Tamara LeRoy

AAD 550

Transmedia Field Guide: Proposal

Mural Art in Public Spaces in Eugene, Oregon

Introduction

During my time in Eugene, I have enjoyed watching murals be painted and created, and have been comforted by their constancy. Eugene has an ever-increasing number of murals in public spaces, both street-side and located within public buildings or private businesses. It is part of what makes Eugene feel like home. They are funded privately, by donation, or with grants or public funds.

Opportunities for mural work are specific, and have a unique set of considerations. For outdoor muralists, they would include things like the weather and graffiti, just to name two. For indoor muralists working in public spaces, they often need to allow for these spaces to continue to operate on a day-to-day basis, which include talking with people, answering questions while working, and safety considerations like the use of ladders and step stools, or keeping tools and paint confined to a small, inaccessible area, etc. Further, common painting practices like “prepping the canvas” take on a whole new scope and scale.

Muralists also have considerations regarding the public reception of their work. Funders have desires and wishes which translate to constraints, but public perception and reception also plays a significant role in composition. The audience for murals is not people willingly entering a gallery space with the expectation that they will be viewing “art” and that they may or may not like it. The muralist’s audience is simply The Public. Although constraints are generally thought of as limitations, in this case the lack of limitations on who might be viewing the image, when coupled with the public nature of the art also acts as a constraint.

Although often viewed as static, murals are often dynamic, and a reflection of their creators and their environments. Buildings change ownership, taggers tag, and murals need maintenance, or suffer the ravages of time. At times, artists themselves recreate their murals for varying reasons; to update, to incorporate current events, to place into practice newly acquired techniques, and more.

One example of this is the mural located at 4th and Monroe in the Whiteaker neighborhood by Kari Johnson. This mural has reached iconic status in Eugene, and can easily be found online quickly by doing a basic search for “Kari Johnson Mural.”

Having lived in the Whiteaker neighborhood for several years in close proximity to this mural, I have had the experience of watching the mural be painted and repainted several times, including the major re-design of certain spaces and elements, while others remain static. Because this mural is rich with symbolic meaning, these changes are not only aesthetically impactful, they change the tone and timbre of the mural as well. This also means that people who view the mural only once are having a different experience than people who are viewing the mural over a time period that spans one or more of these structural changes. (Photo credit: karijohnsonart.wordpress.com)

Another example is that sometimes murals are simply painted over or removed. Several murals that were in the downtown bar formerly known as John Henry’s were painted over when the business was sold and reopened as a sports bar. Another small mural that used to be in the Horsehead Tavern, also located downtown, was accidentally painted over during a repaint.

In addition to these dynamic factors, there are also events associated with the local mural art world. Neighborhood art walks often feature muralists as hosts, or murals as part of the walking tour. The Lane Arts Council has, in the past, hosted events such as a bicycle tour of murals as well, and other organizations have arranged semi-private walking tours of local murals.

Field guides to murals, which tend toward static, often do not reflect this dynamic nature. Further, I believe at this point that creating a comprehensive guide to murals in Eugene is too large of a task for this project, and owing to the changing nature of the art, quite possible impossible. With those things in mind, I hope to explore combining the use of online open source transmedia tools (such as Google Maps) to create an online space where artists and audiences alike can upload photos and information in a crowd-sourced manner.

In creating this field guide, I hope to capture the dynamic nature of the work of muralists, and make it easier for audiences to engage the art in real time.

Sources

“Kari Johnson.” Kari Johnson. https://karijohnsonart.wordpress.com/ Web. 10 Feb. 2017.

“Mural Bike Tour.” Lane Arts Council. http://lanearts.org/mural-bike-tour/ Web. 18 Aug. 2016. Web. 10 Feb. 2017.

“Murals & Public Art.” Eugene, Cascades & Oregon Coast. https://www.eugenecascadescoast.org/arts-culture-entertainment/murals/ Web. 10 Feb. 2017.

Dan. “The Murals of Eugene Oregon.” The Murals of Eugene Oregon. http://eugenemurals.blogspot.com/ 01 Jan. 1970. Web. 10 Feb. 2017.

Chalk Art Worlds in Oregon

Douglas Wiltshire

AAD 450 Art in Society

Professor Flood                                                                                                         2/9/17

Chalk Art is my choice of art world for my transmedia guide. Chalk art is not limited to Eugene but rather it is done all over the world. I will focus on the Eugene- Springfield area. There are multiple events that happen each year in this area that revolve around the use of chalk.

Springfield holds an annual Chalk Fest art event in the middle of August. They convert a paved area that is used for their open-air farmers market near Main Street. Competitors are given a section of sidewalk that measures 6’X6’ to design their own mural on. You must bring your own chalk and a healthy imagination. The event begins at 9 in the morning and ends at 4 pm in the afternoon. At this time, the winners are announced after the judges have voted. For the adults, 1^st place is $600. Second place is $400 and 3^rd place is $200. For the youth (12-17 years old) 1^st place is $300. Second place is $200 and 3^rd place is $100. The community loves it and it gives children and adults a chance to see an unusual art media in person.

The next is “Color Me Rad” which is a fun run that starts from Valley River Center, follows the bike path along the Willamette River and ends back at Valley River Center. It begins with event planners throwing chalk bombs at competitors and then spectators throw chalk bombs at runners all along the event route finishing in one huge chalk bomb fight at the very end.

Chalk art has to be one of the easiest ways for kids to play games with one another.                 Hopscotch “I can spell my name” is a great game for small children and they can learn to spell their name at the same time.

Water balloon bull’s-eye is a lot like lawn darts with out the trepidation of your child inadvertently stabbing their sibling, friend or your neighbor with a 3/8’s” projectile.

Sidewalk Spirograph! Just think of the original spirograph only X’s 10! Available at Walmart along with their giant 128 color chalk set for 17.99.

Chalk Art Puddles. Who says you can’t play with chalk in the rain! Chalk makes great rainbows when swiped through a small puddle of water. There are many more games I could list here for children and adults alike. Playing with chalk is a great way to get your kids outside and undertake a tactile craft that is boundless.

There are also numerous ways to blend your own colors for exploding chalk bombs.

http://www.growingajeweledrose.com/2013/05/play-recipe-sidewalk-chalk.html

Just make a target on the driveway and watch the fun begin!

Chalk art can also be done “Guerilla” style. In warmer climates such as Los Angeles chalk art has become a pastime with local artists and the chalk will not be washed away like in it is in more temporal climates such as the Pacific Northwest. Because chalk is temporal in nature the laws are not the same for “tagging” with chalk as they are for spray paint.

David Zinn has made a name for himself as a street art illustrator. He has done most of his street work from his home in Ann Arbor MI. He too has pushed the limits of the law by creating a piece on the side of a Federal building before he knew there were restrictions. He emphasizes that most areas are public space and can be used as a canvas. He considers what he does as “ethereal art” as well as anamorphic art. He started it so he could be outside. One of his mottos is, “create what makes you happy, right now”! This picture is of “Sluggo” opening spring.

http://zinnart.com/2014/10/every-day-a-new-slate-some-thoughts-on-etherial-art/

The internet is filled with Youtube videos on how to make things with chalk or drawing with chalk or great ideas for using chalk.

In St.Louis there is a group called, “Chalk Riot”. One of their mottos is, “moving at the speed of culture”. From their website you can hire a chalk artist to come into your business and make signs or murals and just captivating visuals for every surface. They also promote community art events and it is a great way to spotlight this type of talent to the masses.

http://www.chalkriotart.com/chalkboardmurals

http://http://www.codexfoundation.org/book-fair-and-symposium/book-fair-and-symposium-235

http://www.bookbindingnow.com/

http://www.booksinthewild.com

Bronwyn Buffalino

Art World Practice

Feb. 8, 2017

Books as works of art is a dynamic art world. It has many participants from papermakers, book binders, printmakers, publishers of private presses to artists who create fine art prints and two or three-dimensional art books. The audience that engages in this art world are private collectors, public and private libraries, museums, specialty bookstores, podcast interviews and enthusiasts of all ages. Colleges even offer degree and workshops in book arts. Book fairs have been organized mostly by nonprofits to help bring this cooperating network of artmakers to exhibit their works in a public venue.

