Thursday, August 24, 2017
 


Trade Secrets & Studio Visits: Contract Forms


The proliferation of contemporary art and the mass number of artists being produced have entertained a moment where artists and art students are engaging in multiple and numerous visits and interviews with curators, writers, and other artists and art students. These “visits” are, and have been called, studio visits.

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Koons Wins Appeal and Right to Use Copyrighted Material


The Second Circuit court of appeals, which hears appellate cases for the state of New York, recently found that Jeff Koons’ use of a fashion photographer’s photo was protected by fair use.

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New Media, Internet, and Control of War Propaganda


The BBC reported on October 31st that the US defense department, dissatisfied with its lack of control of new media and its use in disseminating news and propaganda regarding the Iraq war, has set up a new unit to better promote and monitor messages across 24-hour rolling news outlets, particularly on the internet.

With the advent of U Tube and the potential for the layperson to become a video or film journalist, it was only a matter of time before the Pentagon realized what Paul Virilio foresaw: that there isn’t a damn thing that isn’t eventually used for war. Al Queda realized this, and many other wise uses to the internet and possible technological feats, quite a long time ago.

Problems arising are: who (corporations vs. individuals) will control U Tube technology and its uses, and how this will divide along ideological and party lines on a national (U.S) and global scale.

 

Home Is Where the Internet Connection Is: Law, Spam, and the Protection of Personal Space, by Andrea Slane

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Avant-Garde, Kitsch and Law, by Anthony Chase

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Imminent Lawless Action: Buck-Morss v. Enwezor


This essay argues that the seemingly disparate concepts of art and law are connected by the question of dissent and its its own juridico/linguistic limitation. It is my contention that at this stage of our global order, the only space left for an artistic practice is that of questioning institutional frameworks through and against the language of law.

If in fact the United States is our current version of Empire, then it is precisely through a cultural production informed by but not limited to Western artistic notions of the avant-garde that the questioning of U.S. laws, the U.S. Constitution and their global materialization will be elucidated.

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