ࡱ> }z{|#` 09bbjbj5G5G 4nW-W-%\\\8<^2xx"uuu]]]]]]]$5_ha(]uu(]]VVV]V]VV.NHTl Ъxڈ\LQ@\<]<^NQ3b( 3bTT3bUuqFVl#uuu(](]^uuu^u{k{ Art Law Outline Professor Amy Adler Fall 2006 ART AND THE FIRST AMENDMENT Introduction First amendment Congress shall make no law . . . abridging the freedom of speech Exodus 20, Ten Commandments Thou shalt not make unto thee any graven image, or any likeness of any thing that is in heaven above, or that is in the earth beneath, or that is in the water under the earth Is postmodernism a kind of iconoclasm, breaking down worship of authorship, originality, etc? The Artists Right to Free Expression: Censorship Law and Theory Obscenity Law Themes Defining obscenity Justifying excluding obscenity from first amendment protection Evolution of Supreme Court jurisprudence Roth (1957) to Miller and Paris Adult Theater (1973) Roth says obscenity is not an idea and thus does not trigger first amendment protection Upholds marketplace of ideas vision of the 1st amendment Does not look at obscenitys harm Miller test Appeals to prurient interest Under community standards Patently offensive Under community standards Lacks serious literary, artistic, political, or scientific value Under reasonable person standard, per Pope v. Illinois Paris Adult Theater Introduces a moral rationale, including right to maintain a decent society, setting the tone of commerce, and possibly public safety Miller in practice Jenkins v. GA (1974) Film Carnal Knowledge not patently offensive, so not obscene Looks like it filters out some works, but the Sup Ct is a very high-level filter Obscenity and Post-Modernism Art reacts against notion that it must have serious artistic value Case studies Mapplethorp at the Cincinnati Contemporary Arts Center Photography Maybe an easy case because his style is traditional Corcoran cancelled his show, ex. of self-censorship Barbara Nitkes photography website requires an 18+ disclaimer Major theory readings and discussion Adler, Post-Modern Art and the Death of Obscenity Law Post-Modern art Attacks distinctions b/w good and bad art, high art and pop culture Marks end of originality No sincere genius artist Intersects with obscenity Legal definition of art References Bleistein to say cts shouldnt judge arts worth Cant be defined by artists intention Opens defense of intent to all pornographers Post-modern artists eschew sincere intent Cant be defined by art worlds acceptance Doesnt account for performance artists like Karen Finley who perform in clubs Doesnt protect undiscovered artists Fact finders wont know art when they see it Art, by its nature, will call into question any definition that we ascribe to it. As soon as we put up a boundary, an artist will violate it, because that is what artists do. Impossible to simultaneously both protect art and protect people from obscenity Discussion Marketplace of ideas rationale may be grounded in assumption that it will uncover political truth Tied to concepts of democracy Not the same as liberty Obscene material may speak to the body rather than the mind Marketing something as porn may reduce the likelihood that a court will find it valuable But artist may not have control of this Speech with some value can be banned under Miller Child Pornography Law Federal statute developed after Ferber Child Protection Act of 1984 Prohibits use of child (under 18) in a sexual performance Defines performance as any play, motion picture, photo, or dance Emphasizes live or photographic displays, not text Defines sexual conduct as Actual or simulated sexual intercourse, deviate sexual intercourse, sexual bestiality, masturbation, s-m abuse, or lewd exhibition of the genitals Banning child porn a categorical approach to censorship No exceptions for works of value Brennan in Ferber would make an exception OConnor would not Material can be child porn without being obscene Diverges from traditional 1st amendment principles Speech banned b/c of underlying crime it expresses No overbreadth doctrine Doctrinal development New York v. Ferber, 458 U.S. 747 (1982) Upholds NYs child porn law under the rational that children are harmed in the production of the material Also, record of abuse haunts child, need to dry up the market, value of speech de minimis Does not include a rationale that looking at child porn is harmful Suggests that if one really needs to create such works, use older actors or simulation U.S. v. Dost, (S.D. Cal. 1986) Test for determining lascivious exhibition of genitals Focal point is the genital or pubic area? Setting sexually suggestive? Unnatural pose or inappropriate attire? Nude? Suggests sexual coyness or a willingness to engage in sexual activity? Intended or designed to elicit a sexual response in the viewer? Test prevails in most jurisdictions Osborne v. Ohio (1990) Criminalizes mere possession of child porn Differs from Stanley v. GA in the obscenity context Which said the State may no more prohibit mere possession of obscene matter on the ground that it may lead to antisocial conduct than it may prohibit possession of chemistry books on the ground that they may lead to the manufacture of homemade spirits. U.S. v. Knox, (3d. Cir. 1994) Ct holds that lascivious exhibition of the genitals can include clothed, indiscernible genitals Ashcroft v. Free Speech Coalition (2002) Virtual child porn law struck down Prospect of harm doesnt justify censorship Shows concern about content, not harm in production Congress rationale for law Photos used to seduce kids, whet appetite of potential pedophiles, create a market Hard to prosecute underlying act Case studies Sally Mann A serious artist, but maybe only prosecutorial discretion has kept her out of jail Lesser artists Jock Sturges, Richard Princes Spiritual America Larry Clark Complicit. Perhaps his camera even encourages behavior. Calvin Klein ad campaign Hugely controversial, but hugely popular Major theory readings and discussion Adler, Inverting the First Amendment (2001) Cts have never defined child pornography A passive approach Expansion of law increasingly unrelated to harms of production Tries to encompass all the things pedophiles find arousing Sweeps in artists and family photographers Constitutional problems Vague and overbroad Allows prosecution for pictures w/o underlying act of child molestation Without an exception for works of value, child porn viewing has become a thought crime Law treats speech as so powerful that it will conjure up what it depicts Reverts distinction b/w speech and what it represents or causes A superstitious view of speech Adler, The Perverse Law of Child Pornography (2001) Child porn law has reinforced the problem it seeks to attack Focus on child pornography makes children sexual objects Censorship law responds to and shapes a cultural crisis. Law has acquired a sense of boundlessness in its development Legislatures push limits w/o judicial restraint Discussion Cases like Knox contribute to the changed way of looking at children Ask us to take on the mind of a pedophile Creates intrusion of sexuality in otherwise nonsexual situations Photography particular focus of child porn angst Creates/perpetuates a crime Betrays subject Betrays viewer The Feminist Anti Pornography Movement Catharine Mackinnons view of pornography Central to the subordination of women Women harmed during the production Representation perpetuates subordination All pornography is the documentation of a rape Conflates the underlying act, the image, and the images effect Proposed legislation Definition of pornography The sexually explicit subordination of women Bans images and words Does not incorporate a Miller obscenity standard Should not be included in the marketplace of ideas Free speech by men silences women A market failure Value is irrelevant Porn is not speech It is the act of sex Suggests that this is more of a 14th amendment issue than a 1st Case studies Andrea Frasers video Untitled in which shes commissioned to have sex She is the agent, but Mackinnon still sees the image as subordination Adler said the people at the gallery were all teenage boys Carolee Schneemanns Interior Scroll Reclamation of the female body in the 1970s Annie Sprinkle Combines art and porn Major theory readings and discussion MacKinnons Not a Moral Issue (1983) Compares obscenity to pornography Obscenity is an abstract moral idea Standard based on the male perspective Obscenity makes rules, but does not truly make porn unavailable or