November 2022.
Art Law Blast
PS All puns are intended.
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Building Better Boundaries
Zhenya Oliinyk, "The Craft" @evilpinkpics

Dear Readers,

This newsletter is a bit late as we are migrating our website to the 21st Century, interviewing Spring Interns, hosting November events and trying not to doom-scroll through non-art law news. Please bear with us, and carry on with the good work that you do.

Otherwise, the End of the Year is in sight. We are working hard on the last batch of 2022 events, drafting articles and learning with and from the 2022 Fall Interns

We would love to hear from you on anything and everything that is art law... (conferences, cases, encounters, initiatives, inspirations, warnings). Take a look at the list of upcoming events and the batch of job opportunities below (and everything in between).

Onwards with Art Law and Self-Determination!
Pitch in for the Website Redesign
In this newsletter:

On Our Calendar

CENTER FOR ART LAW ABC's of Art Law: B is for Blockchain
November 17, 2022 | 12PM EST (Online)

New technologies and artificial intelligence applications are dramatically changing the landscape in many different fields and markets. Typically, transactions relating to the art market and creative industries are inherently characterized by a lack of transparency and trust, as well as information asymmetry. Also, the art industry has usually been reluctant to consistently rely on traditional legal services. In this context blockchain can represent an important player for the development of the art market and reduction of the risks related to transactions-- blockchain might facilitate provenance tracking and traceability, and improve the procedures required for due diligence and the authentication of the work of art.

Join the Center for Art Law in a conversation with Elizabeth von Habsburg, Nanne Dekking, Rena Neville and Irina Tarsis as we discuss the  intricacies of blockchain technology in the art market and due diligence through blockchain in anti-money laundering efforts. Our panelists will dive into the basics of blockchain, the benefits of conducting due diligence on information saved on the blockchain, and legal issues to keep in mind when using such technology.

CENTER FOR ART LAW A Primer on Artist Trusts: Part 2
November 21, 2022 | 12PM EST (Online)

What counts as a well-formed artist's legacy? Taking care of the family members? Placing art in institutions? Shaping a careful and complete narrative? An artist’s legacy plan often requires a series of complex legal entities for the preservation and protection of a lifetime of work. This session will focus on selecting and creating several different types of trusts and other entities that are commonly used in legacy planning. 'Planning' and 'conducting' may encompass lifetime giving, placement of one’s work, or selling, and always include a focus on the minimization of income, gift and estate taxes. An artist must be mindful of valuation issues, the needs for the management of their archives, placement of art, conveyance of intellectual property and of course, the responsibilities they have to their family and friends. Who are the beneficiaries and who are the trustees?

Join the Center for Art Law for this upcoming webinar with Bennet H. Grutman, CPA, Caryn Keppler, Esq., and Atreya Mathur. This event is the second part of our Artist Trusts series offered in connection with the Center's Artists' Legacy and Estate Planning Clinic. This session will address the different types of trusts and other entities including limited liability companies and foundations, help you think about the nuts and bolts of setting up a trust, and calculating the costs associated with successful operation of these different trusts.

ICOM UK – Heritage in Crisis 2: Decolonising Ukrainian cultural heritage
Nov. 30, 2022 | 12:30-13:30PM GMT (Online)

Decolonisation has become an important global debate. Much has been done in UK museums, galleries, libraries, archives and universities to uncover and address deep-rooted colonial views. Work in the UK has largely focussed on the legacy of the British Empire, but Russia’s war in Ukraine has revealed other sides to colonial power. One colonial narrative claims that Ukraine is simply part of Russia rather than a separate nation that regained its independence in 1991, while another asserts Russia’s superiority in terms of culture and heritage.

This talk will consider why Russian colonial narratives persist in the west and how heritage and cultural professionals can contribute towards developing a non-prejudiced narrative about Ukraine. We will explore practical steps that can be taken to ensure Ukrainian cultural heritage is appropriately catalogued, described and interpreted. This will play an important role in ensuring that the UK remains an important and trusted ally to Ukraine.

register here...

CENTER FOR ART LAW Artist Legacy and Estate Planning Clinic
December 5, 2022 | 5:30PM EST (Online)

Calling all visual artists: join the Center for Art Law's Artist Legacy and Estate Planning Clinic for an evening of low-cost consultations with attorneys, tax experts, and other arts professionals with experience in estate and legacy planning. After a Keynote Address on Legacy and Estate Planning, each participating artist will be paired with a Volunteer Professional for a confidential 20-min discussion.

