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Home image/svg+xml 2021 Timothée Giet Art law image/svg+xml 2021 Timothée Giet The Real Banksy: Anonymity and Authenticity in the Art Market
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The Real Banksy: Anonymity and Authenticity in the Art Market

December 3, 2023

(Early photograph of Banksy and “Laugh Now But One Day We’ll Be In Charge,” Banksy, via Steve Lazarides).

By Alexandra Even

Banksy’s anonymity is as a part of his brand as his art. But it now appears the artist’s long-held secret may be in jeopardy: Banksy has recently been involved in a number of legal battles with a greeting card company over a trademark dispute and now a libel lawsuit. The lawsuits have named “Robin Gunningham” as a defendant, which Banksy has officially denied is his legal name, and the plaintiff has indicated it may request Banksy to reveal his true identity. This is just one example of how Banksy’s anonymity can rub up against the legal and practical reality of operating in the art market. So how does an artist as notorious and well-known as Banksy operate anonymously when such a large part of the art market is predicated on relationships and identity?

Banksy the Artist

Banksy is not a completely mysterious figure. While he has continued to remain anonymous throughout his career, that has not stopped him from giving veiled interviews or speaking through his associates. For instance, we know he grew up in Bristol, England and got involved in the underground street art there in the 1990s.[1] In an effort to evade the police, the artist began going by a pseudonym, first going by Robin Banx, later shortening it to Banksy (this was easier to write quickly on a wall).[2]

When he was 18, he realized stencils were a faster method that would allow him to make a quick getaway from law enforcement. Banksy once spoke on this, saying, “As soon as I cut my first stencil, I could feel the power there. I also like the political edge. All graffiti is low-level dissent, but stencils have an extra history. They’ve been used to start revolutions and to stop wars.”[3]

In 1999, Banksy headed to London and noticed that anonymity created its own aura of mystery around his art. What was once a measure to avoid police soon became a star-making promotional tool.[4] Starting in 2003, the artist began a series of stunts where he would go to major art museums (such as Tate Britain, the Louvre, and the Metropolitan Museum of Art) in disguise and enter his own art into the collection.[5]

Banksy first rose to international infamy in 2005 when he created a series of images in Palestine on the West Bank’s concrete wall. The images depicted ideas about escape, including a girl floating away with a group of balloons, a boy painting a ladder, and two children with a bucket and spade dreaming of a beach.[6] Ever political, Banksy released a statement following the appearance of his art calling Palestine, “the world’s largest open prison.”[7]

"Love is in the Air," Banksy, Bethlehem, Palestine (2005) via Banksy Explained
“Love is in the Air,” Banksy, Bethlehem, Palestine (2005) via Banksy Explained

Banksy’s bread and butter is his satirical stunts that make the elite the punchline: live rats skittering around a gallery opening filled with art critics and a live elephant painted red with fliers distributed to glittering event-goers reading, “There’s an elephant in the room…20 billion people live below the poverty line.”[8] The irony is, of course, how much Banksy’s art goes for these days, but that is not lost on him – “I love the way capitalism finds a place—even for its enemies. It’s definitely boom time in the discontent industry.”[9]

Banksy has always rejected the idea that he is a cog in the machine of the art market. In 2018, Banksy pranked Sotheby’s after they auctioned off his work for $1.2 million.[10] As soon as the gavel fell, the artwork went through a shredder built into the frame. However, the machine malfunctioned and the painting was shredded only halfway, inadvertently making the piece more valuable due to the notoriety brought by the stunt, later selling for $25.4 million.[11]

Banksy almost never works completely alone, especially as his stunts grew from spray painted graffiti art to large scale immersive exhibits. For example, Banksy opened the Walled Off Hotel, which is a permanent hotel in Bethlehem, Palestine and created Dismaland, which was a temporary experience in Somerset, England.[12] This last summer, Banksy had his first solo show in 15 years at the Glasgow’s Gallery of Modern Art titled, “Cut & Run: 25 Years of Card Labour.”[13] The exhibition was the first major career retrospective and was described as “his most elaborate and extensive exhibition to date,” including many of his works, stencils, and recreations of his childhood bedrooms, his desk, and his toilet.[14]

Given the large scale of his work and the amount of people that work with the artist, it is certainly a wonder that his identity has remained a secret for as long as it has. Beyond mystique, should Banksy reveal himself, he could potentially be faced with criminal charges in a number of jurisdictions for his vandalism, property destruction, and criminal mischief.[15] Over the years, speculation around his identity has grown to include many different figures.