illegitimate In fact, it may enhance appeal Porn is a concrete political practice Men have sex with images Porn is like segregation Whites only signs Porns value is irrelevant because all porn harms women Porn chills womens speech Silence is not eloquent Porn creates a social reality Its harm becomes invisible MacKinnons Only Words (1993) Harm is relived in images Other harmful speech is treated as an act E.g., saying kill to an attack law All porn made under conditions of inequality based on sex American Booksellers v. Hudnut (7th Cir. 1985) Finds Indianapolis anti-pornography ordinance unconstitutional Easterbrooks majority opinion Ordinance amounts to thought control Discriminates based on content Under the First Amendmentthere is no such thing as a false idea Governments that want stasis start by restricting speech. Accepts ordinances premise Porn perpetuates subordination Believes porn is protected because of its harm Distinguishes b/w speech and conduct Unhappy effects depend on mental intermediation. Indianapolis seeks to prohibit certain speech b/c it . . . influences social relations and politics on a grand scale, that it controls attitudes at home and in the legislature. This precludes a characterization of the speech as low value. The image of pain is not necessarily pain Debate over Mackinnon Infantilizes women Dismisses their own agency b/c women live with a false consciousness Sees pleasure as Pavlovian But rightly recognizes that women have less agency than men Trouble harmonizing liberty and equality Hate Speech Background Chaplinsky standards Two types of speech not protected by the First Amendment Fighting words NB: requires person to be empowered enough to strike back Incitement to imminent lawless action Speech thats limited outside the 1st amendment Securities law Contract Hate speech allowed under the 1st amendment Matsudas definition of hate speech Message of racial inferiority Directed against a historically oppressed group Message persecutorial, hateful, and degrading Under a community standard, thus possibly allowing victims to use hate speech to other victims? For hard cases, ask victims Irony, intent may not matter Case studies Serranos KKK portraits Artists not making a judgment about his subjects Unclear if subject or photographer is in power Unclear if these portraits can be distinguished from KKK promotional photos Jewish Museums exhibit Mirroring Evil: Nazi Imagery/Recent Art Ali G./Borat Throw the Jew Down the Well Activist hate art Pink Triangle TA \l "Pink Triangle" \s "Pink Triangle" \c 5  Central symbol of AIDS movement originally used to identify homosexuals during Holocaust Wojnarowiczs America Photograph of Fight AIDS Kill a Quere TA \l "\Fight AIDS Kill a Quere\" \s "\"Fight AIDS Kill a Quere\"" \c 5  scrawled in graffiti Karen Finleys TA \l "Karen Finley" \s "Finley" \c 4  Im an Ass Man TA \l "Im an Ass Man" \s "Im an Ass Man" \c 5  Brutal monologue about a rape from the rapists point of view Major theory readings and discussion Matsudas Public Response to Racist Speech: Considering the Victims Story (1989) Identifies two harms Individual Pain and psychic harm for victims Spirit murder Social Mechanism of subordination and inequality Recommends criminal and civil sanctions as response to racist speech NB: Mackinnon didnt want to entrust sexist state to enforce criminal laws Hate speech restricts victims liberty They quit jobs, avoid certain public places, self-censor Sees protection of hate speech as state action Believes limited definition will prevent censorship floodgates Adlers Whats Left?: Hate Speech, Pornography, and the Problem for Artistic Expression (1996) In calling for censorship, leftists endanger activist speech that seeks to undermine porno and hate speech Victims adopting the language of victimizers to turn oppression on its head How can Mackinnon, Matsuda, et al. distinguish b/w subversion and oppression? There is no way to draw a principled distinction between art and pornography, or art and hate speech; a substantial overlap between these terms will always exist. Leftists must make a choice: they can adopt a system of censorship, or they can offer full protection to activism. They cant do both. Potential ways to distinguish good speech and bad Artistic status? Over and under inclusive Context? Always changing, and changing meaning of speech. Victims as judge? Problems of essentialism. Intentionality: is the speaker a victim? Impossible to discern intent. Effect is effect. Insider-status may not reveal intent? Other considerations Mackinnon TA \s "MacKinnon"  would likely reject use of pornography by gay, lesbian, and AIDS activists Right-wings appropriate leftist rhetoric of discrimination and victimization and use it to fight anti-discrimination policies What is Art and (Why) Is Art Protected by the First Amend ment? What is art? Tariff and customs cases U.S. v. Perry (U.S. 1892) 4 categories Fine art, minor objects of art, objects of art with a primarily ornamental and incidentally useful purpose, useful objects that please the eye Based on a standard of beauty, ornament, and pleasure to the eye Hurley v. Irish-American Parade, U.S. 1995 the unquestionably shielded painting of Jackson Pollock, music of Arnold Schonberg, or Jabberwocky verse of Lewis Carroll An under-theorized statement Bery v. NYC (SDNY 1995) I Artists not exempt from NYCs outdoor vendor licensing law Law has a rational basis of keeping sidewalks clear Law is content-neutral Art does not implicate the 1st amendment No verbal elements Does not add to political dialog Bery v. NYC (2d Cir. 1996) II Law fails under strict scrutiny Strict scrutiny reqd b/c 1st amendment rights are implicated Our cases have never suggested that expression about philosophical, social, artistic, economic, literary, or ethical matters . . . is not entitled full 1st amendment protection. But what about art that doesnt convey ideas? Visual art is as wide ranging in its depiction of ideas, concepts, and emotions as any book, treatise, pamphlet . . . But are ideas in art that transparent? Ideas in art transcend verbal language to both the educated and the illiterate Mastrovincenzo v. City of New York, SDNY 2004 To determine if graffiti-painted hats are art ct looks to Individualized creation by the particular artist Artists primary motivation for producing and selling the item Vendors bona fides as an artists Whether the vendor attempts to convey a message Whether item appears to contain any elements of expression Decision Art . . . is intentionally produced by the artist to communicate some idea or message. Is this so? Case studies Warhol Danto says Warhol made art purely conceptual Warhol didnt even make or touch some of his art Major theory readings and discussion Bery II ct doesnt provides a satisfactory reason for why art should be protected under the 1st amendment Does uniqueness v. mass production determine whether Mastrovincenzos hats are art? Art v. craft, fashion, commerce? Text v. Image Greater protection of verbal than visual speech Obscenity generally about images Kaplan v. California (1973) allows prosecution of obscene textual material But, A book seems to have a different and preferred place in our hierarchy of values, and so it should be. Child porn exclusively about images Texas v. Johnson, U.S. (1989) Flag burning treated as speech insofar as it is expressive conduct (symbolic speech) Test Is it expressive? Spence test Intent to convey a particularized message? Likelihood great that the message would be understood by those who viewed it? Context of the conduct? If expressive, can the govt still restrict it? OBrien test W/in govts constl power? Furthers an important or substantial govt interest? Govts interested unrelated to the suppression of free expression? Incidental restriction on speech no greater than essential for furtherance of interest? Rehnquists dissent Conflates image with something much larger The American flag has come to be the visible symbol embodying our Nation Armed forces fight and perhaps die for the flag Acknowledges mystical power of the symbol Millions and millions of Americans regard it with an almost mystical reverence regardless of what sort of social, political, or philosophical beliefs they may have. The uniquely deep awe and respect for our flag felt by virtually all of us Case studies Glenn Ligons text paintings Reflect on the difference b/w seeing an image and reading about it dead