Participants in the book arts are found all over the world creating and collaborating on their crafts. This art world relies on the different specialties that help create a final product. Papermakers skills help produce quality paper for the specific need of being printed on with or without a press. Printmakers rely on the papers quality when using ink to get the right amount of saturation into the paper. The presses used to transfer images and letters are needed because the pressure of the press controls the outcome of how the ink transfers onto paper. Publishers use letterpresses to add unique fonts and symbols to the art book. Bookbinders complete the process crafting in the unique presentation of an art book. Some art books require more than gluing or stitching a front and back cover with a spine. It may need a special designed sleeve, portfolio or box to enhance its shape and size while preserving it for decades.

The shapes and sizes of art books is what makes the art world buzz. Artist who create use many two and three-dimensional styles to evoke the eye. Their design is considering the response of what they want from their audience. It may purposefully include touching and picking up the art book as a tactile engaging experience. Some pieces are the opposite, where gloves need to be worn to protect its beauty and longevity. Art books can be made one of a kind or a numbered edition sharing the books value with the audience.

The audience just as diverse in this art world, too. Private collectors have been building their own unique library specifically for art books. Some see it as a valuable art form worth investing money in. Public and private libraries and museums have a budget to acquire art books and are building very large collections. Specialty bookstores allocate money for their rare book collections. Collecting art in book form has led to podcast interviews created to share all the aspects of this art world. Having access to this opens the range up to enthusiasts of all ages.

Having a vast age range in a book arts world has many programs allowing the individual to choose a specific part of it engaging. If a person wants to learn how to create paper, print, book bind, etc. workshops are accessible to teach the process. Colleges like Mills college in California, offer a master in fine arts in book arts. These visual practices have inspired nonprofit groups to organize book fairs to house a cooperating network of this vast collective of artmakers who exhibit their works for the public to engage.

One book fair that is held biennially in Richmond, California called Codex has a collective of artmakers from 26 countries. The fair is open for four days and open to the public. Housed in this venue is where all the action happens. This art world melds together thousands of individuals engaging in a visual experience. There are 219 tables set up with exhibitors and it takes days to engage and go through the experience. The interaction of the audience with the exhibitors can be brief or so intriguing that time flies from stopping at just one table.

Engaging the audience with the story of who, what, where, when and why an art book came into existence is  a very important factor for this art world. From the conception of the art book which can be solely the artist or a collaboration with others and what it takes to create it, relies on many participants who are skilled in each part of the process has a large part in the reception. These are all important choices that encapsulate one book and help preserve its future existence for other generations. As the art world evolves one book can become a representation for a genre that fits in perfectly with standards and sensibilities of who promotes it.

The Art World of Murals in 4J Schools,  Molly Pierce

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Ellerbe, Hames

Art in Society

02/08/17

The Art World of Portland Skateparks

Skateboarding is a fascinating subculture, closely related to counterculture, tightly intertwined with lifestyle, sports, and art. The subculture began humbly in Southern California and now spreads to enthusiasts in remote areas of the globe. Moreover, the geographical location heavily influences both the type of skateboarding and related art elements that occur and persist. Furthermore, a variety of participatory groups including those that do not necessarily engage in actual skateboarding, consequently augment the sport with complementary artistic aspects. Observing the various consistent art contributions and creative facets of the sport provides acknowledgement of skateboarding as an Art World.

