Replies: 30 Comments
on Saturday, August 5th, jose said
Alberto, I think we are all very interested in finding out how this all turns out for you in the end. Auguri.
on Saturday, August 5th, Jeremy said
Hey if you can get the money and recognition out of this go for it.. In music the rolling stones and other music bands are not afraid to take the royalty checks from copyright infringement, so why shouldnt you get your payday, you are really the one recognized, they are just copies of your work so take credit where credit is due.
on Sunday, July 30th, josé freitas cruz said
Alberto, this must have been a gut-wrenching discovery! It is one thing to be proud when your work is in some way appropriated but what I saw here is blatant plagiarism with the intent of gaining all the credit and renown for something one has not earned the right to claim. It is a criminal act.
However, given the outcome and the response of the Japanese authorities I agree with Andrew that it would seem that you have the conditions to turn this around in your favour and market your paintings in Japan. If this Wada fellow did indeed get a prize for his sorry renditions of your work than I’m quite sure that after this scandal [as painful as it probably still is for you] opportunities to show your work in Japan – and show them the real thing - would soon be opening up at a level higher than the gallery circuit, if you were to make enquiries.
I was once a victim of a similar ‘attack’, if one can call it that. Unfortunately, it was in the early stages of my life as an artist and I did not have the leverage to set the balance straight. A well-known artist asked to see my portfolio to consider calling a gallery’s attention to my work and I discovered 8 months later that his newest exhibition was a copy of my imagery and my style.
You ask for our advice? I am humbled! My response was to leave things as they were and not allow myself to loose my energy through negative thoughts. Fortunately, the few followers that I had at the time recognized the plagiarism and their kind feedback kept me afloat. In more practical terms, I stuck to the studio and re-evaluated the parameters of my style – what would be the natural next step in the ‘history’ of my painting? What new elements would come in? what themes to explore? I was bent on making people see where those ‘plagiarised paintings’ came from (in my personal history) and where they were leading me next… this could not be copied. In your case, given the backing you would surely get from the Japanese authorities, I would go for the jugular!
But your blog raises a deeper and scarier problem. People out there are looking at our stuff with a view to making a name for themselves at the expense of others’ ideas and genius. How many situations like the one you relate are happening this very minute without being traced? You and I have only to visit the stats in our portfolio manager to realise that we have hundreds of visits, often to the same painting, sometimes, repeatedly, from the same person. Do I guess wrongly? What can we do about this? Could absolutearts.com perhaps come up with a ‘watchdog’ service that would screen the net for us? I would gladly pay for such a service.
on Tuesday, July 25th, Andrew said
Gabriella, you're right. This is a different case from Alberto Sughi's paintings that were copied nearly exactly. In the case of Marino di Prospero I don't think a personal interpretation of already existing work leads one to great and innovative achievement, but rather to mediocrity. And while Moore's, Brancusi's, and Hepworth's works show the influence of many predecessors, never are they quite this closely derivative. And yes, the Moebius has been done many times, in relief, in drawing, and as an architectural element; it is present in jewelry and metal ornamentation, but as Florentine gallerist Raffaello Romanelli, one of the world's primary sources on marble sculpture will tell you, never was it done in the round in marble until I did the first one in 1981. I'm very proud of that, and I'll fight to see that it isn't questioned.
This isn't the first time I've had to get aggressive for this very idea. In 1990, a friend from NY called me in Italy to tell me he'd seen one of my Mobiuses in a store called Modern Stone Age. I set up a battle plan...I shipped one to New York, and then went to scout the terrain.
Saying I was an interior designer, I approached the store's management and said I had a wealthy client who wanted two. They began to treat me very well, and provide all the info I wanted. I asked the price, and was told 40,000 each. Mine were 10,000, but there was a string of people leading to this place, each of whom had to be paid. The man told me the pieces were rare, and there was only one very old and secretive Italian who knew how to make them.