and two naked children in bed with a naked man Serranos KKK photos What sort of wall text would not influence the meaning of these portraits? Nazi degenerate art show Graffiti-like wall text influenced the perception of the pieces Major theory readings and discussion Adler, The Art of Censorship Contemporary 1st amendment debates must be understood in context of historical iconoclasm and anxiety about visual representation Visual images are frequently perceived as more powerful and less controllable than verbal speech. They do not fit comfortably w/in our current notion of a reasoned, rational marketplace of ideas. Reexamines flag burning in visual terms Power assigned to the flag a kind of idolatry Contradictions Art dismissed as pointless and self-indulgent Yet ferociously resisted Arts dangerousness valuable under the 1st amendment Bypasses reason appeals directly to the senses Freedberg, Idolatry and Iconoclasm from The Power of Images The power of the image, which is fused to its prototype, inspires an impulse to both worship and destroy. Images destroyed for political and religious reasons Nazis as lovers and destroyers of art Those in power seek to control images Images dangerous b/c their effects cannot be controlled Themes Gender Danger of seduction Class Images used to educate but also incite the lower classes/illiterate Religion Images a threat to God Few art historians acknowledge the anxiety surrounding images Think Elgin Marbles Dance Doctrine Miller v. South Bend (7th Cir. 1990) Non-obscene nude dancing performed as entertainment is expression Entitled to limited protection under First Amendment Posners concurrence All or nothing approach All speech should be protected w/o distinction No difference b/w dancing and porn No difference between mediated and non-mediated speech Adler disagrees Dance is expression What it expresses, what it communicates, is, like most art--particularly but not only nonverbal art--emotion, or more precisely an ordering of sights and sounds that arouses emotion. the expression that is relevant to freedom of speech, and absent when the wastebasket is kicked in private, is the expression of a thought, sensation, or emotion to another person. what is really being conveyed is not an idea but a feeling Easterbrooks dissent No expression in dance Unchoreographed But cant draw the distinction between ballet and strippingjust says ballet tells stories I start from the premise that when the Constitution said "speech" it meant speech and not all forms of expression. Otherwise, it would have been unnecessary to address "freedom of the press" separately--or, for that matter, "freedom of assembly," which was obviously directed at facilitating expression. Tensions Art v. Entertainment, High v. Low, Ballet v. Stripping, Good v. Bad (quality), Rational v. Irrational, Ideas v. Emotions, Verbal v. Non-verbal, Choreographed v. Non-choreographed, Speech v. Conduct, Painting/film v. Live performance Barnes v. Glen Theatre (U.S. 1991) Nude dancing is marginally speech G-string regulation passes the OBrien test Govt has interest in protecting societal order and morality Purpose not to regulate public nudity G-string requirement an incidental restriction no greater than necessary to achieve laws purpose Souters concurrence State has legitimate interest in preventing secondary effects Counter to Ashcrofts view about acts caused by speech Scalias concurrence Nude dancing does not even implicate the First Amendment Dissent Fails OBrien test b/c regulation targeted the communicative aspect of the erotic dance Case studies Conduct as art Schneemans Meat Joy and Interior Scroll Chris Burden had his friend shoot him in the arm. Major theory readings and discussion Body is used as the medium Adlers Girls, Girls, Girls (2005) Nude dancing cases are built on a foundation of sexual panic, driven by dread of the female body Doctrine shaped by irrational cultural forces Leads to a cultural theory of the first amendment Photography Vulnerability to censorship Less identifiable as art Created by machine Conflated with reality An assumption of truth More like conduct than speech Most widely accessible form of art Photographs and war Case studies Serrano and Mapplethorpe spurred the culture wars Arbuss freak photographs Major theory readings and discussion Jim Lewiss Front Page Horror Photographer who changed his mind First: How do we vote if we dont see the dead bodies were voting on? Then: Takes pictures of slaughtered people in Congo. No longer function as news become horror porn Sontags On Photography Relationship to reality Proof that something happened Photographers can usurp reality Photographs have become the norm for the way things appear to us, thereby changing the very idea of reality, and of realism. Plurality of meaning that every photograph carries Photographs dont seem deeply beholden to the intentions of an artist. Violence/predatory nature of photography Camera as gun Betrayal of subject To photograph is to appropriate the thing photographed Photographs deaden us Horrible becomes ordinary Anxiety, confusion surrounding originality, creativity, authorship Hard for photographer to have a recognizable body of work Democratizing effect of photography Photography created image-focused world Allowed painting to become abstract Museums, Galleries, and the Public: The Politics of Art Culture Wars and Government Funding of the Arts Culture wars Art a key weapon Able to capture emotion quickly Works well on 24-hour news networks and the internet Inaccessible Hard to understand and easy to assign ideas to Associated with gays, lesbians, people of color, AIDS 1980s and 1990s AIDS a central issue Concurrent to obscenity law Mappelthorp controversy driven by AFA Serranos Piss Christ the first strike in the war Govt funding as attenuated censorship 1st amendment limits on funding choices Rust When govt acts as speaker, it can choose to say one thing and not another Rosendberger When the govt acts as patron to encourage a diversity of views from private speakers, it cant discriminate among them NEA v. Finley, U.S. 1998 Even in the provision of subsidies the govt may not aim at the suppression of dangerous ideas. Govt has more leeway than in traditional 1st amendment case, but criteria not given NEAs enabling statute requirement that Chair take into consideration general standards of decency and respect when awarding grants merely advisory Weakest possible reading Finley argues that standard is viewpoint discrimination Scalia dissenting 1st amendment doesnt apply to funding Preposterous to equate the denial of taxpayer subsidy with measure aimed at the suppression of dangerous ideas Brooklyn Institute of Arts & Sciences v. NYC, EDNY 1999 Sensation featured Virgin Mary with a spot of elephant dung on it Museum wins preliminary injunction against Mayors threat to cut off funds and evict Distinguished from Finley Retaliation, rather than a prospective rejection Govt clearly aiming to suppress dangerous idea Aftermath NEAs budget reduced NEA no longer funds individual artists Case studies Chris Ofilis dung-splattered image Major theory readings and discussion Should the govt fund the arts? No Arts should be supported by the market If not, too bad NEA funding a drop in the bucket of money reqd, so mainly just has expressive value Art a frillbetter to use the money for more basic problems. Yes Serves govt interest by producing an American culture in the international marketplace Arts are a public good or natural resource that needs to be subsidized b/c arts not a quantifiable good Keeps art free from private commercial interests We dont want the only people to have access to art to be the rich and powerful Helps tourism/economy Museums and Galleries: Self-Censorship First amendment doesnt exhaust the inquiry Theres not always govt action Piarowski v. Prairie State College, 7th Cir. 1985 Public colleges administration asks art teacher to move stained glass windows from public gallery to isolated room Posners decision that 1st amendment doesnt apply fact specific Wary of interfering with curatorial choice Still reserving the possibility that the first amendment might apply in some cases Close v. Lederle, 1st Cir. 1970 Sexually explicit artwork removed from public hallway  There is no suggestion . . . that  s art was seeking to express political or social thought . . . . We consider  s constitutional interest minimal. Case studies