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art and artists

This fall’s proposed European ban on incandescent bulbs, barbed with $70,000 fines, apparently makes no allowance for the upkeep of “works that take the lightbulb as a primary material, such as Laszlo Moholy-Nagy’s Light-Space-Modulator, which uses 140,” among works by Rauschenberg, Olafur Eliasson and a long list of other well-known artists. Another unpleasant effect on the art world will be to constrain the way installations can be lit, even if curators and others believe particular works are best served by incandescent illumination. [ARTINFO.com via Andrew Hazlett]

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April 24 roundup

by Walter Olson on April 24, 2009

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As the Blog of Legal Times and ABA Journal note, the D.C. Circuit has upheld an order that Washington, D.C. art dealer and attorney Robert Fastov pay more than $630,000 to compensate Christie’s, the auction house, for meritless litigation aimed at extracting a settlement on an untenable claim. In a summary judgment order last year, the trial judge cited Fastov’s “well-documented proclivity in this case to engage in obstructionist litigation tactics” and ordered him to pay fees: “a greedy individual, with the advantage of a legal education and a claimed litigation experience, has initiated and maintained this lawsuit, which anyone with a modicum of common sense would have realized was without merit.”

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The lawsuit says high-ticket art sold in a boutique at MOCA (L.A.’s Museum of Contemporary Art) was in fact repurposed material from Murakami’s handbag line. Who got fooled by whom in the episode, however, is open to doubt.

“My argument is that moral rights laws endanger art in the name of protecting it”. [Amy Adler (NYU Law), 97 California Law Review (Feb.) (PDF), via ConcurOp] The best-known American application of the moral-rights concept in art is the Visual Artists Rights Act of 1990, which (among other provisions) gives visual artists a right to sue in some circumstances if later lawful owners of their artworks alter or destroy the works.

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February 12 roundup

by Walter Olson on February 12, 2009

  • Driving through town of Tenaha, Texas? Might be better to get accosted by the robbers and not the cops [San Antonio Express-News via Balko, Hit and Run]
  • Location-tracking Google Latitude application could pose liability problems for unwary employers [PoL]
  • EMTALA law obliges hospital ERs to treat many patients. OK, so how about ELRALA next, for lawyers? [White Coat Rants]
  • New Jersey judge dismisses defamation suit by three women whose picture appeared in book “Hot Chicks with D-Bags” [Smoking Gun, earlier here and, relatedly, here] More: Taranto, WSJ “Best of the Web”, scroll.
  • Myrhvold, often assailed as patent troll, sponsors quote/unquote neutral Stanford study of patent litigation [MarketWatch]
  • Some thoughts on much-publicized tussle between Associated Press and Shepard Fairey over Obamacon photo [Plagiarism Today]
  • Creative uses of immigration law: get that little homewrecker deported [Obscure Store]
  • More than a few real estate lawyers were “hip-deep in mortgage fraud”. Will they tiptoe away? [Scott Greenfield]
  • Roundup on the awful Employee Free Choice Act [PoL]

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The tedium of legal process can provide the occasion (and sometimes also the inspiration) for creative efforts that transcend the doodle form. (Techotic, gallery at Anne Reed’s Deliberations).

Uh-oh: it appears the most famous American political artwork to come along in decades, Shepard Fairey’s Obama poster, was made without notice to or permission from the photographer who snapped the original image on which it was based. (Prawfsblawg, A Photo Editor).

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Humor, from The AppleOnion (Nov. 27).

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Graffiti and copyright

by Walter Olson on September 10, 2008

“For the graffiti artists, copyright cases are a common problem. ‘It is very disappointing that copyrights of our work are often not respected’, [says German graffiti artist CanTwo,] who received damages from a music label using one of his pieces illegally some years ago. ‘Strangely enough, but people think that because our work is public and it is sometimes illegally painted, they could use it any way they want.’” (Markus Balser, WSJ Law Blog, Sept. 9).

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Shipboard art auctions

by Walter Olson on July 16, 2008

A Southfield, Mich. company named Park West has made a big business of conducting art auctions on cruise ships offshore, while leaving more than a few dissatisfied customers in its wake. Fine Art Registry, a subscriber website founded by Theresa Franks, has published some of those customer complaints as well as original articles warning of Park West’s practices. “In April the company sued Ms. Franks; Fine Art Registry’s lead writer, David Phillips; and a Dalí specialist that the site quoted, Bruce Hochman, for defamation.” And as so often proves to be the case when a business reacts to criticism by suing its critics, the suit has if anything stimulated further press curiosity about the business’s practices. (Jori Finkel, “Art Auctions on Cruise Ships Lead to Anger, Accusations and Lawsuits”, New York Times, Jul. 16). More: Donn Zaretsky, Art Law Blog.

