As the ball teeters above Times Square, and the Glühwein begins to mull on the Art Law Report stove (don’t forget the cinnamon!), a gimmicky but apropos act of reflection is to look back at the biggest stories of 2014, both in art law generally and for yours truly and Sullivan & Worcester LLP. In highly subjective, unverifiable, and immediately criticizeable order, here they are. Thanks as always for reading, and best wishes for in interesting, prosperous New Year. If you agree, disagree, or otherwise, please continue to stay in touch and carry the conversation forward.
Topics: Comedy Central, Deaccession, Schwabinger Kunstfund, Charitable Foundations, National Gallery of Art, Knoedler, Cornelius Gurlitt, Blogs, authentication, authenticity, parody, William Corcoran, Moral Rights, Above the Law, Germany, George Washington University, Glühwein, Nazi-looted art, Gurlitt Collection, Norton Simon, Graffiti Art, Superior Court, Cy Pres, Washington DC, VARA, Detroit Institute of Arts, Bankruptcy, Corcoran College of Art + Design, Dumb Starbucks, Preemption, Asher Edelman, DIA, Restitution, Marei Von Saher, Artmentum GmbH, Bavaria, Sullivan & Worcester LLP, World War II, Copyright, Times Square, Art Fairs, Kunstmuseum Bern, Corcoran Gallery, Ninth Circuit Court of Appeals, Museums, Raubkunst, Detroit Bankruptcy, Fair Use, Münchner Kunstfund, Foreign Cultural Exchange Jurisdictional Immunity, Graffiti, Civil Forfeiture, Art Law Report
Montgomery County Orphan’s Court Judge Stanley R. Ott, the presiding judge in the unsuccessful challenge to the Barnes Foundation’s move to Center City in Philadelphia has upheld his award of sanctions against the plaintiffs challenging the move. After a recent hearing, the judge awarded the Barnes $25,000 in attorneys' fees from the Friends of the Barnes, and a separate $15,000 form a lawyer who had filed a challenge in his own right.
A fascinating panel discussion on "artist-endowed foundations" was held on November 8, 2011 at the Sackler Museum at Harvard University. The panel was convened to share and discuss the findings of the Aspen Institute's National Study of Artist-Endowed Foundations (the “Study”). The Study defines an artist-endowed foundation as a private foundation created or endowed by a visual artist for use in furthering charitable and educational activities serving a public benefit. The foundations are generally funded with any combination of art collections, archives, libraries, intellectual property and investment assets.
Topics: Carolyn Somers, Roy Lichtenstein Foundation, The Pollock-Krasner Foundation, Charitable Foundations, Jack Cowart, Joan Mitchell Foundation, Christine J. Vincent, Robert Motherwell, Center for Nonprofit Organizations, Sackler Museum, Aspen Institute's National Study of Artist-Endowed, Marion R. Fremont-Smith, Harvard University Art Museums, Dedalus Foundation, Charles C. Bergman