• About
    • Mission
    • Team
    • Boards
    • Mentions & Testimonials
    • Institutional Recognition
    • Annual Reports
    • Current & Past Sponsors
    • Contact Us
  • Resources
    • Article Collection
    • Podcast: Art in Brief
    • AML and the Art Market
    • AI and Art Authentication
    • Newsletter
      • Subscribe
      • Archives
      • In Brief
    • Art Law Library
    • Movies
    • Nazi-looted Art Restitution Database
    • Global Network
      • Courses and Programs
      • Artists’ Assistance
      • Bar Associations
      • Legal Sources
      • Law Firms
      • Student Societies
      • Research Institutions
    • Additional resources
      • The “Interview” Project
  • Events
    • Worldwide Calendar
    • Our Events
      • All Events
      • Annual Conferences
        • 2026 Art Law Conference
        • 2025 Art Law Conference
        • 2024 Art Law Conference
        • 2023 Art Law Conference
        • 2022 Art Law Conference
        • 2015 Art Law Conference
  • Programs
    • Visual Artists’ Legal Clinics
      • Art & Copyright Law Clinic
      • Artist-Dealer Relationships Clinic
      • Artist Legacy and Estate Planning Clinic
      • Visual Artists’ Immigration Clinic
    • Summer School
      • 2026
      • 2025
    • Internship and Fellowship
    • Judith Bresler Fellowship
  • Case Law Database
  • Log in
  • Become a Member
  • Donate
  • Log in
  • Become a Member
  • Donate
Center for Art Law
  • About
    About
    • Mission
    • Team
    • Boards
    • Mentions & Testimonials
    • Institutional Recognition
    • Annual Reports
    • Current & Past Sponsors
    • Contact Us
  • Resources
    Resources
    • Article Collection
    • Podcast: Art in Brief
    • AML and the Art Market
    • AI and Art Authentication
    • Newsletter
      Newsletter
      • Subscribe
      • Archives
      • In Brief
    • Art Law Library
    • Movies
    • Nazi-looted Art Restitution Database
    • Global Network
      Global Network
      • Courses and Programs
      • Artists’ Assistance
      • Bar Associations
      • Legal Sources
      • Law Firms
      • Student Societies
      • Research Institutions
    • Additional resources
      Additional resources
      • The “Interview” Project
  • Events
    Events
    • Worldwide Calendar
    • Our Events
      Our Events
      • All Events
      • Annual Conferences
        Annual Conferences
        • 2026 Art Law Conference
        • 2025 Art Law Conference
        • 2024 Art Law Conference
        • 2023 Art Law Conference
        • 2022 Art Law Conference
        • 2015 Art Law Conference
  • Programs
    Programs
    • Visual Artists’ Legal Clinics
      Visual Artists’ Legal Clinics
      • Art & Copyright Law Clinic
      • Artist-Dealer Relationships Clinic
      • Artist Legacy and Estate Planning Clinic
      • Visual Artists’ Immigration Clinic
    • Summer School
      Summer School
      • 2026
      • 2025
    • Internship and Fellowship
    • Judith Bresler Fellowship
  • Case Law Database
Home image/svg+xml 2021 Timothée Giet Case Review image/svg+xml 2021 Timothée Giet Case Review Update: Thaler v. Perlmutter (2025)
Back

Case Review Update: Thaler v. Perlmutter (2025)

June 20, 2025

A Recent Entrance to Paradise, Creativity Machine (Source: opinion letter)

By Shelby Jorgensen

A Recent Entrance to Paradise is enjoying more than 15 minutes of attention. The Center has previously covered the District Court decision for this case back in 2023, which can be found here.

In March 2025, the U.S. Court of Appeals for the District of Columbia Circuit confirmed the District Court and Copyright Office’s denial of Thaler’s copyright application for “A Recent Entrance to Paradise.”[1] The on-going interest in AI- copyright related disputes and their potential long-term implications, warrants a closer look at this protracted legal battle between a computer scientist and the Copyright Office.