Banksy the…Man?

You may be surprised to learn that we think we have a pretty good idea who Banksy is. The prevailing theory is that Banksy is Robin Gunningham, fellow Bristol native and named as a defendant in the recent defamation trial brought against Banksy by the greeting card company Full Colour Black.[16] A 2016 study showed that Gunningham’s known movements correlated to those of Banksy.[17] The name Robin would also connect to Banksy given his first anonymous street name was Robin Banx. Though no one has been able to absolutely link Gunningham to Banksy and the artist has repeatedly denied that this is him, it seems to be the most likely candidate in a slew of possibilities.

Early photo of Banksy with his face concealed, via Steve Lazarides
Early photo of Banksy with his face concealed, via Steve Lazarides

But nothing is for certain. Others think Banksy is Robert Del Naja, a member of the band Massive Attack, also known by his stage name “3D.”[18] Banksy fans have tracked Massive Attack’s tour dates and linked them to Banksy art cropping up. Robert Del Naja and Banksy are both from Bristol, travel in the same circles, have said that they are friends, and Banksy is known to be a Massive Attack fan, using their music in his Walled Off Hotel and Dismaland.[19]

A recently unearthed clip from a 2003 BBC interview seems to reveal Banksy’s identity. The interviewer, Nigel Wrench, asks Banksy if his name is “Robert Banks” and the artist replies, “It’s Robbie.”[20] Although some are taking this clip as a monumental revelation, names close to “Robbie” have been revealed in the past, so this discovery feels in no way conclusive.

Some even believe that “Banksy” has now come to refer to a collective of artists instead of one single man. Given the wide ranging and large scale of his more recent projects, it seems likely that more and more artists are contributing to Banksy’s work under his moniker.[21] Many of his works have grown to include artists such as John D’oh, James AME72 Ame, and Damien Hirst, who himself has been charged with being Banksy.[22]

Whatever the case, Banksy’s identity is simultaneously a closely guarded secret and an open one. Clearly a great number of people know who Banksy is and are unwilling to share the information. The mystique around his identity is as much a part of his brand as his art, and his close friends and collaborators are unwilling to relinquish the magic of his anonymity.

One such collaborator, Banksy’s former agent and friend Steve Lazarides, traveled the world with Banksy, documenting and photographing his antics and managing his early career.[23] Once, in a televised interview, he referred to Banksy as “Rob” while he was telling a story.[24] When the interviewer pressed him on it, he said “That name’s out there. And who says it’s real…Robin, Robert, Robbie.”[25] Though the two have parted ways, Lazarides said he would never reveal the artist’s identity: “the general public don’t want it. If I revealed his face, it’s like telling a five-year-old that Santa Claus isn’t real. Why would I do that? And I think, you know, the general public have constructed a folk hero, and I’m not going to take that away from them.”[26]

The Real Banksy

But how can Banksy operate in the art world without any direct personal contact to it? The answer, like much of Banksy’s work of late, is that it requires a great number of people working on his behalf.

Because a quick escape from law enforcement necessitates the use of stencils, the Banksy art market is prone to forgeries.[27] To combat this, Banksy relies on his own personal authentication service, Pest Control.[28] Beginning in 2008, the service is the only official body that can authenticate a Banksy – in other words, you have to go through Banksy to buy a Banksy.[29] Pest Control is also the only point of sale when new work is available (which it rarely is).

