Great article by Lauren van Haaften-Schick on the artists' contract. In March 1971, a broadside boldly labelled The Artist’s Reserved Rights Transfer and Sale Agreement rolled off an independent press in New York. Across the poster’s front was a manifesto by Seth Siegelaub, the innovative conceptual art curator-publisher and former dealer, outlining ‘some generally acknowledged inequities in the art world’. Its verso, drafted by the young lawyer Robert Projansky, contained 19 clauses in heavy-handed legalese promising to remedy those ills. Did it, or does it, work?
Don't miss this interesting panel on a new book concerning Seth Siegelaub and his very own "writings—one of the projects for which he never found the time, busy as he was running his global one-man operation. Edited by a group of researchers and curators who each collaborated with Siegelaub, the book brings together his personal notes, public interviews, and precious few published writings into one volume, offering unprecedented insight into the many facets of his inquisitive life." Panel includes Lauren van Haaften-Schick, Jo Melvin, and James Hoff. More info on this event here.
Our good friend, Dave Steiner, gives us a good recap of recent copyright and trademark legislation. Interestingly, in regard to the Copyright (Small) Claims Board, Steiner writes, Participating in a procedure before the CCB is voluntary—a respondent may opt out of a procedure originally brought before the CCB. In that event, the CCB must dismiss the proceeding without prejudice, which presumably would force the claimant to file a case in district court. Although other consequences of opting out are not yet clear, we would expect that doing so may lead to larger damages awards and increase the probability of an ...
You may read about the new crop of Art & Law Program fellows here.
It's public domain time. Duke's Center for the Study of the Public Domain has a very thorough, funny and witty article on what works are now in the public domain and free for use in the United States. Included in this list is one of my favorite artworks of all-time, Joan Miró's The Birth of the World, from 1925.
The Tate Museum suspends curator Mark Godfrey for publicly criticizing the Tate’s decision to postpone the Guston exhibition. Rob Storr fears the exhibition will never happen. How far to the left can one go before ending up on the right?
and it doesn’t look like it’s going to get any easier for the Museum any time soon.
“Just over a year ago I quietly changed my estate plans when it became clear to me that under the leadership of Christopher Bedford the BMA was no longer trustworthy to receive this bequest,” said former trustee, Stiles Colwill, in an email.
I wonder: Is this move by the Baltimore the equivalent of some AOC progressive gaffe, where initially it seemed like a good idea to kill off “farting cows” in order to save the environment? I think so.
[A] group of 23 museum supporters is calling on the government to investigate and put a stop to the planned deaccessioning.
In a strongly worded six-page letter to Maryland attorney general Brian Frosh and secretary of state John C. Wobensmith, signatories including former BMA board chairwoman Constance R. Caplan allege that the sale agreement with Sotheby’s is plagued with “irregularities and potential conflicts of interest” and should not be allowed to proceed.
More here.
Yachts, planes, and blue chip art are up for grabs. Just not on Craigslist.
but I will remain as the real Emily; the Emily who owns the high-art Emily, and the one who wrote this essay, too. She will continue to carve out control where she can find it.
Interesting essay by writer and model, Emily Ratajkowski, on authorized and unauthorized uses of her image, and how one’s image and name can quickly become a product and brands. With the rise of social media and the evisceration of truth and meaning (not just fake news), how much is under our control?
And, as she rightly points out, “it costs. A lot.” to hire lawyers to take care of these pesky matters.
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