Facts and Background of the Case

According to Thaler’s petition, A Recent Entrance to Paradise is an image created by the “Creativity Machine,” a generative artificial intelligence developed by Thaler.[2] In 2018, Thaler filed a copyright application listing the Creativity Machine as the author, and asserted that the work was made for hire, with ownership vesting in him as the machine’s owner..[3] The Copyright Office denied the application twice.. The first denial, in August 2019, concluded that the work lacked “the human authorship necessary to support a copyright claim.”[4] Using Burrow-Giles Lithographic Co. v. Sarony, the Office stated that any claim for non-human authored work would be denied.[5]

Thaler requested reconsideration initially on the basis that restricting copyright claims to those with a human author infringes on constitutional rights.[6] He argued that copyright protections on works from AI would promote the development of creative focused AI, suggesting that automatic ownership of works made from such creative AI should go to the owner of the creative AI.[7] Thaler stated that current precedent is not binding on the specific issue of if AI-created works can be copyrighted, and suggested that the current acceptance of a corporation holding a copyright defeats the question of if a non-human can hold a copyright.[8]

In March 2020, the Copyright Office reaffirmed its denial.[9] It expounded on their previous decision stating they “will not register works produced by a machine or mere mechanical process that operates randomly or automatically without sufficient creative input or intervention from a human author.”[10] Thaler requested an additional reconsideration in May 2020.[11] The Copyright Office once again affirmed their original decision reiterating prior Supreme Court precedent regarding the requirement for human authorship and mentioning the multiple federal agency reports that follow the same standard.[12] The Copyright Office went on to state that the work made for hire argument is invalid because an AI cannot be a party to a contract and therefore cannot be hired to create.[13]

As mentioned in the Center’s previous article by Atreya Mathur, the District Court focused more narrowly than Thaler would have preferred, solely answering the question of if non-human creation can be protected with copyright.[14] The court discussed the historical context of copyright protections including the Copyright Clause, previous statutes, and precedent.[15] The court stated that the human authorship requirement “rests on centuries of settled understanding,” and found that in no prior case law did a court recognize copyright for a non-human author.[16] Although the court mentioned the complications that might arise due to human interaction with AI, it saw the present case as fairly cut and dry due to Thaler’s own admission that the work was created by the machine.[17] For the court, this lack of human involvement and the settled case law regarding this requirement, meant that the Copyright Office was correct in its denial of Thaler’s claim.[18]

Post the District Court’s decision Thaler appealed to the DC circuit court.

Issues

The question for the court remained the same: can a non-human authored work obtain copyright protection under the Copyright Act of 1976.[19]

Analysis

Like the District Court, the Circuit Court passed over the question of constitutionality.[20]

The Circuit Court began its analysis by examining the relevant provisions of the Copyright Act of 1976.[21] It specifically focused on the immediate vesting of copyright ownership, the protection term length of the life of an author plus 70 years, and the work-made-for-hire sections.[22] The court also gave a brief overview on the process outlined for obtaining copyright protections including the self-published regulations the Copyright Office follows which contains the human authorship requirement.[23]

Using textual interpretation the court focused on the use of the word “author” within the Copyright Act of 1976.[24] The court ran through a multitude of provisions within the Copyright Act, showing how interpreting the word “author” to include non-human sources would cause the text to be incongruous.[25] The court discussed multiple examples stemming from the Copyright Act’s text including that the author must be able to hold a possessory interest in order for the ownership interest to properly vest, have a lifespan for the copyright to have the proper term limits, have the legal capability to sign a document, and be capable of forming intent.[26] The court also mentioned how the Copyright Act defines and refers to machines in comparison to the word author, showcasing how interpreting author to include a machine would cause issues with the statute as a whole.[27]

The court also discussed the Copyright Office’s history of interpretation regarding the definition of authorship.[28] The court believed that the report published by the National Commission on New Technological Uses of Copyright Works (“CONTU”) reflected the intentions of lawmakers around the time regardless of the fact that the report was published two years after the Copyright Act.[29] The report by CONTU specifically stated that there is “no reasonable basis for considering that a computer in any way contributes authorship to a work produced through its use.”[30] The report came to the conclusion that a computer could not act as an author, but only as a tool to help a human create.[31]

Zarya of the Dawn Cover Page (source: Copyright Office Correspondence Letter; https://www.copyright.gov/docs/zarya-of-the-dawn.pdf)
Zarya of the Dawn Cover Page (source: Copyright Office Correspondence Letter; https://www.copyright.gov/docs/zarya-of-the-dawn.pdf)

