Commercial galleries – Balazo Gallery Wed, 29 Jun 2022 03:04:00 +0000 en-US hourly 1 Commercial galleries – Balazo Gallery 32 32 USI MAC/PACE Galleries Host Two Summer Sculpture Exhibitions Wed, 29 Jun 2022 03:04:00 +0000

This summer, two sculpture exhibitions are presented simultaneously at the McCutchan Art Center/Pace Galleries at the University of Southern Indiana.

Converters 2 features two artists, Josh Johnson and Travis Townsend, contemporaries working mainly in wood, whose aesthetics question traditional approaches to the material. Townsend was juror for ISU’s 52nd Annual student art exhibition with jury last spring. The two artists’ work process shares many concerns, including the deconstruction and reconstruction of their own art objects, the juxtaposition of commercial and salvaged materials with careful craftsmanship, and the importance of place and space when their work is exhibited. The Converters The exhibition series strives to bring unconventional artistic practices to the gallery, hoping to expose the public to a diverse array of contemporary art from outside the tri-state.

Professor Emeritus John McNaughton has taught woodworking and sculpture at USI for over 35 years. He died suddenly last March. The exhibition, John McNaughton: artist, mentor, friend, celebrates his impact on the University and highlights his works that are part of the University’s permanent collection, including several outdoor sculptures he helped create on campus. The exhibition is curated by Susan Sauls, director of the university’s art collections.

A closing reception for both exhibits will be held from 2-4 p.m. on Friday, September 9. Visit the Gallery’s website for more details.

These exhibitions will be presented in the gallery until September 9th. The MAC/PACE Gallery is located on the lower level of the Liberal Arts Center on campus. Summer hours are Monday through Friday from noon to 4 p.m. Beginning in the fall, gallery hours are 10 a.m. to 4 p.m. and Sundays 1 p.m. to 4 p.m.

Top 5 New York Office Building Sales — May 2022 Mon, 27 Jun 2022 16:59:40 +0000

PropertyShark has compiled the city’s best deals of the month for the area.

Source: PropertyShark, a company of Yardi Systems Inc.
  1. 475 Fifth Avenue, Manhattan
    Selling price: $291,000,000

A partnership between Nuveen Real Estate and Norges Bank Investment Management (NBIM) has sold the 24-story office building totaling 275,738 square feet to Murray Hill. RFR Realty acquired the LEED Silver-certified tower through a $180 million acquisition loan from JPMorgan Chase. The property was last traded in 2011, when Nuveen paid $143.9 million for the building constructed in 1926, while NBIM acquired a 49.9% stake two years later.

  1. 645 Madison Avenue, Manhattan
    Selling price: $196,592,300
645 Madison Ave. Image via Google Street View

With the current agreement, Titan Golden Capital has become the sole owner of the property totaling 164,615 square feet in Lenox Hill, following the $26.6 million acquisition of the ground lease on the 22-story tower last November. Eric Anton and Nelson Lee of Marcus & Millichap arranged the transaction. Completed in 1971, the Class A office building comprises 33,697 square feet of retail space.

  1. 529 W. 20th St., Manhattan
    Selling price: $32,000,000

A&R Kalimian has sold a nearly 67% stake in the 111,329 square foot building also known as The Arts Building. Eagle Point Properties became the majority owner of the 11-story property in Chelsea. The area is home to a wide variety of galleries, the list of tenants includes ACA Galleries, Bruce Silverstein Gallery and the Fine Art Conservation Group among others.

  1. 513 W. 20th St., Manhattan
    Selling price: $23,333,334

Eagle Point Properties has also acquired a controlling interest in this 83,240 square foot office building in the same neighborhood from the same vendor. The seven-story mid-rise was completed in 1910 and underwent renovations in 1988. Adjacent to the 1.5-mile-long linear park dubbed The High Line, the property’s tenants include Crozier Fine Arts and Oui2 Entertainment.

