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Ninth Circuit Holds That Registration Of A Single Photography Database Supports Award Of Statutory Damages For Each Individual Photo In The Database – Copyright

Ninth Circuit Holds That Registration Of A Single Photography Database Supports Award Of Statutory Damages For Each Individual Photo In The Database – Copyright

Reasoning that the form of a copyright registration does not
really matter, the Ninth Circuit recently affirmed a district court’s
ruling that real estate photography provider VHT was entitled to
statutory damages for 2,700 photos infringed by Zillow even though
VHT had registered all of the works at issue as part of a single
database. Zillow argued that VHT should be held to its
registration, i.e., that the infringement was of a single work for
which VHT could obtain a single statutory damage award of not more
than $30,000. Reasoning that this would result in elevating form
over substance, the Ninth Circuit affirmed the district court’s
award of statutory damages for each photo Zillow had been found to
infringe.

VHT provides residential photography services and has a database
containing millions of photographs. Defendant Zillow is a real
estate website that sometime publishes those photos on its website
to assist in the marketing of residential real estate. At issue
here, was Zillow’s unauthorized use of 2,700 photos on the
“Digs” portion of its website, a webpage that provided
“visual inspiration” for remodel projects. (Ed. Note:
When we tried to access Digs, we received an “Error
404” message.). After a prior appeal, there was no question
whether the photos were infringing, only whether VHT’s
registration of a single photograph database with the Copyright
Office would support multiple statutory damage awards.

The Copyright Act states that plaintiffs typically must register
their works either within three months of publication or prior to
infringement as a prerequisite to obtaining statutory damages.
Zillow raised two problems with VHT’s registration. First, the
Copyright Office had not issued the registrations prior to VHT
bringing suit. Second, VHT had not registered the photos as
individual works, but rather as a single database.

Despite the Supreme Court’s 2019 holding in Fourth
Estate Public Benefit Corp. v. Wall-Street.com, LLC
that a
plaintiff must obtain an issued registration from the
Copyright Office before filing suit, the Ninth Circuit
handily dispensed with this requirement under the unique
circumstances this case presented. Because the Supreme Court’s
opinion in Fourth Estate issued during the litigation, it
gave VHT a pass – reasoning that under prior Supreme Court
precedent, copyright registration is not jurisdictional. Given that
this was a fairly exceptional set of procedural facts, it is
doubtful that Zillow will seek (or obtain) a writ of certiorari
from the Supreme Court. So, while the discussion of this was
interesting, it is not likely to be of much use to
practitioners.

The more interesting question was whether VHT would be held to a
single statutory damages award having registered a single database
as a compilation. The district court, for its part, found that it
need not look at the form of the registration, what matters was
that each photo was independently copyrightable and infringed.
Thus, each act of infringement would support an award of statutory
damages. This was contrary to guidance contained in the Copyright Office’s Compendium of U.S.
Copyright Office Practices, section 1112
suggesting that
plaintiffs seeking damages for infringing a database compilation
would be limited to a single statutory damages award
(“Consequently, when a group of photographs is registered as a
database, the copyright owner may be entitled to seek

only one award of statutory damages for the database as a whole
– rather than a separate award for each photograph –
even if the defendant infringed all the photographs covered by the
registration.”)

On appeal, the Ninth Circuit affirmed that Zillow had infringed
individual photos, not the database compilation. The copyrightable
content in a database compilation is “the selection,
coordination, and arrangement of preexisting pictorial works.”
Here, because each individual photograph was published individually
and selected by Zillow for infringement individually, VHT was
entitled to statutory damages for each infringement of each photo,
rather than a single statutory damages award for infringing the
database. Courts need not follow the Copyright Office Compendium
since it does not have the force of law and is merely
persuasive.

But what about the fact that VHT registered millions of works as
a single database (often in chunks of tens or hundreds of
thousands) without submitting deposit copies? The Ninth Circuit
says that focusing on the type of registration “elevates the
form of registration above all else.” “Although the
Copyright Act states that all parts of a compilation … constitute
one work, it does not say that any work included in a compilation
cannot also exist as a separate, independent work.”

