Sullivan has filed an amicus curiae (friend of the court) brief in the upcoming Supreme Court case Andy Warhol Foundation for the Visual Arts, Inc. v. Goldsmith. The brief was filed as counsel of record for copyright scholar Philippa S. Loengard, the Kernochan Center for Law, Media and the Arts at Columbia Law School. The case concerns the applicability of Section 107 of the Copyright Act, which permits as a fair use that would otherwise be copyright infringement—to a print made by Andy Warhol from a photograph of the musician Prince by photographer Lynn Goldsmith. In particular, the question presented to the Court addresses the implications of the Court’s holding nearly thirty years ago in Campbell v. Acuff-Rose Music, Inc., 510 U.S. 569, 579 (1994) that allowed for the possibility that a secondary use could be considered a fair use if it were sufficiently “transformative.” What exactly that means in the context of visual art has been a fraught—and at times incoherent—subject in recent years. Our brief explains that the Court should return the analysis of fair use to the four factors established by Congress. In the case of the first of the four factors, the Court should focus on the statutory language of the purpose and character of the works. By contrast, the inquiry into the meaning or message of the works advocated by the Warhol Foundation and the amici supporting it is a fool’s errand that provides no clarity and would render the copyright in photographs effectively unenforceable. This case is not a battle between Lynn Goldsmith and Andy Warhol; those artists proved entirely capable in 1984 of arranging the balance for themselves. It is a battle between a maximalist view by the Warhol Foundation that dismisses the value of photography as a creative medium at all.
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Topics:
Copyright Act,
Roy Orbison,
Toward a Fair Use Standard,
Campbell v. Acuff Rose Music Inc.,
Kernochan Center for Law Media and the Arts,
Philippa S. Loengard Esq.,
Columbia Law School,
Prince,
transformative,
Andy Warhol,
Fair Use,
Andy Warhol Foundation for the Visual Arts,
Condé Nast,
People Magazine,
The Time,
2 Live Crew,
Death Valley,
Velázquez,
Rubens,
King Philip IV of Spain,
Las Meninas,
Section 107,
Billboard,
Pierre N. Leval,
“Oh, Pretty Woman”,
Mickey Mouse
With much anticipation, the Second Circuit issued its opinion last week in the Google Books case (Authors Guild et al. v. Google, Inc.), brought by authors Jim Bouton (of Ball Four fame) and others against Google for the latter’s program of scanning millions of library books, whether or not those books are in the public domain. My overwhelming reaction to the opinion, however, in the realm of visual art, is what a lost opportunity the Prince v. Cariou decision was two years ago, and some optimism that the most recent decision will start to provide useful guidance for practitioners that has been harder to give with confidence since Prince. After two years of the preeminence of the first fair use factor threatening to dwarf everything with a “transformativeness” test that essentially any use could meet, Google Books (even while finding a fair use) restores some balance to that analysis.
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Topics:
Richard Prince,
Campbell v. Acuff-Rose Music,
Hildebrand Gurlitt,
510 U.S. 569,
Teenage Mutant Ninja Turtle,
Prince v. Cariou,
Second Circuit,
Canal Zone,
Patrick Cariou,
Toward a Fair Use Standard,
Michelangelo,
Suicide Girls,
Inc.,
Google Books,
The Legal Guide for Museum Professionals,
Pierre Laval,
Jim Bouton,
Copyright,
transformativeness,
Fair Use,
Nazi-Looted Art: Risks and Best Practices for Muse
