Hey readers (all two of you),
It has recently come to my attention that there are many people out there who think that the Orphan Art Bill is all fine and dandy and ONLY affects works whose authors a] have been dead for 170 years and/or b] cannot be located.
Allow me to clear something up for those who believe that that is all this bill does and believe that it is harmless.
If this bill passes, there will be registries where artists will have to register their work. Ahem, excuse me, pay to register their work and have it copyrighted. There has been no definite information given as to how many registries there will be, but it has been proposed that there will be many and they will be online, instead of one big base. Now, with that history, here is an illustration:
Say artist Jane produced 1,000 sketches, 120 preliminary planning cartoons and 8 paintings. If she wants those ideas and those pieces of her art to remain in her control and copyrighted, she will have to register every single piece. And let's say it's $5.00 to register each piece. That's $5,640 a year to have YOUR OWN WORK OWNED BY YOU . Now, if she accidentally drops that sketch carrying all her art supplies to the studio and someone working for, oh say, Camel cigarettes finds that sketch, they must then go to registries (let's say...5) and do a reasonable search (mind you, there may be many, many, many registries...so what constitutes a reasonable search, you ask? Yeah...I'm asking, too) and if they cannot find the owner, JACKPOT! It's theirs to advertise with and you have no say and no ownership of your work.
This bill does NOT protect only old works and it doesn't protect work made outside of the USA.
Also, if Jane realises what has happened, to get any retribution, she must find exactly WHO took her work and how many times and where in the whole WORLD it was used.
I don't know about you, but to me, it's pretty damn clear that this bill has some nice loopholes...don't you think?
That is why this bill is so important and if it passes...say goodbye to art as you know it.
So, comments that I think are ridiculous: Comments made by those who have NOT done their research and believe this bill is not a serious threat.
Monday, May 19, 2008
ATTENTION READERS!
HEY READERS! Sorry for the short absence on my part: finals and graduation of my boyfriend! Anyway, here is some EXTREMELY IMPORTANT NEWS AND WE NEED ALL THE HELP WE CAN GET!
"Call to Action
Last Thursday the Senate Judiciary Committee endorsed their Orphan Works Act.
It is now headed for the full Senate.
If you’ve written before, now’s the time to write again.
Urge your senator to oppose this bill."
WE'VE GOT TO STOP THIS BILL! EVERYBODY WRITE TO OUR SENATORS! It's super easy. You just enter your zip code and your senators come up and then there's prewritten letter AND a space for you to add your own CONCERNS AND DISAPPOINTMENT!!!!! Please, I'll say it again, if I haven't said it enough. If this bill gets passed, the art world will be fucked. And that affects EVERYONE.
"Because it has been negotiated behind closed doors, introduced on short notice and fast-tracked for imminent passage without open hearings, ask that this bill not be passed until it can be exposed to an open, informed and transparent public debate.
We’ve drafted a special letter for this purpose.
You can deep link to it here:
http://capwiz.com/illustratorspartnership/issues/alert/?alertid=11389061
Contact your Senator in opposition to S.2913 NOW
The House Judiciary Committee is considering H.R. 5889, the companion bill now. Please write them again:
http://capwiz.com/illustratorspartnership/issues/alert/?alertid=11389081
Contact your Congressman in opposition to H.R. 5889 NOW
2 minutes is all it takes to write your senator and representatives and fight for your copyrights. Over 68,000 e-mail messages have been sent so far.
Don't Let Congress Orphan Your Work
Please forward this message to every artist you know."
THIS BILL LEGALIZES STEALING. WE MUST STOP IT.
"Call to Action
Last Thursday the Senate Judiciary Committee endorsed their Orphan Works Act.
It is now headed for the full Senate.
If you’ve written before, now’s the time to write again.
Urge your senator to oppose this bill."
WE'VE GOT TO STOP THIS BILL! EVERYBODY WRITE TO OUR SENATORS! It's super easy. You just enter your zip code and your senators come up and then there's prewritten letter AND a space for you to add your own CONCERNS AND DISAPPOINTMENT!!!!! Please, I'll say it again, if I haven't said it enough. If this bill gets passed, the art world will be fucked. And that affects EVERYONE.
"Because it has been negotiated behind closed doors, introduced on short notice and fast-tracked for imminent passage without open hearings, ask that this bill not be passed until it can be exposed to an open, informed and transparent public debate.
We’ve drafted a special letter for this purpose.
You can deep link to it here:
http://capwiz.com/illustratorspartnership/issues/alert/?alertid=11389061
Contact your Senator in opposition to S.2913 NOW
The House Judiciary Committee is considering H.R. 5889, the companion bill now. Please write them again:
http://capwiz.com/illustratorspartnership/issues/alert/?alertid=11389081
Contact your Congressman in opposition to H.R. 5889 NOW
2 minutes is all it takes to write your senator and representatives and fight for your copyrights. Over 68,000 e-mail messages have been sent so far.
Don't Let Congress Orphan Your Work
Please forward this message to every artist you know."
THIS BILL LEGALIZES STEALING. WE MUST STOP IT.
Monday, May 12, 2008
This One's Important!
FROM THE ILLUSTRATORS’ PARTNERSHIP
Some backers of the controversial Orphan Works bill say they’re launching a campaign to “Rescue Orphan Works.”
From whom?
We’re not the ones interested in infringing other people’s copyrights.
We’re only interested in protecting our own.
If the “Rescue Orphan Works” folks really want to use only true orphaned work, they’d join us in asking that this bill be drafted accordingly.
From our written statement submitted to the Senate April 30, 2008 http://www.illustratorspartnership.org/ow_docs
We believe the orphan works problem can be and should be solved with carefully crafted, specific limited exemptions.
• An exemption could be tailored to solve family photo restoration and reproduction issues.
• Usage for genealogy research is probably already covered by fair use, but could rate an exemption if deemed necessary.
• Limited exemptions could be designed for documentary filmmakers.
• Libraries and archives already have generous exemptions for their missions. However, if they believe they need expanded access to work whose authors are hard to find, we’d suggest that Congress adopt a variant of the Orphan Works clearance system in use in Canada.
Canada has created a statutory licensing scheme that allows licenses for the use of published works to be issued by the Copyright Board of Canada on behalf of unlocatable copyright owners.
The license is issued by the Canadian Copyright Board. Decisions are made on a case-by- case basis through application to the Board. If the Board is satisfied by the applicant’s efforts of e-mails, phone calls, written correspondence, approaches to copyright collectives, Internet searches, etc., then it may issue a non-exclusive license which is valid only in Canada, subject to any terms and conditions it sees fit.
http://www.library.yale.edu/~llicense/ListArchives/0507/msg00096.html
A system such as this would serve potential users of orphaned work by allowing them to clear rights in an orderly, verified way. Therefore we respectfully ask that the Senate conduct further hearings to resolve the specific problem of providing public access to true orphaned works. Our objections to S.2913 – which incorporates the proposals made by the Copyright Office – is that its effects cannot be limited to old or abandoned copyrights.
There’s no need to “rescue orphan works” from artists.
And you don’t save orphans by making new ones!
Help solve the real orphan works problem: Don't Let Congress Orphan Your Work
2 minutes is all it takes to write Congress and protect your copyright:
http://capwiz.com/illustratorspartnership/home/
Please forward this message to every artist you know.
Some backers of the controversial Orphan Works bill say they’re launching a campaign to “Rescue Orphan Works.”
From whom?
We’re not the ones interested in infringing other people’s copyrights.
We’re only interested in protecting our own.
If the “Rescue Orphan Works” folks really want to use only true orphaned work, they’d join us in asking that this bill be drafted accordingly.
From our written statement submitted to the Senate April 30, 2008 http://www.illustratorspartnership.org/ow_docs
We believe the orphan works problem can be and should be solved with carefully crafted, specific limited exemptions.
• An exemption could be tailored to solve family photo restoration and reproduction issues.
• Usage for genealogy research is probably already covered by fair use, but could rate an exemption if deemed necessary.
• Limited exemptions could be designed for documentary filmmakers.
• Libraries and archives already have generous exemptions for their missions. However, if they believe they need expanded access to work whose authors are hard to find, we’d suggest that Congress adopt a variant of the Orphan Works clearance system in use in Canada.
Canada has created a statutory licensing scheme that allows licenses for the use of published works to be issued by the Copyright Board of Canada on behalf of unlocatable copyright owners.
The license is issued by the Canadian Copyright Board. Decisions are made on a case-by- case basis through application to the Board. If the Board is satisfied by the applicant’s efforts of e-mails, phone calls, written correspondence, approaches to copyright collectives, Internet searches, etc., then it may issue a non-exclusive license which is valid only in Canada, subject to any terms and conditions it sees fit.
http://www.library.yale.edu/~llicense/ListArchives/0507/msg00096.html
A system such as this would serve potential users of orphaned work by allowing them to clear rights in an orderly, verified way. Therefore we respectfully ask that the Senate conduct further hearings to resolve the specific problem of providing public access to true orphaned works. Our objections to S.2913 – which incorporates the proposals made by the Copyright Office – is that its effects cannot be limited to old or abandoned copyrights.
There’s no need to “rescue orphan works” from artists.
And you don’t save orphans by making new ones!
Help solve the real orphan works problem: Don't Let Congress Orphan Your Work
2 minutes is all it takes to write Congress and protect your copyright:
http://capwiz.com/illustratorspartnership/home/
Please forward this message to every artist you know.
Saturday, May 10, 2008
Update on Orphan Works Act
FROM THE ILLUSTRATORS’ PARTNERSHIP
Since yesterday, over 31, 000 letters have gone out from our Orphan Works advocacy site.
Q: What can we do next?
1. Write the House Judiciary Committee. We’ve set up a special alert to contact members of this important committee.
Go to our Take Action/Alert site: http://capwiz.com/illustratorspartnership/home/
Look for the sample letter labeled "Contact House Judiciary Committee NOW" and send it.
If your Representative is not a member of the House Judiciary Committee, this will send him a message asking him to contact his colleagues on that Committee on your behalf, urging them to oppose the bill.
2. Ask for support from family and friends:
Please ask your friends and family (5 to 10 others) who support your creative work to also go to the site.
They can follow the instructions to easily send a message of opposition to this reckless bill.
Look for the sample letter labeled "For Supporters of Visual Artists - Wrong to Weaken
Copyright Law" and send it.
3. Spread the word to the public: Photosharing on Web will now be at risk:
Please alert your friends who post photos to the web their personal property will be at risk.
Look for the sample letter labeled “For the Image-Making Public - Protect Personal
Property”and send it.
For more information about the Orphan Works Act of 2008:
IPA Statement to House Subcommittee March 20, 2008:
http://www.illustratorspartnership.org/01_topics/article.php?searchterm=00261
IPA Senate Mark-up Comments April 30, 2008: http://www.illustratorspartnership.org/ow_docs
Geneva/ May 7, 2008 Orphan Works Bill Catches Global Attention/ Intellectual Property Watch/
http://www.ip-watch.org/weblog/index.php?p=1028
MP3 Interview: http://www.sellyourtvconceptnow.com/orphan.html
YouTube: http://youtube.com/watch?v=CqBZd0cP5Yc
Since yesterday, over 31, 000 letters have gone out from our Orphan Works advocacy site.
Q: What can we do next?
1. Write the House Judiciary Committee. We’ve set up a special alert to contact members of this important committee.
Go to our Take Action/Alert site: http://capwiz.com/illustratorspartnership/home/
Look for the sample letter labeled "Contact House Judiciary Committee NOW" and send it.
If your Representative is not a member of the House Judiciary Committee, this will send him a message asking him to contact his colleagues on that Committee on your behalf, urging them to oppose the bill.
2. Ask for support from family and friends:
Please ask your friends and family (5 to 10 others) who support your creative work to also go to the site.
They can follow the instructions to easily send a message of opposition to this reckless bill.
Look for the sample letter labeled "For Supporters of Visual Artists - Wrong to Weaken
Copyright Law" and send it.
3. Spread the word to the public: Photosharing on Web will now be at risk:
Please alert your friends who post photos to the web their personal property will be at risk.
Look for the sample letter labeled “For the Image-Making Public - Protect Personal
Property”and send it.
For more information about the Orphan Works Act of 2008:
IPA Statement to House Subcommittee March 20, 2008:
http://www.illustratorspartnership.org/01_topics/article.php?searchterm=00261
IPA Senate Mark-up Comments April 30, 2008: http://www.illustratorspartnership.org/ow_docs
Geneva/ May 7, 2008 Orphan Works Bill Catches Global Attention/ Intellectual Property Watch/
http://www.ip-watch.org/weblog/index.php?p=1028
MP3 Interview: http://www.sellyourtvconceptnow.com/orphan.html
YouTube: http://youtube.com/watch?v=CqBZd0cP5Yc
Friday, May 9, 2008
Comments That I Think Are Ridiculous.
*I feel as though I should preface this post by making sure my readers know that my blog is entirely subjective at times...and this is another one of those times.
The reception for the UCD BFA show was last night. It was amazing! I believe a record 530 people attended! Now, of course, when you get that many people coming to an art show reception, some of them are bound to say stupid shit. And lo and behold, I received two comments that literally made me want to shove art history down the person's throats in the form of a wordy and pretentious lecture.
