ARTBASE (1)
BIO
Joy Garnett is a painter based in New York. She appropriates news images from the Internet and re-invents them as paintings. Her subject is the apocalyptic-sublime landscape, as well as the digital image itself as cultural artifact in an increasingly technologized world. Her image research has resulted in online documentation projects, most notably The Bomb Project.
Notable past exhibitions include her recent solo shows at Winkleman Gallery, New York and at the National Academy of Sciences, Washington, DC; group exhibitions organized by the Whitney Museum of American Art, P.S.1/MoMA Contemporary Art Center, Artists Space, White Columns (New York), Kettle's Yard, Cambridge (UK), and De Witte Zaal, Ghent (Belgium). She shows with aeroplastics contemporary, Brussels, Belgium.
extended network >
homepage:
http://joygarnett.com
The Bomb Project
http://www.thebombproject.org
First Pulse Projects
http://firstpulseprojects.net
NEWSgrist - where spin is art
http://newsgrist.typepad.com/
Notable past exhibitions include her recent solo shows at Winkleman Gallery, New York and at the National Academy of Sciences, Washington, DC; group exhibitions organized by the Whitney Museum of American Art, P.S.1/MoMA Contemporary Art Center, Artists Space, White Columns (New York), Kettle's Yard, Cambridge (UK), and De Witte Zaal, Ghent (Belgium). She shows with aeroplastics contemporary, Brussels, Belgium.
extended network >
homepage:
http://joygarnett.com
The Bomb Project
http://www.thebombproject.org
First Pulse Projects
http://firstpulseprojects.net
NEWSgrist - where spin is art
http://newsgrist.typepad.com/
I am a pirate ?!
friends,
the most interesting thing just happened: I'm being sued for copyright
infringement (does it mean I'm finally a grown-up?). the joke is I was
served the letter the day after I met with an arts funding rep who
encouraged me to list "sampling" on my grant application as part of my
painting practice. It made the whole thing seem almost funny.
the plaintiff is a world-famous photojournalist who takes pics in
war-torn regions; the pirated image is a detail of a photograph
taken in 1978. Months back while trolling the Web for news images and
such, I found the cropped detail w/ no credit line, probably on some
anti-NAFTA/anarchist solidarity website, printed it out and stuck it in a
folder to paint later. I had no idea it was a detail of a pic by a Magnum
photographer or that it was from their most seminal series and book. The
joke is definitely on me.
To my mind of course my derivative artwork has very little to do with the
original photo. First of all it's a painting; it also happens to be
6-feet tall and rather decontextualized from whatever its original context
was. And it's wildly cropped and brushy and all that painterly stuff. But
apparently the use of a different medium doesn't make it any more
justifyable to "derive" under the present copyright law.
how did the plaintif find out about it? I was ratted out by a supposed
friend, also a photojournalist, who recognized the image--they stick
together. also: the painting was in my solo show that just came down last
week; the image was used for my announcement card and is on the gallery's
and my websites. The show was reviewed in the New Yorker and the
derivative artwork in question was praised. Basically I'm screwed in
terms of wanting to fight it--the plaintif is wholly within their rights.
Here's the thing: for all that my dander is up, the plaintiff is being
pretty cool considering their permissions-centered world-view:
they are basically asking only that I supply a credit line, and that I ask
for permission in writing to exhibit/reproduce in the future. They don't
want $$ for this particular infringement. basically they chose to license
the image to me for my exhibition after the fact. It seems reasonable and
rather decent.
However being sued does bring up the whole issue for me in a weird way. I
mean, my work is ABOUT the fact that images are uncontrollable entities.
It's about what happens when you remove context and framing devices.
my work is derivative by definition, and thoroughly reflective of this age
of sampling and remixing. This will no doubt happen to me again. And although
the permissions people--photojournalists, the recording industry, etc.
--are fighting a losing battle, you can bet they are going to fight til
the death. I may be getting off easy this time, but it seems that when
your aquaintances lie and then turn you in for copyright infringement,
the climate of creativity--not to mention general decency--is in serious
danger.
I see an art lawyer later today.
all the best,
Joy
http://www.firstpulseprojects.net
the most interesting thing just happened: I'm being sued for copyright
infringement (does it mean I'm finally a grown-up?). the joke is I was
served the letter the day after I met with an arts funding rep who
encouraged me to list "sampling" on my grant application as part of my
painting practice. It made the whole thing seem almost funny.
the plaintiff is a world-famous photojournalist who takes pics in
war-torn regions; the pirated image is a detail of a photograph
taken in 1978. Months back while trolling the Web for news images and
such, I found the cropped detail w/ no credit line, probably on some
anti-NAFTA/anarchist solidarity website, printed it out and stuck it in a
folder to paint later. I had no idea it was a detail of a pic by a Magnum
photographer or that it was from their most seminal series and book. The
joke is definitely on me.
