Top Copyright Tips for Artists

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As an artist of any kind, protecting your work is crucial to maintaining the integrity of your creative endeavors, preserving control of your work, and ensuring that only you and those you authorize generate revenues from your work. At the heart of this protection is copyright law.  Copyright law provides creators with the rights necessary to control how their work is used, distributed, and reproduced. While copyright law is complex, with numerous caveats and exceptions, a basic understanding of copyright is crucial for any working artist.   

Understanding Copyright Basics 

What is Copyright? 

Copyright is, literally, the right to make copies. But it is much more. Copyright grants creators certain exclusive rights to their original works. Those works can include music, audio-visual works, photography, fine art, literature, software, architecture, choreography, and more. In the U.S. and most jurisdictions, copyright protection is automatic upon the creation of an original work, as long as it is fixed in a tangible medium (like a painting affixed to canvas, a sculpture formed out of marble, or a digital file residing on your hard drive). But that protection is significantly limited without a copyright registration.   

What Does Copyright Protect? 

Copyright protects the expression of ideas, but not the ideas themselves. This means that while you may be inspired to paint the same landscape that hundreds of others have painted before you, your unique expression, style, and concept will be protected. For example, most Western movies have some of the same common ideas – people on horses in a dusty, dry land, good guys and bad guys, a disagreement at a saloon, a shootout, etc. While nobody can own the idea of a Western, each individual expression of that idea is a protectable creative work. Similarly, while Andy Warhol’s work may inspire you to create garishly colored silkscreens of consumer products, doing so is entirely legal unless you copy Warhol’s actual works of silkscreened soup cans, Coca-Cola bottles, and the like. You have simply expressed the same idea, but in your unique creative way, and you will be entitled to copyright protection.    

Copyright grants the creator of an original work a bundle of exclusive rights in that work, including the following: 

  • Reproduction: The right to make copies of (reproduce) your work; 
  • Distribution: The right to sell or distribute copies; 
  • Public performance: The right to perform your work publicly (relevant particularly for music); 
  • Public display: The right to display your work publicly (for example with fine art); and 
  • Derivative works: The right to create adaptations of your work. 

Tips for Protecting Your Art 

  1. Register Your Copyrights!

First and foremost, let us dispel a common myth: the so-called “Poor Man’s Copyright” – where you mail yourself a copy of your work to rely on the postage date stamp as proof that you created a work by a specific date.  In short, the Poor Man’s Copyright gets you none of the benefits of federal registration.   

Even though copyright protection is automatic once an original work is affixed to a tangible medium, registering your work with the U.S. Copyright Office provides significant additional benefits crucial to any artist, including: 

  • Legal proof: Registration serves as legal evidence of your ownership; 
  • Ability to sue, secure a damages award, and secure an award of your attorneys’ fees: With a registration, at the time of infringement, you can sue for statutory damages and secure an award of the attorneys’ fees incurred if you are forced to bring an infringement suit.   
  • For many artists, if a third party infringes your work, it can be very difficult to prove your actual monetary damages resulting from that infringement. This is particularly the case for artists without a track record of selling and licensing their work. But with a registration in hand, at the time of an infringement, the copyright owner can dispense with the effort of proving actual damages and, instead, opt for statutory damages, which are increased if the judge finds that the infringement was willful.   
  • Also, with registration, at the time of infringement, a copyright owner can seek and secure an award of the attorneys’ fees incurred in bringing the legal action.  That means that the infringer, in addition to paying his/her/their attorney, may have to pay the fees of your attorney as well.   
  • Bottom line, infringement of a registered copyright exposes an infringer to the obligation of paying a significant monetary award in addition to the fees generated by all attorneys in the matter. This gives the registered copyright owner significant leverage, incentivizing early settlement of the claim.   
  • Public record: Registration creates a public record of your copyright, deterring potential infringers.
Photo by Reve2k  m from Pexels

 

  1. Keep Detailed Records

Rather than rely on the “Poor Man’s Copyright,” maintain documentation of your work process as well as publication of your work.  Ideally, maintain the following: 

  • Sketches and drafts: Save preliminary sketches, drafts, and notes. 
  • Dates of creation: Keep track of when you created each original piece, and even portions thereof. 
  • Exhibition and publication records: Document where and when each of your works is displayed or published. 