  1. 857 Broadway, Manhattan
    Selling price: $22,000,000

Trans World Equities Inc. has acquired the four-story office building totaling 11,636 square feet in the Flatiron District. As part of the transaction, the buyer also secured a $4 million deferral loan from the seller. Completed in 1910, the building includes seven commercial units, 6,090 square feet of office space and a 5,546 square foot commercial portion.

San Francisco’s forgotten avant-garde apartments Fri, 24 Jun 2022 15:03:28 +0000 The most famous event in San Francisco’s avant-garde literary history was Allen Ginsberg’s reading of “Howl” at the Six Gallery at 3119 Fillmore St. on October 7, 1955. This frantic reading, the later publication by Lawrence Ferlinghetti’s City Lights “Howl and Other Poems” books, and subsequent arrests and obscenity trial launched Ginsberg’s career, put City Lights on the map, and made the Beat movement famous in national scale.

The period reading is commemorated by a raised plaque in front of the site of the long-gone Six Gallery, bearing a bronze bas-relief resembling Ginsberg and the famous opening lines ‘Howl’: ‘I have seen the best minds of my generation destroyed by madness, starving hysterically naked…”

Ironically, the building that once housed the Six Gallery is now an upscale restaurant (it used to be a high-end carpet store) in the heart of the singles bar-smelling Bermuda Triangle in Cow Hollow , a neighborhood whose inhabitants are not known for their madness. , starvation or hysteria.

The Six Gallery site is one of San Francisco’s literary sanctuaries. But few realize that an unremarkable-looking apartment building just eight blocks up the hill from Fillmore Street, across from the Pacific Heights SPCA, was the quasi-communal home of many artists and writers. peak of the city circa 1950. to 1965. Painterland, as the building was known, helped nurture the artistic careers and social lives (the two were often hard to tell apart) of such figures as Joan Brown, Michael McClure, Bruce Conner, Jay DeFeo, Manuel Neri, Robert Duncan and Wally Hedrick.

Previous question: How many commercial ships enter and leave San Francisco Bay each year?

Answer: Over 3,000.

This week’s question: After watching the 1930 Big Game between Cal and Stanford, who told a reporter, “Your game of football is splendid, thrilling, beautiful… great living picture, spontaneous unconscious art“?

Painterland was located at 2322 Fillmore St. between Clay and Washington streets in the main commercial area of ​​Pacific Heights. Pacific Heights had been San Francisco’s most prestigious neighborhood since the 19th century, but rents, even in the city’s uptown areas, were reasonable until the 1970s, allowing artists with limited incomes to live in neighborhoods that they could never afford today. As Anastasia Aukeman writes in “Welcome to Painterland: Bruce Conner and the Rat Bastard Protective Association”, a number of artists and musicians lived in the building before 1956, including Bay Area Figurative School painter James Weeks, musician and future gallery owner Jim Newman. , painter Sonia Gechtoff and saxophonist and artist Paul Beattie. When Beattie and his wife moved out of their second floor unit in early 1955, entertainers Hedrick and his wife, DeFeo, took over the Beatties’ apartment for $65 a month (about $700 today).

The following year, 23-year-old poet McClure and his wife, poet Joanna McClure, moved into a top-floor apartment.

McClure would become a central figure not only in Painterland (a name he coined) but in all of San Francisco’s literary, musical, and artistic circles. Nicknamed “the prince of the San Francisco scene” due to his good looks and many creative connections, McClure dated and occasionally collaborated with the likes of Bob Dylan, Jim Morrison, Jack Kerouac, Jerry Garcia, Ginsberg, Isamu Noguchi and Terry Riley. One of the things that drew McClure and other artists to the neighborhood was its proximity to the vibrant black music and cultural scene of Western Addition, a few blocks south of Fillmore Street, yet to be destroyed by redevelopment. As McClure told writer Rebecca Solnit, “We appreciate black stores, black vibes, black music. We had our faces towards them but our butts towards Pacific Heights.