Although the Art World of Skateboarding is expressively displayed through numerous means, performance of maneuvers is the defining facet. These maneuvers are particularly different due to location and individual style, just as maneuvers would be in a ballet. Through performance art, a moving canvas medium forms in the shape of a Skateboard Deck. Decks’ have been adored with artwork or graphics since the inception of the sport during the fifties. Specifically, not until the late seventies and early eighties did decks become a medium artists and skaters wanted to use to convey a message or expression. Consequently, countless works have adorned decks since the adolescence of modern skateboarding. Additionally, many of these works and decks can be found displayed on the walls of homes, museums, and in particular The Skateboard Museum (Skatelab) located in Simi Valley, CA. Progression drives documentation, leading to substantial photo and video documentation of skateboarding and the lifestyle that follows. Graffiti Artists, such as Basquiat and Justin Bua, began by following skateboarders to adorn decks with painting but also moving ahead to explore access and locales of their future canvases. During the progression, starting on the west coast of the United States, local governments began to construct parks for the participants to congregate. Particularly, these were created as deterrence from participation in the lifestyle on the streets and to give a home to the growing populous. Parks have changed since their inception, now designed by professional artists and skaters, becoming an Art World unto their own, presenting a canvas for skaters, artists, and documenters to pursue their work.

Since the late eighties skateboarding has seen a great resurgence from the dark ages of the mid eighties, and is embraced by communities across the world. Skateparks began appearing in California during the skateboarding reception of the seventies and early eighties. These parks were largely created from the influence of a group of pool skaters known as the Zephyr (Z-boys) Skate Team out of Venice, CA. Legendary Skater, businessman, and documentarian, Stacy Peralta, started and gained fame with the Z-boys. Peralta embraced his knowledge gained from his Z-boys experience to co-found Powell-Peralta Skateboards, which provided a platform to create the mythical Bones Brigade, the team for Powell-Peralta. In particular, the Bones Brigade shaped modern skateboarding, with members such as Tony Hawk and Rodney Mullen, and lifestyle advertising, with the creative, albeit loose genius, of Craig Stecyk. They had permanent and lasting effect on skateboarding, but a massive influence on skateparks, popculture, and the surrounding communities, shaping the lifestyle and pop culture as we know it in the present. Additionally, this influence led to the resurgence of skateboarding and skateparks after the mid eighties destruction. The resurgence began after a time skateboarding took to reflect and create an identity. Moreover, with the resurgence, skateparks began to take a more fluid and modern form. As time has progressed some parks have stagnated, while others are constantly changing and morphing to keep pace with the progressing skate culture and the progression of the surrounding communities.

(https://skatefriendlypdx.wordpress.com/skateparks/)

Skateparks have become central in a variety of settings in communities across the world. The Art Worlds exist through a variety of neighborhoods, and geographical locations, with each location determining how the park is designed and built. With the birth of skateparks on the west coast, the Pacific Northwest quickly became a mecca for skateboarding and the creation of skateparks. Portland is an epicenter for both, being known as “the skate capitol of the world”(“Portland Skateparks”, n.d), with more skateparks per capita than any other city in the United States. In fact Portland made an exciting move, “in 2000, the City Council enacted City Code Section 16.70.410, making it legal to skateboard on most city streets” (“Your Guide”, ND). Portland exemplifies being a skatepark city by embracing the Art World shaping Burnside Skatepark. Burnside Skatepark resides under the eastside of the Burnside Bridge, and began as a “DIY” park created by local skaters. At present the park still exists to this capacity, but receives funding from the city and holds a Board of Directors. Burnside and its’ twenty-five year existence in Portland represent how the Pacific Northwest, and in particular Oregon, has embraced skate culture and the creation of skateparks in communities. Consequently, the embrace of skate culture throughout Portland has created an Art World in skateparks, which is unique, sustainable and fosters the various facets of skateboarding.

