Dr. Dr. Grischka Petri

Rheinische Friedrich-Wilhelms-Universität Bonn and University of Glasgow

Curriculum Vitae

Grischki Petri studied Applied Cultural Science at the University of Lüneburg as well as Art History, Philosophy and Law at the University of Bonn, where he obtained his doctorate degree in law in 2003 with a thesis on doping sanctions, and received a Ph.D. in 2006 with a work on the career of James McNeill Whistler and the contemporary art market. Following his first state examination (bar exam) in 1998, he was Researcher at the Department for Private Law, Labor Law and Civil Procedure at the University of Bonn until 2002, before completing his legal clerkship and passing the second state examination (bar exam) in 2005. Following a period as Researcher at the Department for Civil Procedure at the University of Bonn, Grischka Petri has been active first as Researcher since 2007, and since 2009 as Academic Council, non-tenure track (Akademischer Rat auf Zeit) at the University of Bonn’s Institute for Art History. In the winter semester 2013/14 he was Junior Professor for Art Market and Art History at the University of Cologne on an interim basis. Since 2011, he is further Honorary Research Fellow at the School of Culture and Creative Arts at the University of Glasgow, where he was Postdoctoral Research Associate and tasked with compiling the catalogue raisonné of Whistler’s etchings.

Research Project

Cultures of Art Copyright

Since Enlightenment, copyright and moral rights have been an influential factor and component of occidental culture. The project “Cultures of Art Copyright” pursues a multi-faceted research problem. First, the relationship between copyright and artistic practice shall be investigated in detail. Second, the position of artists in different cultures of copyright shall be further illuminated. Finally, the results from this analysis can be related to selected paradigms of the modern, author-centric cultural understanding. If it is true that copyright is rooted in general economic and social foundations and is, therefore, a cultural product, then the fact that these foundations are special for the visual arts must have special effects. Through its analysis, the project further seeks to contribute to a better understanding of a visual culture that at times encounters “translation problems” in legal cultures that are informed by texts.

Publications (selections on art and law)

  • The Public Domain vs. the Museum: The Limits of Copyright and Reproductions of Two-dimensional Works of Art, in: Journal of Conservation and Museum Studies 12 (2014), DOI: http://dx.doi.org/10.5334/jcms.1021217
  • Der Fall Dürer vs. Raimondi. Vasaris Erfindung, in: Fälschung – Plagiat – Kopie: Künstlerische Praktiken in der Vormoderne (ed. by Birgit Ulrike Münch, Andreas Tacke, Markwart Herzog and Sylvia Heudecker), