30 July, 2005
Wiki is unusual among group communication mechanisms in that it allows the organization of contributions to be edited in addition to the content itself.
Like many simple concepts, "open editing" has some profound and subtle effects on Wiki usage. Allowing everyday users to create and edit any page in a Web site is exciting in that it encourages democratic use of the Web and promotes content composition by nontechnical users.link
In 1860, Burke and Wills set out from Melbourne to travel the length of the Australian continent to the Gulf of Carpentaria. Officially named the Victorian Exploring Expedition, this venture was funded entirely by the newly independent colony of Victoria.
On this website you can follow the Victorian Exploring Expedition's journey through the land of the Australian interior which was, at that time, unknown to Europeans - terra incognita, and then explore the extensive archive of Burke and Wills-related material held by the State Library of Victoria.
28 July, 2005
This is the snake, with sinuous track, And poisonous fangs and glittering back, Who drank the milk so sweet and white, Within the pan so broad and bright, That was left on the table clean and neat, With its well scoured top and four white feet, That stood in the hut that Jack built.treasures from the state library of victoria
including ned kelly's armour
Ned Kelly and his gang are Australia's most famous bushrangers. Pursued by police for robbery and murder, Ned Kelly was finally captured after a gun fight with police at Glenrowan. His gang members died during the siege and Kelly himself was later hanged at the Melbourne Gaol on 11 November 1880.
The armour held by the State Library includes Ned Kelly's helmet, backplate, breastplate and shoulderplate. Crudely constructed from parts of ploughs, pieces of leather, and iron bolts, the armour was assembled and tested by the gang in the year before the Glenrowan raid.
This is the home of DeadCat Press-- a private press dedicated to the creation and dissemination of fine works of photogravure, photography, artistamps and artist's books. With the advance of digital technologies, works on paper made by traditional and more involved processes are being drowned out by new, easier, faster, or cheaper methods. Time-honoured artistic processes such as hand-pulled copper plate photogravure, traditional wet photography, and the use of hand-set lead type in making hand-bound limited-edition artist's books, are worth maintaining and are the main interest of DeadCat Press.
Be sure to visit www.photogravure.ca for information on our new book: Copper Plate Photogravure: Demystifying the Process by D. Morrish and M. MacCallum. Now available from Focal Press.
speaking of dead cats, text below is
from bucket of blood
At another table two eccentrically dressed ARTISTS, CUFF and LINK, talk to an upscale older couple - Cuff has a series of MATTED PHOTOGRAPHS in his hand -
I've heard you can find some cutting edge pieces here if you keep an eye out -
I'd like to find something for our den, something unusual -
Well maybe these works might interest you -
Cuff shows the woman the photographs - she reacts to them with disdain -
POV they are pictures of various ROAD KILLS - squirrels, skunks, possums -
It's our road kill series. I take the pictures.
(proudly) I do the research.
The woman hands back the photographs -
Not quite what I was looking for.
Yes, we're interested in something with some investment potential -
Hey, this is no supermarket, there are no aisles, it's all in the attitude -
East London Printmakers is a group of contemporary artist-printmakers, formed in 1998, which runs a spacious,modern and newly equipped printmaking studio with open access at the [space] Triangle in Hackney.
hand PRINT Studio is committed to the research and development of innovative printmaking practice, and offers a programme of intensive workshops dealing with specialist aspects of creative print processes. These workshops are aimed at a wide audience, are suitable for both beginners and more experienced printmakers alike, and cover a wide range of methods and processes in an accessible and informal manner.
Frequent Open Access days are available at extremely cheap rates for artists wishing to take advantage of our printmaking facilities. If you are interested in attending one of these, please consult our Events page for information.In addition to our printmaking facilities, we also offer a variety of graphic services, available to private and corporate clients, including website design and construction, logo design, stationery and letterhead design, artists' cards and photo retouching/renovation.
hand PRINT Studio is located in the charming village of Stockton-on-the-Forest, on the outskirts of the beautiful, historic city of York, and is equipped with all facilities for the needs of the various workshops, boasting two etching presses, plus ample space for plate construction, inking and printing.
The Print Council of Australia Inc. is a not-for-profit visual arts organisation that promotes, through IMPRINT magazine, all forms of contemporary prints, artists' books, and paper art.
- Provides support and advocacy for Australian contemporary artists, in particular emerging artists.
- Organises and manages a print subscription program, with prints available for purchase by mail order. Many public galleries, institutes and secondary schools purchase PCA prints for their collections. The program is designed also to develop the audience for print, as well as assisting artists by offering a major promotional and professional opportunity.
