thelmasmith

Brunswick Building Gallery

233 West Railroad Street

Missoula, Montana  59802

new oil stick paintings

Nancy N.Erickson

Four Day Exhibit 2008

Opening:  Thursday, October 2, 5 – 8 pm

                       First Friday, October 3, 1 – 8 pm

                         Saturday, October 4, 11am – 5 pm

                                Monday, October 6, close, 11am – 5pm

                              exhibition will be removed after 5pm

OK, First things first:  Nancy Erickson is one of my heroes.  She has subtly influenced my work for at least ten years.  Click on the image for a larger format.  If you are any where near Missoula, please, go visit the exhibition in my stead; send me thought images through the ozone.

Second:  I believe the address above to be a gallery I visited in Missoula in the mid nineties.  It was filled with art quilts before we were really thinking about them.  The trust of the exhibition  made white cotton gloves available in the absence of human monitors.

Third; What seems like a red herring.  Planet.textilethreads.com provides all sorts of international artists and calls to artists.  I underwrite this site as part of my contributions to my artistic community.

Fourth:  My web master and I have never bluntly or openly asked for voluntary donations to subsidize the continuing stream of information of this site.  I think it is time for each reader to contribute what they can.

Please visit my website and scroll down to the paypal button.  It is grouped with the purchase of the European Edition of Changing the World One Thread at a Time.  You need not purchase the catalog.  You have full decision making power in the amount you wish to donate.

Fifth:  If there is some wonderful philanthropist out there in the audience, I would love to own another of Nancy Erickson’s works.  I have a fondness for her polar bears.  thank you, thelma

The brilliant minds that created the likes of Halliburton, Enron, and Blackwater, are bringing you another corporate privatization of enormous evil and profitable intent. The ethics and integrity of this action is unconsciounable. This one quote: “INTERNATIONAL LAW FORBIDS COERCED REGISTRATION as a condition of protecting your copyright.” should be enough to wade through this long article.

It applies even to personal images you may have posted on the internet. You may be the subject of a theft you have no protection against if this legislation passes.

This article by Mark Simon, reprinted with permission, gives you the blunt, pithy, facts.

This article was printed from Animation World Magazine.

