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Appropriation Art: Die Aneignungskunst Im US-Amerikanischen Und Österreichischen Recht “

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Appropriation Art: Die Aneignungskunst Im US-Amerikanischen Und Österreichischen Recht “ DISSERTATION Titel der Dissertation „Appropriation Art: Die Aneignungskunst im US-amerikanischen und österreichischen Recht “ Verfasser Marco Genschorek angestrebter akademischer Grad Doktor der Rechtswissenschaften (Dr. iur.) Wien, Juni 2013 Studienkennzahl lt. Studienblatt: A 083 101 Dissertationsgebiet lt. Studienblatt: Rechtswissenschaften Betreuer: o. Univ.-Prof. DDr. Arthur Weilinger Für Anne, in Liebe und Dankbarkeit. „Kunst, die Kunst zitiert, handelt von Gesellschaft .“ Jeff Koons INHALTSVERZEICHNIS ABKÜRZUNGSVERZEICHNIS ......................................................................................... 11 EINLEITUNG, GANG DER UNTERSUCHUNG UND ABGRENZUNG DES THEMAS ...... 15 KAPITEL 1 GRUNDLAGEN UND BEGRIFFE ................................................................... 20 A. Appropriation Art ......................................................................................................................... 20 I. Sprachwissenschaftlicher Hintergrund ................................................................................... 20 II. Kunstwissenschaftlicher Hintergrund ..................................................................................... 21 III. Das künstlerische Konzept der Appropriation Art................................................................... 23 1. Die Avantgarde als Ausgangspunkt .................................................................................. 23 2. Auflösung der Originalität .................................................................................................. 24 3. Appropriation Art in der Postmoderne ............................................................................... 25 a) Pluralismus und Eklektizismus ..................................................................................... 27 b) Kritik der Originalität ..................................................................................................... 27 c) Die neue Rolle des Betrachters ................................................................................... 29 B. Begriffliche Abgrenzungen und Begriffsbestimmungen ......................................................... 30 I. Kopie ....................................................................................................................................... 30 II. Replik und Fassung ................................................................................................................ 30 III. Reproduktion .......................................................................................................................... 31 IV. Imitation .................................................................................................................................. 31 V. Umbildung ............................................................................................................................... 32 VI. Zitat und Pasticcio .................................................................................................................. 32 VII. Kunstfälschung und Plagiat .................................................................................................... 33 1. Die Kunstfälschung ........................................................................................................... 33 a) Begriff ........................................................................................................................... 33 b) Strafrechtliche Sanktionen ........................................................................................... 34 2. Das Plagiat ........................................................................................................................ 35 3. Abgrenzung zur Appropriation Art ..................................................................................... 37 VIII. Parodie ................................................................................................................................... 38 IX. Doppelschöpfung .................................................................................................................... 41 X. Unbewusste Entlehnung ......................................................................................................... 43 C. Die rechtliche Thematik der Appropriation Art ......................................................................... 45 I. Im Spannungsfeld zwischen Immaterialgüterrecht und künstlerischer Freiheit ..................... 45 II. Die Interessenslage zwischen Vorlagenschöpfer und Appropriationist ................................. 46 1. Theoretischer Überblick .................................................................................................... 46 2. Praktische Beispielsfälle .................................................................................................... 47 a) Xenia Hauser ................................................................................................................ 47 b) Peter Nagel .................................................................................................................. 48 c) Florian Brauer, Michael Brauer und Edward Anders ................................................... 49 d) George Pusenkoff ........................................................................................................ 51 D. Aneignungskünstler..................................................................................................................... 52 1. Jeff Koons .......................................................................................................................... 53 a) Biographischer und werklicher Überblick ..................................................................... 53 b) Rechtliche Auseinandersetzungen zu Werken von Jeff Koons ................................... 54 aa) Rogers v. Koons (1992) aus der Serie Banality ................................................... 54 bb) Blanch v. Koons (2006) aus der Serie Easyfun-Ethereal ..................................... 56 2. Richard Prince ................................................................................................................... 57 a) Biographischer und werklicher Überblick ..................................................................... 57 b) Rechtliche Auseinandersetzungen zu Werken von Richard Prince ............................. 60 aa) Gross v. Prince ..................................................................................................... 60 bb) Cariou v. Prince .................................................................................................... 61 7 KAPITEL 2 APPROPRIATION ART IM US-AMERIKANISCHEN COPYRIGHT-LAW ...... 64 A. Grundlagen zur Untersuchung des amerikanischen Rechts ................................................... 64 I. Die Ausschließlichkeitsrechte des Urhebers .......................................................................... 64 II. Die einfachgesetzliche Beschränkung der Ausschließlichkeitsrechte .................................... 66 III. Schutzgut der urheberrechtlichen Bestimmungen.................................................................. 66 1. Grundsatz .......................................................................................................................... 66 2. Entstehung und Umfang .................................................................................................... 68 3. Schutzvoraussetzungen und Schutzdauer ........................................................................ 69 4. Historie ............................................................................................................................... 71 a) Die Aufnahme des Naturrechts in den jeweiligen Rechtskreis .................................... 71 b) Die zeitliche Entwicklung der Urheberrechtssysteme .................................................. 73 c) Pragmatische Orientierung oder philosophisch-juristische Lehre ................................ 73 d) Vertragsfreiheit ............................................................................................................. 74 e) Ausmaß und Dichte rechtlicher Regelungen ................................................................ 75 IV. Urheberrechtsverletzungen .................................................................................................... 76 1. Direct Infringement ............................................................................................................ 76 2. Contributory Infrigement und Vicarious Liability ................................................................ 76 V. Der fair use defense ............................................................................................................... 77 1. Einführung und Gesetzestext ............................................................................................ 77 2. Privilegierte Nutzungen in 17 USC § 107 .......................................................................... 78 3. Die vier Abwägungsfaktoren in 17 USC § 107 .................................................................. 79 a) Faktor 1 - Zweck und Art der Werkvorlagenbenutzung ................................................ 79 aa) Transformativität ................................................................................................... 79 bb) Kommerzialität ...................................................................................................... 81 cc) Charakter der Benutzung .....................................................................................
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