According to the Ninth Circuit, there are a number of ways to
register groups of photos, including group registrations (typically
limited to 750 individual works published within the prior year).
Under the Ninth Circuit’s rationale, a single registration of a
stock photo database is sufficient to register all of the
photographs contained in it, and that such a registration will
support an award of statutory damages (and presumably give the
district court discretion to award attorneys’ fees as
well).

Because “photographers can create hundreds, and sometimes
thousands, of photographs per day,” the Ninth Circuit reasoned
that allowing them simply to register a single database will
protect the financial interests of the photographers and keep the
Copyright Office from facing a deluge of copyright applications
from prolific photographers. Thus, going forward, content owners
can protect countless photographic works through a single
registration and still enforce their rights with the threat of
statutory damages.

While we sympathize with the difficulties faced by
photographers, we wonder whether the Ninth Circuit’s rationale
here holds water. As the Ninth Circuit pointed out, the purpose of
permitting the registration of a database compilation is to protect
the selection and arrangement of preexisting works, not the
underlying works themselves. Nonetheless, by including within the
scope of the database registration the individual works, the Ninth
Circuit has created a boon for photographers who would certainly
prefer to avoid paying multiple registration fees to the copyright
office.

Under the Supreme Court’s 2022 opinion in Unicolors, Inc. v. H&M Hennes &
Mauritz, L.P.
, a mistake in registering a copyright will
generally not be held against the registrant in enforcement
proceedings. So, even if it turns out that the Ninth Circuit was
wrong, any registration obtained under its rationale in
VHT will likely be immune to challenge under
Unicolors regardless of whether the case is brought in the
Ninth Circuit or anywhere else.

The case is VHT, Inc. v. Zillow Grp., Inc., 2023 U.S.P.Q.2d
671 (9th Cir. 2023)
.

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guide to the subject matter. Specialist advice should be sought
about your specific circumstances.

New Art Week fellowship program aims to engage neighborhoods

New Art Week fellowship program aims to engage neighborhoods

A new fellowship program that runs in conjunction with the annual Art Week celebration is designed to elevate the work of community artists and activate and embed their work into neighborhoods in the Des Moines area.

The ninth annual Art Week, scheduled for June 16-22, happens ahead of the Des Moines Arts Festival, and showcases work of local artists.

This year, Art Week will also feature the inaugural fellowship program, which is designed to let artists engage neighborhoods in the design and experience of their work and partner with those with shared community interests. 

The artists participating in this year’s fellowship program:

  • Jill Wells and Cameron Gray are working on a multimedia project at xBk Live on June 17. According to the project description, the collaboration will celebrate Black joy through double-film screenings, live music and art exhibitions.
  • Ramona Muse Lambert will curate an evolving, performance art piece called the Drawing Disco in Valley Junction on June 22 where residents can help illustrate the squares that will make up a dance floor for performances. Lambert is also organizing an emerging artists pop-up as part of her exhibit.
  • Siriaco Garcia plans a party in Columbus Park on June 16 with a DJ, food and local art vendors, jumping castle and interactive activities.
  • Jordan Brooks will present an event titled The Art of Movement at Perkins Elementary School in Des Moines on June 20. The event will feature several movement-based activities, including a splatter mural, an augmented reality path for walking and running, a sketch walk, yoga, and hip-hop cardio.
  • Billy Weathers will present a group interactive project in the Highland Park/Oak Park neighborhood on June 18. It will showcase different mediums that make up Des Moines and will include food, art and music for what organizers say will be a laid-back environment where residents can enjoy themselves. Interactive art will happen throughout the event, with opportunities for community participation.

Teva Dawson, director of art consulting firm Group Creatives, said the fellowship is focused on artists who are community-oriented.

“They’re not folks who just want to have a gallery and display artwork,” she said. “They really are about activating people through the arts. We partnered through Invest DSM to support this so that they are really activating within neighborhoods. To make art accessible to neighbors. To broaden participation and engagement with the arts and for the artists to start to swirl a hub of activity around their work as well.”

Dawson said the artists who were selected for the fellowship “have a sense of being a magnet for engagement and really then highlighting what those neighborhoods have to offer.”