Pest Control will authenticate a Banksy already owned or will work with buyers and sellers to authenticate an item that is in the process of being sold.[30] As is Banksy’s way, the authentication is done in rather clever ways. All certificates come with half of a fake Princess Diana ten pound note – Pest Control keeps the other half as a match.[31] Certificates of Authenticity (CoA) issued after 2020 come with an image of a rat running in a wheel (see image below).

Pest Control COA – On the left, CoA from pre-2020 (2003). On the right, CoA from post-2020 (2020).
Pest Control COA – On the left, CoA from pre-2020 (2003). On the right, CoA from post-2020 (2020).
Pest Control COA – On the left, CoA from pre-2020 (2003). On the right, CoA from post-2020 (2020).
Pest Control COA – On the left, CoA from pre-2020 (2003). On the right, CoA from post-2020 (2020).

Before Pest Control, there was Pictures on Walls (POW). The artist collective began in 2003 as an opportunity for artists to work outside the stale constraints of the art world. POW allowed artists to sell directly without having to pay commission to a dealer, produced high quality for street artists who might not otherwise be able to profit from their art, and would authenticate Banksys.[32] However, as Banksy’s and the other artist’s fame grew, POW’s business model became less and less realistic – works trickled down into the mainstream market and were fetching high prices.[33] As a result, POW closed its doors in 2017, and Pest Control remains as the only authenticator of Banksy’s works.

The process of getting a piece authenticated by Pest Control is not designed to turn a profit – rather the service charges £100 for a screen print and £150 for an original, just enough to cover costs. Inquirers will not be charged if the work is to be found fake.[34] Banksy’s characteristic irreverence bleeds even into this process: the Pest Control website states, “Many Banksy pieces are created in an advanced state of intoxication, which can make the task of authenticating his works lengthy and challenging” and “He would encourage anyone wanting to purchase one of his images to do so with extreme caution, but does point out that many copies are superior in quality to the originals.”[35]

Bansky Unmasked?

Throughout his career, Banksy has been no stranger to litigation and criminal charges. But none have come so close to revealing his identity as his ongoing dispute with the greeting card company Full Colour Black.

The controversy began in 2019 when Full Colour Black (FCB) filed a trademark dispute against Banksy. The greeting card company specialized in reproducing street art on their cards. Apparently, they offered royalties to Banksy’s representatives, which he refused.[36] Famous for once writing, “copyright is for losers,” Banksy avoids enforcing his copyright.[37] He encourages his fans to freely use images of his work for non-commercial purposes.[38] Not only is he against it for personal and political reasons, but to enforce his copyright in works would be to expose his closely-guarded identity. To assert a claim in copyright, Pest Control may have to prove they had acquired copyright from Banksy, which could require him to reveal his real name.[39]

Because of this, Banksy typically opts for enforcing trademarks. FCB’s trademark dispute was over an image of a monkey with a sandwich board reading, “Laugh now but one day we’ll be in charge.” Banksy had trademarked the image and FCB disputed the filing with the European Union Intellectual Property Office, saying that it was made in bad faith. The EUIPO first ruled against Banksy, stating that the filing repeatedly referred to Banksy, not Pest Control, and that Banksy would need to apply in his name.[40] However, on appeal the decision was reversed in favor of Banksy, with the EUIPO stating FCB failed to show “clearly dishonest behavior” on the part of Pest Control or Banksy.[41]

The now-deleted Instagram post made by Banksy on November 18, 2022 via The Sun.
The now-deleted Instagram post made by Banksy on November 18, 2022 via The Sun.

