• 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 Our articles image/svg+xml 2021 Timothée Giet Case Review image/svg+xml 2021 Timothée Giet Right to Privacy v. Freedom of Expression in Case of “Peeping Tom” Photographer
Back

Right to Privacy v. Freedom of Expression in Case of “Peeping Tom” Photographer

July 21, 2013

A lawsuit arising from a recent photography exhibition at the Julie Saul Gallery in Chelsea, New York, pits the right to privacy against freedom of expression.  According to the MailOnline, photographer Arne Svenson acquired a telephoto lens in 2012 and began taking pictures through the large windows of apartments opposite his loft in Tribeca.  The exhibition of those pictures of ordinary people going about their ordinary lives inside their homes provoked a lawsuit by Martha and Matthew Foster, parents of two young children who appeared in the photographs: their four-year-old daughter, wearing a swimsuit, and their two-year-old son, wearing a diaper.  Although Svenson, when confronted by a lawyer, removed the photos of the Foster children from the exhibition, the Fosters want possession of all photographs and negatives or digital files of their children in Svenson’s possession and an injunction against further photographic intrusions. 

Svenson filed a motion to dismiss, claiming freedom of expression under the First Amendment.  According to the MailOnline, Svenson asserts that his neighbors are “performing behind a transparent scrim on a stage of their own creation with the curtain raised high.”  Obviously, some of the “performers” think differently.  They believe that, although they live in a crowded city and have big windows, they have a reasonable expectation of privacy and the right to be let alone.  The Fosters are concerned about the safety of their children following the display of their pictures in the gallery.

Mickey Osterreicher, general counsel for the National Press Photographers Association, commented, “Most people have this sense in New York because everybody lives so close together, because the sight lines are such, that you can very easily look into your neighbors’ apartment and they can look into yours, but I think the court may parse this out as looking is one thing and photographing is another.” 

Courts have frequently been called upon to decide where someone can have a reasonable expectation of privacy (usually one’s home) and where not (a public place, such as a park).  Therefore, it’s surprising that the motion to dismiss conflates the two by stating,“Both photographs [of the Foster children] capture children at play and the innocence of childhood, nothing more revealing than you might see in a neighborhood park.”

The right to privacy (“the right to be let alone”), was articulated and championed by future Supreme Court Justice Louis Brandeis and Samuel Warren in a groundbreaking article published in the Harvard Law Review, December 15, 1890.   

[Brandeis and Warren]…defined protection of the private realm as the foundation of individual freedom in the modern age… Traditional prohibitions against trespass, assault, libel, and other invasive acts had afforded sufficient safeguards in previous eras, but these established principles could not, in their view, protect individuals from the ‘too enterprising press, the photographer, or the possessor of any other modern device for rewording or reproducing scenes or sounds.’ …[T]hey concluded that legal remedies had to be developed to enforce definite boundaries between public and private life.  – Gallagher, Susan E., “The Right to Privacy,” by Louis D. Brandeis and Samuel Warren: A Digital Critical Edition (University of Massachusetts Press, forthcoming).

It seems ironic that, in the exhibition notes, Svenson declares, “for my subjects, there is no question of privacy…  The neighbors don’t know they are being photographed; I carefully shoot from the shadows of my home into theirs.”  That sounds exactly like what Brandeis and Warren were worried about.

Mr. Osterreicher believes that this case has been harmful for the image of photography and First Amendment rights due to the “bad taste” that has been left with the public.

article-0-1A3AA4F8000005DC-590_634x323

Svenson’s viepoint and the building, across the street, that he photographed.

Sources: MailOnline, June 9, 2013; Gallagher, Susan E., “The Right to Privacy,” by Louis D. Brandeis and Samuel Warren: A Digital Critical Edition (University of Massachusetts Press, forthcoming); Harvard Law Review, December 15, 1890

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 in Brief: Art Historian Found Liable for Incorrect Authentication (2013)
Next After a Protracted Battle, Los Angeles Takes Final Steps to Lifting Ban on Murals

Related Art Law Articles

Benningson V Guggenheim Case Review Center for Art Law
Art lawCase ReviewLegal Issues in Museum Administration

Case Review: Bennigson v. Solomon R. Guggenheim Foundation

March 13, 2026
Center for Art Law Vivianne Diaz Article Portrait of Zborowski
Case Review

Case Review: The Modigliani Forgery Epidemic Strikes Again?