	Mind Your Business: You Will Lose All The Rights to Your Own Art Mark Simon is mad as hell and, in this month’s “Mind Your Business,” he tells you why you should be too. As you know, I usually handle the subjects in my articles with a sense of humor. That is not the case this month. I find nothing funny about the new Orphan Works legislation that is before Congress. In fact, it PISSES ME OFF! As an artist, you have to read this article or you could lose everything you’ve ever created! An Orphaned Work is any creative work of art where the artist or copyright owner has released their copyright, whether on purpose, by passage of time, or by lack of proper registration. In the same way that an orphaned child loses the protection of his or her parents, your creative work can become an orphan for others to use without your permission. If you don’t like to read long articles, you will miss incredibly important information that will affect the rest of your career as an artist. You should at least skip to the end to find the link for a fantastic interview with the Illustrators’ Partnership about how you are about to lose ownership of your own artwork. Currently, you don’t have to register your artwork to own the copyright. You own a copyright as soon as you create something. International law also supports this. Right now, registration allows you to sue for damages, in addition to fair value. What makes me so MAD about this new legislation is that it legalizes THEFT! The only people who benefit from this are those who want to make use of our creative works without paying for them and large companies who will run the new private copyright registries. These registries are companies that you would be forced to pay in order to register every single image, photo, sketch or creative work. It is currently against international law to coerce people to register their work for copyright because there are so many inherent problems with it. But because big business can push through laws in the United States, our country is about to break with the rest of the world, again, and take your rights away. With the tens of millions of photos and pieces of artwork created each year, the bounty for forcing everyone to pay a registration fee would be enormous. We lose our rights and our creations, and someone else makes money at our expense. This includes every sketch, painting, photo, sculpture, drawing, video, song and every other type of creative endeavor. All of it is at risk! If the Orphan Works legislation passes, you and I and all creatives will lose virtually all the rights to not only our future work but to everything we’ve created over the past 34 years, unless we register it with the new, untested and privately run (by the friends and cronies of the U.S. government) registries. Even then, there is no guarantee that someone wishing to steal your personal creations won’t successfully call your work an orphan work, and then legally use it for free. In short, if Congress passes this law, YOU WILL LOSE THE RIGHT TO MAKE MONEY FROM YOUR OWN CREATIONS! Why is this allowed to happen? APATHY and MONEY. Artists have apathy and corporations have money. We need to be heard in order to protect our incomes, our creations and our careers. GET OFF YOUR ASS! That means writing letters to our congressmen and representatives. That means voicing your opinion about how we need copyright protection, as we’ve had since 1976, that protects everything we create from the moment we create it. This is the case around the world. However, an Orphan Works bill is also in the works in Europe. I was speaking recently with Roger Dean, the famed artist of the Yes album covers, and he is greatly concerned with what will happen if Orphan Works bills become law. “This will devastate the livelihood of artists, photographers and designers in a number of ways,” Dean says. “That at the behest of a few hugely rich corporations who got rich by selling art that they played no part in the making of, the U.S. and U.K. governments are changing the copyright laws to protect the infringer instead of the creator. This is unjust, culturally destructive and commercial lunacy. This will not just hurt millions of artists around the world. “On the other side of the coin, what argument will a U.S. court have with a Chinese company that insists it did its research in China and found nothing? If the cost of this is onerous for a U.S.-based artist, what will it be like for artists and small businesses in emergent economies?” If an artist whose work is as famous as Roger Dean’s is concerned with this legislation, it should be of great concern for all of us. The people, associations and companies behind the Orphan Works bill state that orphaned works have no value. If that were true, no one would want them. However, these same companies DO WANT your work, they just don’t want to pay for it. If someone wants something, IT HAS VALUE. It’s pretty simple. Some major art and photography associations, or I should say, the managers of the associations, support this bill. The reason they support it is that they will operate some of the registries and stand to make a lot of money. Some have already been given millions of dollars by the Library of Congress. Follow the money and you will see why some groups support this bill of legalized theft of everything you have ever created. Two proponents of this new legislation are Corbis and Getty Images. They are large stock photo and stock art companies. They sell art and photos inexpensively and are trying to build giant royalty-free databases. Do you see how they could benefit from considering most works of art in the world orphans? Do you know who owns Corbis? Bill Gates. He doesn’t do anything unless it can make a huge amount of money. Helping you lose the copyright to your art is big business for Gates. For years we’ve heard of Hollywood fighting with China to protect copyrights and stop the pirating of DVDs. Our government has worked with the studios to protect their investment. Our government is NOW WORKING AGAINST US by allowing our own fellow citizens TO STEAL OUR CREATIVE WORKS. It will be easy for them to get away with it unless we make ourselves heard. Your calls and letters do work. I’ve seen many instances in which a single letter made a difference in public policy. Tens of thousands of calls and letters help even more. This is not empty talk. I have written letters to my congressmen and I will do so again. I do what I can to let every creator know about terrible legislation like this… thus you are reading articles like this one and you can listen to interviews I’ve posted online. CONTACT YOUR LEGISLATOR: Go to http://www.usa.gov/Contact/Elected.shtml to quickly find the phone number, address and e-mail of every U.S. senator, U.S. representative, governor and state legislator. Forward this article to every creator you know and urge them to take a moment to protect their very livelihood. I am giving everyone the right to reprint this article in any form to help spread the word to protect our creative rights. Instead of sitting around watching TV tonight, TiVo that show, write a letter and make yourself heard. Letters to our government officials don’t