{"id":29945,"date":"2016-11-22T15:59:10","date_gmt":"2016-11-22T20:59:10","guid":{"rendered":"http:\/\/www.iposgoode.ca\/?p=29945"},"modified":"2016-11-22T15:59:10","modified_gmt":"2016-11-22T20:59:10","slug":"looks-are-not-everything-professor-amy-adlers-future-of-art","status":"publish","type":"post","link":"https:\/\/www.yorku.ca\/osgoode\/iposgoode\/2016\/11\/22\/looks-are-not-everything-professor-amy-adlers-future-of-art\/","title":{"rendered":"Looks Are Not Everything; Professor Amy Adler's Future of Art"},"content":{"rendered":"

Earlier this month, Osgoode Hall Law School welcomed Amy Adler<\/a>, New York University\u2019s Emily Kempin Professor of Law, to present on copyright and the future of art<\/a>. Professor Adler is a leading scholar of art law and specializes in the legal regulation of artistic expression, sexuality and free speech. Visual artists today, as she describes, are caught in the \u201cweb of copyright\u201d to which their disentanglement can be achieved through legal\u00a0reform based on courts (i) adopting an economic-based view of the art market; and (ii) abolishing\u00a0copyright protection for the visual arts.<\/p>\n

<\/p>\n

Clearing the History<\/strong><\/p>\n

In Adler\u2019s view, copying and imitation has always been essential to art as evidenced by the Italian Renaissance master Giogrione\u2019s unfinished Venus painting<\/a> used as a strong reference in 1538 when Titian created the Venus of Urbino<\/a>. Adler claims that art has a history of innovation built on emulation. In modern times, digital technology has not only allowed for copying to become a central building block to visual art but has become a technique used by many artists, including Director X and his music video for Drake\u2019s Hotline Bling that uses the spatial light work of American artist James Turrell<\/a>. According to YouTube, the\u00a0music video<\/a>\u00a0has been streamed over 1 billion times.<\/p>\n

Drawing the Line<\/strong><\/p>\n

The Copyright Clause found in Article 1, Section 8, Clause 8 of the United States Constitution empowers the United States Congress \u201cto promote the progress of Science and useful Arts, by securing limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries.\u201d To act as a defense to copyright law,\u00a0Section 107 of the Copyright Act\u00a0<\/em><\/a>considers four factors when determining \u201cfair use\u201d, or free and legal use, of copyrighted material that is also able to advance the purposes set out in the Copyright Clause:<\/p>\n

    \n
  1. Purpose and character of the use, including whether the use is of a commercial nature or is for nonprofit educational purposes;<\/li>\n
  2. Nature of the copyrighted work;<\/li>\n
  3. Amount and substantiality of the portion used in relation to the copyrighted work as a whole;<\/li>\n
  4. Effect of the use upon the potential market for or value of the copyrighted work.<\/li>\n<\/ol>\n

    In 1992, the United States Court of Appeals for the Second Circuit upheld a\u00a0copyright infringement ruling\u00a0against best-selling American artist Jeff Koons<\/a> for basing his sculpture too closely on another artist\u2019s photograph. The Court relied on Koons\u2019 opinion of what the new art represented and, based on his inability to communicate a substantial difference, the Court ruled against him. In 1994, the\u00a0Supreme Court introduced the term \u201ctransformative\u201d to determine if the new work, in comparison to the existing work, \u201cadded something new, with a further purpose or different character, altering the first with new expression, meaning or message.\u201d In a\u00a0separate infringement case, Koons carefully adapted his testimony to the Court\u2019s definition of transformation and stated, \u201cI want the viewer to think about\u2026those images and\u2026gain new insight into how they affect our lives.\u201d<\/p>\n

    The Court held that Koons\u2019 intention was to create a new artwork and ruled in his favour.\u00a0 Adler considers the Court\u2019s definition of \"transformative\" to be an unreliable standard of measure because it ultimately allows\u00a0legal authorities to become curators, arbitrarily deciding an artist's intention, an artwork's\u00a0representation and whether the new artwork is sufficiently different than the original artwork.<\/p>\n

