To manipulate the historical record, I would think, is to abandon the search for truth.
The blurry legal territory distinguishing copyright infringement from fair use, and appropriation from plagiarism, will be explored on Friday at SOHO20 Gallery.
The artist claims he has returned his $36,000 fee for the work to the art advisor who brokered the deal, though Trump is allegedly trying to give him back the money.
Last year artists Scott Kildall and Bryan Cera collaborated on a project called “Readymake: Duchamp Chess Pieces,” which reconstructed a chess set designed by Marcel Duchamp with a 3D printer.
The idea is so ingenious, it almost seems obvious: take advertisements and remove the text that makes them so, leaving only a string of images behind.
Richard Prince unwittingly gave an emerging conceptual artist his Gagosian debut. The appropriation artist’s current Gagosian exhibition New Portraits — which Hyperallergic’s Tiernan Morgan dismissed as “an amusing exercise, but it doesn’t translate as great art” — features an Instagram photo from Sean Fader’s social media art piece “#wishingpelt.”
Richard Prince: New Portraits consists of 37 of the artist’s so-called “Instagram paintings,” each of which, if we’re to believe an anonymous source of the New York Post, are selling for around $100,000. The series, which includes photographs of celebrities such as Kate Moss, Pamela Anderson, Elizabeth Jagger, and Sky Ferreira, feels cheap and underwhelming.
Wednesday night, a decision by a three-judge appellate court panel marked a turnaround in the closely watched copyright infringement case Cariou v. Prince, pitting photographer Patrick Cariou against art star Richard Prince. Hyperallergic consults intellectual property expert Peter Friedman on the new outcome, with further exclusive commentary from Cariou’s attorney.
PITTSBURGH – In her mid-career retrospective Deborah Kass: Before and Happily Ever After at the Andy Warhol Museum, Deborah Kass accomplishes the seemingly impossible by breathing new life and critical ideas into the appropriation of Andy Warhol’s work.
When one of the world’s richest living artists orders you to stop making art, you do it. Or do you? That is what Chuck Close has done to me. In response, I have developed a 100-year plan that will allow my digital art to outlive any threats of legal action.
Artist Hank Willis Thomas, in an e-mailed response to my December 17 article, “Lawyers Weigh In on Appropriation Art and Fair Use,” made this clarification …
The New York City Bar Association’s “What We Talk About When We Talk About Appropriation: Contemporary Art After Cariou v. Prince” was, as billed, “a frank discussion of fair use and artistic practice.” And it was, indeed, frank, with all six panelists speaking plainly and tough audience questions encouraged. But it was also, clouded and meandering, the way that all intellectual property discussions are.