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As the art market grows in value and complexity, so too do the legal challenges surrounding authenticity. The Knoedler Gallery scandal revolved around the sale of approximately 40 Abstract Expressionist paintings that were discovered to be forgeries.[1] The scandal unfolded when it was revealed that Pei-Shen Qian, a Chinese art forger, had created fake paintings, which were then passed off as works by famous artists like Robert Motherwell, Jackson Pollock, and Mark Rothko, among others. In this scandal Pei-Shen Qian produced fake paintings, attempting to imitate the styles and techniques of other artists. Glafira Rosales, who had a close relationship with Knoedler Gallery president Ann Freedman introduced the forgeries to Freedman and convinced her of their authenticity.[2] As a result, Knoedler Gallery sold the forgeries as genuine, earning millions in profit. When the authenticity of the paintings came into question, collectors filed a wave of lawsuits, alleging fraud, breach of contract, and negligent misrepresentation.[3]Continue Reading (In)Authentic: The Importance of Due Diligence in the Art Market

The assumption that artists love credit is challenged when an artist appears to repudiate their authorship. Sometimes repudiation arises from personal animus while in other instances an artist might feel that their work is no longer “up to snuff.”[1] In some extreme circumstances, artists can be involuntarily thrust into a claim to repudiate their alleged authorship, which happened in the case of Fletcher v. Doig. [2]Continue Reading “Not My Work”: When Artists Dispute Authorship

We conclude our series on public art and percent-for-art programs by focusing on a recent case involving the respected American sculptor, Alice Aycock. The artist’s sculpture, Star Sifter, was created in 1998 for the John F. Kennedy Airport, New York City. The recent lawsuit was prompted by the planned removal, and thereby destruction, of the commissioned work of art.Continue Reading Public Art Programs: 1% for the 99% – Part Three

As we described in our previous post, percent-for-art programs are successful and popular. However, because there are few common norms in the field or understandings regarding implementation of program initiatives, the importance of thorough negotiations and carefully constructed contracts cannot be overstated.Continue Reading Public Art Programs: 1% for the 99% – Part Two

The Art Law Blog introduces the first in a series of three articles on "percent-for-art" programs. The common purpose of percent-for-art ordinances is to invigorate the public cultural environment, and to develop and enhance public interest in the visual arts by creating enduring and specific art for public spaces. Some jurisdictions even articulate this goal as their “responsibility”.Continue Reading Public Art Programs: 1% for the 99% – Part One

By Christine Steiner

The recent troubles of Knoedler Gallery, now airing in the press and later, presumably, in the courtroom, may shed some light on certain art world concerns – due diligence, gallery sale practices, sophisticated fakes/forgeries, and problems with authenticity in the market. This piece discusses the importance of carefully managing the business of artistic production. These considerations include strict inventory lists, transaction history, image and information database management, responsible studio control, and good artistic practices in general.Continue Reading The Studious Studio – Business Practices for Artists

By Christine Steiner

In the same era Gerald Ford advised his fellow Americans that “our long national nightmare is over,” as he succeeded Richard Nixon as president, the California Legislation enacted the sloppily-drafted California Resale Royalty Act, Civil Code Section 986. The act was not exactly a nightmare, in truth it slumbered for most of its thirty-plus lifetime. It seemed more honored in the breach than the observance. Recent awareness of the resale royalty obligation, though, has caused confusion and consternation for California sellers, for California artists and for the art trade nationwide. Some have, in fact, described it as a nightmare. As of late last week, the nightmare may be over.Continue Reading My Fellow Californians – Our Long National Nightmare is Over

By Valentina Shenderovich and Christine Steiner

Public wall murals have been the subject of much attention recently. Legislators for Los Angeles, considered the “mural capital of the world”, are reviewing a proposed city ordinance to preserve vintage art murals and to repeal an existing ban on private murals (enacted as an overzealous attempt to stem graffiti). Wall murals are the focus of attention in other cities as well. Murals are visible and public “public art”, presenting social, political and aesthetic ideas in and on everyday media.Continue Reading A Murality Play

By Kathryn Hines and Christine Steiner

Society is consumed with celebrity. We can survey Hollywood marriages and divorces, analyze Golden Globe wardrobe choices and comment upon the latest Lindsey Lohan foible. It is not surprising that many artists have channeled this societal obsession, featuring celebrities in paintings, collages and video installations. Moreover, as we approach the anniversaries of the death dates of Elizabeth Taylor, Michael Jackson and Amy Winehouse, commemorative portraits are likely to be in high demand. But when does using a celebrity image in art infringe that celebrity’s right of publicity? It depends. While an artistic rendering of a recognizable person may be protected under the First Amendment, there are limits to this protection.Continue Reading Life After Death – Right of Publicity Law

By Sarah Pavlock and Christine Steiner

The appeal in the case of Cariou v. Prince is shaping up to be the biggest visual arts copyright case in many years. It will likely result in guidance on what qualifies as a transformative use for appropriation art under the doctrine of fair use. Appropriation art "borrows" pre-existing works or images of the creative work of another artist in order to create something new and original. While this alone may seemed packed with copyright issues, it is generally not an appropriation artist’s intent to "rip off" another artist’s work. Usually, the success of the new work depends on the viewer’s recognition of the underlying work; the "aha" moment is the connection between the old and the new as the viewer recognizes the original work or that another work has been taken, and differentiates the creative changes that have been made in the new work.Continue Reading Rastaman Vibration

By Lano Williams and Christine Steiner

The past year was packed with litigation that ranged from broad constitutional questions to the ever present scourge of forgeries. Art Law Gallery presents highlights of some of the most important cases:
 Continue Reading The Year In Review