Here are scanned pages from my notebooks. Although all the vital contents have been rewritten onto this site, here they are in their original form.
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:
As part of a safety campaign entitled ‘Track Tests‘, so-called ‘music artists’ (a rapper and a spoken word artist) were invited to play a game.
In a warehouse with 7 spokes of tracks mocked up, the player was set in the middle and asked to push the button corresponding to the direction they thought they could hear the train coming from.
“Sound engineers” (nameless, of course) “have created a 360-degree surround-sound system to recreate the noise of an approaching train with other distracting noises such as wind and traffic.”
They seemed to have rigged up what is described as a “360 sound system”, though the behind the scenes video seems long gone. Neither Wretch nor George the Poet did well once the noise of wind and the distorting effects of buildings and structures were incorporated into the sound mix.
What I got from this:
This Easter, I was the Site Manager at the yearly Site-Specific Art Event at Cannizaro Park, and for the first year across other sites as well, known simply as Park.
I worked closely with Juliet Haysom, the brilliant organiser, and oversaw all the interns on the day itself.
This involved a fair bit of planning, and also helping with all the odd jobs which crop up, for example, helping put all the viewfinders below, an interactive work by Tim Alexander, into the main show booklets.
I also aided in the loading and reloading of the van, as well as installing all the works on site the day before.