The YouTube Dilemma


Aero Feel The Bubbles ad, which was acknowledged by JWT to have been inspired by a film on YouTube

YouTube provides a steady stream of inspiration to advertising creatives, but it also leaves young directors vulnerable to having ideas stolen and agencies open to accusations of plagiarism. How can both directors and agencies protect themselves?

In 1998, director Mehdi Norowzian sued the Irish advertising agency Arks Ltd for copyright infringement. He claimed Arks had copied a substantial part of his short film, Joy, in its hugely successful Anticipation advert for Guinness which featured a man performing a flamboyant dance as he waited for his pint of the black stuff to settle. Norowzian lost, the case setting a precedent over the legal rights of directors and artists when claiming the artistic content of their work had been ‘appropriated’ by an agency.


Guinness Anticipation ad

The tense question of plagiarism has become a regular part of advertising life ever since. Accusations from artists and directors crop up period­ically in the media, where a discussion on their validity will take place before the subject is usually dropped. The agency in question may be left with a minor stain on its integrity but with no major ill-effects to its client relationship or bank balance. The rise of internet sites such as YouTube has made this issue even more pertinent, however. Suddenly a research tool is available to advertising creatives giving access to millions of films and ideas from all over the world, leaving the makers of these films vulnerable to having their ideas stolen.


Sony Bravia Zoetrope ad

Unlike the more established artists and directors, who have an army of colleagues and fans to vociferously defend their creative ideas if they suddenly turn up in a TV ad, the users of YouTube are often young filmmakers, usually unrepresented by production companies, and therefore especially vulnerable. The weapon of choice for young directors in such situations has become the online blog. With the mainstream media unlikely to pick up a story about plagiarism from someone unestab­lished, the blog comments box has become an effective place to air grievances. A recent example of this occurred on the CR Blog, where the posting of a new Sony Bravia ad, featuring a life-size zoe­trope, caused an immediate backlash on behalf of a young director, Mark Simon Hewis, with claims that Fallon, the agency behind the spot, had based the commercial on a short film by Hewis. The situ­ation raised a number of questions, about how young directors can protect themselves against their ideas being stolen, but also about the increas­ing necessity for ad agencies to find ways to defend themselves against accusations of plagiarism.

In the case of the Sony Bravia ad, the similar­ities between the film by Hewis and the ad by Fallon are minimal beyond the fact that both rest on the concept of a life-size zoetrope. Hewis’ film is a poetic rendition of a man’s life story, whereas the Bravia ad sees footballer Kaka showing off his ball skills. Yet Hewis had been approached by RSA, the production company that worked on the ad, with a view to working on an ‘up and coming advert opportunity’ and was asked to sign a non-disclosure agreement on behalf of Fallon which mentioned Sony. When the Sony ad came out, and Hewis had heard nothing more from RSA or Fallon, colleagues leapt to conclusions and to his defence via the CR Blog.


Mark Simon Hewis’ film

“I got a sense the Sony ad was maybe influ­enced by Mark’s film,” says Katie Daniels, a freelance producer who worked on the film and contacted CR at the time of the blog story on the Bravia spot. “Obviously the idea of a zoetrope is not new, but from the atmosphere I had a sense that they’d watched the film. But it wouldn’t be so grating if they hadn’t got in touch and then we’d not heard from them again, that was bad etiquette. Directors are creating these films as showpieces for little or no money in the hope they’ll get commercial work.”

Following the furore on the blog, Fallon explained that the contact had been made with Hewis in relation to a different strand of the project for Sony, and that the production of the Bravia-drome ad was already well underway by the time this occurred. The agency is also categorical in its assertion that it never takes its ideas from outside sources. “We would be doing ourselves a huge disservice if we were found to be deliberately taking an idea from elsewhere,” says Fallon partner Chris Willingham. “That’s so fundamental to our work, and why clients choose us.”


