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Feature Article} {Profile}
{PROFILE} {PROFILE} {FEATURE ARTICLE} {PROFILE} 28 {OUTLINE} ISSUE 4, 2013 Photo Credit: Sharon Givoni {FEATURE ARTICLE} Street Art: Another Brick in the Copyright Wall “A visual conversation between many voices”, street art is “colourful, raw, witty” 1 and thought-provoking... however perhaps most importantly, a potential new source of income for illustrators. Here, Melbourne-based copyright lawyer, Sharon Givoni, considers how the laws relating to street art may be relevant to illustrators. She tries to make you “street smart” in an environment where increasingly such creations are not only tolerated, but even celebrated. 1 Street Art Melbourne, Lou Chamberlin, Explore Australia Publishing Pty Ltd, 2013, Comments made on the back cover. It canvasses: 1. copyright issues; 2. moral rights laws; and 3. the conflict between intellectual property and real property. Why this topic? One only needs to drive down the streets of Melbourne to realise that urban art is so ubiquitous that the city has been unofficially dubbed the stencil graffiti capital. Street art has rapidly gained momentum as an art form in its own right. So much so that Melbourne-based street artist Luke Cornish (aka E.L.K.) was an Archibald finalist in 2012 with his street art inspired stencilled portrait.1 The work, according to Bonham’s Auction House, was recently sold at auction for AUD $34,160.00.2 Stencil seen in the London suburb of Shoreditch. Photo Credit: Chris Scott Artist: Unknown It is therefore becoming increasingly important that illustra- tors working within the street art scene understand how the law (particularly copyright law) may apply. -
Beginner's Puzzle Book
CRASS JOURNAL: A record of letters, articles, postings and e-mails, February 2009 – September 2010 concerning Penny, Gee and Allison’s ‘Crassical Collection’. 1 Mark Hodkinson Pete Wright POMONA 22nd March, 2004 Dear Mark, I was sent a copy of your book, ‘Crass - Love Songs’ by Gee recently. Having read your introduction, and the preface by Penny, I felt moved to write to you. Crass was a group functioning on consensus with the occasional veto thrown in for good measure, so I thought you might be interested in a slightly different view of the proceedings. From the nature of your introduction, I’d say that you have a pretty thorough grounding in certain aspects of the band. I’d like to broaden the context. Things were fine when we started gigging, before we had any status or influence. The main discomfort I felt and still feel about what the band promoted, started when I realised that Thatcher’s sordid right-wing laissez-faire was little different from what we were pushing. It was an unpleasant shock. Neither Thatcher nor we considered the damage done. We concentrated on the ‘plus’ side always. To say that everyone can ‘do it’, and counting it a justification when the talented, the motivated, or the plain privileged responded, while ignoring the majority who couldn’t ‘do it’, and those who got damaged trying, is a poor measure of success. Just as Putin has become the new Tzar of Russia, Crass used the well worn paths to success and influence. We had friends, people with whom we worked and cooperated. -
Moral Rights: the Anti-Rebellion Graffiti Heritage of 5Pointz Richard H
digitalcommons.nyls.edu Faculty Scholarship Articles & Chapters 2018 Moral Rights: The Anti-Rebellion Graffiti Heritage of 5Pointz Richard H. Chused New York Law School, [email protected] Follow this and additional works at: https://digitalcommons.nyls.edu/fac_articles_chapters Part of the Entertainment, Arts, and Sports Law Commons, Land Use Law Commons, and the Property Law and Real Estate Commons Recommended Citation Chused, Richard H., "Moral Rights: The Anti-Rebellion Graffiti Heritage of 5Pointz" (2018). Articles & Chapters. 