The document outlines an agenda for a public art practice workshop held in Dublin. It includes sessions on current commissioning approaches, case studies, and proposals. Artists will present on considering audience and context in proposals. There will be discussions on realizing commissions and navigating organizational relationships. The workshop aims to explore public art practices and challenges in Ireland.
One day seminar with artists from Cork City given by Cliodhna Shaffrey and Sarah Searson at the National Sculpture Factory Cork and supported by the Visual Artists Ireland, full days presentation material
Presentatie van Elizabeth Currid bij Creative Cities Amsterdam Area (CCAA). Haar boek The Warhol Economy omvat een onderzoek naar de schijnbaar toevallige samenloop van omstandigheden in de creatieve industrie in New York die tot briljante samenwerking leidde (zoals Stephen Sprouse voor Louis Vuitton).
One day seminar with artists from Cork City given by Cliodhna Shaffrey and Sarah Searson at the National Sculpture Factory Cork and supported by the Visual Artists Ireland, full days presentation material
Presentatie van Elizabeth Currid bij Creative Cities Amsterdam Area (CCAA). Haar boek The Warhol Economy omvat een onderzoek naar de schijnbaar toevallige samenloop van omstandigheden in de creatieve industrie in New York die tot briljante samenwerking leidde (zoals Stephen Sprouse voor Louis Vuitton).
This is a portfolio of work undertaken in promoting the deeper use of cross curricular studies to link Art and Design with other subjects. To tap into creativity, innovation, deeper thought, analysis, comparison and imagination.
Rochester’s First Fridays is looking for a curator, in touch with the contemporary art world, and youth culture (aka, you). A curator is not a creator but a facilitator for both the audience and the artists and a messenger who delivers ideas from contemporary society.
Public Art as a Driver of Urban Transformation in Douala in Re-Imagining the ...Iolanda Pensa
Public Art as a Driver of Urban Transformation in Douala.
in Re-Imagining the African City: The Arts and Urban Politics. Workshop Basel, 11/03/2016.
Iolanda Pensa, Marilyn Douala Bell and Marta Pucciarelli, SUPSI and doual’art.
Debates around the idea that the interrelation or the interaction between artwork and viewers has been modified with the practice of Relational Aesthetics.
Douala. The Social, Political, and Artistic Value of Public ArtIolanda Pensa
Presentation "Douala. The Social, Political, and Artistic Value of Public Art" in the panel "Moments of Artistic Articulation in African Cities: Between Politics and Imagination", ACASA, March 2014.
Benefits of a Community Based Exhibition ProjectMelissa Hempel
Listening to all voices in a community allows art organizations to offer a safe outlet for expression through art projects, developing skills and building community. Placing ultimate importance on the process of creating art and community partnerships, Hidden Voices exhibition participants have ranged from teenage graffiti offenders to women who have experienced domestic violence to senior citizens. Art Access connects lives through making art that shares experiences. This session examines the lasting benefits of community-based projects for both the organizations and the selected participants.
This is a portfolio of work undertaken in promoting the deeper use of cross curricular studies to link Art and Design with other subjects. To tap into creativity, innovation, deeper thought, analysis, comparison and imagination.
Rochester’s First Fridays is looking for a curator, in touch with the contemporary art world, and youth culture (aka, you). A curator is not a creator but a facilitator for both the audience and the artists and a messenger who delivers ideas from contemporary society.
Public Art as a Driver of Urban Transformation in Douala in Re-Imagining the ...Iolanda Pensa
Public Art as a Driver of Urban Transformation in Douala.
in Re-Imagining the African City: The Arts and Urban Politics. Workshop Basel, 11/03/2016.
Iolanda Pensa, Marilyn Douala Bell and Marta Pucciarelli, SUPSI and doual’art.
Debates around the idea that the interrelation or the interaction between artwork and viewers has been modified with the practice of Relational Aesthetics.
Douala. The Social, Political, and Artistic Value of Public ArtIolanda Pensa
Presentation "Douala. The Social, Political, and Artistic Value of Public Art" in the panel "Moments of Artistic Articulation in African Cities: Between Politics and Imagination", ACASA, March 2014.
Benefits of a Community Based Exhibition ProjectMelissa Hempel
Listening to all voices in a community allows art organizations to offer a safe outlet for expression through art projects, developing skills and building community. Placing ultimate importance on the process of creating art and community partnerships, Hidden Voices exhibition participants have ranged from teenage graffiti offenders to women who have experienced domestic violence to senior citizens. Art Access connects lives through making art that shares experiences. This session examines the lasting benefits of community-based projects for both the organizations and the selected participants.
Benefits of a Community-Based Exhibition ProjectWest Muse
Listening to all voices in a community allows art organizations to offer a safe outlet for expression through art projects, developing skills and building community. Placing ultimate importance on the process of creating art and community partnerships, 'Hidden Voices' exhibition participants have ranged from teenage graffiti offenders to women who have experienced domestic violence to senior citizens. Art Access connects lives through making art that shares experiences. This session examines the lasting benefits of community-based projects for both the organizations and the selected participants.
Moderator: Rebekah Monahan, Registrar, Woodbury Art Museum
Presenters: Antonio Castillo, Gang Prevention Specialist, Provo School District
Carlyn Barrus, Community Artist
Melissa Hempel, Interim Director/Curator, Woodbury Art Museum
Sheryl Gillilan, Director, Art Access
This presentation gives a surface introduction to social practice art It also covers the major awards given in fine art so foundations students can come to understand the current fine art landscape.
Time in place: New genre public art a decade latercharlesrobb
An outline of the key ideas of Lacy, S. (2008). Time in place: New genre public art a decade later. In C. Cartiere & S. Willis (Eds.), The Practice of Public Art (0 ed., pp. 18–32). Routledge. https://doi.org/10.4324/9780203926673
Art for change It is often taken for granted that art fBetseyCalderon89
Art for change?
It is often taken for granted that art functions as a tool and a vehicle of social change;
indeed, it was just this theme that we took up in our first discussion board posting. While the
vocal majority seemed to agree that art could foster social change, many of us, when
encountering work such as Warhol’s 200 One Dollar Bills or Marcel Duchamp’sFountain
might find ourselves wondering exactly what type of change such work could really make.