have to be long, but they should be heartfelt. A good story helps. Tell them who you are, how this legislation negatively affects you and that you want them to vote against the Orphan Works legislation. It’s that easy! If you don’t, you will have only yourself to blame when you see other people making money from your art and you don’t see a dime. Spider-Man comic artist Alex Saviuk is also concerned about the loss of copyright protection. “When I found out all the negative aspects of the new legislation, it would almost behoove us to want to do something else for a living,” says Saviuk. “If we would have to register with all the different companies, we would never be able to make a living.” “It would be impossible for me to register all my art,” continues Saviuk. “It would put me out of business.” You can listen to my complete interview with Alex online. Think this doesn’t apply to you? Maybe you don’t license your artwork? How about this? Photos on the internet could be orphaned. With tens of millions of photos shared online with services like Flickr, Shutterfly and Snapfish, there is a huge opportunity for unauthorized use of your photos… legally. You could see photos you take of your family and kids, or of a family vacation, used in a magazine or newspaper without your permission or payment to you. You would have to pay to register your photos, all of them, in every new registry in order to protect them. Say the average person takes 300 photos per year (I take a lot more than that). If a registry only charges $5 per image, that is a whopping $1,500 to protect your photos that are protected automatically under the current laws. If there are three registries, protecting your images could cost an amazing $4,500. Not to mention the time it would take to register every photo you take. Plus, you will also have to place your copyright sign on every photo. That’s not including all your art, sketches, paintings, 3D models, animations, etc. Do you really have all that extra time and money? Plus, even if you do register, the people stealing your work can still claim it was orphaned and, unless you fight them, they win. Even if you win, you may not make back your legal fees. It gets even better. Anyone can submit images, including your images. They would then be excused from any liability for infringement (also known as THEFT) unless the legitimate rights owner (you) responds within a certain period of time to grant or deny permission to use your work. That means you will also have to look through every image in every registry all the time to make sure someone is not stealing and registering your art. You could actually end up illegally using your own artwork if someone else registers it. DOES ANYONE SEE A PROBLEM WITH THIS? Do you think the U.S. Copyright Office is here to protect you from this legislation? Think again. Brad Holland of the Illustrators’ Partnership shares his notes from a recent meeting with David O. Carson, general counsel of the Copyright Office. Brad Holland: If a user can’t find a registered work at the Copyright Office, hasn’t the Copyright Office facilitated the creation of an orphaned work? David O. Carson: Copyright owners will have to register their images with private registries. BH: But what if I exercise my exclusive right of copyright and choose not to register? DOC: If you want to go ahead and create an orphan work, be my guest! This cavalier and disrespectful dialogue should have you seeing red. Who the hell does he think he is? Carson should be fired and RUN OUT OF WASHINGTON! None of this could happen with our current laws. Our current laws work and they protect us and our creations. The only people who will benefit from the copyright law change are those who can’t create work on their own or companies who stand to make a lot of money from using our works of art. They make contributions to congressmen, which is why they get what they want. We need to stand up and be heard. Every one of you need to write your senators and representatives. We have to protect our livelihoods. It’s that serious. Plus, the technologies being developed for locating visual art don’t work well enough. On March 13, 2008, PicScout, the creators of one of the software applications used in the registries, stated to the House IP subcommittee: “Our technology can match images, or partial information of an image, with 99% success.” A 1% margin of error is huge when you consider the millions of searches performed for art every day. That means for every million searches, 10,000 images could be orphaned. Plus, this only takes into account images registered on their system. If you have registered all your work on another system, they won’t be searched here and, even though you may have spent thousands of dollars registering your creations, a new or unused directory could orphan everything you’ve ever created. This is just one of the many reasons why INTERNATIONAL LAW FORBIDS COERCED REGISTRATION as a condition of protecting your copyright. The United States is about to break international law by making us register our works. The people behind the bill say it’s not forced registration, but you won’t have any rights unless you register. THIS IS SEMANTICS! Of course, this is forced registration and we can’t stand for it! There are many, many other problems with the Orphan Works legislation. As a creator, YOU MUST understand what is going on. For additional information on Orphan Works developments, go to the IPA Orphan Works Resource Page for Artists. This is not something that is going to go away easily. We need to be vocal NOW! This legislation has been beaten or delayed for the past two years and they will keep trying until it passes. This is no time to be quiet and see what happens. What will happen depends on you. Send e-mails and call your congressmen. Ownership of your own creations depends on it. Roger Dean sums this up well. “Where are the colleges and universities in all this? Has the whole world gone to sleep?” GET ON ORPHAN WORKS E-MAIL LIST To be notified of the latest information on the Orphan Works bill and when to contact your legislators, send an e-mail and ask to be added to the Orphan Works list. AUDIO INTERVIEW LINK I have recorded a fantastic interview with Brad Holland of the Illustrators’ Partnership regarding this bill and what it means to us as artists. Please listen and learn more about how you may lose ownership of all your art and photos. This article and the recorded interview are available for anyone to use in print or online. Please forward this information to every person and group you know so that we can work together and protect our creations and livelihoods. Mark Simon is an award-winning animation producer/director and speaker. He speaks around the world on subjects about art, animation and TV production. His copyrighted companies may be found online at www.SellYourTvConceptNow.com and www.Storyboards-East.com. He may be reached at marksimonbooks@yahoo.com. Portions of this article use information and phrasing provided by the Illustrators’ Partnership. The opinions expressed in this article reflect those of the columnist and do not necessarily reflect the opinions of AWN, Inc. and its affiliates.

