In copyright law, an artist does not sign away the copyright to an artwork simply by allowing the artwork to appear in an art gallery. However, where parties agree in writing that a work is a “work made for hire” and where a work is a “contribution to a collective work,” the commissioning party—and not the artist—is the copyright owner. In this Contribution, Michael Gladstone (’22) argues that in at least one case, an art gallerist could own the copyright in an artist’s work: where the work was specifically commissioned for use in a permanent art installation.
This Contribution examines whether an artist can claim copyright protection over art they created with the assistance of an artificial intelligence program. Naomi Perla (’21) argues that such works satisfy the “original work of authorship” requirement pursuant to 17 U.S.C. § 102(a), thereby granting copyright protection to the artist. The requirements of both authorship and originality are satisfied due to the artist’s creative choices that are largely reflected in the finished pieces. Moreover, the Copyright Act is meant to expand to include new works of art so that artists are consistently incentivized to create for the benefit of the public.
Should musicians be free to use samples from the work of others in their songs without having to pay for them, or should sampled artists have a right to get paid for their work? In this Contribution, Lee Nisson (’18) unpacks the copyright issues around digital sampling of music, exploring the doctrine of de minimis use. Despite the artistic merits of sampling in music, the Contribution argues that all sampling constitutes copyright infringement.