Now, for those of you who don't know: John Lopez is my significant other. Also, the artist of Elementary. (See previous posted review about this show.) And weirdly enough--or, I suppose it's not that weird considering his piece is rather controversial...anyway, both of the comments I received regarded his work. So, okay, I admit, I have a little personal interest invested in the piece and will defend the artist at all costs. Which, perhaps, is what fueled the fire for my reactions to these comments. Here were the comments:
1. Made by a twenty-something who walked straight into the gallery and over to John's piece and started playing with the controller. All fine and dandy until he goes searching under John's files on the PlayStation looking for a game. I come over and politely inform him that I can fix that and take it back to the WORK OF ART THAT IS ON DISPLAY. No, no, he doesn't give me the controller, but instead looks at me and says, "So, when can I come in and play my Grand Theft Auto." Obviously thinking he was kidding, I laughed and tried again to get the controller from him. No...I didn't get it as he says, "Can't I come in and play my game?" At which point I realise to my horror: THIS GUY DOESN'T GET THAT THIS IS A WORK OF ART. At which point my tone went flat and I said, "No. You cannot come in a play your game. Please give me the controller so that I may fix the image."...or something to that affect. His girlfriend standing next to him was highly embarrassed and I can't say I blame her...
My point: comments that I think are ridiculous are ones that express the viewers entire lack of appreciation for a] the art and b] the artist's hard work.
2. Second remark was made by on older white woman who came up to me holding John's postcard and said point-blank, "So, this guy advocates the killing of children." Not as a question, she said it like it was truth. "No! No, not at all!" I quickly retort ready to explain his work before I am cut off with, "It doesn't? That's what it looks like. He wants children to kill other children. That's what he took a picture of." Shortly, I realise that there is nothing I can say to help her understand his social critique because she's set in stone that John advocates children with guns. And just when I am thinking, "What can I say...?" she says, "Well. That's what it looks like." And as I open my mouth she turns and walks away.
My point: comments that I think are ridiculous are closed-minded remarks that are seemingly ignorant and leave no room for outside knowledge or critical analysis.
Perhaps I should start making "Comments that I think are ridiculous" a regular segment...
The reception for the UCD BFA show was last night. It was amazing! I believe a record 530 people attended! Now, of course, when you get that many people coming to an art show reception, some of them are bound to say stupid shit. And lo and behold, I received two comments that literally made me want to shove art history down the person's throats in the form of a wordy and pretentious lecture.
Now, for those of you who don't know: John Lopez is my significant other. Also, the artist of Elementary. (See previous posted review about this show.) And weirdly enough--or, I suppose it's not that weird considering his piece is rather controversial...anyway, both of the comments I received regarded his work. So, okay, I admit, I have a little personal interest invested in the piece and will defend the artist at all costs. Which, perhaps, is what fueled the fire for my reactions to these comments. Here were the comments:
1. Made by a twenty-something who walked straight into the gallery and over to John's piece and started playing with the controller. All fine and dandy until he goes searching under John's files on the PlayStation looking for a game. I come over and politely inform him that I can fix that and take it back to the WORK OF ART THAT IS ON DISPLAY. No, no, he doesn't give me the controller, but instead looks at me and says, "So, when can I come in and play my Grand Theft Auto." Obviously thinking he was kidding, I laughed and tried again to get the controller from him. No...I didn't get it as he says, "Can't I come in and play my game?" At which point I realise to my horror: THIS GUY DOESN'T GET THAT THIS IS A WORK OF ART. At which point my tone went flat and I said, "No. You cannot come in a play your game. Please give me the controller so that I may fix the image."...or something to that affect. His girlfriend standing next to him was highly embarrassed and I can't say I blame her...
My point: comments that I think are ridiculous are ones that express the viewers entire lack of appreciation for a] the art and b] the artist's hard work.
2. Second remark was made by on older white woman who came up to me holding John's postcard and said point-blank, "So, this guy advocates the killing of children." Not as a question, she said it like it was truth. "No! No, not at all!" I quickly retort ready to explain his work before I am cut off with, "It doesn't? That's what it looks like. He wants children to kill other children. That's what he took a picture of." Shortly, I realise that there is nothing I can say to help her understand his social critique because she's set in stone that John advocates children with guns. And just when I am thinking, "What can I say...?" she says, "Well. That's what it looks like." And as I open my mouth she turns and walks away.
My point: comments that I think are ridiculous are closed-minded remarks that are seemingly ignorant and leave no room for outside knowledge or critical analysis.
Perhaps I should start making "Comments that I think are ridiculous" a regular segment...
Wednesday, May 7, 2008
Send a Letter of NO SUPPORT!
