(playf (audience chat - [Announcer] Welcome everyone to the Penny Stamps Distinguishe (audience applauding) - Welcome to the Penny Stamps Distinguished Speaker series.

My name's Chrisstina Hamilton, the series director.

Today we finally present as many of you'll recall, we tried to do this back in April, but good old COVID got us then, we're beating it now.

So today we finally pres photographer, author, copyright crusad and yes, University of Michigan alumna.

(audience cheering) Yeah, we it's good work, Lynn Goldsmith, yes, now, thank you to our partners for their support, the Institute for Humanities, the Arts and Resistance, LS&A theme semester, the U of M Arts Initiative, and series Partners, Detroit Publ and Michigan Radio.

Due to time constraints today we have another Live Nation show that's following us in the house today, right on our heels.

So we are not going to do our re However, our good friend Jack Yard from Schuler's Books is out in the lobby and he has Lynn's newest book for sale out there.

And Lynn will be happy to join folks out there for a little meet and greet and sign som So no Q&A but you can join fo llowing the stage program.

Please do remember to put silence And a few words of introduction on our guest, over the past 50 years, Lynn Goldsmith has been an inventor, a filmmaker, a director for network television, a co-manager of a rock band, a songwriter, a recording artist, a business owner, the copyright crusader, and consistently through al Her photographic images have won a plethora of prestigious awards and are in numerous museum co from the Smithsonian, National Portrait Gallery, and MoMA, to the Rock and Roll Hall of Fame.

Her editorial work has appeared in publications including "Life," "Newsweek," "Time," "Vanity Fair," "Rolling Stone," "Sports Illu "Interview," "The New Yorker," too many to name.

The subjects have varied from entertainment fi lm directors, authors from the extraordinary to the ordinary man on the street.

She also founded the first photo agency focusing on celebrity portraiture, representing over 200 worldwid And part of this funding for her was to make more photographers aware of the importance of copyright.

For the past four years, she's been fighting a legal battle with the Andy Warhol Foundation, which went all the way to the Supreme Cou many of you will have heard about it, this past May, she won, yeah.

(audience applauding) So before Lynn joins us here on stag we're gonna hear from the people who really know her best, her friends, and her subjects, these folks in their own words.

- Lynn is known primarily for the musicians she's taken and her body of work is just extraordinary, but really, she's an artist equal in stature to anyone she's ever photographed, and she's a genius at it.

(upbeat old When I think of Lynn, I think of her with their vibrant colors, which are really collaborations between two extraordinary arti Whenever I hear Roger Daltrey's name in my mind, I immediately see Lynn's portrait of him, those playful blue eyes popping up from a blue sea.

- When I first met Lynn, it was as the girlfriend of a frien and on it went to discovering you as a photographer.

And it was, I think the first time I went to your studio and I saw these pictures one after another, David Bowie, Bruce Springsteen, Mick Jagger, Patti Smith, on and on.

Maybe- - [Speaker] Anybody you name.

- 15 or 20 and - One of the most extraordinary works of the last couple decades is the collaborative, monumental work that Lynn Goldsmith has made with Patti Smith, one of her dearest friends.

- Lynn brings into a session her enthusiasm, her respect, respect for her subject, for photography itself, but also a lightness that allows her subj to be relaxed, to be playful, as well as focused.

She has the ability to draw so many facets from her subjects.

- I love her portrait of Gene Simmons of Kiss, getting off a bus on Fifth Avenue in New York.

It's absurd and wonderful, and so rock and roll.

And the idea for that shot was - You can tell a Lynn Goldsmith photograph.

Think of some of the iconic ones, the young Bruce Springsteen, still very young, but you can feel the energy, you can feel the hunger inside.

And compare that to Bob Dylan.

Rhe photographs where everything is quiet, contemplative held inside.

Lynn Goldsmith is extraordinary.

(speaker buzzing) - Except why isn't this working?

(audience laughing) I'm comi Hi everybody!

(audience chee I have to tell you, it is so wonderful.

All I ever wanted to do was get out of here, okay?

And speaking of that I did U of M in three years with two degrees, and I did graduate magna c (audience cheering) But I was in a hurry to get out into the world, and I have to tell you, coming back today, that was so stupid.

(audience laughing) I wanna I went back and I visited where I lived in attic and some other things, if you go to my Instagram, you can see some of Now, you've heard these people talk about me, and really, how did it all happen?

Well, I was born in De as you can tell, from my birth certif on February 11th, 1948.

I love announcing that because at any time of year.

(audience laughing) And this is when I was approximately, well, here I was six years old, when I was four years old, I was sent off to a camp because my parents were getting a divorce, and that was very unusual in 1954, wait, in '48, in 1954 in Michigan.

And so this has a lot to do with my explaining to you why it's so important to listen to your inner voice.

My dad was a serious amateur photographer, so the time that I did get to spend with him on weekends was time where he wanted to make pictures because he wasn't working.

And so to be with him and to be in the darkroom was th at motivated me to make those pictures.

When I was, and this is my mother who instilled me, this is Edith in Detroit, known as leader, I don't know how many of you are from Michigan, but you, my grandfather had a carpet company and they had singing ads that went "Leader, leader, 285-8400."

And I was always so proud of that until the riots came and they burned down his factory.

So we have gone, my life has been one where I grew up in a time that divorce was not really an option for many families.

And when it was a period that a working woman who was providing for two children was rather unusual, and my mother was an incredibly strong human being, that always made me feel that I could accomplish anything.

We moved to Florida when I was about eight We left Detroit because my mother had this idea that she would a very expensive one in probably one of the poorest neighborhoods in Florida.

So obviously we lasted there a year and we came back to Detroit.

My mother in working always made it clear to with this bowl that was over the refrigerator filled with that we were possibly about to fall off the cliff.

But then she met up with this gentleman, George Rubin, who many years before she ever married my father, they had met in Miami Beach, and when I was 14, she ran into him again in Detroi And so they got married and she was no longer a trying to pay mortgages and take care of her kids.

And so we moved to Miami Beach, and my stepfather was, he came from, he came from a family that had owned basically the oceanfront from First Street to about 40th Street.

So it was like being lifted into another And when that happened, not only did I hate him for taki and my friends, and my relationships with my family, but I didn't like him telling me to eat vegetables three times a week or even that I should eat with silverware instead of my hands.

And so when he, that usually gets a laugh (audience laughing) thanks, you I am gonna get to the pictur but it's really important that you understand the history of the person because I'm sure there's things in your own life that will, if you look back, be the guides for everything that's going to happen to you in the So George, my stepfather, wanted me to like him.

And because of his relat with all the hotel owners in Miami Beach, he got me tickets to see the Beatles.

And it, I could even be in the lobby when they first arrived.

The Beatles arrived on February 13th, 1964.

This was my 16th year of being on earth, I was born February 11th, and he thought that was a great gift f What he didn't know, me being a Detroit and rhythm and I'm a motor city girl, okay?

Was that I thought the Be (audience laughing) and that they just were not my cup of tea, okay?

It was like you chose, you chose the Beatles or the an d I was the Stones.

So my mother told me that if I didn't go, that if she had to choose between George and me, she would take George, so I decided to go.

(audience laughing) And when and I had a little camera with me.

The camera was always something that a to be in a space that made me feel like I was connected to it.

In the same way that music, because when I was four years old and sent off to overnight ca while they got a divorce and he moved out of the ho my counselor would take me out to a swing at night and she would sing to me.

And that was how I connected to love.

So here I had these two forces, a visual one and a musical one, an auditory one, which really was my pathway to feeling, to feeling part of things, to feeling like I belonged.

So anyway, that picture, when I saw their feet, I realized that those were because I love James Brown.

And so I took a picture of their and John Lennon grabbed my arm and he said, "Don't you want An d I looked at him, it was like, I got the cooties, okay?

I threw his hand off and I looked at him with a look of disgust and turned around and walked away.

And someone from the Miami Herald asked my stepfather if they could process my film and so this was my first published photograph, not this one, this is Iggy, and this is a very important picture because after I graduated from Beach High, I was, remember I was really a Michigan girl until 10th and 11th and 12th grade and all I wanted to do was get back here, but now I was an out-of-state student, which made me happy because it got me further When I was in line to register for classes, there was someone standing in front of me who had what we call a Jewfro and there was myself who, my sister was a painter and an artist who lived in New York City.

And here no one had bell-bottom jeans, and I had striped bell-bottom jeans, and I had this long hair, which everyone else was wearing like, I don't know, weejuns and little c And so next to me was a guy that looked like me.

And so the one with the Jewfro said, "I'm Panther White, you looking at me, your name is Famous, you, your name is Iggy, me?

I'm Panther White, and we are the White Panther Party."

So that was how that started at the University of Michigan.

