In 2005 an 8 year old girl was told by a security guard to stop sketching Picasso and Matisse paintings as ‘they’re copyrighted’ (Jardin 2005). So what is a copy and how much new, creative work is required to term the work as ‘influenced by’, or an ‘homage’? Is her version in a different medium a copy?
Join photographer Paul Hill on the 6 April in Birmingham in the library.
The 25 November marks International Day for the Elimination of Violence against Women and the first day in the United Nations campaign UNiTE, launching sixteen days of activism against gender-based violence that culminates on 10 December – International Human Rights Day.
Critical Art can be hard to understand – it’s designed to be challenging after all – but the bracing experience of having one’s expectations re-calibrated so that we can understand everything anew, or at least from a different point of view is to be encouraged.
How connected are your hobbies and your career? If the answer is, not at all, maybe you’re missing an opportunity to make more of the pastime you love.
Looking at Penny’s submission there is a real sense of enthusiasm in her tackling of unfamiliar and combination materials in new and unusual ways.
Join OCA tutor, artist, and Moving Image Unit Leader (Fact + Fiction) Ruth Maclennan on Saturday 15 December at Tintype Gallery in London.
Often when thinking about textiles utility comes to mind. This connotation is largely attributed the medium’s rich history across a variety of cultures, from decorative medieval unicorn tapestries woven from wool and silk thread; to the Kente fabrics of 17th century Ashanti weavers today in Ghana; to Peruvian woven rugs and tapestries of the Quechua tradition. An integral part of community and daily life, textile fabrication has provided people with shelter, costuming, decoration, protection comfort… and has also been used to document and express narrative.
Remembrance Sunday falls this year on Armistice Day itself. This year also marks 100 years since the end of the First World War which saw an estimated 10 million people lose their lives. The conflict spawned many artistic outputs as people sought to express the horror, and the suffering of it all. Poetry in particular is exceedingly well known through the works of Siegfried Sassoon, Robert Graves, Ivor Gurney, Wilfred Owen, and David Blunden to name but a few of the more famous examples.
Writing about works of art can be tricky, especially if you’re trying to build up a body of knowledge from a standing start as well as link it — perhaps at the repeated behest of your tutor — to work that you’ve made. Finding a way to turn the experience of looking at something into meaningful text isn’t easy, but developing a way of clearly writing about the visual is an important skill to acquire when studying art.
Whether it’s photography, painting, or even interior design, if you can imagine anything you’ve made appearing on Pinterest, it has the potential to earn you some income. And that means you have the potential to become a lifestyle entrepreneur.
We all use – and therefore copy – artworks to illustrate our own research, but as we have seen taking and using these images is complicated. In this post I am using the primary source of artworks – galleries – as a case study to examine the post-digital shift in how copyright is thought of and applied.