Appropriation Art As Fair Use Under The Copyright Act

Appropriation Art As Fair Use Under The Copyright Act | Nossaman LLP - JDSupra:

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Stock Photo Agency, Photographs, Compilation, copyright

Stock Photo Agency Need Not List All Photographs in Its Compilation | McDermott Will & Emery - JDSupra: " . . . There has been a spate of disputes between photographers and stock photo agencies against textbook publishers in which publishers are alleged to have used images beyond the scope of the applicable license.  In this case the district court cited § 409 in dismissing a complaint filed by Alaska Stock against publisher Houghton Mifflin, concluding that compilation applications for copyright must list all authors.  Alaska Stock appealed. In the appeal, the Copyright Office submitted an amicus brief, in which it took the position that § 409 did not require identification of the authors of all the individual works included in a compilation.  Rather the Copyright Office explained that for over 30 years it has interpreted § 409 as requiring only that the author of the collective work, not the individual authors of the separate works, be included in the application...." (read more at the link above)

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Decoding Meaning, Computer-based Art

Decoding the meaning of computer-based art: "Digital Spring has arrived in Montreal, and there are many opportunities to discover what is meant by digital art and to judge for oneself whether computer-based art can shed its qualifiers....“The idea of BIAN was to introduce ourselves to the visual arts milieu and create a dialogue with it,” Thibault said in an interview. “In a few years, we want to talk not about digital art, but about art.” It makes sense that any technology must be mastered and be freely manipulable before it can transform ideas into art. If we can’t decide this month whether digital art is meaningful — or just a show of technical skill — we aren’t trying. Two museums, the Phi Centre, the Society for Arts and Technology, several artist-run centres and Maisons de la culture fill BIAN’s 34-page catalogue with events and exhibitions. In addition, many of BIAN’s participants — including Elektra, which organized it — are holding events that aren’t part of the biennial, but are included in what a group of tourism-inclined elected officials have named Montreal’s Digital Spring. Everything is noted on the BIAN website, which has links to the collaborating institutions and organizations....There will also be outdoor installations in the Quartier des spectacles. First up is a series of video projections on the façades of buildings to celebrate the 100th anniversary of the birth of filmmaker Norman McLaren. The International Digital Arts Biennial continues to June 19. For more information, visit bianmontreal.ca.

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Science, Art, Digital Lithography

Science meets art in digital lithography - CapeGazette.com: "...Unlike traditional lithography, which uses stone and press, these prints are digitally rendered and printed. This process is called digital lithography. The paper used is 200-year archival ink and acid free cold press archival print paper. Anita Peghini-Räber Gallery shows Patricia Fisher's Artist Proofs, which is the process of carefully monitored lithographs in the making by the artist. Each AP is unique. Fisher then prints 25 additional numbered lithographs, which are hand signed...." (read more at link above)

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Andy Warhol, Digital Works

Discovery of digital works by Andy Warhol | AMA | Art Media Agency: " . . . . The files were created by Andy Warhol in 1985 as part of the Commodore Amiga Computer drawing program, an initiative created by the Commodore society in the interest of promoting the graphic possibilities offered by its product, the Amiga 1000 computer. The group recovered around twenty files spread between forty-one floppy disks, twelve of which retained Andy Warhol’s signature and unique style, despite their retro appearance and pixelated quality. Of the images recovered, a number can currently be viewed online, including: a sketch of the iconic Campbell’s soup can, reproduced by a software programme pre-dating Paint; a digitally altered version of Sandro Botticelli’s Birth of Venus, to which Warhol adds a third eye; a self-portrait mixing psychedelic textures; and a collection of reworked photographs. According to the Andy Warhol Museum, the files serve as evidence of Warhol’s commitment to exploring new technologies. Cory Arcangel, the driving force behind the project, said: “What’s amazing is that by looking at these images, we can see how quickly Warhol seemed to intuit the essence of what it meant to express oneself, in what then was a brand-new medium: the digital.”..." (read more at the link above)

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