And it was really an important moment in my life because I found people who I felt understood me in a particular way At that time, you weren't allowed as a female at the University of Michigan, my first year here, you weren't allowe I forgot the name of the building because they kept me o - [Audience] Yeah.

- Yes, you weren't a And we had boy cheerleaders, and we were going to, for the first time, have a homecoming queen.

Now, I never wanted to be a homecoming queen.

That was like far from my head.

However, I did wanna, I had been singing and performing in coffee houses in Florida, and I did wanna sing here.

So they entered me into this contest, some friends of mine, and I was one of the finalists for your first queen of University of Michigan whatever you call it.

But I sang a protest song that I had written called "Samuel Mabry," and they axed me immediately.

(audience laughing) And so I was in a band here called The Walking Wounded, and that was one of the ads.

This was our phone number in case you wanted to call us up and hire us.

And we also played places li Now, I had a belt on my bell-bottom jeans, which I cut into and put on my hat, and then one day when we were opening at the Grande Ballroom in Detroit, we went to a party and Jimi Hendrix was there who I idolized and couldn't speak.

And he said he liked my belt, and I took it off and gave it to him, and it wasn't until many years later, things happen in life, it's always like six it wasn't until many years later that I saw the cover of Rolling Stone and he too, he kept my belt and he wore it on his hat.

(audience applauding) Thank you, very proud to have any association with Jimmy Hendrix.

I do a lot of things in my life, but that gets the collapse, okay?

(audience laughing) Okay, so the Walking Wounded.

And my manager had given, I think I'm going backwards by, my manager had given me this jacket, as I said, throughout my life, I have always made pictures, I've done a lot of different th but that is the one form of artistic expression that has been, that has been my vehicle for just existing.

And so this jacket, when I did start shooting people, I would put it on them, and I'm just gonna cut to a side story here, because you can see it on Bruce and you see this, this is actual, what happened was I did a book c and this story is in there, Bruce is on the cover, he's going like this don't tell the story.

But I was photographing and this jacket is just not Bruce at just like you saw, it wasn't Rick Wakeman's or Daryl Hall's that you saw in the shop before thi And so after, you know, a few different backgrounds or whatever, he said, "I'm really not comfortable in this."

And he took it off.

When this book came out, I went to the Rock & Roll Hall of Fame because I had an opening there.

And they had the jacket in a in a plexi case as like Bruce Springsteen's jacket, okay?

(audience laughing) So that's that's m (audience laughing) So when I went to go do another I called up Meredith who works at t I said, could you get me a picture, because I wanna tell that story.

And she said, "Oh, I can't."

She said, "We loaned it out to the Elvis Museum at Graceland, it's in Graceland."

Well, I got news for you, Bruce and I once tri and a dog chased us out, (audience laughing) but now There's my jacket in Graceland (audience cheering) that deserves a clap, okay?

So this is back U of M time.

I noticed today, I almost went over, okay, it's happened all my life.

(chuckles) I almost go over, but not, (chuckles) anyway, I didn't see very many motorcycles on campus today, a lot of bicycles.

But I also went to, there was a program here.

I didn't know what I wanted to be when I went to school here, I thought I'd either be a psychi I always thought I'd write songs, maybe be an actress, who knew?

All I knew was I wanted to get out in the world.

And I got this thing where University of Michigan had an exchange program to London to go to RADA the Royal Academy of Dramatic Arts, so I went there.

And after going there, I decided that what And this also came from me making self-portraits of myself.

This is where I visited today, I lived in an attic on North Division Street, right across from St. Andrew's Church.

And there's a longer story behind that, but we have, so, I have so much I wanna show you and say that I'm jus So anyway, I graduate from college, and I get out there, and I run around to production companies that they'll hire me to be a production assistant, and then I'll become a director, and that's not what happens at all.

They either say, you're overqualif you're underqualified.

So I'm not exactly patie I wanna move ahead.

And I always feel that no yo u go for what your voice is telling you, and you will figure out how to financially make Me, I figured they walk back and forth in front of the Episcopal Ch on Fifth Avenue in New York.

So I would work from about four o'clock to six o'clock selling these puppets or marionettes, and I would make about $300 a day, which allowed me, especially to live the life that I wanted to do.

So it was very clear to me from having a working mo that I could figure out something that I could do to make money.

When I went to University of Michigan and I wanted to visit my sister in New Y everyone would comment on my long pierced earrings So I went down to the East Village, would buy a bunch of things of earrings, and then run around to all the sororities to buy the earrings, which paid for my trip.