But the battle is far from over. FCB recently filed a libel claim in the Queen’s Bench Division of the High Court over a now-deleted Instagram post from Banksy.[42] The post was made in November 2022, around when the EUIPO reversed in favor of Banksy.[43] An image of a GUESS store front (the company was also previously locked in a trademark battle with Banksy) with one of FCB’s trademarks “Brandalised” accompanies a caption reading, “Alerting all shoplifters. Please go to GUESS on Regent Street. They’ve helped themselves to my artwork without asking, how can it be wrong for you to do the same to their clothes?”[44] The lawsuit named “the artist known as Banksy” and “Robin Gunningham” as defendants in the case and plaintiffs seek $1.6 million for “grave damages.”[45]

FCB alleges that this post, sent out to Banksy’s 11.9 million Instagram followers, “goes to the heart of the Claimant’s business reputation” and caused them to suffer serious financial loss because the store had to be closed to the public when a crowd of Banksy followers created a disturbance.[46] FCB’s lawyers indicated in the filing that they may seek the artist’s unmasking: “His true identity has not been disclosed to the public but he carries on his public activities under the pseudonym ‘Banksy’…The claimant reserves the right to seek an order that he identifies himself for the purposes of these proceedings.”[47]

Conclusion

It remains to be seen whether Banksy’s true identity will be forced into the limelight. What is abundantly clear given his long history of protecting his identity is that he won’t go down without a fight. Some believe the likelihood that a court would force Banksy to reveal himself is quite low.[48] But with a public fascinated by the mysterious figure Banksy has created for himself, it feels like only a matter of time before he may have to step out of the shadows.

Suggested Reading/Watching:

  • Banksy, Exit Through the Gift Shop (2010). (documentary)
  • Banksy, Wall and Piece (2005). (book)
  • Lauren Collins, “Banksy Was Here,” The New Yorker, (May 2007). (magazine article)
  • “The mysteries of Banksy,” CBS Sunday Morning, (2023). (televised interview)
  • Will Elsworth-Jones, Banksy: The Man Behind the Wall (2021, revised and illustrated). (book)

About the Author:

Alexandra Even is a third year law student at Boston College Law School. She studied art history and communication at Santa Clara University and has spent her time in law school studying the cross-section between art and law.

Sources:

  1. Will Ellsworth-Jones, The Story Behind Banksy, (Feb 2013), https://www.smithsonianmag.com/arts-culture/the-story-behind-banksy-4310304/. ↑
  2. Id. ↑
  3. Id. ↑
  4. CBS Sunday Morning, “The mysteries of Banksy,” (Aug 2023), https://www.youtube.com/watch?v=36mxkE4BHoE. ↑
  5. Will Ellsworth-Jones, “The Story Behind Banksy,” Smithsonian Magazine, (Feb. 2013), https://www.smithsonianmag.com/arts-culture/the-story-behind-banksy-4310304/ ↑
  6. The Segregation Wall, Banksy Explained, Banksy Blog, https://banksyexplained.com/the-segregation-wall-palestine-2005/ (see this link for a video of Banksy and crew painting the images on the wall in broad daylight). ↑
  7. Id. ↑
  8. Will Ellsworth-Jones, “The Story Behind Banksy,” Smithsonian Magazine, (Feb. 2013), https://www.smithsonianmag.com/arts-culture/the-story-behind-banksy-4310304/ ↑
  9. Id. ↑
  10. “Half-shredded Banksy fetches $25.4 mln on return to Sotheby’s,” Reuters, (2021), https://www.reuters.com/lifestyle/5-8-million-half-shredded-banksy-try-sothebys-2021-10-14/ ↑
  11. Id. ↑
  12. See websites for the two experiences: https://dismaland.co.uk/; https://walledoffhotel.com/ ↑
  13. Sarah Cascone, “Banksy’s Blockbuster Show in Glasgow Attracted Record Crowds—and the Artist Wants You to Decide Where It Should Travel Next,” (Aug. 2023) https://news.artnet.com/art-world/banksy-glasgow-show-attracts-record-crowds-2355204. ↑
  14. https://www.myartbroker.com/artist-banksy/articles/inside-banksy-cut-and-run-exhibition ↑
  15. Tyson Mitman, “An upcoming defamation case could finally unmask the famous street artist Banksy—but he may not be just one person,” (Oct. 2023), https://fortune.com/europe/2023/10/12/who-is-banksy-graffiti-street-artist-collective-defamation-case/ ↑
  16. Adam Schrader, “Will Banksy’s Identity Finally Be Unmasked in a Defamation Lawsuit Brought by a U.K. Greeting Card Company?” ArtNet, (Oct. 2023), https://news.artnet.com/art-world/full-color-blank-suing-banksy-not-robin-gunningham-2371795. ↑
  17. “Banksy unmasked? Scientists use maths and criminology to map artist’s identity,” The Guardian, (Mar. 2016)https://www.theguardian.com/artanddesign/2016/mar/05/banksy-unmasked-scientists-use-maths-and-criminology-to-map-artists-identity ↑
  18. Emily Shugerman, “Banksy: 8 signs Massive Attack’s Robert Del Naja is mystery artist,” The Independent (Oct. 2018) https://www.independent.co.uk/arts-entertainment/music/news/banksy-robert-del-naja-massive-attack-art-who-is-he-identity-real-name-graffiti-music-similarities-a7805741.html ↑
  19. Id. ↑
  20. Carita Rizzo, “Banksy’s Identity Finally Revealed in Lost Interview,” ArtNews, (Nov. 21, 2023). ↑
  21. Tyson Mitman, “An upcoming defamation case could finally unmask the famous street artist Banksy—but he may not be just one person,” (Oct. 2023), https://fortune.com/europe/2023/10/12/who-is-banksy-graffiti-street-artist-collective-defamation-case/ ↑
  22. Id. ↑
  23. Gemma Peplow, “Banksy – the most revealing photo yet? How his former agent documented art’s biggest mystery,”(Nov. 2019), https://news.sky.com/story/banksy-the-most-revealing-photo-yet-how-his-former-agent-documented-arts-biggest-mystery-11849365 ↑
  24. CBS Sunday Morning, “The mysteries of Banksy,” (Aug 2023), https://www.youtube.com/watch?v=36mxkE4BHoE. ↑
  25. Id. ↑
  26. Gemma Peplow, “Banksy – the most revealing photo yet? How his former agent documented art’s biggest mystery,”(Nov. 2019), https://news.sky.com/story/banksy-the-most-revealing-photo-yet-how-his-former-agent-documented-arts-biggest-mystery-11849365 ↑
  27. Tyson Mitman, “An upcoming defamation case could finally unmask the famous street artist Banksy—but he may not be just one person,” (Oct. 2023), https://fortune.com/europe/2023/10/12/who-is-banksy-graffiti-street-artist-collective-defamation-case/ ↑
  28. Pest Control, https://pestcontroloffice.com/index.asp; Joe Syer, “Pest Control: A Guide To Verifying Banksy Prints For Buyers & Sellers,” My Art Broker, https://www.myartbroker.com/artist-banksy/guides/how-to-verify-banksy-prints-with-pest-control ↑
  29. Joe Syer, “Pest Control: A Guide To Verifying Banksy Prints For Buyers & Sellers,” My Art Broker, https://www.myartbroker.com/artist-banksy/guides/how-to-verify-banksy-prints-with-pest-control. ↑
  30. Id. ↑
  31. Id. ↑
  32. Id. ↑
  33. Id. ↑
  34. Pest Control, Authentications, https://pestcontroloffice.com/auth1.asp. ↑
  35. Joe Syer, “Pest Control: A Guide To Verifying Banksy Prints For Buyers & Sellers,” My Art Broker, https://www.myartbroker.com/artist-banksy/guides/how-to-verify-banksy-prints-with-pest-control ↑
  36. Enrico Bonadio, “Banksy’s trademark battle exposes a huge hypocrisy in his anti-copyright views,” Quartz, (Oct. 2019), https://qz.com/quartzy/1726408/banksys-trademark-dispute-with-full-colour-black-could-backfire. ↑
  37. Bruce Berman, “‘Copyright is for Losers,’ Says, Street Artist, Banksy: Some Trademarks Not,” IP Up Close, (May 2019), https://ipcloseup.com/2019/05/07/copyright-is-for-losers-says-street-artist-banksy-some-trademarks-not/#:~:text=Banksy’s%20satiric%20images%20are%20among,control%20and%20prevent%20over%2Dcommercialization. ↑
  38. See Pest Control, https://pestcontroloffice.com/use.asp, (stating, “You are welcome to use Banksy’s images for non-commercial, personal amusement. Print them out in a colour that matches your curtains, make a card for your gran, submit them as your own homework, whatever. But neither Banksy or Pest Control licence the artist’s images to third parties. Please do not use Banksy’s images for any commercial purpose”). ↑
  39. Enrico Bonadio, “Banksy’s trademark battle exposes a huge hypocrisy in his anti-copyright views,” Quartz, (Oct. 2019), https://qz.com/quartzy/1726408/banksys-trademark-dispute-with-full-colour-black-could-backfire. ↑
  40. Adam Schrader, “EU rules in favor of Banksy in trademark dispute, allowing him to remain anonymous,” United Press International, (Nov. 2022), https://www.upi.com/Top_News/World-News/2022/11/18/eu-rules-in-favor-banksy-trademark-dispute-anonymity-guess/7871668829898/. ↑
  41. Id. ↑
  42. Adam Schrader, “Will Banksy’s Identity Finally Be Unmasked in a Defamation Lawsuit Brought by a U.K. Greeting Card Company?” ArtNet, (Oct. 2023), https://news.artnet.com/art-world/full-color-blank-suing-banksy-not-robin-gunningham-2371795. ↑
  43. Id. ↑
  44. Tristan Kirk, “Banksy sued for £1.3m over ‘grave damage’ of Instagram post about fashion store,” The Standard, (Oct. 2023), https://www.standard.co.uk/news/uk/banksy-sued-instagram-post-guess-full-colour-black-b1111802.html. ↑
  45. Id. ↑
  46. Id. ↑
  47. Id. ↑
  48. Adam Schrader, “Will Banksy’s Identity Finally Be Unmasked in a Defamation Lawsuit Brought by a U.K. Greeting Card Company?” ArtNet, (Oct. 2023), https://news.artnet.com/art-world/full-color-blank-suing-banksy-not-robin-gunningham-2371795. ↑