(https://www.pinterest.com/hammylonsdale/diy-skatepark/)

(http://www.museumofthecity.org/project/portland-skateparks/)

Portland currently has a master plan presented that will count for nineteen built and maintained City Parks and Recreation Skateparks. Of these nineteen, fourteen exist in the Portland Metro Area, and six are part of the Parks and Recreation Master Plan. Furthermore, the Art World of Skateparks can be found through a variety of transmedia mediums. In the exploration of this Art World, I will look at the variety of aspects that make up the Art World. Who are the participants at the parks? How do they vary at each park? Are the facets of skateboarding represented at each park? How do these tell the story of skateparks across multiple forms of transmedia? These questions are pertinent to displaying how skateparks in Portland are an Art World. I will explore these questions and how the Art World of Skateparks in Portland is conveyed through transmedia storytelling in a field guide.

Videos 

https://www.youtube.com/watch?v=uRnInCfarVU

https://www.youtube.com/watch?v=R0uL9jCdnHk

https://www.youtube.com/watch?v=8Ro0JMhEq3s

https://www.youtube.com/watch?v=8mXTdwZe6_4

https://www.youtube.com/watch?v=gyDRv0nuyvM

https://www.youtube.com/watch?v=t2_ZN41fTyM

Instagram

https://www.instagram.com/burnside_skatepark/?hl=en

https://www.instagram.com/commonwealthskate/

https://www.instagram.com/evergreenskateparks/

Websites

http://www.skateoregon.com/Portland/Portland.html

http://commonwealthskateboarding.com

http://www.skateportland.org

Skateparks

http://www.kimsmithmiller.com/adventures-in-film/burnside-skatepark/

‘Zine

https://issuu.com/travelportland/docs/fsbs__skate_guide_

References

Your Guide To Skateboarding In Portland. (ND) Retrieved from: https://www.portlandoregon.gov/transportation/article/551265

Portland Skateparks. (n.d.). Retrieved February 08, 2017, from http://www.museumofthecity.org/project/portland-skateparks/

Melissa Schenter
AAD 550
Art World Description

Introduction & Frameworks

The field guide I create will illustrate street performance, or “busking,” as an Art World. I am interested in the ways in which performance- specifically audience and performer interactions- can transform urban spaces into meaningful places. I’m curious to learn about performers’ perceptions of the value of sharing their art with strangers, and wish to highlight examples of spontaneous, non-formal, performances. Going into this topic, I have a number of questions, including:
-What types of urban environments are more conducive to engaged street performances?
-How do street performances interrupt the daily lives of people in public places?
-What are the most prevalent tropes used in street performance?
-What types of performance are most common amongst buskers?

I plan to use a combination of performance theory, concepts of liminality, anthropological writings on “place” and “space,” and Creative Placemaking as a lense through which to conduct my own research for this field guide. In general, I will also be looking at studies done on the presence of art in public places, and any ethnographic works covering street performance.

History & Literature

In beginning my research, I’m in awe of the deeply rooted history that street performance has in human society. However, because of this, it is seemingly difficult to trace its origins. According to Cohen and Greenwood’s book, “The Buskers: A History of Street Entertainment,” it appears that the earliest known street performers date back to the Roman Empire, and occurred as a part of agricultural festivals. They go on to note that, near the time of Caesar’s rise to power (around 48 BC), there was a trend in street performance in the form of poetic and musical satire to challenge those in power. They continue along the timeline, highlighting the important role that Church minstrels played in the fifth and sixth centuries AD, noting that “(w)andering minstrels were not only entertainers and newscasters; they also spread ideas, different ideas from those traditionally disseminated from the pulpit.” (Cohen & Greenwood, 1981. p. 24).

As far as reading up on the origins of street performance, I’ve only scratched the surface. I certainly have my work cut out for me. In reading articles analyzing the current state of busking in society, there are a couple trends that have been touched on. Simpson outlines the issues of finding histories of musical street performance, saying: “Much of the existing written history of street music takes the form of letters written by those complaining about the nuisance street music posed for them, and in the records of the debates that took place in the development of street music legislation.” (Simpson, 2015. p. 2).

Issues of legislation in use of public spaces was not something I’d considered before I began my reading. I plan to incorporate this issue into my research framework, exploring each locations specific legislation, as well as ask street performers how this effects their art.

