Art & Law Program 2020 Spring Dates/Topic Announced
The Spring 2020 three-day intensive/colloquium will take place on the weekend of April 17, 18 and 19, each day from 10am to 6pm. The three-day intensive will be held at the Cornell Art Architecture Planning headquarters at 26 Broadway in New York City.
In the Spring 2020, the Program will examine the effects of law on visual art, with a particular emphasis on the previous 20-years. We will question whether art is hindered or aided by the direct or indirect impact of law, legal discourse, and legal practice on art. In effect, we will discuss whether, and to what extent, artists ...
French court upholds infringement ruling against Koons and Pompidou
Naked, by Jeff Koons. French court found this sculpture to infringe copyright.
A French court held that the Koons's company, Jeff Koons LLC, and the Pompidou Centre in Paris, where his work was due to be displayed, must together pay 20,000 euros (~$22,000) to French artist Jean-Francois Bauret's family.
More here.
“I am particularly mindful of my status as a white scholar reiterating, amplifying, remixing, and building upon arguments previously made by intellectual property scholars of color.”
From the, "What in the hell is this?" department comes this gem. I ask, is this a law review article or an undergrad comparative literature paper? It's no wonder Justice Roberts wonders, “If the academy wants to deal with the legal issues at a particularly abstract and philosophical level, that’s great and that’s their business. But they shouldn’t expect that it would be of any particular help or even interest to members of the practicing bar or judges." He continues to ask, "Is this area of research going to be of help to anyone other than other academics?” The answer, ...
2019: “the year art censorship came back in style.”
After decades of railing against censorship in the arts, some liberals have now fully embraced it. Statues of Southern generals and Christopher Columbus are already passé. There’s a disturbing new development in art criticism among the elites, and it has nothing to do with whether Renoir was sexist in his personal life. Now, it’s not enough to critique unethical artists or their "problematic" subjects. You must also stand against depictions of bad things — because we are supposedly unprepared to see them.
By Madeline Frye.
No U.S. president in the last 40 years has done this
It’s tempting to assume that Trump’s judicial appointees share the goonish incompetence of the man who placed them on the bench, but this assumption could not be more wrong. His picks include leading academics, Supreme Court litigators, and already prominent judges who now enjoy even more power within the judiciary.
He’s filled the bench with some of the smartest, and some of the most ideologically reliable, men and women to be found in the conservative movement.
Via Vox.
January 25th, 2020 by Sergio Muñoz Sarmiento in Art Law / Criminal
Comments Off on “The attitude, often unarticulated but persistent, that art is being bought in a context of appreciation for its intrinsic and aesthetic merit, may perpetuate reluctance to regulate the art market. Wrongly.”
The manner in which certain artists are being promoted by the press and other media and how their prices are being monitored in indexes and databanks indicates the existence of a market. As a result, the chance that an art dealer turns into an investment consultant who defends the interests of the buyer, increases. The attitude, often unarticulated but persistent, that art is being bought in a context of appreciation for its intrinsic and aesthetic merit, may perpetuate reluctance to regulate the art market. Wrongly. If purchasing art is no longer caused by a spontaneous injection of aesthetics but becomes a calculated risk, then regulation become inevitable.
Very interesting article by Oliver Lenaerts, Belgian art lawyer and teaching assistant at the institute for corporate and financial law at the Catholic University of Leuven, on the application of securities law on art sales in Belgium. Although the article is specific to Belgium (a civil law jurisdiction), the essay raises interesting points and questions, primarily, which art purchase conditions trigger the application of financial disclosure laws ?
The article is published in Art, Antiquity and Law Journal (London) and will be published in a Belgian academic journal on banking and finance law.
The Spring 2020 three-day intensive/colloquium will take place on the weekend of April 17, 18 and 19, each day from 10am to 6pm. The three-day intensive will be held at the Cornell Art Architecture Planning headquarters at 26 Broadway in New York City.
In the Spring 2020, the Program will examine the effects of law on visual art, with a particular emphasis on the previous 20-years. We will question whether art is hindered or aided by the direct or indirect impact of law, legal discourse, and legal practice on art. In effect, we will discuss whether, and to what extent, artists should engage with the law.
The rolling-admissions application deadline is March 27, 2020. All application and Program information is available here: artlawprogram.com
Applicants and admitted fellows shall take note that the Program is fully committed to freedom of expression.
Sotheby’s, Christie’s and Phillips were invited to submit proposals to sell the collection of Harry and Linda Macklowe, two octogenarians in the middle of a bitter divorce. A judge ordered the couple’s 65 most valuable works to be sold and the proceeds split.
This essay focuses on the efforts of an enterprising art gallerist, Leo Castelli, to aggressively promote his stable of Pop artists through the development of several financial structures, including some designed to leverage the relatively generous income tax deductions and anemic enforcement regime of the time. In doing so, Castelli not only seeded the ground for the international ascendance of American visual art, but also engineered financial arrangements that fostered the development of a lucrative and resilient art market that endures to this day. With the aim to provide insights into both the legal-political and the art historical registers, this essay describes a tax law framework that provides a key piece missing from the art historical puzzle.
Some Harvard Law students opt out of applying for coveted federal clerkships because certain federal judges hold ideological and political beliefs opposed to the students (not to mention that these judges were also appointed by President Trump). But, according to the Boston Globe, “some legal scholars worry that the reluctance of students at one of the nation’s premier law schools to clerk for Trump-appointed judges, first reported by Bloomberg Law, could further polarize the legal profession and do the country more harm than good.”
Babson College: “Based on the results of the investigation, the staff member is no longer a Babson College employee. As we have previously stated, Babson College condemns any type of threatening words and/or actions condoning violence and/or hate.”
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