“So the arts isn’t just something that happens in downtown Des Moines or the sculpture park or at a theater; it is really something that can happen anywhere and really in unique expressions of it,” she said.

Each artist received $5,000 for their project with additional funding for marketing, public relations, and other activities, Dawson said.

Funding partners include Invest DSM, the Greater Des Moines Public Arts Foundation and the West Des Moines Public Arts Advisory Commission.

There were no specific guidelines or instructions for artists to follow, other than their being encouraged to try something new and expand their creativity.

“There is really nothing like this in our area that offers funding for artists to stretch into something new,” Dawson said. “There’s a few state grants they can access, [but] there’s nothing for local artists to access that is just experimental. We need more not only for art to feel experimental, we need more of a sense of people trying new things not knowing if they’re going to be successful or not. That’s the whole pattern of innovation.”

“We just entrusted experienced artists with the funding, not needing them to prove any sort of model,” she said. “I think that’s also unique for Des Moines in that sense of trust and in terms of funding. A lot of that is to the credit of Invest DSM because they also believe in the creative juices of artists and trust in whatever magic might happen.”

The Business Record spoke with some of the artists participating in the fellowship to learn more about their projects. Some of their responses have been edited for brevity and clarity.

Jill Wells: I’ve never done cinema before, and Cameron, he’s like a film head. So when we talked about how to marry our practices into this experience for the community, I have been dabbling into sound and video as far as accessibility factors with my work. So I thought this would be a perfect opportunity to do image, video, sound and all that. We reached out to xBk, and it’s Black cinema and art. Each of us selected a film that resonates with us. I also reached out to a friend of mine, Melvin Coleman, an African American man who has been playing piano for probably his whole life. I started looking at old-school film before sound and wanted to integrate and have an opportunity to pay homage to when artists would play piano as the sound portion of the film. He’ll do the intro and outro to each film. Erica Faye, she’s from Waterloo. She writes, directs and acts in her own [short films]. She just won the 2023 Iowa Motion Picture Excellence Award for her film she will be showing here, which is called “Mercy.” She will do an artist’s talk after. And “Mercy” is all about forgiveness and the main character’s journey through loss and their faith and life. Cameron’s film is “Black Panther: Wakanda Forever,” and there’s a lot of loss in that piece as well. So there’s a really nice narrative that ties in and with Erica going first, that piece is a little heavy. It’s a little more grassroots. It’s not a blockbuster production. So I think having “Black Panther” come in on the tail end to bring the action or level up a little, I think it will be a nice kind of wave for people to experience that. For me, it’s a first-time experience with exhibiting film as a side of my work. My role [as a fellow] is to present something to the community that would be unique and different. I like to have curated moments like this for the community where it’s multiple mediums so people start to think about art in a broader context, other than it’s just a painting on a wall, or it’s segregated and we leave the gallery and then we go to the cinema. So this is kind of a whole curated all-in-one package. I feel like that’s a big part of my role, but it’s also me stretching myself to do something new.

Cameron Gray: I’m a huge movie buff. I watch a lot of Black film and film in general, and the way I see it, Black film has always been on the exterior of film history, which is unfortunate. There’s so much joy in bringing Black film to people that have no idea who these filmmakers are, and one of the films is done by a Black filmmaker from Iowa, which is incredible. There’s that balance of an indie film that then you have a film on another scale. I love the duality of both of these two things that can exist and be very beautiful. So I love the interplay between the two of those and how they all function together in a beautiful way. People are going to see and experience different aspects of the Black experience as shown on camera. One reason I chose “Wakanda Forever” is I had a lot of grief this past year. A lot of people who were close to me have passed away. When I was thinking about what film I should choose, it only made sense for me because of where I was as an individual and where I still am to some degree. Taking that reflection of what I’m feeling, what movie represents that so beautifully and eloquently, and that’s also the reason I chose what piece I’m bringing to this particular show, too. It’s a direct representation of my aunt who passed away a couple of years ago. I think people are going to get a sense of the Black experience as authentically as can be shown. I’m sure Jill’s connection with her pieces is going to be cohesive to [Mercy] itself. When you walk in, there will be a place for people to sit. On one side she’ll have some of her work up. I’ll have some work on the other side. There will be the stage and screen. There will be an introduction to the film, a Q&A with the director. Then I will introduce my film, and then after, there will be a place for questions.