    Copy and Haste<\/strong><\/p>\n

    The ability to select media from densely populated online content is a form of rapid curating that has become an issue for the modern artist. Adler was involved in\u00a0Cariou v Prince<\/em>, a landmark 1994 copyright case in the New York Court of Appeals for the Second Circuit. Within 30 of his own collages, American artist\u00a0Richard Prince\u00a0copied underlying material to varying degrees from American photographer Patrick Cariou.<\/p>\n

    Prince refused to testify in accordance with the Court\u2019s definition of transformation, and simply stated that he did not attempt to noticeably differentiate his artwork. On appeal<\/a>, the Court was unable to use Prince\u2019s testimony as a basis for differentiation and was forced to adopt a \u201creasonable person\u201d standard. By simply conducting a side-by-side comparison of each of the 30 collages, the Court concluded that 25 were sufficiently distinct but was unsure of the remaining five, ultimately remanding the insufficiently distinct collages.<\/p>\n

    Evidently, great uncertainty exists when attempting to claim that fair use progresses the arts. In response to the New York Court of Appeals\u2019 side-by-side comparison, Adler argues the photographer Sherrie Levine\u2019s\u00a0identical reproductions\u00a0of Walker Evans\u2019 photographs could not coexist with this understanding because the artwork\u2019s meaning transcends visual interpretation.<\/p>\n

    Redefining the Rule<\/strong><\/p>\n

    Adler strongly opposes an authoritative definition of art. Not only does she believe that problems arise from an artist\u2019s forced explanation of their artwork but also that it is inherently difficult to reduce images to digestible ideas for the general public to collectively understand or for courts to effectively rule for or against. In this view, it can be justified that an artist\u2019s intention should be irrelevant to the meaning of their work because it is an arbitrary and ever-changing standard of measure.<\/p>\n

    For example,\u00a0Andy Warhol<\/a>\u00a0saw his art as collaboration with everyone who viewed it and in a sense disowned authorship of his works, while the works of expressionist\u00a0Jackson Pollock<\/a>\u00a0were inherently abstract and are publicly perceived as sharing no immediate identity with the works of others.<\/p>\n

    Multiple artists, editors or assistants contribute to multiple meanings of the work and consequently displace the responsibility of any individual contributor. Adler provides the example of an unknown editor of Nick Ut\u2019s \"The Napalm Girl\"<\/a> who cropped out various subjects to focus on the victims of war and, in turn, redefined the original photograph\u2019s meaning and intent. Another example Adler provides is\u00a0Shepherd Fairey<\/a>\u2019s appropriation of\u00a0Mannie Garcia<\/a>\u2019s photograph of Barack Obama to create the iconic \u201cYes We Can<\/a>\u201d illustration. Garcia claims he did not initially recognize the original photo as his own. In Adler\u2019s view, the law\u2019s inability to recognize an artist\u2019s increasing reliance on the work of others is a major source of litigation and is yet another reason to abolish copyright protection for the visual arts.<\/p>\n

    The Future of Art<\/strong><\/p>\n

    Adler\u2019s first step to effectively addressing the issue of copyright and modern art is to stop thinking of art in terms of its message or meaning and to instead think about the economic market. She believes in a modification of the fair use test that incorporates market usurpation because, when it is \u201cart-on-art stealing,\u201d there is no market usurpation due to market\u2019s negligible demand for copies of original artwork. Although it is difficult for some to classify visual art as a simple commodity to be traded among the wealthy, Adler believes this is the direction the market is evolving towards.<\/p>\n

    The second step, and the more radical of the two, is to abolish copyright for the visual arts because fair use lawsuits would no longer exist. Adler believes the reason copyright protection exists is mainly utilitarian and is based on economic incentives to create ideas. From this, she concludes that the worry is not about the act of copying itself but instead the allowance of a cheap copy to monetize another\u2019s art.<\/p>\n