The apartment took a decided turn towards the avant-garde – and towards the serious party – in late 1957 and 1958. It was then that the young newly arrived artist Conner, who had briefly lived with the McClures in Painterland before moving to a nearby apartment on Jackson Street, formed what he called the Rat Bastard Protective Association. The irreverent name was inspired by the epithet “bastard rat”, the favorite cuss of a friend of McClure’s, and the name of one of the city’s two biggest trash companies, the Scavenger’s Protective Association (which later to become Golden Gate Disposal). Conner sent letters to a number of young artists linked to Painterland, including Brown, Neri, Hedrick and DeFeo, informing them that they were members of the Rat Bastard Protective Association, that he was its founder and president, that they should pay their dues. right away, and that the first date was next Friday at his house.

It was the start of an artistic and social circle that would have a major impact on the San Francisco and national art scene – and have a lot of fun along the way. Their artistic interests and practices varied widely, but a common thread was a Dadaist, playful, irreverent and non-commercial approach to art. Conner said he and his friends saw themselves as “people who made things out of society’s detritus, who were themselves ostracized or shunned from any involvement in society.” Conner and a few other artists in the circle practiced assemblage, the art created by found objects, often bric-a-brac; they tended to reject the conventional “success” of the art world and often simply destroyed their works. Others, like Brown, worked in more traditional genres and achieved critical and commercial success. Many were serious musicians and played in jazz bands, including the Studio 13 Jass Band. Others opened alternative art galleries: poet Duncan and artists Jess and Harry Jacobus opened the short-lived King Ubu Gallery, the predecessor of the Six Gallery at 3119 Fillmore. All pursued an uncompromising personal vision – an approach embodied by DeFeo, who worked on his now legendary enormous painting/sculpture “The Rose” in his large apartment in Painterland for seven years.

In the age-old bohemian tradition, the artists in the circle formed close friendships and partied hard. Duncan and his partner Jess became close friends with the McClures and helped them move into Painterland. After Brown and her husband, Bill Brown, moved into Painterland next door to DeFeo and Hedrick, the two couples drilled a hole in the wall between their apartments so they could come and go easily. Hedrick has built a roof terrace so they can all sunbathe naked. The two couples, and others in the building, threw endless parties. When the McClures moved out of their top-floor apartment, DeFeo and Hedrick took over that apartment as well, “and the place became a bigger party zone than ever,” DeFeo recalled. “We really had everything.”

The Painterland era ended on November 9, 1965, when DeFeo’s “The Rose” was forklifted from the building and shipped to the Pasadena Art Museum. That same day, DeFeo and Hedrick left the building and went their separate ways.

One peak artistic circle had faded, but another arose at almost exactly the same time and place. A few young people who had been involved in the legendary summer ur-hippie Red Dog in Virginia City lived in an apartment at 2111 Pine St., a few blocks from Painterland.

They called themselves the family dog. On October 16, 1965, three weeks before DeFeo and Hedrick left, the Family Dog held the first rock dance ever held in San Francisco, at Longshoremen’s Hall. In the artistic underground of San Francisco, an invisible witness had passed.

Gary Kamiya is the author of the best-selling “Cool Gray City of Love: 49 Views of San Francisco.” His most recent book is “Spirits of San Francisco: Voyages Through the Unknown City”. All Portals of the Past material is original to The San Francisco Chronicle. To read previous portals from the past, go to

TGI Solar Power: ADVENT GALAXY INC., headquarters of ADVENTEXPO™, a subsidiary of TGI, announces its intention to launch a Reg A public offering. Thu, 23 Jun 2022 16:46:14 +0000

ADVENT GALAXY INC., headquarters of ADVENTEXPO™, a subsidiary of TGI, announces its intention to launch a Reg A public offering.Press release | 06/23/2022

Press release TSPG| 06/23/22

Miami, Florida, June 23, 2022 –TGI SOLAR POWER GROUP

(OTC markets: TSPG) (“TGI”), a technology-diversified, eco-friendly real estate development company currently developing Advent City: 700 Villas, 120 Garden Apartments, Shopping and Entertainment Centers in Yucatan, Mexico, announced today Today she started developing AR/VR ADVENT EXPO metaverse, with a native NFT Galleries.