Sony Bravia Play-Doh ad

This is not the first time that Fallon has been under fire for allegedly being influenced by the work of others, however. When the agency’s Play Doh ad for Sony was released in 2007, the artists Kozyndan complained on numerous blogs, including CR’s, about the commercial’s similarity to an artwork by the duo which features multi-coloured bunnies hopping through a cityscape. In this instance, Passion Pictures, the production company for the ad, had been in contact with Kozyndan in the past but nothing had come of it. Both Passion Pictures and Fallon firmly deny that the idea was taken from Kozyndan’s work.

It’s easy to assume here that the advertising agency is always in the wrong. Certainly there are plenty of famous examples where ideas from artists appear to have been directly adapted for ad campaigns, with seemingly little concern for the source of the work. In 2003, Wieden + Kennedy’s ad Cog was criticised in the media for its similarity to art film Der Lauf Der Dinge by Fischli & Weiss, and in 1998 artist Gillian Wearing complained about the likeness between her series of photographs which depict people holding hand-written signs, and a VW campaign by BMP DDB. More recently, a John Lewis campaign by Lowe featured shadow sculptures that bore a striking resemblance to artworks by Tim Noble & Sue Webster. At the time, Ed Morris, executive creative director at Lowe, acknowledged that the artists’ work was mentioned when discussing the concept of the ad, but that the core idea was already on the table before it came up.


Honda Cog ad

Which brings us to the thorny issue of whether a commercial has only been ‘inspired’ by another piece of work, consciously or unconsciously, or whether an idea has been deliberately lifted. This is naturally a blurred area, especially as creatives, like the rest of us, are constantly bombarded with imagery. In the continuous quest to come up with new ideas for ads, it is perhaps inevitable that some of this visual input might be unintentionally recycled. This might sound like woolly excuse making, but it is far from unusual. Writing on this issue on Design Observer, graphic designer Michael Bierut recounted how he’d realised that a poster he created in 2005 was remarkably similar to a piece from 1975 by one of his favourite designers, Willi Kunz. For Bierut the replication was made uncon­sciously, and made him worry. “I don’t claim to have a photographic memory, but my mind is stuffed full of graphic design, graphic design done by other people,” he wrote. “How can I be sure that any idea that comes out of that same mind is absol­utely my own?”


Visa Life Flows Better ad

Acknowledgments such as Bierut’s are perhaps unlikely to ever be heard from an ad agency, however. And often, of course, advertising is consciously influenced by others’ work. In these instances a surprising trend is emerging, where agencies are starting to give credit to their sources. Fans of music videos may have been surprised to see a recent Visa ad from Saatchi & Saatchi, which featured a man on crutches dancing through a city. A very similar performance had been seen recently in a video for dance music act RJD2, by director Joey Garfield, and it would be easy to conclude Saatchis had simply lifted the idea for their ad. This was true, but it turned out that the agency had also picked up the performer and director, along with the idea.


RJD2 Work It Out video

“We do the Saatchi & Saatchi new directors’ showcase and trawl the internet looking for interesting stuff to put forward for this,” explains creative director Kate Stanners. “We found this piece of work by Joey Garfield and thought it would be amazing for Visa. We wanted Joey to be acknow­ledged in the showcase for having done the piece of film, but equally we wanted to approach him for Visa. We wouldn’t have pursued doing the ad if it wasn’t with Joey and Bill [Shannon, the performer in the spot], and it ended up being Joey’s first commercial.” Stanners acknowledged that it would probably have been easier just to approach Shannon for the ad and work with a more established director, but felt it was important to work with Garfield too.


ZzZ Grip video

Another music video that was adapted for advertising purposes recently was Roel Wouters’ promo Grip for zZz. Distinctive for its use of trampolines, the video had done the rounds of the industry’s media. When he was approached by ad agency Krow Communi­cations to replicate the ad for a Fiat Grande Punto ad, however, Wouters was not keen. At this juncture, an agency might typically have gone off and made their own version anyway, but Krow went out of its way to acknowledge the influence of Wouters’ work and paid him a license fee. This then freed them up to replicate the promo without fear, which they did, to a degree that surprised even Wouters. “I never thought they would copy it,” he told CR at the time. “But I think it is quite honest, they’re not acting as if they’ve come up with the idea themselves. Making the decision to do such an exact copy is weird but quite strong I think, it gives the feeling of a sincere tribute.”