I walked down the street, and found a place nearby willing to take the piece I'd shipped. I trucked it there, and after the mark up, it was set to go at 20,000 retail. I went back to the other store a week later, and interupted a client conference to scream,
"You're a bunch of thieves! I ask about this piece, you tell me it's rare, and a good deal at forty grand! There's one right down the street at twenty!" They pulled the piece, and stopped working with a local Italian company here that had promised me two percent for the rights, a few months before my friend called me. Yeah, it was a good idea. Anyone who incorporates it into what they do is telling me that. On to the next one. And Alberto, your battle has already been won. Big time.
on Tuesday, July 25th, Ron Massey said
Gabriella,
I can't really agree with you on this. Alberto has built up an oeuvre of integrity over decades, and I can't imagine why he would want his debut exhibition in a country cluttered by such irrelevance, by this I mean ,if he has an exhibition ,it's about him and his work, he doesn't want to be carrying this charachter around on his shoulders unneccesarily for too long.If the press there is worth anything, they'll tell that part of the story and if that attracts more visitors, then so be it.
Alberto,
To be honest, I think you answered your own question in the second last paragraph of your blog and I think that's the best answer for you to follow. Though I only know you and your work from a cyber distance, I don't get the idea that you're one who goes for the jugular when angered.
If you do go to Japan I wish you the success that you would deserve even if all this had not happened.
on Tuesday, July 25th, gabriella said
I agree with many others that you should pursue the showing of YOUR original paintings in Japan, and counter this plagiarist's works by posting photographic copies of his work next to your originals, with explanatory texts about conventions of copyright, copying for educative purposes versus copying with the intent to capitalize on another's intellectual property in order to generate an income through sales.
It is eminetly clear from the images you posted here as to how closely this plagiarist has cleaved to your imagery.
As to the argument between Andrew Wielawski and the sculptor Marino.... (not Marini), the image of the moebius loop is hardly original, as the other sculptor pointed out. Further in reviewing this Italian sculptor's website, it is apparent from the works illustrated that he has been influenced by Brancusi, Moore, Hepworth among others, and yet his personal elaborations and inventions of form are his very own while echoing those formal influences. This is a different case from the one Alberto has publicized here, and could have better be used as the topic of yet another blog by Andrew.
on Monday, July 24th, Andrew said
What about your Marino Marini horse and rider? Some similarity, don't you think?
on Thursday, July 20th, Marino Di Prospero said
I’m the sculptor Marino Di Prospero. I believe that the master Alberto Sughi must not be indignant, but honorable and proud that his job is copied, it isn’t a serious thing, it’s anymore the advertising return that the damage of plagiarism. The world of the art is full of counterfeiters. I don't know if it’s more serious to copy putting the signature of the plagiarist or that some author. However the great masters have copied also.
I want to answer to Andrew Wielawski too. He says that I would have copied from one sculpture of his of twenty years ago 'moebius' knot. This artist is looking for publicity with not correct means, throwing himself in the fray and saying to be copied to the peer of a true master, without showing the tests.
According to Andrew, this knot would have been copied not only by me but also by Escher in his work "Knots", or by the stone-cutters of Middle Ages for their interlacements, and also by the rocky paintings of the primitive engravers! (nobody has invented anything).
Has Andrew perhaps participated to a recent contest public where my sculpture "Genesis 1" has won and perhaps take by the grudge not to have won, does Andrew commit the naivety to say that I would have copied from his job?
Otherwise it isn’t clear as Andrew knows the title of this work of mine not yet realized, unpublished and that has not been made public, thin to now, (it has been named only in the classification of the contest – without picture). It doesn't have anything to whether to do with the knots. Andrew corrects him saying to be him wrong, that he doesn't deal with "Genesis 1" but of "Maternity".
Publish your knot before accusing me. My sculpture "Maternity" it is present in my web site and everyone can see it.
I apologize me with master Alberto Sughi to have used his space, but charire was necessary in this space in which I have been accused.
on Monday, July 17th, olivier said
Presented like that it is very easy to qualify any living things as: little and degenerated. SO? What is the point if you goal is just to make your life with human being a pleasant one. In my sens the best attribute of any kind of ideal created by whatever whoever is to stay as an idealistic view. Any attempt to generate it as a way of living will show all the scary and non perfect sens of it. History prove it and noboby did prove to me we are getting better.
on Friday, July 14th, Satoshi Matsuyama said
I'm JAPANESE artist Satoshi Matsuyama, but don't worry about it, I'm just living here and speaking universal language on my own artistic expression like you do on the place like this World Wide Arts Resources.
We are given this way literally as a heavenly gift to each artist, to use it, not only for the people who is living in my own country.
I don't know and not interest in Japanese art market scene of this closed islands.
Would you like to spare your precious time to prove this silly things happened in ....and to get a little bit money?
Can you keep your heart from degenerated atmosphere.
We should use this powers God presented for only raising up well for all the people in Love.
The bible say: Let us labour therefore to enter into that rest, lest any man fall after the same example of unbelief.(Hbr 4:11) For the word of God [is] quick, and powerful, and sharper than any twoedged sword, piercing even to the dividing asunder of soul and spirit, and of the joints and marrow, and [is] a discerner of the thoughts and intents of the heart.(Hbr 4:12) Neither is there any creature that is not manifest in his sight: but all things [are] naked and opened unto the eyes of him with whom we have to do.(Hbr 4:13)
on Friday, July 14th, olivier bijon said
I still think you should exhibit Alberto. Not only for your personal prospective but to educate the public. I had some times trying to reproduce an idea developpe in a painting and have to admit anytime the first shot was the best. Reason why in my case any new painting is a new challenge of creativity. I beleive it is also the case here where someone else try to do a reproduction of your work. Why a perfect reproduction is not as valuable? Because perfection doesn't exist and it will be always somebody to make the difference. Reason why I think you should not only exhibit but you have to exhibit. An exhibition to show to a public, who by the way is asking for it,to show what make creativity so important in the art today. So there is an educational reason for this exhibit.
On the other hand sometime I wonder myself how much we own the art we create? The law say we own our copyright 60 years after our death. I beleive once created, you like it or not our paintings are own by the art community. You may think you handeling it but this community will decide what to do with it. I desiagree with a painter on this blog who is obsett by a customer who sell one of her painting with a very original and interresting idea. No damage are done to the piece here, and a collector who buy a piece does not have to protect the painter interrest. You may buy a land with a house on it, in my sens you are just paying the right to use it for the time you "own" it. You lease it in fact, with different financial arrangement. But the land who is of importance for the community must not be destroy by you. Same for our paintings, being the creator I my sens doesnt't allow us to claim any property of the art history, we are just participating to it.
on Thursday, July 13th, xooox said
CAN'T BELIEVE IT!
on Wednesday, July 12th, andrew said
Sorry, that wasn't Genesis 1, it was 'Maternita'.
on Wednesday, July 12th, Andrew said
Although I believe Marino di Prospero copied my 'moebius' knot for his 'Genesis 1', there isn't as much similarity as what has been copied in your paintings, although it's a much simpler form. With abstract sculpture, all you have to do is modify the way marble is worked, or add an element like the horns he added, and the piece becomes completely new. Never mind that this form was first presented in the Carrara area by me more than twenty years ago, as a sort of comment on what you could or could not do in stone, today it is a concept that is pretty much up for grabs by anyone. It has been copied by colleagues even working in the same studio as me, and almost always a verticle rendition of my horizontal form. That leaves me with nothing left to do but look for something new that I can call my own...until someone else appropriates it. What they do is not really that important, after all, it's what I do that I have to concentrate on.
on Wednesday, July 12th, a stranger said
Hello, I just read about the story in the news -- truly unbelievable! I happen to live in Japan and have been here since 2001. Sadly, the story isn't getting as much press here as one would hope.
