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Artists who are not affiliated with any major companies find comfort in the Internet as an effective channel to distribute their labor of love to a particular niche (Poole and Le-Phat Ho 5). Pool and Le-Phat Ho mention that a survey in England reveals that art enthusiasts “explore” art materials online than those who are not interested at all (5). With this idea, it is significant to discuss postmodern artists and the impacts of digital technology to their works.
Shepard Fairey. He is the man behind Studio Number One and is the well-known publisher of Swindle Magazine (Heller and Talarico 117). More than the common affiliations, Fairey bleeds art, as he started making artworks for shirts and later on to another medium since he was in college. His designs are of course authentic, making them in balance between quantity and quality (Heller and Talarico 117). In one of his artworks, Fairey expressed his stance over the rapid dissemination of the images of artworks with the advent of digital technologies. Particularly, he criticized existing laws concerning copyrights of artists to their artworks (Taylor 172). Fairey campaigned for a copyright law to be passed in the United States that is applicable in the present era.
Fairey’s campaign is a manifestation of artists’ “anxiety” over copyright infringement (Taylor 172; Sullivan 41). The present media culture suggests it being an “open-source” of anything that can be stored and retrieved in there (Boomen et al. 271). Fairey fought for artists’ rights over their own work. He understood that there must be some acknowledgement of originality among breakthrough artists in the digital field. With this in mind, Fairey understands “new spatial heterotopias,” which suggest that there is actually a difficulty in delineating space and physical landscape in art (Boomen et al. 272).
Sherrie Levine. Rephotography is her
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