These records can help establish your ownership and the timeline of your creative process. 

  1. Use Watermarks

Once your work is in digital format, it is easily moved around the world in seconds. If you share your work online, consider using watermarks. A watermark is a visible overlay identifying you as the author of that work. While a watermark will not prevent someone from using your work without your authorization, it makes it clear who the copyright owner is and, especially if the infringer tries to remove it, in the context of a copyright infringement suit it can significantly bolster your assertion that the infringement was willful, perhaps leading to a higher damages award. 

  1. Generate Revenues from Licensing Your Work

If you wish to allow others to use your work, enter into a written license agreement specifying how your work may be used and how you will be compensated for allowing that use. Licenses can be exclusive (only party X can sell prints bearing an image of the work) or non-exclusive (grant the same right(s) to multiple parties). A license is a legal agreement that should clearly state the license granted, how long that license lasts, the reporting and accounting obligations of the licensee, and how the copyright owner will be compensated for providing that license, in addition to numerous other provisions. When a licensing opportunity arises, engage a copyright attorney to assist you in drafting that document.   

  1. Understand Fair Use

Fair use is a legal doctrine that allows limited use of copyrighted material without the copyright owner’s permission under certain circumstances, typically for purposes of criticism, comment, news reporting, teaching, scholarship, or research. As an artist, be aware of how fair use might apply to your work and to the works of others, particularly if you engage in practices like remixing or sampling.   

  1. Read Online Terms of Use

There are numerous online locations, including social media sites, that provide excellent platforms to showcase your work. But be very careful before posting your work. Check the platform’s Terms of Use because some platforms’ Terms provide that when you upload your work, you grant the platform a license to use it in various ways without your prior consent.  Consider whether you want to grant this license before posting and always include a copyright notice on your image. 

  1. Know Your Rights When Selling

When you sell your art, clarify what rights you are transferring. The sale of an artwork does not automatically transfer copyright unless explicitly stated, in writing. For example, you may make 100 prints of your oil painting, but you are not selling or licensing your copyright in the original painting by selling these prints. Just because someone purchases a print doesn’t mean that they can make copies of the print to sell, distribute, etc. Always be clear in a sale whether the buyer receives only the physical artwork or if they also gain certain usage rights. 

8. Consult an Intellectual Property Attorney

If you’re unsure about any aspect of copyright, consider consulting with a copyright attorney. Every situation is unique, and an experienced intellectual property attorney can tailor your licenses and other agreements to your specific situation, help you with copyright registration, and guide you through potential legal issues. 

Photo by Artem Malushenko from Pexels

Conclusion 

A basic understanding of copyright is essential for working artists, enabling you to protect your creative work, assert your rights as a copyright owner, and generate revenues from your work. By understanding copyright basics and registering your work soon after creation, you can safeguard your art from infringement and put yourself in the best position possible should your work be infringed. As an artist, your creativity deserves protection. By implementing these tips, you can focus on what you do best – creating – while ensuring that your work is recognized, respected, and protected. 

____________________________ 

Authors Bio: 

Co-founders of intellectual property law firm Crown® LLP, Elizabeth J. Rest and Owen Seitel have a passion for Advising Creativity®. Elizabeth is a brand builder and portfolio protector, focused on trademarks and copyrights, and Owen has more than 30 years of experience with commercial endeavors, transactions, and disputes involving intellectual property and broader business matters. They can be reached at [email protected] and [email protected].   

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Art Basel Paris Gets a Warm Welcome at the Grand Palais

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Artist Paulina Olowska was roaming around Pace’s booth wearing a nun habit, occasionally ringing a bell inside the Grand Palais on Wednesday. It felt fitting: there is something almost holy about this venue, with its towering domed ceiling of glass and opulent steel pillars that occasionally gather in corners into florets; and certainly something ritualistic about how the art world gathers together, year over year, like a harvest festival all throughout the fall.

That is, with a small hiatus between when it comes to the Grand Palais. Art Basel is finally in the place where it set out to be several years ago, when it won a bid for the beaux-arts icon, beating out the stalwart fair FIAC. The former fair seems to be not much more than a whisper in the wind by now. But, unlike Frieze London, which flipped their floor plan this year, the Swiss fair brand kept to some of the palace traditions. Its atmosphere feels welcome and familiar, though the quality of work is certainly better than the FIAC days. Hauser and Wirth, who were regulars at FIAC like many of the dealers on the main floor, were kiddie corner to their old spot on the FIAC floor plan. Many of the other powerbrokers who loomed large at FIAC are similarly situated here in prime corner real estate. Call it continuity.

