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ROGERS V. KOONS -A VICTORY a Different Medium
This conclusion applies, the Court said, even though the sculpture was in ROGERS V. KOONS -A VICTORY a different medium. Koons' sculpture was based upon Rogers' pre-exlstlnq copyrighted photograph - and was OVER "APPROPRIATION" OF therefore a "derivative work" under the Copyright Act. The Act specifically provides that copyright protection in IMAGES cludes the exclusive right to create and license derivative works based upon the copyrighted work. "In By Michael D. Remer, ASMP Legal Counsel copyright law:' said the Court, "the medium ls not the message, and a t is basic law that when a photographer creates an change In medium does not preclude original image, that image is protected by copyright infringementII from the moment the shutter clicks. The copyright is I (It is worth.noting that in support of this owned by the photographer (assuming that it has not conclusion, the Court cited a 1924 been given up under work for hire or an all rights assign case which held that "a piece of statuary may be infringed by a picture ment). And unauthorized use of the image infringes the of the statuary:' The KQm court ob photographer's copyright. served that it was equally true that a SCUlpture may infringe a Clear enough - but apparently not to this "colorized" version of the photographer'S copyright. But those people who feel justified in "ap Rogers photograph. When Scanlon photographers also should under propriating" a photographer's saw the newspaper photograph, he stand the lesson of the 1924case- an copyrighted image for use in their art realized that it was not Rogers' unauthorized photograph of work In another medium. -
The Paintings of Jeff Koons: 1994 – 2008
THE PAINTINGS OF JEFF KOONS: 1994 – 2008 A Thesis Submitted to the Temple University Graduate Board ________________________________________________________________________ In Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS By Ian J. Zoller January 2010 Thesis Approvals: Dr. Gerald D. Silk, Thesis Advisor, Art History Department Dr. Susanna W. Gold, Art History Department ii ACKNOWLEDGEMENTS Thank you to my professor and advisor, Dr. Gerald Silk, for his insights, comments, and advice, which helped me craft my thesis into its present form. Also, thank you to my second reader, Dr. Susanna Gold, for her willingness to be a part of this process and for providing thoughtful insight into my paper. Thank you to the Temple Art History Department secretary, Michelle Gudknecht, for her assistance in a variety of areas either directly or indirectly connected to the completion of my thesis and Master’s degree. Thank you to my parents, James and Donna Zoller, for their concern and never- ending encouragement in the pursuit of this Master’s degree. Mom, thank you for the regular inquiries about my thesis and for reminding me that there’s a light at the end of the tunnel. Pop, thank you for giving me the article on Jeff Koons to begin with, which proved to be the impetus for my thesis topic. Thank you also for reading my proposal and first draft and providing feedback which helped me to think constructively about my writing as well as encouraging me to persevere through many frustrations. Thank you to my new wife, Kristen, for gently encouraging me along the way before and after our marriage while pursuing her own Master’s degree. -
Banksy. Urban Art in a Material World
Ulrich Blanché BANKSY Ulrich Blanché Banksy Urban Art in a Material World Translated from German by Rebekah Jonas and Ulrich Blanché Tectum Ulrich Blanché Banksy. Urban Art in a Material World Translated by Rebekah Jonas and Ulrich Blanché Proofread by Rebekah Jonas Tectum Verlag Marburg, 2016 ISBN 978-3-8288-6357-6 (Dieser Titel ist zugleich als gedrucktes Buch unter der ISBN 978-3-8288-3541-2 im Tectum Verlag erschienen.) Umschlagabbildung: Food Art made in 2008 by Prudence Emma Staite. Reprinted by kind permission of Nestlé and Prudence Emma Staite. Besuchen Sie uns im Internet www.tectum-verlag.de www.facebook.com/tectum.verlag Bibliografische Informationen der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Angaben sind im Internet über http://dnb.ddb.de abrufbar. Table of Content 1) Introduction 11 a) How Does Banksy Depict Consumerism? 11 b) How is the Term Consumer Culture Used in this Study? 15 c) Sources 17 2) Terms and Definitions 19 a) Consumerism and Consumption 19 i) The Term Consumption 19 ii) The Concept of Consumerism 20 b) Cultural Critique, Critique of Authority and Environmental Criticism 23 c) Consumer Society 23 i) Narrowing Down »Consumer Society« 24 ii) Emergence of Consumer Societies 25 d) Consumption and Religion 28 e) Consumption in Art History 31 i) Marcel Duchamp 32 ii) Andy Warhol 35 iii) Jeff Koons 39 f) Graffiti, Street Art, and Urban Art 43 i) Graffiti 43 ii) The Term Street Art 44 iii) Definition -
Scott Rothkopf