FROM THE ILLUSTRATORS' PARTNERSHIP
Take Action: Don't Let Congress Orphan Our Work
"We’ve set up an online site for visual artists to e-mail their Senators and Representatives with one click.
This site is open to professional artists, photographers and any member of the image-making public.
We’ve provided sample letters from individuals representing different sectors of the visual arts.
If you’re opposed to the Orphan Works act, this site is yours to use.
For international artists and our colleagues overseas, we’ve provided a special link, with a sample letter and instructions as to whom to write.
2 minutes is all it takes to write Congress and protect your copyright:
http://capwiz.com/illustratorspartnership/home/
Please forward this message to every artist you know."
If you wish to be added to their mailing list, email the at: illustratorspartnership@cnymail.com
Take Action: Don't Let Congress Orphan Our Work
"We’ve set up an online site for visual artists to e-mail their Senators and Representatives with one click.
This site is open to professional artists, photographers and any member of the image-making public.
We’ve provided sample letters from individuals representing different sectors of the visual arts.
If you’re opposed to the Orphan Works act, this site is yours to use.
For international artists and our colleagues overseas, we’ve provided a special link, with a sample letter and instructions as to whom to write.
2 minutes is all it takes to write Congress and protect your copyright:
http://capwiz.com/illustratorspartnership/home/
Please forward this message to every artist you know."
If you wish to be added to their mailing list, email the at: illustratorspartnership@cnymail.com
Tuesday, May 6, 2008
Orphaned Art Bill Meeting in NYC
I just received this email:
FROM THE ILLUSTRATORS' PARTNERSHIP
A Reminder:
Tonight, Tuesday, May 6 at 6:00 PM Eastern Daylight Time (U.S.)
Don’t Let Congress Orphan Your Work
An open forum to oppose the Orphan Works Act
The Society of Illustrators
128 East 63rd Street
New York, NY 10065
Admission will be free
Panelists:
Terry Brown Director, American Society of Illustrators Partnership, Director Emeritus, Society of Illustrators
Constance Evans Executive Director, Advertising Photographers of America, artist
Dr. Theodore Feder President, Artists Rights Society
Brad Holland Artist, Co-founder, Illustrators Partnership
Cynthia Turner Medical illustrator, Board Member, Illustrators Partnership
William Vasquez Photographer, Co-Chair, Advertising Photographers of America/NY Chapter
This event will be streamed live here: http://video.cmitnyc.com/society/soi_2008_05_06.html
If you unable to access it tonight, it will be archived for delayed webcast, starting tomorrow
Also: stay tuned for a link to our push-button letter-writing website: Take Action/ Write Congress
FROM THE ILLUSTRATORS' PARTNERSHIP
A Reminder:
Tonight, Tuesday, May 6 at 6:00 PM Eastern Daylight Time (U.S.)
Don’t Let Congress Orphan Your Work
An open forum to oppose the Orphan Works Act
The Society of Illustrators
128 East 63rd Street
New York, NY 10065
Admission will be free
Panelists:
Terry Brown Director, American Society of Illustrators Partnership, Director Emeritus, Society of Illustrators
Constance Evans Executive Director, Advertising Photographers of America, artist
Dr. Theodore Feder President, Artists Rights Society
Brad Holland Artist, Co-founder, Illustrators Partnership
Cynthia Turner Medical illustrator, Board Member, Illustrators Partnership
William Vasquez Photographer, Co-Chair, Advertising Photographers of America/NY Chapter
This event will be streamed live here: http://video.cmitnyc.com/society/soi_2008_05_06.html
If you unable to access it tonight, it will be archived for delayed webcast, starting tomorrow
Also: stay tuned for a link to our push-button letter-writing website: Take Action/ Write Congress
Monday, May 5, 2008
An Opinionated Rant on Painting, America and Contemporary Art
I recently overheard a professor saying that no matter what you do, you are always contemporary...and it makes perfect sense. If you are speaking only of the concept of time. Of course, if you are present here and now, you exist here and now and, therefore, what you do is here and now. But that does not necessarily mean that what you produce is artistically here and now. I also heard said professor say that if you take all of what's been done, jumble it up and reorganise it, you've got something entirely new. Not so, if you ask me. If you jumble it up, you've just got jumbled up art history that is easily picked apart and assigned to its proper place.
I imagine that being a contemporary painter must be difficult!