Pace Gallery booth installation views, Art Basel Paris 2024. © Pace Gallery. Photo by: Sebastian Opellion

At Pace’s booth, where Olowska curated the presentation called “Mystic Sugar,” the walls are deep purple, creating a new moody feeling for a showing of several artists in the gallery’s program, including a massive painting by Olowska on offer for €250,000 ($271,820). A €750,000 ($815,460) wall piece by Louise Nevelson loomed quietly nearby a sculpture of a woman crumpled up on the floor, by Kiki Kogelnik, on offer for €950,000 ($1.03 million). More expensive works, with undisclosed prices, linger in their back room.

For its part, Hauser and Wirth has also brought a booth of works by a variety of artists in the gallery—including a titan of a Philip Guston with large drooping tears. There is a particularly intimidating Louise Bourgeois spider that is bolted to the wall, with what sounds like a very locked-in price tag of €20 million ($21.75 million). That said, it did slide down at some point, having last sold ten years ago for €33 million ($35.87 million). There was active interest from several clients around midday.

We all thought this work might be the big talking point of the booth, and it is; but it is sharing the spotlight with a “surprise” Kasimir Malevich that the gallery brought, a secondary market piece dated to 1915. Its soft cubist elements seemed to glow in the frame, which was set against a deep blue wall.

Installation view, Hauser & Wirth at Art Basel Paris, 2024. Courtesy the artists / estates and Hauser & Wirth. Photo: Nicolas Brasseur

“Some people think they do not need to come because they take their decisions before,” Marc Payot, president of Hauser and Wirth, told me. Rewarding clients for coming and experiencing their art in-person was part of the motivation to not release news of the Malevich in their preview send-outs.

The small canvas, which had been in the Stedelijk collection for years, has an impeccable provenance history, said Payot, in an artist’s market that has had some historic issues with fakes. There is no price named, but, given the artist and the museum history, one can only guess. The Malevich was on hold around midday. The come-and-see approach was taken up especially creatively at Pilar Corrias, where Sophie von Hellerman painted VIP visitors’ dreams between 12 and 2 p.m. And Olowska will be doing astrology readings later this evening at Pace’s party. I can think of more than a few dealers who would like to know what the future of the market holds, should it be written in the stars.

Herein lies a takeaway: there is a noted desire to draw clients to show up in-person (and stay a while). It echoes what I heard at Sotheby’s headquarters on Monday morning, where a group of fresh-eyed executives stood amongst around $326 million worth of art, including masterworks of Surrealism and Arte Povera. Their expanded location in Faubourg Saint-Honoré has a flexible layout where they plan to host different events. To respond to the “needs of their clients in the 21st century,” the auction house is seeking to create more on-site experiences for buyers, said head of Sotheby’s France, Mario Tavella. There is, for example, a wine-tasting cellar.

Art Basel Paris 2024 at the Grand Palais. Courtesy of Art Basel

At Art Basel, wine is not for sale (yet, though a lot of other items are at the Art Basel Shop), but you can get a glass of cold Ruinart on the terrace—and you might need it. The Grand Palais—which is by some measures could be described as a very opulent greenhouse—was swelteringly hot on an unseasonably warm VIP day, a feeling heightened by what seemed like particularly crowded halls.

One dealer on the main floor lamented that she had forgotten to wear sunscreen. And VIPs all around the corridors were gladly wearing sunglasses. A delicate 1934 work by Meret Oppenheim on a canvas scroll that was on view at Michael Werner gallery was sold by midday was luckily on the north-facing wall in a quiet piece of shade. And a large heater sculpture at Lia Rumma, on sale for €700,000 ($760,900) by Arte Povera artist Gilberto Zorio, remained unplugged, turning it on only for clients who were willing to feel an extra bit of warmth.

View of Gilberto Zorio from Lia Rumma at Art Basel Paris

View of Gilberto Zorio from Lia Rumma at Art Basel Paris

But the hotly attended VIP day, which made it hard to see work at moments, is generally welcome. “There is enormous energy in Paris in terms of the level of culture,” said Payot. “It is difficult to say where we are in this moment; the context [of the market] has not really changed. It is tricky, but we have seen a very strong week in London last week. And here, in Paris, there is more energy than I’ve seen in years before.”