CENTER FOR ART LAW Distinguished Lecture on Copyright & Fair Use w/ Luke Nikas
Save the Date! December 13, 2022 | 5PM EST (In Person and Online)
email us to reserve a spot

More Events

You got art law questions (or know people who might)? We got art law answers (and so much more!) Consider getting a premium subscription (individual, student or group) for unlimited access to our articles, free events, archived webinars and discounts to art law events around the world.

Contact us for more info!

What's New in Art Law

Canned or Candide?

While more climate activists stage protests in museums, and some are seeing the inside of courts, over 90 museums signed onto the ICOM statement (in four languages) in response to activists attacking art in museums to object "...The activists responsible for them severely underestimate the fragility of these irreplaceable objects, which must be preserved as part of our world cultural heritage. As museum directors entrusted with the care of these works, we have been deeply shaken by their risky endangerment..." 

The Kiss of NFTs  
In February 2022, the Belvedere Museum in Vienna, Austria showcased its first ever NFT piece using Gustav Klimt's The Kiss dividing the iconic painting into a 100-by-100 grid and selling for nearly $2,000 a piece. This use of Kilmt’s famous painting brings forth an interesting topic in the digital landscape as we navigate owning a work of art in the context of digital reproductions. Now that over 2,400 of the pieces were sold, totaling €4.4 million in profits , the museum wishes to continue tackling artistic endeavors in the NFT world. How does an NFT creator’s autonomy harmonize with moral rights and estate law within the world of NFT’s? As artist’s collections from Picasso to the 1980s work of Lee Mullican get rebranded and distributed for consumers, such digitization may inevitably impact the artists’ legacies. 

Waterford Sculpture Engulfed By Fire: A Tragic Mystery that Sparked Love in a Community
This past October, on the Waterford Greenway route in Ireland, a new wooden sculpture dedicated to the Irish mythological goddess called Éiriu was mysteriously destroyed by a fire. A passerby reported the incident that has now come under surveillance as a criminal case. The wood craftsmen and artist John Hayes created this sculpture as a biodiversity effort with the South East Technological University. The local community and outflow of positive, uplifting support via social media have given Hayes new determination to rework this sculpture alongside his community members and the University. The new elements to this collaborative piece demonstrate the dedication of wood artists and others involved in creating this work that never truly received a proper unveiling. While this incident has devastated the artist and community, it is a reminder yet again of how communities come together through the resilience of art.

Met Museum in the Hot Seat 
The largest museum in the United States, The Met, is under increased scrutiny as more search warrants for stolen antiquities are filed. Since 2017, the Manhattan district attorney’s office has obtained nine warrants to seize ancient works from the Met. Six of those warrants are from the past year, and involve upwards of 30 ancient relics. This past summer, state and federal agents discovered and confiscated more than $11 million dollars worth of allegedly stolen ancient artifacts. Kenneth Weine, a spokesperson for the Met, says, “The museum is a leader in the field in comprehensively reviewing individual matters, and it has returned many pieces based upon thorough review – oftentimes in partnership with law enforcement and outside experts,” but the museum’s narrow  repatriation policy - one that fails to acknowledge the role of coerced or forced art deals during colonial eras - continues to face criticism. 

One Year in Athens, Twenty-Five Years in New York 
A new agreement between Greece and the Met (see above) has stirred controversy. Fifteen marbles will spend a year in the Cycladic Museum in Athens before being displayed in New York for 25 years. These art objects belonged to American billionaire collector Leonard N. Stern, and this repatriation agreement means the objects will gradually be returned to Greece during their 25 year stay in New York. Greek legislators are responsible for this deal, and five unions of archaeologists, conservators, and ministry employees are vehemently opposed to it, emphasizing that neither the objects’ provenance nor authenticity has been verified. This agreement may set a precedent for addressing  other stolen Greek antiquities. 


Eye on Restitution

Kandinsky’s View of Murnau with Church (1910) (above) is to be returned to the heirs of original owner, a Jewish collector Johanna Margarethe Stern-Lippmann, who died at Auschwitz in 1944. Dutch Restitutions Commission reversed a recent ruling in favor of restitution, having found new compelling evidence. The long road to recover art displaced as a result of the Nazi-era looting is a preview of what is to come.

