Atena Farghadani; Right-of-copy; Mok/Doucet; Lilli Carré; Roy Crane
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From Maren Williams over at the CBLDF: BREAKING NEWS: Atena Farghadani Set to be Released Next Month
‘After nearly 18 months in prison for a cartoon depicting politicians as animals, Iranian artist and activist Atena Farghadani will reportedly be released sometime next month. She had been sentenced to 12 years and 9 months, but according to her lawyer the sentence has just been reduced on appeal.’
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What we talk about when we talk about copyright
On Medium.com: ‘Myth #3. Copyright is an Attack on Artistic Freedom
I have been a working, professional wrter for close to thirty years. I’ve felt my artistic freedom threatened by a great many things — state censorship, all manner of fundamentalisms, Internet bullying and shaming… to name but a few.
Copyright law is not on that list, and it will NEVER be on that list. The very foundation of copyright is the insistence that if I create an artistic expression, I own that artistic expression. And if I own something, you best believe I will protect it from those who want to impose their restrictions on it.’
On Priceonomics.com: ‘Copyright law in America long predated Mickey Mouse.
The first of these laws, the Copyright Act of 1790, stipulated that creative works were entitled to up to 28 years of protection (14 years, plus an additional “renewal” period of 14 years, supposing the original hadn’t died). This was followed by an 1831 act, which extended the copyright period to a max of 42 years, and a 1909 act, which elongated that period again, to 56 years. As the Art Law Journal clarifies, “very few works actually maintained [these] copyright durations”: only a fraction of those who secured copyrights protected them, or opted to renew them.
Mickey Mouse was brought into the world in 1928, under the 1909 Copyright Act, entitling him to 56 years of protection under the law — no more. In accordance with the law, his copyright was set to expire in 1984.’
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Annie Mok Interviews Julie Doucet
‘DOUCET: Yeah, but the dictionary—the new language that I created—has nothing to do with the words that are in Carpet Sweeper Tales.
MOK: I meant just a new language in general, I guess. So major themes of the book are masculinity, toxic masculinity, and cars? [Doucet laughs.] And it’s so interesting—you’re taking these images from these ‘60s Italian fumetti, which are this incredibly butch series of scenes, some of them very threatening men—like, threatening to women, and women in compromised positions, and then there’s this constant iteration of cars and men speaking of women as if they are cars in some cases, or alluding to them that way. And talking about, like, where someone can take you, and what is freedom. How did this playful thing around cars develop, and what does that mean to you?
DOUCET: In those fumettis, for some reason, there’s lots and lots and lots of action going on in cars—a lot of conversations. And I talked to my aunts, my older aunts, and they told me that was just the way it was at the time, because people didn’t really have any places to go to flirt or anything like that, so pretty much everything happened in cars. So in that sense, it makes sense in that context. But I just loved the car thing, so I just cut out everything I could find going on in the cars.’
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May 5-June 19, 2016
Opening & Reception: Thursday, May 5, 6-9PM
Alsdorf Gallery, Northwestern University, Evanston, IL
This exhibition presents work by: Lilli Carré, Max Guy, Erin Hayden, Dan Miller, and David Sprecher. Culminating their Master of Fine Arts (MFA) studies in the Department of Art Theory & Practice at Northwestern University.
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