[caption id="attachment_7495" align="alignleft" width="114"] Werner Herzog. Credit via scalisto.blogspot.com[/caption] "The best advice I can offer to those heading into the world of film is not to wait for the system to finance your projects and for others to decide your fate. If you can’t afford to make a million-dollar film, raise $10,000 and produce it yourself. That’s all you need to make a feature film these days. Beware of useless, bottom-rung secretarial jobs in film-production companies. Instead, so long as you are able-bodied, head out to where the real world is. Roll up your sleeves and work as a bouncer in ...
Sharing two pics of the Diego Rivera mural at the Detroit Institute of Art. If you're ever in Motown, don't miss it!
[caption id="attachment_7451" align="alignleft" width="185"] The infamous Macaca Nigra selfie (via Wikimedia)[/caption] Earlier this month I wrote in Hyperallergic that it would be very difficult to argue that a monkey could create a copyrightable work. Seems I was right. The U.S. Copyright Office just released a draft of its compendium of office practices. Although not official until this December, The Compendium of U.S. Copyright Office Practices, Third Edition, (“Compendium”) now clearly states that the U.S. Copyright office will register an original work of authorship (e.g.- a photograph) “provided that the work was created by a human being.” The Compendium goes on to add, ...
Remember Maximo Caminero, the Florida artist that walked into the Perez Art Museum Miami and proceeded to smash a sculptural vase by artist, Ai Weiwei? He just pleaded guilty to a criminal mischief charge. According to the AP, Caminero "agreed to 18 months' probation, payment of $10,000 restitution to an insurance company for the destroyed vase and 100 hours of community service at local art programs." He also issued a letter of apology stating that his initial protest was wrong. Interesting. I wrote a brief essay, Damage Inc., about this situation for the latest issue of Art Asia Pacific.
Here's another new law review article on Cariou v. Prince, and this time it's from yours truly in collaboration with art historian and curator, Lauren van Haaften-Schick. The article is the product of a paper I presented at Texas A&M last year, and which dealt with appropriation art, copyright, and Cariou v. Prince. Rather than provide another article on how the Second Circuit's opinion went awry, I opted instead to take this writing opportunity to memorialize the numerous conversations I had with Lauren van Haaften-Schick on what this seminal appropriation art case meant for contemporary art, art history, and the current ...
“The best advice I can offer to those heading into the world of film is not to wait for the system to finance your projects and for others to decide your fate. If you can’t afford to make a million-dollar film, raise $10,000 and produce it yourself. That’s all you need to make a feature film these days. Beware of useless, bottom-rung secretarial jobs in film-production companies. Instead, so long as you are able-bodied, head out to where the real world is. Roll up your sleeves and work as a bouncer in a sex club or a warden in a lunatic asylum or a machine operator in a slaughterhouse. Drive a taxi for six months and you’ll have enough money to make a film.”
Sharing two pics of the Diego Rivera mural at the Detroit Institute of Art. If you’re ever in Motown, don’t miss it!
Another example of the ongoing employment battles, and one that studio artists and any art professional employing people to assist with their art work, research, or installations, should keep an eye on, especially those that like to classify workers as independent contractors rather than employees.
The 9th Circuit Court of Appeals has ruled that certain workers Federal Express had classified as independent contractors are actually employees. Once again, the Court emphasized “control of the work” as the main factor. From the LA Times:
While corporations claim the contractor system gives drivers flexibility and strong incentives as “small businesses,” critics say it’s simply a way to shift the costs of employment onto workers and avoid payroll taxes and workers’-compensation costs.
The basic question in lawsuits involving the independent contractor model is whether or not a company like FedEx still maintains control over the work itself. In Wednesday’s ruling, the judges asserted that it does.
FedEx has petitioned for an en banc hearing (where the entire 9th Circuit Court of Appeals rehears FedEx’s argument).
Prosecutors said James Meyer, 52, who worked with Johns for more than 25 years, collected $3.4 million between September 2006 and February 2012 from 22 works he stole from Johns’ studio and asked the gallery to sell. The gallery was not named in the indictment and was not accused of wrongdoing.
Via the LA Times.
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