    The Art of Crime<\/strong><\/p>\n

    Typically, the theft, duplication and resale of other types of art such as motion pictures and sound recordings create an economic loss for the rightful owner. However, in the visual art market, Adler claims there is no market substitution between copies and authentic originals. What about moral rights? Adler answers that, in the United States, an infringement of moral rights for violating copyright only applies if an individual has used a limited edition photograph of\u00a0less than 200 copies<\/a>. She claims that most works of visual art do not have a re-sale value and that over 99% of visual art cannot be resold, with the exception of a small class of considerably successful artists. To incentivize the creation of art, it is important to promote the revenue generated from the first sale of an original artwork, as it is the most lucrative because the value of a copy is simply a small fraction of the first sale.<\/p>\n

    For example, Richard Prince took screenshots of\u00a0multiple Instagram posts<\/a>\u00a0from a burlesque collective, the Suicide Girls, and turned the original screenshot into original prints that sold for $90,000 or more. Instead of taking legal action, the Suicide Girls created identical prints<\/a> and tried to sell them for $90. However, because visual art is more concerned unique, authentic originals rather than duplicates, the market did not react in favor of the Suicide Girls.<\/p>\n

    To resolve this discrepancy, Adler claims that the only artists generating significant revenue from copies, although relatively a small amount, are those who are already capable of generating large amounts of revenue from their original artwork. In a sense, Richard Prince conferred money on the Suicide Girls as a result from his copying. Adler believes that this economic distribution is made possible by modern artists continuing to rely on imitating their surroundings, now virtually limitless in an interconnected and online world.<\/p>\n

    As a co-founder of a visual art collective, I agree that the use of open-source references and online images allow for greater economic prosperity. This freedom grants artists a wider degree of creativity to build their brand, the main force that drives revenue generation. Although Adler\u2019s claims are limited in scope to visual arts and focus on the protection of commercially successful\u00a0artists, the abolishment of copyright law may ultimately benefit smaller artists who rely on the copying of another artist\u2019s work for inspiration or reference. Adler reminds us that, while unfortunate to some, the\u00a0art market values the brand of an artwork's creator more than the content of the actual artwork.<\/p>\n

     <\/p>\n

    Robel Sahlu is an IPilogue Editor and a JD Candidate at Osgoode Hall Law School.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

    Earlier this month, Osgoode Hall Law School welcomed Amy Adler, New York University\u2019s Emily Kempin Professor of Law, to present on copyright and the future of art. Professor Adler is a leading scholar of art law and specializes in the legal regulation of artistic expression, sexuality and free speech. Visual artists today, as she describes, […]<\/p>\n","protected":false},"author":2140,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","footnotes":""},"categories":[3,65,2542,1112],"tags":[24,1609,27,2244,487,2880,300,68,393,456,427,859,302,2900,436,1327,1328],"class_list":["post-29945","post","type-post","status-publish","format-standard","hentry","category-blogs","category-copyright","category-ip-osgoode-speaks-series","category-ip-reform-ip","tag-art","tag-artistic-expression","tag-copyright","tag-copyright-and-the-digital-economy","tag-copyright-reform","tag-creative-markets","tag-fair-use","tag-infringement","tag-intellectual-property","tag-internet","tag-ip-reform","tag-photography","tag-reform","tag-robel-sahlu","tag-technology","tag-united-states","tag-visual-art"],"yoast_head":"\nLooks Are Not Everything; Professor Amy Adler's Future of Art - IPOsgoode<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.yorku.ca\/osgoode\/iposgoode\/2016\/11\/22\/looks-are-not-everything-professor-amy-adlers-future-of-art\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Looks Are Not Everything; Professor Amy Adler's Future of Art - IPOsgoode\" \/>\n<meta property=\"og:description\" content=\"Earlier this month, Osgoode Hall Law School welcomed Amy Adler, New York University\u2019s Emily Kempin Professor of Law, to present on copyright and the future of art. 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