And it’s time for a new podcast episode! This month we bring you Deborah Carruthers, with Sydney Lancaster, to talk copyright.This is a live recording of a talk we held in early May at TRUCK Contemporary Art in Calgary, so don’t keep hitting yourself for missing it! It’s right here. Take notes and learn how the slippery business of copyright applies to you as an artist.
This is Deborah’s second appearance on the podcast during a live talk and for good reason. Her experience in the field of cultural policy is extensive and this on top of a thriving personal art practice as well. And Sydney Lancaster, our current president, has been a advocate for artists rights in Alberta and Canada for years and years and we were so happy to have her here to offer her support and advice. Thanks for them both for coming from Quebec and Edmonton respectively for this talk!
As a bit of a liner note, I think it’s important to highlight a recurring theme for artists asking about copyright: YOU NEED TO GET A CONTRACT! As an organization dedicated to fighting for artists rights and the socio-economic wellbeing of arts and culture workers of all stripes, there is still very little we can do in specific copyright situations if there is no contract to speak of. Student artists, self-taught artists, established artists, emerging artists, curators and gallerists, community organizers: GET A CONTRACT!
For more information about copyright, visit Copyright Visual Arts here: http://www.carcc.ca/en/main
This episode was recorded and edited by Graeme Dearden at TRUCK Contemporary Art (http://www.truck.ca/)
Intro music: “Outsider’s Paradox” by springtide (www.springtide.jp), accessed through Free Music Archive.
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The second in last week’s Calgary PD talks happened at TRUCK Contemporary Art with Tim Belliveau of the Bee Kingdom glass art collective. Tim did a great job of using the story of Bee Kingdom’s journey into the public eye to explain the essentials for marketing yourself as an artist.
The structure of Belliveau’s talk (part lecture and part slideshow) ended up providing information that, like Watson’s talk, expanded upon a lot of the basic information that artists hear when going through art school or looking up information on marketing for artists. Many artists have already heard advice like: take all the opportunities you can or go to lots of events in your community, but through descriptions of the Bee Kingdom’s journey from Western Canadian craft fair artists to speakers at international exhibitions and glass facilities, Belliveau took the old advice and honed it.
One of the things I found very interesting specifically was how the Bee Kingdom developed through taking advantage of what was available to them. One of the most important aspects of “putting yourself on the map” is seeing what unique opportunities are available to you and how you can utilize them to do things like find exhibtion or studio space, or land a job, or collaborate with figures in your community. For example, the Bee Kingdom had access to a piece of real estate that was perfect for setting up their glassblowing studio, so they utilized before they were even out of college. That studio has been the cornerstone of the collective’s operations ever since.
I personally think one of the best pieces of information provided was the Bee Kingdom Self-Defense Sale (made by Ryan Marsh Fairweather and Kai Georg Scholefield), which summed up some of the most essential tools needed to succeed within your artistic community: