This week: Two features for the price of…well….nothing actually, but you get where I was going with it. First Richard talks to Attorney Scott Hodes, about his work with Christo and Jean-Claude, keeping public art programs honest, the Visual Artist Rights Act and more!
Then BAS India correspondant and Fullbright Scholar Tanya Gill checks in with a report of the 2013 India Art Fair, and tells us why it is totally different than last years fair.
Scott Hodes has been in active practice for more than four decades. As a corporate lawyer, he represents clients in sophisticated corporate transactions from structuring of corporate entities to financing at all levels from private placements to public offerings, and frequently, to counseling clients in merger and acquisition activities. He also handles complex financing transactions as counsel for a variety of large Chicago banks.
Mr.Â Hodes also practices in the field of art law and represents a number of prominent artists, dealers and collectors in all aspects of their business. He has published three books on art and the law, and has written and spoken extensively on this subject.
Mr.Â Hodes serves as a director of Richardson Electronics, Ltd. and a director emeritus of the Foundation of the Federal Bar Association in Washington, D.C.Â In 2007, he wasÂ elected a director of the Chicago Bar Foundation. He is a founding member and former chairman of the planning committee for the annual Mutual Funds and Investment Management Conference now sponsored by the Investment Company Institute.
Mr.Â Hodes is a recognized leader in metropolitan Chicagoâ€™s business community. Long active in bar, civic and political affairs, he was elected to serve three terms on the Democratic State Central Committee (1970-1982). He has served as co-chairman of the Illinois Attorney Generalâ€™s Advisory Commission and as chairman of Chicagoâ€™s Navy Pier Development Authority from 1988 to 1990. He has served as principal outside counsel to the Arts in Embassies Program of the U.S. State Department from 1991 to 1993. He was co-chairman of the Private Enterprise Review and Advisory Board of the State of Illinois from 1992 to 1994, and was appointed in 1994 by the governor and served as a member of the State of Illinois Savings Board until 2010.
Mr.Â Hodes was the national chairman of LAWBOOKS, U.S.A., a program sponsored by the United States Information Agency, and served as a member of the U.S. State Departmentâ€™s Advisory Committee on Investment, Technology and Development. He was counsel to The Harold Washington Foundation. Mr.Â Hodes is a founder and past president and a director of The Lawyers for the Creative Arts. He serves as a trustee and member of the Executive Committee of the National Museum of Mexican Art in Chicago, a director of the Chicagoland Chamber of Commerce, and as a consultant to the Frank Lloyd Wright Foundation.
Tanya Hastings Gill has mastered the age-old art of paper cutting in a contemporary context. She utilizes reflective color, shadows and open installation to engage the space with her hand cut paper creations. Gill has been a fellow at McDowell Artists Colony, an Artist in Residence at The Ragdale Foundation, an Affiliate at Headlands Center for the Arts and a recipient of the Individual Artist Grant from the Marin Arts Council. In 1997 she received her MFA from Cranbrook Academy of Art and in 1992 her BFA from the School of the Art Institute of Chicago. Tanya Gill is a devoted teacher of visual art. She has taught at the California State University of Sacramento, California; Randolph-Macon College in Ashland, Virginia; and at the School of the Art Institute of Chicagoâ€™s Contemporary Practices Department.
Tanya Gill has been awarded the Nehru-Fulbright 2011-12 Scholarship to conduct research and evolve her own artwork. Her focus is the intersection of Indian Contemporary Art and Handicraft. She is currently living in New Delhi, India, with her family.
**Please note, Atty. Hodes bio and headshot were perilously lifted from the Bryan Cave LLP website. Yes, we know we should have called and asked and yes, we know you could squash us like bugs. It’s 1:23 a.m. early Monday morning, we decided you’d rather sleep. Besides, we love you fine folks at Bryan Cave LLP. http://www.bryancave.com/scotthodes/
Don’t hurt us. If you need a sacrificial offering we’ll send Duncan over post haste.
Last month artist Shepard Fairey who is single handedly putting a team of lawyers children through college erected a mural at the Elizabeth Houston Associates construction barriers on the corner of East Houston Street and the Bowery. This happened to be in advance of Fairey’s Mayday exhibition at Deitch Projects and the City of New York has decided that the work is in fact anÂ advertisementÂ that violated zoning laws prohibiting advertising and that Elizabeth Houston did not have theÂ permit to erect a structure in the area. The city has issued a stop work order on the building being constructed behind the barriers until this has been resolved.
It would be interesting to have someone up to speed with public art zoning laws in New York City hash out the fine differences between the two. A hearing is in the process of being set for the violation. If found guilty of violating zoning laws, Elizabeth Houston AssociatesÂ will be issued a fine and ordered to remove the mural.
Nadia Plesner, a Danish 26-year-old art student, designed a T-shirt depicting a Darfurian child holding a Louis Vuitton bag with a Chihuahua on his shoulder in the vein of Paris Hilton. The image was printed on t-shirts to bring about increased attention to the plight of Darfur and the West’s insistence to trivialize or overlook the issues there.
In February of this year the Marc Jacobs run House of Louis Vuitton issued a copyright lawsuit demanding $20,000 a day for each day she continued to use this image and reimbursement for legal fees. Plesner is scheduled to meet with Louis Vuitton in Paris with her lawyer on May 30th since she refused to comply.
New York Mag has a interview with Nadia Plesner that makes for an interesting read.
While the House of Louis Vuitton is busy spending thousands of dollars suing her instead of capitalizing on the moment by making a donation in her name to charity and realizing that parody/caricature and non competitive market copyright have a considerable barring on this “copyright” case. May Bad at Sports suggest other parody related/for profit targets for their attention.
SNL Season 31: Episode 10 – Where a copyrighted Louis Vuitton like background was used to parody a sweet sixteen skit.
Every Editorial Cartoon ever made that has a Louis Vuitton related caricature – Newspapers used to be for profit industries at one time.
Paris Hilton – A living caricature of a human being who is regularly seen with a LV handbag.
Based out of the University of Wisconsin-Madison “The Onion” is one of the leading, if not now the leading weekly satire publications and has now seen fit to give the spiritual sequel to “The Kentucky Fried Movie” which if you have not yet seen let your fingers do the walking to the nearest phonebook and find a video rental place.
Pop artist Claes Oldenburg best known for his simple and iconic works of 4 story clothes pins and cherry laden spoons is appearing in court as one of the defendants in a lawsuit placed by the House of Mouse.
Back in 2003 the Disney Co. contracted Mr. Oldenburg, his manufacturers Carlson & Co (a San Fernando art fabrication company best know for building Jeff Koons “Balloon Dog”) and his partner Coosje van Bruggen to build a metal statue of a black bow and tie surrounded by a white wing collar to be placed outside the newly constructed Walt Disney Concert Hall in Los Angeles; a building which was designed by friend of the artist Frank Gehry.
Gehry personally promoted the idea of Oldenburg doing the peice and thought that a swanky collar and tie, looking as if they had been tossed on the sidewalk by some colossus, would sound a playfully artful keynote for concert goers and passersby. “Collar and Bow” as it would be called was contracted in May of 2003 for $2.2 million and scheduled to be delivered by Aug. 15, 2004. Donations of $1.85 million from Music Center patrons Richard and Geri Brawerman and $1 million from the J. Paul Getty Trust were expected to cover the cost.