually some coupons over here: http://www.lulu.com/promos/current-specials
Daily Pic, Met Monday Edition: This is that rare thing – a Pic I haven’t seen in the flesh, because I couldn’t, because this “Rembrandt” has been declared an 18th-century British fake…
…for a forgery to deceive at all, it has to preserve a great many features of a genuine object. So, in evidentiary terms, it may be best to think of a fake as being quite like a later, slightly corrupted edition of an ancient text whose earliest manuscripts no longer exist (which is the case with the vast majority of very old writings) or even as a blurred photocopy of a lost document. If someone launched a new kind of fake-bomb that destroyed every original Rembrandt, the surviving forgeries would still give us a strong link to the art he made, and to the moment of its making. Maybe we need to stop thinking, as the market does, of works as either by a given artist or not. We may want to think in terms of a complex Venn diagram which maps a series of works as being more or less closely linked to a given moment of important art making – a diagram that would register Rembrandtism, rather than Rembrandt himself. And could it even be that a work by a follower, or even by a much later forger, gets closer to the core of the concept than a lame piece by the master himself?
Emphasis mine. Filed under: forgery
Bill Murrrraaaayyyy $50 for the original watercolor/ink painting :) please email SaraHaaseArt@gmail.com
WOW. Please check out this blog.
Should I name him Zero?