To my mind of course my derivative artwork has very little to do with the
original photo. First of all it's a painting; it also happens to be
6-feet tall and rather decontextualized from whatever its original context
was. And it's wildly cropped and brushy and all that painterly stuff. But
apparently the use of a different medium doesn't make it any more
justifyable to "derive" under the present copyright law.
how did the plaintif find out about it? I was ratted out by a supposed
friend, also a photojournalist, who recognized the image--they stick
together. also: the painting was in my solo show that just came down last
week; the image was used for my announcement card and is on the gallery's
and my websites. The show was reviewed in the New Yorker and the
derivative artwork in question was praised. Basically I'm screwed in
terms of wanting to fight it--the plaintif is wholly within their rights.
Here's the thing: for all that my dander is up, the plaintiff is being
pretty cool considering their permissions-centered world-view:
they are basically asking only that I supply a credit line, and that I ask
for permission in writing to exhibit/reproduce in the future. They don't
want $$ for this particular infringement. basically they chose to license
the image to me for my exhibition after the fact. It seems reasonable and
rather decent.
However being sued does bring up the whole issue for me in a weird way. I
mean, my work is ABOUT the fact that images are uncontrollable entities.
It's about what happens when you remove context and framing devices.
my work is derivative by definition, and thoroughly reflective of this age
of sampling and remixing. This will no doubt happen to me again. And although
the permissions people--photojournalists, the recording industry, etc.
--are fighting a losing battle, you can bet they are going to fight til
the death. I may be getting off easy this time, but it seems that when
your aquaintances lie and then turn you in for copyright infringement,
the climate of creativity--not to mention general decency--is in serious
danger.
I see an art lawyer later today.
all the best,
Joy
http://www.firstpulseprojects.net
Closing Party for Joy Garnett's "Riot" - Sat, Feb 21, 4 - 6pm
Closing Party for Joy Garnett's "Riot" - Saturday, Feb 21, 4-6pm
Air Strip (Image)
<http://www.firstpulseprojects.net/riot_2003/AirStrip.html>
Please join us for Irish whiskey and cookies
to celebrate with the artist on the last day of "Riot."
Debs & Co. <http://www.debsandco.com>
525 West 26th Street
2nd floor
(or: new elevator to 3rd floor)
New York, NY 10001
212 643-2070
info@debsandco.com
Air Strip (Image)
<http://www.firstpulseprojects.net/riot_2003/AirStrip.html>
Please join us for Irish whiskey and cookies
to celebrate with the artist on the last day of "Riot."
Debs & Co. <http://www.debsandco.com>
525 West 26th Street
2nd floor
(or: new elevator to 3rd floor)
New York, NY 10001
212 643-2070
info@debsandco.com
JOB OPENING: NYU: Assistant/Associate Professor, Tenure Track
Deadline:
Mon Feb 09, 2004 12:15
FYI:
---------- Forwarded message ----------
Date: Sun, 8 Feb 2004 10:22:13 -0800
From: Edu-News
To: joy garnett
Subject: NYU: Assistant/Associate Professor, Tenure Track
Department of Art and Art Professions
New York University, Steinhardt School of Education
http://www.nyu.edu/education/art
contact: artdept@nyu.edu
Digital Media/Studio Artist
Assistant/Associate Professor, Tenure Track
Department of Art and Art Professions
New York University
The Department seeks a Studio Artist working with digital technology to
theorize and develop the use of technology in the department's traditional
studio areas, including printmaking, painting, sculpture, craft media,
photography and art in media (digital, photography, video). The digital
artist position is based in studio art but will intersect with all of the
department's art professions programs, including art education, art
therapy, visual arts administration and visual culture.
(http://www.nyu.edu/education/art)
Responsibilities: Teach undergraduate and graduate courses; sustain a
high level of exhibition and/or scholarship, advise students, develop
innovative curricula and courses, build alliances and outreach initiatives
with related departments and other schools in New York University and
participate in all areas of faculty activities.
Qualifications: M.F.A. and/or Doctorate, minimum of three years experience
teaching at the college level; substantial record of exhibition and/or a
record of or potential for publication; knowledge of digital technology,
its theory and practice.
Please send letter of application, curriculum vitae, and examples of work
to:
Chair, Digital Media/Studio Art Search Committee,
Department of Art and Art Professions, NYU
Steinhardt School of Education
34 Stuyvesant Street, New York, NY 10003.
Review of applications begins immediately and deadline for receipt of
applications is March 1, 2004.
NYU is an Equal Opportunity/Affirmative Action Employer.
Artforum: http://www.artforum.com/
E-flux: http://www.e-flux.com/
Artforum
350 Seventh Ave, 19th Floor, New York, New York 10001
TO UNSUBSCRIBE:
mailto:leave-edunews@krsna.srvmail.com
---------- Forwarded message ----------
Date: Sun, 8 Feb 2004 10:22:13 -0800
From: Edu-News
To: joy garnett
Subject: NYU: Assistant/Associate Professor, Tenure Track
Department of Art and Art Professions
New York University, Steinhardt School of Education
http://www.nyu.edu/education/art
contact: artdept@nyu.edu
Digital Media/Studio Artist
Assistant/Associate Professor, Tenure Track
Department of Art and Art Professions
New York University
The Department seeks a Studio Artist working with digital technology to
theorize and develop the use of technology in the department's traditional
studio areas, including printmaking, painting, sculpture, craft media,
photography and art in media (digital, photography, video). The digital
artist position is based in studio art but will intersect with all of the
department's art professions programs, including art education, art
therapy, visual arts administration and visual culture.
(http://www.nyu.edu/education/art)
Responsibilities: Teach undergraduate and graduate courses; sustain a
high level of exhibition and/or scholarship, advise students, develop
innovative curricula and courses, build alliances and outreach initiatives
with related departments and other schools in New York University and
participate in all areas of faculty activities.
Qualifications: M.F.A. and/or Doctorate, minimum of three years experience
teaching at the college level; substantial record of exhibition and/or a
record of or potential for publication; knowledge of digital technology,
its theory and practice.
Please send letter of application, curriculum vitae, and examples of work
to:
Chair, Digital Media/Studio Art Search Committee,
Department of Art and Art Professions, NYU
Steinhardt School of Education
34 Stuyvesant Street, New York, NY 10003.
Review of applications begins immediately and deadline for receipt of
applications is March 1, 2004.
NYU is an Equal Opportunity/Affirmative Action Employer.
Artforum: http://www.artforum.com/
E-flux: http://www.e-flux.com/
Artforum
350 Seventh Ave, 19th Floor, New York, New York 10001
TO UNSUBSCRIBE:
mailto:leave-edunews@krsna.srvmail.com
"Riot" reviewed...
February 9, 2003
The New Yorker
http://www.newyorker.com/goingson/art/#galleries_chelsea
JOY GARNETT
Garnetts series Riot finds a common ground
between violent street demonstrations and the
leaps and grimaces of rock and roll. You can spot
the threatening good looks of a rocker in the
long-haired boy throwing a Molotov cocktail, as
well as in the uniformed young pilot hugging his
girlfriend on an airstrip. Garnetts brushy impasto
pushes the verite elements of the images (which
are derived from news photos) toward glam.
Through Feb. 21. (Debs, 525 W. 26th St.
212-643-2070.)
:::
more info
http://www.debsandco.com
more images
http://www.firstpulseprojects.net/riot_2003/Index.html
The New Yorker
http://www.newyorker.com/goingson/art/#galleries_chelsea
JOY GARNETT
Garnetts series Riot finds a common ground
between violent street demonstrations and the
leaps and grimaces of rock and roll. You can spot
the threatening good looks of a rocker in the
long-haired boy throwing a Molotov cocktail, as
well as in the uniformed young pilot hugging his
girlfriend on an airstrip. Garnetts brushy impasto
pushes the verite elements of the images (which
are derived from news photos) toward glam.
Through Feb. 21. (Debs, 525 W. 26th St.
212-643-2070.)
:::
more info
http://www.debsandco.com
more images
http://www.firstpulseprojects.net/riot_2003/Index.html
Massive Change Call for Images (fwd)
---------- Forwarded message ----------
Date: Tue, 20 Jan 2004 23:18:01 -0500
From: Massive Change <editors@massivechange.com>
To: joyeria@walrus.com
Subject: Massive Change Call for Images
Bruce Mau Design and the Institute without Boundaries want to publish your images!
We are working on an ambitious, international project entitled "Massive Change: The Future of Global Design." This is your chance to become part ofthe Massive Change project.
We are seeking images that document how design is being applied to all aspects of life, including: transportation, housing and urbanization, health, energy, manufacturing, imaging and information technologies, materials, markets, and the military. We are looking for images that demonstrate the emerging power and promise of design in the contemporary world.