- Networks and advocates to develop further opportunities for artists.
- Provides information on awards, scholarships and residencies.
- Conserves the history of Australian contemporary printmaking through the PCA's archival collection which includes all the prints commissioned by the Print Council since it was established in 1966 and currently totals over 300 prints.
- Publishes IMPRINT magazine which services members and a broader readership, estimated to total 3,500 per issue. Services in a variety of ways the PCA membership base which numbers close to 1,000 subscribers, including schools, libraries, public art museums, art galleries, tertiary institutes, as well as individual artists and print enthusiasts throughout Australia, New Zealand, and other countries. link
27 July, 2005
Pat Brassington, Susanna Castleden, Lesley Duxbury, Neil Emmerson, Heather Hesterman, Milan Milojevic, Dennis Nona, Jonathan Tse, Paul Uhlmann, Judy Watson
The exhibition at Fremantle Arts Centre will open Friday 2 September and will be on show until 16 October 2005. The launch of a book commemorating the partnership, the Award and these artists will be part of the celebrations.
Print Matters, a national print symposium exploring contemporary print practice will take place 3-4 September 2005. It will include presentations by artists in the exhibition and will bring together artists, curators and educators to explore the nature and future of print in Australia and the region. To register your interest in attending the symposium email firstname.lastname@example.org
Our special programme of events for 2005 commemorates the 30th and final year of the longstanding partnership between the Fremantle Arts Centre and Shell and looks forward to the future for print artists in Australia.
VENICE. The German artist Gregor Schneider is claiming that an installation commissioned for the Venice Biennale, which opened in June and runs until 6 November, has been censored "For political reasons".
While the scale of the project may have made it difficult to realise in just six months, it is less clear why details of the work were not included in the Biennale catalogue. Instead of documenting Cube Venice 2005 as Schneider originally intended, his catalogue entry consists simply of six entirely black pages.
from the art newspaper
SAW (streetartworkers.org) is seeking posters for an international street art campaign about land and the effects of globalization. We want you to design and submit posters that will be printed and wheatpasted in cities across Europe and North America. The strongest designs will be published as a mass produced, newsprint poster collection. This will be a 24 page, 2-color newspaper which will include up to 30 posters. SAW will pay for the printing, and volunteers will distribute the posters. The majority of posters will be wheatpasted in public by participating artists and folks who just want to paste up their city.
Based in the U.S., SAW is a network of printmakers, stencil artists, graffiti writers and designers who use the streets for art and activism.
The AGNSW presents
MARGARET PRESTON: ART AND LIFE
OPENS FRIDAY 29 JULY
This is the first major retrospective exhibition of one of Australia's
most celebrated artists Margaret Preston (1875-1963). Bold,
cosmopolitan and intensely coloured, Preston's woodblock prints and
paintings of still life subjects and the Sydney metropolis epitomise a
unique era in the history of Australian art.
This extensive exhibition comprises over 180 works including paintings,
prints, pottery, textiles and previously unseen archival material
relating to Preston's colourful life.
more on Margaret Preston from the NGA
Margaret Preston printmaker by Roger Butler
Megumi Nakano produces computer prints in which graceful figurines herald the four seasons or depict the elements. Her work is both a tribute to the 17th century woodcut prints of Japan as it is to the modern Manga, which she grew up with.
26 July, 2005
With over 50,000 posters, the CSPG archive is the largest collection of Post World War II graphics in the United States.The Center for the Study of Political Graphics collects, preserves, and exhibits posters relating to historical and contemporary movements for social change. Through its varied programs, CSPG is reclaiming the power of art to inspire people to action.
Kylie Stillman | The Informal Garden
exhibition at Gertrude Street Artists’ Space, June 2005
At first the eye is uncertain as to what you are seeing – is the object printed, drawn or carved on the books? Then as you approach another step or two the image resolves and delicately carved spaces appear to be niches waiting the replenishment of the subject – either life sized birds or bonsais. The carved facia of the book is a mould for the endless replication and duplication of the subject - an anachronism out of step with our age of digital rather than the outdated forms of mechanical replication. And yet it isn’t just the subject’s mould but also a reference to a host of issues about the transmission of information through our media. ...reviewed in art right now2
The bonsais carved from the leading edge of a stack of books creates a grid like effect that contains the spreading limbs and foliage as they rest on an oriental inspired base - referencing themes that string all the way back to European artists including Delacroix, Matisse and Van Gogh who explored their interest in Japanese woodblocks in their own work by flattening the picture space using panels of colour.
