He’s not even in the same league as this guy. Tillamook Cheddar paints.

From the “Tillie” website:

“A sham.”
-Jerry Saltz, Village Voice

“[Because of tillie] I have had to rethink two of my most basic assumptions about art and life: first, the notion that animals cannot have an aesthetic sense; second, the core conviction that no sentient being could possibly paint anything worse than what Julian Schnabel recently showed at the Gagosian Gallery.”
-James Gardner, New York Post (May, 2002)

At least Tillie’s handlers have a sense of humor. “Dog Bless America,” on the other hand …

An excellent set of vintage images. A few more:

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As always, holler if any are yours.

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That right there is a little fiesta: A drum covered in Mexican jumping beans, and the decorative lights you’d typically find at a quinceañera or something. The scene is a racial burlesque in the vein of Speedy Gonzalez. Anyway, Coffin has a show at Andrew Kreps, closing these weekend. More:

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Michael Bell-Smith is one of those Nasty Nets guys. That’s a still from one of the many videos over Foxy Production—it really doesn’t do his work justice. Interview here. A couple videos on youtube.

The Art Newspaper, following the lead of USA Today, introduces us to Robert Francis Montgomery/Robert Fontaine, who is being sued by Robert Rauschenberg for selling some large negatives he “found” in Rauschenberg’s garbage. The weird thing is that he’s selling the “work” as authentic Rauschenbergs, with certificates and everthing. My favorite part?

Montgomery says that all of Rauschenberg’s claims are barred because Rauschenberg “is the author” of the material which is the subject of the lawsuit. In an answer filed in court on 14 February, Montgomery says that the claims are further barred because if Rauschenberg did sustain damages, they are attributable to the artist’s “own reckless, negligent or culpable conduct.”

Like taking out his trash. At any rate, if Montgomery wins this thing, you’ll find me outside Julian Snapple’s house in the West Village, every Thursday, waiting for him to take out the recycling.

Images by Arman: Robert Rauschenberg’s Refuse (left), La Poubelle de Bernard Venet (right)

Time’s Richard Lacayo, prompted by Gregor Schneider’s new project, has a moving description of Sophie Calle’s piece from the 2007 Biennial: A video of Calle’s mother dying. Here’s Lacayo:

At some point during the 13-minute video her mother simply stops breathing, though it happens so gently you can’t tell just when that moment is. A wall card explained that Calle’s mother had consented to the taping.

I visited that piece twice, and on both visits people in the gallery were wiping their eyes. I was one of them. Who were were crying for, Calle’s mother, whom probably none of us knew personally, or ourselves?

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Jason pointed out that the Ill Studio stuff steals ruthlessly from the Doctor Who opener. It’s worth a look, and not just for old time’s sake. Awesome.

Yup. All my favorite graphic designers these days are French. Here is Ill Studio’s portfolio. More images:

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ZOMG.