Raphael Falco, University of Maryland, Baltimore County
Because Dylan draws from songs from the past, he has been accused of plagiarism. But this view has been colored by a distorted understanding of the creative process.
Artist Joi T. Arcand explains ‘Never Surrender,’ ‘translates a …1980s Canadian pop song into the Cree language and recontextualiz[es] the lyrics as an anthem of Indigenous sovereignty.’ Here, the image layered over a photo of a Winnipeg sidewalk.
(Noor)
Both the COVID-19 pandemic and urgent debates around public heritage and monuments shape how Nuit Blanche Toronto is seeking to engage artists and viewers in remapping cities.
Photographer Ansel Adams poses on a bluff with his camera.
Roger Ressmeyer/CORBIS/VCG via Getty Images
Largely self-taught, Adams learned to harness the communicative power of photography during his years as a marketing photographer.
A detail from Mirka Mora’s Perth Festival Mural 1983; synthetic polymer paint on tin, 6 panels, each 120 x 280 cm (approx.)
Heide Museum of Modern Art, Melbourne, gift of Paul Swain, 2015.
In 1983, Mirka Mora painted a 21-metre mural in the forecourt of the Perth Concert Hall. The story of this remarkable painting’s creation is fascinating.