So it wasn't just like, I'm gonna be an artist I came from a background that taught me, you have to be able to earn your dreams.

You work hard and you earn them, they don't just happen.

So in this process of going from I had worked at Electra Records and then I got tired of that because they wanted me to do to promote artists that I wasn't interested in.

I hade made videos, well, they weren't videos, I had made 16 millimeter films on The Doors, Judy Collins, a bunch of artists.

And that led me to Joshua White, who created the "Joshua Light Show" at the Fillmore East.

And we started a company called Joshua Televi which then ABC hired us to be to create the first rock and roll show on network television, "ABC in Concert."

And while I was doing that show and directing, there were opportunities that happened.

This is at a thing called California Jam and a California Jam, Don Imus, who's a very famous ra got drunk and couldn't perform the interviews that were necessary.

So I said, hook me up, I'll figure out how to direct, have a one-inch camera on me and do that at the same time, because I always felt my voice told me, "Lynn, you can do this."

Maybe it was my mother's voice who always said that to me.

But I realized from listening to her and having it been successful, that if I put myself out there, what's the worst thing that could happen?

Interviewing Jackson Browne.

As you can see, there were very, this was my lighting team and that's Joshua above me.

There were very few women out there, especially directing network TV at like 22, 23 years of age, and it was very difficult for me.

Then I got tired of the network wanting me to do the same thing all the time.

And so I asked if we could do a special on Grand Funk Railroad.

Grand Funk Railroad had just put out an album called "Phoenix."

And there was in New York, something called Phoenix House, which was a halfway house for drug k And so they had a manager who I met during this special.

And I thought he was so cute.

(audience laughing) I, it wa "I don't need to be at ABC he needs me for Grand Funk.

So I had saved up enough money that I came up with an idea of we're an American band and what would need needed to to not only have a number one single, but to become the number one band in the world.

And I had enough chutzpah or balls, however you wanna put it to feel so that I had a vision that no one could stop me.

And I said to Andy and to the band, I would work for nothing, but when they had a number one single in all three of the record business trades that I would be co-manager, and so that's what happened.

And I did all the design for everything, I was very happy for a while because they listened to me.

I got Todd Rundgren, who was my friend, and who the press respected, they hated Grand Funk, they were tired of them from they didn't think much of them, Grand Funk had never had a hit single but they loved Todd, and that was o At the same time, always making pictures and putting them out there to publications.

And I understood clearly that if you could create something of value for other people, you don't think first, like what's a value for you?

You think, what's a value for them and do you wanna make that happen?

So I also did their, the design for their concerts and was the first kind of show where we had, there were no rock and roll shows that had big screens where a train came at you and, you know, lights went on, now you're used to a more Broadway kind of presentation.

And then when the next album, so that was their hit, I'm co-manager now, and I decided it would be good to do a 3D album co And during the time of doing that 3D album cover, Ansel Adams called me up, and he said that he had been working with Polaroid to try to figure out how to do certain things in 3D, and he'd seen this cover and he wanted to know how I did it.

And I said, "Well, let me come and live with you for two (audience laughing) You have to know where there is o and you have to be willing to ask, all someone can do is say no.

And I loved photography, I learned a lot from Ansel during that And I went back and took those lessons and put them into other art and design projects.

Now, when it came time for "All the Girls and remember this was before Photos that is Arnold Schwarzenegger and Franco Colombo's bodies that I photographed and then put their heads on them.

And I was really starting to be tired of Grand Funk now because one of Don Brewer, thought he had better ideas than me, and I thought he was an idiot.

(audience laughing) So I was and it's really not good for anyone to make me unhappy because when I told them that their next album was go and I was gonna put them in coffins, (audience laughing) that's e (audience laughing) And that was my en (audience laughing) But it got me to say to myself, "What is it you really wanna do, Lynn?"

Okay?

And pictures the cam a tool for a passport, for meeting people, for making new friends, for learning about the world and more about yourself.

And one of the big lessons for me was when to photograph Bob Dylan, I got a call, Todd Rundgren had a studio called Secret Sound, and that was actually how I met him when I was writing songs early on in New York.

And Moogie called me up and he said, "Bob Dylan's here and you gotta come down and make some pictures So I jumped in a cab.

Now mind you, I have never f that anyone was god-like or above me in any way except for Clark Gable, Fred Astaire, and Bob Dylan.

