A few days ago we reported on Vigo Expo, a new blog chronicling Lauren Moya Ford’s experiences with contemporary art in Galicia, Spain, and Portugal. We were recently informed by Ford that her work had been plagiarized by Thisispaper, a Polish arts magazine. Ford asked the magazine to credit her in the article, and they did, as you can see.
Plagiarism (and acts that have hallmarks of plagiarism) is common in the art world, despite all of our tools to uncover it. In the past few years, we have seen an organization copy The Art Guy’s SUITS project (not the first time this has happened), a film about art forgery, and the never-ending saga of Richard Prince’s “Instagram paintings.” There’s the continuous strife and legal ramifications over appropriation of artwork that corporations (Urban Outfitters) carry out without permission; creative hijacking runs rampant between hawkers of ‘product’ and artists who originate an concept or design. And social media is currently the biggest tool for forcing corporations, publications, and thieving individuals to reconsider and even correct their actions.
Closer to home, the use of the Havel-Ruck “Inversion” project by an automobile commercial, or a local company attempting to copy and market Tim Glover’s fountain at MECA.