For a medium so long been used, the only frontier left is to paint the future on vapor. (If someone figures out how to do this, I will call you the greatest contemporary painter of our time...not that that means much coming from a BFA student...) So many times, I walk into a gallery and I see paintings that imitate one considered "Great" or "Genius" and I think that "Great" or "Genius" must be turning in their grave. And yet, "appropriation" seems to be the current genre we are stuck in when it comes to painting. You cannot just pull from the past and call it contemporary because YOU are alive at the moment. How about finding contemporary content...content that is contemporary because it is unique to our time?
Which leads me to, yet, another concern...our time is unique. In America, we are suffering. We are losing the battle (on every front imaginable) and everyone is feeling the pain. Where are the contemporary American artists? Where are the American artists willing to make a stand against or for contemporary issues--where are those who are labeled from abroad as "American"? What is inherently American art? Is there such a thing?
Let me say this: look away from those archaic mediums and baby boomer era artists. They've got it wrong. It recently came to my attention that some of them think that good American art has to come from either: a drug-crazed ass hole or a narcissistic "mad scientist" (to quote PAINTER Stephan Batura). No. This is the year 2008 and Andy Warhol is dead. We must take American art into the age of modernity and reinvent the artist persona to fit the individual--Andy Warhol created the artist celebrity, but that doesn't work by pure default. When artist is equal to celebrity, the art fades into the background and the story is then written about the artist. Don't get me wrong, biography is important and good information, but what then of the art? THE ART?
This country is already viewed as a nation of apathetic egotistical jerk-offs. Why allow our art to continue on in such a light, too? We can no longer languish in a past crumbled to bits.
All of that said, painting still has its role in contemporary art, but it cannot stand alone any longer. It can be a supplement and be "Great". Or, painting has got to stop trying to reinvent and start INVENTING. Fabricate a new contemporary, American identity. And while you're at it...try something new...I'm so TIRED OF PAINT.
I imagine that being a contemporary painter must be difficult!
For a medium so long been used, the only frontier left is to paint the future on vapor. (If someone figures out how to do this, I will call you the greatest contemporary painter of our time...not that that means much coming from a BFA student...) So many times, I walk into a gallery and I see paintings that imitate one considered "Great" or "Genius" and I think that "Great" or "Genius" must be turning in their grave. And yet, "appropriation" seems to be the current genre we are stuck in when it comes to painting. You cannot just pull from the past and call it contemporary because YOU are alive at the moment. How about finding contemporary content...content that is contemporary because it is unique to our time?
Which leads me to, yet, another concern...our time is unique. In America, we are suffering. We are losing the battle (on every front imaginable) and everyone is feeling the pain. Where are the contemporary American artists? Where are the American artists willing to make a stand against or for contemporary issues--where are those who are labeled from abroad as "American"? What is inherently American art? Is there such a thing?
Let me say this: look away from those archaic mediums and baby boomer era artists. They've got it wrong. It recently came to my attention that some of them think that good American art has to come from either: a drug-crazed ass hole or a narcissistic "mad scientist" (to quote PAINTER Stephan Batura). No. This is the year 2008 and Andy Warhol is dead. We must take American art into the age of modernity and reinvent the artist persona to fit the individual--Andy Warhol created the artist celebrity, but that doesn't work by pure default. When artist is equal to celebrity, the art fades into the background and the story is then written about the artist. Don't get me wrong, biography is important and good information, but what then of the art? THE ART?
This country is already viewed as a nation of apathetic egotistical jerk-offs. Why allow our art to continue on in such a light, too? We can no longer languish in a past crumbled to bits.
All of that said, painting still has its role in contemporary art, but it cannot stand alone any longer. It can be a supplement and be "Great". Or, painting has got to stop trying to reinvent and start INVENTING. Fabricate a new contemporary, American identity. And while you're at it...try something new...I'm so TIRED OF PAINT.
Saturday, May 3, 2008
UCD BFA Thesis Show
Currently, at Emmanuel Gallery (located on Auraria Campus in Denver, Colorado), the University of Colorado Denver is housing its graduating BFA students' thesis show. Painters, sculptors, photographers and digital designers showcase the work they've been creating for the past year as they get geared up to head out into the world or off to grad school. Organized by professor and guest curator, Mary Connelly, it promises to be one of the more cohesive and exciting BFA shows.
This show embodies the contemporary spirit more so than any other BFA show that I've attended in my three years on campus. Considering the fact that Denver is rather isolated from the world of up-and-coming modern art, the student work in this show is on a higher level and some of these artists have the potential to become internationally known.
Recalling to mind Delaroche's statement that, "Painting is dead," upon the invention of photography, I tend to agree with him. Thus, when a BFA show is just flat canvas after flat canvas nailed to the wall, I get very bored very quickly. This show, however, contains a broad-ranging representation of art history with the inclusion of most genre of media: wood working, painting, photography, digital animation, film, and sculpting. Also, using more than just their sense of sight, the public is encouraged to interact and get personal with at least two pieces in this show.