Vietnamese Government Intervenes in Paris Auction 
A 19th-century bronze dragon seal that once belonged to Vietnamese emperors Minh Mang and Bao Dai was recently removed from the “Great Civilizations: Vietnam Arts Sale” hosted by the Millon Auction House in Paris. This is the result of the Vietnamese government expressing interest in the object which “represents a lot of values from a historical period of Vietnam,” according to Nguyen Phuong Hoa, the director general of the International Cooperation Department of the Vietnamese Ministry of Culture, Sports, and Tourism. Valued at three million dollars, the sale of this dragon seal has been rescheduled to November 10th, but Vietnam may negotiate the object’s return before then.

Manhattan DA Returns 307 Stolen Antiquities to India
Manhattan District Attorney Alvin L. Bragg, Jr. announced earlier last month that 307 antiquities have been returned to India. The artifacts valued at nearly $4 million were returned during a repatriation ceremony at the Indian Consulate in New York. 235 of the looted artifacts were discovered and seized during the DA’s investigation into the prolific smuggler Subhash Kapoor, who was convicted in Indian courts this year for his connection to looted Indian artifacts. 5 of the antiquities were seized in relation to the DA’s investigation into antiquities dealer Nancy Weiner and 1 of the antiquities was seized pursuant to an investigation into Brooklyn art dealer Nayef Homsi. The rest of the antiquities were stolen by smaller trafficking networks.

Armenian Cultural Erasure Continues in Nakhichevan
Azerbaijan’s violent systematic destruction of Armenian cultural heritage began in the late 1990s and has continued to the present day. According to Caucasus Heritage Watch researchers at Cornell and Purdue, 98% of Armenian cultural objects identified by this investigation have been destroyed. These include cross-stones, churches, and monasteries. Cultural heritage destruction as a form of ethnic cleansing is exemplified by a visiting scholar’s recent experience in Nakhichevan: after the scholar inquired about the missing Armenian monuments, a local policeman responded, “there never were any Armenian churches anywhere in Nakhchivan. There were no Armenians ever living here - so how could there have been churches here?”

Post-colonial Repatriation One Century Later 
A positive outcome of negotiations between the Otago Museum in New Zealand, the Australian Institute of Aboriginal and Torres Strait Islander Studies, and the Waramungu community of Tennant Creek has resulted in the planned return of six artifacts in June 2022. These objects include a boomerang, an ax (or adze) and stone knives. Senior Warumungu man Michael Jones welcomed return of the objects: “I’m glad these things are returning back. The museums are respecting us, and they’ve been thinking about us. They weren’t the ones who took them, they just ended up there. We can still teach the young people now about these old things and our culture.” The Otago Museum sets a good example for other museums by acknowledging the role material cultural heritage plays in the preservation of identity, and by taking actionable steps to rectify their role in the legacy of colonialism. 

Freud or No? 
The debate over a painting depicting a nude from behind continues has been making the (NYer) news. The painting’s owner insists that it is by Lucian Freud, but his claim is disputed by friends of the artist and the artist's estate. Several inconclusive attempts to prove authenticity have been made, including an AI analysis. Freud himself is said to have disowned the painting during his lifetime.

John Oliver: Restitution Revolution?
Even comedy calls for an awakening in museum spaces as John Oliver headlined his show with a nearly sarcastic call to avenge looting through  cultural institutions. News continues to circulate around Benin Bronzes, and the British Museum of History’s hold on several culturally significant pieces which have been looted. Oliver’s proposal for a reverse looting system titled “Payback Museum”, begs the questions: Are there programs or infrastructure that museums can implement to return work if anyone wants them returned or showcase it with the consent of the culture it has been taken from? How can museums return these pieces, but furthermore, how can there be more collaborative efforts to share art and cultural heritage? Oliver goes on to target Sotheby’s, the Metropolitan Museum of Art, and the British Museum. He mentions that not only do museums need to reap the consequences of their immoral colonial histories, but further that this should be an “easy” beginning step to decolonizing and recontextualizing history and culture. 

Decades Later, Athena Returns Home: U.S. Returns 58 Antiquities to Italy
For the third time in 9 months, the US engaged in a repatriation ceremony with Italy to return 58 artworks to Italy this September. A third of these artworks were seized from the Metropolitan Museum of Art in New York, and all 58 items have been traced to the collection of US billionaire Michael Steinhardt, who has been given a lifetime ban on acquiring antiquities. The repatriation of these items is part of a larger movement among certain Western cultural institutions to return illegally obtained artworks to their countries of origin.

