However, the artist who made the Vegas sculpture, Robert S. Davidson, did not love the USPS using an image of his work without obtaining permission and sued for copyright infringement in 2017. Last Friday, Davidson emerged victorious from the suit and will now receive $3.5 million, plus interest, as compensation.
Rights in Materials Submitted
All exhibitors forfeit the right of reproduction of their work to the _____________. The ____________ reserves the right, and all exhibitors grant the ______________ the right, at the discretion of the ___________, to use all works of design or art, and any related materials provided to the _____________ by any exhibitor, for its own business, promotional, and archival purposes.
At 6:22 on Sunday morning Oct. 23, 1983, a 19-ton yellow Mercedes stake-bed truck entered a public parking lot at the heart of Beirut International Airport. The lot was adjacent to the headquarters of the U.S. 8th Marine Regiment’s 1st Battalion, where some 350 American soldiers lay asleep in a four-story concrete aviation administration building that had been successively occupied by various combatants in the ongoing Lebanese Civil War. Battalion Landing Team 1/8 was the ground element of the 1,800-man 24th Marine Amphibious Unit (MAU), which had deployed to Lebanon a year earlier as part of a multinational peacekeeping force also comprising French, Italian and British troops. Its mission was to facilitate the withdrawal of foreign fighters from Lebanon and help restore the sovereignty of its government at a time when sectarian violence had riven the Mediterranean nation.
... Marine sentries initially paid little attention to the Mercedes truck. Heavy vehicles were a common sight at the airport, and in fact the BLT was expecting one that day with a water delivery. The truck circled the parking lot, then picked up speed as it traveled parallel to a line of concertina wire protecting the south end of the Marine compound. Suddenly, the vehicle veered left, plowed through the 5-foot-high wire barrier and rumbled between two guard posts.
By then it was obvious the driver of the truck—a bearded man with black hair—had hostile intentions, but there was no way to stop him. The Marines were operating under peacetime rules of engagement, and their weapons were not loaded. Lance Corporal Eddie DiFranco, manning the sentry post on the driver’s side of the truck, soon guessed the driver’s horrifying purpose. “He looked right at me…smiled, that’s it,” DiFranco later recalled. “Soon as I saw [the truck] over here, I knew what was going to happen.” By the time he managed to slap a magazine into his M16 and chamber a round, the truck had roared through an open vehicle gate, rumbled past a long steel pipe barrier, threaded between two other pipes and was closing on the BLT barracks.
Sergeant of the guard Stephen Russell was alone at his sandbag-and-plywood post at the front of the building but facing inside. Hearing a revving engine, he turned to see the Mercedes truck barreling straight toward him. He instinctively bolted through the lobby toward the building’s rear entrance, repeatedly yelling, “Hit the deck! Hit the deck!” It was futile gesture, given that nearly everyone was still asleep. As Russell dashed out the rear entrance, he looked over his shoulder and saw the truck slam through his post, smash through the entrance and come to a halt in the midst of the lobby. After an ominous pause of a second or two, the truck erupted in a massive explosion—so powerful that it lifted the building in the air, shearing off its steel-reinforced concrete support columns (each 15 feet in circumference) and collapsing the structure. Crushed to death within the resulting mountain of rubble were 241 U.S. military personnel—220 Marines, 18 Navy sailors and three Army soldiers. More than 100 others were injured. It was worst single-day death toll for the Marines since the World War II Battle of Iwo Jima.Aboard USS Virginia, the ship's crew went into action, and within minutes our helo was airborne, carrying our ship's doctor and his Navy corpsmen to help with the wounded Marines. Minutes later the helo came back, looking for people and equipment to help assist with digging out the people from the collapsed building. Because my division was the only one that had an Arabic linguist, they came to us to see if he (Sgt. Bobby Jack Irvin, an amazing linguist and as far as I know the only Marine ever to qualify for the Enlisted Surface Warfare pin) could go ashore to help facilitate our doctor's mission, as he had radio'd that several Lebanese doctors had already come up to help him, and he might need language help.