Advent Galaxy Inc., a wholly-owned subsidiary of TGI Solar Power Group Inc. (OTC Pink: TSPG) announced today that it plans to file with the SEC to initiate a public offering and is seeking to raise up to US$75 million pursuant to Regulation A, or other form of registration and subject to the advice of our legal counsel. The Company may use other forms of registration as appropriate.

TGI. Chief Operating Officer Samuel Epstein said, “As our ADVENT brand gains momentum, we have sought effective avenues to raise capital from like-minded U.S. investors and for international investors, another registration may be required, which sees the growing opportunities in the metaverse market as we do. A Reg A offering will allow us access to these investors and provide us with the resources to continue to drive our growth and address the unmet needs of the market.”

Recent U.S. tech stocks in the public markets have suffered significant declines due to interest rate hikes to temper inflation, the war in Ukraine, and CV19 shutdowns in China. Overall, when it comes to companies in the metaverse, devaluations could be seen as a roadblock.

According to the most recent study (June 15, 2022) of. Eric Hazan from

McKenzie, – How big could this (METAVERSE) opportunity be? We expect the economic value of the metaverse to increase exponentially. Its appeal spans genders, geographies, sectors and generations. Consumers are open to adopting new technologies; companies are investing heavily in the development of metaverse infrastructure; and brands experimenting in the metaverse are receiving positive consumer feedback. Our bottom-up view of consumer and enterprise use cases suggests it could generate up to $5 trillion in impact by 2030, the size of Japan’s economy, the world’s third-largest.

ADVENT GALAXT Inc., home of ADVENTEXPO, uses technology ahead of the industry standard in development over the past 7 years.

ADVENT GALAXY Inc. plans to use proceeds from the Reg A offering to acquire identified companies, create additional product lines and expand sales channels by building its presence in the metaverse, supported by advertising and marketing campaigns. national and international marketing.

This press release does not constitute an offer to sell or the solicitation of an offer to buy these securities, and there will be no sale of these securities in any state in which such offer, solicitation or sale would be unlawful. prior to registration or qualification under the securities laws of such state or territory.

About ADVENT GALAXY Inc. and its main product ADVENT EXPO: Expo will become a central meeting place and a center for important social interactions between people of different backgrounds and age groups. The underlying technology allows merchants, consumers, and large corporations to be replaced by a virtual EXPO in the metaverse. EXPO will respond to B2C + B2B + B2E = B2X, or simply B2All.

Entertainment zones, meeting and interacting with your friends in a cafe in real time, is the future. Doing business in coworking spaces without leaving home is the future. A VR/AR ADVENT EXPO is coming soon and will come true thanks to ADVENT GALAXY.

About TGI Solar: TGI SOLAR POWER GROUP INC. is a diversified holding company.

TGI’s strategy is to acquire innovative and patented technologies, components, processes, designs and methods with commercial value that will provide a competitive advantage in the marketplace and generate shareholder value.

Safe Harbor Declarations under the Private Securities Litigation Reform Act of

1965: Statements contained herein that are not historical are forward-looking statements and, as such, are subject to risks and uncertainties that could cause actual results of operations to differ materially from those contained in the forward-looking statements. These statements include, but are not limited to, certain market delays beyond the Company’s control.

For more information: Samuel Epstein

The visual arts face serious challenges Tue, 21 Jun 2022 10:53:56 +0000

Echoing previous research, a sobering new report on the impact of Brexit on the visual arts. Early last year, a firm The Artists Information Company and Contemporary Visual Arts Network England (CVAN) commissioned BOP Consulting to investigate how visual arts workers have been affected by post-Brexit regulations redefining our interactions with Europe.

Based on interviews with 25 visual artists and visual arts professionals, International Connections: The impact of the UK’s departure from the European Union on the visual arts sector [hyperlink] highlights issues ranging from rising transport costs to loss of access to European networks and development opportunities.

Julie Lomax, CEO of The Artists Information Company, says: “International work is back and we all benefit from it – as evidenced by member Sonia Boyce who won the Golden Lion at the Venice Biennale and six selected British artists for the Lyon Biennale.