January 13, 2026
Image Source: Public court documents filed in the Supreme Court of the State of New York. building burning
Case ReviewOpinionappraisalart insuranceart litigation

Perelman’s Art Damage Case Continued to Burn Through Court Last Week

June 23, 2025
Center for Art Law
August 2026 Summer Promo (2)

Get your leg up on art law

Just in time for 2026-2027

Become a member and access unlimited articles, our Case Law Database, event archives, and exclusive member pricing on all upcoming events.

Learn MORE
Immigration Guide for Artists 2026 Cover Page

Immigration Guide for Artists

Check out the 2026 overview of U.S. immigration pathways available to artists.

Learn MORE
Center for Art Law

Follow us on Instagram for the latest in Art Law!

Any interest in volunteering to help work with our Any interest in volunteering to help work with our Nazi-Era Looted Art Restitution Cases Project? Listen to Natasha describe her work and the cases she's had the chance to study.

📚 Click the link in our bio to learn more about the project and how to join!

#centerforartlaw #artlaw #restitution #art #museums #artlawyer #legal #legalresearch
Who owns Hollywood’s past? 🎬📸 A thrifted box of 1 Who owns Hollywood’s past? 🎬📸

A thrifted box of 1930s photographs of actress Marion Davies opens up a much bigger question: who owns the image and the rights behind it? 

One of our latest articles explores the story behind these photographs, including MGM studio stamps, Davies’s handwritten dedication, and the distinction between owning a physical photograph and owning the intellectual property rights in its image.

📚To read the full story by Irina Tarsis, head to the link in our bio

https://itsartlaw.org/art-law/who-owns-hollywoods-past/ 

#ArtLaw #CopyrightLaw #MarionDavies #HollywoodHistory #CulturalHeritage
Join us on September 18th for an Art and Law Works Join us on September 18th for an Art and Law Workshop on fiduciary duties within artist-dealer relationships with speaker Aaron Haines.

This workshop will explore the fiduciary duties of gallerists toward their clients and will clarify the distinctions between contract-based relationships and the broader fiduciary obligations gallerists owe, including transparency, prudence, and the prohibition of undisclosed profits. It will also examine common conflicts of interest in the art world and how these fiduciary duties come into play. 

🎟️ Grab your tickets today using the link in our bio!

#centerforartlaw #artlaw #artlawyer #legalresearch #legal #workshop #artistrights #artist #artdealer
For centuries, copying has been an integral part o For centuries, copying has been an integral part of Chinese artistic practice, blurring the line between homage and forgery. Many museums are at a loss for how to evaluate works that challenge Western notions of authenticity.

Through the ongoing debate over the MET’s Riverbank painting, our recent article examines how institutional interests and market value continue to shape perceptions of authenticity.

📚 Click the link in our bio to read the complete article by Lena Rohde!

#centerforartlaw #artlaw #chineseart #zhangdaqian #changdaichien #artforgery #authenticity #museumlaw #arthistory #provenance #artmarket
The rapid rise of digital reconstruction has trans The rapid rise of digital reconstruction has transformed how cultural heritage is documented and preserved, particularly in regions affected by conflict. As 3D models and digital archives become more common, they also raise questions about ownership and cultural self-determination.

In her article, Jacqueline Koutrodimos-Lewis examines the preservation of Syria's cultural heritage. More specifically, how digital reconstructions can both protect endangered sites and act as a tool for erasure when local communities are excluded from the process.

📚 Click the link in our bio to read the complete article by Jacqueline Koutrodimos-Lewis!

#centerforartlaw #artlaw #culturalheritage #digitalheritage #3Dreconstruction #provenance #archaeology #culturalproperty #digitization #palmyra #museumlaw
Recently our intern Hannah Gadway was able to go t Recently our intern Hannah Gadway was able to go to the Beaverbrook Art Gallery in New Brunswick. This gallery was included in a law suit between Lord Beaverbrook's Estate and a foundation he had established during his life. 

📚 See more about this case using the link in our bio!

#centerforartlaw #artlaw #artresearch #estates #artist #foundation #gallery
Two sculptures have finally returned to Santiago d Two sculptures have finally returned to Santiago de Compostela after seventy-two years.

Our recent article examines the Spanish Supreme Court's decision to return the Abraham and Isaac sculptures to Santiago de Compostela, and the pivotal role that object identification played in resolving the dispute.

