The Philadelphia Phillies are battling with Harrison/Erickson Inc., which sold the rights to the Phillie Phanatic costume in 1978 and renegotiated its deal in 1984. Harrison/Erickson initiated a reclaim bid under a Copyright Act provision that allows creators to reacquire their creations 35 years after inception regardless of prior contracts. The fight could add to sparse case law around the termination rights language, which took effect in 1978.
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 ...
Obviously Sipress's cartoon. Critique of a "critique"? New Yorker cartoonist David Sipress pens--in text and image--his feelings and thoughts concerning artist Karl Haendel's use of Sipress's cartoon in one of Haendel's art projects. Sipress, I’m willing to bet every penny I’ve earned granting permission to reprint the cartoon in question that Mr. Haendel is, even now, bent over a light box, tracing someone else’s work of art, perhaps even another New Yorker cartoon. (According to the cartoon-related Web site Attempted Bloggery, to date Haendel has appropriated at least twenty-seven New Yorker cartoons.) So why hasn't Haendel been sued? Who ...
Image of Prada doll pulled by Prada by order of the City of New York. The New York City Commission on Human Rights, an oversight agency that monitors compliance with the city's incredibly broad anti-discrimination law, has ordered the fashion company Prada to stop selling certain toy dolls—described by many as racist caricatures akin to blackface—and send its employees to sensitivity training. Prada all-too-willingly complied. So much for Omertà! More here.
I had a conversation recently with another attorney on whether the Coronavirus and its "side-effects" could trigger a "force majeure" clause in a written agreement. This was brought on by the ongoing debate concerning Art Basel Hong Kong. Sure enough, this article via The National Review gives a brief overview of "force majeure" and thus a good starting place to ponder such "art world" hypotheticals. Or not. The article is based on English law. Too often terminology will be used in a contract without any thought or appreciation as to what that actually means in practice. Force majeure provisions which ...
It’s hard to believe that one of the greatest performance artists alive could have completed only six works in the span of his 21 year career. But Tehching Hsieh isn’t your average artist.
Good interview with Tehching Hsieh here.
The Philadelphia Phillies are battling with Harrison/Erickson Inc., which sold the rights to the Phillie Phanatic costume in 1978 and renegotiated its deal in 1984. Harrison/Erickson initiated a reclaim bid under a Copyright Act provision that allows creators to reacquire their creations 35 years after inception regardless of prior contracts. The fight could add to sparse case law around the termination rights language, which took effect in 1978.
Big news. Probably the biggest moral rights news since the Mass MoCA v. Christoph Buchel case back in 2010 (does anyone remember?).
2nd Circuit rules that plaintiff graffiti artists should get their $6.75M in damages that the lower court originally granted. Big news? I think so. And I think developers, in fact, any commissioning party commissioning an art work by an artist should be processing right about now.
Donn Zaretsky seems to agree, “But the idea that significant statutory damages can be awarded in a VARA case even where actual damages can’t be proven could be a big deal.”
What’s the probability that this case will be appealed to the U.S. Supreme Court? That I don’t know, but I do know that this is one case that I’d love to see the Supremes take up and either uphold or swat back. The reasoning–and politics–would certainly be worth a read.
Also worth a read is why 2nd Circuit Judge Barrington D. Parker Jr. decided to edit his comments on Claude Monet. Seems that even slight criticism–even of the positive kind–upsets some art snowflakes.
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.
The British Art Market Federation has released guidelines addressing the new anti-money laundering requirements in the UK.
Here’s how some galleries are dealing with these new regulations.
According to Georgina Adam, “They fall into three categories, the main one being funding.”
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