“It is a testament to the high quality of UK artists and their work, and to the resilience of UK arts organizations overcoming the barriers documented in this report. Imagine what we could do with a little help. Let’s make it easier for our artists and arts organizations to work internationally so they can continue to benefit me, you and the UK.

Artists and galleries have taken a big financial hit

The average loss of income for a visual arts worker during the pandemic was just over £7,000. This financial blow has been compounded by the fact that trade between the UK and the EU is no longer subject to the free movement of goods. As Harry Beer of The Sunday Painter – a commercial gallery representing 12 artists – puts it, “it’s at least 20% more expensive to ship”. In addition, our sector must manage a complex set of post-Brexit procedures governing EU trade.

Transporting works of art to and from the EU has become complicated and expensive. Artists and galleries have the unenviable task of choosing between losing some of their competitive advantage in the EU market by raising their prices to cover rising costs or absorbing these new expenses and seeing their profit margins squeezed. Existing guidance on new procedures and costs for importing and exporting goods does not accurately reflect the processes visual arts organizations must now manage.

The experience of Hollybush Gardens, which represents international artists including Turner Prize winner Lubaina Himid, provides a good example of the new financial and administrative burden on small arts organisations. Gallery co-owner Lisa Panting says, “It’s easier when you have ax million in revenue, and you can go to an expensive tax lawyer. It’s more difficult when you’re a small or medium-sized business.

For the first time, Hollybush Gardens expects to have to consider where visual artists and artworks are based when developing their exhibition programme. In December 2019, the gallery returned many works of art to the EU to ensure that its EU-based artists would not face huge costs of re-importing their works in the future. This resulted in a reduction in the stock available for sale for the gallery.

Impressive volume of documents required

Hideyuki Sobue, a Japanese artist based in the Lake District, has experienced delays in importing his work to the UK from Paris due to the sheer volume of new shipping documentation requirements.

Many of his peers face similar difficulties and he fears that these costs and complications will discourage visual artists from participating in exhibitions in the EU. “A lot of artists and galleries, or art managers will be discouraged from broadening their horizons.”

Simple tasks such as ordering paint online are now very complex and an additional layer of unseen work and expense falls on an already precariously employed workforce.

Artist Giles Round says, “Buying something on the internet should be as easy as buying socks, so it’s a two-day thing with back and forth emails, setting up all these accounts etc. I had to pay more because they put an administration charge on all their UK orders taking longer.

And it’s not just independent traders who are having trouble. The Whitechapel Gallery, established over 120 years ago, has stopped selling books online to EU customers as a direct result of shipping charges.

Loss of European networks

Another important challenge is the loss of access to EU institutions and networks. As the Center for Cultural Value recently highlighted, networks play a key role in supporting the cultural sector through crises and helping to build resilience and solidarity.

Clymene Christoforou, executive director of visual arts producer, D6: Culture In Transit, says: “It’s not just about losing access to funding…we’re seeing fewer British faces and voices in positions across Europe outside of funding and outside of the political sphere.Within civil society, the British voice has been marginalized.

As existing connections between Newcastle and Nicosia disappear, new networks are emerging as organizations find new ways to engage with Europe. D6, for example, has set up a sister NGO in Cyprus to ensure the future of its work.

D6 initiates difficult conversations about European colonialism like Contested Desires, a transnational cooperative project that addresses colonial heritage and its influence on contemporary culture. Christoforou says “D6EU was not something we would have chosen to do, but we are now very excited about opening new doors and new avenues of collaboration”.

Call to action

CVAN, as a founding member of the Visual Arts Alliance, specifically calls for a series of actions to be taken:
● New funding models to help visual artists and organizations engage in creative and economic exchanges between the EU and the UK.
● Knowledge exchange opportunities to share best practices on post-Brexit international exchange work.
● Support for pilot projects such as Arts Infopoint [] facilitate the international mobility of artists.
● Corporate investment in visual arts SMEs to provide new opportunities and profile international work.
● Industry representation on advisory bodies such as the National Advisory Group on the UK-EU Trade and Cooperation Agreement.
● Accessible government advice for artists, scholars, museum professionals, exhibitors and businesses working or exhibiting in the EU.
● Appointment of a commissioner for freelancers to defend the contribution of these artistic workers to the UK economy.

