TODAY: SEMINAR: Notes on Art Teaching - Ceramics Practices and Related Residencies 6 NOV, P152, DSA, RIEGO ST, 12:30-1:30PM This seminar is presented by JOE BATT focusing on ceramics, drawing and mixed media. Figurative ceramic artist and musician, JOE BATTs ceramics have been exhibited widely in galleries and museums around the USA, including at the Contemporary Crafts Gallery in Portland, Oregon; the Holter Museum of Art in Helena, Montana; Art Space/Lima in Lima, Ohio; Pound Gallery in Seattle, Washington; Northern Clay Center in Minneapolis, Minnesota; FOVA Gallery at Texas Tech University in Lubbock, Texas; Santa Fe Clay in Santa Fe, New Mexico; Lorinda Knight Gallery in Spokane, Washington; and Two Vaults in Tacoma, Washington. SEMINAR NEXT WEEK: Appropriation Art and Copyright: A Culture of Exclusive Possession 13 NOV, P152, DSA,12:30-1:30PM Copyright law is a system of property ownership which encourages individuals to create through providing them with a monopoly on their works. This emphasis on exclusive possession has expanded in the last century, manifesting itself in the lengthening of copyright durations, an increase in enforcement measures and the establishment of a permission culture where the ability to use original works depends upon the granting of a license by the copyright holder. This culture of conceiving artistic works as possessions conflicts directly with appropriation practices in the post-modern era which necessitate the use of original artists imagery in a subversion of modernism, as well as of capitalist, patriarchal and colonial narratives. The copyright exceptions of fair use (in the United States) and fair dealing (in New Zealand, Australia, the United Kingdom and Canada) serve to ameliorate this, allowing for the limited use of an original artists expression. However, fair dealing is much narrower than fair use - especially in New Zealand which does not allow for the use of original works for the purposes of parody or satire (in contrast to the other fair dealing jurisdictions). So too, the United States is the only jurisdiction to consider transformative use - the extent to which the secondary work transforms the original to create a new piece. In order to best fulfil its critical function, art needs the space to appropriate. The best way to facilitate this in New Zealand would be to extend the uses to which fair dealing applies, and consider incorporating transformative use into fair dealing analyses. Kari Schmidt is a final year BA/LLB (Hons) student at the University of Otago, Dunedin, New Zealand, majoring in Art History for her BA. She has worked and volunteered at the Dunedin Public Art Gallery, the Blue Oyster Project Space and Glue Gallery and written for Dunedin based publications including Critic Magazine, Gyro Magazine, Marrow Magazine, Blue Oyster Yearly Review and the 2014 NEW DUNEDIN PAINTING exhibition. She was also the initiator of the Femme & Oddities Arts Project in Amsterdam in 2013. She will be working at law firm Simpson Grierson in Auckland this summer, and is moving to Wellington to undertake her Art History Honours dissertation in 2015.
Posted on: Wed, 05 Nov 2014 20:51:25 +0000
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