“In a difficult moment, it is an oasis,” said Paris-based Alex Mor of Mor Charpentier (an apt metaphor, given the midday heat). “People seemed to saving up for Paris,” he added. Indeed, at the satellite fair of Paris Internationale, which had a bustling VIP day last evening one dealer told me that he “had not spoken French once today,” as evidence of the international drop-ins. While there are galleries flocking to the city, collectors are not moving here in year-round. They are visiting. And Paris is always worth a visit. Back at Pace’s booth, representatives from Seoul, Tokyo, and Hong Kong were all there near Arne and Marc Glimcher. Capitain Petzlel also had their Asia rep on the ground. In other words, Europeans, Americans, and a powerful showing of Asian buyers are in town.

There were some good-humored groans from dealers who had been at Frieze just last week, those who basically had to spin on one heel and head across the Channel to come to Paris. Most of them reported good experiences in London and were already feeling optimistic about Paris. “We had low expectations from the fairs,” said a spokesperson from a prominent U.S. gallery in the main sector but, gladly, they said, they found out they were very wrong.

“At every fair I have done this year, the numbers have been 30 percent more than previous years—in some cases double,” said Vanessa Carlos of Carlos/Ishikawa. “And it is not just the case for our star artists. It is something I am seeing across the board, including with our younger artists. When I talk to my colleagues, they say the same thing. While we do need to analyze the closures of several galleries this year more deeply, the toxic conversations around the market are not completely connected to what I experience or hear anecdotally, and it is not helpful to the artists in the end.”

Booth view of work by Libasse Ka at Carlos/Ishikawa at Art Basel Paris.

Booth view of work by Libasse Ka at Carlos/Ishikawa at Art Basel Paris.

Carlos is presenting new works by a talented young painter, the 26-year-old artist Libasse Ka, who she had met via his chance encouter with one of her artists, Oscar Murillo. Carlos showed me a selfie Murillo took with Libass, who was working at an electrical store at the time. In the picture, he is wearing a blue shop uniform. After glancing at his work, Murillo gave him money for a year, no strings attached, to make more of it. The booth was entirely sold out.

Painting by Martin wong of the statue of liberty at Art Basel Paris

Martin Wong Our Lady of the Lower East Side (1990). Courtesy of the Martin Wong Foundation and P·P·O·W, New York Copyright Martin Wong Foundation. Photo: Ian Edquist

At P.P.O.W. is a particularly special painting by Martin Wong, a secondary market work that was happily hanging out in the shade too, with an undisclosed price. The New York gallery skipped Frieze for the first time in a decade. They seemed sure that Wong would meet a knowing audience in Europe, thanks to an extensive retrospective of his work that went from Berlin to London in 2023. But if you want to see it (no, you cannot have it, because it was sold to a European collection by midday), you best go by tomorrow—the gallery is participating in the inaugural Oh La La, which sees 35 galleries transform their booth hangs entirely on Friday and Saturday.

As the sun did a welcome dip below the perimeter of the domed glass, things cooled off and guests began to filter back out into the early evening to various seated dinners and cocktail hours. Dealers had tired smiles on their faces, even if things were still to be determined. The Grand Palais was a return to form for the art world, even if the world at large feels like it has shifted greatly in recent years. “There is a real appetite for quality,” Payot mentioned, “And, for non-cynical comments. That is on a global level.”

Art Basel Paris is on view from October 18 through 20, 2024.

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How the gory Terrifier movies became a shock phenomenon | Horror films

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Conventional wisdom may dictate that you need a guy dressed up as a bat to properly defeat the Joker. But this past weekend, the indie distributor Cineverse fought fire with fire – or fought one deadly clown with another, as Terrifier 3 knocked the ill-regarded Joker sequel out of the top spot at the box office. (For that matter, ex-Batman Michael Keaton did also outshine Joker: Folie à Deux, with the sixth weekend of Beetlejuice Beetlejuice.) For those who only have room in their head to keep track of one psychotic clown at a time, Terrifier is a homegrown slasher-movie franchise that began in earnest with a barely released practical-effects calling card: the first Terrifier feature, which played in a handful of theaters in 2018. (A shorter version appeared in the earlier anthology film All Hallows’ Eve.) A vastly more elaborate but still low-budget sequel followed in 2022; now a third film, still only a $2m production, has outgrossed its predecessor in a single weekend, handily taking the number one spot. It’s on track to become one of the biggest horror movies of the year.