However, if you are receiving requests for exhibitions in Japan, I would say that you should take up the offer(s). The Japanese public is very fickle and jumps from one fad to another in a matter of weeks. Although it saddens me that this is the case, if you wait until after the scandal has died down, I cynically suspect that offers for exhibitions may not be as forthcoming as at the present time.
Finally, as they say, "There's no such thing as bad publicity;" although your name and (most imporantly) your work has entered into the consciousness of the Japanese art world as a result of Wada's plagiarism, it is still a great opportunity to acquaint others with your wonderful art. Think of all of the Japanese fans of art who would be missing out on the opportunity to discover an incredibly talented modern painter! Regardless of the motives of the galleries/musuems requesting to exhibit your work, the public itself can only benefit from the chance to be introduced to your glorious artwork for themselves.
on Tuesday, July 11th, viciouskatanaguy@yahoo.com">Vic Man said
Yoshihiko Wada seems to be a great copier... why couldn't he simply state that he WAS copying paintings from you in the first place?
Maybe people would have liked his small changes made to each of the paintings - although he would never have achieved prominence like he did in real life, it's better to have a bit of fame than to have a lot of fame and then get knocked down in scandal and poisoned forever.
The same happened to Ken Lay. Look what happened to him: the guy got off easy since he had a heart attack in Aspen and died.
But Wada may not have the heart trouble Lay had. And if he's thrown into prison, Wada may be forced to "meet Bubba". Everyone who he will talk to will see him as a piece of trash. He ruined his life and it's his fault! If he had attached a disclaimer to his copies saying "I took Alberto Sughi's art and made a few changes to it", MAYBE he would still be worth something.
on Sunday, July 9th, Andrew said
The master has a responsibility that the dilettante does not have, to hold his work up against imitators, and thereby allow the enlightened to spot the difference.
on Saturday, July 8th, Dušanka Badovinac said
I write ones again on this one, because I was happy when I read the last comment from Kumiko. Finally I found some peace about this unhappy art-story.
It is not a scandal that makes a master.
The responsibility of an artist (unknown or famous) is to do his art honestly and with passion, to develop and learn the others to see the difference.
on Saturday, July 8th, Kumiko said
Dear Alberto,
I learned little more about the case after I posted the previous comment and my advice was not appropriate for an artist like you. I did not know that you are one of the famous artists in Italy who have received honorable prizes including the Michelangelo prize. You may not need this kind of scandal to be successful since because you already have it and are a well-known artist. It is the best to do what you are most comfortable with.
If you pursue a lawsuit over this, it will be judged by Japanese law since Wada is Japanese, and he probably would receive a sentence of up to three-years of prison if found guilty of piracy-- that is what a Japanese lawyer suggested on a TV show said in Japan.
I hesitate to post the things based on law since I am not lawyer and I do not have much knowledge about law, but I posted it because I wanted to suggest how serious an offense plagiarism is and hope it never happens again.
Hope it works out fairly for you. You have my sympathies and wish you the best for your success.
on Friday, July 7th, Kumiko said
Alberto, I am sorry about what happened to your paintings in Japan. I was just curious how the Japanese news media wrote about this and I searched for Japanese news articles about it. I found it was quite a big scandal in Japan. Not only the Japanese major newspapers, but also TV and magazines were talking about this for a while. According to the Japanese article, Yoshihiko Wada used a projector to copy your paintings and he copied 72 paintings of yours. Wada had the ability to copy other people’s works but he does not have his own creativity and originality and his act demonstrates that he does not have pride as an artist. Wada should be ashamed of himself as an artist stealing ideas and images from other artist and submitted it as his own for a competition.