Among the most exciting artists showing, sculptor and photographer, Timothy Flood's work On the Evolution of Spirit, Self and Dimension, showcases eight hand-crafted optical boxes, which are to be interacted with by the audience. Displayed in the middle of the gallery with a decidedly Eastern Asian flavor, one may be mislead as to the content of his work (thinking it somehow Asian). However, while there is no immediately recognizable Asian influence, his presentation works well to enhance the work. As you peer into Flood's flawlessly hand-crafted boxes, which should be aimed toward the soft light provided by two nearby lamps, his figurative photographic images appear three-dimensional and equally soft with a calming, nostalgic quality. Thus, his rather Asian presentation only increases the viewer's Zen as they gaze into his boxes. Flood's work is, by far, one of the most well-crafted and more traditionally beautiful pieces in the gallery.
The second artist I'd like to highlight is photographer, John Lopez. Lopez is an artist who uses an unorthodox, yet, ingenious method of display to showcase two images from his set entitled Elementary. Using two PlayStation consoles (complete with wireless controllers--oh, what will they come up with next?) that are hooked up to two 46 inch flat screen Toshiba televisions, Lopez displays his images digitally on the LCD screen. Lopez's work is directly political and socially critical of the American society in which he was born and raised. Commenting on a country desensitized and apathetic to violence, Lopez's images are at once shocking, frightful and engaging. Like Flood, Lopez encourages his viewer get personal with his work by using the wireless controllers to navigate and scan his images allowing his audience to zoom in on details of facial expressions, gun make and model and droplets of blood.
Although there are many talented artists in this show, the last I'd like to bring to your attention (to whet your artistic appetite) is photographer Michele Wysocki. Wysocki, who is soon moving to San Fransisco to attend SFAI (Congratulations!), has created 9 images in her set Scientificity. Her photography reflects the pervasive gender problem within the world of science, commonly regarded as a "man's territory". Utilizing an unusual circular format for her images, Wysocki calls to mind the Petri dish and photographs items which reflect a decidedly feminine way of life. With titles like "Lungs" cleverly attached to a pair of heel support shoe inserts, her black and white photography propels itself to the forefront of modernity as she aligns her work with contemporary issues breathing new life into a decidedly antiquated photographic media.
UCD's BFA Thesis show promises to be exciting and artistically fashionable. If you're in the Denver area and can make it out to this show, I recommend it. And take names, because you'll definitely be seeing some of them again.
*Emmanuel Gallery is located on Auraria Campus. The gallery hours for this show are Monday, 5 May through Thursday, 8 May from 10 a.m. to 6 p.m. and Friday, 9 May from 10 a.m. to 4 p.m.
The reception for this show (which is free and open to the public) will be held on Thursday, 8 May from 4-7 p.m.
For more information you can visit www.emmanuelgallery.org
This show embodies the contemporary spirit more so than any other BFA show that I've attended in my three years on campus. Considering the fact that Denver is rather isolated from the world of up-and-coming modern art, the student work in this show is on a higher level and some of these artists have the potential to become internationally known.
Recalling to mind Delaroche's statement that, "Painting is dead," upon the invention of photography, I tend to agree with him. Thus, when a BFA show is just flat canvas after flat canvas nailed to the wall, I get very bored very quickly. This show, however, contains a broad-ranging representation of art history with the inclusion of most genre of media: wood working, painting, photography, digital animation, film, and sculpting. Also, using more than just their sense of sight, the public is encouraged to interact and get personal with at least two pieces in this show.
Among the most exciting artists showing, sculptor and photographer, Timothy Flood's work On the Evolution of Spirit, Self and Dimension, showcases eight hand-crafted optical boxes, which are to be interacted with by the audience. Displayed in the middle of the gallery with a decidedly Eastern Asian flavor, one may be mislead as to the content of his work (thinking it somehow Asian). However, while there is no immediately recognizable Asian influence, his presentation works well to enhance the work. As you peer into Flood's flawlessly hand-crafted boxes, which should be aimed toward the soft light provided by two nearby lamps, his figurative photographic images appear three-dimensional and equally soft with a calming, nostalgic quality. Thus, his rather Asian presentation only increases the viewer's Zen as they gaze into his boxes. Flood's work is, by far, one of the most well-crafted and more traditionally beautiful pieces in the gallery.
