A recap of Part II that I posted (link in comments). If we're going to talk about A.I., we need to talk about how we allowed fashioned plagiarism like what I'm talking about here, paved the way for A.I. to steal from everyone. There's a reason #Vox feels safe platforming plagiarized work.
cutting wherever possible really. I got very fancy body wash on clearance at TJ Maxx for $5 and was deliriously happy. one of those huge bottles. it's just a sign of the times I guess.
I hate this, cos i understand it
people ate this shit up like it was fine dining
lololl, what's going on. also the algo is soooo effed up, Ican't find anyone
boosting b/c the algo is broken
@karnythia.bsky.social MIKKI, I HAVE TO EMAIL YOU, BUT ALSO THERE YOU ARE
I hope some Black comrades who live in Harlem can attend to ask the Mayor to live up to his public library commitments. www.eventbrite.com/e/harlem-tow...
There is no future for humanity in which the basic conditions for life for millions of people can be destroyed on one person’s whim.
The number of brilliant people of color in my life who are currently unemployed or underemployed is staggering. The cost of who is denied access to labor markets isn’t just unemployment rates or tax contributions, it’s innovation that will shape our possibilities for decades.
With all of this talk about AI and the plagiarism/theft inherent in it, I would like to point you in the direct of a Legal Fundraiser that I have b/c Vox continues to dangerously platform Elon Green's plagiarized work of mine. If you can, pls donate and share www.gofundme.com/f/support-le...
Re-boosting this as well as Part I of how and why of how we got here, here meaning plagiarism, harassment, actions that might be considered fraud, intimidation, multiple institutions intentionally lying to the public and more.
curatingbasquiat.substack.com/p/part-i-i-a...
Buy my book so I can buy s.e.'s book! 📚💙
libro.fm/audiobooks/9...
speaking of writers that don't want to be writers...AI proliferates b/c we don't handle plagiarism the way that we should, from publishing to academia. The fact that Vox defended platforming this slop is 100% why AI was even entertained. @ashtonpittman.bsky.social
The GoFundMe for the Legal Fund can be found here: www.gofundme.com/f/support-le...
S*bs*ack here: curatingbasquiat.substack.com/p/part-i-i-a...
The funds/subscriptions will go towards legal expenses, the time that this will take away from work & other expenses.
Vox's theft of my work engages another theft: the Guggenheim's. I've put a flow chart together for ppl to understand the scale and inter-connectedness of the layered harm and enterprise from Vox to Elon Green to the Guggenheim that is bonded through shared values of theft, racism & moral bankruptcy
I cannot overstate the disrespect, but the danger of this. Vox Media states that their mission is to "help everyone understand our complicated world..." but how is that possible when you are also lying to the public? And contributing to the over all decline of society as well?
And have. In 2020, the photographer Helayne Seidman had to sue them for their disregard of DMCA and copyright laws. In other words, this is a pattern and a culture of business at Vox. lawstreetmedia.com/news/tech/vo...
This is why legal recourse is necessary, b/c it is the only language that they understand. I wouldn't say respect b/c their lawyer, an agent of the law said despite all of these examples and DMCA notices be damned, moving forward Vox will be ignoring them. Here's Elissa Cohen's response below.
When the similiarites were brought to Vox, and the fact that other authors were also more than likely plagiarized, they ignored it and offered:
"as a courtesy, we’ve decided to add a line on our website that points people to your work and research so that they can have another resource...."
Vox Media's Criminal is the #1 True Crime podcast in America. It is supposed to be a gold standard in fact checking.
In the podcast, the narrator and Green go to great pains to avoid mentioning my name; they credit my work to the Guggenheim and I am only mentioned once as "the curator".
Vox Media's Criminal, the #1 True Crime podcast in America. It is supposed to be a gold standard in fact checking.
In the podcast, the narrator and Green go to great pains to avoid mentioning my name; they credit my work to the Guggenheim and I am only mentioned once as "the curator".
Green intentionally does not cite my work, though he is capable of doing so. The end notes are also incomplete and confusing, w/numbers and incomplete quotes that are impossible to follow for the lay reader, who are being led to believe they're reading original work. There are no numbers on the pgs.
Green tries really hard to cover his tracks. In the podcast, him & Phoebe Judge are careful not to mention me, and call me "the curator". Green also states in his "endnotes" (you'll see later why I put them in quotations) that my book "prominently" had an "out-size role" in creating his book.
He was reviewed in @nytimes.com Kirkus Review, etc. David Grann, Morgan Jerkins and Lucy Sante even blurbed the book. Here are a few examples of plagiarism in the book/podcast. There are dozens of examples like this. Green's book lacks citations and complete endnotes. See next.
March '25, Green publishes, "The Man Nobody Killed". What nobody did was fact-check; it contains close to 30 examples of plagiarism/copyright infringement -- and counting, a quote and interview that never happened with Michael Stewart's lawyer and centers a White savior story that is fictional.
I made this editorially and curatorial decision b/c I wanted to demonstrate that ethics, theory, technical skill and centered humanity can work when human beings at the center are brought to the front, which is why Michael Stewart was not just talk about, he and his family was a part of the convo.
It also for the first time, put most of the artists that were instrumental in the downtown activism for Michael Stewart into a cogent and clear concert of organizing. Keith Haring, David Wojnarowicz, Madonna, George Condo, etc.
Michael Stewart's artwork and modeling photos were incorporated as well
Through research, theory and primary sources that was part art history/investigative journalism/theory, I was able to create a bigger picture of the story and afterlife of Defacement, and how impt it is in the understanding of Basquiat's politics, or lack thereof.
I wrote and edited a catalogue to accompany the exhibition. Like Ryan Coogler, I also negotiated ownership of my copyright to my work in 2018 and 2019 contracts. Meaning, the works were not work-for-hire for the Guggenheim, nor did they own the scholarship.