1172. https://digitalcommons.nyls.edu/fac_articles_chapters/1172 This Article is brought to you for free and open access by the Faculty Scholarship at DigitalCommons@NYLS. It has been accepted for inclusion in Articles & Chapters by an authorized administrator of DigitalCommons@NYLS. Moral Rights: The Anti-Rebellion Graffiti Heritage of 5Pointz Richard Chused* INTRODUCTION Graffiti has blossomed into far more than spray-painted tags and quickly vanishing pieces on abandoned buildings, trains, subway cars, and remote underpasses painted by rebellious urbanites. In some quarters, it has become high art. Works by acclaimed street artists Shepard Fairey, Jean-Michel Basquiat,2 and Banksy,3 among many others, are now highly prized. Though Banksy has consistently refused to sell his work and objected to others doing so, works of other * Professor of Law, New York Law School. I must give a heartfelt, special thank you to my artist wife and muse, Elizabeth Langer, for her careful reading and constructive critiques of various drafts of this essay. Her insights about art are deeply embedded in both this paper and my psyche. Familial thanks are also due to our son, Benjamin Chused, whose knowledge of the graffiti world was especially helpful in composing this paper. -
Wavelength (December 1981)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 12-1981 Wavelength (December 1981) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (December 1981) 14 https://scholarworks.uno.edu/wavelength/14 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. ML I .~jq Lc. Coli. Easy Christmas Shopping Send a year's worth of New Orleans music. to your friends. Send $10 for each subscription to Wavelength, P.O. Box 15667, New Orleans, LA 10115 ·--------------------------------------------------r-----------------------------------------------------· Name ___ Name Address Address City, State, Zip ___ City, State, Zip ---- Gift From Gift From ISSUE NO. 14 • DECEMBER 1981 SONYA JBL "I'm not sure, but I'm almost positive, that all music came from New Orleans. " meets West to bring you the Ernie K-Doe, 1979 East best in high-fideUty reproduction. Features What's Old? What's New ..... 12 Vinyl Junkie . ............... 13 Inflation In Music Business ..... 14 Reggae .............. .. ...... 15 New New Orleans Releases ..... 17 Jed Palmer .................. 2 3 A Night At Jed's ............. 25 Mr. Google Eyes . ............. 26 Toots . ..................... 35 AFO ....................... 37 Wavelength Band Guide . ...... 39 Columns Letters ............. ....... .. 7 Top20 ....................... 9 December ................ ... 11 Books ...................... 47 Rare Record ........... ...... 48 Jazz ....... .... ............. 49 Reviews ..................... 51 Classifieds ................... 61 Last Page ................... 62 Cover illustration by Skip Bolen. Publlsller, Patrick Berry. Editor, Connie Atkinson. -
The Direct Action Politics of US Punk Collectives
DIY Democracy 23 DIY Democracy: The Direct Action Politics of U.S. Punk Collectives Dawson Barrett Somewhere between the distanced slogans and abstract calls to arms, we . discovered through Gilman a way to give our politics some application in our actual lives. Mike K., 924 Gilman Street One of the ideas behind ABC is breaking down the barriers between bands and people and making everyone equal. There is no Us and Them. Chris Boarts-Larson, ABC No Rio Kurt Cobain once told an interviewer, “punk rock should mean freedom.”1 The Nirvana singer was arguing that punk, as an idea, had the potential to tran- scend the boundaries of any particular sound or style, allowing musicians an enormous degree of artistic autonomy. But while punk music has often served as a platform for creative expression and symbolic protest, its libratory potential stems from a more fundamental source. Punk, at its core, is a form of direct action. Instead of petitioning the powerful for inclusion, the punk movement has built its own elaborate network of counter-institutions, including music venues, media, record labels, and distributors. These structures have operated most notably as cultural and economic alternatives to the corporate entertainment industry, and, as such, they should also be understood as sites of resistance to the privatizing 0026-3079/2013/5202-023$2.50/0 American Studies, 52:2 (2013): 23-42 23 24 Dawson Barrett agenda of neo-liberalism. For although certain elements of punk have occasion- ally proven marketable on a large scale, the movement itself has been an intense thirty-year struggle to maintain autonomous cultural spaces.2 When punk emerged in the mid-1970s, it quickly became a subject of in- terest to activists and scholars who saw in it the potential seeds of a new social movement. -