Does a painting that takes money for its subject do anything to unsettle a culture that seems
more and more to place the individual pursuit of money above the needs of the community?
Does a urinal inscribed with a forged signature (see Duchamp’s work mentioned above) do
anything more than offer a paltry challenge to the taste of a leisured class?
It was precisely the complicity of market system art like Duchamp’s and the American Pop
artists like Warhol, Jasper Johns, and Robert Rauschenberg with the oppressive class that
was at the heart of a 1973 protest staged in front of another landmark Sotheby’s auction. On
that October day a group of New York City taxi drivers and artists stood before the renowned
auction house to call down Robert C. Scull who they claimed made his fortune robbing
cabbies and hawking art. Some of the artists marching in solidarity with the taxi cab drivers
rushed out to a nearby hardware store to by a snow shovel to sell at exorbitant price, poking
fun at Duchamp’s In Advance of the Broken Arm. Is this critique of art’s complicity with big
money an apt one?
The idea that the art market is synonymous with ‘business as usual’ is an idea that is as
pervasive today as ever—if not more so. As Eleanor Heartney reminds us in her lecture on
art and labour, one move made by activists of the recent Occupy Wall Street movement was
to set up occupations in a number of New York City’s museums. The organizers of the
Occupy Museums march declared in a public statement that “for the past decade and more,
artists and art lovers have been the victims of the intense commercialization and co-optation
or art.” They further claimed that “art is for everyone, across all classes and cultures and
communities” and not merely for the cultural elite, or the 1%. The artist activists closed their
statement by exhorting museums to open their minds and their hearts: “Art is for everyone!”
they claimed. “The people are at your door!”
These two protests demonstrate an abiding and perhaps growing suspicion of the received
idea that market system art can change things. But while market system art is placed under
intense scrutiny, a growing field of artists and educators have been working to disseminate
the practices and techniques of art making in order to sow the seeds of change. This
community based art (sometimes referred to as ‘dialogical art’ or ‘community arts’) seeks to
place in the hands of the marginalized, the worker, or, in the words of the ...
Art for change It is often taken for granted that art f.docxrossskuddershamus
Art for change?
It is often taken for granted that art functions as a tool and a vehicle of social change;
indeed, it was just this theme that we took up in our first discussion board posting. While the
vocal majority seemed to agree that art could foster social change, many of us, when
encountering work such as Warhol’s 200 One Dollar Bills or Marcel Duchamp’sFountain
might find ourselves wondering exactly what type of change such work could really make.
Does a painting that takes money for its subject do anything to unsettle a culture that seems
more and more to place the individual pursuit of money above the needs of the community?
Does a urinal inscribed with a forged signature (see Duchamp’s work mentioned above) do
anything more than offer a paltry challenge to the taste of a leisured class?
It was precisely the complicity of market system art like Duchamp’s and the American Pop
artists like Warhol, Jasper Johns, and Robert Rauschenberg with the oppressive class that
was at the heart of a 1973 protest staged in front of another landmark Sotheby’s auction. On
that October day a group of New York City taxi drivers and artists stood before the renowned
auction house to call down Robert C. Scull who they claimed made his fortune robbing
cabbies and hawking art. Some of the artists marching in solidarity with the taxi cab drivers
rushed out to a nearby hardware store to by a snow shovel to sell at exorbitant price, poking
fun at Duchamp’s In Advance of the Broken Arm. Is this critique of art’s complicity with big
money an apt one?
The idea that the art market is synonymous with ‘business as usual’ is an idea that is as
pervasive today as ever—if not more so. As Eleanor Heartney reminds us in her lecture on
art and labour, one move made by activists of the recent Occupy Wall Street movement was
to set up occupations in a number of New York City’s museums. The organizers of the
Occupy Museums march declared in a public statement that “for the past decade and more,
artists and art lovers have been the victims of the intense commercialization and co-optation
or art.” They further claimed that “art is for everyone, across all classes and cultures and
communities” and not merely for the cultural elite, or the 1%. The artist activists closed their
statement by exhorting museums to open their minds and their hearts: “Art is for everyone!”
they claimed. “The people are at your door!”
These two protests demonstrate an abiding and perhaps growing suspicion of the received
idea that market system art can change things. But while market system art is placed under
intense scrutiny, a growing field of artists and educators have been working to disseminate
the practices and techniques of art making in order to sow the seeds of change. This
community based art (sometimes referred to as ‘dialogical art’ or ‘community arts’) seeks to
place in the hands of the marginalized, the worker, or, in the words of the.
Skeem Saam in June 2024 available on ForumIsaac More
Monday, June 3, 2024 - Episode 241: Sergeant Rathebe nabs a top scammer in Turfloop. Meikie is furious at her uncle's reaction to the truth about Ntswaki.
Tuesday, June 4, 2024 - Episode 242: Babeile uncovers the truth behind Rathebe’s latest actions. Leeto's announcement shocks his employees, and Ntswaki’s ordeal haunts her family.
Wednesday, June 5, 2024 - Episode 243: Rathebe blocks Babeile from investigating further. Melita warns Eunice to stay clear of Mr. Kgomo.
Thursday, June 6, 2024 - Episode 244: Tbose surrenders to the police while an intruder meddles in his affairs. Rathebe's secret mission faces a setback.
Friday, June 7, 2024 - Episode 245: Rathebe’s antics reach Kganyago. Tbose dodges a bullet, but a nightmare looms. Mr. Kgomo accuses Melita of witchcraft.
Monday, June 10, 2024 - Episode 246: Ntswaki struggles on her first day back at school. Babeile is stunned by Rathebe’s romance with Bullet Mabuza.
Tuesday, June 11, 2024 - Episode 247: An unexpected turn halts Rathebe’s investigation. The press discovers Mr. Kgomo’s affair with a young employee.
Wednesday, June 12, 2024 - Episode 248: Rathebe chases a criminal, resorting to gunfire. Turf High is rife with tension and transfer threats.
Thursday, June 13, 2024 - Episode 249: Rathebe traps Kganyago. John warns Toby to stop harassing Ntswaki.
Friday, June 14, 2024 - Episode 250: Babeile is cleared to investigate Rathebe. Melita gains Mr. Kgomo’s trust, and Jacobeth devises a financial solution.