25 July, 2005
There was an illicit element to the Uranie voyage, for when Louis de Freycinet’s expedition left France the 22-year-old Madame Rose de Saulces de Freycinet (née Pinon) was aboard L’Uranie. This social element has added immeasurably to the importance of the voyage and, it is expected, to the significance of the archaeological remains.
In examining Freycinet’s actions in taking Rose with him, it needs also be noted that Matthew Flinders also had harboured a plan to take his wife Anne on his exploration voyage, at least to Port Jackson where she was to stay while he completed his work—a scheme that was abandoned when she was found on board during an official inspection of the ship. Further, a woman was on board one of Louis de Bougainville’s ships on his circumnavigation (Godard to McCarthy, February, 2002), and Marie Louise Victoire Giradin, disguised as a man, sailed as crew on board the Recherche, one of d’Entrecasteaux’s ships. Unfortunately she, like many others, died towards the end of the voyage, leaving the detail of her story untold (Duyker & Duyker, 2001: xxv).
images from shark bay
BBC Radio 4's Today programme has joined forces with London's National Gallery for a new poll which aims to find the greatest painting in Britain.
The survey, believed to be the first of its kind, will allow members of the public to nominate and comment on their favourite works of art. Any painting currently hanging in a British art gallery is eligible, regardless of its origins.
A shortlist of ten will be revealed on the Today programme in August.
Members of the public are also being encouraged to offer reasons for their choice of painting, as well as any reveal any anecdotes or information they may have about the work of art. "We believe the search for The Greatest Painting in Britain will tell us a great deal about how 21st Century, multicultural Britain sees itself," said National Gallery director Charles Saumarez Smith. "This exciting, inclusive project is a chance to celebrate art in Britain. From classical landscapes to edgy commentary on modern life, The Greatest Painting in Britain is an invitation to evaluate every work of art in the country." The shortlist will be revealed on 15 August, with the winning painting announced on the Today programme on 5 September
from the bbc
Do they mean greatest work of art, or greatest painting?
What is a 'painting'?
24 July, 2005
The principle aim is to try to distinguish some key postmodern themes and ideas within and across different areas of contemporary culture, and to organise and practice informed critical response to these ideas.
The objective is NOT to determine definitively what postmodernism is, but to explore ways in which it manifests itself in artistic practice and ways in which it is being theorised. In other words, what are people saying about postmodernism and what are they doing that might be described as postmodern.
Impressions on Paper Gallery was opened in June 2004 and deals only in original limited edition prints. The aim of the gallery is to provide original art work at affordable prices and to promote the work of mainstream Australian artists and printmakers. Limited edition prints are original art works that have been created by the artist, using a variety of methods including etching, lithography, screen printing and linocut and then printed by the artist themselves or a master printer, in an edition of usually 1 to 100. Each individual print is numbered and signed by the artist.
They are in Red Hill, Canberra ACT
The Network Baltic project builds a network of young artists and art institutions in the Baltic region using graphic arts as a common denominator and has arranged a number of internationally touring exhibitions, seminars and workshops during the period 2002-2005.
23 July, 2005
The golden age of Italian woodcut illustration began in the last quarter of the fifteenth century and lasted for roughly 100 years, during which period some of the most harmonious and delightful books ever produced issued from Italian presses. The woodcuts designed for these books, in which one can find the graceful refinement of Botticelli, the monumental classicism of Mantegna, the idealized naturalism of Titian, and the mannered elegance of Salviati, are among the most beautiful prints of the Italian Renaissance.
By Lothar Osterburg
The technique I describe, teach and practise is the original 19th century Carl Klic / Fox Talbot photogravure process, utilizing a dustgrain aquatint.
Photogravure is a true continuous tone photographic etching process. The tonalities are created by an ink layer, gradually varying in depth, with a very fine aquatint (unetched islands of approximately equal size ) to hold the ink. This is achieved by etching the plate gradually from the deepest shadows to the brightest highlights. This way the photogravure is capable of producing a much wider range of tones than any other photographic process, from a deep velvety black to sensitive, bright highlights. Paul Strand considered photogravure perfectly suited for his work because of the technique's capacity to achieve the almost infinite tonal values which lie beyond the human hand. The finished plate is printed, as an etching, on a high quality paper. The ink is a stiff oil based etching ink of any tone or color. The result is an archival continuous tone photographic print on a paper of the artist's choice with the plate mark embossed, giving the final print an almost three-dimensional quality. However, the technical difficulties of this process can seem equally infinite at times. Ansel Adams once said that photogravure was a beautiful technique, but he would not recommend that anyone do it.