📚 Click the link in our bio to read the complete article by Lucas Güimil Valdés!

#centerforartlaw #artlawyer #artlaw #culturalheritage #restitution #provenanceresearch #spain #culturalproperty
Our recent article revisits Professor Matthias Wel Our recent article revisits Professor Matthias Weller's presentation introducing Germany's new Court of Arbitration for Nazi-Looted Cultural Property. It explores how the new tribunal differs from the former Limbach Commission and what its procedures, jurisdiction, and binding decisions could mean for future restitution claims.

📚 Read the full article by Savannah Weiler and Amanda Buonaiuto at the link in our bio!

#centerforartlaw #artlawyer #artlaw #culturalproperty #nazilootedart #restitution #provenanceresearch #culturalheritage #alternativedisputeresolution
It’s August 🔥 Think Art Law. World Cap 2026 is ove It’s August 🔥 Think Art Law. World Cap 2026 is over. For us it will be remembered for Haaland Memes and $25 MILLION lawsuit filed by environmental artist Robert Wyland against FIFA for painting over the iconic 1999 downtown Dallas mural, Whaling Wall 82.* Summer Internships at the Center are winding down. Oh the places we have been together (from UN to MoMA across the US, Canada and the UK). The 2025-2026 Judith Bresler Fellowship is complete and how! and our new fellow is eager to hit the ground running.

As we move into the final stretch of summer, the reality sets in: little and big fires are everywhere and juggling so many balls or making sense of the everyday is getting increasingly impossible. But before we collapse into off-season, we want to thank you for being part of our community. Whether you were here in person, joining us online, or thinking about art and the law from afar, we can’t wait to see what you’ll create, challenge, and defend come fall. Our complements and heartfelt thanks to our Summer Team for everything they’ve accomplished over these months and invested in our future: for staying on track, for research and rigorous work on articles and databases, for genuine team building, and for pushing all of us to grow. And here’s what we’ve learned: when the real world gets too much, look at art. Play ball. Have a hydration break. These are necessities that keep us sane and running overtime. 

📚 Read the full newsletter and become a subscriber using the link in our bio!

#centerforartlaw #artlaw #legalresearch #legal artlawyer
What inspires a career in art and cultural propert What inspires a career in art and cultural property law?

In our latest interview, Professor Matthias Weller shares how his academic and professional journey led him to become one of the leading voices in the restitution field. He also discusses Germany's new Court of Arbitration for Nazi-Looted Cultural Property and what this landmark development could mean for the future of restitution.

📚 Read the full interview using the link in our bio! 

#centerforartlaw #artlaw #legalreserach #legal #art #lawyer #restitution #artcrime #arbitration #germany
ART × LAW INTENSIVE 2026 - the countdown begins! S ART × LAW INTENSIVE 2026 - the countdown begins!
See you in Zurich in September ✨

The response to our inaugural edition has exceeded all expectations, with applications received from around the world. Thank you to everyone who applied! We look forward to welcoming our first cohort of participants very soon.

Sessions will take place across some of Switzerland’s leading institutions, including ZHdK, the University of Zurich, Kunsthaus Zurich, Swiss Re, Homburger, and more. This year’s faculty will be announced in the upcoming posts. 

From copyright and AI to provenance, restitution, dispute resolution, and the future of collecting, the ART × LAW INTENSIVE 2026 brings together the people shaping the future of the art world. Excited! 

 
Photos: 1. “Zardoz” by Monster Chetwynd, the garden of Kunsthaus Zurich. 2. Tram stop of Museum Rietberg. 3. Picnic spot in Belvoirpark. 4. The roofs of Rämistrasse. 5. The drone view over Bellevueplatz.
Major changes to restitution law are underway on b Major changes to restitution law are underway on both sides of the Atlantic.

Recent developments in the United States and the United Kingdom could reshape how Nazi-looted art claims are resolved. Our latest article breaks down the proposed amendments to the U.S. HEAR Act, changes to the U.K.'s Charities Act, and why alternative dispute resolution is becoming an increasingly important part of the conversation.

📚 Read the full article by Marina Rastorfer at the link in our bio!

#centerforartlaw #artlawyer #artlaw #nazilootedart #restitution #provenanceresearch #culturalheritage #museumlaw
  • 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.