I need to make sure my ideas aren't as elaborate as they have been in the past. I need to stick to guerrilla filmmaking techniques for the time being until I have a dedicated team.
I have to decide if I want plain backdrops with the subject of the film denoting a specific message OR busy sets which clearly narrate a specific storyline.
1,2,3 / Stan Douglas - The Secret Agent (film stills; 2015)4 / Installation View, Victoria Miro
Andrew Thomas Huang - Interstice
“Probing the illusive boundary itself, Interstice presents the veil as a self-contained magic trick: a shapeshifting second skin loaded with potential energy to manipulate identities and temporal-spatial dimensions that would otherwise be rendered immeasurable in its absence. Interstice is an attempt to pass through the veil that obscures our collective vision to reach a space in-between. An interstitial space."
Relatively important for my practice to include a skill set I often overlook during projects. Using photography will allow to me to be able to present work with full and concise narratives and aid my aspirations in becoming a skilled cinematographer.
|Building the freestanding screen|
I had gotten so comfortable using the ready made screen in the film and video room that the possibility of creating my own rarely crossed my mind. I decided to weigh up my options and see if creating my own screen would benefit me in the long run. After speaking to the technicians, I found out that using video paint and creating a board using plywood and mdf would probably best suit my requirements for 16x9 screen. With the assistance of my dad, I was able to measure up and build my own freestanding screen. The only thing that needed to be done was altering the projectors view to face my screen instead of the screen built for the film and video room. My screen plus the video paint made a huge difference in quality and vibrancy for my video which is something I am very conscious of, especially if I want to approach this interim show with a sense of professionality.
Building/setting up was one of the many thing that had to be done but ultimately the goal is to present a show so it needed to be advertised. I took up the task of creating the poster for the interim show which included the rooms/spaces in which work would be displayed as well as the date and the show number. I also thought it was fitting including everyones names on the poster so people had a good idea of whose work would be viewed on the day.
Artist international IP right:
-ownership, real property
-personal property/move able property
-intellectual property (creativity): ownership of the idea even if it's not physical
Copyright/le droit d'auteur
Concept: (invited during the industrial revolution) - government makes money aswell
'If you make the work, you are the author and therefore have rights over the work'
Digitally- "good artist steal" - piccasso
Proactive right - reproduction and reproduce of work that has already been made in many others forms than the original (only the other
Reactive rights - rights to react to if any other person uses your work in other forms. In most cases they want a fund out of the work once it has been ripped off (permission)
"Digital technology over work by sighning work and can be linked back to you by phensuc science."
THE LAW DOES NOT PROTECT YOUR IDEAS
Dushop 'urinal' -no copy right there as the object is not the art it's the idea that's the artwork (as to why there are so many copies)
If work is massed produced it is not designed to be regarded as fine art
Designers/ jewellers - if it massed produced by 50 less and hand made it can still be protected in terms law of fine art
(Crafmonship, hand made, limited)
Legally original- the work you have made has not been derived from some bodies else's work. (Something you have made, design and idea)
-substantially derived (when held alongside the original it has no simerlaraties)
Film and music/sound art are some of the art that have rights and need permission to be presented to the public as the soul reason of creation was to be presented to the public
-film & video
-drama/play right (drama is literature with stage directions (according to the government)
-sound recording (industrial copyright)
-note: performers (has to right not be be recorded and if are there must be a legal contract that agrees that they be allowed to be recorded)
Public art comes into freedom of panorama
25 November, Pricing Artwork | Nick Kaplony, Art Quest
PRINT / PHOTOGRAPHY
Discount individual prints for a whole order.
Establish what you’re selling
Think about selling as an installation/dvd
If you’re selling digital file, retain a backup copy to replace any complications with file.
The rights to reenact a performance, debris left after the performance, video evidence on the performance.
EDITIONING - A series of work being sold.
A way of getting work distributed widely.
- Decide on the number in the edition
- Number in the edition dictates price
- Usually an odd number
- Once decided this number is fixed (bad practice to extend edition)
Loophole, significantly different version of the same image
Print as you sell.
- Tests of work before edition run begins
- Usually 2 Artists proofs
- Keep your artists proofs
If you want to have an exhibition, it will be a good value for your career to keep proofs
- Regardless of where its sold, keep it the same.
- Don’t undercut your representative (collector/gallery)
- Consistently rise throughout your career
How to Establish Your Price
- Material Costs
- Hourly Wage ?
- Leave some room for negotiation. Don’t drop your prices
- The only way is up
Collectors tend to be willing to pay no more than £1k for work at BA level and around £2,000 for MA work.
Factors to Consider + Compare
- Years in the business
- Professional accomplishments
- Major group or solo exhibitions
- Residencies in the UK and overseas
- Profile of your partners and organisations you work with
- Your reputation
- The increasing quality and complexity of the work you do
How/When to increase your prices
After a major group show with significant
Artists Bill of Sale
- Place of sale
- Title of work
- Description of work.
- Buyer’s name, address and telephone.
- Terms of payment
- Copyright: remains with the Artist.
- Signatures: Artist (at least), Buyer (if wiling; if not. Artist signs alone and gives the Bill to the Buyer anyways keeping a file copy)
- Care instructions, possible degrading over time