The new entry continues the, ah, adventures of Art the Clown (David Howard Thornton), a silent killer outfitted in black-and-white face paint and an accompanying clown costume, pantomiming his way through a variety of intensely grisly, sometimes stomach-churning murders. Though the movies aren’t terrifically clear about this, Art is a serial killer during most of the first film, then resurrected by a demonic entity that makes him near impossible to kill in the sequels. Not that anyone has much of a chance to try: the typical Art the Clown encounter involves him pestering, vexing or otherwise confounding people who think he’s just a weirdo in a costume before he whips a weapon out of his garbage bag and commences murders that can be, quite literally, torturously drawn out (several of the “kills” are paced out like action or dance sequences) or, on occasion, extremely concise (sometimes he just shoots people).

Either way, the Terrifier movies are not exactly taut with suspense. Rather, they traffic in spectacle, derived from their sometimes-comic willingness to tear flesh asunder – and show, not just imply, all of the gruesome damage Art inflicts, sometimes nudging audiences into disbelieving laughter. The sequels in particular are consciously designed as 80s throwbacks, increasingly parlaying their low budgets into something resembling retro ambience, even though they’re set in modern times. This isn’t the type of horror movie that has typically crossed over into mainstream success. Terrifier 3 may be the first unrated movie – it easily would have gotten an NC-17 from the MPAA – to top the North American box office, and it may be the goriest movie to ever enter wide release.

The last series to fill so many buckets of blood on such a consistent basis was the so-called “torture porn” of Saw, recently revived with a hit 10th movie. (An 11th is on the way.) Beyond the veneer of elaborate torture, the Terrifier movies don’t have much in common with the Saw pictures, which involve nesting storylines, crazy twists and a soap opera’s worth of interconnected characters and backstories, as the movies bend time to figure out how to incorporate their best-known character, the “Jigsaw killer” played by Tobin Bell. (Technically, he died way back in Saw III, and no supernatural elements have been introduced to revive him; only elaborate flashbacks.) Writer-director Damien Leone has worked some lore into the Terrifier movies, but it’s more vague than complicated; the second and third movie have a designated Final Girl, Sienna Shaw (Lauren LaVera), whose dead father bequeathed to her a sword capable of inflicting harm upon the malevolent clown.

LaVera brings a lot of conviction to Sienna, and she’s certainly a heroine easy to root for, no matter how much “fun” Art’s depraved antics are supposed to be. (At my showing, the audience applauded the conclusion of several kills; they also cheered when Sienna finally struck back.) But the 80s-fantasy angle of Terrifier 2 isn’t necessarily a series staple; while the third entry brings back Sienna and her sword, it’s more concerned with comporting itself as a Christmas-themed slasher movie. Yes, a bunch of children get killed when Art masquerades as Santa Claus. That we only see the dismembered body parts, and not the actual dismembering, is actually Leone exercising restraint.

So is it just more of that bad-taste envelope-pushing that has catapulted this series from depths-of-Tubi cult attraction to mainstream hit? That must be part of it: the allure of seeing something that has maneuvered around studio-movie gatekeepers. This weekend’s horror sequel Smile 2 has some truly gnarly gore of its own; for that matter, the recently canceled Chucky TV series has moments that would put plenty of R-rated movies to shame. Yet these properties feel, on some level, preapproved; the Terrifier series offers the opportunity to watch a slasher icon develop before our eyes. Most of the aforementioned titans of the genre have been around for literal decades. (Saw, the last truly galvanizing new slasher-like movie, just turned 20!) This means that many horror fans will have come to them reputation first, familiar from iconography, streaming services, cable marathons, merchandising … almost anything but fresh frights coming out in theaters everywhere, especially considering that Freddy and Jason haven’t appeared in new movies for over a decade. Art is certainly the first genuine horror icon of the 2020s – the Covid era.