Monday, June 17, 2024 - Episode 251: Rathebe feels the pressure as Babeile closes in. Mr. Kgomo and Eunice clash. Jacobeth risks her safety in pursuit of Kganyago.
Tuesday, June 18, 2024 - Episode 252: Bullet Mabuza retaliates against Jacobeth. Pitsi inadvertently reveals his parents’ plans. Nkosi is shocked by Khwezi’s decision on LJ’s future.
Wednesday, June 19, 2024 - Episode 253: Jacobeth is ensnared in deceit. Evelyn is stressed over Toby’s case, and Letetswe reveals shocking academic results.
Thursday, June 20, 2024 - Episode 254: Elizabeth learns Jacobeth is in Mpumalanga. Kganyago's past is exposed, and Lehasa discovers his son is in KZN.
Friday, June 21, 2024 - Episode 255: Elizabeth confirms Jacobeth’s dubious activities in Mpumalanga. Rathebe lies about her relationship with Bullet, and Jacobeth faces theft accusations.
Monday, June 24, 2024 - Episode 256: Rathebe spies on Kganyago. Lehasa plans to retrieve his son from KZN, fearing what awaits.
Tuesday, June 25, 2024 - Episode 257: MaNtuli fears for Kwaito’s safety in Mpumalanga. Mr. Kgomo and Melita reconcile.
Wednesday, June 26, 2024 - Episode 258: Kganyago makes a bold escape. Elizabeth receives a shocking message from Kwaito. Mrs. Khoza defends her husband against scam accusations.
Thursday, June 27, 2024 - Episode 259: Babeile's skillful arrest changes the game. Tbose and Kwaito face a hostage crisis.
Friday, June 28, 2024 - Episode 260: Two women face the reality of being scammed. Turf is rocked by breaking
240529_Teleprotection Global Market Report 2024.pdfMadhura TBRC
The teleprotection market size has grown
exponentially in recent years. It will grow from
$21.92 billion in 2023 to $28.11 billion in 2024 at a
compound annual growth rate (CAGR) of 28.2%. The
teleprotection market size is expected to see
exponential growth in the next few years. It will grow
to $70.77 billion in 2028 at a compound annual
growth rate (CAGR) of 26.0%.
Meet Dinah Mattingly – Larry Bird’s Partner in Life and Loveget joys
Get an intimate look at Dinah Mattingly’s life alongside NBA icon Larry Bird. From their humble beginnings to their life today, discover the love and partnership that have defined their relationship.
From Slave to Scourge: The Existential Choice of Django Unchained. The Philos...Rodney Thomas Jr
#SSAPhilosophy #DjangoUnchained #DjangoFreeman #ExistentialPhilosophy #Freedom #Identity #Justice #Courage #Rebellion #Transformation
Welcome to SSA Philosophy, your ultimate destination for diving deep into the profound philosophies of iconic characters from video games, movies, and TV shows. In this episode, we explore the powerful journey and existential philosophy of Django Freeman from Quentin Tarantino’s masterful film, "Django Unchained," in our video titled, "From Slave to Scourge: The Existential Choice of Django Unchained. The Philosophy of Django Freeman!"
From Slave to Scourge: The Existential Choice of Django Unchained – The Philosophy of Django Freeman!
Join me as we delve into the existential philosophy of Django Freeman, uncovering the profound lessons and timeless wisdom his character offers. Through his story, we find inspiration in the power of choice, the quest for justice, and the courage to defy oppression. Django Freeman’s philosophy is a testament to the human spirit’s unyielding drive for freedom and justice.
Don’t forget to like, comment, and subscribe to SSA Philosophy for more in-depth explorations of the philosophies behind your favorite characters. Hit the notification bell to stay updated on our latest videos. Let’s discover the principles that shape these icons and the profound lessons they offer.
Django Freeman’s story is one of the most compelling narratives of transformation and empowerment in cinema. A former slave turned relentless bounty hunter, Django’s journey is not just a physical liberation but an existential quest for identity, justice, and retribution. This video delves into the core philosophical elements that define Django’s character and the profound choices he makes throughout his journey.
Link to video: https://youtu.be/GszqrXk38qk
Experience the thrill of Progressive Puzzle Adventures, like Scavenger Hunt Games and Escape Room Activities combined Solve Treasure Hunt Puzzles online.
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In the vast landscape of cinema, stories have been told, retold, and reimagined in countless ways. At the heart of this narrative evolution lies the concept of a "remake". A successful remake allows us to revisit cherished tales through a fresh lens, often reflecting a different era's perspective or harnessing the power of advanced technology. Yet, the question remains, what makes a remake successful? Today, we will delve deeper into this subject, identifying the key ingredients that contribute to the success of a remake.
Panchayat Season 3 - Official Trailer.pdfSuleman Rana
The dearest series "Panchayat" is set to make a victorious return with its third season, and the fervor is discernible. The authority trailer, delivered on May 28, guarantees one more enamoring venture through the country heartland of India.
Jitendra Kumar keeps on sparkling as Abhishek Tripathi, the city-reared engineer who ends up functioning as the secretary of the Panchayat office in the curious town of Phulera. His nuanced depiction of a young fellow exploring the difficulties of country life while endeavoring to adjust to his new environmental factors has earned far and wide recognition.
Neena Gupta and Raghubir Yadav return as Manju Devi and Brij Bhushan Dubey, separately. Their dynamic science and immaculate acting rejuvenate the hardships of town administration. Gupta's depiction of the town Pradhan with an ever-evolving outlook, matched with Yadav's carefully prepared exhibition, adds profundity and credibility to the story.
New Difficulties and Experiences
The trailer indicates new difficulties anticipating the characters, as Abhishek keeps on wrestling with his part in the town and his yearnings for a superior future. The series has reliably offset humor with social editorial, and Season 3 looks ready to dig much more profound into the intricacies of rustic organization and self-awareness.
Watchers can hope to see a greater amount of the enchanting and particular residents who have become fan top picks. Their connections and the one of a kind cut of-life situations give a reviving and interesting portrayal of provincial India, featuring the two its appeal and its difficulties.