22 July, 2005
july edition - 02
Biennials & Conferences
darwin fringe festival
transforming aesthetics AGNSW
Print Matters Symposium
Artists & Exhibitions
turner prize finalists
Paddy Stewart Tjapaljarri
American Modernism & Abstraction
American Landscape Photography
2005 Cartoon Awards
spiral jetty questions
young australian artists
burke & wills
Rose de Freycinet
britain's greatest painting?
danish print gallery
letterpress & printmaking resources
black printmakers and the WPA
Damon Kowarsky Exhibition
2005 L'ARTE E IL TORCHIO
impressions on paper gallery
network baltic project
woodcut book illustration
Margaret Preston Exhibition
digital hanga manga
Center for the Study of Political Graphics
dead cat press
east london printmakers
hand print studio - york uk
print council of australia
Education & Resources
how to build a website
edinburgh gallery guide
how to transfer images
how to print
dictionaries of printmaking terms
common printing processes
course - postmodernism
Reviews & Criticism
alternate moma audio guides
parody & koons
black cube too risky
opportunity - print exhbition
call for street art
Croquis Publishing House invites printmakers, majority age, totags
participate of International Print Exhibition of Croquis Publishing House –
2005. The exhibitions will take place at Casal de Catalunya- Chacabuco 863-
1- Size of paper shall not exceed A4 paper. The theme and technique are
2- Each artist shall submit until 3 works. The works shall be preliminary
submitted to a jury for admission in the contest and exhibition
3- The exhibition shall have place between September 1to 14, 2005.
Finished the exhibition, the artists living at foreign countries will be
contact the Croquis to ask about return of works.
4- Entry fee: the artists will pay 20 dollars to one work and 30 dollars to
two or three works. Entry fee should send by Western Unión or other similar
way. The entry fee is non-refundable.
5- The Judging Panel will be composed by Mr. Martín Gil, Mrs. Rosa Faccaro e
Mr. Osvaldo Mastromauro. The Judging panel can be change if necessary
without previous communication to artists.
1º, 2º e 3º Print’s awards – Certificate and note inside Croquis magazine.
Honors mentions – The jury reserve the right to give them.
Certificate to all artists.
7- Works should be send by mail to the following address so that they arrive
after July 15 and no later than August 26, 2005:
Adddress: Editorial Croquis
Castelli 941 Dto.4
Ramos Mejía (1704)
Buenos Aires –Argentina
Works must be sent together with entry form fully completed in block
Works must be sent by registers mail, without frames, and as “printed
Matter, bearing the declaration “No Commercial Value.
All insurance costs and shipping expenses incurred during delivery and to
return to artists will be at his/her expense.
The organizers shall not be responsible for any unforeseen loss, theft or
damage incurred during the travel or handling..
8- The artists living at Argentina must be send his/hers works to:
El Casal de Catalunya, Chacabuco 863
They must arrive between august 29 and 30, 15:00 to 18:oo pm.
9- The organizers retains the right to change what will be necessary to be
better as possible.
The artist who participate shall accept all the conditions of the rules of
the International Print Exhibition of Croquis Publishing House – 2005. The
artist have sent the works constitutes the acceptance of the conditions
stipulated in the present rules.
For further information, please contact:
Editorial y Galerías Croquis
21 July, 2005
For almost 50 years Clausen's Art Gallery (Clausens Kunsthandel) has been dealing with contemporary danish art, especially graphic works. The aim of the gallery is not only sale, but also to create a wider interest for, and enjoyment of - good art. Our large collection, which consists of several thousand prints, is open for anyone who wants to study the works of our artists.
Prints, drawings, watercolours and paintings
We have several thousand prints in stock representing the best of Danish graphic arts of the century, i.e. works of Povl Christensen, Palle Nielsen, Jane Muus and Sys Hindsbo. The price policy of the art shop makes it possible to sell original prints for low prices.
The Darwin Fringe is an annual performance and arts festival which, by issuing 'invitations to participate', provides performance opportunities for visiting national and international artists whilst facilitating & stimulating local cultural product. The Darwin Fringe spreads over a variety of venues across Darwin and Northern Territorian regions, and to the Globe live and kicking on the Internet.
The Darwin Fringe is an open festival meaning that anyone can take part. The Darwin Fringe is the major annual showcase of the Darwin arts scene. Local, independently produced work across all artforms and original music form the hub of the Darwin Fringe.
