Brand Adidas co-opts brand Art Basel; Brand Art Basel returns fire:
[Adidas] has been unjustly enriched through its unauthorized infringement of the ART BASEL mark [. ART BASEL is] suffering irreparable and indivisible injury and harm as a result of [Adidas’] unauthorized and wrongful use of the ART BASEL mark
More at The Fashion Law.
How can we reverse the fortune of the abandoned industrial centre? Wayne Hemingway on the value of creativity:
To some it might seem misguided to use creativity as a tool for social change. But when we really think hard about the history and current challenges of these post-industrial places, it’s absolutely the right approach. Each [Creative People and Places] project is taking what’s at the very core of a place – creativity and making – and is bringing together local people and artists to create art experiences that are relevant and connected to their lives and the places where they live. And it’s these art experiences – and the process of coming together to create and shape them – that are helping to redefine the identities of these places, create opportunities and make genuine social changes.
Like an oiled boomerang, Richard Florida returns:
“I got wrong that the creative class could magically restore our cities, become a new middle class like my father’s, and we were going to live happily forever after,” he said. “I could not have anticipated among all this urban growth and revival that there was a dark side to the urban creative revolution, a very deep dark side.”
Indeed, who could possibly have seen any problems with the Creative Class thesis any sooner than… say, a decade ago.
At least we still have culture-led regeneration to keep us warm.
In 2002, Chin-Tao Wu wrote,
Since 1990, the regular rehanging of the Tate Gallery collection […] has been sponsored by BP. For around £150,000 a year, a sum which can buy only two-and-a-half minutes’ commercial advertising on prime-time television in 1990, the BP logo appears all year round on the Tate’s large banners advertising the New Displays and on the front cover of the gallery’s publications.
After 2014’s order to reveal further details, 2015 saw the news that over a 17 year period, BP’s sponsorship had an average value of £224,000 per year.
In 2017, BP’s sponsorship will end after 26 years. 34 years of sponsorship of the Edinburgh International Festival are also at an end. Can the new sponsorship deal with the British Museum, National Portrait Gallery, Royal Opera House and Royal Shakespeare Company survive? 217 “arts and culture professionals, scientists and campaigners” hope not.
Opaque endorsements and intellectual property theft? With online friends like these…
…or rather ‘How YouTubers really make their millions’ at the New Statesman.
It’s January, so it must be time for the annual celebration of the value of the UK’s creative industries.
The UK’s creative industries are now worth a record £84.1 billion to the UK economy, figures published today reveal.
British films, music, video games, crafts and publishing are taking a lead role in driving the UK’s economic recovery, according to the latest Government statistics.
Strange (as always) to mention the creative activities with some kind of cultural or artistic bent, but not to flag up the ‘creative’ sector which accounts for almost half of that £84.1bn figure – ‘IT, Software and Computer Services’.
Every time Disney’s copyright on Mickey Mouse is about to expire, the law magically changes.
Mickey’s expiration date has been nudged forward from 1984 to 2003 to 2023 – a copyright term of 95 years. Will copyright last for over a century by the time Mickey’s next deadline arrives? More at Priceonomics.
Does digital reproduction drive down the cost of all cultural content to zero? Are artists doomed to penury in the 21st century? Steven Johnson in the New York Times Magazine suggests not:
Writers, performers, directors and even musicians report their economic fortunes to be similar to those of their counterparts 15 years ago, and in many cases they have improved. Against all odds, the voices of the artists seem to be louder than ever.
How to ensure enough men become soldiers? Daniel Defoe, 1704:
’tis as plain our people have no particular aversion to the war, but they are not poor enough to go abroad; ’tis poverty makes men soldiers, and drives crowds into the armies, and the difficulties to get English-men to list is, because they live in plenty and ease, and he that can earn 20s. per week at an easie, steady employment, must be drunk or mad when he lists for a soldier, to be knock’d o’th’head for 3s. 6d. per week; but if there was no work to be had, if the poor wanted employment, if they had not bread to eat, nor knew not how to earn it, thousands of young lusty fellows would fly to the pike and musket, and choose to dye like men in the face of the enemy, rather than lye at home, starve, perish in poverty and distress.
More thoughts on the nature of poverty in ‘Giving Alms no Charity, and Employing the Poor A Grievance to the Nation’.
Are creatives replacing artists? Does it matter? Bill Deresiewicz says:
When works of art become commodities and nothing else, when every endeavor becomes “creative” and everybody “a creative,” then art sinks back to craft and artists back to artisans—a word that, in its adjectival form, at least, is newly popular again. Artisanal pickles, artisanal poems: what’s the difference, after all? So “art” itself may disappear: art as Art, that old high thing.
More at The Atlantic.