Copyright Infringement

Anna L. Conti, a San Francisco artist and art blogger, has had one of her works copied and then put up for sale on eBay by a fraud artist. This is an infringement of copyright, like having your work plagiarized. Read her June 28th entry as she explains why this is important to an artist and to buyers. I will be following closely her updates to see how the issue is resolved, really hoping that it will not become a costly legal battle like one artist friend of mine went through.

UPDATE JUNE 29: Anna has set up a special page eBay Art Fraud. Read and be warned and be aware!

Related links:
CARCC (Canadian Artists Representation Copyright Collective Inc) is a copyright collective that licenses and administers copyright for visual and media artists in Canada
Canadian Copyright Act
myths about copyright

For Dad

This is a wonderful poem written by my eldest daughter and designed by my youngest for their father on this Father’s Day.
Click on image to view larger.
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Poem © Anita Rathje
Design © Erika Rathje

displaying work online

It is sometimes a frustrating and disappointing exercise to display my artworks online because the original does not reproduce well. My prints have a lot of texture and subtle details that are often lost. The sense of the size of the piece is lacking. Colours in particular are difficult to reproduce accurately and change from monitor to monitor. In catalogues, too, I see problems with accurate colour reproduction. I do notice though that if my work is a digital print, then that reproduces reasonably well if I use the original digital file. But, if the image comes from a slide taken of the work then scanned, I often have problems. So, the more steps away from the original, then more the problems.

Today’s electric skin has an article about this issue: Challenges of Digital Reproduction by Olga Chemokhud Doty.

In the present day environments of virtual galleries, digital imaging, and communication via e-mail a whole new set of challenges arise for the artists working in traditional two-dimensional mediums of painting or drawing. “Even the most perfect reproduction of a work of art is lacking in one element: its presence in time and space, its unique existence at the place where it happens to be,” Walter Benjamin wrote in his essay, “The work of Art in the Age of Mechanical Reproduction”. Though the statement was written more then seventy years ago, the rise in volume in visual communications is making its more of an issue then ever.

Read more…, then she finishes: I am sure that there are no means to reproduce an original without losing some of its indented qualities, but there are some ways to think about the best possible way to reference the work without warping its meaning. (I wonder what those ways might be besides using installation shots?)

The author talks about digital reproduction, but even older methods of reproduction in books, catalogues and even slides can be misleading. Yet we know they were often the only way we got to see a lot of art works. I recall the many hours spent in Art History classes looking at slides. Years later I would see some of these masterpieces in European museums and be quite amazed and enthralled at the difference. The internet has opened the world even more, but in all of this, seeing the original is still the only true experience of the work.

Drawing, Hockney and Eyre

David Hockney has talked to BBC News Online about drawing:

Drawing should be regarded as a major art form, artist David Hockney said as he launched the Royal Academy of Arts Summer Exhibition in London…Drawing has been neglected for the last 30 years in art education…. Despite long being seen as ‘almost irrelevant’, drawing is a vital part of every creative process…..drawings help us become critical of other images.
Read more on BBC.

My own firm belief is that drawing is a relevant and powerful medium in its own right. I also think that art education should include lots of drawing, especially from life, as it is also a strong foundation for all other art media. I feel sorry for young artists who are not taught much drawing in art schools today like it was when I went – too long ago – to the University of Manitoba School of Art. I drew as a child, grew up loving to draw and it was my favourite studio course, plus I had the pleasure and benefit of having a master draughtsman and a great Canadian artist for a teacher: Ivan Eyre. I later became attracted to printmaking because it was close to drawing; the greater part of my art work is in the printmaking media.

Here is what Ivan Eyre says about his drawings. View his paintings, drawings and prints at the National Gallery of Canada and the Mackenzie Art Gallery.

