A Search for Comity in the Intellectual Property Wars: symposium at The New York Institute for the Humanities at NYU, April 28-30, 2006 [slides, audio, transcripts]
Featuring over fifty artists who frequently exhibit their work in respected galleries and prestigious museums of New York (examples include PS1/MOMA, The Drawing Center, Apex Art and others). These artists are offering inexpensive versions of their work for sale as holiday gifts. Artists who usually sell their work for hundreds or thousands of dollars will have created objects specifically designed to be sold for generally $50 or less. [via VillageVoice]
December 10th
Noon to 9pm
Opening night reception from 6pm to 9pm
Featuring music and free beer.
Beer has been lovingly provided by Brooklyn Brewery
December 11th
Noon to 6pm
First 50 visitors receive a tote bag full of goodies!
WHAT WE TALK ABOUT WHEN WE TALK ABOUT APPROPRIATION Contemporary Art After Cariou v. Prince
A frank discussion of fair use and artistic practice
What: A free program open to all (no registration required) When: Tuesday, December 13, 2011, 2:00 - 4:00 p.m. Where: Great Hall of the New York City Bar Association 42 West 44th Street, New York City (between 5th and 6th Avenues)
Art and legal experts use similar terminology when talking about how artists use existing images, but are they speaking the same language?
Panelists for this program represent a range of stakeholders in the discussion. Audience participation and tough questions are encouraged.
Speakers: Dan Cameron, Curator Anthony Falzone, Stanford Fair Use Project Claudia Ray, Kirkland & Ellis LLP Walter Robinson, Artnet Virginia Rutledge, PIPE Arts Group Hank Willis Thomas, Artist Moderator: Amy J. Goldrich
Program Co-Chairs: Amy J. Goldrich. and Lauren Gehrig Presented by the Art Law Committee of the New York City Bar Association, John Cahill (Chair)
We are pleased to announce the 2011 Degenerate Craft Fair!
The Degenerate Craft Fair is different from your traditional holiday craft fair. Featuring over 75 artists and designers selling their work for generally under $50, some offerings include traditional craft items such as handmade jewelry, ornaments, and knitwear but also include original paintings, artist books, teeth sculptures, curious creatures and more!
159 Bleecker Street
Between Sullivan and Thompson Streets
Take the 4, 6 to Bleecker Street or
A, B, C, E, E, F, M to West 4th Street
December 10th 12pm to 9pm
Opening night reception from 6pm to 9pm
Featuring music and free beer.
Beer has been lovingly provided by Brooklyn Brewery
December 11th 12pm to 6pm
First 50 visitors receive a tote bag full of goodies!
a lesson in pig butchery on October 30, 2011, 3–7 pm.
Join Elaine Tin Nyo for an afternoon with butcher, Gaetano Arnone. During the course of the performance, artist and butcher will discuss our complex relationship to pigs and pork while he teaches you how to breakdown half a pig.
Utilizing the entire animal is just one way we show respect for the life of the animal. Since before the use of fire, butchers and cooks have been allies in this endeavor to feed ourselves mindfully. The performance coincides with the exhibition of The Three Legged Pig,* an art project (a four-channel video installation and artist’s book) that follows the artisanal slaughtering, butchery and charcuterie practices on family farms in Gascony.
Participants will leave with an understanding of pig anatomy as it relates to pork cookery and several traditional and not-so-traditional recipes.
For more information or to enroll, contact Elaine. Participation and Materials: $135 Class is Limited to 10 Location: Downtown Manhattan
Gaetano Arnone discovered butchery as a way to save money after his father took ill and he found himself running his family’s restaurant in Orange, California. After studying under the guidance of Master Butcher Dario Cecchini in Tuscany, Gaetano returned to the states and is now the butcher at Dickson Farmstand in New York City, where he continues his goal of communicating to butchers and carnivores the traditions and craft that he has come to respect and love.
Elaine Tin Nyo is a conceptual artist and omnivore. Ms. Tin Nyo translates the tradition of genre painting into new media. Using performance, video, photography, cooking and writing, she reframes the everyday rituals of food and its preparation so we may reflect on the inherent beauty and value of the seemingly unimportant moments of our lives. In addition to her visual arts background, she has learned at the side of home cooks and restaurant chefs on three continents. Her art projects have been presented globally.
*The Three Legged Pig was part of the exhibition, With Food In Mind at Center for Book Arts in May-June 2011
...keynote address at the ACM SIGGRAPH conference in Vancouver, BC. The event's organizers were kind enough to record and release my video to their YouTube channel. My talk was about the way that copyright can be made to work for creators in the digital age, and why it's important for everyone that we don't get it wrong.
Last week I was fortunate to find myself at SIGGRAPH and see Cory Doctorow’s keynote. It was inspiring. To have him here in Vancouver as we make the final preparations for “Art, Revolution and Ownership” lit the fire under me to get writing again. Here are some excerpts of what he said:
Here in the digital age, we copy like we breathe, and so the stakes for getting the rules right on copyright have never been higher
So today, let’s get beyond “Copyright good/copyright bad” arguments and dig into the meatier questions:
“What do we want copyright to do, and which copyright will do that stuff?”
Let’s start with something everyone in this room should be able to agree with: copyright should serve as an incentive to creativity. A good copyright system results in more people making more creations. One of copyright’s most important goals is serving creators.
Cory (from my pov) demands that we differentiate the industry from creators and understand that what is being done under the guise of copyright does not serve creators. This should be obvious but for whatever reason the media often lump the industry together with artists suggesting that many creators agree with their views on drm when that is simply not the case. Many of the unions, guilds and association have disagreed with the industry position on some aspects of Bill C-32. They are lost in the copyright/left debate which rages in the blogosphere to little constructive effect. As I have said before, many creators feel shut out of the conversation because the system does not serve their interests.
Cory offers an eloquent and informed reminder on the need for us to develop better (more innovative?) ways to ensure remuneration for creators. “We need intermediaries who can provide the plumbing through which our works flow, because without them, we have to bear the costs of creation and distribution and most of us can’t do that.” What I take that to mean is that WE have the obligation to work a little harder at answering the what do we want copyright to do question.
When Cory Doctorow started his Keynote speech at this year's SIGGRAPH conference he started bravely by granting the audience "unequivocal permission to record video, audio, and to use those recordings ... in all media now known or yet to be invented throughout the known universe." This past Wednesday, two days after the speech, the Keynote was available on YouTube.
In the speech, Doctorow, co-editor of Boing Boing, outlined copyright and digital rights management's current state of affairs by providing details and examples that took the conversation far beyond the typically polarized copyright debate that divides the analysis into two mutually exclusive parts - either bad or good.
