The talk given by Henry Lydiate, a partner at the “Creative Arts Business Consultancy” Henry Lydiate Partnership was an expansive and broad overview of Copyright for Art and Creative Enterprises.
The talk began by talking about the Berne Convention, a late 19th Century international copyright agreement which currently applies to all but 23 of the world’s 195 as well as a slightly snide list of those 23 countries.
Additionally, Lydiate listed all of the various media to which copyright protection applied — to which the short answer is most every medium (see below).
Lydiate then address the various national updates and addenda to the “base” of the Berne Convention: most notably the US & The EU (plus Norway, Iceland and Liechtenstein) each having their own respective particular rules on top of the Berne Convention. As he then listed, one of the key variations was the length of the copyright – most often applied as years after the death of the author: post mortem auturis (pma)
Berne – artist’s lifetime + 50 years pma
EU + Norway, Iceland and Liechtenstein 70 years pma
Columbia – 80 pma
Mexico – 100 pma
Lydiate peppered his talk with images and often cited case studies to illustrate his point and provide evidence of the framework in action.
One of the case studies brought up by Lydiate was that of Richard Prince and the Gagosian Gallery and the works ‘New Portraits’. The work consisted essentially of screenshots of Instagram posts, printed onto canvas and then hung in the Fine Art Gallery.
As he had detailed elsewhere, one of the exceptions to art copyright law: fair use. Designed for Educational Purposes, for commenting on, quoting or parodying a work, it was used here by Prince in a motion to dismiss the legal suit brought against him by Donald Graham. The ruling was in favour of the plaintiff, that is against Richard Prince – that his use of Donal Graham’s photograph did not constitute fair use.
What I took away:
- The main thing I took away from this talk was that copyright in automatic right afforded to you after the creation of work. The caveats to this are for fair use, and if the work was not substantially original to begin with. There is also the possibility to licence the work with or without specific conditions, and to transfer or sell the copyright to the work
I and two other Wimbledon students assisted Rosie Potter in setting up a visit of the children from Greenfields Nursery to Wimbledon College of Arts.
The children were there for an afternoon workshop in the college’s Gallery, ‘Wimbledon Space’.
We had previously visited the children at the nursery and spent a half a day not only spending time with and interacting with the kids but also talking to the full-time staff, the head and seeing the various activities in their schedule.
For the day at the college, we had brought in a large amount of a material called ‘Zotek’ from a company called Zotefoam based in Croydon. The material was uniquely both malleable and rigid, came in several colours and was overall extremely versatile.
The children, in particular, took to the Zotefoam with total abandon: I was struck by how much they could do with it, from costume to structures to cladding. I was also struck by how little external stimuli or complex structure they needed to create work – the children were inherently playful, experimental and unrestrained.
Moreover, the staff of the nursery were and are deserving of endless admiration, and I gained an enormous appreciation of their work. Keeping up with the energy of young children, day after day, as well looking out for their health and safety, managing complex and shifting social dynamics and all the other tasks entrusted to them is a mammoth undertaking. I managed some of it, with a large support structure of full-time staff and helpers on hand – and being honest, mostly I just played with them.
There is certainly a space for this kind of cross-generational creative outreach, as well as the incorporation of arts education from a young age. I saw first hand the dynamic creative space which this project, Rosie Potter’s project, engendered.
What I got from this:
- Art projects and spaces that can be created for and with young children can be rewarding and engaging both for the participants and the creators, though they wouldn’t be possible without the tireless effort of nursery staff, helpers and volunteers. There is also something perhaps to be learnt from young children’s inherent playfulness and creative spirit.
‘Uncertainty Playground: FutureMakers‘ was a series of events run at the London College of Communication in September- October 2017.
I was employed for one day to assist with two events: A DIY Instrument Making Workshop with Hackoustic as well as a Percussion Performance and Workshop. I got the job from a contact at Wimbledon who had recently transfered to Elephant & Castle campus.
The organiser was very invested and it was a hands on installation and set-up, of which my part was to help where I could, although my main task was to record the live performance.
Because the performance involved a fair number of different instruments lain across the space that the performer would go between, I set up two mics in an XY pattern generally used for choirs and the like. This would give an impression of the space and acoustics, as well as allow you to orientate yourself to the movement of the performer around the space.
The other half of the day was helping Hackoustic with their workshop and set-up, although they were extremely self-reliant and had bespoke kit that they’d built themselves. The workshop involved making instruments – a rudimentary electric guitar striped down to its basic components – using a standard rectangle timber as the base.
This was part of the reason why I couldn’t offer much help to Hackoustic – I didn’t know the material well enough to help teach the workshop participants. So instead, I helped with basic tasks and anybody who was stuck during the workshop, though if it was something complex, I often ended up calling over one of the two main guys. and learning from them in the process.
For the Percussion Performance, I knew the gear and knew what I was doing, for the Instrument making workshop, far less so – however I did the best I could and learnt as I went.
What I got from this:
– I had a lot of responsibilty with this event, the recording I made was for both promotional reasons but also the documentation and proof the event happened. If I had messed up the recording, it couldn’t be recreated.
I was hired through Arts Temps to do an audit of the exhibition spaces and resources for the London College of Communication (LCC).
This involved painstakingly going through the exterior storage spaces of plinths, vitrines, placards, and other exhibition assets documenting each with measurements and reference photos into a spreadsheet.
The job also required creating floor plans of each of the exhibition spaces (there were some plans already created, though I was advised to start from scratch as the measurements were unreliable on them). I used a combination of laser measure and tape measure to capture the dimensions and added them to rough sketches of the space. I also took reference photos for any intricate or complex shapes.
At home I used Adobe Illustrator to create digital floor plans and transfered the dimensions from the sketches. I perhaps could have been using AutoCAD’s architecture software offer, but was more familiar with the Adobe Workspace as well as more confident in navigating the support available for the Creative Cloud.
The whole assignment (including the creation of the digitial plans) was undertaken over several days over the course of around a week and a half, as I had to fit it around my Uni schedule, as well sporadic negotiated access to the spaces.
It certainly broadened my skillset as well as giving me an insight into the audit and beaurocratic needs of public gallery spaces.
What I got from this:
I learnt how to use Adobe Illustrator and gained an appreciation for the demands of running a public facing gallery space.
What I’m going to take forward:
I can now create these sorts of plans for future spaces and can be more accurate with the specifics: for example, my degree show final piece’s showing space, meaning I could talk to the suppliers and technicians with accurate details and understandings of what I would need.
I got an ArtsTemps job through to assist in a Textiles Screenprinting workshop for the UAL Benefactors. The event was held at Chelsea College of Arts in the printmaking workshop. Having not worked with textiles much before, myself and Alex were run through the main differences between printing on paper vs textiles and then started prepping the space ready for the guests.
The screens were already exposed, so our role was to teach and assist those who had never screen printed before, as well as more practical responsibilities such as prepping the tote bags (newspaper had to be put inside the bags to stop the ink leaking through to the back face) and cleaning the screens.
Levels of experience of the workshop participants varied hugely, with some having never screen printed before, whilst some were very much well versed in the medium – so we had to tailor the level of instruction and support we gave to each person, whilst often trying to oversee around 4 or 5 people each.
What I got from this:
- The night’s work gave a great insight into the responsibilities and business that come with assisting in a workshop in general, especially one for complete novices. I gained the skills necessary to balance these responsibilities effectively.