Thanks to MAeX Art Blog for the Hockney link.

the artist’s childhood

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As a child I loved reading books and fairy tales were my very favourite. My first books were in Finnish written by Finnish authors, but most loved were the tales collected by the Grimm Brothers. This edition, a very well-worn almost 500 page Finnish translation, was the most beloved of them all, perhaps that is why I still have it. One old house that my family lived in for a few years had an attic where I had my very own little artist’s garret, with my papers and pencils and paints and books and my daydreams by the little window overlooking the street.

Grimm Brothers Homepage

(Thanks to Amy at ever so humble* for inspiring this little trip into the past.)

*sadly, this blog no longer exists.

Brian Eno on culture

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(a deep-etched copperplate of mine)

Scribblingwoman recommended having a look at a post over at wood s lot about Brian Eno and A Big Theory of Culture.

This is essentially an interview of Brian Eno about his book, A Year With Swollen Appendices – long but very fascinating and inspiring reading. Here are a few excerpts to pique your interest:

The informed viewer or listener is invited to think like an artist and therefore in a sense to become an artist. This is good for art and good for civilization…

We see what a good artist does with his mind all day. It’s inspiring.

“is there a way of understanding why humans continuously and constantly and without exception engage in cultural activity?” We don’t know of human groups that don’t produce something that we would call art. It seems to be something that we are biologically inclined to do. If we are, then what is the nature of that drive? What is it doing for us?

The first assumption is that all human groups engage in something that we would call artistic behavior – if they are at all capable of it, that is if they are beyond the most basic problems of survival – and even when they aren’t, they will engage in decorative, ornamental, and often very complex stylistic behavior.

This is the point at which there is a deep connection between art and science: each is a highly organized form of pretending; of saying “let’s see what would happen if the world was like this.”

One of the things art does also is to remind you constantly of this process that you’re most of the time engaged in – the process of metaphor-making.

and much more…. recommended reading!

This has taken the earlier posted discussions of Why Make Art? to a higher level.

A Work in Progress

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(Detail of a deeply etched copperplate)

This weblog has been online for just over three months and what an exciting time it has been for me. I have learned a great deal and met many great bloggers and readers and had very positive feedback, thanks everyone! The writing has helped me focus my thoughts about my work and the many things that interest me and therefore influence the work. It provides a place to keep all the fascinating information that I have gathered over the years, and still keep finding.

The site design has been undergoing some improvements as I go along and understand the process more and how best to arrange my information. I wished to separate some of the “professional” area from the blog themes or categories, so those interested in viewing my work can access it more quickly. To that end the contact link, cv, and recent exhibitions are now under “Marja-Leena” and my prints, and the statements about them that I hope to add soon, can be viewed under “Printworks” within their series. Also I can now access my links list and add a few of my favourite blogs over time. Let me know what you think, or if you discover any errors in navigation (sorry!) …I’m still fine tuning.

A big thank you to Jonathan for suggesting I do a blog, teaching me so patiently, for designing the site, and rearranging things everytime I change my mind!

Science picks our brains about art

I’ve been enjoying reading North Coast Cafe for a few weeks, but only recently did I dig deeper into the Visual Arts category, and found this fascinating January 26th entry:
Emotions in Art and the Brain. This was the theme name for a conference on neuroesthetics that was held back in January and reported in the Washington Post:

If you stick people into a machine that does functional magnetic resonance imaging (fMRI — a brain scan, in layman’s terms) and then show them paintings they find beautiful, you can see certain characteristic bits of their brains going wild with delight — or so suggests the recent research of Semir Zeki, an eminent neuroscientist at University College London who’s recently also become a leader in neuroaesthetics. The brain shows a slightly different response to ugliness, including stirring up motor centers that also buzz when someone’s angry.

Do read the posting and the article for yourself. I do believe the findings have some truth, and the writer of North Coast Cafe gives some examples of these feelings. Yet I’m left with many questions. Why does artmaking make us artists feel better? Why do some art works create a happy buzz for one person and an angry buzz for another, or no reaction at all? Are some people more “sensitive” to art naturally, or is it because of education? As an artist myself, these questions frequently test me. I wonder if science will be really ever be able to measure all these complexities in art’s effect on human emotions, and is it necessary?

petroglyphs in BC

Rock carvings and paintings are found throughout the inhabited world. In British Columbia alone, over 500 examples of this type of archaeological site have been recorded, more than in any other province in Canada.