This website is dedicated to the life and art of Artemisia Gentileschi. It features a guided tour of thirty-four of her paintings in approximate chronological order. Each painting is on a separate page with details about the work itself along with biographical details of the artist's life contemporaneous with the work.
Artemisia Gentileschi (1593 - 1652/1653), daughter of well-known Roman artist, Orazio Gentileschi (1563 - 1639), was one of the first women artists to achieve recognition in the male-dominated world of post-Renaissance art. In an era when female artists were limited to portrait painting and imitative poses, she was the first woman to paint major historical and religious scenarios.
Born in Rome in 1593, she received her early training from her father, but after art academies rejected her, she continued study under a friend of her father, Agostino Tassi. In 1612, her father brought suit against Tassi for raping Artemisia. There followed a highly publicised seven-month trial. This event makes up the central theme of a controversial French film, Artemisia (1998), directed by Agnes Merlet. The trauma of the rape and trial impacted on Artemisia's painting. Her graphic depictions were cathartic and symbolic attempts to deal with the physical and psychic pain.
20 July, 2005
Darren Almond's work addresses the themes of time, geography and memory. He uses a wide range of media including film, photography and sculpture to explore the passing of time and the marks that it leaves on both social and private histories. He is shortlisted for his exhibition at K21, Kunstsammlung Nordrhein-Westfalen, Düsseldorf.
Gillian Carnegie explores the properties of painting. She works within the traditional genres of landscape, still life, the nude and portraiture, incorporating a wide variety of subjects and techniques to both celebrate and question the medium. She has been shortlisted for her solo exhibition at Cabinet, London.
Jim Lambie makes exuberant installations and sculptures which make reference to pop music and youth culture. He uses everyday materials including coloured tape and glitter to transform spaces and familiar objects. He is shortlisted for his exhibitions at Sadie Coles HQ, London and Anton Kern, New York.
Simon Starling transforms and reframes existing objects through a rigorous process of research. In his complex sculptural installations he creates poetic narratives by drawing together disparate cultural and historical references. He is shortlisted for his solo presentations at the Modern Institute, Glasgow and the Fundació Joan Miró, Barcelona.
Last year, Gordon's increased the value of the Turner Prize to £40,000, with £25,000 being awarded to the winner and £5,000 each to the other shortlisted artists. The Prize, established in 1984, is awarded to a British artist under fifty for an outstanding exhibition or other presentation of their work in the twelve months preceding 11 May 2005. It is intended to promote public discussion of new developments in contemporary British art and is widely recognised as one of the most important and prestigious awards for the visual arts in Europe.
Work by the shortlisted artists will be shown in an exhibition at Tate Britain beginning on 18 October 2005. The winner will be announced at Tate Britain on 5 December during a live broadcast by Channel 4.http://www.tate.org.uk/britain/turnerprize/
This set of Internet Development Guides will help Australian cultural workers and cultural organisations discover why they should use the Internet, how they might use it, and how to develop an Internet presence.tags
While there have been shows about the WPA Graphic Arts Section and exhibitions of Black artists of the '30s, none has focused specifically on the impact of the Federal Arts Projects upon the work of Black printmakers. This exhibition is intended to reveal the esthetic and technical contributions of these artists.
"Black Printmakers and the WPA" specifically addresses the area of fine prints and the community art centers where they were made. There, art education and community service combined to give significant numbers of Black artists the rare opportunity to be supported in their chosen line of work, to gain new avenues for expression, and to have contact with white artists, which under other circumstances would not have occurred.
19 July, 2005
Exhibition by Young Australian Artists
Museum of Contemporary Art
7 September - 13 November 2005
Primavera is the MCA' S annual and highly-regarded "talent spotting" art vent, unveiling talents lying hidden across the country, many of them the stars of the future! It' S has much sought-after opportunity for Young artists and has much anticipated vent for Australian audiences, each year attracting huge numbers of visitors to the MCA. Primavera offers has perspective that reaches right across contemporary art in Australia, revealing topics and trends that might not otherwise visible Be to the general public.
Offering has truly national vision of contemporary art this year, Primavera 2005 includes has very various arranges of artistic styles and backgrounds - and of race signals has new wave of Young artists to watch out for. For the first time ever, Primavera - the MCA' S annual exhibition of work by artists 35 and under - will this year include artists from remote areas of Australia alongside those from urban centers. And in keeping with the scope of this year' S show, it is also the first Primavera to turn across Australia including NSW, Victoria and the Northern Territory. Over the last two years the x-ray has moved from new media to everyday materials and this year features painting, has medium with has long tradition yet endless powers of renewal. Under the direction of guest curator Felicity Fenner Primavera 2005 connects with the well-established kind of painting landscape, which is questioned and Re-interpreted by has Young generation of artists in response to current political and environmental concerns. Primavera has been has feature of the MCA program since its inception in 1992.
