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Greek Art and Art

Thank you for writing about the exhibit at the Belgravia. This is such a lovely sampling of such wonderful painting. I wish that Scene4 would publish more about the art world and especially about representational art. It does indeed thrive amidst the preponderance of that which passes for modern art.
Anee S. Waterson
read Andrea Kapsaski's article

Frida

Frida lives! And so does your review!
Mary Ann Whitney
read Renate Stendhal's article

Owning Picasso

Perhaps, though, he owns more or less than he knows: a "Picasso" from the agile hand of Elmyr de Hory? Unrecognized fake chef d'oeuvres of Picasso, Matisse, Cézanne, Renoir etc. still populate the museums and living rooms of the world. The greatest faker of the last century did not copy, he created the masterpieces. And he did so very fast. Have a look (again) at the amusing film-essay by Orson Welles, "F for Fake", meet the master painter and see him at work. You will also meet his Ibiza neighbor, the equally brilliant literary faker Clifford Irving, who not only wrote the invented autobiography of Howard Hugues ("Hoax") but also a biography of his friend and inspiration, Elmyr de Hory. And if you rent the additional DVD from Netflix you will learn that the fake Picassos have become a collectors' item in their own right. What is more thrilling these days: a Picasso on your wall or an Elmyr de Hory that even Picasso himself could not tell apart?

Renate Stendhal

read Arthur Meiselman's column

Dreamy Artwork

Visiting an Artist's Life - Khun Visoot's work is ethereal and seems to be in harmony with his surroundings. Nice writing.

Thom Lukas

read Janine Yasovant's article

Renate's Article on Frida

Lovely article, thanks for sharing and the splendid print of the pictures. Thanks.

Michel Ginster

read Renate Stendhal's article

Bonjour Kandinsky!

Wonderful article, both erudite and personal, and how beautiful these luminous paintings look (at long-distance) on Scene4's excellent screen. Pictures and text brought back a whole European era for me, with the memory of exhibitions in Hamburg, Munich, Paris, and early Kandinsky paintings that inspired my first serious poems as a schoolgirl. A marvelous surprise to find Lissa Tyler Renaud here.

Renate Stendhal

read Lissa Tyler Renaud's article

Balazs Szabo

Balazs Szabo is a great man and a great artist and a great example of how art flourishes when artists are free and people are free to experience their art. Thank you for portraying that and him.

George Draco

read Les Marcott's column

Balazs Szabo

Szabo is an inspiration. Hope his dream of an artistic community in Hillsboro, NC is realized soon.

Skip Holmgren

read Les Marcott's column

SS. Burrus

SS.Burrus is one of those hidden treasures in American art and especially in Native American art. She's probably better known in other parts of the world than she is here in her Native land. Thank you much for displaying her beauty.

M. Rindasas

see SS. Burrus' painting

Supawat Thonglamul

I have one of his paintings from a few years ago. It's enchanted you know, it keeps changing every time you look at it. Good writeup about him.

Toma Sendgrue

read Janine Yasovant's article

Supawat Thonglamul

Many thanks for your display of Supawat. His paintings are beautiful and I long to buy one soon.

Chendewan

read Janine Yasovant's article

Patrick Nagel

Great cover page. It's great to see the Nagel women again in all their chilling glory and those eyes. I don't think the iphone flickr crowd really knows how much he's influenced what they see and do. RIP Patrick, you're still with us.

Bill Rasterbaum

read the article on Patrick Nagel

Patrick Nagel

Thanks for this little retro on Nagel. Good to see. It's the eyes all right. Never saw anybody like that. Wish I did.

Allison Morley

read Patrick Nagel article

Polynesian Black Hole

Thanks for continuing to show the beautiful art of SS. Burrus. Even though this rendering doesn't do her art justice, it's still beautiful. As a Native American and an artist, she is a treasure.

Martin Timerzcac

view SS. Burrus' art

The Inner Dave Wiley

I've known Dave 65+ years, and in addition to all that was said in the excellent article in your December issue (the poetry and paintings speak for themselves), he is an astoundingly wonderful human being.  I have never heard him complain or criticize another person.  He is a joy to know.

Jack Rauh

see David Wiley's work

David Wiley

Always a pleasure, always a joy. Bravo, David.

