How can street artists protect their pieces from unwanted buyers?
EARLY ONE morning in February, a team of specialists pulled up next to a building in Nottingham and began drilling. They worked quickly but carefully, excavating a small section of the wall on which “Hula-hoop Girl” had been painted by Banksy, a prominent street artist. John Brandler, a gallerist, said that he had purchased the artwork—which depicts a youngster playing with a bicycle tyre—from the building’s landlord on behalf of a client. Local residents were horrified.
The show invites art lovers to stump up cash to view privately held works intended to be publicly accessible and free. Banksy has criticised the practice, saying that he will not authenticate artworks removed from their original site. But rather than shy away from controversy, the organisers are embracing it: in their words, the exhibition is “completely non-consensual”, meaning it has not been authorised by the artist.
If they want to protect their pieces from unwanted buyers, artists should ask for permission from the building owner and sign a contract, says Joshua Schuermann of Briffa, a legal firm specialising in intellectual-property law. Mr Eine agrees: “It’s the nature of the business and the game.”
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