Smithsonian s Enola Gay exhibit Admitting to alternate viewpoints can be a defeat LeWitt s peephole piece in the Eadward Muybridge show Elizabeth Brouns reaction reflects curatorial choice Library of Congress Back of the Big House exhibit Cancelled Levinthal show of pictures of racist figurines Argued that if hed been black, the show would have been allowed Cf. Matsuda and Jewish Museum Major theory readings and discussion Hughes Art, Morals, and Politics Effect of criticism is to increase value of targeted work Dislikes contemporary art Puritan history Art must somehow be uplifting to good to overcome puritan resistance to sensuality frivolity Mappletorpe only interesting b/c it shows colliding American values Caused paranoia in relations b/w American museums and their funding sources Marked demise of American aestheticism, and revealed the bankruptcy of the culture of theraputics Controversial Public Art: Government Commissions and Monuments Serra v. U.S. General Services Administration, 2d Cir. 1988 Ct allows removal of Serras Tilted Arc from Federal Plaza Artwork may under some circumstances constitute speech for 1st amendment purposes Here, removal not content based No evidence that work expressed an idea Tilted Arcs meaning uncertain Serra is free to express his views through other means Serras concern Just because he sold the govt his work doesnt mean it can destroy the piece Continuing interest in the art Demonstrates doctrine underlying moral rights Public Monuments & Memorials Case studies Liberty Monument in New Orleans What should city do with a remnant of our shameful past? Hide, explain, vilify, put in museum? Maya Lins Vietnam Veterans Memorial Most popular in D.C. Controversial as an anti-war statement Different than new, triumphal WW2 monument 9/11 monuments Debates about memorializing versus analyzing Two alternatives mentioned in IFC mission statement Who is it for? Families? Present? Future? Major theory readings and discussion Levinsons Silencing the Past: Public Monuments and the Tutelary State State as participant Should state ever be censored? Prevented, perhaps by the force of law, from articulating certain sentiments? People with views opposed to the states often silenced Drowned out by state which has superior economic resources and ability to legitimate it arguments Sacred spaces How to use space that is limited and special Most public monuments occupy cultures sacred space (e.g., Capitol grounds, official cemeteries, important parks or streets) Often most controversial Nature of historical memory Remember past just as it was or through the lens of experience? Subverting official stories Argument ultimately goes to show that meaning cant be controlled, even by the govt Example of racists that might still treat the Liberty Monument as iconic Monuments are part history, part art INTELLECTUAL PROPERTY IN ART Moral Rights of Artists Civil law policies Integrity Can prevent alteration of work Attribution/paternity Both an affirmative and negative right Disclosure/divulgation Artist retains right to determine when work is finished and only display it then Retraction or withdrawal Artist can have work returned Moral rights can t be waived U.S. law Very resistant Conflicts with property and contract Can interfere with 1st amendment rights Wojnarowicz v. AFA, SDNY 1990 By vindicating  s rights under NYs VARA-like law, ct limited AFAs 1st amendment right to express itself graphically Fair use should cover AFAs actions State law California Focuses on integrity and publics interest in art Applies to fine art of recognized quality Unique works, not reproductions All art whether publicly or privately held Destruction forbidden Except by artist Right assumed to be waived if work cant be removed from building w/o damaging building Duration Artists life +50 years Descends to heirs New York Focuses on attribution/paternity Integrity protected to extent it harms artists reputation Applies to fine art and reproductions Only work that is publicly displayed Destruction permissible Duration Artists life Decided Wojnarowicz v. AFA, SDNY 1990 Visual Artists Rights Act (VARA) Preemption unclear States with more expansive rights may not be preempted Protects Integrity Attribution Applies to works of visual art Only some photography No reproductions Destruction not allowed for works of recognized stature Rights can be waived, but not transferred Thus belong only to artist Duration Authors life for works created on or after 6/1/91 Life + 70 for works created before 6/1/91 and title not transferred No protection for works created prior to 6/1/91 and title transferred Modification only actionable when caused by gross negligence Case studies Lobby sculpture Carter v. Helmsley-Spear (2d Cir. 1995) Lobby sculpture exempted from VARA as a work for hire Illustrated U.S. discomfort with saddling a later owner with work acquired by a prior owner Queen Catherine sculpture Flack v. Friends of Queen Catherine Inc., SDNY 2001 VARA doesnt protect modification due to aging or an artists right to protect work Only protects preliminary models from grossly negligent conservation Major theory reading and discussion Merrymans The Refrigerator of Bernard Buffet Moral rights protect interest of both the artist and the public with negligible social cost Contract law puts onus on artist instead of buyer Public interest Seeing art as it was intended to be seen Preserving authentic aspects of culture Property rights are created by law, so they should not be dispositive Hansmann & Santillis Authors and Artists Moral Rights Non pecuniary rationales for moral rights Work of art is an extension of the artists personality Art as artists child Related to personal reputation Pecuniary rationale Reputation can have pecuniary component for artists Analogous to franchise Collectors, galleries, and museums invest in artists good name Public interest rationale Interest in common reference points Shared vocabulary Adlers view Moral rights arguments nave Perpetuates myth of genius author Artist not necessarily the best person to determine publics interest Theres value in destruction Literal E.g., Raushenberg erasing a deKoonig drawing as his art, 1953 Metaphoric E.g., destroying DuChamps Fountain in the same spirit that DuChamp Moral rights law doesnt account for editing, curatorial choices Especially if presentation changes works meaning Destroying it, in a sense Copyright Law and the Problem of Postmodernism Bleistein Come to stand for idea that cts should not make judgments about value of art Conflicts with postmodernism Originality requirement Conflicts with tradition of artistic allusion, rejection of singular artist concept E.g., Bernadette Corporation as artist Idea/expression dichotomy Infringement Steinberg v. Columbia Pictures, SDNY 1987 Moscow on Hudson movie poster case Tests for whether an average lay observer would recognize the copy as having been appropriated from the copyrighted work Substantial similarity Essentially allows an artists style to be copyrighted Case rarely followed Fair use 107 test Purpose and character of the use Commercial? Non-profit educational? Transformative per Acuff-Rose? Parody? Nature of the copyrighted work Amount and substantiality of the portion used Effect of the use upon the potential market for or value of the copyrighted work Focuses on harm as a market substitute for a licensed derivative work Totally unpredictable! Case studies Koons String of Puppies Also example of bad lawyering affidavits alienate court Ct finds substantial similarity and no fair use Sculpture made for profit (semi-moot after Acuff-Rose) No parody b/c underlying work not known and parody not acknowledged by parodist Princes Spiritual America and Levines After Walker Evans Comment on originality in a culture of infinite reproduction Conceptual transformations rather than visual alterations Ideas not covered by copyright law Cease and desist letters Removes copyright law from courts Letters to Vera & Adler Major theory readings and discussion Benjamins The Work of Art in the Age of Mechanical Reproduction Presence of the original is the prerequisite to the concept of authenticity But photography can make changes to the original, i.e., the subject The authority of the object is jeopardized when the historical testimony is affected That which withers in the age of mechanical reproduction is the aura of the work of art Mechanical reproduction destroys