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An Italian pornographic movie star/politician who was formerly married to wealthy American artist Jeff Koons is back in court with a child support demand, a decade after the two carried out an extraordinarily acrimonious and hard-fought custody battle over their son, now 15. In the course of losing that battle Koons spent $4 million on legal fees, “some of which he later challenged unsuccessfully. Among Koons’ complaints was his lawyers charged him for time they spent watching his ex’s porn films, one of which famously includes” a scene rather too raw for description on this blog involving a reptilian co-star. (Dareh Gregorian, “Porn Star Sues Papa To Pay Up”, New York Post, Mar. 27).

Bowing to pressure from 32 state attorneys general to curb the depiction of smoking in movies, the Moving Picture Association of America has just conceded “the basic principle that public-health lobbyists and politicians should have a big role in deciding what people will see, instead of letting the industry merely cater to its audience.” But state governments “have no more business determining what appears on movie screens than they do in deciding what goes into Judy Blume’s next novel. …The MPAA’s response validates the politicians in their intrusions, and beckons them to find new ways to regulate art and other matters that are supposed to be exempt from their control.” (Steve Chapman, syndicated/Orlando Sentinel, May 21). More: Michael Siegel, May 11, May 16, May 17; Jacob Sullum, May 16. Earlier: Sept. 1, 2003.

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Virginia Postrel says Marvel Comics did itself no favors recently by taking a tough negotiating stance over The Atlantic’s proposed cover use of one of its images. (Sept. 6). I had no idea anyone was asserting trademark rights over the word superhero. (Corrected Sept. 10 to fix error about how The Atlantic was going to use the image — see comments.)

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We covered the case—where a hockey player complained that a comic-book character had the same name—on July 13, 2004. Todd MacFarlane still has the chance for discretionary review by the Missouri and U.S. Supreme Courts, though the former has already ruled against him once. Eugene Volokh will be sure to have insightful commentary on the First Amendment implications; here’s his earlier take, predicting a “good chance” of Supreme Court review and reversal. Beyond the First Amendment implications, the damages are ludicrous.

The United Kingdom has reluctantly joined 19 other EU countries “adopting the droit de suite, or artist’s resale right, which requires sellers to pay artists (or their heirs) as much as 4% of the price every time a piece is resold, for up to 70 years after an artist’s death. (The droit does not apply to sales between two collectors.)” The rule, which applies retroactively to art created in the past and already in collectors’ hands, is likely to harm British galleries and dealers — and perhaps artists as well — by driving the international art market to countries that do not enforce such rules. “The cream of the crop of important modern and contemporary art has already fled Europe and is beginning to leave London in anticipation of 2006,” says Dallas economist David Kusin, who conducted a study on the subject for the European Fine Art Foundation. (Susan Adams, Forbes, Jun. 20).

Due in part to expansions of copyright law lobbied for by Disney and other giants, a huge volume of writing, art and music which would otherwise by now have entered the public domain is still under copyright, even though the rights to much of it — things like picture postcards, ephemeral commercial illustration and sheet music issued by long-defunct publishers or with no identifying marks at all — cannot be traced to any particular current successor-owner even by good faith efforts. Per Wired News:

According to comments submitted to the copyright office, one married couple couldn’t get a wedding photograph repaired: The photography shop would not scan and reprint the photo because it was taken by a professional and the shop was afraid of violating copyright, even though the photographer was out of business.

“For heaven’s sake, this is a photograph of me and my wife, and I can’t have it legally repaired!!! Wrong, wrong, wrong!” wrote William Haynes.

(Katie Dean, “Copyright Reform to Free Orphans?”, Apr. 12).

Iowa Poetry Awards

by Walter Olson on March 8, 2005

“An online group of self-described ‘literary watchdogs’ is threatening a class-action lawsuit against the UI Press, alleging that recent awards for poetry were unfairly given to writers with ‘illicit’ ties to the program. Postings at foetry.com demand a return of $20 reading fees after the 2004 Iowa Poetry Awards — open to anyone inside or outside the university — were given to people with ties to the UI. University officials note that the contest employs blind judging, in which the authors’ names are removed from the manuscripts.” (Drew Kerr, “Two allege bias in UI Press poetry awards”, Daily Iowan, Feb. 28)(via Schaeffer who got it from Maud Newton).