Smuggler, Interrupted 
After an estimated decades-long cycle of looting, smuggling, and illegally selling antiquities, 72-year-old Subhash Kapoor was sentenced by a court in India to 10 years in prison. Kapoor, formerly an arts dealer in New York City, was charged with burglary and illegal export of idols from a Hindu temple and then selling such objects through his Manhattan gallery, Art of the Past. In addition to these charges, Kapoor and his associates are believed to have smuggled nearly 2,600 objects valued at over $143 million from Afghanistan, Cambodia, India, Pakistan, Nepal, and Thailand, and forging the provenance documents for same, before selling the objects to museums, galleries, and private collectors through Kapoor’s Manhattan gallery. Kapoor faces criminal charges in New York as well, and may be extradited to the U.S. following his prison sentence in India. 

Art Crisis for the “Collecting Class” 
Over the next three decades, as wealthy members of the Boomer generation pass their wealth on to the next generations, estate planners must deal with differences in taste among generations in handling the inheritance of their clients’ artworks. As the taste of younger generations leans increasingly towards artwork created by living artists of diverse backgrounds, wealthy art owners, for whom artworks are a monetary asset, must contend with the question of what to do with their artworks which are not not wanted by their heirs. 


Prado Comes to Terms with a Messy Past

More than five decades after his death, the Prado Museum in Madrid has released a list of 25 paintings deposited in its collection by former Spanish dictator Francisco Franco’s authorities. The works include paintings by the Spanish impressionist Joaquín Sorolla, the workshop of Rubens and one attributed to the 17th-century Flemish artist Jan Brueghel the Younger. Franco, who was a general in the Spanish Civil War, led Nationalist forces to overthrow the Second Spanish Republic. Franco is estimated to be responsible for up to 200,000 deaths, including deaths from forced labor, concentration camps, executions, and wartime killings. Now, nearly 80 years after the War, the Prado is launching investigations into the true provenance of works given to the museum by Franco’s authorities, with the aim of restoring the works to their rightful owners.

Restitution to the Nines: A Return of 16 Looted Works From Egypt

Earlier this September, nine individuals were arrested over 16 looted works of art, five of which were seized at the ... (you guested it) Met and repatriated to the origin country of Egypt. This particular case of looting brings forth significant international implications for ongoing trafficking crimes, as several international actors and institutions were involved. New York’s justice system has dedicated two years' time to investigating over 700 pieces in efforts to return works of art to their country of origin. This specific case tackled a big portion of that campaign, as the Louvre’s previous director, Jean Luc-Martinez, has been one of the accused in this trial. To continue to hold museum’s accountable so these occurrences do not continue what about creating a centralized databases containing information relating to museums’ collections and their origins? Who's in? 

Harvard’s Overdue NAGPRA Compliance

Despite the enactment of Native American Graves Protection and Repatriation Act (NAGPRA) in 1990, Harvard University’s Peabody Museum of Archaeology and Ethnology retained some Native American remains and the remains of 19 enslaved individuals. After a draft from the University’s Steering Committee on Human Remains in Harvard Museums Collections was leaked, the institution decided to expedite the return of human remains to their descendants. Other changes to university operations include the creation of a Human Remains Returns Committee and a Human Remains Research Review Committee, a pledge to honor individuals’ remains within its collections, and a statement condemning racist colonial regimes. This development begs the question: how will Harvard and other institutions respond to ethical issues such as their possession of remains from individuals who were not enslaved, or those who fall outside of the purview of NAGPRA? Are the school’s actions here just belated compliance with federal law, or will this decision have far-reaching implications for all human remains within Harvard collections? 

Case Law Corner

Dear Readers, for summaries of these cases and/or copies of complaints and decisions, please consider becoming our annual subscribers or Case Law Corner subscribers. 
  • Andy Warhol Foundation v. Goldsmith, 11 F.4th 26 (2d Cir. 2021).
  • Art Works, Inc. v. Al-Hadid, 2022 NY Slip Op 31522 (NY: Supreme Court 2022).
  • Davis v. Pinterest, Inc., No. 19-cv-07650-HSG (TSH) (N.D. Cal. Aug. 26, 2021).
  • De Fontbrune v. Wofsy, 39 F.4th 1214, 1236 (9th Cir. July 13, 2022).
  • Howard Univ. v. Borders, No. 20-cv-4716 (LJL), 2022 WL 11817721 (S.D.N.Y. Oct. 20, 2022).
Read the full Case Law Corner

Recent Articles from the Center


Comic Art, Creativity and the Law (2nd ed.)
Marc H. Greenberg, Professor of Law, Golden Gate University School of Law, US

Graphic novels and comics have launched characters and stories that play a dominant role in contemporary popular culture throughout the world. The extensive revisions in this second edition of Comic Art, Creativity and the Law update the author’s analysis of important changes at the intersection of law and comics, featuring an examination of how recent cases will affect the creative process as applied to comic art. Available HERE.