I agree with Andrew. You should exhibit your paintings in Japan before the scandal has died down and make clear to the world who originally created the images and how much greater the original is than the imitation. This unfortunate incidence may turn to fortune since people love scandals and the scandal can make you and your painting more famous and unforgettable. Soon after, the Italian news media may pick up on the scandal and it is possible that the popularity moves into your home country of Italy. A good example for it is the Japanese artist Hiro Yamagata who became known in the United States first and when the Japanese media found about it, he became very famous in Japan afterwards. As seen in Japanese articles, people are curious to see the original work that people are talking about and I bet the gallery would be packed if you had an exhibition there and it may bring you big success. Good luck and best wishes.
on Thursday, July 6th, Karen said
Alberto, I too would have not known about you until reading this blog. Your work is wonderful; I'm sure you already know that and, now, so do thousands of others.
Ask yourself, was this meant to happen; your finding out the way you did? I think so. It was an unusual way for a new audience on both sides of the world to discover your work. I think you should agree to an exhibition of your work so the Japanse will be able to see the REAL work! You owe yourself and them to let them see the true master and his work. It's too bad this artist has chosen to copy your work and obtain awards and recognition, however, think how great it will be for them to see the work they, perhaps, should have seen in the first place. Good luck
on Thursday, July 6th, olga said
Alberto, I absolutely agree with Andrew. You see, if not your AA blogs,I would never know about you (sorry:))...so many of Japanese, who works in other areas and have no much time to enjoy art. Due to this unpleasant for you situation you can now attract more attention to your art and it's not just because of scandal..just because people know that it worth for them to spend their time and look at your works. When I read this your blog, I immediately said "wow! this guy must be great if someone spent so much time and efforts copying his works". My advise - use this situation on all 100%.
on Thursday, July 6th, Suzanne Sanders said
Dear Alberto , one must look inside for answers as to what you are comfortable with. While serious on one hand it is quite laughable on the other. What is it that you want- you are being offered opportunity, perhaps increased fame and wealth - and success in a wider form. You are also being offered the opportunity to educate others. To show how your true art works. The energy we put into our work comes out of it. When a copy is created in this way by one who must follow your lead there can be only control in that painting, not passion. When we paint we put our soul on the line in full colour to be shot down- yours has actually been in one way adored- but of course it cannot be captured. Your creative spirit must be allowed its perpetual freedom and it is only in this way that genius can be released. Personally I cannot copy at all it is far too restrictive. If you decide to show - at the time which is right for you- the impact of your art will feel totally different. We are not comparing images we are comparing energy. As they say "this would be funny if it wasnt happening to me!" Turn the negatives into positives and see what outcome you would like for yourself from the opportunity which has presented itself. Perhaps though he could have done himself far more good by saying from the onset that his work was in the style of ..but that is his learning. The Truth always comes out - what is important is that You live Your truth and are comfortable with your decisions. You may also like to consider if we actually own our work anyway - or are we just channels for it to flow through. The ideas sometimes create themselves.All the best.
on Thursday, July 6th, Dušanka Badovinac said
Here am I again…
When I wrote my comment I was thinking about art and value, not satisfaction.
We are talking here about marketing, business, and money and layers, where are the artists?
on Thursday, July 6th, psenghaas@mac.com">Phyllis Senghaas said
Yes, I think you should exhibit, as the sting becomes the desire to make things right. Not only will it bring new attention to your work, it will bring attention to this still little-known phenomenon, & thus become a service to past, current, & future artists everywhere. It may generate enough income & publicity to enable legal action, which you should pursue. That should include compensation for loss of sales (including past & future sales) & damage to your reputation. These are certainly supported by legal precedent in the US. Additionally, it would be within the realm of legal precedent for these fakes to be ordered destroyed, & for the other "artist" to have restraining orders on what types of products & activities he can engage in (also supported by legal precedent). The exact remedies would, of course, be decided by a judge or jury, but should be requested by your attorneys.
on Wednesday, July 5th, Dušanka Badovinac said
Dear Alberto,
I was almost crying when I red this.
Your painting “To go where?” and “Veranda” are my favorites. It is a shame how anybody dared to assault work like that.
