Madder now...

Jessica Gould over at the WCP scoops all the art bloggers in town and writes about the artistic and ownership of words controversy caused by the current exhibit at Bethesda's Fraser Gallery, which as most of you know, I used to co-own, and to which (since last year), I have no relationship with, and which is now solely owned, run and directed by Catriona Fraser.

Clear?

Anyway...

The controversial exhibit is part of Mini-Matic, and the article specifically discusses the work of DC area photographer Doug Sanford.

According to the article, Sanford broke up with his girlfriend because he was screwing around on her, so she then wrote him some nasty emails, and then he later made fine art photographs from some of the words in the emails.

According to Gould, "Some of the words are in larger type, inky iterations of hate. The rest are blurred—streaked with light, smudged, or shadowed."

The ex-girlfriend's name or identity is never revealed in any of the works.

“It was a pretty angry breakup,” he says.

And it’s gotten angrier.

On Jan. 12, the opening day of the exhibit, Sanford’s ex-girlfriend contacted both him and the gallery’s owner, accusing them of copyright infringement and demanding that the photographs be taken down. If they didn’t comply with her wishes, they say, she threatened to take legal action.

However...

According to Torsten Kracht, an attorney with Akin Gump Strauss Hauer Feld, although Sanford “may not be able to claim authorship rights in the underlying text of the e-mail, he may have a copyright in the unique photographic image he created because of the way he has put it together.” Kracht, who is not involved in the controversy, writes in an e-mail that Sanford “has selected only certain words, chosen to blur some of the text at the bottom and brought out the texture of the paper on which the e-mail is printed. That’s all his artistic expression and interpretation.”

Read Gould's excellent piece here.

I am not a lawyer (although it seems like everyone else in my immediate family is) and thus here's my question: I was under the impression that once you hit the send button and send an email to someone... a regular email and not an email containing the full text to your next novel... anyway - as soon as that email hits cyberspace and it's received by the intended recepient(s), then that's all she wrote and the recipient(s) can do anything they want with that email, including photographing it, posting it on a blog, printing it and stapling it to a telephone pole, etc.

So for the copyright lawyers who read this blog: Is that correct? Or does the copyright of an email always belong to the originator?

Although I think that when one writes a letter, the author always owns the copyright to the text of the letter, although the recipient of the letter has actual ownership of the letter itself, and can sell it on Ebay if he or she so desires.

Not that "email copyright" it would strictly apply to this case, as it appears to me that Sanford did not "publish" her emails, but rather took some words here and there (sort of a "visual sampling") and re-presented them in a "new" work of art that is not immediately visually recognizable as the original email.

Update: Bailey offers some advice.

Opportunity for Artists

Deadline: Unclear

Open Call for Web Based Art for the Web Biennial 2007. Submissions and exhibition Start: February 1st and end December 31 2007. The Web Biennial is a project produced by the Istanbul Contemporary Art Museum, in Turkey and artists can participate through the portal located at webbienial.org.

One project per artist. No Portfolio sites, No Commercial Projects. This project is totally free and open for all. This year all languages welcome except, in the head tags.

The Web Biennial is a NO concept, NO curator, NO location, NO sponsor event.

Send them the URL of your Web Based Art project. Put inside the head tags of your index page:

"Web Biennial 2007 - Name of the Artist - Name of Your Project." The index page and the web site needs to be on the same domain. No attachments.

You can e-mail submissions to: webbiennial@yahoo.com

Please also put in the subject line of your email: "Web Biennial 2007 - Name of the Artist - Name of Your Project."

First come first served; collaboration proposals from institutions welcome.

The Power of the Web

The other day I finally closed on my Potomac house, which I may add, sold at a helluva good deal.

Anyway, the really nice guy who bought my house informed me that he had learned all about the house and the sale, etc. by virtue of being a reader of this blog!

Picts at Honfleur

The below drawing is currently hanging at Honfleur Gallery as part of the pre-grand opening show on the art of tattooing. Call them at (202) 889-5000, x 113 to buy it.

It's a Pictish woman from my Pictish Nation series. Learn more about the Picts here.

Kirkland in New York

This is what happens when a motivated artist decides to take the artbull by the horns and organize his own first solo show in NYC.

Read JT Kirkland's NYC debut here.

Go JT!

Civilian Moves

Kriston Capps tips us that Jayme McLellan's Civilian Art Projects will move into the building (at 406 7th Street NW in Washington, DC) that currently houses Touchstone Gallery and was once home to Numark, David Adamson, eklektikos and others.

Read Capps' post here.

Proposal to DCCAH

I sent an idea to the D.C. Commission on the Arts and Humanities in 2004 for a novel (in my opinion anyway) public art project dealing with the now vert traditional use of video as an art form (now in its middle age).

Nothing heard back from them so far, so I am assuming that they are not interested, and I am thus hereby posting a gist of that idea/letter, with some corrections and updates, in case some other city or organizer is interested:

Summary: This point paper offers a recommendation for a recurring public art project designed to attract worldwide attention to the Washington, DC fine arts community. This idea is being submitted for consideration by DCCAH for future implementation.

Background: Washington, DC public art projects, like many other cities, have yielded a mix of public success and bitter art criticism. Most recently, projects such as “Party Animals” and “Pandamania” have enjoyed spectacular public acclaim, but have been severely criticized by area art critics. Whereas it is my belief that a publicly-funded DCCAH should answer to the public and not to elitist art critics, I believe that I have come up with a concept and idea that is both novel and creative. No other city has done this before (to my knowledge) and this project, if funded and implemented, will make a huge leap in placing Washington, DC on the leading edge of the art world.

The Project: A call for artists to create art videos. No theme, no guidance (other than the standard caveats to preclude pornography, hate-mongering, racism or personal attacks): just a call for artists (either worldwide or Greater DC area) to create an art video. This has never been done before by anyone, anywhere, as a mass call for public art. A public project that delivers art videos on a massive, public scale will place this contemporary genre of art outside of a museum environment for the first time ever.

The Logistics: 100 20-inch TVs with built-in DVD players will be needed ($269 each). Each one placed inside a custom built viewing bubbles (see attached design). The viewing bubbles can be constructed by the same company who built the Pandas. The material for the “bubble” can be the same as the Panda material, except for the viewing area, which should be constructed of Lexan, which is the plexiglass material from which NASCAR racecar windshields are made from; it is practically indestructible and it does not fog or scratch. Cost for these “bubbles” should be approximately the same as a panda or party animal.

Electrical power will be needed; however, this is easily available on nearly every street in DC, as every single lamp post in Washington has a power source at the base of the lamp post. The “bubbles” will have to be built and placed so that a safe connection to the power source can be accomplished.

The accepted videos will be run on a 24/7 continuous loop so that they can be viewed by the public ad hoc. At the end of a specified period, signed still photography from the videos can be auctioned off – or even sold throughout the period (from a website). This is very common in the world of art videos – no one buys videos, but they will buy signed photographs from the videos.

The Process: A worldwide call for videos: the call for art can be made for free in many Internet web sites (places like artdeadlines.com as well as magazines such as ArtCalendar, etc.) If successful, this can become an International Public Video Biennial (no one is doing this!) to a huge public audience. Call it the Washington Video Biennial!

We ask for artists to submit videos (CD ROMs) and then a panel selects 100 videos to be exhibited to the public. Each year DCCAH can hire two curators to select the videos (or an advisory panel can be picked to select the videos).

Next Step: I hereby request a meeting with DCCAH to verbally explain this project and answer any questions.