Joan Kee’s latest book Models of Integrity: Art and Law in Post-Sixties America may as well be considered the first foundational text in the field of art and law. Initially, this might appear as an overstatement given the sheer amount of literature on the intersection of the two fields over the past two decades. Indeed, excluding legal case books, one might recall titles ranging from Martha Buskirk’s The Contingent Object of Contemporary Art (2003) to the more recent anthology, Daniel McClean’s Artist, Authorship & Legacy: A Reader (2018). These books dutifully address how the continued reconceptualization of art in the postwar era went hand in hand with changes in the conflicting copyright and authorship laws around the world. Yet, if the existing literature remains stubbornly confined to the work of art, Kee’s book proffers a far more expansive approach by focusing on the contentions between art and law: namely, what unfolds when the two disparate fields are put in discomfortingly close proximity? What unexpected aspects might each field glean from the other?

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评论：Joan Kee，诚信典范：60 年代后美国的艺术与法律

Joan Kee 的最新著作《诚信模式：60 年代后美国的艺术与法律》也可能被认为是艺术与法律领域的第一部基础教材。最初，鉴于过去二十年间关于这两个领域交叉的大量文献，这可能显得有些夸大其词。事实上，不包括法律案例书籍，人们可能会想起从玛莎·布斯柯克的《当代艺术的偶然对象》（2003 年）到最近的选集丹尼尔·麦克莱恩的《艺术家、作者与遗产：读者》（2018 年）的书名。这些书尽职尽责地讲述了战后艺术的持续重新概念化如何与世界各地相互冲突的版权和作者法的变化携手并进。然而，如果现有的文学仍然顽固地局限于艺术作品，Kee 的书通过关注艺术与法律之间的争论，提供了一种更广泛的方法：即，当两个不同的领域令人不安地靠近时，会发生什么？每个领域可能会从另一个领域收集哪些意想不到的方面？