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This new and revised third edition takes stock of over 10 years' experience of Artist's Resale Right (ARR), also called droit de suite, in the UK. As well as offering updated guidance, it also includes a commentary on recent European and international developments and the impact of Brexit on ARR in the UK. ARR gives artists and their heirs a royalty on re-sales of their art works. This intellectual property right, which forms part of Copyright Law, is originally of French origin and was first introduced into UK law in 2006 to implement the 2001 EU Directive on ARR. ARR remains a right with a strong European focus-it is not currently implemented in a number of significant art markets outside the EU. Nevertheless the establishment in 2006 of an ARR regime in the UK (the second largest global art market), along with EU harmonization of the right, have been influential in encouraging states such as the USA, China, and Switzerland to consider its adoption. This book, first published in 2006, continues to be the only UK text dedicated to examining the background to the Directive, UK ARR and its implementation in the UK. The practical guidance offered is essential to all those with an interest in the operation of the right in the UK-artists, collecting societies/CMOs, art dealers, auction houses, art galleries, collectors, and their legal advisers. The work includes a copy of the ARR Directive and the consolidated UK Artist's Resale Right Regulations. [Subject: Copyright Law, Artist's Resale Rights, European Law, British Law]
This book is the first UK text devoted exclusively to artist's resale right. It explores the background to the right and the EU Directive and provides a detailed examination of the UK implementing law.
In this fully revised and updated second edition of Art Law and the Business of Art, Martin Wilson, an art lawyer with more than 20 years’ experience in the field, provides a comprehensive and practical guide to the application of UK law to transactions and disputes in the art world. New to this Edition: • Thoroughly revised guidance on new anti-money laundering requirements • Updated discussion in the context of Brexit and the impact of the Covid-19 pandemic • New coverage of the emerging issues such as the treatment of NFTs and the increased use of internet auctions
A richly illustrated book of images. Some of Spare's techniques, particularly the use of sigils and the creation of an "alphabet of desire" were adopted, adapted and popularized by Peter J. Carroll in the work Liber Null & Psychonaut. Carroll and other writers such as Ray Sherwin are seen as key figures in the emergence of some of Spare's ideas and techniques as a part of a magical movement loosely referred to as chaos magic. Zos Kia Cultus is a term coined by Kenneth Grant, with different meanings for different people. One interpretation is that it is a form, style, or school of magic inspired by Spare. It focuses on one's individual universe and the influence of the magician's will on it. While the Zos Kia Cultus has very few adherents today, it is widely considered an important influence on the rise of chaos magic.
Models of Integrity examines the relationship between contemporary art and the law through the lens of integrity. In the 1960s, artists began to engage conspicuously with legal ideas, rituals, and documents. The law—a primary institution subject to intense moral and political scrutiny—was a widely recognized source of authority to audiences inside the art world and out. Artists frequently engaged with the law in ways that signaled a recuperation of the integrity that they believed had been compromised by the very institutions entrusted with establishing standards of just conduct. These artists sought to convey the social purpose of an artwork without overstating its political impact and without losing sight of how aesthetic decisions compel audiences to see their everyday world differently. Addressing the role that law plays in enabling artworks to function as social and political forces, this important book fills a gap in the field of law and the humanities, and will serve as a practical “how-to” for contemporary artists.
This essential handbook offers art professionals and collectors an accessible legal analysis of important principles in art law, as well as a practical guide to legal rights when creating, buying, selling and collecting art in a global market. Although the book is international in scope, there is a particular focus on the US as a major art centre and the site of countless key international court cases. This authoritative but accessible and wide-ranging volume is essential reading for arts advisors, collectors, dealers, auction houses, museums, investors, artists, attorneys and students of art and law.
First published in 2001, Art and Copyright has established itself as a leading text in the field. Revised and updated, this third edition includes additional coverage of the following topics: - The relationship between designs law and artistic works; - EU and Brexit developments; - AI-created works; - graffiti and other non-conventional works; - blockchain and rights management; - orphan works; - new exceptions to copyright; and - digital copyright, art databases and online platforms. This book remains an invaluable work for all those involved in art law and for intellectual property lawyers involved with the exploitation and/or sale of artistic works, as well as for intellectual property academics, researchers, law students, curators, publishers, artists, gallery owners, auction houses, and those developing and running online art platforms, databases and technology to transact in art.
Whenever Gerhard Richter goes to Sils, a small town in the Swiss Alps, he makes photographs, some of which he overpaints and adds to his "Atlas." Others he treats as autonomous works, as in those presented in this intimate artist's book. In the overpainted photographs, the levels of reality evident in photography are combined with those that exist in painting. However, the paired concepts prove redundant of both the realism in photographic representation and the abstraction in nonfigurative painting. The photographs reveal a parallel between both forms of painterly practice, evidence of the simultaneous existence of contradictory bodies of work in Richter's oeuvre.
This third edition of Collective Management of Copyright and Related Rights presents an in-depth revision with invaluable updates on the different systems, legislative options and best practices of CMOs worldwide. As with previous editions, the book is written to reach a wide audience, with a special focus on questions that might emerge for governments as they prepare, adopt and apply collective management norms and regulations. The edition also sheds light on new copyright and related rights developments, including digital, technological and business trends, from all over the world. Additionally, there is detailed discussion on topics such as aspects of competition, national treatment, and different models of collective management.