Repression by Lawsuit
THE NEW YO 'K TIMES, THURSDAY, FEBRUARY 16, 1978 Repression By Lawsuit By Anthony Lewis BERKELEY, Calif., Feb. 15—On the ance — which is surely expresso 01 White and enforced, as a condition of Gov- House tape of June 23, 1972— the kind the. First Amendment wa in- ernment employment. the one that finally forced his resigna- tended to protect. tion—Richard Nixon told H. R. Halde- American freedom often depends on But the C.I.A., and now the Jus ce whistle-blowing by people who are not man why they could expect Richard Department, argue that what the k so nice. It may take a disaffected Deep Helms, the C.I.A. chief, to cooperate on says does not matter, and neither s Throat to expose the abuse of official 'Watergate. "We protected Helms from the First Amendment. That is bec e power. And no one can doubt that .one hell of a lot of things," he said. Mr. Snepp, like other employees of there has been abuse in intelligence When the Senate Intelligence Com- agency, signed an agreement to ay agencies. mittee asked what "things," Mr. Nixon nothing about its classified work th- Attorney General Bell, explaining described one episode. Mr. Helms had out getting its permission first. e the decision to sue Frank Snepp, said come to him about a book that a for Government suit claims damages f •m he just wanted to find out from the mer C.LA. employee planned to pub- Mr. Snepp—all his royalties— or courts whether secrecy "contracts" lish, he said, and he agreed to legal breaking the promise. -
Jeanmichel Basquiat: an Analysis of Nine Paintings
JeanMichel Basquiat: An Analysis of Nine Paintings By Michael Dragovic This paper was written for History 397: History, Memory, Representation. The course was taught by Professor Akiko Takenaka in Winter 2009. Jean‐Michel Basquiat’s incendiary career and rise to fame during the 1980s was unprecedented in the world of art. Even more exceptional, he is the only black painter to have achieved such mystic celebrity status. The former graffiti sprayer whose art is inextricable from the backdrop of New York City streets penetrated the global art scene with unparalleled quickness. His work arrested the attention of big‐ shot art dealers such as Bruno Bischofberger, Mary Boone, and Anina Nosei, while captivating a vast audience ranging from vagabonds to high society. His paintings are often compared to primitive tribal drawings and to kindergarten scribbles, but these comparisons are meant to underscore the works’ raw innocence and tone of authenticity akin to the primitivism of Henri Matisse, Pablo Picasso, Cy Twombly or, perhaps, even that of the infant mind. Be that as it may, there is nothing juvenile about the communicative power of Basquiat’s work. His paintings depict the physical and the abstract to express themes as varied as drug abuse, bigotry, jazz, capitalism, and mortality. What seem to be the most pervasive throughout his paintings are themes of racial and socioeconomic inequality and the degradation of life that accompanies this. After examining several key paintings from Basquiat’s brief but illustrious career, the emphasis on specific visual and textual imagery within and among these paintings coalesces as a marked—and often scathing— social commentary. -
Graffiti De Oz Montanía, Fotografía De Xoan García Huguet