The Subjects of Literary and Artistic Copyright.

by Bonadio, Enrico and Christiana Sappa

From our friend Enrico Bonadio who co-authored this book that examines to what extent copyright protects a range of subjects which are engaged in the creation and management of literary and artistic works, and how such subjects use copyright to protect their interests. Providing a starting point for future research paths on copyright practices in art and literature, this book will be of interest to legal academics looking to expand their knowledge of literary and artistic copyright.  Available HERE.

Research Handbook on Intellectual Property and Cultural Heritage ($211.50)

This Research Handbook offers a comprehensive analysis of the intersections between intellectual property and cultural heritage law. It explores and compares how both have evolved and sometimes converged over time, how they increased tremendously in significance, as well as in economic value, despite the fact that intellectual property mainly pertains to the private sphere, whilst cultural heritage is considered a common good. Available HERE.


Finkelstein, Claire Finkelstein, Derek Gillman and Frederik Roséne, eds., The Preservation of Art and Culture in Times of War ($99 USD)

Today, systematic exploitation, manipulation, attacks, and destruction of cultural heritage are involved in most violent conflicts across the world. With an increasing awareness of the role cultural heritage plays in war, scholars and practitioners have progressed from seeing conflict-related destruction of cultural heritage as a cultural tragedy to understanding it as a vital national security issue. This volume seeks to deepen public understanding of the evolving nexus between cultural heritage and security in the twenty-first century. Drawing on a variety of disciplines and perspectives, the chapters in this volume examine a complex set of relationships between the deliberate destruction and misuse of cultural heritage in times of conflict, on the one hand, and basic societal values, legal principles, and national security, on the other. Available HERE.

Walasek, Helen, Bosnia and the Destruction of Cultural Heritage

The massive intentional destruction of cultural heritage during the 1992-1995 Bosnian War became a seminal marker in the discourse on cultural heritage. It prompted an urgent reassessment of how cultural property could be protected in times of conflict and led to a more definitive recognition in international humanitarian law that destruction of a people's cultural heritage is an aspect of genocide. With numerous case studies and plentiful illustrations, this volume considers questions which have moved to the foreground with the inclusion of cultural heritage preservation in discussions of the right to culture in human rights discourse and as a vital element of post-conflict and development aid.  Available here...


Cuno, James, ed., Cultural Heritage and Mass Atrocities ($83.65).

Cultural Heritage and Mass Atrocities assembles thirty-eight experts from the heritage, social science, humanitarian, legal, and military communities. Focusing on immovable cultural heritage vulnerable to attack, the volume’s guiding framework is the Responsibility to Protect (R2P), a United Nations resolution adopted unanimously in 2005 to permit international intervention against crimes of war or genocide. Comprehensive sections on vulnerable populations as well as the role of international law and the military offer readers critical insights and point toward research, policy, and action agendas to protect both people and cultural heritage. Available HERE

Repatriation of Sacred Indigenous Cultural Heritage and the Law: Lessons from the United States and Canada (Studies in Art, Heritage, Law and the Market, 3) 1st ed. 2022 Edition

by Vanessa Tünsmeyer (Author)

Repatriation of Sacred Indigenous Cultural Heritage and the Law examines the ways in which law can be used to structure the return of indigenous sacred cultural heritage to indigenous communities and aims at developing legal structures that align repatriation with contemporary international human rights standards.

The Scientist and the Forger: Probing a Turbulent Art World ($28.00)

The Scientist and the Forger: Probing a Turbulent Art World draws upon a range of case studies, from Botticelli to Leonardo, Campendonk to Pollock and Chagall to Freud, to illustrate an art world shaped by fast-moving trends, and increasingly permeated by science. How can we determine whether it was Leonardo's hand that created Salvator Mundi? How can we prove that a suspected Pollock is a forgery? And how can Man in a Black Cravat be attributed to Lucian Freud, despite Freud's adamant refusal to recognize it as one of his own? This book reveals how art historians and scientists collaborate to authenticate paintings or demonstrate that they are forgeries. Building on its first edition, this book offers a more in-depth look at some of the greatest art scandals to date. Available HERE.