distance and thus aura Reproductions detached from the domain of tradition Liquidation of cultural heritage Uniqueness of a work of art is inseparable from its being embedded in tradition No such thing as an authentic photograph When authenticity ceases to be applicable to artistic production, the function of art is reversed. Instead of ritual, its based on politics Speakers Joy Garnett and Marjorie Heins Garnetts Riot show featuring Molotov based on a photo by Meiselas Issues of fair use and originality Different rationales for why people make art Copyright law sees it as purely economic Joy Garnett says its not the money Moral rights advocates see a desire for attribution Right of publicity Background State law of recent origin Right to control commercial use of your identity Gives rise to cause of action in tort In tension with First Amendment Speech v. commerce Status of art as speech is recurring inquiry Comedy III Productions v. Saderup, Cal. 2001 Test Does the marketability and economic value of the challenged work derive primarily from the fame of the celebrity depicted? or the creativity, skill, and reputation of the artist? Implies that publicity is an economic right Here, realistic depiction of the Three Stooges hurts the artist Public allowed to parody, lampoon public figures The more transformative the work, the less likely it interferes with the economic interests protected by the right of publicity Simeonov v. Tiegs, N.Y. 1993 Narrowly construes the statutory right when first amendment is implicated Dissemination for profit not the sole determinant of what constitutes trade under the statute Publicity v. privacy Hoepker v. Kruger, SDNY 2002 Dabney, subject of a photograph by Hoepker, alleges that privacy is violated when Whitney Museum makes advertisements and knickknacks of the Kruger collage featuring the Hoepker picture  must show Use of name, portrait, picture, or voice For advertising purposes or purposes of trade w/o consent w/in NY Free speech trumps right to privacy in matters of public interest or newsworthiness Kruger collage pure speech Museum catalog picture pure speech Advertisements are ancillary use Exception protects ads in connection with a use protected by First Amendment Knickknacks considered art insofar as they reflect art displayed in the museums gallery Profit alone does not determine trade or advertising purpose Policies Protects against unauthorized product endorsement Marketplace of ideas works best when we know who is speaking Public interest in a shared culture ETW v. Jireh, 6th Cir. 2003 Sports celebrities (Tiger Woods) are an important element of the shared communicative resources of our cultural domain Even pure commercial speech entitled to first amendment protection Art considered a transformative fair use Case studies Jack Pierson v. Simon Doonan THE ART MARKET Authenticity Arts value depends on authenticity Forgeries and erroneous attribution Many Rembrandt paintings reevaluated and reattributed A magical, irrational way of viewing a physical object Its aura, per Walter Benjamin Impulse to own art (privately or nationally) is a testament to its power Standards of authenticity Artistic Connoisseurship Evaluations by expert scholars or curators Judgment by expert boards or committees Provenance Scientific evidence Better at dating than detecting artists style Generally trumps legal standards Greenberg Gallery v. Bauman, D.D.C. 1993 Perls expert testimony makes Calders Rio Nero mobile a forgery, despite judges finding that its authentic Can even trump artists claim Arnold Herstand v. Gertrude Stein, Balthus drawing found to be authentic despite artists written statement that it was fake Legal A preponderance standard (more likely than not) Applied in Greenberg Gallery Rarely litigated Generally handled at contract stage Claims Expert failed to exercise reasonable care, product disparagement, contract breach, common law fraud and negligent misrepresentation, false advertising/consumer fraud, defamation, Lanham Act, Sherman Act, criminal prosecutions for forgery Warranties and seller liability Kirby v. Wildenstein Expert appraiser accused of starting a whispering campaign saying a Mirot painting was either a fake or skinned Struna v. Wolff Negligent appraisal claim about a statue New York law requires a special relationship to show that an appraiser was hired to evaluate a work Buyer couldnt rely on Met Museum curators statements when he wasnt party to the contract Restoration Can damage art Case studies Warhol Board Odd that authenticity is so important for an artist that disclaimed originality Warhol quotes Why dont you ask my assistant Gerard Malanga some questions. He did a lot of my paintings. This is not by me. Andy Warhol. Seydou Keita photographs What part of a photograph is authentic? The negatives? Prints? Rembrandt Worked with many people under him. Some similarity to Warhols factory. Rembrandt school pictures can be as beautiful as Rembrandts Getty Kouros Neither scientists nor experts can conclude if it is ancient or a brilliant modern forgery Japanese temple that has been rebuilt every few years for centuries Damian Hearst piece Trash in a gallery Major theory readings and discussion Jo Baird of Christies presentation Christies operates in the secondary market Auction house limits its fiduciary duty to seller through contract Christies serves at least two other constituencies Buyer Public Most open part of art market The auction house is where prices get set People use it as a public utility Christies protects itself from inauthentic works on both the buyer and seller end Inauthenticity generally handled out of court Looted Art Who owns art? Cosmopolitanism Global interest in common background Cant trust whatever regime is in power to protect E.g., Taliban destruction of Buddhas Access v. ownership Think Merryman Nationalism Art has a connection to its context and people Cultural implications Idolatry and iconoclasm Cultural magic inherent in the authentic? Restitution Sometimes represents a public/private division Individuals pitted against museums U.S. law Nobody (not even a good faith purchaser) can obtain good title to stolen property. Owner of stolen property always has right to reclaim unless barred by statute of limitation Defenses to restitution Statute of limitation Generally starts when  knew or should have known where property was located In NY, starts when  demands property and possessor refuses to give it Some duty on  to use due diligence, per Deweerth (If suing their, starts at theft) In CA, starts when  actually discovers property s location. Extended to 2010 for Nazi-looted art. Laches Equitable defense.  has to show  not diligent in pursuing claim and claim brought prejudice to . Foreign Sovereigns Immunity Act Exception to immunity when property taken in violation of international law are at issue and the property is in the US in connec LMu   $ _ a ? @ ` f ȽwlaaaVho2hYrlCJaJho2hzCJaJho2h(pqCJaJho2h!;CJH*aJho2hw6CJaJho2hwCJaJho2hz6CJaJho2h!;6CJaJho2h!;CJaJho2hz` CJaJh`CJaJho2hXCJaJho2hX5CJaJho2h{S(5CJaJho2hz` 5CJaJ&01MZjv  $ + > }  & Fgd!; & Fgd!; & Fgd!; & Fgd!; & Fgd` & Fgd` & FgdX & FgdX & FgdX & FgdX8^8gdz` $a$gdz` b8b 3 l @ w  # 8 w  & Fgd!; & FgdQ & FgdQ & FgdQ & Fgdw & Fgdw & Fgdz & F gdz & F gdz & Fgdz & Fgdz & Fgd!; & Fgd!;f v w    # 0 8 = M v w )*67Bm !6EFѺэwlaVэKho2hjRCJaJho2htqCJaJho2htCJaJho2hYrlCJaJho2h!;CJaJho2h YQCJaJho2hx%CJaJho2h8a6CJaJho2h8aCJaJho2hQCJaJho2hQ6CJaJho2h3CJaJho2hwCJaJho2hw6CJaJho2hzCJaJho2hYrl6CJaJ *7nz!F|5q & Fgd.6 & Fgd.6 & Fgd & Fgd & Fgdx% & Fgdx% & Fgdw & Fgdw & Fgd!; & Fgd YQFQS|5@IpqhiKɾ{peZeOho2hAFCJaJho2hQCJaJho2hjRCJaJho2htqCJaJho2hPoCJaJho2hhCJaJho2hUCJaJho2h6CJaJho2hCJaJho2h.6CJaJho2h CJaJho2h CJaJho2hCJaJho2hMCJaJho2h YQCJaJho2hx%CJaJin-Kc Rh( & Fgdr  & Fgdr  & FgdB & Fgd4O & Fgd4O & Fgd|z & FgdjR & FgdjR & FgdjR & Fgdtq & Fgd.6 & FgdU KQRhiy'(tualrȽ|qfZfOho2h5CJaJho2h#;$6CJaJho2h#;$CJaJho2h4hCJaJho2hjB*>*CJaJho2hjB*CJaJho2hBCJaJhFQhFQ6CJaJhFQCJaJho2hr CJaJho2hD.CJaJho2hz` CJaJho2h4OCJaJho2hu6CJaJho2huCJaJho2h|zCJaJ([u@a5McP & Fgd%B & Fgd&j & Fgd&j & Fgdr  & Fgdr  & Fgd5 & Fgd#;$ & Fgd4h & Fgd4h & Fgd4h & Fgdr  & Fgdr 5McuP ?crȼynbWbWLyho2h 1CJaJho2hqCJaJho2hq6CJaJho2ht CJaJho2h*6CJaJho2h%BCJaJho2h&jCJaJho2hFCJaJho2hBCJaJho2hz` CJaJho2hz` 6CJaJho2hr CJaJho2hi.CJaJho2h4hCJH*aJho2h4hCJaJho2hyCJaJ Cm?czX & Fgd@B & FgdJ 9 & FgdQU & FgdQU & Fgd 1 & Fgd 1 & Fgdq & Fgdt  & Fgd%B & Fgd%B & Fgdz` WXyz.?