Don’t accept en exhibition in this same moment (who am I to say?), with this not happy popularity. After some time it will be more appropriate. Japanese are known as a proud nation. They need to work this out, but it is for me obvious that they will have a great admiration for your work.
And then, the success will be all yours and you should receive a real attention your work deserves.
on Wednesday, July 5th, Hyacinthe Baron said
The sincerest form of flattery. Creators must go beyond the plagiarists and continue to create new work.
I have had my work plagiarized without my knowledge and finally brought to my attention be my collectors.
Images copied on plastic panels, etched onto bar mirrors, copied on litho editions, transformed with the addition of color.
And that is just the art.
My fashion designs hand painted on couture fashions and silk and cotton home furnishings, bedding, table wear and such knocked off by everybody, sometimes exactly and with a different signature.
This is however one of the most flagrant examples I have ever seen. Usually there are changes to the original to skirt the international copyright laws, but these are so recognizable.
I currently have a collector trying to sell one of my paintings and who took my name and created a web site: www.hyacinthekuller.com. He is asking $40,000 for the painting. What good will the sale do me? I would have to sue him.
Now since there are no laws it seems on the internet, having one's name stolen for the purpose of reselling one of my paintings doesn't seem to bother anyone but me. Can you imagine if a gallery opened with my name Hyacinthe Kuller Baron Gallery to sell or resell my work and I did not own it.
There is a lot to be desired in terms of what goes on in the world. While the internet both exposes more than we might have known otherwise, there don't seem to be an protections in place for anyone.
Usually any profits cannot be traced or tracked down successfully and so it is not worth expense of pursuit.
In your case you might engage Lawyers for the Arts here in San Francisco who might advise a course of action.
On the other hand I would issue a news release world wide on the A.P. and contact a gallery to immediately set up an exhibition of the plagiarized works, if you still have them, or ask the owners to contribute them for a time.
Andrew is right, turn this into an opportunity and turn the tables on this artist and his sponsors and collaborators. Good Luck.
on Wednesday, July 5th, andrew said
I say, use your current popularity in Japan. This is like a freak rainstorm in the desert. You have the opportunity to enlarge the public's knowledge of who did what, which is good for them as well as you.
on Wednesday, July 5th, Mark R Brockman said
They say that imitation is the greatest compliment. In this case it is an insult. I have been in this busuness for over thirty years and have not to my knowledge had this happen to me. So I have no advice, but only encourgement, to continue on and continue to take the high road as you have done. But I do not think some legal action is out of the question. Trouble is, finacialy, is it worth it? I don't know. Also when bad things happen it often opens a door for good. Look for the good from this and do not hesitate to use the good for good.
This does beg the question though. How often does this sort of plageriesm go on with out knowledge of an artist? Specially with the web being what it is today.
on Wednesday, July 5th, olivier said
Incredible story, I am glad for the good turning of it on your side. By your talent, your words and your humility you deserve it. On my side I will be more like an opportunist and would take advantage of a situation where you are not to be blame at all. Keep your head high, enjoy your success, your goal will come out of it...great work I prefer the original
The fact that there would be someone, somewhere else in the world, who copies your paintings and signs them as theirs, to then become a famous painter in their country and reach such recognition that the Ministry of Culture of their well-reputed nation, advised by a commission of “experts”, should award him an important state Prize, is incredible, to say the least.
As fortune would have it, some April fools decided to delve a little deeper into the net, only to discover that the paintings by the award-winning painter had been copied from an artist living on the other side of the world. This puzzling discovery led them to inform the Ministry of Culture, providing photocopies of the works for comparison. And that is how one of the most unfathomable scandals of modern painting - or the least a case of plagiarism without precedent – has come to light. 
My internet site has been contacted by tens of thousands of Japanese people, and I have received many emails apologising for the disgrace. 
For more info on Alberto Sughi see. www.albertosughi.com