A Mix of Humor and Heart
One of the signs of "Panchayat" is its capacity to mix humor with sincere narrating. The trailer features minutes that guarantee to convey giggles, as well as scenes that pull at the heartstrings. This equilibrium has been a critical calculate the show's prosperity, resounding with crowds across different socioeconomics.
Creation Greatness
The creation quality remaining parts first rate, with the beautiful setting of Phulera town filling in as a scenery that upgrades the narrating. The meticulousness in portraying provincial life, joined with sharp composition and solid exhibitions, guarantees that "Panchayat" keeps on hanging out in the packed web series scene.
Expectation and Delivery
As the delivery date draws near, expectation for "Panchayat" Season 3 is at a record-breaking high. The authority trailer has previously created critical buzz, with fans enthusiastically anticipating the continuation of Abhishek Tripathi's excursion and the new undertakings that lie ahead in Phulera.
All in all, the authority trailer for "Panchayat" Season 3 recommends that watchers are in for another drawing in and engaging ride. Yet again with its charming characters, convincing story, and ideal mix of humor and show, the new season is set to enamor crowds. Write in your schedules and prepare to get back to the endearing universe of "Panchayat."
As a film director, I have always been awestruck by the magic of animation. Animation, a medium once considered solely for the amusement of children, has undergone a significant transformation over the years. Its evolution from a rudimentary form of entertainment to a sophisticated form of storytelling has stirred my creativity and expanded my vision, offering limitless possibilities in the realm of cinematic storytelling.
Maximizing Your Streaming Experience with XCIPTV- Tips for 2024.pdfXtreame HDTV
In today’s digital age, streaming services have become an integral part of our entertainment lives. Among the myriad of options available, XCIPTV stands out as a premier choice for those seeking seamless, high-quality streaming. This comprehensive guide will delve into the features, benefits, and user experience of XCIPTV, illustrating why it is a top contender in the IPTV industry.
Scandal! Teasers June 2024 on etv Forum.co.zaIsaac More
Monday, 3 June 2024
Episode 47
A friend is compelled to expose a manipulative scheme to prevent another from making a grave mistake. In a frantic bid to save Jojo, Phakamile agrees to a meeting that unbeknownst to her, will seal her fate.
Tuesday, 4 June 2024
Episode 48
A mother, with her son's best interests at heart, finds him unready to heed her advice. Motshabi finds herself in an unmanageable situation, sinking fast like in quicksand.
Wednesday, 5 June 2024
Episode 49
A woman fabricates a diabolical lie to cover up an indiscretion. Overwhelmed by guilt, she makes a spontaneous confession that could be devastating to another heart.
Thursday, 6 June 2024
Episode 50
Linda unwittingly discloses damning information. Nhlamulo and Vuvu try to guide their friend towards the right decision.
Friday, 7 June 2024
Episode 51
Jojo's life continues to spiral out of control. Dintle weaves a web of lies to conceal that she is not as successful as everyone believes.
Monday, 10 June 2024
Episode 52
A heated confrontation between lovers leads to a devastating admission of guilt. Dintle's desperation takes a new turn, leaving her with dwindling options.
Tuesday, 11 June 2024
Episode 53
Unable to resort to violence, Taps issues a verbal threat, leaving Mdala unsettled. A sister must explain her life choices to regain her brother's trust.
Wednesday, 12 June 2024
Episode 54
Winnie makes a very troubling discovery. Taps follows through on his threat, leaving a woman reeling. Layla, oblivious to the truth, offers an incentive.
Thursday, 13 June 2024
Episode 55
A nosy relative arrives just in time to thwart a man's fatal decision. Dintle manipulates Khanyi to tug at Mo's heartstrings and get what she wants.
Friday, 14 June 2024
Episode 56
Tlhogi is shocked by Mdala's reaction following the revelation of their indiscretion. Jojo is in disbelief when the punishment for his crime is revealed.
Monday, 17 June 2024
Episode 57
A woman reprimands another to stay in her lane, leading to a damning revelation. A man decides to leave his broken life behind.
Tuesday, 18 June 2024
Episode 58
Nhlamulo learns that due to his actions, his worst fears have come true. Caiphus' extravagant promises to suppliers get him into trouble with Ndu.
Wednesday, 19 June 2024
Episode 59
A woman manages to kill two birds with one stone. Business doom looms over Chillax. A sobering incident makes a woman realize how far she's fallen.
Thursday, 20 June 2024
Episode 60
Taps' offer to help Nhlamulo comes with hidden motives. Caiphus' new ideas for Chillax have MaHilda excited. A blast from the past recognizes Dintle, not for her newfound fame.
Friday, 21 June 2024
Episode 61
Taps is hungry for revenge and finds a rope to hang Mdala with. Chillax's new job opportunity elicits mixed reactions from the public. Roommates' initial meeting starts off on the wrong foot.
Monday, 24 June 2024
Episode 62
Taps seizes new information and recruits someone on the inside. Mary's new job
Tom Selleck Net Worth: A Comprehensive Analysisgreendigital
Over several decades, Tom Selleck, a name synonymous with charisma. From his iconic role as Thomas Magnum in the television series "Magnum, P.I." to his enduring presence in "Blue Bloods," Selleck has captivated audiences with his versatility and charm. As a result, "Tom Selleck net worth" has become a topic of great interest among fans. and financial enthusiasts alike. This article delves deep into Tom Selleck's wealth, exploring his career, assets, endorsements. and business ventures that contribute to his impressive economic standing.
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Early Life and Career Beginnings
The Foundation of Tom Selleck's Wealth
Born on January 29, 1945, in Detroit, Michigan, Tom Selleck grew up in Sherman Oaks, California. His journey towards building a large net worth began with humble origins. , Selleck pursued a business administration degree at the University of Southern California (USC) on a basketball scholarship. But, his interest shifted towards acting. leading him to study at the Hills Playhouse under Milton Katselas.
Minor roles in television and films marked Selleck's early career. He appeared in commercials and took on small parts in T.V. series such as "The Dating Game" and "Lancer." These initial steps, although modest. laid the groundwork for his future success and the growth of Tom Selleck net worth. Breakthrough with "Magnum, P.I."
The Role that Defined Tom Selleck's Career
Tom Selleck's breakthrough came with the role of Thomas Magnum in the CBS television series "Magnum, P.I." (1980-1988). This role made him a household name and boosted his net worth. The series' popularity resulted in Selleck earning large salaries. leading to financial stability and increased recognition in Hollywood.