@LѺxxlaaVlho2h-2CJaJho2hBCJaJho2hs6CJaJho2hxCJaJho2hCJaJho2h@BCJaJho2h1CJaJho2hJ 9CJaJho2hQUCJaJho2hQU6CJaJho2hsCJaJho2h*CJaJho2hz` CJaJho2hz` 6CJaJho2h*6CJaJ!t@L@S & Fgdxl$ & FgdN & Fgd-2 & Fgd-2 & FgdB & FgdF4F & Fgds & Fgds & Fgds & Fgd1 & Fgd1@ASl k!l!s!!!!!"Q"""""ɾ{peZODho2hsCJaJho2h<CJaJho2h14CJaJho2hPO CJaJho2hCJaJho2hUCJaJho2h_>CJaJho2hJ 96CJaJho2hJ 9CJaJho2hF4FCJaJho2hX{CJaJho2hEsCJaJho2hCJaJho2hh?CJaJho2hxl$CJaJho2h*nCJaJho2hNCJaJ $ l !M!l!!!"Q""""# & Fgds & FgdaI & FgdPO  & Fgd & Fgd_> & Fgds & FgdaI & FgdF4F & FgdF4F & FgdEs & FgdN & Fgd & Fgdh?""##$%0%1%x%%%%%%a&&&&&&&&&&&&&&<'v'w'''ǼǼǼxlxxaUho2h5%s6CJaJho2h5%sCJaJho2h06CJaJho2h0CJaJho2h$CJaJho2hfCJH*aJho2hfCJaJho2huke6CJaJho2hukeCJaJho2h CJaJho2hv%CJaJho2hz` CJaJho2h\CJaJho2hsCJaJho2hs6CJaJ #:#{#####$9$_$$$$%1%K%x%%%%& & Fgd  & Fgd  & Fgdv% & Fgdv% & Fgdv% & Fgd\ & Fgd\ & Fgds & Fgds & F gds&%&9&L&a&&&&<'w'''''(7(Y(}( & FgdP & Fgd4 & FgdY & FgdY & Fgd5%s & Fgd5%s & Fgd & Fgd$ & Fgd  & Fgdv% & FgdC & Fgd  & Fgd ''''(/(6(7(X(Y(}(()9)R)k)})))))#*/*9*A*Z*[*ƻҰyncXMho2hJCJaJho2hHCJaJho2hkcCJaJho2hCJaJho2hCJaJho2h] CJaJho2hL+CJaJho2h\vCJaJho2hCJaJho2hPCJaJho2h4CJaJho2h 6CJaJho2h CJaJho2hYCJaJho2h5%sCJaJho2hB6CJaJ}((()9)R)k)}))))*#*A*[****+ & Fgd} & FgdJ & Fgd  & Fgdn & Fgdkc & Fgd & Fgd & Fgd4 & Fgd]  & FgdP & Fgd\v & Fgd[********+++++p++++3,,,,,,-..ȽzodYMYozBho2hvCJaJho2h5CJaJho2hCJaJho2hg8CJaJho2h&CJaJho2hm"CJaJho2hfWCJaJho2h6@CJaJho2h4a CJaJho2h CJaJho2h[sCJH*aJho2h[sCJaJho2h[s6CJaJho2h!CJaJho2hCJaJho2hHCJaJho2h}CJaJ+Q+p++++3,O,n,,,,-.(.;.... & Fgd- & FgdMn & FgdMn & Fgd  & Fgdm" & Fgdg8 & Fgd & Fgd & Fgd6@ & FgdfW & Fgd6@ & Fgd4a ...../ //!/+/,////000;0=0G0H00H1d1|1112ɾyncXMho2h'.CJaJho2h>pCJaJho2haCJaJho2hHCJaJho2h8ICJH*aJho2h8ICJaJho2h: CJH*aJho2hu}CJaJho2h*wCJaJho2h*w6CJaJho2h: CJaJho2hz` CJaJho2h$CJaJho2hvCJaJho2h-CJaJho2hMnCJaJ./ //,/e/t///000H0l0000H1d111 & Fgd>p & FgdH & Fgd8I & Fgd:  & Fgd:  & Fgd:  & Fgd:  & Fgd*w & Fgdu} & FgdMn1112R222223i33 4444:5O5 & Fgd8I & Fgd*w & Fgd>1 & Fgd>1 & FgdmJ & Fgd! & Fgd$ & Fgd$ & Fgdf1 & Fgd$ & Fgd'. & Fgd'.2R2j222222222333h3i3w3~33333333 4ȹȹ|pe|e|THT|ho2h!CJaJ jho2h!CJUaJho2hmJCJaJho2hmJ6CJaJho2h!CJaJ ho2h$B*CJaJphho2h$CJaJ)jho2h$B*CJUaJphho2h$B*CJaJphho2h$CJaJho2hf1CJaJho2hL+6CJaJho2hL+CJaJho2hl2DCJaJ 444 4,4?4@4A4O4P4X4f44444442595:5E555Ֆեuj^juSH=ho2hlCJaJho2hCWBCJaJho2h'.CJaJho2hz` 6CJaJho2hz` CJaJho2h8ICJaJho2h$CJaJho2h>1CJaJho2h>16CJ]aJ&jho2h>16CJU]aJho2h>16CJ]aJho2h>1CJ\aJho2h>1CJaJ#jho2h>1CJU\aJho2h>1CJ\aJO5Z5|55556K6r6667x77488099 & FgdL+ & Fgd$ & Fgd$ & Fgda & Fgd8I & Fgd;Q & Fgd|V & Fgdyr & Fgd'. & FgdCWB & FgdCWB & FgdCWB56K66677 7!7p7x777777384888/90999ԾsdYJ?ho2hL+CJaJho2hL+B*CJaJphho2h$CJaJho2h$B*CJaJphho2hB*CJaJphho2haB*CJaJphho2hCJaJho2haCJaJho2hz` 6CJaJho2hz` CJaJho2h8ICJaJho2hauCJaJho2h;QCJaJho2h|VCJaJho2hyrCJaJho2h'.CJaJ999::O:a:{:::::;{;;9<F<_<y<< & Fgd/ & Fgd/ & FgdZw & FgdZw & Fgd & Fgd & Fgda & Fgda & Fgd 9 & Fgd 9 & Fgd 99:;;;;;.;/;0;D;z;{;;;;;;;2<3<9<F<^<_<l<n<w<x<ȳȗȌvk`kTI`Iho2hCJaJho2h/6CJaJho2h/CJaJho2hZwCJaJho2hUNbCJaJho2hz` CJaJho2hCJaJho2hL+CJaJ ho2hB*CJaJph)jho2hB*CJUaJphho2hB*CJaJphho2hL+B*CJaJphho2h 9B*CJaJphho2h 9CJaJ<=V===>6>q>>>>>?9?Y??K@z@@AjAA & Fgd7Fb & Fgd7Fb & Fgd & FgdZw & Fgd: & Fgd: & Fgd: & Fgd/ & Fgd/x<V=v=>%>5>6>p>q>>>>>>?$?9?t?v?1@3@jAA>CJCKCRC~CCC4D6DADDDDDDǼǼyyncho2hZwCJaJho2h!DCJaJho2hT[CJaJho2h8CJaJho2h7FbCJH*aJho2h]aCJaJho2hiCJaJho2hCJaJho2h7FbCJaJho2hCJaJho2h6CJaJho2h:CJaJho2h:6CJaJho2h/CJaJ%AABBBdBBBB2C>CKCRCCCCADDDDD & Fgd]E & FgdZw & Fgd!D & Fgd7Fb & Fgd*H & Fgd & Fgd7Fb & Fgd: & Fgd: & Fgd:DDDE)E`EfEEEEEFSFeFkF|F}FFFFFGJGQGWGDHXHHHHHHHHHȽߦxxxmbWbWbWmho2hLCJaJho2hrojCJaJho2h"j&CJaJho2hxCJaJho2hN6CJaJho2hNCJaJho2hyg6CJaJho2hygCJaJho2h~CJ\aJho2h~CJaJho2h:#CJaJho2h:#6CJaJho2h$CJaJho2h]ECJaJho2hn|CJaJ"DE`EEEFfFkF}FFFGGJGWGsGGGDHXHH & Fgd"j& & Fgdx & FgdN & FgdN & Fgdyg & Fgdyg & Fgdyg & Fgd~ & Fgd:# & Fgd$HHI,II!J.JLJJJJ'K@KKKKEL M3MaM & Fgdpc & Fgd_ & Fgd6F & FgdW  & FgdEa3 & FgdEa3 & Fgdse_ & Fgdn| & Fgd]E & Fgd"j& & Fgd"j&HH,II J!JKJMJJ'KKKKKKKKDLEL M3MXM`MaMMMMMN̮uj_T_jIho2hzvCJaJho2h@W0CJaJho2hpcCJaJho2h_CJaJho2hf?CJaJho2h6FCJaJho2hy CJH*aJho2hy CJaJho2hW 6CJaJho2hW CJaJhEa3CJaJho2hse_CJaJho2hn|CJaJho2hrojCJaJho2hLCJaJho2h"j&CJaJhvCJaJaMpMMMMNYNNNODO|OOOOOOOPFP[P & Fgd  & Fgd  & Fgd8+j & Fgd8+j & Fgd & Fgd@W0 & FgdW  & FgdZ & Fgd_ & Fgd6FN(N?NDNXNYNNNOCODOP[PaPjP~PPPPPQ QQQ4Q5QdQQQȽӲޜynncXnXMXho2h\CJaJho2hd^CJaJho2h#CJaJho2hcCJaJho2h( CJH*aJho2h( CJaJho2h( 6CJaJho2hSCJaJho2h CJaJho2h8+jCJaJho2hcCJaJho2hCJaJho2h@W0CJaJho2h/CJaJho2hW 6CJaJho2hW CJaJ[PaPjPPPQQ5QdQQQQQRSSSSSS & FgdX & Fgd\ & Fgd* & Fgd* & Fgd\ & Fgdd^ & Fgdc & Fgdc & Fgd(  & Fgd(  & FgdS & FgdZwQQQR?SQSRSSSSSSS(TZUcU,V-VLVbVcVoVVVƺԯꯤꙎxl^SHho2hv&CJaJho2hVCJaJho2hd^56CJaJho2h( 6CJaJho2hQ8CJaJho2hd^CJaJho2hCJaJho2hGWCJaJho2hXCJaJho2hcCJaJho2h`CJ]aJho2h`6CJ]aJho2h`CJaJho2h*CJaJho2h\CJaJho2h}CJaJS(TZUcULVoVVVV WWWWX#X\XdXX & FgdQ8 & Fgd* & Fgd* & FgdV & FgdV & Fgdv& & Fgdd^ & FgdV & Fgdd^ & Fgd\ & Fgd\ & FgdQ8VVWWWXXX"X#X'XcXjXqXXXXXYY5Y6Y[YvY~YYYYYZZ[ZݻxlaVho2hSCJaJho2h-CJaJho2h( 6CJaJho2huOCJaJho2hZCJaJho2hQ8CJaJho2h( CJaJho2h\CJaJho2h(26CJaJho2h(2CJaJho2h*CJaJho2hV6CJaJho2hVCJaJho2hv&CJaJho2hv&6CJaJXXXY6Y[YvYYY(Z[ZgZZZZZZZ[2[?[ & Fgd%J & FgdR & FgdV & FgdZw & Fgd- & Fgd\ & FgdQ8 & FgdQ8 & Fgd\ & Fgd\[ZfZgZZZZZZZZ[1[2[?[p[[[[[\\\\\\\]]]ɾɳ߾{o{dYdYNYho2hikCJaJho2h#ZCJaJho2hCJaJho2h&6CJaJho2h&CJaJho2hzk6CJaJho2hzkCJaJho2h~CJaJho2h8CJaJho2hXCJaJho2h}CJaJho2h%JCJaJho2hVCJaJho2hRCJaJho2h/CJaJho2hW CJaJ?[q[[[[[8\\\\\ ]]]^0^>^R^^^^^ & Fgd? & Fgd+Q & Fgd#Z & Fgd & Fgdzk & Fgdzk & Fgdzk & Fgdzk & Fgd~]^0^=^>^R^^^^^^8_[_________````aaaaɾ߳|q|fq[P[P[P[ho2h%jCJaJho2hTCJaJho2hj6>CJaJho2hz` CJaJho2huCJaJho2hQ CJaJho2h"bCJaJho2h#$CJaJho2h6rCJaJho2h?CJaJho2hY CJaJho2h|CJaJho2h&CJaJho2hzkCJaJho2h+QCJaJho2hA4CJaJ^8_\____``/`O`````aa8a^aa & Fgd%j & Fgd%j & Fgd%j & FgdT & FgdT & FgdT & FgdT & Fgdu & Fgdu & Fgdu & Fgdzk & Fgd#$aaaa1b>bbb3ccd7dqdddeSee & FgdFZv & FgdFZv & Fgdm & Fgdm & FgdU, & Fgd & Fgd & FgdU, & Fgd^i & Fgd%j & Fgd%j & Fgd%j & Fgd%jaaaaa1b>bbbbbbccccccccdd7dqdwddddddddddddeCeFeReTe]e^eeeee躯ݺݺݺݺݺłwwwwho2hFZvCJaJho2hFZv6CJaJho2h<CJaJho2hmCJaJho2hPfCJaJho2hCJaJho2hU,CJaJho2hT6CJaJho2h%j6CJaJho2h%jCJaJho2hTCJaJho2hTCJH*aJ.eeeeeefff:fXffffg&g'gdgmgggPiQiwixiiiiiiiijj)k9kk.m{o{c{c{o{c{ho2ht#CJH*aJho2ht#6CJaJho2ht#CJaJho2hCCJaJho2hb|CJaJho2heCJaJho2huCJaJho2hj6>CJaJho2hb>CJaJho2hPfCJaJho2hVCJaJho2hT6CJaJho2hFZvCJaJho2hTCJaJ&eef7fhfrfffffg'g*gQgaggggQhhh;iQi & Fgdb| & Fgd & FgdFZv & FgdF6 & FgdFZv & FgdFZv & FgdFZv & FgdFZvQixiiiijjjj)kIkk0mJmmm/nennno0o & Fgdm & Fgdm & FgdxX & Fgdb| & Fgdt# & Fgdt# & Fgdt# & Fgdt# & Fgdb| & Fgdu.m0mJmfmmennn0oToUo]ovowooooooop+p/p5p8p9p|p}pp/qmqnqqqqqɾ곧{pdpdpho2hqW6CJaJho2hqWCJaJho2hj6>CJaJho2h#WCJaJho2h-1CJaJho2hMswCJaJho2hg&6CJaJho2hg&CJaJho2hmCJaJho2h %CJaJho2hekCJaJho2hxXCJaJho2hb|CJaJho2hCCJaJ#0oUowoooo9p}pp/qnqqq9rYrrrrr7s & FgdqW & FgdqW & FgdqW & FgdqW & FgdqW & Fgd#W & Fgd#W & Fgd-1 & FgdMsw & Fgdg& & Fgdb|q r"r$r9rJrrrsssstt-tSttttt+uUuzuuuu轲{peZNho2hz` 6CJaJho2hz` CJaJho2hn0HCJaJho2hm5cCJaJho2h=+CJaJho2hn=CJaJho2hJCJaJho2hyO%CJaJho2hwCJaJho2hj6>CJaJho2h!yCJaJho2hqW6CJaJhCJaJho2hqWCJH*aJho2hqWCJaJho2hqW>*CJaJ7sVssssst-tSthttttt+uUuzuuu & Fgdm5c & FgdJ & Fgdm5c & Fgdn= & FgdyO% & FgdJ & Fgdw & Fgdw & Fgdu & FgdqW & FgdqWuuuuuuuCvvvwwwwwx*x+xxxx y y'yyyǼǛǐznbWLAho2hqBCJaJho2hISdCJaJho2hz` CJaJho2hJ5CJaJho2hz` 5CJaJho2hY,CJaJho2hyO%CJaJho2h7_CJaJho2h>uCJaJho2hfCJaJho2hDy}CJaJho2h}CJaJho2hMCJaJho2hCJaJho2hm5cCJaJho2hJCJaJho2hJ6CJaJuuCv{vvvwwwwx+xxxxx y'y & FgdJ & FgdJ ^ gdY, & FgdY, & Fgd7_ & Fgd7_ & Fgd>u & FgdM & FgdDy} & Fgd} & Fgd} & Fgd & Fgd'y:yDycyyyyyzBz~zzzz2{{{V|{|||| & Fgdg & Fgdg & Fgd$=- & Fgd$=- & Fgd$=- & Fgdc & FgdqB & FgdISd & FgdISd & FgdAyzz~zzz2{Z{^{{{{|||%|'|{||||};}P}Q}b}}}}}߾ߓ}rg}g\Q\ho2h:,SCJaJho2h^CJaJho2h>CJaJho2hx7CJaJho2h3"CJaJho2hgCJaJho2hACJaJhDCJaJho2h$=-6CJaJho2h$=-CJH*aJho2h$=-CJaJho2hcCJaJho2h=5CJaJho2hISdCJaJho2hqBCJaJho2hCJaJ||};}Q}b}}}}}}~S~{~~~~~~ & FgdISd & Fgdz&N & FgdnV? & Fgd  & Fgdg & Fgd:,S & Fgd:,S & Fgd> & Fgd3" & Fgdg}S~~~~~~~~~~`hiJWg!:;co‚Â+67YZ[Խ߲߲ynncWcho2hz` 6CJaJho2hz` CJaJho2h!?CJaJho2hj*6CJaJho2h#CJaJho2h#6CJaJho2hj*CJaJho2hqBCJaJho2h_CJaJho2hISdCJaJho2h46CJaJho2hz&NCJaJho2h4CJaJho2hnV?CJaJho2h CJaJ!)`is,GPǀ JWgŁ! & Fgdj* & Fgdj* & Fgd# & FgdqB & FgdqB & FgdqB & Fgd_ & Fgd4 & Fgd4!;oÂ,[#K˄.Dcw… & Fgd_i & Fgd_i & Fgd_i & FgdM & FgdJ & Fgd80k & Fgd# & Fgd!? & Fgdj* & Fgd#[KɄ˄R^_&U_45\IbԽ경zocXMXBXho2hlCJaJho2hj\CJaJho2hVCJaJho2hV6CJaJho2h(CJaJho2h!