Appropriation or Art? Court Orders Richard Prince to Pay Damages in Highly Anticipated Copyright Lawsuit
Center For Art Law
by centerforartlaw
3d ago
By Olivia Zinzi On January 25, 2024, Judge Sidney H. Stein in the Southern District of New York issued a final judgment in Graham v. Prince and McNatt v. Prince, resolving a yearslong legal debate.[1] In 2015 and 2016, two photographers brought copyright lawsuits against American artist Richard Prince and co-defendants Laurence Gagosian, Gagosian Gallery and Blum & Poe gallery, accusing the artist and galleries of using their images without explicit permission or license in Prince’s “New Portraits” series.[2] “New Portraits” debuted at Gagosian in 2014 and Blum & Poe in 2015, and the e ..read more
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Is it Strictly Business?: Shifts in the Artist-Dealer Landscape
Center For Art Law
by centerforartlaw
3d ago
By Patrick K. Lin The relationship between gallery and artist has long been compared to that of a marriage. Historically, a single dealer nurtured an artist’s career. In exchange, the artist exclusively sold their work with that dealer. For instance, after art dealer Leo Castelli offered artist Jasper Johns his first solo exhibition in 1958, Johns continued to work exclusively with Castelli, even developing a close friendship that endured until Castelli’s passing in 1999.[1] Similarly, painter Wayne Thiebaud met and befriended dealer Allan Stone in 1961, becoming Thiebaud’s sole dealer until S ..read more
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AI and Artists’ IP: Unpacking Copyright Infringement Allegations in Andersen v. Stability AI Ltd.
Center For Art Law
by centerforartlaw
5d ago
By Sophia Williams “We’ve filed a lawsuit challenging AI image generators for using artists’ work without consent, credit, or compensation. Because AI needs to be fair & ethical for everyone.”[1] – ‘Stable Diffusion Litigation’ (website created by attorneys on behalf of the artists) “If a work is transformative…then it’s not a violation of copyright and the plaintiff simply has no ground on which to stand to file a copyright infringement case…[T]hose who refuse to acknowledge advancements in technology and instead fight against them are like whittlers mad at power tools.”[2] – ‘Stable Dif ..read more
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Music, Brushstrokes, and Copyright: A Broadway Musical’s Tribute to a Visual Artist
Center For Art Law
by centerforartlaw
1w ago
By Eric J. Simon “I was the first woman to paint cleanly, and that was the basis of my success. From a hundred pictures, mine will always stand out. And so the galleries began to hang my work in their best rooms, always in the middle, because my painting was attractive. It was precise. It was ‘finished.’” ~ Tamara de Lempicka. Tamara’s art and life story take center stage in the new musical Lempicka. A visual artist’s work typically appears in a theatrical work’s background as design and production elements. Elements meant to complement and aid the story while avoiding the audience’s full at ..read more
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Diversity-Fraud: Accent Delight v. Sotheby’s
Center For Art Law
by centerforartlaw
2w ago
By Suzanna Neal and the Center for Art Law Team On January 30th, 2024, the trial of Accent Delight International Ltd. (Accent Delight), an offshore company with Dmitry Rybolovlev as the ultimate beneficial owner, v. Sotheby’s, an international auction house, was put to rest after the jury decided in favor of Sotheby’s. Specifically the jury found that the auction house was not responsible for aiding Yves Bouvier, a Swiss art dealer, in defrauding Rybolovlev of millions of dollars. Starting on January 9th, the parties pleaded their case revolving around the decade-long legal battle between Bouv ..read more
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The Inside Job: Who is Protecting Art Museums from Themselves?
Center For Art Law
by centerforartlaw
2w ago
By Lily Elkwood When most people think of art theft, they imagine something out of a spy movie, a villain trying to steal a masterpiece or a criminal mastermind in his evil lair plotting how to evade the highest security measures. In many cases, art thieves are the very individuals responsible for taking care of museums.[1] The security guards, the curators, the researchers, and even the summer intern are “the criminal masterminds” stealing from some of the most important cultural institutions in the world. The Issue Ittai Gradel, a gem dealer, was searching eBay when he found what was adverti ..read more
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Case Review: Reif v. The Art Institute of Chicago (2023)
Center For Art Law
by centerforartlaw
2w ago
By Amanda Buonaiuto   Introduction The legal case Reif v. The Art Institute of Chicago,[1] brought by the heirs of Fritz Grünbaum, a prominent Jewish cabaret performer and art collector. Grünbaum’s heirs sought declaratory judgment, conversion, and replevin in connection with the alleged theft of Egon Schiele’s masterpiece, Russian Prisoner of War (1916). The plaintiffs claimed that the artwork was unlawfully seized by the Nazi regime during Grünbaum’s imprisonment in the Dachau Concentration Camp. While he was held in captivity, he was coerced into signing a power of attorney, granting h ..read more
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WYWH: “Art Law Colloquium: Provenance Research & the Law” with Megan Bill
Center For Art Law
by Karina Lytvynska
3w ago
By Harper Johnson On January 26, 2024, the Center for Art Law hosted a virtual Art Law Colloquium on Provenance Research & the Law, with guest speaker Meghan Bill. Bill is the Coordinator of Provenance Research at the Brooklyn Museum and has worked at the Museum for about 10 years. She is also currently earning her JD at Fordham University School of Law. During her presentation, Bill spoke about what provenance is, why it is important and how provenance research is conducted. She wove in fascinating stories about objects she has researched at the Brooklyn Museum from their collection of ne ..read more
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Who owns African Art?
Center For Art Law
by Olya Gurevich
1M ago
By Delela Ndela and Adenike Fapohunda The ongoing conversation about the ownership of African art tends to center historical works and cultural artifacts. From the Benin Bronzes to the body of Sarah Bartmann, the relationship between African cultural production and the west has been characterized in great part by theft, violence, and the outright objectification of African bodies. In a political climate where redress and reparations for colonial crimes are becoming increasingly mainstream, it’s only natural that the return of stolen objects would be a leading demand of African progressives. Ho ..read more
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US Museums Return Schiele artworks to the heirs of Fritz Grünbaum
Center For Art Law
by centerforartlaw
1M ago
Dear Reader, This content is restricted and available on demand. Please consider become a premium member or Buy Access Thank you for your interest in our work! Facebook Twitter Pinterest LinkedIn Tumblr Email ..read more
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