© 1996 – 2008 AWN, Inc. All rights reserved.
No part of this article may be reproduced without the written consent of AWN, Inc.

Kate Lenkowsky and I met at the International Quilt Study Center in Lincoln, Nebraska, in 2003. Lots of star power quilters to interview. The result is stunning.

This arrived by courier this afternoon. I have not had time to study more than the Table of Contents. The last quarter of the book, A Guide for Buyers & Collectors, is information that has never, to my knowledge, been put in one place. The information is extensive. Lenkowsky covers care, insuring and appraising as well as a long list of other topics in the guide.

Contemporary Quilt Art, An Introduction and Guide, by Kate Lenkowsky is published by
Indiana University Press. Extensive author’s commentary accompanies the large color photographs. The quality of the printing and binding are lovely. IBSN 978-0-253-35124-1

Reprinted from Women’s eNews as an educational service under the fair use doctrine of the U. S. Copyright Law.   Subscribe here.

As an aside, personally I subjected myself to a tubal ligation so that I would never face the emotional and psychological consequences of possibly having to make this sort of decision.  However, I will to my dying day stand tall for all women to retain the right to make their own choices.

“Abortion” as a search term had been blocked in POPLINE, the largest reproductive health database, according to an April 2 post by Women’s Health News blogger Rachel Walden. The research database is funded by the federal government as a project of the Johns Hopkins Bloomberg School of Public Health. The result is that a person who types abortion in to the database for a keyword search will retrieve no articles on the topic.

Database officials advised a librarian who queried about the omission that the term “unwanted pregnancy” should be substituted instead. A more difficult search through the database’s index can still be used to retrieve abortion-related articles, but most average library users will not know the workaround, Walden, who is a librarian, points out in her post.

The database is funded through the U.S. Agency for International Development, which is prohibited from distributing foreign aid to international groups that provide abortions, make abortion referrals or lobby for change in their nation’s abortion laws, under the so-called global gag rule policy of the Bush administration.

On April 4, apparently in response to bloggers, Michael J. Klag, dean of the Bloomberg School, reversed the decision to remove “abortion” as a search term and said he would launch an inquiry into the change. In a statement published on the school’s Web site, Klag said that USAID had found two items in the database that did not meet POPLINE’s criteria for “evidence-based information” and administrators decided to remove the search term.

Gamblin was the color man when the Smithsonian set out to recreate the renaissance, earth, colors of the old masters. He gives a twenty minute tutorial on thinking about color.

I received this DVD as a gift at a recent art’s materials exposition. Check with your supplier of art supplies and see if you can obtain a copy of this.  OOPS,  go to the Gamblin website, linked above.  You can view it online.   It addresses color in several ways including the historic time frame and the colors produced and used.

I was at the University of Arizona Museum of Art today. This is from a new installation by
El Anatsui.

These works are copyright of the artist and are shown here under the doctrine of fair use for educational purposes. The work above uses the rims of screw on caps of cheap liquor that the anglo world has exported to Africa for the last several centuries. It references that societal problem, the problem of garbage, and also the West African textile tradition.