"With this year' S Primavera show, we' Re listening for the responses of younger artists to the land - Australia - At has time when resulting of total conflict, land rights and environment are At the political will forefront", says ms Fenner. "We are very excited that this exploration includes the voices of Young Aboriginal artists from remote areas in Western Australia and the Northern Territory"
Artists included are: Monika Behrens (New South Wales), Madeleine Kelly (Queensland), Fiona Lowry (New South Wales), Danie Mellor (Australian Capital Territory), Tom Mùller (Australia Western), Yukultji Napangati (Australia Western), Michelle Ussher (Victoria), Pedro Wonaeamirri (Northern Territory), Jemima Wyman (Queensland).
Primavera , was founded through the generous benefaction of Dr. Edward and Mrs Cynthia Jackson, and the Jackson family, in memory of to their late daughter Belinda.
One of Australia's most renowned Aboriginal artists has created a major new collection of paintings to help raise money for a new generation of artists. The artist, Paddy Stewart Tjapaljarri, has found inspiration from a set of 30 school doors that he and other Walpirri men painted more than 20 years ago. In the desert settlement of Yooundamu, west of Alice Springs, Paddy Stewart has been on an artistic marathon, committing to canvas 30 famous dreamtime stories that were first painted onto doors for the local school.
"It's very interesting when you compare these canvasses to the original doors," said Wally Caruana of auction house Sotheby's. "Not one's a copy but it is a reinterpretation. It's about revisiting your ideas about something you created so many decades before."
Paddy Stewart is one of the few surviving pioneers of the world-renowned Walpirri artist movement that was born in the early 1980s. While the women started the painting, it was the project to paint the school doors to teach the children about their ancestry that drew the men in. The doors became the community's cultural and economic turning point and are hung in the South Australian Museum. Art has become the lifeblood of the community.
Paddy Stewart decided to build on the doors' international reputation and create the new paintings to raise money to rebuild one of Australia's most notable Indigenous art centres.
"They also traverse the gamut of the major ancestral stories of the Walpirri in that area," Mr Caruana said. "It's really going back to their very beginnings and anchoring, if you like, people's education from the beginning of time to the present and making it very relevant to them."
Paddy Stewart's large paintings are now hanging in Melbourne, where they will be auctioned in one line next Monday.
from the ABC
unfortunately they dont say where or when?
Rogers v Koons
Rogers is a professional photographer whose “Puppies” photo had been reproduced as a note card. Koons is an artist and sculptor who often uses images from mass culture to comment upon society. Koons modeled a three-dimensional sculpture entitled “String of Puppies” after Rogers’ image. He gave his artisans Roger’s note card and directed them to create a reproduction “just like the photo.” Rogers sued Koons for copyright infringement.
The court found Koons infringed Rogers’ copyright, concluding that:
|•||Rogers’ photo did indeed have sufficient originality (in the lighting, composition, angle etc.) to merit its own copyright;|
|•||Koons had copied the photograph, as he admitted having access to the image and his instructions to his artisans commanded them to copy it closely;|
|•||This direct evidence of copying and the substantial similarity between the two works was enough to infer copying; and,|
|•||Koons had not just taken Rogers’ idea, but also the expression of it, rendering the copying illegal.|
Koons raised a fair use defense, claiming his work was a permissible parody of “Puppies”. Koons suggested “String of Puppies” satirized society at large by criticizing the social deterioration the mass production of commodities has caused. However, this was not parody under this court’s rules, which required that the copied work, not just the society at large, be an object of parody. This requirement is meant to ensure that there is a practical boundary to the defense by making the audience aware that, underlying the parody, there is an original and separate expression, attributable to a different artist. Here the court deemed “String of Puppies” a satirical critique of material society, but not a parody of “Puppies” itself.In addition, the Court looked at the effect that Koons’s work would have on demand for the original photograph and authorized derivative works. The Court determined that Koons had produced “String of Puppies” for monetary gain, and that it prejudiced the market for the licensing of reproductions and derivative works of the original work by decreasing demand for similar works.