David Howard Thornton as Art the Clown in Terrifier 3. Photograph: Signature

The pandemic also seems to have shifted the ground of moviegoing. Some audiences seem to have more or less retired from it, happy to wait a few weeks to watch new releases at home, often leaving only the biggest franchises standing at the top of the arts. (The top 10 movies at the North American box office so far in 2024 are all some kind of sequel.) Terrifier 3 is a sequel too, of course, with two more in the works, and streaming is always there in case the next one flops. But dry spots in the release schedule – from Covid, strikes and corporate caution – have opened up some opportunities outside the five remaining major studios. The triumph of Terrifier 3 feels like it was seeded last December, when the pre-Christmas weekends were seeing upwards of half a dozen movies from outside the major studios placing in the box office top 10 – numbers unseen for as long as studios have been this consolidated, maybe longer. Among the titles: The Boy and the Heron, Godzilla Minus One, the Beyoncé concert film, a filmed Broadway production and some more traditional movies from the mini-major Lionsgate.

Many of these were events for certain specific demographics; isn’t it time that horror sickos got similar attention as a niche audience that can rally into a seeming majority? There’s been an explosion of streaming horror movies thanks to services like Shudder and Screambox (the latter was the post-theatrical home of Terrifier 2), and a wide release for Terrifier 3 invites a certain type of geek out of their home and into the weird, sometimes discomfiting world of watching Art’s transgressions with a crowd. He’s a pop star and Godzilla, rolled into one hideous package, and while any of those things can be experienced at home, that’s not the ideal venue. The clown guise might seem mocking, of both supposedly harmless children’s entertainment and a boilerplate fear that’s been overexploited. But to some degree, Art’s sicko-mode clowning is sincere: old-fashioned, unsophisticated and designed to draw a crowd.

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Helsinki Design Week 2024: Anni Korkman on the Festival’s Mission of Inclusivity and Sustainability

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Anni highlights the transformation taking place in the design field, emphasizing a shift from focusing solely on end products to exploring the design processes themselves. “This year, the focus is on design processes: how ideas are developed, how materials are used and reused, and how design can reflect a deep respect for the environment, especially considering the current geopolitical and climate crises”, she explained. Her vision centres on the idea of creating design that serves the city and its people, emphasizing that it’s not just about making more but about making better for the community.

Rethinking the festival’s format was also on Anni’s checklist going forward. It’s important to reconsider and redefine the format of the event, suggesting that such festivals should tell stories not only about designers but also about their practices.” This perspective not only encourages a broader conversation on the impact of design, but explores its significance not only on a local level but also within a global context. “It’s almost an invitation to understand what it really means to be a designer today—a journey that combines personal growth with a deep sense of social and environmental responsibility.”



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OAE/Fischer review – historically informed Bruckner thrills | Classical music

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Anton Bruckner’s symphonies are some of the most self-consciously monumental in the classical canon. It can be hard to imagine – let alone hear – those murmuring openings and vast, brassy climaxes without the precision and power of a modern symphony orchestra. But to mark the composer’s 200th birthday, the period-instrument Orchestra of the Age of Enlightenment continued its unhurried foray into the late-Romantic repertory with Bruckner’s Fifth Symphony.

If “historically informed performance” suggests holier-than-thou small-scale, think again: this one featured eight brass players, with six double-basses as the formidable engine of a hefty string section. The big tunes surged. In the relatively intimate acoustic of the QEH, the breakthrough chorales verged on deafening. There was little information about the instruments themselves – simply “closer to those that would have been used in Bruckner’s day” – but such quibbles fade to meaningless in the face of results this thrilling.

Luminosity: some of the OAE’s brass.

The strings (presumably playing on gut) were mellow and translucent, vibrato used sparingly. Richness of tone – and this was a seriously deluxe, velveteen richness – emerged from exquisite bow control. Woodwind solos were characterful in the extreme: laser-like in focus, the flute almost hollow in its woodiness, double reeds raw and acidic, all precision-sculpted. The brass injected periodic blooms of luminosity but remained deeply connected to the rest of the orchestral tissue, never dominating even in the finale’s deeply carved apotheosis.

