(This post is adapted from an entry I made on Tumblr, July 5th, 2010. The original post can be found here)
It often seems like when it comes to issues of copyright, artists tend to live in fantasy land, where what they think ought to happen can magically influence what actually does happen.
The Toronto Outdoor Art Exhibition has what I think is a very fair and sensible policy: no taking photos without the artistâ€™s permission. It’s great, an artist should be able to choose whether the images owned by them can be reproduced or not.
But these days, everyone has at least one camera on them, and artists only have two eyes. Some people and their cameras will inevitably get though. (Iâ€™ve certainly taken my share of secret photos and videos in galleries and museums.)
One of the many messages to appear in my inbox during the stressful pre-show rush led me to realize, “ah! yes! Iâ€™m not the only one who thinks this way”
The “No Photography without permission” graphic to print out came with this message:
“In reality being in a public space you cannot stop people from taking photos. This sign may help if you have concerns in this regard but it is not a guarantee by any standard.”
It feels good to see a sudden outbreak of common sense coming from within the art world. Those moments are few and far between.
I have noticed that quite often, before getting to the meat of the discussion, authors will start with a few hundred (or thousand) pages of what is called ‘throat-clearing’. This means that they spend a whole lot of time being really boring before getting to the point. But, it seems like a necessary part of making sure that the audience is on the same page as the author when that point is being made, so I’m going to have to do a little bit of that here.
I am a visual artist. My primarily focus is painting, but I also do some photography, video, sound, and new media projects on the side. I also spend a lot of time with other artists; and, surprise surprise, the topic of our discussion is, you guessed it – art.
I have noticed that a lot of artists claim to be very conceptual in their practice, even if that conceptualism doesn’t seem to show in the final work. They can sit down and have endless discussions over the finer points of, well, just about anything.
Then, when asked to present their work, they will reach into their pocket, pull out a card, and proudly show off their highly conceptual art. A quick glance at the image reveals…some brown rectangles. Brown rectangles? With colour choices that look like they were based on the curtains available in this month’s Sears catalog.
The artist will try to explain to me how their art explores some deep concept. This part of their work represents one thing, while another part represents something else. As I look at those brown rectangles, I strain to find the connection between what they are talking about, and what is actually present in their work. More often than not, I just don’t see it. The more this happens, the more I get the impression that those explanations are just thrown together after the fact. Why bother with these post-hoc explanations? Well, We do need something to write about, after all.
“What happened to those concepts while you were in the studio?” I often wonder.
Continue reading Throat Clearing
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