Artists2
Artist Ramona Muse Lambert works on the Disco Drawing at her home in Des Moines. Photo by Duane Tinkey

Ramona Muse Lambert: I’m illustrating 200 square feet of dance floor. What we’re going to do is everybody is going to draw and it’s going to be a good time. They will all fit together like a quilt. We’re going to have a DJ with music. And there’s going to be some performance art that goes with it. The piece to me is about process. Teaching people that don’t know about art about collaboration, the give-and-take of art because a little bit of it will be destroyed and then we’re going to rebuild it. We’ll have a couple of performers coming and the dance music and then we’re just going to dance on it like a celebration. We’re also going to have an emerging artists pop-up. So we have 11 artists who are up and coming, 16- to 25-year-olds. The idea is it will be a steppingstone for them. We want to create an opportunity for these people. We’ll all be together so it will be like this big art experience. This project I would say is a culmination of all the legs of a table that is my work. I guess my goal is we have the artists, how do we get everybody else? One of the things is to help people realize they are creative or they can make art. A lot of people assume they are not creative, but I think art is incredibly important for mental health. My goal is to try to engage even more people, different kinds of people than have been participating before. Those who don’t think of themselves as creative, and kids. I work with kids a lot.

Art Week as it relates to placemaking and workforce development

Dawson said art and amenities of all scopes and sizes are important to attract and retain businesses and talent to the community.

“A lot of times, yes, the big amenities are important, but a lot of people feel a sense of connection by smaller things that happen on a smaller level,” she said. “There is this layer of texture on a smaller scale that needs attention as well as investment so there can be these smaller hubs of vibrancy. To make sure we’re paying attention to that level. It still takes money, it still takes big money if you think about it across the region, but we are growing so rapidly. So many folks continue to come into our community that haven’t been here before. We’re continuing to make and reinvent these spaces, and they need to feel like home to folks, and that’s where I think it’s important to happen.”

She said people are looking for interesting places to live.

“It’s not just being affordable, but there are fun things happening,” Dawson said. “The only way to get to that is to start to engage people who have creative expressions and to start to have spaces to be able to make room for that. So I think it’s absolutely critical to workforce development that we do that.”

Review: A heroic Robert Motherwell survey at the Fort Worth Modern

Review: A heroic Robert Motherwell survey at the Fort Worth Modern

FORT WORTH — If mad Ireland hurt W.B. Yeats into poetry, as W.H. Auden averred, the rise of fascism and World War II stirred up defiant new energies in the visual arts. Thanks to European artists fleeing oppression and destruction, a lot of those energies landed on these shores, in turn challenging American artists to find new modes of expression. In the 1940s, as Robert Hughes has written, there were more modern masterpieces by European artists to be seen in New York than anywhere else.

Centered in New York, a powerful artistic reaction was what soon was dubbed abstract expressionism. A whole group of artists born in the first two decades of the 20th century rejected obvious representation in favor of slashes, washes, blobs and dribbles of paint. They included the Armenian-born Arshile Gorky, the Latvian-native Mark Rothko and the Dutch-born Willem de Kooning, but also the native-born Adolph Gottlieb, Clyfford Still, Franz Kline and Jackson Pollock.

The youngest of that initial group, born in 1915 and educated in philosophy and literature as well as art, Robert Motherwell became its intellectual spokesman. Writing and editing publications and teaching, he was also a prolific painter who explored abstraction, gesture and texture.

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“Robert Motherwell: Pure Painting,” currently on display at the Modern Art Museum of Fort Worth, is billed as the first major exhibition of the artist’s work in more than a quarter century. Organized by guest curator Susan Davidson, it includes more than 50 paintings tracing the developments of a 50-year career. (The Fort Worth Modern itself owns 72 Motherwells in various media, a collection second only to that of The Museum of Modern Art in New York.)

