Transgressive street artist may lose intellectual property
Apparently Banksy's anonymity and surreptitious art practice is costing him...big time.
“Banksy has chosen to remain anonymous and, for the most part, to paint graffiti on other people’s property without their permission, rather than to paint it on canvases or his own property,” the panel said.
License to use copyrighted work in connection with criminal activity
Public License for Criminal Use, 2014 - 2020Alfred SteinerNo physical dimensionsOffer, acceptance, consideration
There's a lot of buzz during these Covid days concerning the employment of written agreements by artists. As I've indicated on this blog, this "practice" is nothing new, if by new we mean this year or the last few years. What is interesting to me is to see how creative artists get.
A long-time friend of mine, artist and lawyer, Alfred Steiner has just released his Public License for Criminal Use. Below, he explains the origins of this contract and his intent with drafting such an agreement. One aspect ...
Art & Law Program celebrates 10 years!
Pictured here are the 2010 fellows at Michelle Maccarone Gallery for the artist exhibition.
This month marks the 10th year of the Art & Law Program. The group pictured above is the first class of fellows, whom I thank dearly for putting up with chaos and an unforged path. I learned so much, and still do from each and every class. I think the Program hit its stride around 2014, and since then, like good wine, it's only gotten better. A huge thanks to all the supporters, especially Cornell Law dean Eduardo Penalver, Cornell Law School, Bob Balder and Brooke ...
Resale Royalties strike again…
One thing that really annoys me is how articles like this get written with absolutely no mention of well-known historical precedents, like Robert Projansky's and Seth Siegelaub's The Artist’s Reserved Rights Transfer And Sale Agreement, from 1971. God forbid there would be any mention of Hans Haacke or Michael Asher.
A friendly reminder that artists using written agreements to obtain rights and obligations is nothing new. That's what a written agreement is and what it does.
“The more regulation you want, that is precisely what art is not about.”
Two very dear friends of mine, Lauren van Haaften-Schick and Kenneth Pietrobono, continue their exploration of art, socialism, activism, and a slew of other isms. They asked me to chat with them about “redistribution” and the success of activist art. Well, they didn’t quite ask me about the second but I talked about it nonetheless. We also discussed my disdain for symbolic artistic acts in law and whether the purchase of a non-functioning vehicle can be deemed to be “successful.” You can listen to the podcast audio here.
If you just want the ...
Two very dear friends of mine, Lauren van Haaften-Schick and Kenneth Pietrobono, continue their exploration of art, socialism, activism, and a slew of other isms. They asked me to chat with them about “redistribution” and the success of activist art. Well, they didn’t quite ask me about the second but I talked about it nonetheless. We also discussed my disdain for symbolic artistic acts in law and whether the purchase of a non-functioning vehicle can be deemed to be “successful.” You can listen to the podcast audio here.
If you just want the 3 minute snippet (probably all you need), here it is.
Felix Gonzalez-Torres interviewed by Hans-Ulrich Obrist for the Museum in Progress’s, “Portraits of Artists”. Follow The Felix Gonzalez-Torres Family Archive via Instagram, and via their website. This is very, very rare footage which, as you can see from the comments, allows the viewer to hear Gonzalez-Torres’s voice for the first time.
museum in progress organised the series “Portraits of Artists” (1992–2001) – conversations with international artists who were exhibiting and/or taking part in a symposium in Vienna. The interviews of different lengths were recorded in the blue box with the artists as talking heads face on to the camera and the interviewer’s voice off-screen. The artists usually chose their interview partners themselves, creating a basis of trust between the interlocutors. The artists were also able to choose the background colour, which was added afterwards, and decide which parts of the interview should remain in the final version and which should be edited out. Thanks to this artistic concept, which was conceived by Peter Kogler and museum in progress, the interviews offer authentic portraits of the artists.
It is clear from the outset that the primary purpose of the bill is to add a postmortem provision to New York law, one that would extend rights for forty (40) years after a person’s death. The bill also would address concerns over the use of digital replicas of deceased individuals. The bill also will protect people from the circulation of nonconsensual intimate images, including simulated performances.
The Copyright Office will host a webinar on July 15, 2020, at 2 p.m. eastern time on the new group registration option for short online literary works—for example, blog entries, social media posts, and online articles
Under this option, applicants may register up to fifty short online literary works with one application and one filing fee. To qualify, each work must contain at least 50 but no more than 17,500 words. The works must be written by the same individual, or co-written by the same individuals, and each writer must be named as the copyright claimant or claimants for each work. The works must be first published online within a three-calendar-month period. If the Office registers the claim, the registration will cover the text in each work as a separate work of authorship.
Put briefly, their use of photographer’s photo is fair use. Opinion from Southern Dist of NY here. That’s the image in dispute, of Eddie Van Halen, above right. Incidentally, are you a David or Sammy fan?
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