CUADERNOS SALAZAR #1 DISLOCACIONES CENTro CULTURAL DE ESPAÑA Juan DE SALAZAR Tacuary 745 y Herrera 834 CUADERNOS SALAZAR #1 Asunción (Paraguay) +59521449921 [email protected] DISLOCACIONES Dislocaciones www.juande salazar.org.py Tw: @ccejs_py Fb: CCEJS_AECID Paraguay Los cuadernos del Salazar se editan bajo licencia Creative Commons: Reconocimiento del autor Sin fines de lucro Sin obra derivada CUADERNOS SALAZAR #1 DISLOCACIONES EMBAJADA DE ESPAÑA Embajador—Diego Bermejo Romero de Terreros CENTRO CULTURAL DE ESPAÑA JUAN DE SALAZAR Directora—Eloísa Vaello Marco COLECCIÓN CUADERNOS SALAZAR #1 DISLOCACIONES Coordinación y edición—Ruth Osorio Cuidados de la edición y corrección—Toni García Diseño editorial—Alejandro Valdez, Ana Ayala, Paolo Herrera. Autores que colaboran en éste número —Azeta, Oz Montanía, Adriana Almada, Rosa Palazón, Vladimir Velázquez, Lía Colombino, Luís Caputo, Daniel Mittmann, Lorena Cabrera, Rafo Vera, Fros, Rocío Céspedes, Kast, Kleina Mc, Leda Sostoa, Legasy, Lonchi Romero, PrizPrazPruz, Mali, Lucas We, Eulo García, María Glausser, Saturn, Rafael Scorza, Walter Souza, Eddy Graff, Vidal González, Yana Vallejo, Eloísa Vaello Marco, Ruth Osorio. Agradecimientos a Patty Acuña, una de las fundadoras de la Casa de los Payasos, quien con su luz sigue irradiando, a Yamil Ríos, referente de la cultura hip hop, por el apoyo y colaboración y a Patricio Dobrée. Imagen de portada—Graffiti de Oz Montanía, Fotografía de Xoan García Huguet. Impreso en ARTE NUEVO 1.000 Ejemplares Asunción, 17 de octubre de 2013. A los soñadores -
University of Cincinnati
UNIVERSITY OF CINCINNATI Date:__June 5, 2007_______ I, Jennifer Lynn Hardin_______________________________________, hereby submit this work as part of the requirements for the degree of: Masters of Arts in: Art History It is entitled: “ A Season in Hell”: David Wojnarowicz’s Rimbaud in New York Series (1978-79) This work and its defense approved by: Chair: Dr.Kimberly Paice______________ Dr. Michael Carrasco___________ Dr. Mikiko Hirayama____________ _______________________________ _______________________________ “A Season in Hell”: David Wojnarowicz’s Rimbaud In New York Series (1978-79) A thesis submitted to the Art History Faculty of the College of Design, Architecture, Art, and Planning University of Cincinnati In candidacy for the degree of Masters of Arts in Art History Jennifer Hardin June 2007 Advisor: Dr. Kimberly Paice Abstract David Wojnarowicz (1954-1992) was an interdisciplinary artist who rejected traditional scholarship and was suspicious of institutions. Wojnarowicz’s Arthur Rimbaud in New York series (1978-79) is his earliest complete body of work. In the series a friend wears the visage of the French symbolist poet. My discussion of the photographs involves how they convey Wojnarowicz’s notion of the city. In chapter one I discuss Rimbaud’s conception of the modern city and how Wojnarowicz evokes the figure of the flâneur in establishing a link with nineteenth century Paris. In the final chapters I address the issue of the control of the city and an individual’s right to the city. In chapter two I draw a connection between the renovations of Paris by Baron George Eugène Haussman and the gentrification Wojnarowicz witnessed of the Lower East side. -
Street Art Rising Marshall Soules—[email protected]
Vol 1 No 2 (Autumn 2020) Online: jps.library.utoronto.ca/index.php/nexj Visit our WebBlog: newexplorations.net Street Art Rising Marshall Soules—[email protected] This illustrated article discusses the various manifestations of street art—graffiti, posters, stencils, social murals—and the impact of street art on urban environments. Continuing perceptions of street art as vandalism contributing to urban decay neglects to account for street art’s full spectrum of effects. As freedom of expression protected by law, as news from under-privileged classes, as images of social uplift and consciousness-raising, and as beautification of urban milieux, street art has social benefits requiring re-assessment. Street art has become a significant global art movement. Detailed contextual history includes the photographer Brassai's interest in Parisian graffiti between the world wars; Cézanne’s use of passage; Walter Benjamin's assemblage of fragments in The Arcades Project; the practice of dérive (passage through diverse ambiances, drifting) and détournement (rerouting, hijacking) as social and political intervention advocated by Guy Debord and the Situationist International; Dada and Surrealist