Fiat Grand Punto Trampoline ad

Even those outside of the industry are beginning to see credit given to their work. In the press materials accompanying the release of a recent Aero ad from JWT London (shown top), there was an acknowledgement that the spot had been inspired by a film on YouTube. Both films show a skate­boarder plowing through balloons in a skate park. JWT creative director Russell Ramsay recognises that YouTube has changed the research process for agencies. “All these references are instantly accessible now, which they didn’t use to be,” he says. “There are so many ads that have been influenced by films and by art. But now the influences can be instantly found, whereas they couldn’t be in the past…. Part of the skill is matching these ideas to a brand. Advertising does use these things to that end, and always has done.”


Balloon Bowl film

Despite seeing the similarities between the two films, Ramsay still feels they are essentially different. “We thought of the YouTube film as the recording of an event,” he says. “We wanted to get the best skateboarder – if you watch that film, it’s not the best performance of it…. We did acknow­ledge it in the end, but I think we’ve done enough to it for people to not be that outraged by it. But people have to make up their own minds.”

This nod to the YouTube filmmaker from JWT, however grudgingly given, does seem a step in the right direction, although the next logical move, where filmmakers receive renumeration for their ideas, seems unlikely to occur. Ideas cannot be copyrighted, and, as the Norowzian case proved, using the law to prove plagiarism of imagery can be fraught with difficulty, and expensive. Further­more, despite the good example set by Krow with Wouters, this still doesn’t get around the issue of what an agency does if an artist or director says a flat ‘no’ to having any involvement with the commercial. All too often, the idea still gets made, and there is little that the originator of the idea can do about it. In this sense, we are perhaps no further on than we were ten years ago. However, with the internet providing an easy outlet for film­makers to complain when they feel their ideas have been pinched, a new wave of consciousness does seem to be beginning to sweep over ad agencies. “I think ad creatives are very conscious of the notion of originality,” says Kate Stanners in their defence, “because part of your job is to come up with original ideas. There is a respect for ideas and there is a respect for the originators of ideas.”

Said Why Eggs? exhibition: 26 Alphabets by 26 Artists


East End Letters by Phil Sheffield, 2009. One-off artwork in frame, 50×70cm. £350

We love a typographic artwork here at CR, so we feel duty bound to tell you about the curiously titled Said Why Eggs? exhibition that opens in London later this week, curated by East End Arts Club

The show – which previews tonight at Swanfield Inn, just off Brick Lane in East London – features works by 26 artists, printers and graphic designers – who all take inspiration from the building blocks of the written word: the letters of the alphabet.


Alphabet by Hennie Haworth, 2009. Giclee print edition of 10, 50×70cm. £100

Artists exhibiting include Alan Dempsey, Helen Musselwhite, Phil Sheffield, Amy Wicks – and type designer Swifty will be showing a whole A-Z of artworks in a special section of the show.


The Most to Least Used Letters of the Alphabet by Amy Wicks, 2009. Digital print, edition of 15 (original paper cut outs). 50×70cm. £65


Brown Fox by Mark Perronet, 2009. Signed and numbered silkscreen print from an edition of 12. 50×70cm. £60


Animalphabet by Helen Lang, 2009. Digital print edition of 10, 50×70cm. £40


Owls in the Alphabet Tree by Helen Musselwhite, 2009. Original hand cut artwork approx 70 x 15 cm. £180


In Between by Richard Peacock, 2009. Silkscreen edition of 10, 77×56cm. £122

To see all of the works and the price list, visit eastendartsclub.co.uk/page17.htm

Said Why Eggs? previews tonight and then runs from 9 May – 31 May at Swanfield Inn, 2b Swanfield Street, London E2 3DS

Full details are here: eastendartsclub.co.uk

Bodhi of Work


Splendidhand’s print contribution to Power in Numbers

Coming soon to a humble print gallery near you (if the bohemian quarter of Brick Lane is your stomping ground) is Power in Numbers, writes Charley Helfet. The print exhibition opens with a private view at the Bodhi Gallery on 7 May and is set to continue until 27 May, showcasing the work of 50 up-and-coming print artists…


Claudia Boldt

The exhibition, curated by James Hurst (of Cure Studio) and Fred Higginson (of Print Club London), is unique because its curators selected work from an open call of submissions, rather than simply approaching a few already-established usual suspects.