In direct response to Thaler’s argument regarding work-made-for-hire, the court hinged its argument on the word “considered,” stating that the inclusion of this word means that a corporation or other entity who hired someone to create a work is not actually the author.[32] Therefore, the title of author is reserved for the human that actually created the work.[33]

Regarding Thaler’s assertion that the human authorship requirement would hamper works made with AI, the court limits its decision to works where the sole author is AI, declining to extend its logic over AI-assisted works.[34] The court mentioned previous copyright applications for AI-assisted works including Zarya of the Dawn, which was ultimately restricted to exclude an artwork created by AI, as a more complex question to be reserved for a different circumstance.[35] The court had a moment of levity when discussing economic incentives, explaining that AI’s creative power should not be impacted by its inability to act as a sole author because current AI technology has not yet reached the technical acuity to respond to economic implications unlike that of science fiction depictions including Star Trek’s Data.[36]

Additionally, the court reasoned that Congress’s lack of action to change the human author requirement shows an implicit acceptance of the judicial and agency construction.[37] Finally the court acknowledged ongoing conversations on how copyright law should shift to react to technology developments, but declined to make such a determination itself, seeing such a move as a job reserved for Congress.[38]

On May 2, 2025 Thaler petitioned for a panel rehearing.[39] This has been denied.[40]

Thaler has been erstwhile prolific in his pursuit to obtain IP protections with AI being listed as the creator. In 2023 the Supreme Court denied his writ of certiorari regarding an appeal from his US Court of Appeals for the Federal Circuit case.[41] Thaler had listed a different AI he created called DABUS as the inventor for an emergency light and a drink holder.[42] The Patent Office rejected his application with the Circuit court affirming this decision on the basis that an inventor must be human.[43]

Conclusion

This case addresses a narrow but significant question: whether AI can be considered the sole author of a work eligible for copyright protection. It also skirts the edge of the more complex conversation regarding how much direct human involvement would qualify an AI-assisted work for a copyright claim. The court is obviously open to further arguments and understands the implications of how generative AI will be defined,[44] but is also reluctant to make sweeping decisions it sees as reserved for the Legislative Branch.

Although understandable that the Appeals Court declined to comment on Thaler’s assertion that an AI work’s copyright should be held by the owner of the AI, this belief could be problematic. Especially in the case of something like Zarya of the Dawn, which was created using Midjourney, an AI that was not owned or created by the copyright applicant, Kashtanova.[45] Kashtanova, unlike Thaler, was not involved in the creation of Midjourney.[46] This could introduce an additional question over if the original creator of the AI has a stronger claim compared to the user of the AI.

Suggested Readings

  • Developments in the Law: Chapter Two Artificial Intelligence and the Creative Double Bind, 138 Harv. L. Rev. 1585 (2025).
  • Zach Winn, If art is how we express our humanity, where does AI fit in?, MIT News, June 15, 2023.
  • Ted Chiang, Why A.I. Isn’t Going to Make Art, The New Yorker, Aug. 31, 2024.
  • Nadia Banteka, Artificially Intelligent Persons, 58 HOUS. L. REV. 537, 593 (2021)
  • Comments of the Motion Picture Association, Inc. Docket No. USCO 2023-6 (Oct. 30, 2023)

About the Author

Shelby Jorgensen is a rising 2L at the University of Wisconsin Law School, working as a Summer 2025 Legal Intern for the Center for Art Law. A 22’ graduate from the University of Notre Dame with a dual degree in marketing and studio art, Shelby hopes to combine her love for art with her interest in the law to work as an intellectual property attorney. She can be contacted for questions or comments at sjorgensen4@wisc.edu.