montage and collage; and the art of Quebec Automatists and French Nouveaux réalistes. Present street art engages dynamically with 20th C. art history. The article explores McLuhan’s ideas about the power of mosaic style to subvert the received order, opening spaces for new discourse to emerge, new patterns to be discovered. The author compares street art to advertising, and raises questions about appropriation, authenticity, and style. How does street art survive when it leaves the streets for galleries, design shops, and museums? Street art continues to challenge communication strategies of the privileged classes and elected officials, and increasingly plays a reconstructive role in modulating the emotional tenor of urban spaces. -
Art As Communication: Y the Impact of Art As a Catalyst for Social Change Cm
capa e contra capa.pdf 1 03/06/2019 10:57:34 POLYTECHNIC INSTITUTE OF LISBON . PORTUGAL C M ART AS COMMUNICATION: Y THE IMPACT OF ART AS A CATALYST FOR SOCIAL CHANGE CM MY CY CMY K Fifteenth International Conference on The Arts in Society Against the Grain: Arts and the Crisis of Democracy NUI Galway Galway, Ireland 24–26 June 2020 Call for Papers We invite proposals for paper presentations, workshops/interactive sessions, posters/exhibits, colloquia, creative practice showcases, virtual posters, or virtual lightning talks. Returning Member Registration We are pleased to oer a Returning Member Registration Discount to delegates who have attended The Arts in Society Conference in the past. Returning research network members receive a discount o the full conference registration rate. ArtsInSociety.com/2020-Conference Conference Partner Fourteenth International Conference on The Arts in Society “Art as Communication: The Impact of Art as a Catalyst for Social Change” 19–21 June 2019 | Polytechnic Institute of Lisbon | Lisbon, Portugal www.artsinsociety.com www.facebook.com/ArtsInSociety @artsinsociety | #ICAIS19 Fourteenth International Conference on the Arts in Society www.artsinsociety.com First published in 2019 in Champaign, Illinois, USA by Common Ground Research Networks, NFP www.cgnetworks.org © 2019 Common Ground Research Networks All rights reserved. Apart from fair dealing for the purpose of study, research, criticism or review as permitted under the applicable copyright legislation, no part of this work may be reproduced by any process without written permission from the publisher. For permissions and other inquiries, please visit the CGScholar Knowledge Base (https://cgscholar.com/cg_support/en). -
Journalism Awards
FIFTIETH FIFTIETHANNUAL 5ANNUAL 0SOUTHERN CALIFORNIA JOURNALISM AWARDS LOS ANGELES PRESS CLUB th 50 Annual Awards for Editorial Southern California Journalism Awards Excellence in 2007 and Los Angeles Press Club A non-profit organization with 501(c)(3) status Tax ID 01-0761875 Honorary Awards 4773 Hollywood Boulevard Los Angeles, California 90027 for 2008 Phone: (323) 669-8081 Fax: (323) 669-8069 Internet: www.lapressclub.org E-mail: [email protected] THE PRESIDENT’S AWARD For Impact on Media PRESS CLUB OFFICERS Steve Lopez PRESIDENT: Chris Woodyard Los Angeles Times USA Today VICE PRESIDENT: Ezra Palmer Editor THE JOSEPH M. QUINN AWARD TREASURER: Anthea Raymond For Journalistic Excellence and Distinction Radio Reporter/Editor Ana Garcia 3 SECRETARY: Jon Beaupre Radio/TV Journalist, Educator Investigative Journalist and TV Anchor EXECUTIVE DIRECTOR: Diana Ljungaeus KNBC News International Journalist BOARD MEMBERS THE DANIEL PEARL AWARD Michael Collins, EnviroReporter.com For Courage and Integrity in Journalism Jane Engle, Los Angeles Times Bob Woodruff Jahan Hassan, Ekush (Bengali newspaper) Rory Johnston, Freelance Veteran Correspondent and TV Anchor Will Lewis, KCRW ABC Fred Mamoun, KNBC-4News Jon Regardie, LA Downtown News Jill Stewart, LA Weekly George White, UCLA Adam Wilkenfeld, Independent TV Producer Theresa Adams, Student Representative ADVISORY BOARD Alex Ben Block, Entertainment Historian Patt Morrison, LA Times/KPCC PUBLICIST Edward Headington ADMINISTRATOR Wendy Hughes th 50 Annual Southern California Journalism Awards