Archive of Henry Lydiate‘s Artlaw column, published in Art Monthly since 1976. Have a legal question about your career? Check our Directory or send us a legal query.
Artwork Liabilities
The marked deterioration of Damien Hirst’s The Physical Impossibility of Death in the Mind of Someone Living, 1991 – the tiger shark in a vitrine of formaldehyde – was the subject of a prescient article by contemporary art…
Life After Art School
Art school education was first publicly funded in the UK during the reign of King Charles 1 in the 17th century, and developed in the 18th century through the establishment of academies of art supported by…
The Boyle Family
Mark Boyle interviewed by Henry Lydiate Henry Lydiate’s Artlaw Column appeared in the first issue of Art Monthly when he first met Mark Boyle and his family. To celebrate the 10th anniversary of Artlaw and the opening…
Heath and Safety
If you have a studio the Health and Safety at Work Act 1974 will apply to your use of it, as the regulations apply to all places of work, and this includes an artist’s studio. An overview…
Breaking the Rules
As an art lawyer, Warhol’s death provoked in me serious thoughts about art and money, including the rules of the marketplace. Between thought and expression Lies a lifetime. * And though the rules of the road have…
Shamrock Organisations
Gustave Courbet’s huge 20ft wide by 12ft high oil painting, The Painter’s Studio (A Real Allegory of Seven Years of My Life), 1855, represents among other things his view of the (then) new role of the artist in…
Soul Trading
The classic ‘who, where and how’ of marketing, to which Nich Pearson implicitly referred last month (Art Monthly No 95, p.9) when bemoaning the absence of vigorous professional marketing in the visual arts in recent years, inspired serious…
Commercial Dimensions
The UK's creative industries currently earn £112b a year according to statistics from the Department for Culture, Media and Sport, representing a growth rate of 9% annually between 1997 and 2000 (compared to an average of 2.8% for…
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…
Management Of Creativity 30 Years On
In October 1976 the first issue of Art Monthly carried the first Artlaw column. Have things improved, worsened, or stayed pretty much the same over the last 30 years? From Jennie Lee’s appointment as…
Travellers Tales
The international nature of art activity involves many artists and administrators visiting foreign countries, particularly during the summer. Autumn heralds the start of the academic year in art schools and sees art students and lecturers returning, often from…
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)…
Conservation, Restoration and Replication of Modern Sculpture
Tate Modern will host a colloquium, Inherent Vice: the replica and its implications in Modern Sculpture, this month. With the support of by The Andrew W Mellon Foundation, 40 specialists from a range…
Global Art Business
This first column of 2008 responds to many readers’ requests to explore key business issues faced by both artists and art business professionals conducting their practices/businesses internationally. The Peoples Republic of China joined the World Trade Organisation…
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…