Not to mention that it is lusciously gorgeous and cries out to be carressed.

More societal commentary. Aluminum printing plates used in their most maleable form to comment on waste and waste paper in particular.

If you are traveling or happen to be around Tucson, Arizona, do yourself a favor and go to the University of Arizona. There is the Museum, two galleries, the Center for Creative Photography, the Flanrau Observatory, the Arizona Historical museum and much more.

I’ve always been a Macintosh person. Smalldog is a macintosh merchant in Vermont. They are an interesting business. They set out to intentionally change all the negative concepts about corporate business. I have no affiliation with them. I do have permission from Don Meyer, the CEO, to reprint his editorial; the hotlinks added are my own and not attributable to Don Meyer.

Climbing out of the Money Pit
By Don, don@smalldog.com

The Pentagon has come to congress with yet another request for an extra $142 billion for the wars in Iraq and Afghanistan. It is really time to think about our priorities again. The president is vetoing legislation that would provide health care to poor children, which would cost the taxpayers about $7 billion a year and provide health care to another 3 million children who do not have it now. In addition, our bridges and infrastructure are badly in need of repair and we cannot afford to make the necessary expenditures.

What is really important to us? Is maintaining a presence in the middle of a civil war in a region where the people don’t really like us more important than making sure our children have access to quality health care? Is this really all about the oil, as Allen Greenspan indicated in his new book? Wouldn’t it be smarter to spend the $177 million A DAY that we spend on being in the middle of a civil war on things like energy conservation and renewable energy sources so that we do not have to send our sons and daughters to fight a war?

As the candidates for President squabble about how long it would take to withdraw our troops from Iraq, the situation just keeps getting worse. No one doubts that if we just panic and withdraw that it would cause some problems, but I think that the jury is out as to whether those problems would be more severe than the problems that are caused by our presence in Iraq. Withdrawal is not enough, however– we also need to reach out to others in the area to help us provide stability for the innocent Iraqis as we take our nose out of their business. Instead of watching silently as Israel bombs a site in Syria and rattling swords against Iran, perhaps we should be relying upon diplomacy, humanitarian aid and our dwindling supply of goodwill to re-establish ourselves as part of the solution, and not the problem.

George Bush has made a mess of our foreign policy and he is leaving a very difficult mess for whomever follows him as President next year. It is a mess that has cost us nearly 4,000 American soldiers, countless civilians and put in place another mercenary army (read: Blackwater) that is beyond the law. We are exacerbating a very difficult situation by remaining in Iraq; we’re not solving any problems and creating a huge new army of terrorists. We are putting our tax money to work against our own interests!

The time for withdrawal from Iraq is now. The time to pay attention to our own priorities of health care, education, transportation and energy is also now. Oil is just going to become a more scarce resource with more demand from more places and it is the country that prepares itself through conservation and development of renewable energy that will have the most prosperous economy and the most secure citizens. We cannot be tentative about this– it is time to admit that we have made a grievous error and bring our troops and mercenaries home now.

Share your opinions at Barkings, the Small Dog Blog: http://blog.smalldog.com.

End Soapbox

Don Mayer
CEO

1673 Main Street                                100 Dorset Street
Waitsfield, VT 05673 USA                   S. Burlington, VT 05403
don@smalldog.com

802-496-7171 ext. 611
802-496-6257 Fax

A request from an old friend sent me to the old slide master files. She remembered a commission I had done in 2002. One of the things it proves is the foolhardiness of keeping backup on Cds. If they aren’t clearly marked you will never find what you are looking for.

Since I keep images in my picture files on an external hard drive to keep the speed of my machine and I’ve changed machines since then it was a challenge. However the artist’s statements were still in the 2004 business files. TMI, I know, you didn’t need to know all that.

These images are commissions that were made in 2002 and before.  They are in private collections.  This is probably the only chance you will get to get a glimpse of them.

Preliminary sketch.

