Works made from short-life materials used by modern and contemporary artists increasingly pose problems and challenges for those who handle or possess works: collectors, estates and foundations, conservators and restorers, curators and consignees, storers and transporters; and for those who have a legal and business interest in such works: would-be donees and inheritors, purchasers, sponsors and patrons, investors and insurers.
Stuart Croft, an artist-filmaker based in London, has put together the following five questions and answers to consider when selling artists’ Moving Image.
There isn't a legal definition of what makes an edition.
Borrowing the title of Hans Abbing’s important sociological interrogation of contemporary art practice from 2007, let us consider a case in point.
Debra Wilson & Chiara Williams, the directors of WW Gallery put together the tips below, essential to point you in the right direction if showing work and gallery representation are your goals.
A Banksy-style rat holding a sign asking ‘Why?’ was recently stencilled on the wall outside a London shop from which the Banksy-attributed mural Slave Labour had been hacked away a few weeks earlier.
This article answers a question that artists regularly ask our legal specialists. So is the Data Protection Act just an excuse and how can you convince your gallery to share with you the names of the buyers who have bought your work?.
This article provides information for recent graduates, artists and craft-makers who are thinking of attending fairs and independent trade shows.
Several currently running cases concern the legal status and protection of sculpture in the public environment.