Robert Motherwell’s 1962 work “Caprice No. 3” is featured in the Fort Worth exhibition that traces the developments of the artist’s 50-year career. (Krause & Johansen)

The son of a prosperous banker, Motherwell grew up in Washington state and California. He took early lessons in painting, but he was also drawn to literature, especially French poetry from Baudelaire and Mallarmé to Valéry. He got a bachelor’s degree in philosophy at Stanford, and, after a prewar European tour with his family, began Ph.D. studies in philosophy at Harvard.

But his real passion was art, and after he switched to studying art history at Columbia, his professor, Meyer Schapiro, encouraged him to give up academics to become a painter. Acquaintance with surrealists who’d washed up in New York in the early 1940s introduced Motherwell to artistic automatism: spontaneous creation, without a plan.

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Ironically, as his career progressed, Motherwell was an obsessive reviser. After a painting had been shown, he was entirely capable of asking for its return to make extensive changes. “I begin a painting with a series of mistakes,” he wrote in 1947. “The painting comes out of the correction of mistakes by feeling … by innumerable trials and errors.”

Although himself an intellectual, Motherwell saw painting as a visceral and emotional experience, calling his work “a barbaric force.” While several recurrent themes can be seen in his oeuvre, much of it based on a limited palette of black, white and ocher, he didn’t have a definitive style in the sense of a Pollock or Rothko. Indeed, the Fort Worth show displays the breadth of his imagery and approaches.

Robert Motherwell is best known for his “Elegy to the Spanish Republic” series, which eventually grew to more than 250 paintings and works on paper. As with many artists and intellectuals of the day, Motherwell was deeply troubled by the 1936-39 Spanish Civil War.(Copyright 2023 Dedalus Foundation Inc. / Licensed by the Artist)

Given Motherwell’s extensive awareness of modern art, and friendship with many of his contemporaries, it’s no surprise to see occasional winks and nods toward others’ work. There’s more than a little Picasso in La Belle Mexicaine and Three Figures, both from 1941. The Garden Window looks like an abstracted Matisse.

Motherwell is best known for his Elegy to the Spanish Republic series, which eventually grew to more than 250 paintings and works on paper. As with many artists and intellectuals of the day, Motherwell was deeply troubled by the 1936-39 Spanish Civil War, in many respects a dress rehearsal for World War II, and by the subsequent atrocities and oppression from Spanish Gen. Francisco Franco’s regime.

The signature look of this series is black on white, the black paint roughly laid on in alternating vertical swaths and ovoid shapes, with drips and dribbles here and there. “They are funeral pictures,” Motherwell wrote, “laments, dirges, elegies — barbaric and austere.” Related paintings titled Iberia have masses of black all but obliterating dying embers of white, gray and/or ocher at the bottom.

Robert Motherwell’s “The Garden Window” resembles an abstracted Matisse.(Copyright 2023 Dedalus Foundation Inc. / Licensed by the Artist)

A very different series of paintings titled Open, from 1967 to 1974, depicts suspended rectangles, incompletely outlined or occasionally filled in with contrasting color — sometimes visibly “corrected” with overpainting. The effect here is austere, intellectual, anti-emotional, although the fuzzy outlines and scruffy painterly textures suggest something provisional, in process. But the format could be pressed into emotional duty, too, as in the stark Open No. 150 in Black and Cream (Rothko Elegy). (Rothko died by suicide in February 1970.)

Motherwell was capable of a light touch as well, even whimsy. With more varied geometries and more emphasis on color, a number of paintings from the mid-1940s seem playful, even unashamedly decorative. The Emperor of China and The Checkered Skirt are fantasy caricatures that could almost be by Klee.

Summer vacations in Spain, France and Italy in 1958 and 1960 with Motherwell’s new wife, fellow artist Helen Frankenthaler, yielded new openness and color — even experimentation with Frankenthaler’s smearing effects with paint thinned by turpentine. (The marriage, third of Motherwell’s four, lasted only until 1971.) Summers in Italy and Provincetown, Mass., inspired bold gestures evocative of waves and swimmers.

Motherwell remained active until his death in 1991, sticking to abstraction through successive trends of pop art and minimalism. The Fort Worth show is devoted solely to paintings, with none of Motherwell’s extensive works on paper and with collage. And the 1970s and ‘80s are far less represented than the three earlier decades.

