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Home image/svg+xml 2021 Timothée Giet AL Clippings image/svg+xml 2021 Timothée Giet NPR Story on the Field Museum’s Financial Crisis Incites Sharp Comments from Listeners
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NPR Story on the Field Museum’s Financial Crisis Incites Sharp Comments from Listeners

May 14, 2013

The Field Museum is encyclopedic, with more than 20 million biological and
geological specimens and cultural objects.
On May 6th, NPR’s Morning Edition aired a feature on the Field Museum in Chicago.  The report is hackneyed, fitting into the genre of the modern American museum tale.  After cutting costs and staff layoffs, the museum is still $5 million in the red this year–with most of its budget for next year allocated to pay bond debt.  Last year the museum sold a large collection of George Catlin paintings for $15 million to pay for “certain staff salaries and for buying artifacts.”

The highlight of the report was not the story in itself, but rather, the response it garnered from the public on the NPR website.  The comments and the passion with which they were posted reveals the public’s views on museum struggles.  The discussion exposes that the troubles at the Field Museum (and any museum), are perceived through a kaleidoscope that includes the woes of Wall Street, the divergent extremes of politics, urbanization and suburbanization, the wealth gap and the growing baby boom generation.

The Field Museum sold some of their George Catlin
collection at the December 2004 Sotheby’s sale.

The discussion began as soon as the storied aired with a Kristopher Heinekamp commenting: “The only functioning aspects of society are the things that directly benefit the Oligarchy.  All other social institutions fall to the wayside.  Can’t afford a ticket to the Field [Museum]?  WELL, TOO BAD WEALTHY PEOPLE DON’T SHARE YOUR IDEOLOGY!  NO LEARNING FOR YOU!  Classy.  Cause, you know, MUSEUMS are now politicized.  My fondest memories of the Field Museum are definitely the Socialist Indoctrination Room, with a close second to the Liberal Brainwashing section.  What sick, craven world do you live in that MUSEUMS are somehow a “Liberal” institution?  What, is LEARNING a “Liberal” conspiracy?”

Geo Douglas wrote: “The story cited the sell off was ‘to pay for certain staff salaries’ as well as to buy artifacts.  That is outside of the guidelines of acquisition and care.  It’s a conflict of interest.  That could make it possible for the money gained to go directly to the person who authorized the sell.”  Julia T. responded: “Well, heck, Geo.  Isn’t that kinda what we did with Wall Street?  Supposedly, the financial institutions were crumbling, back in 2008.  There was no money.  And a second Great Depression looked possible.  Then, Bush give them the TARP bailout.  Next think you know, we hear of CEOs getting multi-million dollar bonuses….”

The commenters (note: not commentators) left very few suggestions.  Cat’s Paw only had to say: “Go to the museum.  Spend some money there with your family.”

Exceptionally, the popular debate about what to do with struggling museums and art institutions can be boiled down with the comments of just two people.  Julia T. stated sarcastically: “God forbid, we preserve anything that could provide culture and knowledge to us or future generations.”  General Specific responded: “Go ahead and preserve what you and your friends want.  No one is stopping you.”

The NPR story and comments can be found at: “Chicago’s Famed Field Museum Struggles to Dig Out of Hole,” Morning Edition, May 6, 2013.

Disclaimer: This article is for educational purposes only and is not meant to provide legal advice. Readers should not construe or rely on any comment or statement in this article as legal advice. For legal advice, readers should seek a consultation with an attorney.

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Previous Fair Use Fails Mr. Brainwash: Judicial Stance on Infringement and Appropriation Art Swings the Other Way
Next Et tu, Poland?! Poland seeks return of 18 paintings taken by the Soviet Red Army in 1945

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Yesterday marked the launch of our Art Law Film Se Yesterday marked the launch of our Art Law Film Series! 🎥

The first screening was warmly hosted as part of CineLöwenbraukunst at @lowenbraukunst.zurich, and made possible with the generous support of @prohelvetia and @migros_culture_funding. 

We were thrilled to screen the powerful documentary “Elephants & Squirrels” by director Gregor Brändli @gregor_braendli_3000, which follows Sri Lankan artist @deneth_piumakshi_vedaarachchig Deneth Piumakshi Veda Arachchige on her journey advocating for the restitution of cultural heritage from Swiss museums back to the Wanniyala-Aetto indigenous community in Sri Lanka.

The evening offered insightful discussions, highlighting thoughtful approaches to the complex multi-perspective issues of restitution and colonial legacies.

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Join the Center for Art Law for a discussion on th Join the Center for Art Law for a discussion on the current state of the Anti-Money Laundering Regulations, and how recent and upcoming changes affect art market participants and transactions.

The speakers will offer an update on the regulatory landscape in the United States, issues with enforcement of the AML provisions as well as discuss considerations for private sector on how to stay compliant and prevent money laundering. Finally, we will share the very latest insights we have gained about regulations and enforcement in the UK as they concern  art market participants.

This is your opportunity to learn about the new edition of the Center's AML study of regulations in the EU and other jurisdictions, brush up on the upcoming changes in the UK and the US to the due diligence requirements, and to ask questions.

The event is offered in conjunction with the 2026 Art Law Summer School. 

This event is in-person at Steptoe, New York @ 1114 Avenue of the Americas AND Online.

🎟️ Click the link in our bio to grab your tickets!