JEFF KOONS –– A RETROSPECTIVE SCOTT ROTHKOPF –– With contributions by –– ANTONIO DAMASIO, JEFFREY DEITCH, ISABELLE GRAW, ACHIM HOCHDÖRFER, MICHELLE KUO, RACHEL KUSHNER, PAMELA M. LEE, AND ALEXANDER NAGEL WHITNEY MUSEUM OF AMERICAN ART, NEW YORK DISTRIBUTED BY YALE UNIVERSITY PRESS, NEW HAVEN AND LONDON NO LIMITS –– SCOTT ROTHKOPF THE MOST proved too confining; Koons is “the most subversive artist alive today” or “one of the art world’s most famous and From the beginning, Jeff Koons provoked superlatives. controversial figures.”7 And in the eyes of at least one Mere adjectives seemed insufficient to describe the jolt of writer, his achievement could not rightly be limited to the his art — and soon him. As early as 1983, just three years “art world,” when the whole world might be a more fitting after his public debut, critic Roberta Smith described his stage for “one of the most famous and popular artists on work’s “presence” as “one of the strangest and most this planet.”8 One imagines that if the presence of extra- unique of contemporary art practice,” and only months terrestrial life is ever definitively confirmed, this frame later, poet Alan Jones declared that practice “one of the might expand further still. most consistent programs of high voltage art-making Such superlatives cut both ways. Koons has also going on today.”1 By the end of the decade, Koons was been dubbed nothing less than “the most active par- hailed as the “most incisive commentator” of the age, ticipant in the debasement of art.” 9 And even the effu- as well as “the hottest young artist in America” and the sive examples cited above were not always proffered as maker of its “most shocking art.”2 This last sentiment was praise, nor would those that were be universally taken as given personal resonance in 1993 by Robert Rosenblum, such. -
Tulips Simply Because We Love to Look Flower; They’Ve Been Painted More Than Any a Tulip Was Once the Most Trying to Explain Why We Humans Grow at Them
JULY 29 2017 ISSUE TULIP ART MANIA! THE EXHIBITION OPENS at THE BOWES MUSEUM Around the beautiful Victorian halls of The Bowes Museum, In this unique Museum created by Joséphine and John Bowes winding up grand staircases into its picture galleries and opulent the familiar tulip becomes un-familiar, as its role in history rooms, tulip artworks have been placed like clues to a treasure hunt chronicles a greater play. When the plot on the world stage or a detective mystery. As a timely and enlightening exhibition gets confusing, we need a simple tale to walk us through it. celebrating 125 years of The Bowes Museum this engaging trail Thus our floral court jester steps through the fourth wall to meanders through the history, culture and science of the last 1000 guide us through our past and help us to understand how to years from Central Asia to Western Europe and back again. navigate our future. PAUL SAKOILSKY, Flower Fool (Kunst Clown series), 2017 HOW TULIP MANIA TRAVELS THROUGH TIME responsible for economic disasters and DID YOU KNOW? revolutions while being revered as a divine Imagine talking to friendly aliens and tulips simply because we love to look flower; they’ve been painted more than any A tulip was once the most trying to explain why we humans grow at them. But that only lasts for a week other flower for their uniqueness, yet are expensive flower in the world! billions of tulips. These flowers are of or so because before you know it the now grown on every continent. -
Sea of Dreams: André Breton and the Great Barrier Reef
© Ann Elias, 2013 Sea of Dreams: André Breton and the Great Barrier Reef Ann Elias ‘The Treasure Bridge of the Australian “Great Barrier”’ is an underwater photograph in Mad Love (1937). André Breton’s caption tells us the source was the New York Times but not who the photographer was. The research informing this article reveals the coral reef is not Great Barrier in the Pacific but the Bahamas in the Caribbean. The photographer is J.E. Williamson. I establish the provenance of this photograph and argue for its centrality to surrealist aesthetics. I discuss the image’s many possible symbolisms but also argue that Breton’s desire was to construct Great Barrier Reef as the uncanny Pacific of his imagination. In this article I trace the provenance and context of a black and white photograph of a coral reef taken underwater and published by André Breton in L’Amour fou (Mad Love, 1937). Its caption reads: ‘The treasure bridge of the Australian “Great Barrier.”’ Approaching the photograph as an art historian with a particular interest in exchanges between the disciplines of biology and art and specifically in relation to the Great Barrier Reef, I wanted to uncover the circumstances surrounding Breton’s possession of such an early, and therefore rare, underwater photograph of the Reef. What was the source of the image and how did Breton obtain it? In 1937 very few Australians had seen under the surface of the sea at Great Barrier and the fluid ocean was of much less significance to Australian identity and history than the territory above sea level.1 Inquiry led me to discover a discrepancy between the photograph and its caption: the geography of the photograph is not Great Barrier.