Still, you can see the very last Elegy to the Spanish Republic, No. 172, completed in 1990. With smudges of gray on the white background, the slashes and ovals of black seem particularly large and menacing, not entirely hiding squiggles and smears of blood red. What Motherwell called his “barbaric force” was not yet spent.

Details

“Robert Motherwell: Pure Painting” is on display through Sept. 17 at the Modern Art Museum of Fort Worth, 3200 Darnell St., Fort Worth. 10 a.m. to 5 p.m. Tuesdays through Sundays; open until 8 p.m. Fridays. $16; discounts for students, seniors, active/retired military personnel and first responders; free for under 18. Half-price tickets on Sundays and free admission on Fridays. 817-738-9215, themodern.org.

‘Simple’ photo taken in a home studio wins 2023 National Photographic Portrait Prize

‘Simple’ photo taken in a home studio wins 2023 National Photographic Portrait Prize

For six years, Melbourne photographer Shea Kirk has invited people to his home studio, to take two photos of them in front of a simple backdrop.

Now his simplicity has proven a winning formula.

Kirk has taken out the 2023 National Photographic Portrait Prize for a portrait of his friend and industry colleague Emma Armstrong-Porter, also known as Ruby.

In awarding the prize, the judging panel said it was impressed with how effortless Kirk’s final product appeared.

“It’s quite simple work and quite straightforward, so really accessible, but I think underneath that simplicity, there’s a lot of stuff going on,” judge Daniel Boetker-Smith said.

Ruby, whose pronouns are they/them, said photography, as both artist and subject, had been an important tool to develop their relationship with their body.

“I’ve always struggled with the size of my body, from being extremely underweight to now being overweight,” they said.

“I’m starting to feel more at home in my big queer body.”

Kirk’s portrait of Ruby was selected as the top pick from more than 2,000 entries, and 47 finalists for the National Photographic Portrait Prize.

He said he and Ruby had not met in person before taking the portrait.

“We just spent a few hours together chatting and making work, and this is what came out of that,” he said.

Photographer Shea Kirk says before the creation of Ruby (left view) he and Ruby had never met in person.()

For his efforts, Kirk has won a $30,000 cash prize and equipment worth $20,000, but he said he was not motivated by accolades.

“I am 100 per cent obsessed with image making,” he said.

“Having said that, getting that level of recognition from peers and the industry is something pretty special.

“I think I teared up when I got the news.”

New subjects with older techniques

Bangardidjan by Renae Saxby has won the Highly Commended award for the 2023 National Photographic Portrait Prize.()

Mr Boetker-Smith said many of the entries to this year’s edition of the prize reverted to older techniques such as film and glass plates, and also explored more complex topics, in an era where most people have a camera in their pocket.

“Photographers won’t just turn up somewhere and take a picture,” he said.

“They’ll actually engage with the subject, spend time with them, get to know them develop a relationship.”

Renae Saxby was awarded the Highly Commended prize for her portrait of an Aboriginal woman driving in Central Arnhem Land, with a buffalo skull painted by her father strapped to the roof of her car.

Newcastle-based photographer David Cossini won the Art Handlers’ Award for his portrait of Ugandan man Godfrey Baguma, who won a 2002 World’s Ugliest Man contest.

The finalists’ work is hanging in the National Portrait Gallery in Canberra until October.

Ugandan Ssebabi by David Cossini, a portrait of Ugandan man Godfrey Baguma, won the Art Handlers’ Award.()

Artists united: Davidson County flower shop owner opens his business to artist friend to show her work

Artists united: Davidson County flower shop owner opens his business to artist friend to show her work

THOMASVILLE — John Herron has been the maestro of floral art for 29 years at his Herron House Flowers in downtown Thomasville.

While his shop is business, it’s also a canvas for Herron, who creates elaborate floral arrangements. It’s no surprise, then, that he reached out to another Chair City artist to offer her a chance to show her work in his Main street flower shop. Now when customers enter Herron’s store they will be greeted not only with his handmade arrangements, wreathes and potted plants, they can view Nathalie Tremblay’s photography.

“We met at church at Heidelberg United Church of Christ,” he said. “I just fell in love with her and her husband and Nathalie’s art. I told her I wanted my shop painted and she did it. … When I had dinner at her house, I saw her artwork. It’s beautiful. I told her I wanted her artwork in my shop.”