Sources:

  1. Thaler v. Perlmutter. 130 F.4th 1039, 1039-41 (D.C. Cir. 2025). ↑
  2. Id. ↑
  3. Copyright Review Board, Second Request for Reconsideration for Refusal to Register A Recent Entrance to Paradise (Correspondence ID 1-3ZPC6C3; SR # 1-7100387071), available at https://www.copyright.gov/rulings-filings/review-board/docs/a-recent-entrance-to-paradise.pdf ↑
  4. Defendant’s Exhibit D at 1, Thaler v. Perlmutter, 687 F. Supp. 3d 140 (D.D.C. 2023) (1:22-cv-01564). Available at https://storage.courtlistener.com/recap/gov.uscourts.dcd.243956/gov.uscourts.dcd.243956.13.4.pdf ↑
  5. Id. ↑
  6. Defendant’s Exhibit E at 1, Thaler v. Perlmutter, 687 F. Supp. 3d 140 (D.D.C. 2023) (1:22-cv-01564). Available at https://storage.courtlistener.com/recap/gov.uscourts.dcd.243956/gov.uscourts.dcd.243956.13.5.pdf ↑
  7. Id. ↑
  8. Id. at 6-7. ↑
  9. Defendant’s Exhibit F at 1, Thaler v. Perlmutter, 687 F. Supp. 3d 140 (D.D.C. 2023) (1:22-cv-01564). Available at https://storage.courtlistener.com/recap/gov.uscourts.dcd.243956/gov.uscourts.dcd.243956.13.6.pdf ↑
  10. Id. ↑
  11. Defendant’s Exhibit G at 1, Thaler v. Perlmutter, 687 F. Supp. 3d 140 (D.D.C. 2023) (1:22-cv-01564). Available at https://storage.courtlistener.com/recap/gov.uscourts.dcd.243956/gov.uscourts.dcd.243956.13.7.pdf. ↑
  12. Copyright Review Board, Second Request for Reconsideration for Refusal to Register A Recent Entrance to Paradise (Correspondence ID 1-3ZPC6C3; SR # 1-7100387071), available at https://www.copyright.gov/rulings-filings/review-board/docs/a-recent-entrance-to-paradise.pdf ↑
  13. Id. ↑
  14. Thaler v. Perlmutter, 687 F. Supp. 3d 140, 145-46. (2023). ↑
  15. Id. at 147-50. ↑
  16. Id. ↑
  17. Id. ↑
  18. Id. ↑
  19. Thaler v. Perlmutter, 130 F.4th 1039, 1041 (D.C. Cir. 2025). ↑
  20. Id. ↑
  21. Id. at 1042. ↑
  22. Id. ↑
  23. Id. at 1042-43. ↑
  24. Id. at 1045. ↑
  25. Id. at 1045-46. ↑
  26. Id. ↑
  27. Id. ↑
  28. Id. at 1047. ↑
  29. Id. ↑
  30. Id. (quoting CONTU, Final Report at 44 (1978), https://perma.cc/7S8T-TAB5.). ↑
  31. Id. at 1048. ↑
  32. Id. ↑
  33. Id. at 1049. ↑
  34. Id. ↑
  35. Id. Copyright Review Board, Zarya of the Dawn (Registration # VAu001480196) (Correspondence ID 1-5GB561K), available at file:///Users/shelbyjorgensen/Desktop/CfAL/zarya-of-the-dawn.pdf. ↑
  36. Thaler, 130 F.4th at 1050. ↑
  37. Id. ↑
  38. Id. at 1050-51. ↑
  39. Thaler v. Perlmutter, No. 23-5233, 2025 U.S. App. LEXIS 11500 (D.C. Cir. May 12, 2025). ↑
  40. Id. ↑
  41. Blake Brittain, US Supreme Court rejects computer scientist’s lawsuit over AI-generated inventions, Reuters (Apr. 24, 2023) https://www.reuters.com/legal/us-supreme-court-rejects-computer-scientists-lawsuit-over-ai-generated-2023-04-24/. ↑
  42. Id. ↑
  43. Id. ↑
  44. Thaler, 130 F.4th at 1049-50 (discussing the Motion Picture Association’s Comment warning that technologies not previously seen as AI could shift to be included within the definition). ↑
  45. Copyright Review Board, Zarya of the Dawn (Registration # VAu001480196) (Correspondence ID 1-5GB561K), available at file:///Users/shelbyjorgensen/Desktop/CfAL/zarya-of-the-dawn.pdf ↑
  46. Midjourney, https://www.midjourney.com/home (last visited June 6, 2025). ↑

 

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.