Damien Frost

“We had an open call for submissions which we put out to the illustrator community at large – we also approached a few key people directly who we knew would produce something amazing,” enthuses Hurst. “Out of the open call we received over 400 submissions from all over the world… it’s very sad we could only print up 50 of them!” The two enterprising curators have chosen work by artists from Pakistan, Germany, Israel, France, Norway and the UK for the show.


Jake Blanchard

As well as selection duties, Hurst and Higginson’s responsibilities include the final printing of the exhibits, a laborious job which entails printing 50 copies of each of the 50 works – or rather, printing onto 2,500 separate sheets of paper in the space of seven days – no pressure then. This record-breaking workaholism, having dubbed itself a “print marathon,” can be viewed on vimeo.com/curestudio where its daily progress is currently being recorded.


Luke James

Despite the constraints of being limited to a single colour per print, Power in Numbers’ entrants cover an eclectic range of styles, from the naïve (Claudia Bolt) to the representational (Damien Frost), the cartoon-like (Splendidhand) to the painterly (Owen P), and from juxtapositions to coherent visual narrative, all in a range of hues.


Owen P

The Bodhi Gallery will also be hosting a calendar of events including live music, and printing and industry meet and greet nights to coincide with the exhibit.

The full list of artists showing at Power in Numbers is as follows:
Alain Magallon / Alice Stallard / Camelia Dobrin / One Side Zero / Charlotte Smith / Chris Floyd / Claudia Boldt / Dan Speight / David Gibbons/ Damien Frost / Emma Vorster / Emmi / Haruka Shinji / Heejohng Chae / Ivan Mayorquin / I Will Create / Jake Blanchard / Jez Burrows / Jim Smith / Josephine Spencer / Luke James / Marc Stewart / Mark McClure / Maxwell Harrison / Naíma Almeida / Ornamental Conifer / Owen P / Partly Civil / Peter James Field / Peter Stitson / Raymond Wong / Rose Stallard / Royal Glamsters / Sara Nesteruk / Sichi / Splendidhand / Stephen Chan / Steve Price / Steven Emmanuel / Stuart Chatman / Tom Baxter / Trisha McNally / Wayne Chisnall / Yann Brien / Austin from New / Random Boy / Ministry of Love / Baldrick Buckle

All of the prints will be 50cm x 50cm and will cost £20. To keep in touch go to curestudio.com, twitter.com/curestudio or info@curestudio.com

Power in Numbers, 7 May – 27 May at the Bodhi Gallery, 214 Brick Lane, London, E1 6SA‎ – 07771 765 225‎

Mother launches art space with Peter Blake show


View of Peter Blake exhibition, photo: © J Marshall

Mother advertising agency is branching out into the art world with a new gallery, titled Downstairs at Mother. The space is held in the large foyer area of Mother’s offices in Shoreditch, London, and will open officially tomorrow evening with an exhibition of prints by Peter Blake.

The collaboration with Blake came about after the agency worked with him on a live art project for Coca-Cola that took place on London’s Southbank recently. His exhibition at Mother follows earlier experiments with showing art at the agency, which have included shows by Martin Parr and Anthony Burrill & Michael Marriott. Peter Blake has created a new limited edition print for the exhibition.


View of Peter Blake exhibition, photo: © J Marshall

The decision to open an art space follows other creative ventures by the ad agency which include a graphic novels arm, Mother Comics, and a film and television arm, Mother Vision. “Mother as an agency has always sought to immerse itself in the creative environment that inspires it – not to interrupt but rather contribute to art and popular culture,” says the gallery director, Bridie Picot. “Downstairs at Mother is another expression of this vision, one which the agency can share with the wider community.”