(audience laughing) So when I got in the cab, I sa "I'm gonna shoot Bob Dylan, I'm gonna shoot Bob Dy And I was just s of the cab like a crazy "I'm gonna shoot Bob Dylan."

And the cab driver "Get outta my cab, I don't want (audience laughing) So I am, "No, I'm a photographer."

So I knew the studio and it opens up right and I know Moogie, and I kn or even tell him I was coming.

So I better introduce myself and ask for the picture imme which is what happened as I was going up in the "I said, Lynn, are you a fan or are you a professional photographer?

Is that who you are?"

And obviously, I chose professional photographer.

So the door is open, I go in, Bob is standing right there.

I immediately walk up to him, stick my hand in his and say, "Hi, I'm Lynn Goldsmith and I'd really like to ma "Hello," he said, "I have a photographer here.

And he points to Ken Reagan in the corner and he said, "I have a photographer."

And I looked at him and I said, "Well, with one photographer you get one but with two photo you get two points of view."

And he said, "Oh."

And I said, "I can shoot, Al ways go for the positive, always go for the positive.

I didn't say, "Can I shoot?"

I didn't say, "Will you let me sh I said, "So I can shoot, right?"

(audience laughing) Right, a of feeling I could ask anything, do anything.

If you don't know these people, that's Keith Richards, Linda Ronstadt, Michael Jackson.

I'll tell you the Michael Jackson story on the roof, but there's so much to tell you.

Sometimes I was making film You know, and it provided me the opportunity to just do what I wanted without crews of people.

But I got into a place where I also liked helping And my cousin Donna, who had studied hairdressing, was also good at hair and makeup.

And so when I saw Pat Benatar like this, I went, no, no, no, no, no, no, so Donna cut off her hair, and Donna did makeup on her, and no one was really doing hair and makeup in those days.

So that also gave a certain look to it wasn't always easy, even if you did make 'em look good they all, I actually don't like her.

(audience laughing) Anyway, let's move on to LL Cool J.

(audience laughing) Okay, LL had never b without his hat on, okay?

So I wanted to get that hat off because I think bald heads are great.

I do not think anyone should be ashamed of bein (audience cheering) Yes, and what are you gonna wear a hat for the rest of yo So anyway, I decided the way that would be to get a big throne and a crown, and get him in the crown first, right?

And he'd love that, "King of the rappers," that's what I told him.

And then I got the first shot he let me shoot him without his hat on.

And from that, he got an acting career, okay?

Did I get a piece?

(audience laughing) No, but, there were always all kinds of people from Run DMC to James Taylor to, you know, Marky Mark, it was Mark Wahlberg.

But there were also, you know, I, at the same time I photograph I photographed, this is Dr. Timothy Leary, right before he died, Eddie Murphy, Baryshnikov, it's an amazing, Marty Scorsese, and even opportunities to learn how to jump out of airplanes at 20,000 feet so that I could photograph the fearless Tony Robbins.

You know, the experiences that one can allow themselves if they are willing to risk is I think what makes life meaningful.

So I've traveled the world having nothing to do with celebrities at all.

Whether it's Russia, this, this is this photograph, normally my pictures of me are a self-portrait, but this is not, this is made by Betty Ford.

I just want it up here because I love saying, you know how Clinton got all this, he got a lot of throwback because of all the celebrities who slept in Lincoln's b I slept in Lincoln's bed when Gerald Ford was president (audience laughing) My U of And I told Betty Ford how in love I was with Abe Lincoln, which call me sick, but I was.

(audience laughing) And so she invit and she took my picture, just had to share that story.

But you know, I've worked on "Empire Str and sometimes when you're doing all of this, as you can see in this self-portrait in London, I'm tired and it's time to change it up.

So anyway, this is just, you know, some of the album covers that I've done and the magazine covers from fashion as well to celebrity.

But at a certain point, your voice tells you, enough, and you need to realize that all your experiences feed each other.

So I went back to writing music, performing as a performance artist in the park, and then I recorded a record in 1982, 1983, under the name of Will Powers, which I considered to be the first self-hel And part of that came from being influenced from another schoolmate of mine here, Pat Oleszko, I don't know if you know her, but she was a great, is a great performance artist.

And this is one of my concerts as Will in 1984, which brings me to music in the 80s.

So you can see while I was doing that, this is the book that's out there.

And this book, as I flip through these, I'm hoping you know who these people are because I wanna tell you how this book came to be.