Post navigation

Previous Case Review: Hayden v. Koons (2025)
Next Perelman’s Art Damage Case Continued to Burn Through Court Last Week

Related Art Law Articles

Image source: Screenshot from Disney and Universal’s complaint.
Art lawAIAI and copyrightLitigation

Framing the Future? Disney and Universal Challenge Midjourney over AI-Generated Imagery

June 26, 2025
Copyright Office 2025 Report
Art lawAI and copyright

Recent Developments in AI, Art & Copyright: Copyright Office Report & New Registrations

March 4, 2025
Gov.uk site on copyright law from 2024
Art lawAI and copyrightcopyrightUK copyright law

Remodelling the UK’s ‘Gold-Plated Copyright Regime’ and its Impacts on Creative Industries and AI Training

March 3, 2025
Center for Art Law
What the Heck is Copyright (2)

What is Copy, Right?

2026 Annual Conference

Let’s explore Visual Art, AI, and the Law in the 21st Century together.

 

Reserve Your Ticket TODAY
Guidelines AI and Art Authentication

AI and Art Authentication

Explore the Guidelines for AI and Art Authentication for the responsible, ethical, and transparent use of artificial intelligence.

Download here
Center for Art Law

Follow us on Instagram for the latest in Art Law!

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
At the Center for Art Law we are preparing for our At the Center for Art Law we are preparing for our Annual Art Law Conference 2026, "What is Copy, Right? Visual Art, AI, and the Law in the 21st Century", and we hope you are as excited as we are! The event will take place on May 27th at Brooklyn Law School. 

In addition to the panels throughout the day, which will offer insights into the rapidly shifting landscape of art and copyright law, our conference will feature exhibitors showcasing resources for promoting artists' rights, and a silent auction aimed at bolstering the Center's efforts. 

We would like to invite you to take part in and support this year's Annual Art Law Conference by being an exhibitor or sponsor. We express our sincere appreciation to all of our sponsors, exhibitors and you! 

Find more information and reserve your tickets using the link in our bio! See you soon!
In this episode, we speak with art market expert D In this episode, we speak with art market expert Doug Woodham to unpack how Jean-Michel Basquiat became one of the most enduring cultural icons of our time.

Moving beyond his rise in 1980s New York, this episode focuses on what happened after his death. We explore how his estate, led by his father, shaped his legacy through control of supply, copyright, and narrative; how early collectors and market forces drove the value of his work; and how museums and media cemented his place in art history.

Together, we explore the bigger question: is creating great art enough, or does becoming an icon require an entire ecosystem working behind the scenes?

🎙️ Check out the podcast anywhere you get your podcasts using the link in our bio!

Also, please join us on May 27  for the highly anticipated Art Law Conference 2026, held at Brooklyn Law School and Online (Hybrid). Entitled “What is Copy, Right? Visual Art, AI, and the Law in the 21st Century,” this year’s conference explores the evolving relationship between visual art, copyright law, and artificial intelligence!

#centerforartlaw #artlaw #artlawyer #podcast #legal #research #legalresearch #newepisode #artmarket #basquiat
Amy Sherald cancelled her mid-career retrospective Amy Sherald cancelled her mid-career retrospective, scheduled at the National Portrait Gallery (NPG) in D.C., after a curatorial controversy over the potential removal of her recent work, "Trans Forming Liberty" (2024). Sherald denounced the attempt to remove this work as a blatant and intentional erasure of trans lives. 

This is one of the best examples and the most illustrative examples of the current administration's growing efforts to control the Smithsonian Institution's programming. In this climate of political tension, how do cultural institutions defend themselves against censorship and keep their curatorial independence?

📚 Click the link in our bio to read more!

#centerforartlaw #artlaw #legal #artlawyer #legalreserach #artcuration #curatorialindependance #censorship
  • About the Center
  • Contact Us
  • Newsletter
  • Upcoming Events
  • Internship
  • Case Law Database
  • Log in
  • Become a Member
  • Donate
DISCLAIMER

Center for Art Law is a New York State non-profit fully qualified under provision 501(c)(3)
of the Internal Revenue Code.

The Center does not provide legal representation. Information available on this website is
purely for educational purposes only and should not be construed as legal advice.

TERMS OF USE AND PRIVACY POLICY

Your use of the Site (as defined below) constitutes your consent to this Agreement. Please
read our Terms of Use and Privacy Policy carefully.

© 2026 Center for Art Law

Loading Comments...

You must be logged in to post a comment.