The second artist I'd like to highlight is photographer, John Lopez. Lopez is an artist who uses an unorthodox, yet, ingenious method of display to showcase two images from his set entitled Elementary. Using two PlayStation consoles (complete with wireless controllers--oh, what will they come up with next?) that are hooked up to two 46 inch flat screen Toshiba televisions, Lopez displays his images digitally on the LCD screen. Lopez's work is directly political and socially critical of the American society in which he was born and raised. Commenting on a country desensitized and apathetic to violence, Lopez's images are at once shocking, frightful and engaging. Like Flood, Lopez encourages his viewer get personal with his work by using the wireless controllers to navigate and scan his images allowing his audience to zoom in on details of facial expressions, gun make and model and droplets of blood.
Although there are many talented artists in this show, the last I'd like to bring to your attention (to whet your artistic appetite) is photographer Michele Wysocki. Wysocki, who is soon moving to San Fransisco to attend SFAI (Congratulations!), has created 9 images in her set Scientificity. Her photography reflects the pervasive gender problem within the world of science, commonly regarded as a "man's territory". Utilizing an unusual circular format for her images, Wysocki calls to mind the Petri dish and photographs items which reflect a decidedly feminine way of life. With titles like "Lungs" cleverly attached to a pair of heel support shoe inserts, her black and white photography propels itself to the forefront of modernity as she aligns her work with contemporary issues breathing new life into a decidedly antiquated photographic media.
UCD's BFA Thesis show promises to be exciting and artistically fashionable. If you're in the Denver area and can make it out to this show, I recommend it. And take names, because you'll definitely be seeing some of them again.
*Emmanuel Gallery is located on Auraria Campus. The gallery hours for this show are Monday, 5 May through Thursday, 8 May from 10 a.m. to 6 p.m. and Friday, 9 May from 10 a.m. to 4 p.m.
The reception for this show (which is free and open to the public) will be held on Thursday, 8 May from 4-7 p.m.
For more information you can visit www.emmanuelgallery.org
Friday, May 2, 2008
Orphaned Art Bill
First order of business: To all artists,
And to all those who appreciate the arts and support artists may they be graphic designers, painters, photographers, sketchers, knitters, scuptors, what have you.
And to all those who care about copyright laws, your work being stolen or your creative rights, please go to this link and read this article:
Mind Your Business: You Will Lose All The Rights to Your Own Art
I highly recommend listening to the phone call interview with Brad Holland at the end of the article. It’s about 45 minutes (or so long), but well worth it. Holland explains exactly what this bill is trying to do and the loopholes that it is quietly slipping through. This bill is a REAL possibility, unfortunately, and as Simon says, this bill is counting on apathy from the art community. We cannot allow this bill to pass, so get out of your studio, put on some sunscreen and shades and get the word out.
Help protect international copyright laws and let us make the US obey them. Or the world of art as we know it will parish. In VERY short, this bill privatizes creativity–I didn’t think it was possible, either, but it is in this country, apparently. Oh, and everyone outside the US–your art is at risk as well. If this bill passes, there will be: No more googling your favourite artist. No more finding out the lastest in the contemporary art world. No more, no more, no more. No more posting your art ANYWHERE in ANY WAY. No more sharing.
PLEASE go to that link, I beg you and get on that mailing list so that we can stop these people from ruining the art world as we know it.
Thank you.
And to all those who appreciate the arts and support artists may they be graphic designers, painters, photographers, sketchers, knitters, scuptors, what have you.
And to all those who care about copyright laws, your work being stolen or your creative rights, please go to this link and read this article:
Mind Your Business: You Will Lose All The Rights to Your Own Art
I highly recommend listening to the phone call interview with Brad Holland at the end of the article. It’s about 45 minutes (or so long), but well worth it. Holland explains exactly what this bill is trying to do and the loopholes that it is quietly slipping through. This bill is a REAL possibility, unfortunately, and as Simon says, this bill is counting on apathy from the art community. We cannot allow this bill to pass, so get out of your studio, put on some sunscreen and shades and get the word out.
Help protect international copyright laws and let us make the US obey them. Or the world of art as we know it will parish. In VERY short, this bill privatizes creativity–I didn’t think it was possible, either, but it is in this country, apparently. Oh, and everyone outside the US–your art is at risk as well. If this bill passes, there will be: No more googling your favourite artist. No more finding out the lastest in the contemporary art world. No more, no more, no more. No more posting your art ANYWHERE in ANY WAY. No more sharing.
PLEASE go to that link, I beg you and get on that mailing list so that we can stop these people from ruining the art world as we know it.
Thank you.
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