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 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
Where does this newsletter find you? Checking your Where does this newsletter find you? Checking your passport and tickets on your way to Venice, or floating toward the Most Serene City on the waves of your imagination? Yes, this newsletter is inspired by the 61st Venice Biennale, entitled In Minor Keys, and by the May flurry of activities. For us the month of May closes books on FY 2026 (thanks to you and our programming, we are ending this year strong and ready for the 2026-2027 encore), and it makes our heads spin with final preparations for the Summer School and Annual Conference, punctuated by the arrival of the summer interns (final count is still a mystery). Please share with us your art law stories and experiences as we strive to do the same in New York, Zurich, London, Venice…

The eyes of the art and law world are on La Serenissima because the world needs serenity instead of sirens and because people love art, it imitates life, art that allows us to experiment with real feelings and overcome the drama. From lessons in artistic advocacy with the “Invisible Pavilion” (2026) to historical echoes of the Biennale del Dissenso [Biennial of Dissent] (1977), this Biennale is giving us a lot to process. Hope and joy, loss and disappointment, reunions and new encounters, memorialization and belonging, realization that different motivations drive us to take to the road. Don’t lose your moral compass or your keys, and remember: even minor movements can lead to major reverberations. 

🔗 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! 🎟️ 

#artlaw #centerforartlaw #copyrightlaw #copyrightlawandart
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."

$1,552. That is what a Picasso sold for in 1938 by a Jewish businessman fleeing Nazi Germany. Roughly one-tenth of what he sought just six years earlier. The heirs went to court and two courts said the claim came too late. HEAR Act might very well challenge that conclusion. The case is now pending before New York's highest court. 