The dual impact of Brexit and the pandemic is unprecedented and requires such urgent action from the arts, funders and government.

Şenay Camgöz is Communications and Campaigns Manager at the Contemporary Visual Arts Network.

Virtual galleries selling fine art through an app Mon, 20 Jun 2022 13:45:35 +0000

Physical art exhibitions allow you to enter the gallery room and enjoy the artwork at a specific time in a specific location for a limited period of time.

But now you don’t need to go to a gallery to view and buy artworks if you are too busy with work.

All you have to do is download the YouAdMe app on your smartphone and go to the Angkor Art category and you can buy dozens of things there.

“Angkor Art has its own category in the ‘Shop’ section of YouAdMe,” said Zhi Ying, commercial director of YouAdMe, a social e-commerce platform company that operates in Singapore, Cambodia and the Philippines.

She says the name YouAdMe is derived from the words You-Advertise-Me. “‘You’ the consumer helps ‘I’ the business owner to ‘Advertise’ the company’s products and services based on your own experiences.”

According to the company, YouAdMe is a mobile application that allows creatives or artists to showcase their works and connect with a wider audience through a unique digital structure that supports them in a digital gallery setup with networking. , marketing promotions and logistics coordination.

People can find Angkor Art in any of the categories in the “Shop” section of the app, according to Ying.

The Angkor Art Movement 2022 is a national campaign to support aspiring artists in Cambodia and enable them to flourish through physical and virtual exhibitions, competitions and workshops.

“Taking advantage of the rise of digital technology, the Angkor Art movement is making the process of discovering emerging artists and purchasing artwork by Cambodian artists accessible to art lovers around the world.

“Before that, starting an art collection seemed beyond the reach of the general public, with auction houses monopolizing the mainstream market for fine art. Now the movement is reshaping the rules of supply and demand,” Ying says.

Angkor Art’s goal is to contribute to the revitalization of the local art scene with the combined efforts of presenter MSQM ZTH – a Cambodia-based property developer – and international partner Frasers Hospitality.

“Different types of consumer products are available on the YouAdMe platform. The Angkor Art category specifically showcases all kinds of artwork produced by local artists,” she says.

One of the many artists selling their artwork in the Angkor Art Shop on the platform is Sou Kimsan. He said it was a first for him to exhibit his art on an online platform since he normally hung it on gallery walls.

“It’s amazing, but it still feels strange to me that my works are on this international platform,” says Kimsan, who has more than 10 oil, watercolor and acrylic paintings for sale at the Angkor art shop.

A man views artwork for sale through the app on June 15. Hong Menea

“Now social media has more influence to promote products – including artwork – I think this platform can show Cambodian art not only locally, but it also allows people around the world know what we’re doing and helps grow our art scene,” the artist told the Post.

Another local artist, Teang Borith, who does unique depictions of faceless Apsaras, said he had never known how to sell art online through apps and it was also a first for him, apart from selling via Facebook.

“Angkor Art is just an online store – like other online stores – but it sells all types of art. I’m interested in this platform because people can see it all over the world,” said Borith, who also has 10 paintings on the platform.

YouAdMe aims to have over a hundred original artworks available in its stores by the end of the month. There will be a variety of different types of artwork across the range of mediums, all of which will be captioned with a description and price.

“By the end of this month, we will have 156 artworks available in our Angkor Art category and we aim to have 100 artists on board by the end of the year,” Ying said. “There will be popular products such as digital prints as well as acrylic, oil and watercolor paintings. You can also find products created using a variety of other mediums such as Giclée prints as well as painted wood and even skateboards.

She says the online exhibition features artwork submitted by local artists who have joined the Angkor Art movement.

“Any artwork you see on the platform will contain information about the artist, their inspirations, and if you’re interested, a link to purchase the physical product,” she says.

According to Ying, the physical exhibit for Angkor Art 2022 is in collaboration with Frasers Hospitality. It will be a meticulously curated collection of works by Cambodian artists on display at Frasers Capri by Fraser’s 88-room property in Phnom Penh when it opens in October 2022.

