Fundamental Enquiries

A fundamental problem artists continually bring to Artlaw is the need for basic information and advice on how to set up and maintain a ‘business’ as an artist; it’s a question of survival. It has been the aim…

Collective Bargaining

Last month's column focused on the selling power of those few artists whose works have established a strong market value, and their ability to pick and choose – or blacklist – their purchasers or dealers. To redress the…

Working as an artist: part II

On the evening of October 4 1979, in London, Eduardo Paolozzi (EP), his assistant Marlee Robinson (MR), John Hoyland (JH) and Brian Clarke (BC) met and recorded a discussion with lawyer Henry Lydiate (HL)…

Tyson, Hirst and Hogbens Dunphy

Reliable evidence of the way living artists work with dealers to develop their careers has always been hard, if not impossible, to find. There is an understandable reluctance of both artists and art market professionals…

Infinity goes up on Trial

The visual art market place has two essential facets, distinct but clearly interrelated, especially over recent generations: exhibiting and selling. Dealers usually occupy ‘gallery’ premises: partly for their principal object (making profits from sales); partly…

Postbag

There has been a mountain of correspondence from readers who have written to me, each with a different problem. First, I must apologise for not yet having replied to the less urgent enquirers (I will, shortly); second, let me…

Working as an artist: part I

On the evening of October 4 1979, in London, Eduardo Paolozzi (EP), his assistant Marlee Robinson (MR), John Hoyland (JH) and Brian Clarke (BC) met and recorded a discussion with lawyer Henry Lydiate (HL)…

The Creative Act 2007

In April 1957 at the American Federation of Arts in Houston, Texas, Marcel Duchamp gave his now celebrated and all too brief talk ‘The Creative Act’: ‘Let us consider two important factors, the two poles of…