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The boundaries between appropriation and plagiarism, fair use and copyright infringement are notoriously blurry in contemporary art — just ask Patrick Cariou. Not only are these issues complex, but people in the art world rarely discuss them openly and honestly. More often than not, they are dealt with in opaque and costly legal proceedings or dismissed as inevitable risks of making contemporary art. However, artists are getting more vocal and educated about these issues, whether it’s through resources like the new “Cyberlaw Guide to Protest Art” or open discussions like those organized by artist Sue Jeong Ka, who was moved to create a forum for such conversations after her own experience of appropriation.
The latest iteration in Ka’s series of talks, “Getting Basic: Misappropriation, Plagiarism, Fair Use, and Grey Areas,” takes place Friday at Bushwick’s SOHO20 Gallery, in conjunction with the Feminist Art Project. The blogger Allison Harbin (of Post-PhD) will share her own experience of misappropriation by someone on her dissertation committee. Cornell University art history PhD candidate Lauren van Haaften-Schick will offer historical context by addressing the evolution of artists’ contracts, particularly as they relate to resale and display. Finally, art lawyer Alia Sonora will lay out the distinctions between copyright infringement and plagiarism, and between copyright and fair use. The ensuing discussion should be an ideal venue for any artist with questions about these prickly issues or with their own story to share.
When: Friday, February 2, 7–9pm
Where: SOHO20 Gallery (56 Bogart Street, Bushwick)
More info at SOHO20.
“Black infants in America are now more than twice as likely to die as white infants—11.3 per 1,000 black babies, compared with 4.9 per 1,000 white babies, according to the most recent government data—a racial disparity that is actually wider than in 1850, 15 years before the end of slavery, when most black women were…
he ownership of images has a long and nuanced legal history, which has evolved dramatically in recent years as cultural standards and photographic technologies have rapidly advanced
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
Renty and his daughter Delia. Renty was an enslaved African, kidnapped from the Congo, sold and forced into slave labor on the South Carolina plantation of B.F. Taylor
What is the relation between possessing a person, possessing their image, and dispossessing their progeny
As a scholar of African American history and photography whose work has focused on the status of violent images in museums and archives, I fully support the validity of Ms. Tamara Lanier’s claim and the amicus brief.
Two K-12 art teachers will each receive a $1,000 cash gift and an additional $500 to put toward classroom art supplies. Nominations are due October 31.
The daguerreotypes of Renty Taylor, Delia, Drana, Alfred, Jack, George Fassena, and Jem remained in an unused storage cabinet until 1975, when it was discovered by an employee of the Peabody Museum.
I am writing in support of the amicus curiae brief submitted by Professor Ariella Aïsha Azoulay of Brown University for the full restitution of the daguerreotypes of Renty Taylor and his daughter Delia, currently held by Harvard University, to their familial descendant, Tamara Lanier.
We cannot be indifferent to the long-lasting effects of photography. The photographs at the center of Lanier v. Harvard are relentless in making Renty and Delia Taylor work and perform as slaves. The pain inflicted on them has not ceased. Photography has the capacity to propagate harm, and we have the moral obligation to interrupt…