Diane Armitage

See and Read David Wiley

The Muse

What a marvelous woman she was, Marie Laurencin. She began 100 years ago what is in full flower today. Karren LaLonde Alenier's exploratory of her is excellent and lovingly written.

Phyllis Mazik

read Karren Lalonde Alenier's column - The Steiny Road to Operadom

Marie Laurencin

Wonderful follow-up to your earlier profile of Laurencin and friends. Her beautiful portrait is an image for the times, then and now. Who is like her today I wonder.

Phyllis Mazik

read Karren LaLonde Alenier's column

Ms Sullwold's review of the Paley exhibit

Extraordinarily insightful analysis, not only of the MoMA Paley collection, currently on view at The Portland [Maine] Museum of Art, but also of the man himself. Critically impressive and intellectually canny are Sullwold's parallels between how Paley the business entrepreneur, built the CBS network with his intuititive understanding of demographics and taste, and how and why he, as an art connoisseur par excellence, acquired a unique and priceless art collection. According to Ms. Sullwold's review, Paley was a man who had his hand on the pulse of taste for both the modern art world and the dawning of multi-media entertainment and journalism.

Albert Black

read Carla Maria Verdino-Süllwold's review

Maurice Prendergast

I love his painting and Carla Maria V-S deserves much praise for reawakening and introducing awareness of this American master. She gives a beautiful review of his work and place in history. Many thanks to her.

Marie Perwitz

read Carla Maria Verdino-Süllwold's article

Renate Stendhal on Meret Oppenheim

I love your article, and learning more about Meret. I met her in the early seventies when I had written and sent her my article on The Women of Surrealism from THE FEMINIST Art Journal. She was so excited to tell me how right I was in critiquing the Femme Enfant concept, and how when she turned 30 the surrealist men who used to sit with her at the café,then left her alone because she was no longer "a femme enfant". I felt like everything I had studied just popped out of all the books right before my eyes. She was so friendly and so much fun. I met her another time, at her studio, many years later, on another trip, and she was again an incredible woman and artist. Thank you Renate for being able to read the things we who don't read German or Swiss German can't read, and for filling us in on more about Meret. She actually attended one of Leonora's exhibitions in NYC, in the seventies too. It was an exciting encounter. Sending many thanks for this wonderful piece.

Gloria Orenstein

read Renate Stendhal's article

Meret Oppenheim

I loved this article/review of Meret Oppenheim's life and work. I think she is similar in many ways to the Baronessa Lowingstein, but in a much more controlled and life preserving way.  I can't imagine meeting her and I loved the details of working with her in the studio. I think this group of women who never fit conventional outlines have so much to offer contemporary women, in particular their courage to push all kinds of boundaries. Thank you Renate.

Yvonne Campbell

read Renate Stendhal's article

Thai Arts - Pitchit Paidan

Amidst all the trouble and problems now in Thailand, it is so uplifting to read about and see the beautiful art of Pitchit Paidan. His painting is a wind of tribute to the culture of my country and reveals so much hope for the future. Thank you to Janine Yasovant and Scene4 for the wonderful article and display.

Saa Phungdorkmai

read Janine Yasovant's review

Right to the Heart

Great cartoon! It almost hurts to laugh at the pathetic situation in Detroit and the "Reznicks" everywhere.

Sid Siegal

view Elltiot Feldman's cartoon

A Great Cartoon

Mr. Feldman not only captures the crisis in Detroit he strikes at the state of arts in the U.S. as well. The "Reznicks" have been purchasing art like this for decades. That's why Andy Warhol is so much more valuable dead than he was alive. He and all the rest of the "match my decor" artists are a perfect match for all the smartphone and touchpad users with empty minds and empty souls.

Maris Lynn Astor

see Elliot Feldman's cartoon

Unusual Mix

David Wiley and Kandinsky-an unusual mix and yet an exceedingly interesting one. Wiley is still alive and they both live through their paintings. Beautiful, thanks.

Flo Pierman

read David Wiley's article

Aux Barricades!

David Wiley's piece Aux Barricades! (January 2014) is but another example of his outstanding and continuing genius. I am privileged to be his friend and to have shared the adventure with him of my own writing and art. Bravo!

sondra olson

see David Wiley's art

On Pairings

Thanks to Ms Honig for an outstanding review of the Paris coming together of these great artists' work. There's an overall "pairing" to be gleaned from her review -- the sculptor, the photographer, the choreographer, the dancer. Actually many "pairings" and many insights.

