By Clara Cassan. After his address to Sub-Saharan Africa, French President Emmanuel Macron commissioned a report, today known as the Sarr-Savoy Report.
By Olivia Taylor. At one of the TEFAF New York Coffee Talks on “Public Memory and Public Monuments: Where Do We Stand in 2018?”, Professor of Art History at Columbia University Barry Bergdoll introduced the notion of “a meaningless monument as the only one that can occupy public space” due to public criticism of historical monuments.
In March 2018, amendments to Russia’s Federal Law “On Export and Import of Cultural Valuables” came into effect to facilitate the development of Russian art market and to open it up to international trade.
By Musetta Durkee. Forgeries have tricked the art world for decades. On November 14, 2018, Center for Art Law and Brooklyn Law School hosted a film screening of “Beltracchi: The Art of Forgery” (2014, dir. Arne Birkenstock), accompanied with a presentation by Professor Jennifer Mass, President of Scientific Analysis of Fine Art, LLC.
By Louise Chevrier. Despite the romantic perception of French galleries, the realities of the relationship between artists, galleries and dealers may not be so idyllic, as is proved by recent cases before the courts, thereby shaping up the law of consignment contracts, most often used to formalize these relationships.
By Clara Cassan. Since the opening of his retrospective at The Whitney Museum of AmericanArt, From A to B and Back Again, Andy Warhol is the talk of the town... again. The Warhol Foundation is currently in court to address a copyright issue related to his Prince screenprints.
By Louise Carron. On October 25, 2018, Christie’s auction house sold Portrait of Edmond de Belamy, a painting made by Obvious, a collective of French artists, for $432,500, including buyer’s premium. The catch? This was the first sale of a painting generated throughArtificial Intelligence (“AI”).
By Shlomit Heering. Anyone familiar with art law cases today knows the importance of Nazi-era art claims and the restitution of artworks. However, while there may be a consensus regarding the moral imperative to return pieces looted during the Holocaust to survivors or their heirs, the murky provenance of such art sometimes extends prior to World War II, further convoluting questions of ownership.
By Adelaide Saucier. Legal “steps” for dancers and choreographers: What are the legal basics for performing artists to protect their works? What does copyright entail? What is the legal recourse to infringement?
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