Eviko

…… hm.

when i say “do not repost” i mean, do not: 

save my art to your computer

reupload it to your own social media site, especially without credit

exploit my my art so you can become more popular/get more attention/etc

reblogging/retweeting is not the same as reposting. those actually allow the artist to keep ownership of their own art as it gets spread around. they are different things.

it’s not that i don’t want my art to be on the internet. that’s why i post it. but i don’t want OTHER people taking credit for MY art and the hard work i put into it. i have a store where i sell my art. having people repost my art to their own sites literally takes money away from me. because people don’t know that I’M the artist who drew it, then they don’t know about my store, and instead consume my art mainly through websites that repost my art for their own amusement or profit.

do you know how many japanese artists have deleted their pixiv/twitter accounts because people kept reposting their art without permission, OR credit, and have even profited from stealing their work? so much art is floating out there without an owner because the japanese artists were harassed so much due to their art constantly being reposted without any credit to them, that they had to disappear from the internet just so they could keep ownership of the rest of their art. 

do you know how many people found my art through pinterest? i’ve gotten so many messages from people saying they found my art there, and it took them anywhere from days to WEEKS to find me and my blog, because most, if not all of it was posted 1. without credit, or 2, without a link back to the original, because the pinterest user reuploaded it from their own computer. 

do you know how many people try to apply for jobs with their art, but can’t seem to claim ownership of their own portfolio because it’s been so spread out and reposted everywhere on the internet, that companies can’t be sure that the person they’re interviewing is the actual artist themself?

i don’t think you understand just how detrimental reposting is to artists. and i don’t think you understand how important it is for people to respect artists’ wishes. my art is not yours to use for your own amusement. there is a reason why most websites have a dmca report option, to take down unauthorized use of their art. even the law recognizes it as a personal right.

i do want my art to be shown to the world, but under my own terms. i want my wishes in regards to my art to be respected. you are not doing me any favors by reposting my art onto other sites without permission or credit. just the opposite, in fact–your hurting me personally, financially, and possibly hurting my chances of earning a job with my art. 

so in conclusion, here are the dangers of reposting:

the artists loses ownership of their art

no one knows who made it anymore, and don’t care

the artists stop making art because all that happens is their art gets reposted without a source, and so they prefer to disappear off the internet entirely. the world has now just lost an amazing artist.

people make a profit off their art, literally stealing money and potential customers from them, because no one knows where the art originated from

they lose job opportunities because the reposting and art theft is so ubiquitous, that even if they are the original artist, no one can be sure of that.

etc.

reposting is detrimental. it’s not the same thing as reblogging/retweeting, it’s something that literally harms artists in the long run. 

at the end of the day, the biggest way to prevent this from happening is by respecting the artist’s wishes with some basic human decency. that’s literally it.

I mean, my predominant reason for being Team Kapoor is the fact that Anish Kapoor and I are both petty Indian Jews, and petty Indian Jews must stick together no matter what. 

1. Semple was not in any way struggling artist when his feud with Kapoor started. In 2007, he sold over $1mil of art in one show. He was featured on the BBC 3 times before he even released his pigments and he was awarded a medal from The House of Lords in 2013. It’s BS to pretend he’s some poor lowly artist fighting “The Man” (that is actually an Indian Jewish immigrant). He’s been a very successful artist in his own right for a long time. He isn’t an underdog here… like at all. Painting him as one is ridiculous, and yet that’s how he’s been made out this entire time.

2. To expand on that, characterizing Anish Kapoor, a brown Indian Jewish man living in Britain, as “The Man” is highly suspect, and the fact that anyone would use the word “elitist” about a Jewish person is a pretty loud dogwhistle in my Jewish opinion (this is in reference to multiple sources, but mainly another tumblr post, that calls Kapoor “the epitome of the art world’s elitsm problem” X).

3. Semple had been working on his pigments for years before Vantablack became a thing. The pigments would have been made and released anyway, this was just excellent publicity. So a white (not poor) British man leveraged the controversy made by a British-Indian Jewish man to sell more of his own product. He played up the feud for sales. That is what happened. And in the process he made said British-Indian Jewish man, who was previously little known outside the art world other than for his art like The Bean, one of the most hated figures in the world. So. That’s a lens we really need to be looking through I think.