Selected submissions may be included in one or more of the following: a book published by Phaidon Press; an internationally touring exhibition opening in October 2004 at the Vancouver Art Gallery; a website at massivechange.com;and other project applications including a documentary film.
Read more about the Massive Change project and image submissions at:
http://www.massivechange.com
The deadline for submissions to be included in the book published by Phaidon
Press is Friday, February 6, 2004.
Specifications: We are accepting both digital files, prints and transparencies. Please note that submissions will not be returned. Low resolution files are acceptable as we will follow up to obtain a higher resolution image as necessary.
Send your image submissions to:
Massive Change Editors
Image Submissions
197 Spadina Avenue, Suite 501
Toronto, Ontario
M5T 2C8 Canada
Email: editors@massivechange.com
(Please try to keep attachments below 2 MB)
WHAT ARE WE LOOKING FOR?
We want images of extraordinary breakthroughs and discoveries that are transforming our world. Images of commonplace objects and innovations that have changed our everyday lives. Images that demonstrate utopian and dystopian possibilities.
GLOBAL DISASTERS
Chernobyl
Black Monday
Earthquakes
Plane crashes
Oil fires
Floods
1997 Ice Storm
2003 Blackout
SARS
AIDS
9/11
MOVEMENT
Traffic around the world
Sustainable and mass transportation systems around the world
Bus Rapid Transit system (BRT) in Curitiba, Brazil
Bicycles in Bogota, Columbia
Cars and bicycles in Shanghai, China
Car Free days
People and their cars
Personal mobility experiments (jetpacks, flying cars, etc.)
Bullet Train in Japan
Maglev in China and elsewhere
ENERGY
Sustainable energy
Windmills
Solar energy
Artificial photosythesis
Fuel Cells
Sterling engines
Biomass stoves
Three Gorges Dam
Large-scale energy projects
URBAN
Mobile homes
Suburban images
Skyrises
Tokyo Sky City
Taipei 101
Portofino, Italy hillsides
Tijuana, Mexico hillsides
INFORMATION
The Internet
Famous code, e.g. the linux kernel
The grid, i.e. Distributed on-demand computing
Network images
Air traffic control
Mapping projects of global phenomena, such as CFCs (the ozone hole), biodiversity, etc.
Interfaces where the visual meets the real
MILITARY
Trade shows
Civilian hobbyists
Applications designed for the military and used in everyday life
Civilian applications adopted for the military
Surveillance and new ways of seeing: Synthetic vision, Infrared technology, etc.
Strategy, specifically, historical images of "the art of war" - both action shots and portraits of great military strategists, like Julius Caesar, Sun Tzu, Macchiavelli, Che Guevara, etc.
HEALTH & LIVING
The human genome
Genetically Modified Organisms (GMOs)
Bio-engineered food crops (protato, tomato vaccine, golden rice)
Designer drugs
Telesurgery
Drug delivery systems
DNA double helix
Water supply and sanitation
MATERIALS
Carbon nanotubes
Nanotechnology
Smart materials
Old comic books with metals and other elements represented as superheroes
Biomimetics , specifically, lab images from materials scientists who specialize in BioSteel
Scanning Tunneling Microscopy
Atomic Force Microscopy
Albalone shells
High-tech ceramics
Spider silk
Artificial skin
MANUFACTURING
Assembly lines
Robotic car manufacturing
Just-in-time manufacturing
Green dot
Green cross
Digital tailoring
Mass customization
Industrial symbiosis in Kalundborg, Denmark
MARKETS
Stock market floor images
Global market images from Guatemala to Turkmenistan and beyond
Shipping containers
Images of credit cards and loyalty cards from all over the world
Wal-Mart
Barcode
RFID tags
NGOs
The deadline for submissions to be included in the book published by Phaidon
Press is Friday, February 6, 2004.
Terms of Submission
Massive Change is an international discursive project on the future of global design. The Massive Change Editors (Bruce Mau Design and the Institute without Boundaries) are researching, gathering and assembling information for use within this ambitious, multi-year effort, which will
take the form of a book, an international exhibition, a line of product, public events, a website, and a documentary film project. By submitting work, contributors are granting all rights to the Massive Change Editors to reproduce submissions in all project uses stated above. All authors and copyright holders will be given full credit for material that is published.
For further information:
http://www.massivechange.com
editors@massivechange.com
Date: Tue, 20 Jan 2004 23:18:01 -0500
From: Massive Change <editors@massivechange.com>
To: joyeria@walrus.com
Subject: Massive Change Call for Images
Bruce Mau Design and the Institute without Boundaries want to publish your images!
We are working on an ambitious, international project entitled "Massive Change: The Future of Global Design." This is your chance to become part ofthe Massive Change project.