In evaluating a fair use defense, a court will consider whether an artist operates in good faith. Here the court suggested Koons had operated in bad faith.
also from the NCAC link
SunTrust Bank v. Houghton Mifflin Co
The United States District Court for the Northern District of Georgia granted the copyright holder of Margaret Mitchell's original Gone With the Wind a preliminary injunction against the publication of Alice Randall’s The Wind Done Gone for copyright infringement.
On appeal, Alice Randall persuasively argued that her novel is a critique of Gone With the Wind’s depiction of slavery and the Civil-War-era American South. To this end, she claimed that the Fair Use Provision of the Federal Copyright Act, which specifically permits criticism and comment of a copyrighted work, protected her novel.
The court agreed with Randall’s claim because The Wind Done Gone is primarily a parody of Gone with the Wind. The Court explained that for purposes of a fair use analysis, a work is treated as a parody if “its aim is to comment upon or criticize a prior work by appropriating elements of the original in creating a new artistic, as opposed to scholarly or journalistic, work.” Under this definition, the Court held that The Wind Done Gone is clearly a parody because it is not a general commentary upon the Civil-War-era American South. Rather, it is a specific criticism of and rejoinder to the depiction of racial relations in Gone With the Wind.
Plaintiffs Hoepker, a German photographer, and his model sued Barbara Kruger for copyright infringement and invasion of privacy. Kruger, a well-known artist specializing in composite works combining photographs and texts, had taken Hoepker’s photograph of the model holding a magnifying glass over her eye, and superimposed the words “It’s a small world but not if you have to clean it” on top of it. With Kruger’s permission, the Museum of Contemporary Art L.A. and the Whitney Museum of American Art in New York (also defendants) publicized the exhibit in newsletters and brochures and featured the composite on postcards, note cubes, magnets and t-shirts and in exhibit catalogues.
The Court found that the model’s right to privacy was not violated. To succeed on a right to privacy claim in New York, one must prove (1) the use of one’s name, portrait, picture, or voice; (2) for advertising purposes or for the purposes of trade; (3) without consent; and (4) within the state of New York. The Court found that Kruger had used Hoepker’s picture without consent within the state of New York but had not done so for the purposes of trade. Rather, Kruger’s work, when displayed in books or in galleries, was pure artistic expression (not commercial speech), and the newsletters and souvenirs were permissible because they simply publicized to a wider audience Kruger’s permissible use of the collage, meaning that the newsletters and souvenirs constituted “ancillary use.”
Similarly, with respect to the merchandise items, it was the broader dissemination of the artistic expression that primarily motivated the transaction, not the personality of the model for purposes of selling merchandise, as might have been the case if the merchandise had been marketed on a mass basis with a photograph of Marilyn Monroe, for example. Thus, the First Amendment shielded Kruger’s work from the right to privacy claim.
Due to the historical development of the Copyright Act and Hoepker’s status as a foreign artist, his work was in the public domain, or without copyright protection, during the time in which Kruger created her composite.
From the National Coalition Against Censorship (USA) link
18 July, 2005
Gasworks Art Park and the Angela Robarts-Bird Gallery
are pleased to present: 'Stranger in a Strange Land'
- recent etchings based on my travels in Egypt,
Tunisia, and Morocco.
The show runs from 1 - 21 August 2005 and the opening
is on Thursday 4 August from 6 - 8 pm
Angela Robarts-Bird Gallery
Gasworks Art Park
21 Graham St
Albert Park VIC 3206
A map can be found at
and a copy of the invite downloaded at
Best Regards, and I hope to see you there,
17 July, 2005
30 July to 17 September 2005
Practice and Process is an opportunity to see the work of some of Scotland’s leading contemporary artists as they cross over from their established artistic practice into the world of printmaking.
By displaying paintings, works on paper, sculptures and video works alongside etchings, lithographs and screenprints, the viewer is given a chance to see the artists’ work from a new perspective, gaining an insight into the development of the artist’s ideas and how they progress through contrasting artistic processes.
This exhibition is also an opportunity to see how the collaborative process between Master Printer and artist actually works. The Master Printer, by being familiar with the artist’s normal artistic practice, is able to assess and suggest the most appropriate methods by which these original works would best be transposed into print - retaining their aesthetic, intellectual and conceptual integrity.CEL scotland is a new collaboration between Dundee Contemporary Arts, Edinburgh Printmakers, Glasgow Print Studio and Peacock Visual Arts, Aberdeen. CEL exists to promote the understanding and appreciation of contemporary printmaking in Scotland on a national and international level. It commissions, publishes and creates limited edition multiples with some of the best and most exciting artists currently living and working in Scotland.