"Magnum P.I." garnered high ratings and critical acclaim during its run. Selleck's portrayal of the charming and resourceful private investigator resonated with audiences. making him one of the most beloved television actors of the 1980s. The success of "Magnum P.I." played a pivotal role in shaping Tom Selleck net worth, establishing him as a major star.
Film Career and Diversification
Expanding Tom Selleck's Financial Portfolio
While "Magnum, P.I." was a cornerstone of Selleck's career, he did not limit himself to television. He ventured into films, further enhancing Tom Selleck net worth. His filmography includes notable movies such as "Three Men and a Baby" (1987). which became the highest-grossing film of the year, and its sequel, "Three Men and a Little Lady" (1990). These box office successes contributed to his wealth.
Selleck's versatility allowed him to transition between genres. from comedies like "Mr. Baseball" (1992) to westerns such as "Quigley Down Under" (1990). This diversification showcased his acting range. and provided many income streams, reinforcing Tom Selleck net worth.
Television Resurgence with "Blue Bloods"
Sustaining Wealth through Consistent Success
In 2010, Tom Selleck began starring as Frank Reagan i
Create a Seamless Viewing Experience with Your Own Custom OTT Player.pdfGenny Knight
As the popularity of online streaming continues to rise, the significance of providing outstanding viewing experiences cannot be emphasized enough. Tailored OTT players present a robust solution for service providers aiming to enhance their offerings and engage audiences in a competitive market. Through embracing customization, companies can craft immersive, individualized experiences that effectively hold viewers' attention, entertain them, and encourage repeat usage.
Young Tom Selleck: A Journey Through His Early Years and Rise to Stardomgreendigital
Introduction
When one thinks of Hollywood legends, Tom Selleck is a name that comes to mind. Known for his charming smile, rugged good looks. and the iconic mustache that has become synonymous with his persona. Tom Selleck has had a prolific career spanning decades. But, the journey of young Tom Selleck, from his early years to becoming a household name. is a story filled with determination, talent, and a touch of luck. This article delves into young Tom Selleck's life, background, early struggles. and pivotal moments that led to his rise in Hollywood.
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Early Life and Background
Family Roots and Childhood
Thomas William Selleck was born in Detroit, Michigan, on January 29, 1945. He was the second of four children in a close-knit family. His father, Robert Dean Selleck, was a real estate investor and executive. while his mother, Martha Selleck, was a homemaker. The Selleck family relocated to Sherman Oaks, California. when Tom was a child, setting the stage for his future in the entertainment industry.
Education and Early Interests
Growing up, young Tom Selleck was an active and athletic child. He attended Grant High School in Van Nuys, California. where he excelled in sports, particularly basketball. His tall and athletic build made him a standout player, and he earned a basketball scholarship to the University of Southern California (U.S.C.). While at U.S.C., Selleck studied business administration. but his interests shifted toward acting.
Discovery of Acting Passion
Tom Selleck's journey into acting was serendipitous. During his time at U.S.C., a drama coach encouraged him to try acting. This nudge led him to join the Hills Playhouse, where he began honing his craft. Transitioning from an aspiring athlete to an actor took time. but young Tom Selleck became drawn to the performance world.
Early Career Struggles
Breaking Into the Industry
The path to stardom was a challenging one for young Tom Selleck. Like many aspiring actors, he faced many rejections and struggled to find steady work. A series of minor roles and guest appearances on television shows marked his early career. In 1965, he debuted on the syndicated show "The Dating Game." which gave him some exposure but did not lead to immediate success.
The Commercial Breakthrough
During the late 1960s and early 1970s, Selleck began appearing in television commercials. His rugged good looks and charismatic presence made him a popular brand choice. He starred in advertisements for Pepsi-Cola, Revlon, and Close-Up toothpaste. These commercials provided financial stability and helped him gain visibility in the industry.
Struggling Actor in Hollywood
Despite his success in commercials. breaking into large acting roles remained a challenge for young Tom Selleck. He auditioned and took on small parts in T.V. shows and movies. Some of his early television appearances included roles in popular series like Lancer, The F.B.I., and Bracken's World. But, it would take a
Meet Crazyjamjam - A TikTok Sensation | Blog EternalBlog Eternal
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From the Editor's Desk: 115th Father's day Celebration - When we see Father's day in Hindu context, Nanda Baba is the most vivid figure which comes to the mind. Nanda Baba who was the foster father of Lord Krishna is known to provide love, care and affection to Lord Krishna and Balarama along with his wife Yashoda; Letter’s to the Editor: Mother's Day - Mother is a precious life for their children. Mother is life breath for her children. Mother's lap is the world happiness whose debt can never be paid.
1. Public Art Practice Cliodhna Shaffrey Sarah Searson Developed by Visual Artists Ireland Hosted by Dublin City Council’s LAB - November 2009
2. Outline for the Day Session 1: 10.30 – 1.00 pm Current Contexts – Approaches to public art practices Cliodhna Shaffrey and Sarah Searson 1.00 -40 Lunch – Emma Clarke, Artist Session 2: 1.40 – 3.30pm, Proposals Claire Nidecker, Mark Garry and Theresa Nanigian Session 3: 3.30pm -4.00pm Discussion - Realizing a commission: Public, Audience, Communication
3. 10.30 Current contexts Approaches in public art practice: - New National Guidelines, (review) overview and implications. Commission practices 11.20 -12.00 Case studies Ten minute break 12.10 Mark Garry Artist presentation -considering dual contexts, audience, place and practice. 1.00 -1.40 Light lunch 1.40 -2.30 All about making proposals - Research & Responding to proposals Concepts and writing Budgeting Presentation Assessment 2.30-3.00 Claire Nidecker Artist Presentation using images and visual presentation in your proposal hints and tips. 3.00 -3.30 Theresa Nanigian Artist presentation 3.30 4.00 Audience and context: Introduction Ruairí Ó Cuív 15 -20 minute 4.00-4.30 Understanding organisations Realisation of projects/work - getting things on the right path; mediation around projects; When things go wrong. Q&A session chaired by Ruairí Ó Cuív, with Theresa Nanigan, Cliodhna Shaffrey, Claire Nidecker, Sarah Searson
4. Session: 1 Current contexts Approaches in public art practice: looking at current commissioning approaches and a range of artistic practices. considering: New National Guidelines, (review) overview and implications. Commission practices: - temporary and permanent Interdisciplinary work Curatorial directions Inter-agencies and partnerships Cliodhna Shaffrey and Sarah Searson
6. The Tilted Arc, decision prompts general questions about public art, an increasingly controversial subject through the late 1980s and early 1990s in the U.S. and abroad. The role of government funding, an artist's rights to his or her work, the role of the public in determining the value of a work of art, and whether public art should be judged by its popularity are all heatedly debated. Serra's career continues to flourish, despite the controversy. "I don't think it is the function of art to be pleasing," he comments at the time. "Art is not democratic. It is not for the people.” Serra argued that his work was site-specific, but since the controversy others have argued that his work was not site-specific because it did not take the public as people (who used the space) into consideration.