#artlaw #centerforartlaw #artlawyer #legalresearch #aml #artcrime #internationallaw
We hope you join us for our Annual Art Law Confere We hope you join us for our Annual Art Law Conference 2026 on May 27, 2026. You can join in-person at Brooklyn Law School or online via Zoom.

The 2026 conference will focus on copyright law as it relates to visual art, artificial intelligence, and the rapidly evolving legal landscape of the 21st century. The program will begin with a keynote address, followed by three substantive panels designed to build on one another throughout the afternoon. In addition, we will host a curated group of exhibitors featuring databases, legal tools, and technology platforms relevant to artists’ rights, copyright, and AI. The program will conclude with a reception, providing time for continued discussion, networking, and engagement among speakers, exhibitors, and attendees.

The opening panel will examine the current state of copyright law in the visual arts and the practical challenges facing artists, galleries, institutions, and practitioners. Subsequent panels will address artificial intelligence, recent legislative and regulatory developments, the role of the U.S. Copyright Office, and emerging questions around licensing, enforcement, and appropriation in a contemporary digital environment.

The conference convenes artists, attorneys, scholars, collectors, arts administrators, students, and policy professionals for in-depth and timely discussion, and will be accompanied by a silent auction and exhibitor networking opportunities. 

Closing Remarks by Lindsay Korotkin, Partner, ArentFox Schiff
Join us on May 27th at Brooklyn Law School for our Join us on May 27th at Brooklyn Law School for our Annual Art Law Conference 2026: What is Copy, Right? 

We are very excited to introduce you to the topic and speakers for Panel 3: Registration Is Dead? Long Live Licensing?

As copyright enforcement becomes more complex, this panel explores the evolving role of registration and the growing importance of licensing agreements in protecting creative works. Panelists will discuss how artists, rights holders, and legal practitioners navigate enforcement today, examining when registration still matters, how licensing structures are being used strategically, and what effective rights management looks like in a shifting legal and art market landscape.

Moderator: Carol J. Steinberg, Art, Copyright & Entertainment Law Attorney, Faculty, School of Visual Arts

Speakers: Janet Hicks, Vice President and Director of Licensing, Artists Rights Society; Yayoi Shionoiri, art lawyer and Vice President of External Affairs and General Counsel at Powerhouse Arts; Martin Cribbs, Intellectual Property Licensing Strategist

You can join us in-person or online! Grab your tickets using the link in our bio! 🎟️ 

#centerforartlaw #artlaw #copyrightregistration #copyrightlaw #copyrightlawandart
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🔗 Check out our May newsletter, using the link in our bio, to get a curated collection of art law news, our most recent published articles, upcoming events, and much more!!

#centerforartlaw #artlaw #artlawyer #lawyer #artissues #newsletter #may #legalresearch
Join us on May 27th at Brooklyn Law School for our Join us on May 27th at Brooklyn Law School for our Annual Art Law Conference 2026: What is Copy, Right? 

We are very excited to introduce you to the topic and speakers for Panel 2: The Copyright Office Weighs In — Three Reports on AI and the Law

This panel examines the U.S. Copyright Office’s three recent reports on artificial intelligence and copyright, unpacking what they clarify, and what they leave unresolved about authorship, ownership, and protection in the age of AI. Panelists will also situate these reports within the broader legal landscape, touching on emerging litigation and contested issues shaping how AI‑generated and AI‑assisted works are treated under current copyright law.

Moderator: Atreya Mathur, Director of Legal Research, Center for Art Law

Speakers: Miriam Lord, Associate Register of Copyrights and Director of Public Information and Education; Ben Zhao, Neubauer Professor of Computer Science at University of Chicago and Founder, Nightshade & Glaze; Katherine Wilson-Milne, Partner, Schindler Cohen & Hochman LLP 

Reserve your tickets today! 🎟️ 

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Round, like a circle in a spiral, like a wheel wit Round, like a circle in a spiral, like a wheel within a wheel… Case law is fascinating, and litigation is often the only path when disputes over valuable art cannot be resolved through negotiation or ADR. 

As news of the renewed HEAR Act spreads through the restitution community, we invite you to read a case review by two of our legal interns, Donyea James (Fordham Law, JD Candidate 2026) and Lauren Stein (Wake Forest University School of Law, JD Candidate 2027), who spent this semester immersed in the facts and law of "Bennigson et al. v. Solomon R. Guggenheim Foundation."

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🔗 Link in bio.

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We are very excited to introduce you to the topic and speakers for, Panel 1: So Inappropriate — Lessons About Copyright Law and Art: First There Was Art, Then Copyright, Then Fair Use… and Now AI?

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Next stop: Venice. The 61st Biennale has been maki Next stop: Venice. The 61st Biennale has been making waves and headlines for weeks and the doors have not even opened yet. The jury refused to award prizes and resigned nine days before the opening over geopolitical controversies. Some artists boycott while others show up even if unwelcome. Some pavilions will be empty, some will not be open to the public… Sources of funds, sources of inspiration, so many questions, so much on display for critical eyes. Meanwhile the boats are waiting for anyone lucky enough to find themselves in the floating world.

Help us reflect on the Biennale by sharing your art law stories.

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Professor Zhao will discuss tools, such as NightShade, which can assist in defending art in the age of AI. 

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We hope you join us! Reserve your tickets now using the link in our bio 🎟️ 

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🎤 Raminta Dereskeviciute | McDermott Will & Schulte
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