Local artists can also create their own shop or gallery on YouAdMe and then upload as many artworks as they want to their shop with additional information about each artwork so fans and potential buyers can learn more About them.

“Potential buyers can browse all artworks in the Angkor Art category on the YouAdMe platform and click on an artwork to learn more or purchase it,” according to Ying.

She says the YouAdMe platform acts as a bridge that connects artists with art buyers. The buyer can purchase any product directly from the artist’s store on the platform.

While an online art store is convenient because people don’t have to travel from home, it also comes with some challenges, similar to other online products for sale.

For example, being online means there are limitless options of endless competitors. Also, with works of art, they don’t always have a good idea of ​​their proportions.

“But we’re optimistic that art buyers and collectors are becoming more digitally savvy. So it’s much more common for them to turn to digital channels to explore new art as well as the latest updates from the local art community,” says Ying.

With an online art store, she says, there is also the opportunity to reach an international audience without being tied down by a physical space. She thinks it’s inevitable that artists and art houses will need to establish and strengthen their online presence in the future.

“And on YouAdMe, artists are usually responsible for their own shops, so you can connect directly with the artist and chat with them to learn more about their art.

“Ours is also a trusted platform. We have made establishing credibility and ensuring quality our core business and main focus since YouAdMe was launched,” says Ying.

Can NFTs help stop art piracy? Sat, 18 Jun 2022 11:00:00 +0000

Quebec artist Gaëtane Dion sells elegant nature paintings and colorful illustrations of female faces. Although she sells her paintings from her studio, her work can also be seen all over the internet.Roger Paquette/Document

The career of Quebec artist Gaëtane Dion can be considered a resounding success: not only does she sell her elegant paintings of nature and her colorful illustrations of female faces from her gallery-workshop in the Eastern Townships, but her work is also visible all over the world. the Internet. Many online galleries and art blogs include him on their pages, you can browse a book dedicated to his art, reassemble one of his works as a digital puzzle, and until recently you could even order a reproduction. by Gaëtane Dion printed on canvas. look like a real painting. The only problem is that Dion herself has not authorized any of these uses and does not profit from them.

“It’s shameful,” Dion said, describing several websites that appear to have pulled samples of his paintings and drawings from his own site. “It’s a flight.” Some just use them to fill their content and attract eyeballs; the one that offered reproductions of his images on paper or canvas withdrew his work in February after an artists‘ rights society sent him a legal letter.

Canadian visual artists say this kind of piracy is rampant in their field, where unscrupulous operators offer framed reproductions, digital “paintings” and t-shirts featuring works they don’t own the rights to. Sometimes the original artists are credited; other times watermarks and signatures are removed.

“It’s a mole. It’s everywhere,” said Toronto copyright attorney Paul Bain. “There are microaggressions all over the internet and you can’t control them all. .”

A painting by Gaëtane Dion.Roger Paquette/Document

Museums have a simple solution: most release low-resolution reproductions of artworks in their collections specifically to discourage unauthorized reproduction of copyrighted works. (In Canada, images of artists who have been dead for over 50 years are in the public domain, a number that will soon be updated to match the American standard of 70 years, so people can reproduce these works as they see fit. wish.) But for living artists or commercial galleries trying to sell contemporary art from their websites, the images should be large enough to be appealing, and as the copyright holders, it is up to the artists themselves to control infringements.

Indigenous artists are particularly affected by numerous examples of pirated art appearing on t-shirts sold for Orange Shirt Day, an issue that became particularly acute last year after the discovery of unmarked graves at the former boarding school Kamloops Indian, who added attention to the Sept. 30 event.

“I started using social media as a marketing tool; this is how I share my work. I have to post it,” said Hawlii Pichette, a Mushkego-Cree illustrator from London, Ont., who has seen images of the free coloring pages she provides to teachers used on t-shirts. She says she is aware of nine different online stores that have stolen her work. “I have to look like a hawk.”