Frida, your personal possessions have been exported to London from the house you lived in most of your life, Casa Azul (the Blue House), which is now a museum in the Coyoacán area of Mexico City. Do they shine a light on how you constructed your multiple identities?Read the article here.
Jack Rasmussen, director and curator of the American University Museum at the Katzen Arts Center, has been named chair of the Maryland State Arts Council (MSAC). In this role, he will drive the strategic direction of MSAC programs and funding for the state of Maryland.Now... that great news! Jack Rasmussen essentially carried the DMV artists singularly unique and only presence in the DMV museum art scene.
Read the whole article here.In the studio, you are the boss—there is no answering to anyone else. Your time is your own, and you get to decide how to spend it. How refreshing, right?It’s one reason why so many choose to go down the creative path!And yet, with great freedom comes great responsibility. Having such flexibility on your own can prove difficult for artists to adjust. Sometimes the work just doesn’t get done. The problem is, between making new work, marketing, selling, applying to calls, managing contacts, showing, inventorying, and staying organized, there’s a TON that needs to get done—and, you’re the only one responsible for it.This freedom has now turned into a major thorn in your side, especially if you’re relying on your art to make a living.So, what is an artist to do? How are you supposed to stay motivated and get all your to-dos accomplished when you’re the only one in the room? Especially when it’s so easy (and fun) to procrastinate.We’ll let you in on a secret: it gets easier with a little practice. Follow these nine tips to help you stay productive as an art boss on your own.
The world is changing. As such, we put forth constant effort to synthesize the digital and organic in day-to-day life, seeking meaning, seeking connection, seeking answers. The means by which we search can take many forms. In spirituality, a prayer; on a date, a question; on the web, a google search; on a computer, CMD + F. This exhibition presents three new media artists who examine the means by which we seek to know more about ourselves, what is here, and what is beyond.
Rachel Schmidt’s “Tension” provides the viewer with an exercise in perception, compelled to use our senses of sight and sound to navigate an experience meant to portray the artist’s own during a residency at the Taipei Artist Village in Taipei, Taiwan. The viewer encounters a video depicting various environments from Schmidt’s time in Taipei scored with a juxtaposition of natural and industrial sounds, as a field of ice-like illuminated floor structures call attention to the physicality of the space.
Tommy Bobo shifts his focus from video to light-play, composing nuanced wall-scapes of projected light and materials that disrupt and refract it. The light becomes sculptural, compelling the viewer to reexamine existing notions of the medium. James Huckenpahler merges classic photographic portraiture from the Brady-Handy collection of American Civil War era society portraits with a cache of images stored on his own computer. The result is an eerie pop-futurist fusion of human portraits and tech-distortion.
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| Ira Tattelman's Screen |
Belinda claims that her father’s attempt to halt the painting’s sale, two weeks ahead of the auction, caused the lower-than-expected result.Read the whole story here.
Chicago’s Shane Campbell filed a lawsuit against Frieze Events on Friday, the New York Times first reported, alleging negligence on the fair’s part in not adequately preparing for record-high temperatures that the gallery says contributed to significant losses in sales by exhibitors. The lawsuit, jointly names Shane Campbell and Julie Campbell as plaintiffs who hope it will be granted class action status; they are currently requesting $15 million plus damages.Read the story here.
The works were full of striking, scrupulous detail. On Jerome’s arm, for example, dozens of faint horizontal cracks have appeared; every so often, a clean, vertical split intersects them. In French canvases from the 18th century, cracks in paint tend to develop like spider webs; in Flemish panels, like tree bark. In Italian paintings of the Renaissance, the patterns resemble rows of untidy brickwork. On the Saint Jerome, the cracks match perfectly.Fascinating article here.
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| Larry Lombardo "Hopefully Helping Haiti", watercolor 24 x 20 inches |
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| Denny Bond - Just Beat It, watercolor, 18 x 28 inches |
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| Girl walking in downtown Rockville 2018 F. Lennox Campello Charcoal and conte on 300 weight paper, 36x36 inches |
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