One of the images, backed by textiles that was sent to the gentleman who was handling arrangements for the commission.

The cliffs along the highway, byway, along Patagonia Creek. This is the road from Nogales, through Patagoia to Sonoita. You can see the image in the snapshot and the detail.

The far mountains were too bright; they advanced too far in the picture plain. They were covered with a printed sheer. The lines were then couched to reinforce the shaping while retaining the distance.

This is, by far, my most favorite detail of the whole work. Click the image to enlarge. There is a coatamundi in the lower left corner. The tall agave blossom tell that that particular agave has reached it’s life’s end.

The whole image, All is Right With the World. It is five feet high and eight feet long.

See all those folds in the mountains? Every one of them is a passageway for a traveler who is looking for a way to feed his family. For every traveler who gets through safely and finds a job a village of forty people stay at home, retain their own culture, and survive from the wages that one poor man sends home.

Other things to remember about the Sonoran Desert, it is the wettest, greenest desert on earth. You will see the Patagonia Creek Ford at the lower right. In reality that ford is three miles down the road. It is fed by an artesian spring up in the hills above Sonoita. It has fed this land for eons.

Water in the desert is rarely seen; it is like the force that runs the universe. Seldom seen, yet it’s effects are seen everywhere.

Now, I’ll show you an earlier commission, Desert Icons, that led to the one above.

This is the mountain range I see from my workroom windows. The mountain on the left is Mount Hopkins. It is home to the Fred Lawrence Whipple Observatory. To the right is Elephant Head. If you look closely you will see his ear and his tusks. These mountains are all volcanic remains.

My favorite detail from Desert Icons, the Harris Hawk. He is about the size of my fist and I have small hands. There are twenty one different pieces of fabric giving him life. His stick nest is appropriate as the sahuaro is the place the hawks nest. It was made by destroying a child’s toy witches broom.

The last, Painted Desert, now in a private collection in France. This piece was the original piecework of the far, rolling, valley in AIRWTW; it was much too bright. It landed in the dustbin. I finally thought, no, it’s much too beautiful to throw away. I cut it and added the brilliant red orange, turned pieces this way and that. The backing was turned in instead of binding the work.

Here is a photo of my colleague, Tanya Watanabe. Although she lives in Japan she is one of those citizens of the world.

When I come back from a trip I empty the suitcases first. I put the art supplies and the dirty laundry in their place. That’s after sleeping for about twenty hours.

Today was my day for opening the mail from the last ten days. I paid the bills and shredded all the sucker bait mail including all the blank checks with my name on them. Then I got to the large, nicely wrapped package that I knew was from Tanya. I had saved it and savored it as the reward for getting all the boring work done.

I am totally blown away ! ! ! Look at the treasure trove that came out of that small box.

I folded each in half and pinned them up over other things on the pinning wall. The two shorter ones may be – - – oh, rats, I cannot find the John Marshall book on Kimono that gives the proper names. The orange has a lovely lining.

And look at the hand painting on the sleeve. The back has a much larger hand painted mountain scene. The front has a similar painting on each side of the front.

The lavender kimono in the back of the first picture is a lovely brocade. This floral pattern is either hand painted or print in an overall design. Although it has relatively short sleeves it is a much more formal kimono as the long length indicates it is designed to be worn with an obi that will take up some of the length.

This last detail is from the middle kimono. The color in the photo does not do it justice; it is a rich café au lait with delicate, restrained hand painted motifs.

Tanya, I do not know how to thank you enough. These kimono are magnificent. There is no way I can cut them to use in textile art; they are much too gorgeous. Thank you! Thank you! Thank you!

I spent an afternoon the other day doing a lot of research on the Gees Bend women and quilts. Many of my references (below) require membership in the QuiltArt list. Some of the messages I wrote I will reprint here.

“October 6, 2002, please pick up or check the library for the November issue of Conde Nast’s House and Garden. Page 98 is titled Stitches in Time by Barbar Pollack. Shown in four color are Annie Mae Young an her indigo quilt. Also shown is a quilt by Mary Lee Bendolph. A Rachel Carey George quilt, 1938, that is the most subtle and lovely of them all. Netti Young’s Milky Way quilt, and the late Lillie Mae Pettway’s 6′x5′ quilt made in 1965. And last, but certainly not least, Loretta Pettway’s quilt made in 1960.”

