In a unanimous decision earlier this month, the Supreme Court resolved a debate that impacts would-be copyright infringement litigants. 

We here at Grossman LLP, along with many other legal commentators, have been following with interest the lawsuits against appropriation artist Richard Prince arising out of his controversial New Portraits works, first shown at the Gagosian Gallery in 2014, which Prince created from screen shots of photos taken by other Instagram users.  The court is now considering the defendants’ motions for summary judgment on the issue of fair use, which have been fully briefed.  But along with the main event—the summary judgment motion—the court is also considering additional motions filed by both parties with regard to each other’s expert witnesses.  These motions are worth examining because they will presumably be resolved along with the summary judgment decision, and they raise some interesting questions that may have implications in the larger arena of fair use case law.

Last year, we wrote about the federal lawsuit filed by visual artist Lina Iris Viktor, which alleged that her copyrights in three original artworks were infringed in the music video of a song, “All the Stars,” from the soundtrack of last year’s blockbuster movie Black Panther.   She sued the song’s recording artists—Kendrick Lamar and SZA—as well as the record label and the video’s director and production company, among others.

Ever since Richard Prince’s “New Portraits” project first made headlines, we’ve been following the story—and the copyright implications.  Now, two lawsuits that arose out of that controversial exhibition are headed for a summary judgment ruling. 

Back in August, we wrote about a new lawsuit against automotive giant General Motors, and its potential implications for graffiti art.  Now, the artist plaintiff in that case has at least partially prevailed in GM’s motion for summary judgment, clearing the way for a trial.

Over the years we’ve covered many stories about how the American copyright regime applies to graffiti art.  Now, a lawsuit against car manufacturer General Motors may test a new legal angle in this area of case law.

Earlier this year, federal district judge Frederic Block issued an opinion ordering the defendants to pay significant damages for their violations of the Visual Artists Rights Act, 17 U.S.C. § 106A (also known as VARA).  Now, Judge Block has denied the defendants’ request to reconsider his ruling, instead reaffirming and bolstering that earlier decision in advance of the defendants’ appeal to the Second Circuit.  

​Last week, a federal judge refused a request by Sesame Workshop—creator of classic children’s television show Sesame Street—to enjoin parts of a marketing campaign for an upcoming R-rated comedy film featuring a much darker take on puppets.

This blog writes often about copyright law, including defenses to copyright infringement claims, such as fair use.  One recent decision highlights the “de minimis” defense to copyright infringement, which recognizes that there are cases where a defendant may use someone else’s copyrighted material in a way that is so minor that it does not give rise to a cognizable claim. 

The oddly audacious copying of artwork at Rabbit Town illustrates a simple fact about artists who want to defend their intellectual property rights; that mission gets more complicated when an issue crosses international borders, because there is no universal international copyright law that protects an artwork all over the world.

The Museum of Modern Art—universally known as MoMA—has filed a lawsuit against MoMaCha, a Lower East Side art gallery and café with a curiously similar name to the museum’s famous moniker.

A recent decision by the Second Circuit Court of Appeals adds further complexity to the ever-evolving body of case law discussing the difficult concept of the “fair use” defense in copyright law. The case will likely be of interest to the art world because of the importance of fair use to many forms of art, from parody to appropriation art.

Earlier this month, retail chain H&M filed a lawsuit that seemed poised to address a central question about how copyright law applies to illegal graffiti.  But following a public-relations backlash, H&M has apparently abandoned the suit, leaving these legal waters uncharted for now.

This week, artist Lina Iris Victor filed a federal lawsuit in the Southern District of New York alleging that her copyrights in three original artworks were infringed in the music video (link here) of a new song, “All the Stars,” which is featured on the soundtrack of the new Marvel movie Black Panther.

​This week, a federal judge awarded a total of $6.75m to the 21 graffiti-artist plaintiffs whose works were destroyed in the now-famous 5Pointz case.

Even when it comes to parodies, fair use litigation is rarely a cut-and-dried slam-dunk.

A new lawsuit by a tattoo artist against the makers of a popular video game series may explore some interesting questions about how U.S. copyright law applies to tattoos.

In a new lawsuit, the estate of American artist James Castle is suing publisher Scholastic and author/illustrator Allen Say over a forthcoming book about the artist, which the estate claims infringes on the copyrights of dozens of Castle works. 

If you rode the New York City subway’s Flushing-bound Number 7 Line before 2013, you probably recall the elevated train snaking through 5Pointz, a group of Long Island City warehouses emblazoned with colorful graffiti.  After years of protracted litigation, a trial is now underway in Brooklyn federal district court that will determine whether federal law affords the artists who created 5Pointz a legal right to the graffiti.    

As the holiday season approaches, a federal court in New York has issued an opinion regarding a parody of Dr. Seuss’s classic children’s book, How the Grinch Stole Christmas—and in the process, has reaffirmed how the fair-use doctrine in copyright law relates to parodies of copyrighted works.