What does it mean for an artist to be open? What are the benefits of open practice ? Why do some artists think it’s important? I look at 3 examples of artists who have embraced openness – albeit on their own terms.
Painter Gwenn Seemel argues that an art piece is a technique, an idea and a person all wrapped into a unique piece of work. Someone may copy the technique and the idea but they can never replace the person who created the original work. In other words, let the copiers copy because they can never pretend to be you. Rather, they’ve already created something new !
In a blog post, she talks about her evolving ideas on copyright and how she came to align her practice with her convictions. After years of keeping “a copyright symbol at the bottom of each page of [her] website”, Gwenn Seemel took a stance in favour of free culture in 2009 by releasing her work directly in the public domain for all to copy, display and remix. Now, instead of the usual ‘c in a buble’, it is a smiley face that stands before her name.
She explains what motivated her to abandon her copyright :
I did this because I don’t believe that it’s possible to moderate the use of my images and, more to the point, I don’t believe that I have the right to do so. What I do believe in is making work that’s so original that no matter where people see it, they’ll know it’s mine.
It took her several years to move from sharing how she works and engaging personally with people who are interested in her art to completely letting go of copyright and changing her approach to making a living as an artist:
Also in 2009, author Leo Babauta made up his mind to ‘uncopyright‘ his blog Zen habits as well as his ebook ‘Zen to done‘. Before then, he used to grant limited rights for non-commercial reuse of his work, upon request.
He examined the benefits of increased exposure in an article for Write to Done:
Last year I Uncopyrighted my blog, Zen Habits, and my ebook, Zen To Done, and it was one of the best things I’ve ever done. People have used my articles in blogs, newsletters, magazines, ebooks, books and more. And yes, they’ve made profits off me without me getting any of that money … but at the same time, I’ve benefitted: my ideas have spread, my name and brand have spread, and my readership has grown and grown. Since I Uncopyrighted the blog, it has grown from about 30K subscribers to 113K.
Like Gwenn Seemel, Leo Babauta does not consider the loss of potential royalties to be a major problem, since a writer can find alternative ways of making money (hopefully without taking up odd jobs, that is…). He suggests giving talks and conferences, selling ads or branded goods and, most obvious of all, selling books even without a copyright attached to them.
The underlying idea informing Babauta’s shift to ‘uncopyright’ was that no writing is entirely original because all creators draw from a variety of sources of inspiration. If we all copy to some extent, then why claim ownership over the particular arrangement we created ? Let others in turn be inspired by us for art to flourish.
He argues that releasing copyright is not only good for the community who benefits from engaging with an artist’s work but it’s also good for the writer’s reach, exposure and reputation. According to Leo Babauta, inducing artificial scarcity through copyright is not the solution to be successful as a writer:
By protecting your copyright, you are putting up barriers for the spread of your ideas. In this digital age, that is a mistake, plain and simple.
My husband is a DJ and I’ve seen him grow from a passionate amateur to a full-fledged professional. His sense of ownership over his work has greatly changed in the process.
When he started out, he would distribute mixtapes on CD to grow his network and make a bit of money on the side. This gave him some exposure and motivated him to constantly improve his output.
As it happens, he got copied. Back then, it really upset him that someone had misappropriated a mix he had taken hours to put together by simply sticking their name on the cover and writing over the DJ drops. He basically felt robbed of his work.
What he came to realise though, was that these copies did not actually take away anything from him. He did not lose any clients, his skills were intact, and his reputation kept growing despite or maybe thanks to imitation. In fact, some of his fans were already copying the CDs for friends but they would also notify him if another DJ tried to pass his mixes as theirs!
If anything, this episode challenged him to continue creating better and better mixes. His raw materials for mixing were other people’s musical creations after all…
Eventually, he turned to live shows as a main source of income and continued distributing mixtapes, for free this time. Opening his work to a larger audience online enabled him to receive more feedback and increase his following. Perhaps even more crucial to his professional development has been a network of DJs around the world who critique each other’s creations and share anything from technical tips to equipment reviews. This kind of respectful peer-to-peer support is invaluable.
Free culture has to do with opening up a space for interaction between the artist and their audience. New economic models in the art business thus emphasise the value of community-building, understood as bringing together people who are interested in a dialogue around an artist’s work and who might be willing to support further creation.
Is open practice a very marginal point of view in the art world? I got to hear about Gwenn Seemel through a post shared on Calimaq’s Facebook page. It might be that my perspective is skewed by the networks I am involved in.