We are seeking images that document how design is being applied to all aspects of life, including: transportation, housing and urbanization, health, energy, manufacturing, imaging and information technologies, materials, markets, and the military. We are looking for images that demonstrate the emerging power and promise of design in the contemporary world.
Selected submissions may be included in one or more of the following: a book published by Phaidon Press; an internationally touring exhibition opening in October 2004 at the Vancouver Art Gallery; a website at massivechange.com;and other project applications including a documentary film.
Read more about the Massive Change project and image submissions at:
http://www.massivechange.com
The deadline for submissions to be included in the book published by Phaidon
Press is Friday, February 6, 2004.
Specifications: We are accepting both digital files, prints and transparencies. Please note that submissions will not be returned. Low resolution files are acceptable as we will follow up to obtain a higher resolution image as necessary.
Send your image submissions to:
Massive Change Editors
Image Submissions
197 Spadina Avenue, Suite 501
Toronto, Ontario
M5T 2C8 Canada
Email: editors@massivechange.com
(Please try to keep attachments below 2 MB)
WHAT ARE WE LOOKING FOR?
We want images of extraordinary breakthroughs and discoveries that are transforming our world. Images of commonplace objects and innovations that have changed our everyday lives. Images that demonstrate utopian and dystopian possibilities.
GLOBAL DISASTERS
Chernobyl
Black Monday
Earthquakes
Plane crashes
Oil fires
Floods
1997 Ice Storm
2003 Blackout
SARS
AIDS
9/11
MOVEMENT
Traffic around the world
Sustainable and mass transportation systems around the world
Bus Rapid Transit system (BRT) in Curitiba, Brazil
Bicycles in Bogota, Columbia
Cars and bicycles in Shanghai, China
Car Free days
People and their cars
Personal mobility experiments (jetpacks, flying cars, etc.)
Bullet Train in Japan
Maglev in China and elsewhere
ENERGY
Sustainable energy
Windmills
Solar energy
Artificial photosythesis
Fuel Cells
Sterling engines
Biomass stoves
Three Gorges Dam
Large-scale energy projects
URBAN
Mobile homes
Suburban images
Skyrises
Tokyo Sky City
Taipei 101
Portofino, Italy hillsides
Tijuana, Mexico hillsides
INFORMATION
The Internet
Famous code, e.g. the linux kernel
The grid, i.e. Distributed on-demand computing
Network images
Air traffic control
Mapping projects of global phenomena, such as CFCs (the ozone hole), biodiversity, etc.
Interfaces where the visual meets the real
MILITARY
Trade shows
Civilian hobbyists
Applications designed for the military and used in everyday life
Civilian applications adopted for the military
Surveillance and new ways of seeing: Synthetic vision, Infrared technology, etc.
Strategy, specifically, historical images of "the art of war" - both action shots and portraits of great military strategists, like Julius Caesar, Sun Tzu, Macchiavelli, Che Guevara, etc.
HEALTH & LIVING
The human genome
Genetically Modified Organisms (GMOs)
Bio-engineered food crops (protato, tomato vaccine, golden rice)
Designer drugs
Telesurgery
Drug delivery systems
DNA double helix
Water supply and sanitation
MATERIALS
Carbon nanotubes
Nanotechnology
Smart materials
Old comic books with metals and other elements represented as superheroes
Biomimetics , specifically, lab images from materials scientists who specialize in BioSteel
Scanning Tunneling Microscopy
Atomic Force Microscopy
Albalone shells
High-tech ceramics
Spider silk
Artificial skin
MANUFACTURING
Assembly lines
Robotic car manufacturing
Just-in-time manufacturing
Green dot
Green cross
Digital tailoring
Mass customization
Industrial symbiosis in Kalundborg, Denmark
MARKETS
Stock market floor images
Global market images from Guatemala to Turkmenistan and beyond
Shipping containers
Images of credit cards and loyalty cards from all over the world
Wal-Mart
Barcode
RFID tags
NGOs
The deadline for submissions to be included in the book published by Phaidon
Press is Friday, February 6, 2004.
Terms of Submission
Massive Change is an international discursive project on the future of global design. The Massive Change Editors (Bruce Mau Design and the Institute without Boundaries) are researching, gathering and assembling information for use within this ambitious, multi-year effort, which will
take the form of a book, an international exhibition, a line of product, public events, a website, and a documentary film project. By submitting work, contributors are granting all rights to the Massive Change Editors to reproduce submissions in all project uses stated above. All authors and copyright holders will be given full credit for material that is published.
For further information:
http://www.massivechange.com
editors@massivechange.com