Last week, on our way to the west coast of Vancouver Island, we stopped to look at a site at Sproat Lake Provincial Park. Like most petroglyphs, it had worn down considerably but still was a fairly impressive sight, like a mural carved on a rock face on the edge of the lake, the lowest images partly submerged. Below is one photo of this, the details are even harder to see here as the light conditions were not ideal.

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On our return journey we stopped at Petroglyph Provincial Park, Nanaimo. This was most disappointing because the numerous rocks scattered on the lovely hill were quite worn down. Concrete castings had been made of the originals but these were also quite worn and hard to decipher (the website’s photo was misleading). It was rather sad to see the results of weathering and especially the vandalism and sometimes a lack of enough care and appreciation.

I have used some BC petroglyph images from Hornby Island, in some of the Paths series and a few of the Nexus series of prints. Can you find them?

an artist’s retreat

Last week my husband and I went to our favourite retreat on the west coast of Vancouver Island, staying in a small, rustic oceanfront cabin near Pacific Rim National Park and Tofino. It had the basic necessities of a small kitchen and bath but no TV, phone or internet. Between many walks on long sandy beaches and rainforest trails, we sat at a table by the window, or outside when sunny, and gazed at the ocean and how it reflected the changes in weather, tides and even a glorious sunset one evening.

In perfect harmony with all the eye candy, we listened to hours of our favourite music, mostly classic, that we had downloaded from our CD collection to our iPod, a Christmas gift to each other. It provided music during our drive, through the car’s speakers, and in our cabin through the cutest portable little speakers (a birthday gift for each other!) with wonderful sound, the Altec Lansing inMotion.

Lots of reading of an eclectic variety kept our minds stimulated and spurred some interesting read-aloud moments and discussions, including:

1. Douglas Todd’s articles in the Vancouver Sun (no longer available) about “A Nobel Gathering in Vancouver”, the visit of the Dalai Lama, Desmond Tutu, Shirin Ebadi, Jo-Ann Archibald, Salman Schachter-Shalomi and host Michael Ingham which included a gathering of Buddhists, Christians, Sikhs, Jews, Muslims, First Nations and others. This was organized by the Vancouver Multi-faith Action Society to allow many to hear the wisdom of these elders who “will offer insights on courage, happiness, community building, liberation, terrorism, ecological survival and the Iraq war” and “how to integrate heart and mind”.

2. Common Era, Best New Writings on Religion, Volume I: is about interfaith dialogue, sexuality and spirituality, ecology and the soul, post-modernism and politics, women’s spirituality and mysticism, by many different authors including Vaclav Havel, Bill Moyers and Allen Ginsberg.

3. Amriika, a novel by M.G.Vassanji, about an Indian-East African student who comes to America in the late 60’s and is caught up in anti-war demonstrations, revolutionary lifestyles, and spiritual quests. The Vietnam era sounded remarkably similar to our current Iraq war era!

4. Sightlines: Printmaking and Image Culture, edited by Walter Jule, is an excellent collection of images and word, gathered in conjunction with the international Sightlines symposium in Edmonton, Canada in 1997, about the printmaker and the print from many angles and in many countries.

We found amazing connections between all these, almost like synchronicity because our choices were spontaneous, unplanned selections from the local public library and home.

Then, there was this ongoing project for this technically challenged photo-based printmaker to learn the complexities (ie. beyond “automatic”) of the digital camera with the help of my very technically minded husband, and I did do some trial shots, but I’m still more comfortable with our old but good SLR! But here’s one of my photos of kelp in the sand, and one of his of the sunset.

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We also visited a couple of petroglyph sites on Vancouver Island, but I will write about these in another post!

So, the week was a real treat and retreat, good for mind, body and soul.