My statement, seriously edited to placate the demographics of the QuiltArt list says in part, “Those purchases – – – gave the curators a wealth of opportunity – – – That body of work is unlikely to be reproduced by women in their seventies and eighties so the preservation is a mixed blessing.”

Gwen Magee countered, ” – – – gave the curators “a wealth of opportunity” to take incredibly unfair advantage of extremely poor people who had no idea that they were being “ripped off” and of what their work was worth.”

Naturally, the nature of the QuiltArt list created great uproar. Gwen’s integrity and credentials were despicably questioned. All I could do was give this response, “I want to commend her (Gwen) for the courage I lacked. I deleted a lot of sentences about my own feelings about the article I read.

My strongest emotions were those of anger, shame, and theft;”

Now, with the lawsuits beginning, those emotions of anger, shame, and theft are here again. They are tempered with hope. My wishes are to see the theft of copyright from these women for avarice and monetary gain righted. I certainly hope the attorneys for the women of Gees Bend see too it that punitive damages are requested in very high numbers.

Kyra Hicks blog, Black Threads, clearly examines the current situation. Please, go, read, scroll down, absorb all the unsavory details. Kyra writes of today’s news with dependable accuracy.

If you wish further information I’m adding a long list of hotlinks. Those from his.com are QuiltArt proprietals; you must be a member to access those hotlinks in their archives.
Gee’s Bend Quilters Claim Big Rip-Off
http://www.al.com/news/press-register/index.ssf?/base/news/1181035097167800.xml&coll=3

Tiny URL: http://tinyurl.com/2fho5j

And would you believe, Matt Arnett now has a blog (only one posting):
http://tinwood.blogspot.com/2007/06/attorneys-for-arnett-family-respond-to.html

July 3, 2007, addition:  Matt Arnett now has two postings to his blog (the most recent one is about their press conference the other day. http://tinwood.blogspot.com/

This is an interesting book review:
http://findarticles.com/p/articles/mi_qa4081/is_200603/ai_n17184448

> Gee’s Bend: A Fight for Rights – Ben Raines – June 15, 2007
> http://bama.live.advance.net/news/press-register/index.ssf?/base/news/1181899233121920.xml&coll=3&thispage=1
>
> Tiny URL: http://tinyurl.com/39f3kx

http://www.al.com/news/mobileregister/index.ssf?/base/news/1183022217278890.xml&coll=3&thispage=1#continue

http://www.youtube.com/watch?v=XdpOkLdtM50

<http://bama.live.advance.net/news/press-register/index.ssf?/base/news/1181899233121920.xml&coll=3&thispage=1>

http://www.orlandosentinel.com/features/home/orl-homesquiltart092902sep29,0,5340885.story?coll=orl-shoppinghg-headlinesforthe

http://www.ajc.com/search/content/news/stories/2007/06/17/geesbend0617a.html

http://lists103.his.com/mailman/private/quiltart/2002-December/047382.html

http://lists103.his.com/mailman/private/quiltart/2002-October/043681.html

http://lists103.his.com/mailman/private/quiltart/2002-October/043724.html

http://lists103.his.com/mailman/private/quiltart/2002-October/043776.html

http://lists103.his.com/mailman/private/quiltart/2002-October/043836.html

http://lists103.his.com/mailman/private/quiltart/2002-October/043700.html

http://lists103.his.com/mailman/private/quiltart/2002-October/043702.html

http://lists103.his.com/mailman/private/quiltart/2002-October/043687.html

http://lists103.his.com/mailman/private/quiltart/2002-October/043710.html

As a postscript to this long post, consider the differences between using an image under the fair use clause of the United States Copyright Laws for the purpose of informing and educating the public and the fact that a judge and a court will be examining the use of the copyrighted images of the works of the women of Gees Bend for manufacturing items for the profit of others.