Word: paints
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Dates: during 2000-2009
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It’s losses like these that drive proponents of the recording industry to paint Nesson as a head-in-the-clouds academic, advocating for a pet cause while showing little respect for the victims—artists and workers alike—of the economic havoc it might create. “Mr. Tenenbaum’s counsel may be using this case to further a crusade to gut the copyright laws that protect creators,” RIAA spokesperson Cara Duckworth wrote to me in a recent e-mail. “[But] for a music community...
...Niet was stunned when he came across a photograph of Muong Kuong Market in a Russian art book several years ago - the painting was allegedly hanging in the Oriental Museum in Moscow. Niet says he sent a letter to Oriental Museum officials, who confirmed that they owned the original. When Niet went back to the Vietnam Museum of Fine Arts to complain, "they told me that I painted two paintings and that I had sold one to Russia," he says. Sitting by her husband's side on a plastic stool, Niet's wife says she wishes that were true...
...Having lived most of their life under a system in which the Communist Party dictated what they could paint and where they could exhibit, the older generation of artists has stayed quiet. But artists who are no longer under the government's thumb are increasingly urging that the museum sort originals from copies by calling in experts to help examine paintings. They also want the museum to produce the records of paintings and remove pieces that are reproductions - or at least label them as such...
...United) of Bihar, who want to reach out to Muslims, fear that such a stance will not go down well with the Indian electorate. Modi may be trying to make himself more acceptable to a wider audience. Since the Gujarat elections of 2007, Modi has been trying to paint himself as the able administrator who has brought progress and prosperity to Gujarat. The Supreme Court ruling will make it harder to keep that message pristine...
...somewhat isolated. He had been experimenting in new directions before he left the Bauhaus, but his isolation, and freedom from the need to be didactic, may explain the playfulness that breaks out in his work. He carefully mixed colors - sage, sky blue, maroon - and experimented with texture, using controlled paint splatter for a sandy effect. Nothing is still: in Colorful Ensemble (1938) the splatters are a background of dots on which swim strange biomorphs; in Sky Blue (1940) stripy plankton flutter multiple legs while Reciprocal Accord (1942) fizzes and explodes...