Methods

For the street performance that I research in Eugene and Portland, I plan to use participant observation, interviews, conduct internet research, sketch images and maps, and record audio clips.

To include street performers outside of Eugene and Portland, I will reach out via social media or email, and invite them to participate in my collection of data in any capacity they feel comfortable with. For instance, this may involve asking them to provide:

-Video footage, audio clips, or photos of their street performance experience
-Letters or blog entries
-Annotated maps from places they’ve performed

I believe strongly in using collaborative methods in conducting research on any given community. I prefer for voices from people within the Art World I’m studying to help in defining it.

With this particular Art World, it would be incomplete if I didn’t also include audience voices and reactions in my findings.

Geographically speaking, I plan to look at street performance in Eugene and Portland (assuming that my transportation permits it). However, I am also experimenting with reaching out to other street performers in different states and countries, to provide a more global and complete illustration of busking as an Art World. By doing so, I hope to create a backdrop for the research I do in Eugene and Portland. I expect that street performance in Eugene looks quite different from that of other, larger cities. It will benefit the viewers of my field guide to get a sense of what street dynamics are like more generally in each of the locations I gather data from, so that it is evident how busking fits into the context of each city.

Media Outlets

I plan to use a website as the base of my field guide, and on top of that, communicate my findings through the following mediums:

-Field notes (or written journal) of my observations & experiences
-Field sketches of my observations & experiences
—These images will then be utilized to create a mini graphic companion (both physical, and digitally scanned)
-An audio library- MP3 files of street performers and soundscapes
-Youtube videos to help capture all the examples of busking, such as:



-Transcribed interviews with street performers, in a blog-like format
-Maps with annotations included by artists, highlighting their busking experiences in different geographic locations
-A gallery of photos taken by myself, as well as buskers in the field
-Links to performers’ professional websites, and other resources such as “The Busking Project”: https://busk.co/
Foreseen Challenges

Street performance occurs spontaneously, and are often times difficult to predict or track. The work I do in observing the street performers in Eugene and Portland will be skewed by my own availability and capabilities of finding them. I’ve begun searching for instances of street performance, and have realized that being at the right place at the right time will be a large factor in creating this field guide. In order to combat this, however, I will attempt to ask Eugene and Portland locals for tips on where to seek out buskers. If I am not able to find enough in-person examples, I will draw upon more sources outside of Oregon, and utilize my pre-existing networks within
The biggest challenge I face with this Art World is its breadth. My goal will be to create clear definitions and analyses of street performance, collecting a variety of different experiences and examples, recognizing their differences and various contexts, yet ultimately highlight the commonalities across each of them.

Conclusion

I’m ecstatic to continue my research and exploration of street performance as an Art World. Though it may be dauntingly vast, I look forward to reading all of the rich content on performance in public spaces, and to gather real stories from audiences and performers alike.

Bibliography

Cohen, D., and Greenwood, B. (1981). The Buskers: A History of Street Entertainment. David & Charles Inc.

Simpson, P. (2011). Street Performance and the City: Public Space, Sociality, and Intervening in the Everyday. Space and Culture, 14(4) 415-430.

Simpson, P. (2015). The History of Street Performance :’Music by Handle’ and the Silencing of Street Musicians in the Metropolis. City of London Festival lecture.

Bywater, M. (2007). Performing Spaces: Street Music and Public Territory. Cambridge University Press, twentieth-century music 3/1, 97-120.

Jordyn Fox

Feb 8^th 2017

Appropriation Art: Artist As Support Personnel

Artists have various support personnel that are involved in the artistic process. We consider a painter to be an artist, this painter may have many support personnel that aid in the artistic process such as the manufacturer of the canvas, or the manufacturer of the gesso that primes it, whoever mixes the pigments to make the paints (unless this is done by the painter him/self), the maker of the brushes, and potentially even assistants that help in the painting process. In nonvisual arts there are many more support personnel to consider who aren’t considered “artists” and aren’t given credit for the work as a whole. A question that comes out of this is, “How little of the core artistic activity can a person do and still be an artist?”[1]. This question becomes more complicated when looking at appropriation art.

