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Information to Users INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, sorne thesis and dissertation copies are in typewriter face. while others may be from any type of computer printer. The quallty of this reproduction is dependent upon the quallty of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins. and improper alignment can adverselyaffect reproduction. ln the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. AJso. if unauthorized copyright materiat had to be removed, a note will indicate the detetion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comar and continuing tram left to right in equal sections with small overlaps. ProQuest Information and leaming 300 North Zeeb Raad, Ann Arbor, MI 48106-1346 USA 800-521-0600 1. Les véritables enjeux de l'appropriation artistique au regard du droit d'auteur par Geneviève Barsalou • McGill University, Montréal Novembre, 2001. A thesis submittedto the FacultyofGraduate Studies and Research inpartial fulfilment ofthe requirements ofthe degree ofLLM. • © Geneviève 8aISaIOU 2001. National Library BI:JIiaIhèque ~ I~I ofCllnada duCllnada Acquisitions and AcquisiIioM et BilIiographic S8rvices _Niees bibliographiques _ walilQlDn SIrMI 315...weIir4D* e.-ON K1A ..... c--.ON K1A0N4 e.-a c..Ia The author bas granted a non­ L'auteur a accordé une licence non exclusive licence aDowiDg the exclusive perIIldtaDt à la National Library ofCanada ta BibliotbèqueDatioœle du Canada de œproduce, loan, distnbute or sen reproduire, prêter, distribuer ou copies oftbis thesis in microform, vendre des copies de cette thèse sous pape!' or electroDic formats. la forme de microficbelfilm, de reproduction surpapier ou surformat électroDique. The autbor retains ownership ofthe L'anteur oonserve lapropriété du copyright intbis thesis.. Neitber the droit d'auteur qui protège cette thèse.. thesis Dar substantiaJ extracts 1iomit Ni la thèse Di des exaaits substantiels may he printed orotherwise de ceDe-ci ne doiveDt être imptimés reproduced witbout the autbor's ou autrement reproduits S8DS son permission. autorisation. 0-612-79123-8 • Résumés L'appropriation est une technique artistique qui existe depuis des siècles. Utilisée par un nombre faramineux d'artistes, elle semble avoir transcendé la plupart des courants artistiques jusqu'à ce jour. EDe consiste à reproduire une œuvre d'art ou de s'en inspirer afin de créer une nouvelle œuvre distincte. L'appropriation pose de sérieux problèmes en droit d'auteur, car elle transgresse son principe fondamental selon lequel on ne peut reproduire une œuvre sans l'autorisation du titulaire du droit. Contrairement aux États-Unis où une décision a été rendue à l'égard d'un artiste appropriationniste, lajurisprudencecanadienne nefaitétatd'aucun précédent sur le sujet. Malgré l'absence de prise de position formelle au pays, ilsemble que la plupartdes structures mises en place à l'intérieurdu système de droit d'auteur interdisent ce genre de technique. Cette interdiction résulterait principalement de l'inadaptation des principes juridiques aux réalités des arts visuels. C'est pourquoi d'importants changements doiventvoir le jouren droit d'auteur. Les œuvres réalisées au moyen de l'appropriation constituent des œuvres légitimes méritant grandement la protection de la loi. • Artistic appropriation constitutes a technique that has been widely usedby artists for centuries. It seems to have transcended most artistic movements. Appropriation consists ofreproducing a pre-existing work, or of being inspired by it, in arder to create a new and distinct work ofart. Appropriation poses several problems for copyright law because it challenges the basic principle of copyright which provides that a substantial reproduction of a work without the authorisation of the copyright owner amounts ta an infringement Unlike the United States where it was held that an appropriationist work infringed the copyright of a photographer, the Canadian jurisprudence has not decided the matter. While there has been no fonnal stand, it seems that artistic appropriation is prohibited by copyright law in Canada. The author argues that this fonn of censorship is mainly due to the cuneot state of the law which is not adapted to visual arts.. Therefoœ, important changes must occur. Considering their important place in the visual art's world, appropriationistworles deserve tobe protected bycopyrightlaw.. • • Remerciements Je tiens à remercier M. David Lametti qui m'a grandement appuyée dans ma démarche etqui m'a permis de donnerbore cours à mes pensées. Je désire également remercier M. Bob H. Sotiriadis pour m'avoir transmis savision pratique du droitd'auteur. Un grand merci à Jean-Philippe Uzel pour ses précieux conseils en art contemporainetpourson pointde vue rafraîchissantsurle droit d'auteur. Merci à Mélanie Blais pour avoir répondu à toutes mes questions, y compris les plus inusitées, au sujet de l'artcontemporain. Merci à Céline Trudel pour ses connaissances renversantes de la langue • française. Un merci toutspécial à Marie-Piers et Marie-Julîe. Ames parents qui m'ont permis de croire • que j'étais capable de tout... • « Je préfère copier les autres, au moins je leur injecterai quelque chose de nouveau. » Picasso. • • Table des matières • lD'trOOa.c:I:::ÏI:ID. -.......