M. Madeiros

read Catherine Conway Honig's review

David Wiley, Painting and Poetry

It is a pleasure to find David Wiley's poetry and paintings in Scene4 Magazine. I look forward to the publication of " Poetry of Color".

Willie Marlowe

view and read David Wiley's art

How Now Copyright?

I read, with interest, Arthur Meiselman's piece on copyright. My response to the writer, since I am cited by him as a spur to his article is this:

I am not against copyright, that is, not against having some form of protection for created work, for the "property" of the creator.  I would just dial back the protections to the original terms of the Copyright Act of 1790, which gave a creator 14 years of protection, with an additional term of 14 years if he or she was alive at the time of the renewal.  (The original law only protected books, maps, and charts; other items, like music and paintings, were added later.)

I also don't have a problem with copyrights being treated as commodities and passed along/sold to other parties, as long as the time limits don't reset during the exchange: If my father in his will passes along to me the copyright to his wildly successful book, and thus its profits, in the 27th year of its copyright (renewed after 14 years), I get the profits for one more year only, and that's it.  Then the book goes into the public domain.  (Whatever publishing rights companies have do not trump the copyright term limit -- once the property passed into the public domain, they no longer have exclusive access to it.)

I would also support a provision that doesn't make copyright automatic once a work is created.  Copyrights would have to registered, with a small fee to do this, in order to start the clock ticking on the first 14 years.  If a copyright is not registered, then that work does not have copyright protection and is automatically added to the public domain.  (We'd have to work out some window during which a creator can register so that the created work has a provisional or contingent protection, a "pre-copyright" protection, in case they're on walkabout in Australia when the inspiration comes.)  This would also allow people to forego copyright if they didn't want it (today known as "copyleft") without having to go through the hoops of the Creative Commons licensing procedures (but this would also mean that the creator would have no say in how the work gets used in the public domain).

The logistics of this are too complicated for this limited space, but they are mostly legalistic in nature once the umbrella concept of a time-limit for a registered copyright is established (e.g., can someone "own" something in the public domain, such as a Picasso painting hanging in the Metropolitan Museum, or "The Adventures of Huckleberry Finn" in its new Japanese manga version?).  This doesn't make them easy but it does make them doable and possible.

My desire is to get as much material, actual and virtual, into the public domain as possible as quickly as possible without too much interference from the dead hand of the past or the greed of corporations and creators -- as the original act said, in order "to encourage learning."  Twenty-eight years seems enough time for a creator to make his or her money.  My desire is to cut back all the kudzu that has smothered copyright to the point where, now, anything after 1923 is out of bounds, with absurd restrictions like a book not going into the public domain until 70 years after the death of its author.  To me, that's racketeering.

Of course I will not win this argument -- there is too much money at stake.  But it's an argument that still needs to be made.

Michael Bettencourt


I agree with most of Michael Bettencourt's arguments. But the implication of his strong desire toward "public domain" is what concerns me. I don't care about the financial provisos of copyright: protect the creator and the creator's heirs, all for a reasonable time, and then the hell with it... let the bucks be made by the buck-makers. What I do care about is the content, the creation as the creator conceived it. Within most current copyright protection, while the creator is alive, his/her permission is required to change one comma, one note, one choreographic movement, one anything. Once the creator has been de-created, my admonition is that the permission is no longer available. Nothing should be changed. If a creation is to be adapted, write a new version based on the original, but do not, do not use the original words or notes or strokes. If you want to do "Rome&Juliet" Mr. Luhrman (after you find actors who can speak English), write your own. I cite George Bernard Shaw who sent a sheriff with a cease&desist court order at the Broadway opening of one of his plays: do it the way he wrote it or don't do it. If you want to do a Balanchine ballet, do it as he conceived it, or choreograph your own. The argument against my argument is: hey, that's not the way show business works. My answer: Tough shite! Shaw understood the business of show better than almost anyone alive today. Of course, he's dead and his creations? Unprotected.