“Appropriation is the intentional borrowing, copying, and alteration of preexisting images and objects. It is a strategy that has been used by artists for millennia, but took on new significance in mid-20th-century America and Britain with the rise of consumerism and the proliferation of popular images through mass media outlets from magazines to television.”[2]

In the process of appropriation art, the artist turns another artist into support personnel.

“Marchel Duchamp… by insisting that he created a valid work of art when he signed a commercially produced snowshovel or a reproduction of the Mona Lisa on which he had drawn a mustache, thus classifying Leonardo as support personnel along with the snowshovel’s designer and manufacturer. Outrageous as that idea may seem, something like it is standard in making collages, entirely constructed of other people’s work”[3]

There are many issues that arise within this art world of artists appropriating other artists works to create their own. One is that of copyright.  The United States passed the Copyright act of 1976 that protects artists and gives them certain rights:

“Section 106 of the 1976 Copyright Act generally gives the owner of copyright the exclusive right to do and to authorize others to do the following:

• To reproduce the work in copies or phono records;
• To prepare derivative works based upon the work;
• To distribute copies of the work to the public by sale or other transfer of ownership, or by rental, lease, or lending;
• To perform the work publicly, in the case of literary, musical, dramatic, and choreographic works, pantomimes, and motion pictures and other audiovisual works;
• To display the copyrighted work publicly, in the case of literary, musical, dramatic, and choreographic works, pantomimes, and pictorial, graphic, or sculptural works, including the individual images of a motion picture or other audiovisual work; and
• In the case of sound recordings, to perform the work publicly by means of a digital audio transmission.

In addition to copyright, certain authors of works of visual art also have the rights of attribution and integrity as described in section 106A of the 1976 Copyright Act.

It is illegal for anyone to violate any of the rights provided by the copyright law to the copyright holder.”[4]

These laws, specifically the point that states “To prepare derivative works based upon the work;” are meant to protect the use of an artist’s work. Although the copyright rules are extensive the length of the copyright is defined:

“A work that is created (fixed in tangible form for the first time) on or after January 1, 1978, is automatically protected from the moment of its creation and is given a term of copyright protection enduring for the lifetime of the artist plus an additional 70 years after the artist’s death.”[5]

This makes imagery considered “public domain” after a certain amount of time to where artists can not hold onto these rights.

Artists can get around some of the copyright laws by using images that are considered public domain. Artists also have gotten away with some with using other artists work if they have changed enough on the original that it is discernably different from the original, or by gaining permission from the original artist.

For my field guide I will be looking at different examples of appropriation art. Through the lens of support personnel I will look at the support personnel of the original piece, and then that of the appropriated work. I will look at different levels of appropriation from changing almost nothing, to changing everything about the piece. I will also touch on some of the ethics of these works, and if any disputes from the original artist came about, or any copyright issues. Some of the artists I will specifically look into are: Marchel Duchamp using Leonardo DaVinci as support personnel, Andy Warhol using the Campbells Soup Co, Sherrie Levine using Walker Evans, and Robert Raushenberg using William DeKooning. Other examples will also be explored. This will touch on the idea of originality, and what it takes to be considered an “artist” when you are using another artists as a tool to make art.

Videos:

https://www.youtube.com/watch?v=9IZhzUDSBTY

Works Cited:

“Copy Basics.” Artists Rights Society. Acessed February 08, 2017. Htp//www.arsny.com/copyright-basics/.

“MoMA Learning.” MoMA | Appropriation. Accessed February 08, 2017. https://www.moma.org/learn/moma_learning/themes/pop-art/appropriation.

Sfmoma. YouTube. April 27, 2010. Accessed February 08, 2017. https://www.youtube.com/watch?v=nGRNQER16Do.

            [1] Art Worlds Pg. 19

            [2] “MoMA Learning.” MoMA | Appropriation. Accessed February 08, 2017. https://www.moma.org/learn/moma_learning/themes/pop-art/appropriation.