>NCJaJho2hzg CJaJho2hZg!CJaJho2hZg!6CJaJho2hz` CJaJho2hCCJaJho2h_iCJaJho2h#6CJaJho2h#CJaJho2hMCJaJho2h80kCJaJho2hJCJaJ…@R_| GRڇ &U_Ɉ & FgdZg! & Fgdzg  & FgdC & Fgd_i & FgdC & Fgdzg  & Fgd_i & Fgd_i5\vЉIbŠ.M{̋ & Fgd( & Fgd!>N & Fgd!>N & Fgdly & Fgdly & FgdV & FgdV & FgdV & FgdZg! & Fgd( & FgdZg!Š$%-.LM̋)56=N?IZhz{Խ߽ߧߑ߅߅znznbznWho2hrCJaJho2hr6CJaJho2h8H6CJaJho2h8HCJaJho2h!>N6CJaJho2hZg!CJaJho2hx;CJaJho2hECJaJho2h;iCJaJho2h(CJaJho2h`6CJaJho2h`CJaJho2h!>NCJaJho2hVCJaJho2hlyCJaJ̋)6O@{.PhΎ & FgdT & FgdV & Fgd8H & Fgdr & Fgdr & Fgd8H & Fgd!>N & Fgd!>N & Fgd!>N & Fgdzg  & Fgdx; & FgdE-.h͎ΎI|}Ȑ2ߒԽ{p{eZOho2hECJaJho2hzg CJaJho2h[*CJaJho2hQBCJaJho2h}@CJaJho2h.CJaJho2h!2CJaJho2hoDCJaJho2hq4CJaJho2h6NCJaJho2hrCJaJho2h!QCJaJ`I}̑2_ߒ & FgdE & FgdC & Fgd[* & Fgd[* & FgdV & FgdV & Fgd}@ & FgdQB & Fgd!2 & FgdoD & FgdT & FgdTIoϓY}!Rҕ9ɖ & Fgd| & Fgd2 & Fgd2 & Fgd2 & Fgd & Fgd & Fgd & FgdV> & Fgdzg  & FgdEϓ !RҕȖɖ,yțȽȧyncncXcnynLnho2hlCJH*aJho2hi <CJaJho2h?CJaJho2hlCJaJho2hl6CJaJho2hECJaJho2h26CJaJho2h>vCJaJho2h2CJaJho2ht-CJaJho2hECJaJho2hCJaJho2h6CJaJho2hV>CJaJho2hzg CJaJho2h|CJaJɖjƘޘ̙ ,yҚKț@ & Fgdl & Fgdl & Fgd| & Fgd? & Fgdi < & Fgd? & Fgd?ț@՜֜לr{ǝ U]8>@XlmnyLɽɦ}q}q}f}[}[}q}ho2h,CJaJho2hCJaJho2h(Ye6CJaJho2h(YeCJaJhv{CJaJho2h ZCJaJho2hXLCJaJho2h-CJaJho2h]5CJaJho2hz` 5CJaJho2h]CJaJho2h|CJaJho2hV>CJaJho2h?CJaJho2h^@CJaJ#ל;rǝ*3Cn & Fgd(Ye & Fgd Z & Fgd- & Fgd] & Fgdv{ & Fgd- & FgdXL & Fgd- & FgdD & Fgd] & Fgd] & Fgd].ޟ8>nȠס\l & FgdD & FgdD & Fgd]gd- & Fgd- & Fgd- & Fgd- & Fgd Z & Fgd Z & Fgd Z & Fgd(Ye & Fgd(YeLMaop|}٣ڣFGijäQ^$R`md٧ɘԅ}rrjrjr_Tho2h[CJaJho2hqCJaJhDCJaJho2h#/CJaJh"f+CJaJh oCJaJho2h CJaJho2h ZCJaJho2hbCJaJhbhbCJaJhbCJaJhNCJaJho2hNCJaJho2hNFCJaJho2hDCJaJho2h-CJaJho2h(YeCJaJ Uap}ڣGjäͤQ^ & Fgd o & FgdNF & Fgd  & Fgd  & Fgd Z & Fgdb & FgdN & FgdN & FgdD & Fgd] & FgdD$Imܦ:d٧ 0U & Fgd< & Fgd  & Fgdvf & Fgdvf & Fgdvf & Fgdq & Fgd#/ & Fgd#/ & Fgd#/ & Fgd#/ & Fgd Z & Fgd] & Fgd"f+٧0Шܨ !)9coɩʩ"$x̬ܬެ"\\\ʺ҆{skikahACJaJUh7CJaJh>.CJaJh>.h CJaJh h 6CJaJhU@FCJaJhtJwCJaJhp+ICJaJhQ0CJaJh3Y?CJaJh_CJaJhEa3CJaJh<CJaJh CJaJhz` CJaJhvfhz` CJaJhvfCJaJho2hqCJaJ"UШܨ !9coʩ:$P & FgdU@F & FgdU@F & Fgdp+I & Fgdp+I & FgdtJw & FgdQ0 & FgdtJw & Fgd_ & Fgdvf & Fgd  & Fgd< & Fgd<xެ"#\\\]']X]r]]] & Fgd  & Fgd & FgdtJw & FgdtJw & Fgd  & Fgdf- & Fgd7 & Fgd7 & Fgd7 & FgdU@F & FgdU@F & Fgd  & FgdU@Ftion with a commercial activity or the property is owned by an agency of a foreign country that is involved with commercial activity in the U.S. Can apply retroactively, per Austria v. Altmann, U.S. 2004 Opens door to lawsuits against govts for looting done before FSIA enacted Nazi looted art Nazi Art Confiscation Program an official policy Seized 250K pieces of art Seizures can sometimes be detected by gaps in a works provenance Two classes of art Degenerate Modern, non-representational Sold it to get it out of Germany Traditional, representational art Intense fascination with art Aesthetics a major part of Hitlers plan Is art morally uplifting? Dangerous? Reflects iconoclasm and culture wars Major theory readings and discussion Merryman, Thinking About The Elgin Marbles (1985) Greeces cultural nationalism claim insufficient grounds for returning the Elgin marbles Law to drive analysis has to be law at the time of the removal Not self-evident that something made in a place belongs there Authenticity moot Cultural value can be enjoyed through reproductions Rejects idea that objects have an inherent cultural magic Bogdanos lecture Iraq Museum in Baghdad known as Saddams Gift Shop Bogdanos headed team to recover art Some people returned things theyd taken from the actual gift shop! Recovered art now safely locked away So why does it matter that it was returned? Bogdanos concerned about looting at archeological dig sites Antiquities part of our shared culture and there needs to be a global effort to prevent looting     PAGE  PAGE 1 \\\\]]&]']W]X]r]]]]1^2^O^w^x^^^___t____r`s``ûóyqiqi^Shp+Ihp+ICJaJhp+IhCJaJhCJaJhrCJaJhvfCJaJh.CJaJh.hvf6CJaJhp+IhvfCJaJhv{CJaJhp+IhgpCJaJhgpCJaJh CJaJhCJaJhU@FCJaJhtJwCJaJhtCJaJhACJaJhf-CJaJhf-hf-6CJaJ]]]^2^O^x^^^^_t___`7`s````!a & Fgd. & Fgd.CJaJh.CJaJh*B*ph4 @4 z` Footer  !.)@. z` Page Number6!6 z` Hyperlink3 >*ph3f*1* z` label15\FVAF z` FollowedHyperlink >*B* ph;n&01MZjv$+>}3l@w#8w*7nz!F|5q i n - K c R h ( [ u @a5McP Cm?czX!t@L@S$l MlQ:{9_1Kx%9La<w 7 Y } !9!R!k!}!!!!"#"A"[""""#Q#p####3$O$n$$$$%&(&;&&&&' '','e't'''(((H(l((((H)d)))))*R*****+i++ ,,,,:-O-Z-|----.K.r.../x//4000111122O2a2{222223{3394F4_4y445V555666q66666797Y77K8z889j999:B:d::::2;>;K;R;;;;A<<<<<=`===>f>k>}>>>??J?W?s???D@X@@@A,AA!B.BLBBBB'C@CCCCED E3EaEpEEEEFYFFFGDG|GGGGGGGHFH[HaHjHHHII5IdIIIIIJSKKKKK(LZMcMLNoNNNN OOOOP#P\PdPPPPQ6Q[QvQQQ(R[RgRRRRRRRS2S?SqSSSSS8TTTTT UUUV0V>VRVVVVV8W\WWWWXX/XOXXXXXYY8Y^YYYYY1Z>ZZZ3[[\7\q\\\]S]]]^7^h^r^^^^^_'_*_Q_a____Q```;aQaxaaaajbbb)cIccd$dEdxdddePeeeee0fJf[fffJggg)hdhhhiiVigiiij j-jMjjjjjk:kIkvkkkk@lUltlll]mkmmn2nNnnnnHomonooooooop6pppppppq@q^qqqrrArorrrrr9sBsZsmsvsssst7t@tNtttttttttu5uGuuuuuvFvvvvvwDwwwwBxxxx6yiyyyyyzJztzzzzz*{A{{{{{{{|c|||||}Y}}}}}+~H~`~~~~,O-6Ab̀K΁8o7qσ M߄6ȅm#Kއ*^q|Ȉ!N{؉4`ъQn+H7eqy͍ .{ԎMʏBِ=tɑ,5Ep0:@p”ʔٕ^nWcrܗIlŘϘS`&Koޚ<fۛ "2WÜҜޜ #;eqÝ̝|>qaߠ%Ρ)ZtɢԢ4Qzģv9uߥ#Ht !*+,789<0000 0 01 0M 0Z 0M 0 0M 01 0 0 0$ 0$ 0 0} 0 0 0 0 0 0 0 0 0 0 0 0w 0} 0 0# 0# 0 0 0 0* 07 07 07 0* 0 0! 0F 0| 0| 0| 0| 0F 0 0 0q 0q 0 0 0 0 0 0F 0! 0  0  0  0  0  0  0  0 0R  0h  0  0  0  0  0[  0h  0 0@ 0a 0h  0h  0 0 0R  0M 0c 0 0c 0c 0M 0 0  0  0  0  0  0  0 0M 0c 0z 0 0M 0 0M 0X 0 0X 0X 0 0 0R  0 0 0 0 0 0@ 0 0 0R  0 0 0 0 0S 0 0 0 0 0 0l 0l 0  0 0l 0 0l 0l 0Q 0 0 0 0 0 0{ 0{ 0{ 0 0 0 09 09 0 0 0 0 01 0 0 0 0 0 0 0 09 0 0 0 0 0 0 0w 0 0 0 0 0  07  0Y  0Y  0  07  0! 0! 0R! 0  0}! 0! 0  0! 0 0#" 0#" 0[" 0#" 0 0" 0" 0Q# 0p# 0p# 0p# 0Q# 03$ 0Q# 0n$ 0$ 0n$ 0Q# 0 0& 0(& 0;& 0(& 0& 0 0' 0 ' 0' 0,' 0e' 0,' 0' 0' 0' 0 ' 0' 0H( 0H( 0H( 0( 0H( 0H) 0' 0) 0) 0) 0) 0) 0) 0* 0) 0* 0* 0* 0i+ 0* 0 , 0' 0, 0, 0:- 0O- 0Z- 0:- 0- 0, 0- 0, 0K. 0, 0, 0, 0/ 0x/ 0x/ 0/ 00 0/ 01 01 01 02 01 0O2 01 0{2 0{2 0{2 0/ 02 02 0 03 094 0F4 0_4 0y4 0F4 094 0V5 05 094 06 066 066 06 06 06 094 07 097 07 07 07 0z8 07 094 0j9 09 09 09 09 09 0j9 0: 0: 094 0>; 0K; 0R; 094 0; 0; 0A< 03 0< 0< 0< 0= 0< 0< 0= 0= 0f> 0k> 0}> 0}> 0}> 0f> 0? 0J? 0J? 0J? 0J? 0= 0D@ 0X@ 0X@ 0D@ 0A 0A 0< 0!B 0.B 0.B 0!B 0B 0!B 0'C 0< 0C 0C 0C 0C 0 E 0C 0aE 0aE 0C 0E 0C 0F 0YF 0YF 0F 0G 0F 0|G 0G 0|G 0G 0|G 0G 0F 0H 03 0[H 0aH 0jH 0H 0jH 0I 0I 0I 0dI 0dI 0I 0I 0I 0I 0jH 0K 0K 0K 0K 0jH 0ZM 0aH 0LN 0LN 0N 0N 0N 0LN 0O 0O 0LN 0P 0LN 0\P 0aH 0P 0P 0P 0aH 06Q 06Q 0vQ 0vQ 0vQ 03 0[R 0gR 0R 0gR 0R 0gR 0gR 0[R 0[R 02S 02S 0[R 0S 0S 0S 0S 0S 0T 0T 0T 0T 0T 0T 0T 0V 0V 0V 0T 0V 0T 0V 0T 0T 0\W 01 0W 0W 0X 0X 0/X 0X 0X 0X 0X 0X 0X 0Y 0X 0W 0Y 0Y 0Y 0Y 01Z 0Y 0Z 0Z 0Z 0[ 0Z 0Z 0q\ 0q\ 0Y 0] 0] 0] 0] 0] 0Y 0h^ 0h^ 0Y 0^ 0Y 0^ 0_ 0'_ 0*_ 0'_ 0'_ 0_ 0_ 0_ 0_ 0_ 0_ 0W 0Qa 0xa 0xa 0 0 0jb 0jb 0xa 0)c 0)c 0Qa 0d 0$d 0d 0xd 0d 0d 0e 0e 0Qa 0e 0e 0e 0e 0Jf 0e 0f 0f 0W 0g 0g 0)h 0)h 0h 0h 0h 0g 0Vi 0gi 0Vi 0W 0j 0 j 0-j 0Mj 0 j 0j 0j 0j 0 j 0:k 0Ik 0:k 0j 0k 0k 0@l 0Ul 0@l 0l 0k 0]m 0]m 0m 0k 02n 0k 0n 0n 0k0 0 0no 0o 0o 0o 0o 0o 0o 0p 0o 0p 0o 0o 0p 0p 0p 0q 0@q 0^q 0p 0q 0r 0r 0Ar 0Ar 0r 0r 0r 0r 09s 09s 0q 0ms 0ms 0ms 0s 0ms 0ms 07t 0ms 0p 0tt 0t 0tt 0t 0t 0tt 0t 0t 0tt 0tt 0u 0tt 0u 0u 0u 0tt 0o 0v 0v 0v 0v 0v 0w 0w 0w 0o 0x 0x 0x 0x 0iy 0iy 0x 0x 0z 0Jz 0tz 0tz 0z 0z 0z 0z 0z 0{ 0{ 0x 0{ 0{ 0{ 0{ 0c| 0| 0c| 0| 0{ 0} 0Y} 0no 0} 0} 0} 0+~ 0H~ 0`~ 0+~ 0+~ 0~ 0 0, 0, 0 0 0+~ 0- 06 0A 0A 06 06 06 0 0- 0} 0 0 0 0 0 0 0 0 0 0 0 0 0} 0 0  0M 0  0  06 0  0ȅ 0ȅ 0  0m 0 0# 0# 0 0 0 0 0no 0^ 0q 0q 0q 0q 0^ 0 0 0N 0{ 0 0 0N 0N 0` 0` 0 0Q 0Q 0^ 0 0+ 0+ 0 0 0 0 0+ 0y 0y 0y 0  0y 0{ 0^ 0 0 0 0 0 0 0 0^ 0 0 0ِ 0 0 0 0 0t 0 0 0 0, 05 05 0, 0, 0 0, 0 0 0, 0 0 0 0: 0@ 0: 0 0 0”0 0 0 0ٕ 0 0^ 0^ 0^ 0 0W 0 0r 0 0 0ܗ 0ܗ 0r 0l 0r 0Ř 0Ř 0r 0S 0r 0r 0 0 0& 0K 0K 0 0ޚ 0ޚ 0 0 0 0K 0 0ِ 0  0 0" 0" 0W 0" 0 0 0Ҝ 0  0  0  0  0e 0q 0e 0Ý 0̝ 0Ý 0| 0 0 0 0 0 0| 0 0Ý 0a 0 0 0a 0 0e 0 0) 0) 0 0 0ɢ 0ɢ 0 0 04 04 0 0  0ģ 0 0 0 0 0 0 0ģ 0u 0u 0 0u 0# 0u 0t00000@000@000@000@000@0@0@0@0@0@000&01MZj$+>}3l@w#8w*7nz!F|5q i n - K c R h ( [ u @a5McP Cm?czX!t@L@S$l MlQ:{9_1Kx%9La<w 7 Y } !9!R!k!}!!!!"#"A"[""""#Q#p####3$O$n$$$$%&(&;&&&&' '','e't'''(((H(l((((H)d)))))*R*****+i++ ,,,,:-O-Z-|----.K.r.../x//4000111122O2a2{222223{3394F4_4y445V555666q66666797Y77K8z889j999:B:d::::2;>;K;R;;;;A<<<<<=`===>f>k>}>>>??J?W?s???D@X@@@A,AA!B.BLBBBB'CCCED E3EaEpEEEEFYFFFGDG|GGGGGGGHFH[HaHjHHHII5IdIIIIIJSKKKKK(LZMcMLNoNNNN OOOOP#P\PdPPPPQ6Q[QvQQQ(R[RgRRRRRRRS2S?SqSSSSS8TTTTT UUUV0V>VRVVVVV8W\WWWWXX/XOXXXXXYY8Y^YYYYY1Z>ZZZ3[[\7\q\\\]S]]]^7^h^r^^^^^_'_*_Q_a____Q```;aQaxaaaajbbb)cIccd$dEdxdddePeeeee0fJf[fffJggg)hdhhhiiVigiiij j-jMjjjjjk:kIkvkkkk@lUltlll]mkmmn2nNnnnnHomonooooooop6pppppppq@q^qqqrrArorrrrr9sBsZsmsvsssst7t@tNtttttttttu5uGuuuuuvFvvvvvwDwwwwBxxxx6yiyyyyyzJztzzzzz*{A{{{{{{{|c|||||}Y}}}}}+~H~`~~~~,O-6Ab̀K΁8o7qσ M߄6ȅm#Kއ*^q|Ȉ!N{؉4`ъQn+H7eqy͍ .