The Deposition Of Richard Prince In The Case Of Cariou V Prince Et Al

One of the most memorable documents in the original court case Cariou v. Prince, et al., besides the deposition of Richard Prince itself, was a distorted, photocopied exhibit prepared by Patrick Cariou and a friend. It diagrammed nearly every instance where Prince incorporated Cariou's YES RASTA photos into his Canal Zone paintings. The Appeals Court apparently agreed, because in the important appeal decision which not only reversed many findings of copyright infringement, but also made an expanded argument for fair use, they made a similar exhibit. This book presents the information and images from the Appeals Court's Cariou v. Prince Appendix, grouped by painting. It also includes all titles, dimensions, medium, page numbers, and other citation information as applicable, for your convenient reference. It is an indispensable companion to Prince's deposition transcript, &c., as previously published. - Greg Allen, greg.org: the making of, Apr 2013 142pp, 6x9x0.3 in., softcover, unsigned, unnumbered edition

Essay by Perry Henzell A look into the secluded world of Rastafarians, a culture and religion closed to outsiders. With these bold portraits and landscapes, Cariou indelibly captures the strict, separatist, jungle-dwelling, fruit-of-the-land lifestyle, popularised by reggae legends Bob Marley and Peter Tosh. The book's release follows that of a collaborative reggae CD. With 105 tritone photos. '...the photos will stun you with the beauty of their locations and the poise and tranquillity of their subjects' - Newsday

Whose Book is it Anyway? is a provocative collection of essays that opens out the copyright debate to questions of open access, ethics, and creativity. It includes views – such as artist’s perspectives, writer’s perspectives, feminist, and international perspectives – that are too often marginalized or elided altogether. The diverse range of contributors take various approaches, from the scholarly and the essayistic to the graphic, to explore the future of publishing based on their experiences as publishers, artists, writers and academics. Considering issues such as intellectual property, copyright and comics, digital publishing and remixing, and what it means (not) to say one is an author, these vibrant essays urge us to view central aspects of writing and publishing in a new light. Whose Book is it Anyway? is a timely and varied collection of essays. It asks us to reconceive our understanding of publishing, copyright and open access, and it is essential reading for anyone invested in the future of publishing.

"Since the turn of the millennium, artists have been writing, and circulating their writing, like never before. The seventy-five texts gathered here--essays, criticism, manifestos, fiction, diaries, scripts, blog posts, and tweets--chart a complex era in the art world and the world at large, weighing in on the exigencies of our times in unexpected and inventive ways." -- Publisher's description.

Réponse de Greg Allen à la question si cet ouvrage est un livre d'artiste et si lui-même se considère comme un artiste : "For the shortest response, related perhaps to taxonomy or cataloguing, I agree to be described as an artist, though I generally avoid claiming this role for myself. There are a couple of variations of the books. The entire project can be considered a work of art. Some books, those ordered via websites like Amazon, which come directly from the distributor, are probably best considered as documents. When bookstores order books from me, I stamp them myself, and fulfill their orders. These could be considered a special edition, but not limited or numbered. A very few examples of the books have been prepared by me with a painted insert, and highlights/drawings. These are usually for friends, trade with artists, or, for sale in exhibition. I believe a pair of volumes like this was provided to a bookstore in Geneva recently, and if this is the particular set you are wondering about, they can certainly be considered artist books. The inspiration for this project was the unexpectedly substantive comments of a well-known artist who was compelled to discuss his work in a context beyond his control. Preserving and making the legal documentation available in an art context was certainly my goal, and however that is accomplished is fine : whether as criticism, art historical text, art, or performance. [I have so far done one staged reading of excerpts from Prince's deposition, and produced a unique hand-painted copy of the transcript for the collector involved with it.] A direct model for the books project was Martha Buskirk and Clara Weyergraf Serra's anthology, The Destruction of Tilted Arc [October Books]. That said, I intentionally opted for a facsimile approach rather than an editorial one because I felt that the aesthetic and informational elements of the court documents with their original formatting was significant, and I felt its absence in the Tilted Arc book. So in this way, the books were conceived as something more than just documentation. As you may know, a trade edition of Prince's deposition, designed beautifully by Lex Trueb, was published by Bookhorse.ch. I wrote the foreword for this edition and am credited as editor, and it is definitely the most traditional "book" version around. It is optimized to be read on a beach, which was not a factor I paid attention to for my original version. [I would say that Vol. 2 was created with even more aesthetic considerations, and as an appropriation and recontextualization of the highly specific aesthetic choices of the court system itself. It was also obviously intended to be and produced as a companion, or complement, to the original volume.] As for calling myself an artist, at this point, it's probably inevitable, and the easiest thing to do, but I still approach the question with ambivalence. I have spent a great deal of time in the art world as a "collector," and have long found that the implications of privilege and the power dynamic associated with collecting are problematic. But switching from collector to artist is not just a matter of trading one paradigm of credibility for another; it presents its own hurdles. So I am generally wary of presenting myself as an artist, even though I may be one of the few people who would see it as conflicted. I am also more than ambivalent about the claims of authorship or originality that seem so inextricably tied to the role of artist. For this reason especially, the Prince book project was a formative experiment in appropriation as a creative practice; it was still my book, even though I clearly did not write it. Over the last several years, I have realized that my blog and the projects it spawns constitute a practice; they don't just document one. Whether this results in objects that are immediately recognizable as artworks, or situations and propositions that question or evade this simple classification, the frame of artist and artwork is never not part of my process. I realized several paragraphs ago that this was too much information, and I went ahead with it anyway, so I hope you'll excuse any excess, and that you'll find the relevant information you need for your own purposes. It would please me greatly to know that you gave the books consideration, and I'd rather you use your own judgment to maximize their impact or reach than for me to be too doctrinaire about their status. If you have any additional questions or concerns, I hope you'll feel welcome to ask."

The strange story of Harvard's Rothko murals has become part of the legend of contemporary art. Staff at Harvard Art Museums' Center for Conservation and Technical Research oversaw repairs and remounting of these large yet fragil works in preparation for a major exhibition at the Arthur M. Sackler Museum in August 1988. They were removed from the dining room of Harvard's Holyoke Center where they had hung since 1963 (a gift from the artist), suffering from tears, stains, graffiti, and severe color shifts from exposure to sunlight and instability in the artist's materials.(Harvard University Art Museums)