Guest blogger: Kathryn Goldman
The short answer is “No.”
The longer answer is that most artists are not going to have their art taken by someone like Richard Prince who has commercial stature and deep pockets. The threat to most artists is from every day Internet “sneak thieves” – lazy non-creatives who right click, copy and paste. Prince did more than that, but not much more.
Copyright is still useful for artists despite the actions of Richard Prince and the expansion of the defense of fair use.
Richard Prince — Pushing the Envelope, or Taking Advantage?
When it came to light that Richard Prince appropriated wholesale the work of Instagram users, added a few phrases of his own to the comment thread, enlarged the images and charged $90,000 for a print, many in the art world (and the legal world) were troubled by his actions. Others, not so much.
Some of the original creators of the Instagram images have sought revenge of sorts by selling the image they created for $90 in an attempt to undermine Prince’s market. The effectiveness of that strategy is questionable. Without Richard Prince’s actions, those Instagram artists would have continued operating in relative obscurity.
Many agree that obscurity is a bigger problem for artists than infringement.
The November 2014 / January 2015 edition of Professional Artist magazine features an article by me titled “Think Before You Leap: Beware of People Who Tell You to Follow Your Passion.”
The editor suggested photos of artists at work to accompany the article and I knew exactly who to contact: ceramic artist Patricia Griffin.
Patricia Griffin in her studio. Photo by Debbie Markham.
Patricia is a member of my Art Biz Incubator and I receive her newsletter.
Months ago she sent an email with gorgeous photos of her in the studio. I complimented her on the images and she told me that she had hired a professional photographer to take photos of her in the studio. It showed.
Patricia’s photos were so engaging that they stood out among the hundreds of emails I see from artists. I remembered them
One of the sessions at the Arts Festival Conference in Portland, sponsored by ZAPP, was “Public Portfolio Critique.”
A mock jury of 6 people sat at the front of four screens in a large room. One at a time, artists’ slide presentations were projected as they might be in a slide jurying situation. The jurors offered valuable feedback for each set that was projected, and I took loads of notes.
Here’s what I learned. Most of these notes are from the jurors, but I’ve thrown in some of my own observations.
Patty Hankins’ booth shot for Beautiful Flower Pictures.
You have 20 seconds to impress the jury with your slides.
The festival organizers in the room had anywhere from 500 to over 2000 applicants for their events. They can’t spend more than 20 seconds on each set of
Imagine the scenario: A patron visits your open studio event, walks around for a few minutes, and asks, “Are these for sale?” Or this version: A friend shares an image of your art that you posted on Facebook. Hundreds of people see it and a handful wish they could own it. But they think they can’t afford it because there’s no price. So they forget about it and move on.
A feature of my top tweets from the past couple of weeks. This week, my favorites are marked with a *. >>> Report: Super-rich, favoring just a few artists, drive art market latimes.com/entertainment/… Continue reading…
Were you, like me, crushed when FileMaker discontinued Bento? I don’t know about you, but I wasn’t prepared to restart the search for new inventory software. Instead, I asked, how I can maximize what I’m using already?
What if, instead of worrying about everyone with a cell phone camera in front of your art, you encouraged taking photos and sharing? Don’t dismiss this right away. Let me explain. On two occasions I have witnessed audiences embrace a speaker or situation that encouraged photography. Here’s how those went down.
I saved my all time favorite plugin for the final installation of my top choices for WordPress plugins: NextGEN Gallery. There is so much that you can do with NextGEN Gallery, the least of which is managing and organizing your work into separate distinct galleries.
Poor things. They’re barely three years old and they’re already considered past their prime. I’m not talking about the horses running the Triple Crown races this year. I’m talking about your art – where you should and shouldn’t show aging work.