{ԎMʏBِ=tɑ,5Ep0:@p”ʔٕ^nWcrܗIlŘϘS`&Koޚ<fۛ #eq4ģu<0000 0 01 0M 0Z 0M 01 0v 0 0 0 0 0 0H 0} 0} 0H 0 0= 0 0t 00 0 0H 0 0 0 0 0 0 0j 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0a  0l  0l  0a  0a  0A  0a  0v 0  0  0  0  0s  0  0  0  0  0  0  0  0  0[ 0[ 0  0 0 0 0 0 0 0v 0 0 0 0 0 0 0v 0 0 0 01 0 0e 0 0 0  0 0 0 0 0  0! 0. 0! 0 0 0 0! 0 0  0R 0w 0 0w 0 0 0w 0 0 0w 0 0 0 0R 0 0, 0 0 0 0R 0L 0 0 0L 0 0 0 0v 0s 0 0 0 0 07 0 0 0 0 0 0 0K 0~ 0~ 0K 0 0K 0s 0. 0; 0; 0. 0 0. 0T 0s 0y 0 0 0 0 00  0 0  0  0  0 0 ! 0A! 0 0v! 0y 0! 0! 0! 0! 0y 0n" 0n" 0" 0" 0" 0" 0" 0# 0" 0# 0)$ 0# 0" 0y 0% 0% 0% 0% 0% 0v 0& 0& 0& 0& 0' 0& 0& 0q' 0q' 0& 0& 0' 0' 0' 0W( 0' 0( 0& 0) 0+) 0+) 0+) 0) 0) 0/* 0) 0Z* 0n* 0Z* 0+ 0Z* 0+ 0& 0`, 0, 0, 0, 0, 0, 0'- 0, 0X- 0, 0- 0, 0, 0`, 0. 0/ 0/ 0. 0 0 0. 0V1 01 0V1 01 0V1 01 0V1 02 02 02 0. 02 02 0v 03 03 03 03 04 03 03 04 05 03 05 05 05 05 0Y6 0Y6 03 06 06 06 047 06 08 06 03 09 059 059 059 059 059 09 0m: 0v: 03 0: 0: 0: 03 0O; 0O; 0; 03 0S< 0a< 0< 0< 0a< 0S< 0= 0= 0> 0> 0> 0> 0> 0> 0> 0> 0> 0> 0> 0= 0? 0? 0? 0? 0@ 0@ 0S< 0A 0A 0A 0A 0eB 0S< 0B 0B 0C 0C 0PD 0B 0D 0D 0B 0D 0B 0cE 0E 0E 0cE 0dF 0cE 0F 0F 0F 0F 0F 0.G 0cE 0NG 03 0G 0G 0G 0G 0G 0MH 0cH 0MH 0H 0H 0MH 0I 0I 0I 0G 0J 0J 0J 0J 0G 0L 0G 0M 0M 0M 0M 0M 0M 0N 0N 0M 0TO 0M 0O 0G 0P 0P 0P 0G 0|P 0|P 0P 0P 0P 03 0Q 0Q 0Q 0Q 0Q 0Q 0Q 0Q 0Q 0xR 0xR 0Q 0R 0R 0S 0S 0R 0S 0S 0S 00T 0S 0S 0S 0MU 0MU 0MU 0S 0U 0S 0V 0S 0S 0V 01 0V 0'W 0WW 0dW 0uW 0dW 0W 0dW 0WW 0=X 0=X 0bX 0=X 0'W 0X 0X 0'Y 0X 0wY 0X 0Y 0Z 0Y 0Z 0Y 0Y 0[ 0[ 0X 0`\ 0`\ 0`\ 02] 02] 0X 0] 0] 0X 0] 0X 0)^ 0N^ 0n^ 0q^ 0n^ 0n^ 0N^ 0=_ 0=_ 0=_ 0=_ 0=_ 0V 0` 0` 0` 0 0 0a 0a 0` 0qb 0qb 0` 0_c 0lc 0_c 0c 0_c 0_c 0_d 0_d 0` 0d 0e 0e 0e 0e 0e 0f 0f 0V 0f 05g 0qg 0qg 0h 0h 0h 05g 0h 0h 0h 0V 0Ni 0ki 0xi 0i 0ki 0i 0i 0i 0ki 0j 0j 0j 0Ni 0k 0Dk 0k 0k 0k 0 l 0Dk 0l 0l 0l 0Dk 0}m 0Dk 0m 0m 0k0 0 0n 0n 0n 0o 0n 0-o 0n 0jo 0n 0o 0n 0n 0&p 0/p 0/p 0cp 0p 0p 0&p 07q 0Aq 0Aq 0~q 0~q 0Aq 0q 0q 0Aq 0vr 0vr 07q 0r 0r 0r 0s 0r 0r 0ts 0r 0&p 0s 0s 0s 0t 0t 0s 0;t 0;t 0s 0s 0t 0s 0u 0u 0u 0s 0n 0%v 02v 0Bv 0Bv 0%v 0v 0w 0w 0n 0w 0x 0x 0x 0x 0x 0x 0w 0ly 0y 0y 0y 0ly 0>z 0Rz 0>z 0ly 0z 0z 0w 0-{ 0:{ 0:{ 0-{ 0{ 0{ 0{ 0"| 0-{ 0t| 0| 0n 0} 00} 0} 0} 0} 0} 0} 0} 0Q~ 0^~ 0~ 0~ 0^~ 0^~ 0} 0 0 0 0 0 0 0 0V 0 0} 0 0 0 0d 0d 0 0 0 0 0 0 0 0} 0C 0h 0 0h 0h 0 0h 0$ 0$ 0h 0Ʌ 0C 0 0 0C 0  0  0  0n 0 0͇ 0͇ 0͇ 0͇ 0 0j 0j 0 0׈ 0܈ 0܈ 0 0 0 0 0j 0 0 0 0r 0 0 0^ 0^ 0^ 0^ 0 0Ռ 0Ռ 0Ռ 0g 0Ռ 0׍ 0 0n 0n 0n 0 0  0  0  0 0  0 05 0D 0Q 0u 0Q 0А 0D 0% 0? 0H 0H 0? 0? 0 0? 0 0 0? 0 0ϒ 0% 0M 0S 0M 0 0 0Փ0 0D 0̔ 0 0̔ 0q 0q 0q 0D 0j 0D 0 0 0 0 0 0 0 0 0ؗ 0ؗ 0 0f 0 0D 0 07 07 0 0ʙ 0ʙ 0 0 0 07 0z 05 0 0 0 04 0 0 0N $$$'f F"'[*.2 459x<DHNQV[Z]ae.mquy}[țL٧\`9bX\^`bdfhkmorsuwy{~ (#&}(+.1O59<ADHaM[PSX?[^aeQi0o7su'y|!…̋ɖU]!ab9bY[]_acegijlnpqtvxz|}8bZ  '!!8@0(  B S  ?m5}G6}G 7}GT.8}GV9}G :}G/;}G|*<}G =}G>}G?}G@}G<A}G$B}G,C}GD}G|.E}GDF}GVG}G"H}GI}GD;J}Gd.K}G L}G|M}GLN}G<O}Gj.P}GԿQ}GLHLHVN[NdNdNfTfTZZZaaaVhVh^h-j5jAjAj-o-o5opprrmsmsPwPw,66hhq]]dÝÝġġ hh<      !#"$%&'()*+,.-/1024356789;:<=>?@ABCDEFGHIKJLNMOQPRSTUVXWYZ[\]^_`abcdefghijklTafmmkrr$#$#%%~+~+c4r4r4u5{5{599)=)==>>>QHQHZNbNhNhNkTkTZZZaaa]hchch4j=jLjLj4o=o=opprrususTwTw2<<ouubhh““ǝǝȡȡ !mm<  !#"$%&'()*+,.-/1024356789;:<=>?@ABCDEFGHIKJLNMOQPRSTUVXWYZ[\]^_`abcdefghijkl:l*urn:schemas-microsoft-com:office:smarttagsStreetBd*urn:schemas-microsoft-com:office:smarttagscountry-region9f*urn:schemas-microsoft-com:office:smarttagsState;m*urn:schemas-microsoft-com:office:smarttagsaddress8[*urn:schemas-microsoft-com:office:smarttagsCity=j*urn:schemas-microsoft-com:office:smarttags PlaceName=g*urn:schemas-microsoft-com:office:smarttags PlaceType9k*urn:schemas-microsoft-com:office:smarttagsplace <mlkjjjgfkddkfkfkdk[k[kddkdk[dk[kffk[dk[jjkdkdk[dkjgkjgjgk[kjgkdkfkfkdk[[k[k[fk[fkjjk[kfkjgdkkddkdkkdk[d[kjgk[7B@I8Cw~"#&&'!'((**i+v+++34746677i7n7j9x9;;v<<4B;BF&FKKPPqSxS8YCY1Z=Z[[r^w^^^__aa2c9cccccxdddd!e*effgg@qKqmqpqqqqqVtatvvxxzzz%z||||||}}}}chEJhoQY]b+2HNkrѐא05Ó˓27^dlrY_ۛɜќhp¡u}åt| !),69<44JJ__jj؉ۉ(%( !),69<33333333301i#$>}w8*7nz!F|5i - J K c R g h [ u 5cm?z!@K@S$Ml:{8_01Jx$%Lw7 X 9!Q!R!j!k!}!!!!!"@"A"["Q#o#p####3$N$O$n$&(&&&& ' ','e't'((H((((H)c)))))***+i++,,:-Z-|----K.q.1122O2{2222394E4F4^4y4456666697X7::2;R;<<<=f>j>k>|>}>>??J?V?D@W@!B.BBB'C@CaEpEEE|GGGGGGGHFH`HaHjHI4IIIKKKKZMcMoNNOOP#P\PdPPP6Q[QvQQ[RfRgRRRRRRS>SqSST U0VQVVVVV8W\WWWXXX/XXXX8YYYYY1Z>Z\6\q\\]^h^^^^^_'_*_Q_a___;awaaad$dee0fJfhhiiij j,j-jLj:kHkIkukkk@lUl]mkmn$n1nMnnnnoooooooop5ppppq@q^qqrrrorrrr9sYsZsusvsstNtttttttuGuuuvvvvwwiyyyyyzz*{A{{{{{{|c||||}}+~_~~56Ab+J́ #^!{ ey͍-Z=ɑ45Dp^nWܗ]ϘK !"12WҜep̝|a)ZsӢԢQu !9< !9<^ `ydXv |X!b2W{\*!>"ЗZ %P*9C&Ҵ]o+RvO-궆$>/P\E&1Nހ1~REwm48 ;x}>9TB,Q<9H@@^T:oVshTGe,}nZkNrR!b=rtMWyFGl~v0^`0o(.808^8`0o(. ^`hH.pLp^p`L56hH. @ @ ^@ `hH. ^`6hH. L^`L6hH. ^`6hH. ^`hH. PLP^P`LhH.^`OJPJQJ^Jo(-^`OJQJ^Jo(hHopp^p`OJQJo(hH@ @ ^@ `OJQJo(hH^`OJQJ^Jo(hHo^`OJQJo(hH^`OJQJo(hH^`OJQJ^Jo(hHoPP^P`OJQJo(hH808^8`0OJPJQJ^J. ^`hH. pLp^p`LhH. @ @ ^@ `6hH. ^`hH. L^`LhH. ^`hH. ^`hH. PLP^P`LhH.808^8`0o(. ^`hH. pLp^p`LhH. @ @ ^@ `hH. ^`hH. L^`LhH. ^`hH. ^`hH. PLP^P`LhH.808^8`0o(. ^`hH. pLp^p`LhH. @ @ ^@ `hH. ^`hH. L^`LhH. ^`hH. ^`hH. PLP^P`LhH.^`o() ^`hH. pLp^p`LhH. @ @ ^@ `hH. ^`hH. L^`LhH. ^`hH. ^`hH. PLP^P`LhH.808^8`0o(. ^`hH. pLp^p`LhH. @ @ ^@ `hH. ^`hH. L^`LhH. ^`hH. ^`hH. PLP^P`LhH.808^8`0o(. ^`hH.pLp^p`LOJPJQJ^J. @ @ ^@ `hH. ^`hH. L^`LhH. ^`hH. ^`hH. PLP^P`LhH.808^8`0o(. ^`hH. pLp^p`LhH. @ @ ^@ `hH. ^`hH. L^`LhH. ^`hH. ^`hH. PLP^P`LhH.808^8`0o(. ^`hH. pLp^p`LhH. @ @ ^@ `hH. ^`hH. L^`LhH. ^`hH. ^`hH. PLP^P`LhH.hh^h`o(.88^8`o(.88^8`o(. ^`hH.  L ^ `LhH.   ^ `hH. xx^x`hH. HLH^H`LhH. ^`hH. ^`hH. L^`LhH.h^`OJPJQJ^Jo(hH-h^`OJQJ^Jo(hHohpp^p`OJQJo(hHh@ @ ^@ `OJQJo(hHh^`OJQJ^Jo(hHoh^`OJQJo(hHh^`OJQJo(hHh^`OJQJ^Jo(hHohPP^P`OJQJo(hH808^8`0o(. ^`hH. pLp^p`LhH. @ @ ^@ `hH. ^`hH. L^`LhH. ^`hH. ^`hH. PLP^P`LhH.808^8`0o(.^`.pLp^p`L.@ @ ^@ `.^`.L^`L.^`.^`.PLP^P`L.88^8`o(. ^`hH.  L ^ `LhH.   ^ `hH. xx^x`hH. HLH^H`LhH. ^`hH. ^`hH. L^`LhH.^`.^`.pp^p`.@ @ ^@ `.^`.^`.^`.^`.PP^P`.808^8`0OJPJQJ^J. ^`hH. pLp^p`LhH. @ @ ^@ `6hH. ^`6hH. L^`L6hH. ^`hH. ^`hH. PLP^P`LhH.88^8`OJPJQJ^Jo(- ^`OJQJo(o   ^ `OJQJo(   ^ `OJQJo( xx^x`OJQJo(o HH^H`OJQJo( ^`OJQJo( ^`OJQJo(o ^`OJQJo(TT^T`o(.88^8`OJPJQJ^Jo(- ^`OJQJo(o   ^ `OJQJo(   ^ `OJQJo( xx^x`OJQJo(o HH^H`OJQJo( ^`OJQJo( ^`OJQJo(o ^`OJQJo(h)^`89CJOJQJTXaJo(hHh^`OJQJ^Jo(hHohpp^p`OJQJo(hHh@ @ ^@ `OJQJo(hHh^`OJQJ^Jo(hHoh^`OJQJo(hHh^`OJQJo(hHh^`OJQJ^Jo(hHohPP^P`OJQJo(hHhh^h`o(.^`o() ^`hH. pLp^p`LhH. @ @ ^@ `hH. ^`hH. L^`LhH. ^`hH. ^`hH. PLP^P`LhH.808^8`0o(. ^`hH. pLp^p`LhH. @ @ ^@ `hH. ^`hH. L^`LhH. ^`hH. ^`hH. PLP^P`LhH.808^8`0o(. ^`hH. pLp^p`LhH. @ @ ^@ `6hH. ^`hH. L^`LhH. ^`hH. ^`hH. PLP^P`LhH.h^`OJPJQJ^Jo(hH-h^`OJQJ^Jo(hHohpp^p`OJQJo(hHh@ @ ^@ `OJQJo(hHh^`OJQJ^Jo(hHoh^`OJQJo(hHh^`OJQJo(hHh^`OJQJ^Jo(hHohPP^P`OJQJo(hH`Zk^T$>/^vO- ;\E&1MWyX]o+"rt1GeshT8W{r|wm4*!9HBZ %}>9C&!b2Gl~l` Fܙ 2~z39V1X   W,        |  0d     6                 l*                 ^`      –        "kr        &Rq        W,        J        p        u?        "-ňU n@> Ąht,Ҏ8⒦@   ҺzZ   L p.        <;j?        Xq        l*        z        Vv*  ײ     W,         ?%92@jzqjAjjz:z/ZoDVqjAG "?%"5jDAjz+QKCc|'lSjzRWjzKCcjz/ZojzG "Q8qG j*FNVM4zk}N8zg t " ( PO 4a W  M Y ] z` }i6rr.`bnt{gf?~"U,rkCEu*]ik]EZg!3"m"#:#$#;$xl$ %yO%"j&{S(*jB*[*+f*"f+$=-f-t-D.'.>.i.Q0@W0 1>1f1!2(2-2o2Ea3o314A4q4=5.6F6x7 9J 9x98):!;i <x=j6>V>b>nV?3Y?^@}@%B@BCWB`BCl2DoDE6FF4FU@FAFNF*Hn0H8Hp+IaI%J=KXLz&N!>NuO4O;Q!Q+QFQ YQjRS:,STTV@IV#WfWX=XxX\\\j\d^_se_]a7FbUNbcm5cpcL"dISd(Yeukeyg@g)i;i^i_i%j&j8+jroj80kekYrlm*nMnuauFZv>bvzvwtJwZwMswly|zz6X x/4-JM7_f0\vLx$r:.El&AJ0 Y,N{VPe#$Z28IlBl!y-.!-gp<78}DmBy_>Oi oDF>vr y {D_! ckcSyr!L+5qW~g8QX{: ,$y=+ Z&XZ>pHUT[ ~V& [ &v<]4/k@ |cdpq;`@`l`@`z`@``4@```@UnknownsolG: Times New Roman5Symbol3& : Arial?5 z Courier New;Wingdings"1hڴڴ%U/%U/ 4d2qHP ?z2ART LAW  PRELIMINARY SYLLABUS Amy AdlerNaseem Kourosh                        Oh+'0  $0 P \ ht| ART LAW PRELIMINARY SYLLABUS Amy Adler Normal.dotNaseem Kourosh2Microsoft Office Word@@r%Zڈ@r%Zڈ%՜.+,0 hp  NYU School of Law/U ART LAW PRELIMINARY SYLLABUS Title  !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~      !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghiklmnopqstuvwxy~Root Entry Fxڈ1TablebWordDocument4nSummaryInformation(jDocumentSummaryInformation8rCompObjq  FMicrosoft Office Word Document MSWordDocWord.Document.89q