jordan faye contemporary: January 2008

They say that all press is good press. Decide for yourself. The show was meant to generate more thoughts and ideas about art & the context in which art functions. I think it did a nice job of that. For those that were a bit irked by this exhibition, hopefully they have had some time to really think about things and now perhaps, see the larger picture.

Washington Post. "Look -Alike Works Make for an Uncommonly Provocative Show" by Blake Gopnik -- http://www.washingtonpost.com/wp-dyn/content/article/2008/01/25/AR2008012503342.html

Baltimore Sun. "Is it homage or an act of plagiarism?" by Sam Sessa and Glen McNatt. http://www.baltimoresun.com/features/arts/bal-art0125,0,160845.story

Mid-Atlantic Art News published by Lenny Campello -- http://dcartnews.blogspot.com

ArtPark -- http://artpark.typepad.com/artblog/2008/01/christine-baile.html

Mango & Ginger -- http://mangoandginger.blogspot.com/2008/01/artsy-intellectual-property-of-art.html

Bethesda Art Blog -- http://scenesfrombethesda.blogspot.com/2008/01/little-controversy.html

Bmore Art Blog -- published by Cara Ober
http://bmoreart.blogspot.com/2008/01/christine-bailey-on-new-works-by.html

Christine Bailey: New Work - Exhibition to run thru March 1st, 2008

This was a project in which I adopted a business model from the world of fashion, that of making “designer replicas” to see how-- or if-- that could translate to the business of art making within our local community. The attached image of a fashion pyramid reproduced from Kal Raustiala and Chris Sprigman’s paper “The Piracy Paradox: Innovation and Intellectual Property in Fashion Design” demonstrates this model. Drawing parallels to this model, I worked in the style of another artist using more economical materials (acrylic wash on paper rather than paint on canvas).

For these paintings, I used the work of Baltimore artist Cara Ober, among others, as a point of reference. My intention was not to harm Ms. Ober personally nor was it to damage her reputation or insult her work. I signed my name to the paintings and included it on all printed and electronic announcements, as I am not in the business of making forgeries or counterfeits. The images and text are appropriated from various sources, some of which include online clip-art, the dictionary, gardening magazines and an antique book on phrenology.

In making an analogy to the business of fashion and branding, I am not arguing that this is the correct or ethical model for an artist's studio practice. But I do think that it points to many issues and problems relevant to art-making and market forces, including those of intellectual property, authorship, appropriation, the desire for novelty and the legality or illegality of making a picture.

While some in the fashion industry view designer replicas and knock-offs as damaging to business, others see it as beneficial to innovation. Writing on this subject, James Surowiecki states that "sometimes imitation isn't just the sincerest form of flattery, it's also the most productive." (Surowiecki, James. “The Piracy Paradox”, The New Yorker, Sept. 4, 2007)