Appropriation Art, Fair Use, and Metalinguistic Negotiation
Bibliographic Data
| ID | 4159828 |
|---|---|
| Authors | Elizabeth Cantalamessa (University of Miami, corresponding author) |
| Year | 2020 |
| Volume | 60 |
| Issue | 2 |
| Pages | 115-129 |
| Publication date | 2020-05-12 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | The British Journal of Aesthetics (JOURNAL) |
| Journal identifiers | ISSN: 0007-0904 • E-ISSN: 1468-2842 |
| Publisher | Oxford University Press (PUBLISHER • GB) |
| DOI | 10.1093/aesthj/ayz055 |
| OpenAlex | W2999166189 |
| Language | EN |
| Citations received | 3 |
Appropriation art (AA) involves the use of pre-existing works of art with little to no transformation. Works of AA (often) fail to satisfy established criteria for originality, such as creative labour and transformative use. As such, appropriation artists are often subject to copyright lawsuits and defend their work under the fair use doctrine of US copyright law. In legal cases regarding AA and fair use, judges lack a general principle whereby they can determine whether or not the offending party has 'transformed' the original work. Further, it is not the case that there is some antecedent fact that could determine the outcome one way or another. I diagnose debates surrounding the transformative nature of works of AA as cases of 'metalinguistic negotiation' over what concepts we should attach to terms like 'copy', 'transformative', and 'work of art
Aesthetics · Appropriation · Creativity · Doctrine · Epistemology · Fair use · Law and economics · Negotiation · Originality · Pedagogy · Political science · Sociology · Subject (documents · Transformative learning · Work of art · Art History and Market Analysis · Computer Science · Copyright and Intellectual Property · Law · Law in Society and Culture · Philosophy
| Unique citing works | 3 |
|---|---|
| Citations per year | 0,5 |
| Citation span | 2020 - 2023 (4) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 3 |