CCA Art Bus

In conjunction with the opening of the space, Mother is also launching the CCA Art Bus, a commissioned bus that shows art on its upper deck and has educational facilities on its lower deck. It will travel to schools and colleges and aims to introduce children and students to the visual arts.

Peter Blake will be travelling around London on the bus during the day tomorrow, and it will stop at various Pop Art locations in the city, such as Battersea Power Station and Stanley Road. The bus will pick up people relevant to the locations who will join Blake on the bus for a time. These include graphic designer Storm Thorgerson, who designed many iconic Pink Floyd covers, and Paul Weller. The bus will then travel to the Mother gallery space in time for the opening in the evening. A live feed of Blake’s bus adventures will play on the Guardian site during the day.


CCA Art Bus

Following the opening tomorrow evening, the exhibition will be on show for a month, with viewings by appointment only. Picot is planning an eclectic selection of shows for future exhibition at the space. “Because we’re not representing artists and not selling work we can do whatever we fancy,” she says. “We’ll also be using the space to do album launches and talks.” Potential exhibitors can approach Picot at bridie@motherlondon.com for more information.

Dave The Chimp: Berlin Exhibition

British artist and illustrator Dave The Chimp has been a designer at a skateboard company, an artist in residence at a London advertising agency and his work has appeared in books alongside more well known artists such as Banksy, Shepard Fairey, Dalek and The London Police. Now he’s got a solo show in Berlin…

Dave’s first solo show in his adopted hometown of Berlin, entitled Prints for the New Power Generation, is currently running at the ATM Gallery in Mitte until 23 May. As the name suggests, the artwork shown takes the form of prints – screen, lino and stencil – here are a selection of images taken at the show:

We caught up with Dave just after he put the show up:

CR: Dave The Chimp – where does the name come from?
DtC: From life, from living life, that’s where it comes from. If I was to try and think of a cool graffiti name I wouldn’t have gone for one that’s so stupid, and so long! It’s probably one of the reasons why I almost never write my name in the street. I’m sure if my name was D-FILE or POW or something similarly short I’d be a notorious tagger! But I ended up being called “Dave the Chimp” so I had to find a different route. 

CR: Where do you hail from originally?
DtC: I was born in Watford, UK. 

CR: Why the move to Berlin?
DtC: All my friends in London are from different countries, so I thought I should try it out, this living in another place from where you were born and raised thing! I spent six weeks here in Berlin in the Summer of 2007 to take part in the last Back Jumps exhibition, and I enjoyed it. The sun shines from April until October. There are lots of places to live, so rent is cheap. There’s plenty going on. It’s a big place, lots of space. Safe for cycling. I don’t have to have a day job to pay the rent. German girls are hot and strong. People from all over live here. Children here seem to stay as children for a long time – and there’s lots of amazing adventure playgrounds for them. I don’t know, I try to do things because I want to do them, rather than making a list of pros and cons. I still love London, but I kind of had enough of the aggression, the obsession people have with bullshit like their jobs and fashion and popular culture – it’s all so meaningless – but people living in London are too busy to ever take a step back and see that. So I moved here for the time being. We’ll see what happens…

CR: Is this your first solo show – or have you had others in different cities?
DtC: I’ve had solo shows in Milan, Luxembourg, and Hamburg, and have one in Munich opening on 23rd May at Galerie Stephan Stumpf called All Great Men Are Dead, And I’m Not Feeling Well. It’s to celebrate the launch of my first book with Publikat. It’s kind of my first show in a ‘proper’ gallery. That’s not to say the other galleries were not proper galleries, it’s just this is the first time I will show in a space that isn’t run by a graffiti artist, and that shows art that doesn’t come from the streets. So it feels a little scary. But maybe it means we’ll sell something for a change 😉 HA!

