Copyright Lecture

Bad Artists copy; Good Artists steal – Pablo Picasso

We had a talk today about copyright and what it means for us as artists, designers and photographers.

For Information on Copyright Designs and Patent Act of 1988

HMSO Gov UK     or   Patent

  • Copyright comes into effect as soon as it is fixed for example, on paper, on film or a sound recording.
  •  It is referred to as Intellectual Property.
  • Copyright is separate from the ownership of the physical artwork
  • Copyright protection in the UK is automatic
  • you may need to prove that you were the first to create the work
  • Copyright last the creator lifetime +70 years from publication,  lifetime +50 for sound recordings and life +25 years for typographical
  • You can assign copyright for a set number of years, or give away complete copyright
  • Granting a licence is the best way

Licences

You would grant for a particular use of a painting

  • Exclusive – you will not allow anyone else to reproduce
  • Sole – you can use but no-one else
  • Non Exclusive – you can use the image and you can also licence others to use it.

Considerations within your own artwork

  • There is no copyright on ideas, names or colours
  • Incorporate images which are no longer in copyright
  • 1988 act states, if a work is incidentally included in artistic work, it will not be an infringement

You can register copyright with the following:

Copyright Service

IP Lab (Intellectual Property Specialists)

 

 

April Live Project – Kids workshop

For this latest gingerbread group workshop at Mostyn gallery, I decided to get the kids to make optical illusion cubes. In preparation I downloaded a cube template from the internet, as the ages of the children ranges from 7 – 15 I decided that I would prepare some of the patterns ready, but to also take some blank templates so that the older ones could design their own if they wanted to.

 

 

I had already prepared this when I visited the Herbert Gallery in Coventry before Easter, The gallery had a free activity set up for children where they could make optical illusion pictures. They had striped paper and some circular designs printed on both paper and acetate. As I’m always aware that some of the children work quicker than others, I thought this idea would compliment my cubes workshop. I also printed off a couple of Bridget Riley’s designs to show them.

 

 

Again the children really seemed to enjoy the activity,  a couple of the designs were a little bit complex for a couple of the younger children, they were getting confused by which shapes should be coloured. We got around that by me putting a dot in the right place for them.  The younger ones were all keen to use different colours, whereas the older ones preferred to just use one colour and white. The cube activity took longer to complete than anticipated, so we didn’t have time to do the 2nd activity.  This could be done at the next session, but I would need to add another dimension to it for it to keep them busy for a bit longer.

 

I’ve got to know the children who attend these workshops,  I work along side of them and we have a chat whilst we’re working. I try to guide them to do what they want to within the workshop, without influencing them too much. I like to see them studiously working on a project that I have arranged for them and this is something that I would like to pursue after graduating, possibly on a self employed basis.

Source Graduate

Source Magazine Source is a quarterly photography magazine, available in print and as a digital edition  it offers photography graduates an opportunity to submit a selection of images which will maintain a permanent online presence.

Submission Requirements

  • Eight images and a brief text introduction.
  • Your contact details and a link to your own website.
  • A listing with details of your Graduate exhibition venue, date and times.
  • The work is arranged by course group and remains on the Source site permanently – so it’s accessible long after you graduate.
  • Searchable by genre to enable audiences to locate work.

The following are the images which I have submitted

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I used the statement which I had written for my interim exhibition as a starting point for the text which was submitted, this had to be shortened considerably as it was restricted to 120 words.

My work is a personal narrative of childhood hopes and dreams, my daughter has become a representation of a younger self. Becoming a parent is a stark reminder of the passage of time, with the realisation that life is short, giving thought of lost dreams and forgotten pleasures.

The use of the lensless cameras is important, as it is reminiscent of a nostalgic past. The soft focus gives a dreamlike quality which adds to the atmosphere and the light leaks and flare implies to me hope of regaining those innocent childhood aspirations. The slow shutter speeds which allows for the blurring of moving figures produces ghostlike apparitions creating an ethereal mood which gives a surreal mix of fact and fantasy.

Marketing

Source promotes Graduate Photography Online across different platforms and media:

  • Press Release sent to our database of Picture Editors and Gallery Curators.
  • Prominent link on the Source website home page.
  • Posting in the Source Photo Blog.
  • Via Source’s Twitter (@sourcephoto), which has over 25,000 followers.
  • Via the Source Facebook Page.
  • A full-page Graduate Photography Online ad in Source Magazine.

There is a cost of £28 to submit your work, that also includes a year subscription to the magazine. I felt this was worth paying in order to promote my work across such a wide spectrum of social media and sources.

The site is now live with Graduate 2016 submissions, so I’ve included the Link to my page

 

Future First Workshop

I volunteered to hep with the workshops which were held during the Easter break as I’d enjoyed the previous workshop that I’d helped with. I hadn’t heard about Future First, so this is the information that we were give about the project

Future First is part of a wider project working with children who have spent some time in local authority care, have caring responsibilities, are from a black, Asian, minority ethnic background, or would be the first generation in their family to attend university. The aim of the project is to raise the aspirations and confidence of these children.

