Comments on: “Artistic Styles:  Is this Artwork ‘Inspired by’ or ‘Stolen by?’  You be the Judge” by Debra Hand    https://earthexhibitions.org/media-archive/?p=6152 Thu, 28 Nov 2019 01:37:36 +0000 hourly 1 https://wordpress.org/?v=6.0.6 By: Peter S Pak https://earthexhibitions.org/media-archive/?p=6152#comment-195 Wed, 27 Nov 2019 23:11:49 +0000 http://media-archive.blackartinamerica.com/?p=6152#comment-195 In reply to Peggy” target=”_blank” title=”https://earthexhibitions.org/media-archive/?p=6152#comment-189″>Peggy”>https://earthexhibitions.org/media-archive/?p=6152#comment-189″>Peggy Dillard Toone.

All the assets used in creating the main title were sourced from free images, paid licensable stock images or footages, or production stills from the show’s set. They were then digitally treated and composited to replicate the paper textures and tears of a collage. No copyrighted artwork or images from Deborah Roberts or any other artists were used in the creation of the main title.

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By: Peter S Pak https://earthexhibitions.org/media-archive/?p=6152#comment-192 Wed, 27 Nov 2019 00:58:57 +0000 http://media-archive.blackartinamerica.com/?p=6152#comment-192 The design for the main title was a collaboration between the creators of the show, including Forest Whitaker, and the design team as we explored many different concepts to find the right look, and the concept that finally excited us the most was the one inspired by the collage style of Romare Bearden. We felt his art was appropriate to the show because it was contemporaneous to the show’s time and setting, 1960s Harlem, and shared themes and portrayals of social inequality and the African-American experience that the show similarly explores. The main title INTENTIONALLY reflects many of the techniques, aesthetics, and themes of Romare Bearden, and is a purposeful design for the opening credits of the series not meant to stand separately from its cinematic purpose.

Much like how the show adds hiphop and other modern flairs that are anachronistic to the time period portrayed in the show, our main title also utilizes modern artistic principles for better readability by a modern audience. The complexities of Romare’s collages, while spellbindingly intricate, could prevent legibility of the credits or wouldn’t read as well when only shown for a brief moment within the fast-paced main title. Therefore, many of our Romare-inspired designs were simplified or redesigned in form and composition, from where unintentional similarities with modern and contemporary collage artists may have appeared.

I am a fan of Ms. Roberts and believe she is a luminary and worthy successor of Romare Bearden. I meant no disrespect for any unintentional similarities between her life’s work and the inspired design of the main title. I am not a collage artist, do not claim the field of collage as my own, and have always given credit to the true artist, Romare Bearden, who inspired this main title of which I was only an instrument in creating. The main title design was always from the start an homage to the great Romare Bearden and his socially conscious collages portraying African-American life in 1960s Harlem, and any similarities merely demonstrated his far-reaching and timeless influence on subsequent artists.

The theft of black art is a real and serious problem, but in the creation of the Godfather of Harlem main title, I hoped not to elevate myself but give tribute to the fighters and activists of the past who fought for their American Dream, by any means necessary. As a minority as well as a child of immigrants, many of the societal issues and themes explored within Godfather of Harlem resonates with me. History does not repeat itself, but it often rhymes. Whether it is equal rights, income inequality, racism, or drugs—to name a few—the show reveals how similar and relevant these issues remain to this day. It reminds us that the fight for the American Dream is an ongoing struggle, and each new generation has a obligation to bring forth positive change.

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By: Heather Polk https://earthexhibitions.org/media-archive/?p=6152#comment-191 Mon, 25 Nov 2019 20:21:07 +0000 http://media-archive.blackartinamerica.com/?p=6152#comment-191 This work doesn’t look or remind me of Deborah Roberts work/style, the style and execution definitely seems to be more influenced by Romare Bearden. Collage artists are all often borrowing and using similar source materials and for that very reason the lines can blur. The execution in design is where individual style emerges or not. Peter Pak seems to be pulling more from Romare than Deborah in my opinion.

I think the bigger issue maybe the lack of awareness or visibility that black collage artists receive in general. I appreciate Ms Roberts and love her work. Romare Bearden is the artist that inspired me to pursue collage as a medium after going to an amazing Romare Bearden exhibit at The High Museum in Atlanta. Collage is an overlooked and under appreciated artistic practice that needs more critical analysis.

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By: Harry F Banks https://earthexhibitions.org/media-archive/?p=6152#comment-190 Sat, 23 Nov 2019 19:24:29 +0000 http://media-archive.blackartinamerica.com/?p=6152#comment-190 In reply to Sharon” target=”_blank” title=”https://earthexhibitions.org/media-archive/?p=6152#comment-188″>Sharon”>https://earthexhibitions.org/media-archive/?p=6152#comment-188″>Sharon Barnes.

Does the Comment writer mean Reggie Hudlin, not Reggie Hudkin? This is a very important discussion. My own thoughts are that they, the producers, should compensate Ms. Roberts, and not let this get caught up in court.
In my opinion, the similarity and timing of the song and graphics are such that it’s difficult to imply there’s no connection. Both are gifted artists, but Ms. Roberts has a legitimate argument here.

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By: Peggy Dillard Toone https://earthexhibitions.org/media-archive/?p=6152#comment-189 Sat, 23 Nov 2019 17:39:55 +0000 http://media-archive.blackartinamerica.com/?p=6152#comment-189 I rent fine art for cinematic purposes all the time. Often the person that purchased the work assumes they have the right to license the image, when in fact they do NOt, unless they purchase the rights from the artist as well as the image. Collector should be educated in what they are purchasing. As for this work, I look at artist like Lorna Simpson and ask the same question. often she is not the original photographer. Simply embellishing a photo with a new headdress does not give her a right to claim being the photographer. Where do we draw the line in celebrity artist too! It is so easy to simply start from an original concept and respect your fellow artist!

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By: Sharon Barnes https://earthexhibitions.org/media-archive/?p=6152#comment-188 Sat, 23 Nov 2019 16:19:00 +0000 http://media-archive.blackartinamerica.com/?p=6152#comment-188 When I saw Godfather of Harlem’s opening images, I immediately saw it as an homage to Romare Bearden. It seemed appropriate for the period in Harlem in which Bumpy Johnson reigned. Knowing that Swizz Beatz, a huge art collector, was the Executive Music Director, I wondered if he influenced the design. Reggie Hudkin is also smart and hugely cultured. I assumed that they all wanted this “look”, inspired by one of our greatest black artists. I loved the choice and considered it purposeful design for the opening credits of a great series. I didn’t think it was art meant to stand separately from its cinematic purpose.

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