On the podium, negotiating the numerous structural challenges of this symphony, was Adam Fischer. Sometimes he leaned back like a man waiting for a bus; sometimes he looked as if he was dancing with a light sabre in a phone box; sometimes he wielded his baton like a meat-cleaver. He switched gears from spacious to frantic more or less instantaneously, driving the orchestra like a custom-built sports car through the twists, halts and repetitive eddies of Bruckner’s score. Every pizzicato phrase had its own shape, every silence-pocked passage a sense of macro-structure. The long, generous melody of the second movement relaxed like a collective exhalation. But Fischer came into his own handling Bruckner’s obsessive repetitions: pushing through circles of fifths and fugal mechanics, constantly in search of the bigger picture.

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Who Has Been Voted Off Strictly Come Dancing in Week 4 ?

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Nick Knowles is the third celebrity to depart the dancefloor in Strictly Come Dancing 2024

The Strictly Come Dancing Professional Dancers 2024,BBC Public Service,Kieron McCarron
Strictly Come Dancing
The Strictly Come Dancing Professional Dancers 2024,BBC Public Service,Kieron McCarron
Strictly Come Dancing
The Strictly Come Dancing Professional Dancers 2024,BBC Public Service,Kieron McCarron
Strictly Come Dancing
Snow Patrol, Katya Jones and Kai Widdrington,BBC Public Service,Guy Levy

Nick and Luba have left the Strictly Come Dancing competition following a dance off against Shayne and Nancy during the third Results Show of the series.

Both couples performed their routines again; Shayne and Nancy performed their Cha Cha to Ain’t No Love (Ain’t No Use) by Sub Sub feat. Melanie Williams. Then, Nick and Luba performed their Charleston to Rain on the Roof from the film Paddington 2.

Strictly Come Dancing
Tess Daly, Nick Knowles and Luba Mushtuk,BBC Public Service,Guy Levy

After both couples had danced for a second time, the judges delivered their verdicts:

  • Craig Revel Horwood chose to save Shayne and Nancy.
  • Motsi Mabuse chose to save Shayne and Nancy.
  • Anton Du Beke chose to save Shayne and Nancy.

With three votes in favour of Shayne and Nancy, they won the majority vote meaning that Nick and Luba would be leaving the competition. Head Judge Shirley Ballas also agreed and said she would have decided to save Shayne and Nancy.

Strictly Come Dancing
Tess Daly, Nick Knowles and Luba Mushtuk,BBC Public Service,Guy Levy

When asked by Tess about their time on the show, Nick said: “I’ve really, really been surprised by how much I’ve loved doing it and by two things that happen. One is how much you care each week, and the other is how much you don’t want to let down your partner. The only reason I could do this is simply because of Luba’s changes, she’s been amazing.”

Strictly Come Dancing
Nick Knowles and Luba Mushtuk,BBC Public Service,Guy Levy

Luba said: “I’ve never met someone as determined as you, and I remember you saying that if you do your best, you’ll be very happy. I think you did more than your best. Thank you.”

Strictly Come Dancing
Nick Knowles and the Strictly 2024 Pro Dancers and Celebrities,BBC Public Service,Guy Levy

When asked by Tess about his partner Luba, Nick said: “Luba’s been amazing and just been so fabulous every day. And I should say thank you also to all the background staff, the physios, all the people that have actually got me through this week, and to all of my fellow competitors who have been absolutely astounding, beautiful people. There are some amazing dancers up there, and I will love watching the rest of the series.”

Strictly Come Dancing
The Strictly Come Dancing Professional Dancers 2024,BBC Public Service,Kieron McCarron

Sunday’s Results Show also featured a special routine from our fabulous professional dancers to Taylor Swift’s Wildest Dreams, choreographed by Mandy Moore and starring Nikita Kuzmin and Karen Hauer as the leads. Plus a show stopping musical performance of Everything’s Here and Nothing’s Lost from Snow Patrol.

Strictly Come Dancing
Snow Patrol, Katya Jones and Kai Widdrington,BBC Public Service,Guy Levy

The remaining 12 couples will take to the dancefloor next week when Strictly Come Dancing returns on Saturday 19 October at 1825 with the results show on Sunday 20 October at 1920 on BBC One. Both of this weekend’s episodes are available to watch now via BBC iPlayer.

Nick and Luba will be joining Fleur East and Janette Manrara for their first exclusive televised interview live on Strictly: It Takes Two on Monday 14 October at 1830 on BBC Two and BBC iPlayer.

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The slippery Surrealism of Pierre Roy

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From the March 2024 issue of Apollo. Preview and subscribe here.