Tremblay, a transplant from Chicoutimi, Canada, to the Thomasville area, captures landscape photographs of her new and former home place, as well as during her travels, with her iPhone 13.

She said that her passion for art photography began in Fort Lauderdale, Florida, when she offered to help her husband, Sean O’Heron, market the yachts for which he was a broker. She began staging them and taking photographs for the company’s website and social media. The company soon hired her to do all its marketing photography.

Soon, she began seeing the beaches, piers and buildings with a different eye. On their vacations, she was compelled to wait for hours for the perfect light to take pictures of rivers and mountains.

What started as Herron’s desire to change his floral shop’s surroundings and give it a fresh look resulted in a partnership between artists. Tremblay has 12 photographs on canvas displayed on the walls at Herron’s House Flowers.

“It’s a great opportunity you are giving me,” she said to Herron as they discussed the new gallery area.

The photographs will change as they sell or when Tremblay wants to show new artwork. The sizes range from 16-inches-by-20-inches for $90 to a 24-inch-by-36-inch canvas for $300.

The photographs rangefrom a street view in her hometown to a temple in Cambodia. She recently showed her art at an all-female show at historic The Finch House in Thomasville.

“I thought this was a great idea,” she said of being the main attraction at the new art gallery. “As an artist, you want people to see your work. I feel very fortunate for this opportunity.”

Herron said he wants his friend’s work to have the same longevity he has found with his floral shop.

“I thought her artwork compliments what I do here,” he said. “I hope she will do well.”

Shea Kirk’s winning portrait ‘a celebration of photography’

Shea Kirk’s winning portrait ‘a celebration of photography’

Melbourne artist Shea Kirk’s portrait of friend and fellow-artist Emma Armstrong-Porter has won the 2023 National Photographic Portrait Prize, announced today by the National Portrait Gallery. The portrait, titled Ruby (left view), is half of a stereoscopic pair from Kirk’s ongoing series, Vantages. 

“Over the past six years, I have been inviting people over to my home studio to sit in front of simple backdrops and make portraits,” said Kirk, who is based in Melbourne/Naarm.

“This portrait is of my now good friend Emma, which we made together during our first meeting. I wanted to create the idea of the body as a record. We are our faces as much as we are our limbs, extremities, our nooks and crannies. The self and sense of a person in a portrait for me is often thought of more than just a face and hands, it’s an essence of the whole,” Kirk said.

Kirk takes home $30,000 cash from the National Portrait Gallery and $20,000 worth of Canon equipment thanks to Imaging Partner, Canon Australia. 

The subject of the portrait, Emma Armstrong-Porter (she/they), who is also an NPPP finalist, said Kirk’s portrait reflects her changing attitude to her body and how it fits within society.

“I’ve always struggled with the size of my body, from being extremely underweight to now being overweight. Over the past few years working with other photographers, making portraits, I’ve been processing my feelings about the transformation. I’m starting to feel more at home in my big queer body,” Armstrong-Porter said. 

2023 NPPP Judges – NPG Senior Curator, Joanna Gilmour; Director of the Centre for Contemporary Photography, Daniel Boetker-Smith; and critically acclaimed photo media artist, Tamara Dean – said the work was a “celebration of photography”.

“While Shea makes the portrait look effortless, this is a masterful and technically complex work where the sitter has no self-consciousness. It is as if the artist and sitter are participating equally in the transaction,” judges said. 

Renae Saxby was awarded the Highly Commended prize, for her work Bangardidjan 2022, a photo of proud Kine, Rembarrnga, and Dalabon woman, Cindy Rostron, on the road in remote Central Arnhem Land. Rostron is photographed in the family car with a buffalo skull painted by her father, Victor Rostron, strapped to the roof.  

Judges said the work had “exceptional cinematic quality, encapsulating an entire story, and while there is so much to see from a narrative point of view, it is the sitter’s gaze which draws you in”.

David Cossini’s portrait of Ugandan man, Godfrey Baguma, titled Ugandan Ssebabi, is the 2023 Art Handlers Award winner, which was announced on 9 June.