7. SO WHAT IS IT FOR A WORK OF ART TO BE PUBLIC? Should the selection of art be driven by public taste? If a piece of public art is widely disliked by the community does that mean the art in question is a failure? WHAT is the intention for the work? Who is the public?
8. It is not the job of art to reach consensus across different 'publics'. Dominic Thorpe Discussion on public art might start from the recognition that complete consensus is impossible because the public comprises of many different subspheres, organisations and institutions , each with many voices in terms of race, gender, ethnicity, sexuality and class. Michael Kelly on the Serra and Lin cases It is art which is absolutely engaged with the world and this engagement often evokes spirited disagreement. Patricia C. Phillips
10. Remco de Fouw and Rachel Joynt Perpetual Motion, Naas Bypass 1996.
11. Project Mongrel, Cork, 2005 Organised by a group of artists and architects whose proposal was to stretch wire across Patrick Street, Cork. It is the task of public art to keep the debate alive Striving to arouse a consciousness of a passive public?
12. Meril Ukeles Landerman Touch Sanitation A seminal project where the artists become part of the NY sanitation dept. A voluntary residency that works with, supports and embraces the sanitation workers. Landerman’s residency lasted over 20 years beginning in 1973 and finishing in 1993 with a major work recylcing plant at Fish Kills Statton Island, NY
13. Seamus Nolan’s Hotel Ballymun, 2007 was made in close collaboration with a number of people, designers, furniture makers, artists and locals.
14. Patricia C. Phillips, former editor of Artforum Magazine writes:– 'public art excludes no media, materials, process or form, the work can be permanent or temporary, it can be commissioned through funding programmes, such as the percent for art scheme or initiated by artists requiring no sanction. With a broadening concept of public – it can happen almost anytime, with anyone and virtually anywhere…even in galleries, museums and private settings. Public art is always art'.
15. ‘ artists don’t have to jump through the hoops of the funders and commissioners, they must come into situations with their own INTENTIONS, and let the challenging process of negotiation begin. Ailbhe Murphy speaking at TRADE 07
18. Francis Alys describes the project, which involved the coordinated action of hundreds of volunteers on the arid dunes of Ventanilla, an area on the outskirts of Lima dotted with the makeshift shelters of a shantytown, as an attempt to interject a "social allegory" Into the cultural conversation that is Peru. Herein lies its peculiar strength: His work never tells any story in particular but rather crystallizes an image that demands storytelling as an active interpretive process. One day a mountain moved four inches. So begins a tale that we, the audience, must tell. The stories that are told become the work the event itself becomes almost mythical
19. Sean Lynch Peregrine Falcons visit Moyross, 2008
20. Rhona Byrne Umbrella Project , Dublin – guided walks, a film, photography, a book
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22. CRITICAL DEBATES RAISED you’re asked to do something on the margin: you don’t get the main space, you’re put in the corner. Vito Acconci Essentialising communities ( Miwon Kwon) Confining art to set agendas Artist as Ethnographer ( Hal Foster/ Miwon Kwon ) Exploitation of participants. Grant Kestler / Miwon Kwon Education and improvement over solidarity Censorship Clare Dorothy Addressing issues of ownership – Rick Lowe (Project Row Houses, Texas) How does public art confront darker or more painful complicated considerations and not miss opportunities to act in solidarity? Grant Kester Whose history is represented? The lure of the local ( Lucy Lippard) nostalgic versions of place. Gentrification , displacement, cleaning up and the drive for marketing of place - Malcolm Miles/ Roselyn Deutche/ Rebecca Solnit/ Ed Soja. Taste - should the selection of art be driven by public taste
23. Grant Kester writes of a a very different image of the artist; - one defined in terms of open-ness, of listening and a willingness to accept dependence and intersubjective vulnerability. Simon Sheike there is no ideal generalized spectator, people will encounter art with their own specific backgrounds, experiences and intentionalities Simon Sheike, In the Place of the Public Sphere? Or, the World in Fragments: http://www.republicart.net/disc/publicum/sheikh03_en.htm
24. Types of Practice & Levels of Engagement/ Ways of Working Artists who make work with little/no involvement of others except for technical expertise. Artists who invite participation Artists who embed themselves within the social fabric of a city or place. Artists who work from a collaborative basis – effecting a kind of social sculpture. Artists who act as investigators/ researchers/ anthropologists observing, mapping or tracking aspects of place or communities. From Clare Dorothy – Curating in the wrong place, where have all the penguines gone?
27. Per Cent for Art –Local Authorities; government bodies; Regeneration Schemes: Structured Arts Council European Funding Local Authorities More ad hoc and self generated Organisations and Agencies – Create, The National Sculture Factory, Sculpture Center Arts Events and Festivals – Fringe, Galway Arts Festival Festival of World Cultures Off-site projects of galleries and museums – Science Museum, Model Niland
28. Common per cent opportunities Local Authority – Housing, Roads (NRA), Major engineering works Education – Colleges, Schools Heath Sector –Hospitals and health care More occasionally – Marine, Defence on a much more ad hoc basis
29. Ten General Comments The conditions for making Public Art in Ireland
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36. Public art is index-linked in a more real and tangible way than any other sphere of funding in the Irish art world
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41. Expected Key Outcomes The Brief - Moving away from structured briefs much broader understanding to drive the process A vision drives the process – perhaps more curatorial drive With associated implications Much broader in its scope of artfroms - particularly more programmatic approach Use of Professional development or artfrom agencies to produce work Less rigid and more fluid
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43. What is under threat – in the current climate The ability to pursue long-term principles and goals – the critical mass to be well embedded. Develop and promote a culture of risk-taking or leadership (under-the-radar) ref Limerick Maintain commitment to providing specialist staff and support Good enough attitude – weak leadership, vision drive, failure to back quality Erosion of retain capacity, organisational memory Failure to mix-it up large quality work, with smaller projects Compound existing cultures – lack of faith
44. Approaches Geographical, Ground Up – Clare, work in Sligo ArtForm Development - broader inclusion eg Wexford but also opportunites to commission – eg InContext Developing from Political Premise – Electoral Wards – Dun Laoghaire Regeneration – Re-imaging Cavan (Lead by an architectural ) Responsive to defined context – low on artist driven cultures Seamus Nolan – or Paddy Paddy Bloomer and Nicky Keogh
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46. Public art panel – Mayo County Council Programmatic approach to public art - Ballymun Direct commissioning – Office of Public Works Procurement procedures - Dept of Defence Mix of these What tends to drive these approaches Familiarity with the process, Having expertise and confidence Budgets Range or of concerns – from a desire for engagement with an artist to a sense of entitlement
47. Key process and committees – and the background people SPC – Special Policy Committee Local Area Committee Council Meeting Public art working group Public art selection group Selection Panels Community Representations Political Representation Artistic Representation Area expertise eg an architect, engineer or other associated person – such as head of school
48. Where is the funding going Publications Launches Project management costs Some Staff costs Project budgets Other expertise Selection committees Mediation Education and Outreach Evaluations
50. Michael Buffin Location: Station Road-about, Castlebar Title: Shimmer Medium: Stainless Steel Date: 1992 - 1993
51. Artist: Colm Brennan Location: Turlough Park House Title: Roan an Tuthail Medium: Bronze Date: 2000 - 2001 Materials: Bronze Dimension: N/A Description: Distilled childhood memory rushes being cut with a reaping hook.
52. The sculpture was commissioned by Mayo County Council through open competition, and funded under the percent for art scheme by the Department of the Environment Heritage and Local Government. John, who takes his inspirations from Man and Nature, says, ‘Fundamentally the Wader aims to provide an opportunity for people to capture a moment for them to reflect on.’ The Wader combines contemporary and traditional values and successfully echoes the movement of the river that flows beside it. Echoing the elegance of the female form with twisting Celtic curves, the Wader transports us from the hustle and bustle of modern life to a place of tranquil beauty, ideally situated in the peaceful surroundings of the river bank. John Rowlands
53. Mayo County Council has been extremely proactive in applying funding made available under the Department of the Environment's Percent for Art Scheme for the commissioning of Public Art. With a developmental approach towards Public Art policy the Council endeavours to represent national best practice. To date, there has been a tradition of site specific, permanent sculptural works. Therefore to reflect current best practice, as outlined in Public Art: Per Cent for art Scheme - General National Guidelines 2004, it is now the council's intention to develop a wider range of both commissioning practices and to encourage a wider diversity of contemporary art forms where applicable. The Public Art Programme will also reflect the guiding principles of the Strategic Arts Plan 2003-2006 for Mayo County Council, of quality, inclusion, access and long-term value.
54. What's the back story – why form a panel again Inherited a system and reinvented – architecture and engineer freedom Where there has been a culture of ad hoc-ness it protects through systems The panel can set the tone and direction for a process – without committee It limits the number and scope of artists that they intend to work with It offers security for the arts service – meaning that the artists they will be working with are defined
55. Mayo County Council Public Art Panel Forming pannel – three experts – Visual, Music and Literature 300 application for inclusion on the panel 60 -70 Short-listed By far the largest percentage are from a Visual background Other artforms are emerging to be less competitive – due to a desire to include them Looking for people who are interested in smaller commission All experts vote – meaning that the person with specific knowledge can be out numbered - propsals in mind
56. Not open to application – set its limits Can offer opportunities for risk taking Opportunity to quietly form an approach Under the radar. Change through due process
57. A F T E R Responding to a changing landscape Leitrim and Roscommon 2008 www.after.ie
58. AFTER is a landmark public art event that addresses the unprecedented effects of Ireland’s recent economic boom on the rural landscape. It was initiated through the TRADE programme run by Roscommon and Leitrim arts offices and has grown into an artist-led public art event. Acclaimed international artist Alfredo Jaar facilitated exchange and discussion among the five AFTER artists during a year-long engagement as part of a residency. The project developed an alternative and innovative model for arts practice, which benefits from the artists’ specific knowledge of their respective locales and their shared concerns for the environment.
59. The scope of the five combined AFTER project saw them address diverse publics and locations across the Roscommon and Leitrim region and beyond. Each project manifested different strategies both in conceptualizing and engaging with the idea of “the public”.
60. The Skoghall Konsthall, 2000 Skoghall, Sweden Skoghall is a small community in search of an identity. Up until now, its identity has been strongly identified as a Paper Mill town. In fact, most of Skoghall has been built by the Paper Mill, including most of the housing and the church. It is time for Skoghall to present to Sweden and to the world a new image, a contemporary image of progress and culture, beyond being a dormitory for the Paper Mill workers. An image of creativity and actuality. An image of a dynamic and progressive place where culture is created, not only consumed. A living culture is one that creates.
63. Carol Ann Duffy The Broken Appliance Depot , concerned with addressing issues of surplus objects and buildings in our community consisting of a solar powered light installation from broken household appliances on site of ESB pylon on Grangegorman.
64. Carol Ann Duffy’s project also – a vacant house used to host workshops and events concerned with the management of waste material and involving facilatators from the area
75. IN PUBLICLY FUNDED COMMISSIONS THERE IS USUALLY A BRIEF The BRIEF is often the starting point. Different Commissions seek or call for different responses.
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77. Maya Lin’s Vietnam Veterans Memorial, 1981 The brief commissioned by a private veterans foundation asked artists through an open competition to propose ideas ‘that it would make no political statement regarding the war and its conduct and that it would be reflective and contemplative in nature.”
