cowboys in Weinmayr 2019

ted that an artist need not give up control when her work enters the
commercial art market and turns into a commodity for short-term profit. She
made probably one of the most important stands in modern art history when she
‘de-authored’ her work Cowboys Milking (1990), after it was put up for auction
at Sotheby’s with the consequence that the work could not be sold as a Cady
Noland work anymore.

Swiss-born dealer Marc Jancou, based in New York and Geneva, had consigned the
work to Sotheby’s a f

ersity Press).

Schor, Naomi (1989) ‘Dreaming Dissymmetry: Barthes, Foucault and Sexual
Difference’, in Elizabeth Weed (ed.), Coming to Terms: Feminism, Theory,
Politics (London: Routledge), pp. 47–58.

Sollfrank, Cornelia (2012) ‘Copyright Cowboys Performing the Law’, Journal of
New Media Caucus 8.2, fall-2012-v-08-n-02-december-2nd-2012/copyright-cowboys-performing-the-law/>

Spivak, Gayatry Chakravorty (1988) ‘Can the Subaltern Speak?

indication of the aesthetic strategies presented in the exhibition. The
presentation of reproduced visual materials marked, according to Sollfrank, ‘a
major challenge to the then predominant modernist discourse.’ Cornelia
Sollfrank, ‘Copyright Cowboys Performing the Law’, Journal of New Media Caucus
8.2 (2012), fall-2012-v-08-n-02-december-2nd-2012/copyright-cowboys-performing-the-law/>

[22](ch11.xhtml#footnote-504-backlink) As Benjamin Buch


[33](ch11.xhtml#footnote-493-backlink) Sollfrank, ‘Copyright Cowboys’.

[34](ch11.xhtml#footnote-492-backlink) Thirty paintings created by Prince
contained forty-one of Cariou’s photographs. The images had been taken from
Cariou’s book Yes Rasta (Brooklyn: powerHouse Books, 2000) and used by Prince
in his painti

[50](ch11.xhtml#footnote-476-backlink) Court opinion, p. 13.

[51](ch11.xhtml#footnote-475-backlink) Sollfrank, ‘Copyright Cowboys’.

[52](ch11.xhtml#footnote-474-backlink) In 2016 photographer Donald Graham
filed a lawsuit against Prince with regard to Prince’s use of Graham’s
Instagram pictures. Again, the image shows a photographic representation of
Rastafarians. And si

footnote-467-backlink) Jancou’s claim was dismissed by the New
York Supreme Court in the same year. The Court’s decision was based on the
language of Jancou’s consignment agreement with Sotheby’s, which gave
Sotheby’s the right to withdraw Cowboys Milking ‘at any time before the sale’
if, in Sotheby’s judgment, ‘there is doubt as to its authenticity or
attribution.’ Tracy Zwick, ‘Art in America’, 29 August 2013,

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