The children were all in Year 10 and came from a number of different schools, from North Wales to the North West. There were 3 workshops, printing, drawing and photography, I was allocated to help with printmaking. I was a bit apprehensive about this as I haven’t done any printmaking for a long time.

 

Applying the first colour…

The workshop was in screen printing, the screens had been prepared ready so that each child would have the opportunity to print a 2 colour image. The technician spoke to each group about screen printing, giving them a basic overview and demonstration of the process, then let them try their hands at printing their own copies.

 

Applying the 2nd colour…

On the whole, most of the children seemed to enjoy the workshop, they seemed to like the fact that they were printing a character who they were all familiar with. There were a couple who didn’t really seem to be interested at all, which I felt was a shame as it was a really good opportunity for them to have a taster session in a new process.

 

The finished print.

blog

Overall, I felt the workshops were really positive, I thought it was a shame that the last workshop of the day was shorter than the first two. This was a knock on effect of the schools arriving later than anticipated, so was beyond the control of the workshop leaders, it just meant that the last group didn’t get as much of a chance to experience the process.

On a personal note, I enjoyed refreshing my memory with the screen printing process, I also had the chance to have a go myself in the first workshop. The children who attended were all pleasant and well behaved, and it has made me think more about working with this age group in the future.

What do Artists Do All Day

BBC4 showed this programme on March 13th 2016, this episode featured photographer Dennis Morris

Executive Producer: Richard Bright
Producer: Marisa Privitera Murdoch

The programme follows the Jamaican born photographer as he undertakes his latest commission of photographing a new all female punk band, whilst he also reminisced about some of the highlights of his career which included documenting what life was like for bands such as Bob Marley and  The Sex Pistols whilst on tour.

He spoke about how he was seduced by the darkroom at a very young age, creating his own darkroom in his bedroom, taking bookings for photo shoots using the phone box outside his home which he used as his contact number. He also had a yearning to become involved in the music business which lead him to spend a lot of his youth at local gigs and record shops.

His first big break came before he was 17 when after approaching Bob Marley to ask if he could take a photo, he was invited to join the band on tour. He was to immerse himself into the world of the bands, doing studies of what life on the road was really like, from the monotony of the tour bus to the wrecked hotel bedrooms!

I enjoy this programme, and have seen a number of episodes with different artists, what I particularly like about Dennis Morris’s episode was that he took the film crew to places which he felt were significant to his early career. The programme was scheduled to coincide with the opening of his new exhibition at The Institute of Contemporary Art, in London, which will feature some previously unseen work. I think that the programme at 30 minutes, was a little short,  I would have like to have seen more of him during his working day, and it would be interesting to see some of his personal work. It has however, introduced me to a successful contemporary photographer, whose work I have looked at more closely since watching the episode.

 

Curating an exhibition

When curating an exhibition,  it’s important to consider the whole aspect of the exhibition prior to arriving at the venue to put the work up

Considerations

  • The appearance, theme and aesthetic of the exhibition
  • The minimum size of the wall/floor area you need for the exhibition
  • How the exhibit will be mounted. What are the materials being used, and are there any health and safety factors to be considered?

Installing the artwork

  • You will need to install or oversee the installation
  • The arrangement of a show is vital to its success
  • Aim to lead the viewer in a natural order around the pieces
  • Create unusual juxtapositions in the arrangement
  • Seek a second opinion
  • Allow yourself plenty of time to install work correctly
  • Be prepared

For further information regarding putting on and curating an exhibition

EmptyEasel.com

About Careers – How to curate

 

 

 

 

 

Degree Show Research

I have put my name down for the Curatorial group for the final degree show, as there won’t be much happening until closer to the time of the show, I have done some research into putting on an exhibition.

Having an exhibition of your work is an opportunity to not only show your work but to also get the chance to speak to people who have come to see it. There is a lot of information available on the internet to guide you through putting on an exhibition, I have listed some important factors to bear in mind.

  • Theme –  what is the exhibition about?
  • Plan of action –  think about what you want to accomplish and how you are going to do it.
  • Venue &  date
  • Time Frame – what activities need doing and by when
  • Marketing – get peoples attention, press release, social media, create flyers, posters, email, printed invitations, local radio
  • Curation –  positioning of work requires careful consideration, plan what goes where
  • Opening night / private viewing – as well as friends and family it’s important to invite people who could be important to your future, curators, journalists and gallery owners
  • Maintain Interest – Keep promoting, organise events at your exhibitions, gallery tours, discussions.

Once the exhibition is over it is important to evaluate  – Look at what went well and what didn’t, look at areas for improvement.