🔗 Link in bio.

#ArtLaw #Restitution #HolocaustArt #HEARAct #Guggenheim #Picasso #ProvenanceResearch
Whose collections? Whose heritage? What happens wh Whose collections? Whose heritage? What happens when the present confronts colonial memory? Join us in Zurich for a special screening of "Elephants & Squirrels," a documentary following Sri Lankan artist Deneth Piumakshi Veda Arachchige as she traces looted artifacts and human remains of the indigenous Wanniyala-Aetto people, held in Swiss museum collections for over a century, and fights for their return home.

Film director Gregor Brändli and the artist will open the evening with reflections on colonial collecting, cultural heritage, and the ethics of museum stewardship.

📅 May 12, 2026 | 18:00 – 21:00
📍 schwarzescafé | Luma Westbau, Limmatstrasse 270, Zurich

This event is free to attend and is offered as part of the CineLöwenbräukunst series. Link in bio for more information.

#ArtLaw #CulturalHeritage #Restitution #Repatriation #Zurich #FilmScreening #ColonialHistory #MuseumEthics 

#MuseumEthics
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 1: So Inappropriate — Lessons About Copyright Law and Art: First There Was Art, Then Copyright, Then Fair Use… and Now AI?

From early copyright doctrines to contemporary fair use debates, this panel examines how artists and lawyers have navigated questions of ownership, appropriation, and originality in visual art. Panelists will explore key developments in copyright law affecting traditional artistic practices, from borrowing and remixing to transformative use, while also considering how emerging technologies, including AI, are beginning to reshape long‑standing legal frameworks and artistic norms.

Moderator: Irina Tarsis, Founder, Center for Art Law
Speakers: Vivek Jayaram, Founder, Jayaram Law; Vincent Wilcke, Pace Gallery; Greg Allen, Artist and writer 

Reserve your tickets using the link in our bio or by visiting our website itsartlaw.org 🎟️ 
See you soon!
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.

#ArtLaw #Venice #Biennale2026 #ArtWorld #BiennaleofDissent #LaSerenissima #GoldenLion #SeeArtThinkArtLaw
Center for Art Law is very pleased to welcome Prof Center for Art Law is very pleased to welcome Professor Ben Zhao as the Keynote Speaker for our Annual Art Law Conference 2026! 

Ben Zhao is the Neubauer Professor of Computer Science at the University of Chicago where he, and a team of researchers at the university, developed NightShade & Glaze, two data-poisoning tools which protects artists' work from being scraped for AI data training. 

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

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 Professor Zhao's 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. 

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

#centerforartlaw #artlaw #copyrightlaw
A huge thank you to our hosts and incredible speak A huge thank you to our hosts and incredible speakers who made this London panel discussion truly special! 🙏✨ 🇬🇧 🇺🇦 

We were so fortunate to hear from:

🎤 Rakhi Talwar | RTalwar Compliance
🎤 Raminta Dereskeviciute | McDermott Will & Schulte
🎤 Daryna Pidhorna, Lawyer & Analyst | The Raphael Lemkin Society
🎤 Timothy Kompancheko | Bernard, Inc.
🎤 Yuliia Hnat | Museum of Contemporary Art NGO
🎤 Irina Tarsis | Center for Art Law

Your insights, expertise, and passion made this a conversation we won't forget. Thank you for sharing your time and knowledge with us! 💫

Bottom Line: the art market has power and responsibility. Our panel "Art, Money, and the Law: Sanctions & AML Enforcement in 2026" tackled the hard questions around money laundering, sanctions compliance, and what's at stake for art market participants in today's regulatory landscape.

⚠️ Regulators are watching and "history has it's eyes on you..." too We don't have to navigate the legal waters alone. Let's keep the conversation going.

What was your biggest takeaway? 

#ArtLaw #AMLCompliance #Sanctions #ArtMarket #ArtAndMoney #Enforcement2026
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