As I calm down here, I'm fully aware that it is the Internet which has unleashed an irrevocable shattering of copyright protection. The "mashup" is the worse thing that has happened to artistic creation since the invention of television and free agency in baseball. And, as Rebecca Solnit noted in Harper's: The Internet will also "create elaborate justifications for never paying artists or writers." She also notes: "...2014 has turned out quite a bit like [Orwell's] 1984."

Arthur Meiselman

Michael Bettencourt's earlier column: "Dear Mr. Beckett"

Arthur Meiselman's current column: "On Copyright And Cats"

How Now Copyright? - A Response To A Response

Response to Arthur's Response

Citing the "mashup" as "the worst thing that has happened to artistic creation since the invention of television and free agency in baseball" is to forget that the "mashup" is how any art gets made.  No inventor creates something in the way that Athena burst forth from the head of Zeus when Hephaestus cracked open his skull, that is, something without antecedent, without an origin story, without some debt to (dare I say it?) to the "public domain."

This is precisely the point Nina Paley made in stripping her wonderful work, Sita Sings The Blues, of all copyright restrictions: "From the shared culture it came, and back into the shared culture it goes."

For me, the more things there are to mash up into new forms, the better off everyone will be, not just in the arts but in all aspects of intellectual study -- "mashup" is just a synonym for "the free market of ideas," and the public domain, where everybody has a library card to borrow the materials, is where this market can play out the trading that results in new ideas, new practices, new directions.

This fertility -- its power to nourish and propel -- is why we can't follow my colleague's advice and do only "archival performances" (my term, not his) of past work.  Shaw had every right to issue his cease-and-desist then, but I don't think anyone can make a defensible aesthetic argument that his work is well-served by issuing one now on his behalf, and there's certainly no legal basis for it either.

Perhaps Shakespeare is more to the point here, since competing versions of some of his plays defy citing any one manuscript as definitive, Arthur's "the original words."  (Kenneth Branagh, for his film version of Hamlet, simply mashed together every version he could find into one script, which is why the film runs for four hours with an intermission.)  There is no ur-Shakespeare text, and certainly no ur-Shakespeare performance (we have no settled picture of what happened on an Elizabethan stage), and thus no ur-Shakespeare to which we must always remain faithful.  

And even if such a thing did exist, doing R&J in 2014, even following every jot and tittle, will not be the same as a production done in 1614: we can mimic the practice but we can't access the spirit and mind-set of that time.  We are different people living in a different world, and our R&J will be an automatic betrayal of the original.

Rebecca Solnit's point about "the Internet" is a good one in terms of its effects on artists' livelihoods.  However, it's not "the Internet's" fault but the way people use and abuse this vast infrastructure for sharing information -- a subject too large to parse here but one which touches upon the ethic of the public domain and a regulated commons.

But it certainly has thrown into disarray old notions of ownership and control and property and contract, which, to me, is a very good thing since many of these notions were restrictive, exploitative, and rent-seeking, and needed to be challenged.  Going back to a situation where "the permission [to change things] is no longer available" is to go back to the very practices that "the Internet" has up-ended.

The "mashup" is how stuff gets made.  The source material for the mashup is both the universe of all created artifacts and the cultural "air" we all breathe as citizens of some collective.  Given the capitalistic way we have chosen to arrange our current collective, it makes sense to define creation as "property" and afford it some of its protections.

The debate is over the extent and power of those protections, and my contention is to give them a statute of limitations that balances inventors' abilities to make some money off their efforts and the public domain's need for new stuff to mash up.  I believe this is a fair trade, given how the public domain seeds everything of value created by anyone who lives in its midst.

Michael Bettencourt

Warren Travis

I know Warren from the days at PCPA when he was a designer and I a composer. So wonderful to read and see this scintillating discussion. There's mention of many things that are dear to my heart and soul: Joan Mitchell, Frank O'Hara, and other poets as well. I'm writing a song cycle on five of Frank O'Hara's poems.
It's just great to know that Warren is still doing what he loves.
Thanks

Larry Delinger

Read Lissa Tyler Renaud's article: "Surrender and Salvation: John Warren Travis On Painting Poems"

Stealing 'Big Eyes'

I enjoyed Miles Moore's always astute and sensitive film reviews in this issue but...
Talk about stealing! Gertrude Stein's artist friend Marie Laurencin (so-called girl friend of poet Guilliame Apollinaire) was the first to do those big eyed kids.

