차용미술과 저작권의 충돌의 해결방안에 관한 재고
The Study on Resolving the Collision of Appropriation Art and Copyright
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대중영화에서부터 광고에 이르는 다양한 분야에서 타인의 저작물의 일부 또는 전부를 이용하는 차용미술의 경우 ‘복제’와 ‘차용’이라는 예술계의 오랜 전통과 관습에따라 정당성을 부여받고 있다 하더라도 독창적인 저작물에 대하여 저작권자에게 배타적인 권리를 허여하는 저작권법과 필연적으로 충돌할 수밖에 없다. 본고는 타인의 저작물의 일부 또는 전부를 사용함으로써 저작권 침해의 가능성을필연적으로 포함하고 있는 차용미술이 저작권법과의 관계에서 야기하는 충돌과 해결방안을 논의하고자 한다. 이를 위하여 우선 차용미술에 관한 역사적 배경과 미국 저작권법의 공정이용 조항을 중심으로 차용미술과 저작권의 충돌을 검토하고자 하며이어서 차용미술과 관련하여 리차드 프린스(Richard Prince)와 패트릭 카리우(PatrickCariou) 사이의 저작권 침해소송을 중심으로 미국에서의 주요 저작권 침해소송 사례들을 살펴보고자 한다. 마지막으로 차용미술과 관련된 우리 저작권법상 쟁점을 살펴보고 그 법제적 대안을 마련하고자 한다.
Abstract
Although appropriation has been a leading artistic feature since the modern era,appropriation art is not a new movement and there has been a time-honored tradition ofcopying and tradition in art community. For centuries, artists ranging Renaissance painterRaphael to Édouard Manet have embraced and employed the concept of originality throughimitation, drawing from presidents to create new art works. However, appropriaton art that borrows or even directly copies other artists’ copyrightedworks or other cultural materials is more likely to be in conflict with a current copyrightsystem protecting exclusive rights of a copyright owners. Especially appropriation artists donot hide the fact that they appropriate images from other artists and challenge viewers torecognize the “genesis” of their works. Following the decisions against in Rogers v. Koons,Balnch v. Koons and Cariou v. Prince, the future of appropriation practices in artcommunity is increasingly unclear. This article addresses an inevitable conflict of appropriation art embracing portion ofother’s copyrighted works and copyright law protecting copyrighted works and offerspotential mechanisms for solving this conflict. Part II provides a brief overview ofappropriation art and fair use doctrine under the U.S. copyright act. Part III analyzes keyappropriation art cases addressing fair use doctrine, focusing on Cariou v. Prince thatbrought about heated discussions among legal field as well as art communities. Part IVdiscusses issues involving appropriation art under the current Korean Copyright Act andproposes legal alternative to solve potential conflict.
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