Did you miss and event? read one too many free articles? Want to support our organization because we are a good cause? Interested in our premium membership but unsure what our programs even look like to warrant a subscription? Check out our YouTube Channel, where we’ve posted a few of our programs from this last year for you to watch! Love them? Sign up for premium membership today and gain access to the materials from these events, and all the other programs in our archive!

For those of you who missed our recent Keynote with Heidi Son for the Visual Artists' Immigration Clinic, the presentation has been archived and is available for viewing!

About our Guest: Heidi Son is Senior Counsel, Head of Business Immigration, at Murray Osorio PLLC, a full-service immigration firm. With over 10 years of immigration experience and 5 years in labor & employment law, Heidi currently manages an active caseload for a wide range of employment-based immigration cases, assisting individuals and corporations with obtaining business immigration benefits.

Career Opportunities

British Museum
Legal Counsel
(London, UK)
Assistant Gen. Counsel
Whitney Museum
(New York City, NY)

Full time, permanent position at the British Museum in London. Pay: £42,804 per annum. Need we say more...? Deadline to apply is November 17, 2022.

Learn more about the job and how to apply here...  

The Assistant General Counsel will report to the general Counsel and Assistant Secretary, and will be a member of a small in-house legal team of two. Candidates will work closely with the Chief Human Resources Officer (CHRO) on a range of labor and employment matters, and will also work as a non-profit generalist.

See Art, Think Art Law (TM)

Exhibitions and Events on Our Radar

The PHI Foundation for Contemporary Art (Montréal)
Through January 15, 2023

The exhibition in Montréal will present three of Yayoi Kusama’s  signature bronze pumpkin sculptures in different sizes, two new “peep-in” mirrored rooms, a grid of her vibrant My Eternal Soul paintings, and two striking Infinity Mirrored Rooms. The exhibition’s titular work, Infinity Mirrored Room – DANCING LIGHTS THAT FLEW UP TO THE UNIVERSE (2019), is filled with hanging light globes that alternate colors before abruptly going dark. The glowing spheres slowly flicker back on, re-initiating a cycle akin to life and rebirth. The exhibition will also include a reading room with a historical timeline of the artist’s life and career.
Shocking! The Surreal World of Elsa Schiaparelli
Musée des Arts Décoratifs (Paris)
Through January 22, 2023

This Paris exhibition seeks to honor the work of Italian designer Elsa Schiaparelli, whose inspiration came from her relationships with the artists from the Parisian avant-garde of the 1920s and 1930s. The show will bring together 577 works of the designer and set them against paintings, sculptures, jewelry, photographs, and other works signed by the greatest names of the time, including Salvador Dalí, Man Ray, and Jean Cocteau, among others. The retrospective will also highlight the heritage of the Schaparelli style with designs by modern designers that pay homage to it. 

Africa Fashion
V&A South Kensington (London)
Through April 16, 2023

The creativity, ingenuity and unstoppable global impact of contemporary African fashions are being celebrated in this exhibition at the Victoria & Albert Museum through an extensive display of garments, textiles, personal testimonies, photographs, film and more. Many of the pieces shown come from the archives of iconic mid-twentieth century African designers and will be complimented alongside personal insights from influential contemporary African fashion creatives, as well as highlights from today’s fashion trends. Foregrounding individual African voices and perspectives, the exhibition presents African fashions as a self-defining art form that reveals the richness and diversity of African histories and cultures. Displaying the innovative work of creatives from over 20 countries, the exhibition  seeks to explore “the vitality and global impact of a fashion scene that is as dynamic and varied as the continent itself.”

42 Artists’ books Exhibition selections from the Bob Calle Prize
Fondation Jan Michaelski
Through 27 November 2023

Sad, thought-provoking, amusing? Artist books are inspired by law and have much to say about copyright, left and everything in between. If off the beaten track or on your way to finish a book, take a look at the library treasures and exhibitions at the Jan Michalski foundation. It's inspiring.

Monet – Mitchell: Dialogue and Retrospective
Fondation Louis Vuitton (Paris)
5 October- 27 February 2023 

Spanning ten galleries at the Fondation Louis Vuitton in Paris, Monet – Mitchell: Dialogue and Retrospective is a major exhibition showcasing Joan Mitchell’s work in dialogue with the paintings of Claude Monet. The show is divided into two parts: Monet – Mitchell presents each artist’s response to their shared landscape, and Joan Mitchell Retrospective presents monumental works spanning Mitchell’s career, a dozen of which are in the collection of the Fondation Louis Vuitton.
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