Karren Alenier

Read Miles David Moore's review: "Paths to Glory"

Ai Weiwei

Jon Rendell does (should I say?) great justice to Ai Weiwei's magnificent art. His photographs are perfectly composed as usual. One great artist meets another.

Becky Mendahl

view Jon Rendell's photography: "@LARGE: Ai Weiwei on Alacatraz"

The Be in 'Not to Be'

Carla Maria Verdino-Süllwold's perceptively written article on the "Romantics and Italy" is a testament to what digital has done to the existentz of art. Though Scene4's graphic display is excellent, one cannot truly experience the painting of an artist such as Turner in a photo on a monitor. To experience painting, one must "experience" painting in the presence of the work itself. The same is true of literature. How does one read Shelley or Byron on a computer monitor? The poets wrote with pen and ink on paper and their poetry was printed with ink on paper. And to hold that printed paper in one's hand is the same as standing in the same air of a Turner painting. There is no classical art on the internet, there are only gateways, beckonings to experience the real thing. Thankfully, Ms Verdino-Süllwold and her magazine beautifully provides one of those beckonings.

Sandor Heuritz

Carla Maria Verdino-Süllwold's article: Siren Songs of the South: The Romantics and Italy

Joseph Bellacera

David Wiley quotes Ruskin on Turner: "His paint brush is the mind's tongue, tasting and probing into the rock heart of things," and tributes Bellacera with that, and rightfully so. I've seen Bellacera in a number of locations and I even own one of his remarkable works. But viewing his paintings as photographs on a computer page is so defeating (even though the quality of display in this fine magazine is excellent). One must come into a physical rapprochement with Bellacera's paintings, the sensuality, the cuisine of his paint. He takes us into dimensions, into dreams.

Mendel Bortman

David Wiley on Joseph Bellacera

Prostitution at the D'Orsay

Much Praise to Catherine Conway Honig for a beautiful profile of beautiful and still controversial art. I was struck by her commentary on Degas and the lecherous perspective of his painting. Seems not much has changed since he viewed from above and flew down to hide behind the curtains.

Beth Lynn Heller

Catherine Conway Honig's Article: "Splendeur et Misère"

Janine Yasovant

I must say the article very nicely written and crafted. The small details from the artist's work and how they beautifully relate. Also the little background about the places is very professionally handled.

Imran Muhammad

Janine Yasovant's article: Srisilp Emcharoen

David Wiley's Art

David Wiley never ceases to amaze me. Fauvist, impressionist, expressionist, a sense enhancing display of styles and effects and passionate content. And then there's his poetry, words that are images and images that are words. He's all of the above and he is above all an artist. He's David Wiley! The magazine captures him beautifully. Thanks for doing that.

Macin Arbenot

David Wiley's art:
At the Start of the Grand Canal and Bridges to the Arsenal

Pratuang Emjaroen

I like this article a lot. Pratuang Emjaroen is a Thailand treasure, truly. He is a great painter and a man of good humour. I love the interview with him. Thank you so much.

Timo Sunchai


Janine Yasovant's article: Pratuang Emjaroen

If I Say So

Ms Verdino-Süllwold lays out before us a feast of an exhibit and invites us in. So far up north in Maine, I hope it travels, I would love to see it. One of my interests is that that it covers 100 years of art and art concepts beginning just at the edge of the Fauvists and after the Pre-Raphaelites, both of whom struck an earlier rebellious and irrepressible art-world tremor.

Macin Arbenot

Carla Maria Verdino-Süllwold's article: Portraits Without Faces

N.C. Wyeth

Another grand presentation. Ms Verdingo-Süllwold writes so effortlessly it's almost as if the painter is speaking through his paintings. And what's going on up there in Maine that the rest of us are missing? Not just the snow and the faraway culture. Something rich and rewarding I think. What intrigues me most is the three generations of Wyeths launched by N.C. Iconic indeed.

Macin Arbenot

Carla Maria Verdino-Süllwold's article: The Private Universe of N.C. Wyeth

Faces In Black and White

Thanks for the lovely tour of this new exhibit. The photos you share are beautiful and gripping and as you say, "disturbing". In the upheaval year that's coming, a show like this should tour the whole country.

Melinda Kirber

Carla Maria Verdino-Süllwold's article: Finding Resolution Through The Image

About Painting

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