78. UNDERSTAND HOW YOU LIKE TO WORK - WHAT YOU ENJOY IN YOUR PRACTICE WHAT ARE THE INTENTIONS FOR YOUR WORK AND CONSIDER YOUR RESPONSIBILITIES & PUSH YOUR AMBITIONS. BE CRITICAL ASK FOR PEER FEEDBACK AND CONSIDER WORKABILITY OF YOUR IDEAS.
79. What do I need to do to realise this commission? Can I build Research Time in as part of the application? Do I need Another’s input – a mentor or specialist? Are there ethical questions underpinning my approach? Am I up for a Challenge? Are there other projects, artists, or works that inspire me ? how does this material works?
80. IDEAS What is interesting to explore artistically + your working method + CONTEXT + Brief = IDEAS Research & Response Situation/ Context budget Site/ topography Place People Other artists’ work Process & negotiation Client/Commissioner Use/uselessness Materials Form Structure Installation Presentation Duration Present/ Future looking, thinking, reading, making, reviewing
81. YOUR PRACTICE The role of REPETITION: in developing rhythms and rituals in your working practice as well as resistances – transferences DETOURS and Free Association TIME (time that you might have to take detours… to build on your knowledges and ways of working and try things out Joanna Morris (the work of research)
82. Whose Agenda? The artist? The public? The Commissioner? The Context? Your responsibilities as an artist is to yourself But in public art commissions it is also likely to be to To others To the place To the context To the commissioner T he anwser might be in your practice how it relates to your proposal and the intentions in the work HOW WILL IT COMMUNICATE - How and To Whom does it connect?
83. RESPONDING TO A COMMISSION It is tempting to apply because there is money on offer, but only do so if you feel that the commission / public art project is appropriate to your practise and you have good ideas. Do not compromise your artistic practice when making proposals (especially for public art commissions) by changing what you are and what you do for the sake of gaining an opportunity. Many public art commissions require a context specific element (reflecting the community of place and interest) and generic projects – i.e. producing work which could happen anywhere at anytime have less chance of being successful. The key is to find a connection between your work and practice to the context be it the people, geography, nature of the place, identity, fiction, etc Collaborative practise – working with other artists or across artform / or with communities can prove very fulfilling. These require specialist expertise and approaches to working. Consider working with other experts both artistic and others depending on the commission
84. Sean Taylor’s 100 Paces Collins Barracks Dublin – the artists turned the commission brief to suit him
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86. Christine Mackey’s Riverworks re-tracing the travelogue of Mrs Owenson through Sligo Landscape and around the Dorley River with a subversive and ecological agenda. Year long project commissioned by Sligo County Council
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90. READ THE BRIEF CAREFULLY Give yourself TIME Make a Visual Map (plot out / Visualise) Structure your proposal based on what is required. Write clearly in a way that best communicates your ideas quickly. The opening statement / paragraph is critical Imagine who will be looking at it and reading it, Try not to be too dense. Footnotes can help. Do not be afraid of simple language or short sentences and keep paragraphs short. Write in a style that takes cognisance of arts language. Don’t be afraid – personality can come through – so can humour or mystery but best in a way that seems natural and close to your ideas rather than self conscious or clumsy and awkward.
91. Get someone else (a peer / another artist) to read your proposal If you hate writing – get someone else to write for you but check everything. REMEMBER - WRITING/ Sketching out IS A PROCESS Ideas Come in this Process Clarity emerges when you write and helps structure your thoughts, ideas occur. Check all requirements – what you have been asked for. Edit your material well, especially reference to your recent/past work – Keep the shit detector fully functioning. Do not submit more than you are asked for. Do not submit too little to allow fair assessment Make it joyful, easy to move through, thoughtful and clear
92. W r i t I n g a P r o p o s a l/ HEADINGS Title: Description: About your proposal/ concepts and thoughts behind it, research methodologies. what you want to do, what it will involve, theoretical underpinning of concepts. Context: The context for this work – social, physical, geographic, multi-sited, virtual etc. Research & Development People (this might be collaborators or other expertise) Audience/ Participants Costs: Materials / Media – Location: Mediation Documentation Evaluation Networks / future possibilities for the project. Maintenance (outlne as required) Technical details (specific as required). Timeframe Visuals might intersperse with your text in a way that makes it more lively and engaging.
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96. However, in reality the artists fee often gets eaten up by the production costs and in some cases artists have come away with no fee or very little. Artists should ensure that they are paid properly for undertaking the project. Commissioners should be aware of looking after artists fees
97. THE SELECTION PROCESSES A small group of people select a work of art and decide in the name of the public what its art should be. It is a democratic process Generally selection panels consist of a mix of representative of the commissioners, artistic experts, community representatives, politicians, etc. Selection criteria becomes a guiding bases for making decisions. Things like quality of ideas, imagination, appropriateness, the unexpected alongside technical issues and keeping within budget and workability of your proposal are all criteria on which decisions are reached.
101. Do as much possible pre-contract to set the tone for the project
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103. Getting Started Sort out all the nuts and bolts at the beginning - thinking deep into the project. Straight lines and the curve balls – project mapping. Set the conditions for right and good working – clarify the ways you work and the way the commissioner works Work on developed relationships not goodwill- spending time here will offer capacity to work through pressures. Essentially here you are look for mutual definition. Understand your needs and your gaps and communicate them Take time to demystify – decloud the process – primarily for yourself
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105. Getting the relationships right for you or at least understanding contexts Clarity and communications – two way – agreement here How and who will you be expected to work with? Can you have a direct liaison person, what is the scope of their decision making powers Do you want this named in the contract Are there protocols about contacting other key people within the organisation? Managing expectations – flag issues, in advance – be clear with the organisation the impact of their decisions. Perform managing yourself well – this is not painful
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115. Copyright gives protection and rights for reproduction. all forms and media are eligible for copyright protection as long as they are original. ideas and principles underlying a work are not protected. Copyright arises spontaneously on creation of a work there is no registration required. misunderstandings as to ownership can arise when a work is commissioned. commissioners often assume that because they paid for the work, they own the copyright. This is not the case the copyright remains with the artist unless it is assigned to the commissioner in a written agreement. Commissioner has the right to use the work for which it was commissioned