CR: What else are you up to (besides the exhibition)?
DtC: Well, like I said, there’s the show in Munich, and my book being launched. Then early June I have a little show/T-shirt launch at Woolwill in Hamburg, and we’re also making some collaborations with the hip hop fashion label Super Horst Jansen there. I’m releasing a super limited plush toy of my popular ‘worm/ghost’ character, made by the nice folk at ETextileS. I have a limited edition zine coming out with Imagora in France sometime soon. In July I plan a trip to London to see all my friends with kids, and ride some decent concrete skateparks (I moved to Berlin just before they rebuilt Stockwell, and Mile End has a park now too!) and I want to take August off and have a summer for once – I’ve worked all through every summer since 2001 – I need sun! That said, I may use that time to start on the script for a short film I want to make with my brother… But hey, that’s what the table I built on the balcony is for! September I go to Sweden to paint with Ekta and start preparing for our show at the Don Gallery in Milan (opens 12th November). Oh, and I’m also putting a book together for publisher Laurence King, but that won’t be out til 2010!

Dave The Chimp: Prints For The New Power Generation runs until 23 May at ATM Gallery Berlin, Brunnenstrasse 24, 10119 Berlin Mitte. email: info@atmberlin.de Open Tues – Saturday, 12-7pm

Exhibition photography: Just / Just.Ekosystem.org

strandbeest

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Since 1990, artist Theo Jansen has been occupied with creating new forms of life:

“Not pollen or seeds but plastic yellow tubes are used as the basic material of this new nature. I make skeletons that are able to walk on the wind, so they don’t have to eat.

Over time, these skeletons have become increasingly better at surviving the elements such as storms and water and eventually I want to put these animals out in herds on the beaches, so they will live their own lives.”

Banksy Gets Painted Over by Volunteer Graffiti Clean Up Crew

0503accidentalbanksy.jpg

When you’re a street artist, we’d imagine that you’d absolutely have to always keep the thought in the back of your head that what you’re making will forever be temporary. We’d guess that it’s been a little while since the most celebrated of the street artists, Banksy, hasn’t had to go through that in a while, now that finding his work often leads property owners and city officials to immediately see flashing dollar signs. But sometimes stuff just happens, as we learned by way of Art Info that a volunteer graffiti clean-up crew in the British city of Glastonbury accidentally painted over a two-year old Banksy piece. Of course, the lucky owner of the wall the celebrity artist decided to hit wasn’t feeling so lucky in the end, as he woke up to find his easy money now gone (or at least that’s what he’s telling his insurance company):

Julian Chatt, who owns the wall, claimed he had struck a deal to sell the piece for around £5,000 before disaster struck.

He said: “I’d spoken to the town council in the past and asked them not to paint over the artwork. Sure enough, the last few times the council have been out they didn’t paint it over.

No one had asked him for permission to paint the wall, he said, adding that his insurance company is examining whether the painting is covered. He said he had also reported it to police.

City councils in trouble for removing graffiti? The police called? Strange times, these.

Recycling, Philly Style



Photos Courtesy Nancy Packer

The Mural Arts Program of Philadelphia has transformed 10 of Philly’s colorless recycle trucks into vibrant murals. These colorful graphics were designed by students from the after school Big Picture Program. Instructor Desiree Bender explains, “I scanned in the drawings, colorized them, laid them out in Illustrator, sent them to the digital printers. It’s printed on vinyl, and it’s like a giant sticker.”

For many years, Philadelphia has ranked at the bottom in terms of its diversion rate (the amount of trash picked up as recycling) but has seen an increase since Mayor Nutter’s ’single stream’ initiative and now stands at 12%.

via:

Food’lebrities

My amazing friends are working on this amazing blog, Food’lebrities, which mashes up celebrities and menu items. Be sure to leave a “condiment” on your favorite posts.


Food'lebrities

Pita Gabriel



Food'lebrities

Quiche Richards

swallowed words

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Stamps. Linen. Embroidery. Dolls. And a handful of dirty thoughts.

Exhibition by Samantha Lamb, at Le Gallery in Toronto. Opening May 8, 7-10 pm