__•__ __ ~._ __ _ 1 aJapitle 1 : Quelques léDénJités surledroit d'auteur_ _ _ --.--4 Chapitre 2 : UnmrwoI cie l'art contelDp»rain _ _ __ __ _._ _ ..11 "..".,.-\.AJiIpitle• 3 : L'applOprïatioD,•. cf'l..=-à.DEa'" auJ'ft&&u"':-"..PL...•DI _ _ __ _ .20 a) [le l'art. JIl()(ferne au pc.slnooemisme.._••••_ _ _ _._ .20 b) Vappropriation: lasituation adueDe .._ _ 29 <2Iapitle4 : IAnquel'appropriation seheaJteau clmit _ -___ _.-33 a) [le nombreux règlements hors rour _ - 33 b) Un important précédent: Rogersv. KooDS. 34 c) Rogersv. KooDS: une décision qui nefait pas l'unanimité.._ 43 d) Koons de nouveau devant les tribUDaux. _ 48 e) Une problématiqueiDtemationale. 52 Chapitre 5 : L'appropriation au regard do droit d'auteur, 1lDe pJOblél:llat:icl canacljenœ 54 a) La reproduction sobstantieDe : un concept flou 56 b) La dichotomie idée expression: unedistinction anachmnique. 58 c) Critères objectifs, évaluation SIlbjective. 64 • d) Spécialistes en art : uneexpertise indispensable. __ 69 e) L·utilisation équitabl~ unedéfeaseéquitable? 71 f) La pa.rOOie. un statutjuridiqueincertain _ 79 g) La reproduction substantielle: unecontrefaçon ou uneœuvreensoi?. 82 h) La h"berté d'expression, une avenue à explorer...••_ 85 il Les droit moraux: unesolution équitahle. 101 Co~ _ -. _ ..- -... 105 BiblicJgraPaie _ _ __ _ __._ _ .. ..110 • L'art de cette seconde moitié du XXe siècle est pluriel, flou et mouvant. Envahisunt, il sesituepar-delà le beau et lelaid. Proche et lointain, iljouesa vie, • peut-êtresasurvie, daDa son rapport conflictuel avecla vieeDe-même. Otaged'un champ social, culturel, institutionnel mais aussi économique apparemment de plus en plus spécifique, nest diffusé, médiatiséet démocratisé commejamais.Au cours de cette période, l'art s'est emparé d'un public d'une diversité et d'une étendue sans commune mesure avec celui qui lui avait été donné de rencontrer tout au long de sa très longue histoire. Objet de spéculations intellectuelles, politiques ou financières, sa diversité et sa présence triomphent de rindifférence la plus obtuse pour fasciner les uns, provoquerles autres et devenir le catalyseur de débats sanglants.l Avec l'hétérogénéité de ses styles, la multiplication de ses mouvements d'avant-garde et la diversité de ses opinions critiques, l'art contemporain provoque des polémiques. De toute évidence, le droit n'y échappe pas. Au cours de la seconde moitié du XXe siècle, la LoisurJe droit d'autewa s'est vue confrontée aux profonds bouleversements qui ont transformé les arts visuels. Des changements à ce point importants, que mêrne la conception de ce que constituent un artiste et une œuvre d'art s'est radicalement transformée. C'est d'ailleurs la raison pour laquelle il est si difficile pour le droit d'auteur de s'adapter; ces constantes transgressions artistiques ont • pour effet de le maintenir en continuel état de désuétude. Toutefois, s'offrent parfois au droitd'auteur des situations par l'entremise desquelles il lui est permis de se renouveler. Lorsque de telles occasions se présentent, le irait doit inévitablement chercher à corriger ses anomalies. Mais ces rectificatifs se font rares, et l'écart existant entre les deux disciplines ne cesse de s'accentuer. La problématique entourant l'appropriation en arts visuels fait partie de ces situations où le droit se doit de s'adapter, alors qu'il refuse de le faire. L'appropriation constitue une technique artistique employée par de nombreux artistes contemporains. EDe ne connaît pas de véritable définition artistique ou juridique. n s'agit d'un terme que l'on emploie à l'égard des créations en arts visuels qui reproduisent une partie ou la 1 J.-L Pradel~ L:4rtcolJtemporain, Pam, Luo~Bordas/HER,1999à la p.6. • 2 LR.C. 1985, C. C-42 etamendementssubséquents[ci-après Lu]. 2 totalité d'une ou de plusiews œuvres appartenant à autrui. En fait, l'appropriation est aux arts visuels ce que le samplingest à la musique. Et tous deux ontengendré de vives polémiques dans le mondejuridique. • L'origine de la controverse entourant l'appropriation remonte aux années 1990. C'est à la suite d'une décision rendue par la Cour d'appel fédérale de New York3, dans laquelle elle condamnait pour contrefaçon un célèbre artiste appropriatioDDiste de l'époque, que le débat a vu le jour. Depuis, bien qu'il ait perdu de sa popularité, ce sujet ne cesse de provoquer des différends au sein du mondejuridique. L'appropriation pose de sérieux problèmes en droit d'auteur, car elle transgresse le principe à la base même du système, c'est-à~re qu'on ne peut reproduire une partie importante d'une œuvre protégée sans l'autorisation de son titulaire.
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