I am very much against limited thinking, I'm all about breaking limiting thought patterns.

To me, that's the key to really finding your potential.

And then, I had done a Patti Smith book and they told me the next book they wanted would be a book on the 80s, and I went, "The 80s?

I hate the 80s."

(audience laughing) The 80s we and they were like, "Lynn, please just put So I put together these pictures and as I did, so as I went through my files, I thought, "What an amazing decade!"

I had totally closed my mind off to the fact that, look at what you have here.

You have the, all these new form the Eurythmics, the Clash, you still have the, you know, the tried and true, Chuck Berry, A you've got like new music of The Cars, and, oh, Ted Nugent.

I just have to tell you something about Ted Nu (audience laughing) I was go but I wanted to tell you t (audience laughing) All right, i and this guy comes in my studio, I'm thinking he's familiar, not because he's Ted Nugent, he's just familiar, you kn And he said, "Yeah, you look familiar too."

And we both like our mouths dropped open at the same time, okay?

I lived between Seven and there was a Dairy Queen, and at like 10, 11 years old, my girlfriend and I would take our mother's bras, stuff them with socks, go to the Dairy Queen, okay?

And go up to guys and go, "Wanna go to Bob Low?"

(audience laughing) Bob Low was where the bad girls went, okay?

And they would go, "Yeah," and they would, and we'd go, An d we'd run, okay?

(audience laughing) Well, I and the guy caught me and squished the Dairy Queen in my face, (audience laughing) it was Ted N (audience laug Okay, so the 80s, Bob Dylan was still there as much as you got Gladys Knight & the Pips the Commodores, Blondie was happening, it was just from Beastie Boys to Duran Duran, completely different sounds, Madonna, it was the era of girls really coming into the women, coming into their own.

The Go-Go's, Carly coming yo u know, was doing new work in the 80s, Joan Jett, it just was an amazing decade.

And then you also had really the rise of a kind of theatrical sound with Meat Loaf and "Bad Out of Hell," David Bowie.

So I started thinking as I looked at all these artists, all of whom were s Why am my thinking was so limited to going, ugh to the 80s, when I hadn't really investigated it.

So I started calling up people of my generation and the book opens with quotes.

Some from those people like Debbie and Chris who, Blondie, who are my age, or Iggy who's my age, there's a range of them.

And they all had the but then when you go to other artists, U2, Bono, like a next generation, their experience of the 80s was, you know, that's their generation when they were 14.

There's a quote in the it's why he uses that music in his mo and I just realized we cheat ourselves so much by not really looking at what we dislike.

heavy metal with Loverboy, Hall & Oates wasn't my fave, but even country was big then, and the Grateful Dead, I mean they were still there.

Starship, Lou Reed, at this time, he that last shot, he was John Cougar, not John Mellencamp, and pop music.

So this is just, jazz was really also at I'm not just talking about there, I'm talking about success in the music i The Stones are every decade, which by the way, out of all these q and from other people in the arts about what the 80s meant to them I did ask Keith Richards about the 80s, and his quote in the book is my favorite quote because it's so Keith Richards, he said, "Lynn, all decades are the same to me."

(audience laughing) So yeah, he's my favorite.

So Talking Heads, at that time, you had Thomas Dolby as much as you had Tina Turner, Laurie Anderson, and you know, U2 were coming up, Tom Petty, I mean you had Van Halen, Warren Zevon.

Oh wait, we don't wanna skip that for a second, I wanna go back.

And of c this is 1981, Rauschenberg started this whole thing, and if you read this here, Rauschenberg, young Rauschenberg asked de Kooning if he could take one of his drawings and erase it.

And that was the beginning of appropria He got Willem de Kooning's permission.

If you want to use something without a copyright holder's perm go to the public domain, there's millions of images in there, but if it's copywritten, respect it.

This is an artist whose show recently closed at the Whitney, who is a Native the way that she uses the work, I do feel that transformation has happened.

And it is, I'm not against appropriation, I don't see it as a, you know, an art form that's unique to itself, it's how it is being used.

So I just wanna say that from my 1980s book, remember, no matter what, and I'm an angry person, remember love 'cause that's what it And this last picture, which is part of what I call "My Look I have a book of self-portraits, which is, well that's another story.

But the reason these pages are blank is that I hope you will imagine a future where you are living and doing your life day to day in a that your inner voice tells you, you are on the right track.

That's... (audienc (audience chattering)