I occasionally get phone calls from folks who have an issue with either something I’ve written or something I’ve photographed.  Usually, they’re slightly confused, either not understanding the nature of my photographic copyright, or their vast sense of self-importance causes them to over-imagine the impact and magnitude of my writing.  So when my intern grabbed me to tell me that Dustin Shuler was on the phone, I was expecting more of the usual.

I was pleasantly surprised to find that he was more interested in giving a thorough clarification of his arrangement with the Berwyn Arts Council (he only gets 5% or $1 from each T-shirt they sell, a fair deal, IMHO) and was more than willing to talk about why he so aggressively holds his copyrights.  Although I’m not really a friend of copyright law in general, I do have to respect his use of the law to generate some kind of income from his works and to protect it’s destiny and use.  While I may feel that works in the public sphere, over time, “drift” away from their creator, he does not, and based upon some of the anecdotes he related about making work in the public sphere, I can see where he’s coming from.

So, in other words, he’s definitely no dick - rather he’s a genial, friendly fellow.  To top off his general good nature, he quickly informed me that he worked in San Pedro for 10 years, having a studio above John T.’s (home of the once legendary Wall of Foam) in the John T. Gaffey Building.  I don’t know how he managed to work on a second floor, given that his materials are cars, airplanes and giant nails, but he was probably the most interesting tenant that building’s had in decades. Considering his subject matter, it comes to no surprise to me that he’s got some roots in Pedro.  It’s almost ridiculous how often I meet an artist who’s done time in this corner of the world…

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