4. As OP mentioned, Vantablack was prohibitively expensive and insanely difficult to work with (can only be used in very small sections, must be applied only to specific materials in a specific lab setting) when Kapoor bought the rights to it. Most artists wouldn’t have been able to use it anyway for either or both of those reasons. No one was even using it for art when he bought the rights, it was still considered experimental science. Everyone got their panties twisted up when he did anyway. Whether it was right or wrong can still be debated for sure, but it certainly isn’t like he took a highly usable substance away from other artists.

Many websites have those complaint forms you need to fill out to submit DMCA notice. Here are some of them:

Tumblr https://www.tumblr.com/dmca

DeviantArt https://help.deviantart.com/dmca

Instagram http://help.instagram.com/contact/372592039493026?helpref=faq_content

Facebook https://www.facebook.com/help/contact/634636770043106?helpref=page_content

Twitter https://support.twitter.com/forms/dmca

VKontakte https://vk.com/dmca

Pinterest https://pinterest.com/about/copyright/dmca-pin/

Youtube https://www.youtube.com/copyright_complaint_form

Flickr https://ipr.yahoo.com/copyright?.lang=en-US

Google https://www.google.com/webmasters/tools/dmca-notice

Usually links to those forms can be found on website’s Terms of Service pages. (search for copyright or DMCA)

She explained that the reason why I might be confused is that I had entered the exhibition of Wolfgang Beltracchi from the end rather than the beginning. She then took me to the start and started explaining about him and his history. He has art forgeries in every style from medieval paintings to modern art and his forgery is not copying existing paintings but creating “lost paintings” that the artist might have painted or talked about painting but never did. He perfectly matched the artist style, composition, ideas, colours and medium. His materials were historically accurate and experts couldn’t determine that they were fakes.

And his wife Helene Beltracchi was incredible. She helped “backdate” paintings and provide evidence of their age. One of the things that stuck with me the most is this black and white photo, created with an old-time camera  and medium and the photo itself was aged so carbon-dating couldn’t discover that it was a modern photo. It was of Helene, with her features slightly altered, dressed in an old-time, era appropriate dress with the painting in the background. can you imagine the level of dedication and the immense attention to detail required to so convincingly fake a photo to provide a reliable history of this painting existing for centuries? She helped him create fake history for a lot of his paintings.

I’ll never forget that exhibition. There were so many paintings, all of them in the styles of different artists, most of them verified by experts as genuine until his mistake with the white paint which prompted a much, much deeper examination by experts. I think the lady mentioned that they could still not forensically confirm that some paintings were fakes, but it’s been a while, I might be misremembering. I was just struck with awe at the sheer knowledge they must have of multitude of painters, not just their styles, but their lives and the way their minds worked. He painted scenes “they might have painted” and when you look at them, you could definitely see it. It hits especially hard when you have more than passing familiarity with the artist, their lives and struggles, their choices of mediums and themes. You can look at this painting and think, this is definitely created by []. It makes so much sense, it has that distinct flair and works incredibly well as a parallel to [], their earlier painting. It was indescribable. Can you imagine the skill required to back that knowledge up? To be able to perfectly mimic the styles of so many artists and be able to so accurately forge paints, brushes and canvas that experts verified them as genuine?

And he had his own original paintings as well. One of them struck a chord with me especially. It was a painting of storage rooms, storing thousands and thousands of paintings that the public doesn’t know of, because they’re the unpopular paintings, the paintings that never get exhibited, the forgotten paintings. I thought it was very poignant.

The first two I don’t really need to keep it on a social media platform but I mainly do because I know people enjoy old work even if I don’t and I know people like to revisit it or will stumble on it later.

It’s not creepy for you to look through my archive, it’s why it’s there!

If I see someone like a whole lot of posts far back I’m pleased! It means they like my work enough to use my tag system (which took ages to set up) to look through my back catalogue and enjoy past works. It sends the message to me that keeping my artwork organized so it’s easy to search is worth the effort.