            [3] Art World Pg. 19

            [4] “Copy Basics.” Artists Rights Society. Acessed February 08, 2017. Htp//www.arsny.com/copyright-basics/.

            [5] Ibid.

[embeddoc url=”https://blogs.uoregon.edu/artinsociety2017/files/2017/02/Art-World-essay-2hjyecq.docx” download=”all” viewer=”microsoft”]

FieldGuildPaper-xl33ba

Brisen Smith

Bill Flood

Art in Society

Field Guild Study

The Art of Makeup

Makeup, in the most basic terms, are cosmetics applied to the face for the purpose of covering, enhancing or altering the human complexion and appearance. Cosmetics such as these have been used since the time of the Ancient Egyptians, when ore and lead had been used to create dramatic facial contours on those wealthy enough to afford it. Likewise, today we use this same concept to portray beauty and wealth. Two things commonly held on the same pedestal.

I have chosen to do my field guide on makeup for several reasons, not only the great artistic abilities that have come from the craft of art, but the representation and importance we as a society have put behind the simple name of it. Ever girl, even as a child, can’t wait to finally get their hands on the stuff. Growing up and watching their mothers in the mirrors it almost looked like a work of magic. Even from the times of an innocent child are we captivated by it’s ambiguous powers. The beauty we relate to these simple cosmetics can almost be as abrupt as brainwashing when one truly thinks about it. Seeing all the hub we put up with the topic, the movies, actors, and of course the several variations of cosmetic advertisement we pass on a daily basis, it’s hard not to let it take over a part of our life. Growing up in a world like this leads to many extractions of makeup culture and different artistic trends within that culture.

There are several different styles and traditions following the culture of makeup, all dependent on your place of living as well as those of the specific ads and propaganda you’re exposed to. For example here in America alone we have several different styles of makeup. Hollywood is a large contender in the styles of makeup viewed and applied by American prospectors. Styles such as winged eyeliner, smokey eyes, and bright and vibrant lipstick can be traced back to Hollywood. A lot of these original “Hollywood” styles can still be seen today, especially its ideas of contour.

These different styles of makeup and the methods behind the madness are all easily accessible by several tutorials posted on social media sites such as facebook, instagram, youtube and much more. This is a way that the art form can truly spread to younger generations of makeup designers. Just like traditional art forms, makeup is a way to express oneself individually. Young and old, male and female, all different kinds of people can relate themselves to the fine arts of cosmetics.

We still find ourselves relating makeup and appearances to status and wealth. Even within our ideas of makeup, we view certain ways that the makeup is wore to be associated to levels within society. Makeup appearing smeared or unfinished is degradable as it in a way represents yourself as well as where you are from. Being able to do makeup and do makeup well really embodies who you are as a person and where your place is among the social norm.  

Thinking about the makeup norms in one culture to the next is quite interesting. For instance American and Asian makeup cultures may appear similar but are actually quite different. In America the goal is to have flawless skin that is clear and smooth as porcelain while still being able to contour your cheekbones to portray strong features. Both things very desirable when thinking about ideas of beauty. Although in Asian cultures, having flushed cheeks on clean skin, as well as having fine detail around the eyes in hope to make the eyes appear larger represents youth and innocents as well as beauty which is very desirable among Asian men.

Makeup is not only a way to cover up blemishes or make your eye color stand out more, but a way to fully represent who you are as a person and what you believe in. Whether that be your social standing, your artistic endeavors, insecurities that you’re hoping to conquer, makeup is a widely used medium and has been for thousands of years. It is not just about looking pretty. Makeup is a form of art known by all, respected by many, and appreciated by few.    

https://www.pinterest.com/explore/old-hollywood-makeup/         

https://www.youtube.com/watch?v=sNyLjp46QaM

https://www.youtube.com/watch?v=DV623pepwH4

https://www.youtube.com/watch?v=dWuoUM7q5do