As a result, what could be a solid expose on how cultural art forms have been misappropriated becomes a spurious, although interesting piece. Intellectual property and the laws surrounding it are indeed direct products of the Western European culture in which we live. Therefore, it is only natural that the laws of such a society would reflect its cultural ideals. Moreover, Coombo fails to account for how it would be possible to protect collective cultural expressions, many of which are universal symbols such as those from nature. Coombo also fails to offer any clear examples of how artistic forms have been misappropriated from the "ritual contexts" she refers to. The Crazy Horse example is a clear-cut and understandable example to support Coombo's argument, and the article would be strengthened had the author offered more. The article can serve as a good springboard for sociological research studies and investigations into means of creating legislation that protects certain collective cultural art forms from misappropriation.
Kabat, Jennifer. "Skateboard Graphics: Not Ready for Prime Time." Design Culture. Ed. Stephen Heller, Marie Finamore. New York: Allworth Press, 1997, p. 44-47. This article lends insight into the nature of the skateboard graphic art industry, drawing attention especially to its rapidly changing fads. Skateboarding in many ways straddles the line between small and big business, as many large companies have tried to get in on the money. However, the industry is as fickle as the minds and...
According to Kabat, five years is an eternity in the industry. Sometimes, boards are only issued in limited numbers and the same person won't buy the same board twice. Advertising also has to change up or the market segment will lose interest. One of the most interesting notions that Kabat brings to light in the article is the ironic affection many skateboarders have for big-market corporate logos the likes of Nike. While in some cases corporate logos have been reappropriated in the name of social commentary or humor, in other cases, kids just want to get behind something familiar or longer-lasting than the latest art trend. Corporate logos may be a means to establish brand continuity, but still the constant endeavor for the new and the fresh will remain inherent in the skateboarding community. Much of the impetus behind skateboarding art also derives from a deliberate attempt to subvert "adult" social norms, to be controversial and purposely offensive. Kabat also comments on the trend of misogynist and violent imagery that is sometimes common on skateboard graphics, but does not judge any of the expressions. The article has its flaws, such as a too-broad topic and a consequentially scattered feel, but in general the piece can be used as a good assessment of the skateboard graphic design market, what artists need to do to keep abreast of trends, and how tricky the…