Established by the NPG to support and celebrate photographic portraiture in Australia, the NPPP was first awarded in 2007 and has since become a highlight of the Gallery’s annual calendar, attracting thousands of entries each year from amateur and professional photographers around the country.

NPG Director, Bree Pickering, said the exhibition reflects the distinctive vision of Australia’s aspiring and professional photographers.

“The NPPP is a beloved and important national prize that supports the Australian photographic community and enlarges our collective experience of the Australian people, from the well-known and celebrated, to local heroes and identities,” Pickering said.

“We look forward to welcoming visitors to this popular annual event, which reveals many rich examples of photographic portraiture.” 

This year, judges selected 47 finalists from a pool of almost 2,400 entries. According to Gilmour, the idea of going below or beyond the surface was one of the themes that emerged most strongly for the 2023 judges.

“Each of the works reveal sitters who have presented their quirks or flaws or vulnerabilities, and photographers who have gently yet uncompromisingly allowed their sitters to be themselves,” she said.

The finalists for NPPP 2023 are: Adam Ferguson, Anne Moffat, Bahram Mia, Ben McNamara, Brenda L. Croft, Bruce Agnew, Cassandra Scott-Finn, Charlie Bliss, Charlie Ford, Cindy Kavanagh, David Cossini, David Darcy, Dylan Le’Mon, Elliot Brown, Emma Armstrong-Porter, Forough Yavari, Franca Turrin, Francis Cloake, The Huxleys, Gerwyn Davies, Grace Costa, Isabella Melody Moore, Jacob Nash, Heidi Margocsy, Jacqueline Mitelman, James Bugg, Jay Hynes, Jimmy Widders Hunt, Jo Duck, Julian Kingma, Lily Hatten, Martine Perret, Meng-Yu Yan, Nathan Dyer, Renae Saxby, Renato Colangelo, Rohan Thomson, Sammaneh Pourshafighi, Sarah Depta, Sarah Enticknap, Sean Slattery, Shannon May Powell, Shea Kirk, Stuart Miller, Tajette O’Halloran and Teva Cosic.

The 2023 National Photographic Portrait Prize exhibition opens at the NPG tomorrow, Saturday 17 June. 

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Faces of refugees and locals to be pasted on Geneva building as part of JR photography project

Faces of refugees and locals to be pasted on Geneva building as part of JR photography project

Portraits of refugees, asylum seekers and Swiss locals will be pasted onto the façade of a Geneva building next week as part of the latest incarnation of the French artist JR’s participatory InsideOut project. The giant mural will be created and installed on World Refugee Day (20 June) in partnership with Switzerland for UNHCR, the Swiss foundation of the UN Refugee Agency, and Hospice général, the public welfare body in the canton of Geneva.

Founded by JR in 2011, Inside Out “helps individuals and communities to make a statement by displaying large-scale black-and-white portraits in public spaces”. More than half a million people across 150 countries have taken part in the projects, which are now created independently from JR. Inside Out’s photo-booth van will be stationed at Geneva’s Centre d’hébergement collectif Rigot, a facility for asylum-seekers and refugees, with UNHCR mediators on site to explain the initiative to residents.

The Inside Out Photo-booth van in Tucson, USA; since 2011 the project has involved more than half a million people around the world Photo: Joshua Geyer; www.insideoutproject.net

“This action will underline the message of inclusion reflected in this year’s World Refugee Day theme of ‘hope away from home: a world where refugees are always included’,” Switzerland for UNHCR says in a statement. “The portraits of host and refugee communities will be intertwined on the façade, making it impossible for the public to distinguish who is who.”

JR currently has a solo exhibition, Women, at Pace Gallery in Geneva (until 18 July). Meanwhile, his first solo show in Italy, Déplacé.e.s, at the Gallerie d’Italia in Turin (until 16 July), presents installations co-created with communities in refugee settlements in Rwanda, Mauritania, Colombia, Ukraine and Greece.

UNHCR this week published its Global Trends report for 2022, revealing the highest number of forcibly displaced people ever recorded. The total has reached around 110 million, up 20 million in the past two years, mostly due to the war in Ukraine and crises in Afghanistan and Sudan.