Scottish National Gallery of Modern Art
Francis Bacon: Portraits and Heads
Francis Bacon is one of the greatest British artists of the 20th century. This will be the first museum exhibition which explores in depth Bacon's striking portraits of friends, lovers and other artists. The exhibition will comprise of over fifty works on loan from public and private collections from around the world.tags
Welcome to the website of the European Network for Indigenous Australian Rights (ENIAR)
Our aim is to promote awareness on indigenous issues and to provide information for Indigenous Australians about Europe and international organisations.
More treasures from the Smithsonian
See also the other Highlights Exhibits from Smithsonian American Art Museum.tags
African American Masters:
Masters of Craft
Calico and Chintz
"The Land Through a Lens: Highlights from the Smithsonian American Art Museum,"
a traveling exhibition opening May 20 at the Samuel P. Harn Museum of Art at University of Florida in Gainesville, features 84 photographs from the early years of photography in the 1850s through the 20th century. Included in this exhibition are works by influential early photographers Eadweard Muybridge, Timothy O'Sullivan and Carleton Watkins, as well as modern masters such as Ansel Adams and Aaron Siskind. Contemporary photographers such as William Christenberry, Emmet Gowin and Richard Misrach bring the collection into the present day. "The Land Through a Lens" traces America's fascination with the land and the way artists transform it into symbols and signature images.
"Americans have long had an intense and complex relationship with the land, which has inspired artists in every generation," said Elizabeth Broun, the museum's Margaret and Terry Stent Director. "Since 1988, the Smithsonian American Art Museum has placed a special emphasis on collecting landscape photographs that express an amazing variety of attitudes and ideas about this relationship."
When the American naturalist Larry May was travelling through the Northern Territory in 1972, he picked up a painting by a little-known artist, Clifford Possum Tjapaltjarri. Then, the going rate for a Papunya work was about $50 to $100.Now, the same painting, Emu Corroboree Man, is expected to fetch about $300,000 at a Sotheby's sale on July 25, setting a new record for a Possum work sold at auction.
"This is his first known painting that was produced using Western materials and painted specifically as a work of art," said Sotheby's Aboriginal art expert, Tim Klingender, explaining that previously Possum would have painted on bodies or the ground."What I think is astonishing is that for the first time, an artist has picked up Western materials and gone on to create a painting so exceptionally detailed and fine in its technique and application."The painting depicts a man in ceremonial dress at the centre of a complex ritual, surrounded by animal tracks, emu silhouettes and waterholes."It's ... an extraordinarily vibrant piece. The colours are terribly bright and almost glow on the board," Mr Klingender said.
Art market analyst Michael Reid said Emu Corroboree Man was worth the fuss. "It's dated 1972, which is the absolute genesis of the Western Desert movement ... In the '80s there was a massive flood of [Possum] fakes which [sullied] his reputation."There's always been a cloud that hangs over late Clifford Possum works, so you ... basically aim for one of the early works," he said. A Sotheby's spokeswoman said buyers in New York and London had shown significant interest, hinting at offers twice Sotheby's estimate of $150,000 to $300,000.
Because the painting is consigned from the United States, it is not protected by Australian Moveable Cultural Heritage legislation. The curator of the 2004 Clifford Possum Tjapaltjarri retrospective, Vivian Johnson, said it was "unfortunate" the work would probably be snapped up by an overseas buyer.
from the SMH link
copyright for visual artists
copyright v contemporary art practice
the principles of copyright
printmakers and their prints
international protection of cultural material
16 July, 2005
In Mirrors and Shelly Sand, a long pile of sand and pebbles is spread out over 28 feet of gallery floor. Fifty mirrors are placed in the sand, equidistant, throughout the length of the gallery. Looking at the piece, it’s not immediately clear where the actual sand ends, and where the reflection of sand begins.More on Smithson from ArtsJournal
courtesy of Marja-Leena
the question was raised in relation to Richard Long's chalk line
- how important is the 'hand of the artist' in the constructiion of a work like this?
Mirrors and Shelly Sand was conceived pre 1973 and cannot have been constructed by the artist for this exhibition.
Could one prepare a folio of posthumous works to be realised after one's death?
Compare Andy Goldsworthy
I can't find an image of the work I am thinking about.
It was a gallery installation in sand, similar in shape to this work below.
And I think it may have been installed in a museum. Its in one of the books.
google returned many images of his work including this one
goldsworthy does matisse
- From Marja Leena also this week, duckomenta and the article on
"Graphica Creativa the second oldest international
printmaking exhibition in the Nordic countries."