The practice of art law has continued to develop rapidly in recent years, as stakeholders in the art world have come to realize that the innovative practice of law can support and protect artistic creativity. In developing the Critics Page for this issue, I wanted to highlight the importance of, and the challenges posed by, legal structures and frameworks in artistic practice. This Critics Page highlights many of these innovative art law issues that sustain (or contest) contemporary art practice today, bringing together several of the leading lawyers in the field alongside groundbreaking artists who use legal frameworks as their medium.
Rail contributor and interdisciplinary artist advocate Yayoi Shionoiri in conversation with artist, writer and filmmaker Jill Magid.
Throughout history, art has played a critical role in expressing community sentiment and galvanizing political action. This is particularly true for public art, which by its very nature can become an integral part of its sites cultural fabric, while simultaneously drawing broader attention to its message.
The legal intricacies of nonprofits are now becoming parameters to exploit rather than obstacles to artists and other members of the art community as they seek to implement their transformative ideas, effectively create change, and draw attention to their cause.
In the last thirty years, the countries of Southeast Asia which surround Singapore have largely modernized, driven in part by political will, especially during intermittent moments of stability. While the precarity and haphazardness of the region has been described as building an airplane while in flight, this dispatch aims to shed light on the state of art law and the art law of the stateof Singapore and the region.
In May 2022, we had the privilege of visiting the Atacama Desert in Northern Chile and collaborating with the local community on a project that involved the land and its resources. Our resulting work, Messa in Luce, features fourteen clay tablets sourced, shaped, fired, and sonified with sounds recorded during our research expedition. This account documents our personal experience of collectivity, exchange, and nonlinear passages of time in the Atacama region as temporary cohabitants.
Artist Worlds and Indigenous Cultures: How Expanding Notions of Intellectual Property are Changing the GameBy Alana Kushnir
The number of artistic projects which engage with simulated realities, immersive story-telling, and virtual world-building has surged over the past few years.1 With this growth has come an increase in the types of legal complexities of artist-led world-building projects. One complexity that hasnt received much airtime to date is how Indigenous Cultural and Intellectual Property (ICIP) and cultural lore can be celebrated in, or conflict with, such projects.
In all likelihood, we dont actually know what, exactly, were signing up for when we use the internet. We do now know, in broad strokes, that technology companies build their wealth on selling user data to advertisers; as the saying goes, if youre not paying for it, youre the product. While some might find that a bit reductionist, we cannot deny that we have lost control over what we are giving up when we use digital platforms. Our passive acceptance of these terms and conditions paves the way for constant surveillance, and for the warping and shaping of our online behaviors and identities to match what is deemed profitable and usable to others.
With little to no resistance, US courts and lawmakers have all but undone more than three hundred years of precedent in a stealth move to protect US dynastic wealth and fuel the rise of fine art as an asset class.