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Home image/svg+xml 2021 Timothée Giet AL Clippings image/svg+xml 2021 Timothée Giet It’s a Riot not a Scream: Judge with a Sense of Humor Hears Green Day Copyright Infringement Case on Appeal
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It’s a Riot not a Scream: Judge with a Sense of Humor Hears Green Day Copyright Infringement Case on Appeal

February 25, 2013

Inflatable Scream 19" Desktop

By Center for Art Law Editors

Did you hear that a 9th Circuit judge brought an inflatable doll of the figure from the Munch’s painting The Scream into court?

The gesture  if true seems very apropos when hearing arguments on appeal in Dereck Seltzer v. Green Day, Inc. et al, 2:10-cv-02103-PSG-PLA. In the Complaint, filed in 2010, Plaintiff seeks damages for copyright infringement and unfair competition from the music group Green Day, and various individuals and businesses, including DOES 1 through 50 associated with it. Selzer alleges that Defendants violated his secured and exclusive rights by using his image,  Scream Icon, on http://www.greenday.com website and as a backdrop for a music video.

Seltzer, a street artist, created the image in question in 2003. He printed posters and stickers depicting the image and posted them around Los Angeles. In 2008, Green Day’s set designer, Richard Staub, photographed one such poster and with some modification incorporated it into the band’s video as a backdrop as well as used it in other places. In 2011, District Judge Philip Gutierrez granted defendant’s motion for summary judgment on the grounds that Staub’s use of the image was “transformative” under the fair use defense. Selzer appealed.

The judges hearing the arguments on appeal included: Judge Richard Clifton; Judge Stephen Trott and Judge Diarmuid O’Scannlain. It is unclear at this time which of the three brought in the balloon shaped as Munch’s Scream. While their ruling is pending, Selzer hopes that his “status as street art [does] not impact the court’s decision under copyright law.”

Plaintiff is represented by Todd W Bonder and William Nathan Canby, with Rosenfeld Meyer and Susman, LLP.

Attorney for Green Day is Peter Anderson.

Source: Courthouse News Service; Music Law Seminar.

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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The expansion of the use of collaborations between The expansion of the use of collaborations between artists and major consumer corporations brings along a myriad of IP legal considerations. What was once seen in advertisement initiatives  has developed into the creation of "art objects," something that lives within a consumer object while retaining some portion of an artists work. 

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Join the Center for Art Law for an in-person, full-day training aimed at preparing lawyers for working with art market participants and understanding their unique copyright law needs. The bootcamp will be led by veteran art law attorneys, Louise Carron, Barry Werbin, Carol J. Steinberg, Esq., Scott Sholder, Marc Misthal, specialists in copyright law. 

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Don't forget to grab tickets to our upcoming Collo Don't forget to grab tickets to our upcoming Colloquium, discussing the effectiveness of no strike designations in Syria, on February 2nd. Check out the full event description below:

No strike designations for cultural heritage are one mechanism by which countries seek to uphold the requirements of the 1954 Hague Convention. As such, they are designed to be key instruments in protecting the listed sites from war crimes. Yet not all countries maintain such inventories of their own whether due to a lack of resources, political views about what should be represented, or the risk of misuse and abuse. This often places the onus on other governments to create lists about cultures other than their own during conflicts. Thus, there may be different lists compiled by different governments in a conflict, creating an unclear legal landscape for determining potential war crimes and raising significant questions about the effectiveness of no strikes as a protection mechanism. 

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Don't miss our up coming in-person, full-day train Don't miss our up coming in-person, full-day training aimed at preparing lawyers for working with art market participants and understanding their unique copyright law needs. The bootcamp will be led by veteran art law attorneys, Louise Carron, Barry Werbin, Carol J. Steinberg, Esq., Scott Sholder, Marc Misthal, specialists in copyright law. 

This Bootcamp provides participants -- attorneys, law students, law graduates and legal professionals -- with foundational legal knowledge related to copyright law for art market clients. Through a combination of instructional presentations and mock consultations, participants will gain a solid foundation in copyright law and its specificities as applied to works of visual arts, such as the fair use doctrine and the use of generative artificial intelligence tools.

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In order to fund acquisitions of contemporary art, In order to fund acquisitions of contemporary art, The Phillips Collection sold seven works of art from their collection at auction in November. The decision to deaccession three works in particular have led to turmoil within the museum's governing body. The works at the center of the controversy include Georgia O'Keefe's "Large Dark Red Leaves on White" (1972) which sold for $8 million, Arthur Dove's "Rose and Locust Stump" (1943), and "Clowns et pony" an 1883 drawing by Georges Seurat. Together, the three works raised $13 million. Three board members have resigned, while members of the Phillips family have publicly expressed concerns over the auctions. 

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Alexander Butyagin, a Russian archaeologist, was a Alexander Butyagin, a Russian archaeologist, was arrested by Polish authorities in Warsaw. on December 4th. Butyagin is wanted by Ukraine for allegedly conducting illegal excavations of Myrmekion, an ancient city in Crimea. Located in present-day Crimea, Myrmekion was an Ancient Greek colony dating to the sixth century, BCE. 

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Join us on February 18th to learn about the proven Join us on February 18th to learn about the provenance and restitution of the Cranach painting at the North Carolina Museum of Art.

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“In the depth of winter, I finally learned that wi “In the depth of winter, I finally learned that within me there lay an invincible summer."
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The Center for Art Law's January 2026 Newsletter is here—catch up on the latest in art law and start the year informed.
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Major corporations increasingly rely on original c Major corporations increasingly rely on original creative work to train AI models, often claiming a fair use defense. However, many have flagged this interpretation of copyright law as illegitimate and exploitative of artists. In July, the Senate Judiciary Committee on Crime and Counterterrorism addressed these issues in a hearing on copyright law and AI training. 

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Join the Center for Art Law for an in-person, all- Join the Center for Art Law for an in-person, all-day  CLE program to train lawyers to work with visual artists and their unique copyright needs. The bootcamp will be led by veteran art law attorneys specializing in copyright law.

This Bootcamp provides participants -- attorneys, law students, law graduates and legal professionals -- with foundational legal knowledge related to copyright law for art market clients. Through a combination of instructional presentations and mock consultations, participants will gain a solid foundation in copyright law and its specificities as applied to works of visual arts, such as the fair use doctrine and the use of generative artificial intelligence tools. 

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Our interns do the most. Check out a day in the li Our interns do the most. Check out a day in the life of Lauren Stein, a 2L at Wake Forest, as she crushes everything in her path. 

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