 

How much am I worth?

Setting prices or deciding how much to charge for services is something that I haven’t really thought too much about, but a lecture that we had following Xmas break spelt out everything which should be taken into consideration when costing our work.

Your work is worth what people are prepared to pay for it, but also, as much as you are prepared to do for it.

Costing work – Look at the costs you incur throughout the year, which should include the lifestyle which you aspire to, and calculate what you need to earn to meet these costs.

The biggest expense is generally accommodation and all associated bills and living expenses

  • Rent/Mortgage
  • Heat/Lighting
  • Water
  • Council Tax
  • Insurances
  • Food
  • Clothes
  • Entertainment/Holidays

Other things to consider

  • Transport -own car or public transport
  • Work equipment -computer, software, camera, printer including consumables
  • Work expenses – promotion, website, phone
  • Legal Fees – Accountant, indemnity Insurance, professional body fees

This would give a figure for expected expenditure, and a minimum amount required to earn per annum, tax and national insurance is approx 22% of gross earning so that would also need to be budgeted in.

Based on your figures,  allowing for 4 weeks holidays a year, you work out a monthly, weekly, and hourly rate. You should factor in any additional costs should a job require any additional expertise.

NB to maintain business, you should double your calculated hourly rate

Useful sources of further information

Following on from this lecture, I calculated how much I should be paid for a recent piece of work for my studio practice module, and it seems that I need to do a few things to be able to earn a living as a freelance artist.

  • Make some cut backs with personal living expenses
  • Work quicker, therefore more economically
  • Spend less on consumables

This was a useful exercise which made me think about how long I sometimes spend on a piece of work, and has also made me think about looking for other paid employment which could supplement any freelance work that I undertake

 

 

 

 

The Venture Programme

Following the meeting with Kirsty Badrock, I signed up to attend The Venture Programme organised by Careers & Employability department. The programme is made up of different events, I chose to attend Collaborate, this is designed for people who have a business idea. The event was held last week over 2 evenings, Monday 8th and Tuesday 9th

Since doing the workshops at Mostyn, I started to think about how I could do this and earn a living at the same time. My business idea was to host children’s birthday parties, I have enjoyed the workshops and enjoy working with children but don’t really want to go into teaching.

There were mentors at the event who talked to the group about how they started their business, then we had the opportunity to tell the rest of the group what our business idea was. Although this was a bit daunting as I felt my idea was a bit sketchy, it was really useful as the rest of the group gave feedback on your idea, it offered another viewpoint. It was suggested that I could extend the workshop idea to an older age range as well, possibly in Old people assisted accomodation.

During the 2nd evening we made appointments to speak to various organisations, such as representatives from a bank , an accountants, an insurance broker and a legal clinic. The mentors from the previous evening were also there so we could speak to them on a one to one basis.

Some of the main pointers which I will need to bear in mind

  • Create a business plan
  • Continue to be self reflective
  • Build up a reputation
  • Be aware of Google ranking
  • Consider promotions
  • Is there a gap in the market?
  • Is the idea unique? If not think of new ways to deliver
  • Regulations of working with children
  • Advertising
  • Insurance – Public Liability
  • How much I need to earn
  • Start up costs
  • Set yourself time bound goals
  • Registering with HMRC

Above list is a starting point for myself, and things which I will need to consider on an ongoing basis. Meeting the experts was really useful as they had ideas which I hadn’t considered, and also gave me generic advice regarding setting up your own business.

 

Guest Lecturer – Mireille Fauchon

 

Mireille Fauchon came into Uni last week to speak to the photography students. I was interested to meet her and hear her talk about her books as I am very keen to present some of my work in a book format for my end of year show.

She asked us about the sort of work we did, which was unexpected but also useful, the more I speak about my work, the clearer it becomes in my mind what it is that I want to say about it.  Mireille then went on to tell us about her education and work history, she calls herself an educator and a practitioner, working from her own studio and also as a guest lecturer in a number of universities.  She realised in her 2nd year of her degree course that she was a storyteller by nature with a special interest in local history specifically the familiar, where strange or unusual have happened.

 

Mireille showed us some slides of her previous work, she also brought some of her book projects including The Highgate Vampire, which was part of her degree work. She spoke in detail and with obvious passion about this project, and about her work generally.

 

Some sound advice offered…

  • Immerse yourself in everything to do with your subject
  • The work that you’re doing now could shape the rest of your career, don’t dismiss any works
  • Being experimental is key
  • If working on a book, consider an some sort of introduction so that the viewer is able to read the images
  • Don’t fall into a style or aesthetic
  • Think about your concept, learn the skills to transfer these ideas
  • Enter competitions, you could win!

I found Mireille’s visit really interesting, it was really beneficial to be able to handle her books looking at how they had been constructed, and to be able to ask specific questions about the process of making the books.