Superflex - Printmaking as Creative Tool in the (Re)mix

Thanks to all for an interesting start to the seminar this afternoon. To recap where we left things, our primary concerns are whether and how printmaking functions as one of Lessig's "Creative Tools" in your practice, and how, by using of printmaking in a provocative way, Superflex's use of printmaking (as a means of challenging limiting definitions of intellectual property, of subverting markets,etc.) relates to your own engagement with printing as a discipline.


Here are some links for you to follow up in preparation for Superflex's visit on Tuesday, January 26.

I mentioned the film Rip: A Remix Manifesto in class. It's a broad overview of many ideas that came up in the Lawrence Lessig Lecture we watched in class. You can learn more about Lessig's Creative Commons by following this link.

In talking about a context for Superflex, I mentioned the Koons v. Rogers case and the 2 LiveCrew vs. Roy Orbison suit. The essay on 2 Live Crew is especially interesting. And, or course, it's good to keep the guidelines for what constitutes "fair use" before we get too fired up about a specific example.

Finally, I will be adding a "readings" page to the class website to distribute things in PDF form. I should have the chapter from Hillel Schwartz's book, The Culture of the Copy, up this weekend. These should help frame a discussion of Superflex, and no doubt additional ideas will surface at their talk Tuesday evening.

I will be adjusting the syllabus to reflect the group's interest in talking about launching a career. I propose that we use the February 26 catch-up date to talk about four chapters from Calvin Tomkins' book, The Lives of the Artists. We'll each cover one chapter, focusing on how the artist being discussed got started. Okay?