Individuals often say it’s just too much work to hunt down all infringing websites, most of which operate overseas, and send them legal takedown notices. Artists’ rights advocates are discussing other solutions, wondering if the blockchain technology behind NFTs so hyped in the art world could actually help artists control their imagery by including digital signatures.

“I’m optimistic about the technology and what it can do,” said Roanie Levy, president of Access Copyright, a Canadian organization that licenses the work of authors and artists. “But I’m also very careful that the technology is developed in a creator-friendly way so that it doesn’t leak out and we end up having to put the toothpaste back in the tube.”

In theory, artists can mark a file containing their work, whether digital art or a reproduction of a physical piece, as theirs exclusively by saving it with a timestamp on a blockchain, an inviolable database. It’s the technology behind headline-grabbing NFTs, which some artists and musicians are selling for millions. (NFT stands for non-fungible token. Fungible assets, such as currencies, are divisible and interchangeable; non-fungible assets, such as real estate, are not. Tokens enforce the uniqueness of non-fungible collectibles and from original art to digital files, which could in fact be reproduced endlessly.)

But NFTs can be expensive to manufacture and require some know-how. Worse still, many are already subject to their own ownership disputes as unscrupulous players flood a booming market. Artists complain that OpenSea, the largest NFT marketplace, is full of examples of outright plagiarism or piracy, where sellers offer NFT art to which they do not own the rights. In the music industry, where artists see NFTs as a way to raise money from fans, there have also been many complaints. In February, a new platform called HitPiece offered NFTs of what appeared to be recordings available from streaming services, much to the chagrin of musicians who had never been asked to license their songs for this use.

“Blockchain is not a silver bullet, especially when it comes to piracy. Artists will need to continue to be vigilant to see if their work is being used without permission,” Levy said.

To help artists, Access Copyright has worked with the Representation of Canadian Artists, Copyright Visual Arts and the Regroupement des artistes en arts visuels du Québec to develop a platform called Imprimo, where artists can catalog their work, exhibition history and their biography for a small fee. It offers the artist two levels of blockchain protection, recording both their claim to an artwork and a digital signature, a system that allows artists to authenticate their artwork so buyers know that they get authorized examples. A QR code links to representations of an artwork and a timeline shows its journey – the all-important story of its provenance as it changes hands.

All of these security features may not prevent hacking of images taken from other sites. What they do, however, is help create a marketplace where consumers would consider blockchain-registered authentication as a basic requirement before purchasing art.

Not everyone is convinced that the system will work. Lou-ann Neel is an Indigenous artist and arts administrator from British Columbia who has also had her work appear on orange t-shirts without her permission or signature. She is skeptical of Indigenous artists joining the platform and primarily wants to see tougher laws.

Canada’s copyright law “has no teeth,” she said. “You can tell people to stop but there are no repercussions.”

Meanwhile, Lucinda Turner, an activist from Vancouver, would like to see a registry dedicated specifically to Indigenous art. She’s not indigenous, but has worked to combat foreign counterfeit carving on the Northwest Coast, and thinks blockchain could be particularly useful in the secondary market, reassuring buyers they’re getting the real thing. . She scours the Internet for unauthorized uses of the works of 40 Indigenous artists she has volunteered to represent and sends takedown letters under the US Digital Millennium Copyright Act. Last summer, after the discovery of unmarked graves at the Kamloops boarding school and with Orange Shirt Day approaching, she was sending up to 30 letters a day. “I find it hard to keep up but I feel compelled to,” she said.

Across the country, Dion can empathize as she takes a break from pursuing counterfeit websites in Spain, Denmark and Russia, and prepares for her new exhibition at the Brompton Cultural Center in Sherbrooke, Quebec. There, at least, she can be sure that no one will lift her paintings from the walls.

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Lake Metroparks Amateur Photography Contest Offers Fascinating Glimpses of Area Landscape and Life Wed, 15 Jun 2022 17:36:14 +0000

Create it, and they will come?


Art lovers won’t take much interest in your work unless you show it somewhere first. Fortunately, there are plenty of local opportunities to do so. Participating in art exhibition competitions is the easiest way to present yourself.