Pierre Roy caused barely a ripple in the Surrealist movement. He was nominally a member of the group from 1925 to 1928, participated in some of its early art exhibitions and frequented its cafe klatches. But André Breton does not mention him in his seminal round-up of Surrealist artists, Surrealism and Painting (1928), written concurrently with Roy’s involvement in the movement, and Roy’s signature does not appear on any collective statements. His departure was as unheralded as his arrival. The main dictionaries and histories of Surrealism largely ignore him; surveys of its art leave him out. And yet, his canvas Danger on the Stairs, from 1927 or 1928, is arguably the most Surrealist painting to be produced during the movement’s early heyday, before Dalí’s melted watches and Oppenheim’s fur-covered cup defined what Surrealist art ‘should’ look like.

Born in 1880, Roy was nearly two decades older than the twenty-somethings who formed the initial Surrealist group. He had begun painting under the influence of Fauvism, but later, perhaps swayed by Giorgio de Chirico, he switched to producing canvases featuring odd collocations of disparate objects, the best of which generate the kind of disorienting mystery that Breton identified as the province of Surrealist art – art that externalises ‘a purely internal model’ and visualises that ‘which is not visible’.

Danger on the Stairs both epitomises and subtly shifts Breton’s framing. The scene is of a banal staircase in a disturbingly ordinary Paris apartment building. A door, a railing, a jute mat, soporific faux-marble walls. You can anticipate the muffled creak of the photorealistic floorboards. All is eerily quiet, except that down the stairs slithers a diamondback snake, staring at the viewer as if lying in wait for the next unsuspecting soul to emerge from the floor below.

Danger on the Stairs (1927/1928), Pierre Roy. Museum of Modern Art, New York

Freud applied the term ‘uncanny’ to those moments when our irrational dreads collide with our rationally conditioned dismissals of them in ways that we can’t immediately resolve and are forced to experience viscerally. More than any other of Roy’s canvases – and more than most works produced by the higher-profile figures to tromp through Surrealism – Danger on the Stairs confronts us with that state of unreality and unbelief, the collision of elements that by rights should never come into contact, and to which we’re given no time to react before the danger strikes.

But where Thanatos creeps, Eros rarely lags behind. Surrealist expressions of the uncanny combine the quotidian with the unexpected, inexplicable and disorienting, but also the oddly pleasurable. Breton described such moments as eliciting ‘a physical sensation […] like the feeling of a feathery wind brushing across my temples to produce a real shiver’. That shiver might result from looking at a work of art, just as much as from a chance encounter, a startling coincidence or the juxtaposition of two irreconcilable realities – in the case of Roy’s painting, the two realities being just close enough, just reconcilable enough, that their superimposition carries not only the thrill of novelty but also the shock of hazard.

This is different from most standard reactions to Surrealist art, the kind that greeted works such as Dalí’s William Tell (which sent the English writer Norman Douglas rushing from the room for fear it would ‘spoil his dinner’) or Man Ray’s The Gift, a flatiron with a row of tacks glued down the middle (‘But you’ll ruin the shirt if you put tacks on there!’ the salesman protested). Danger on the Stairs is less in-your-face. It sneaks up on you, like its reptile protagonist; your eye first goes to the door that dominates much of the visual space, as you would approach that door when paying a visit. Only then do you notice the incongruous and deadly foreign element, and the effect is all the more chilling because of it – feathery wind, indeed.

Roy’s tenure among the Surrealists coincided with the movement’s severe growing pains, public and private. In 1927–28, Breton, who exercised over the group an authority that was virtually erotic in its intensity, was undergoing a personal crisis because of a calamitous love affair and the resulting marital strife. The tensions were often vented on those around him, causing more than one nervous breakdown – Breton was a masterful and merciless prosecutor – and culminating the following year in a vast purge of group members and the no-holds-barred vitriol of the Second Manifesto. The entrance to Breton’s apartment at 42 rue Fontaine was not unlike the one in the painting, and chances are that Roy saw it many times during his Surrealist sojourn. We can only wonder whether the trepidatious climber whose viewpoint we’re adopting is the painter himself, the danger not so much the serpent on the stairs as the venom lurking behind the door.

From the March 2024 issue of Apollo. Preview and subscribe here.



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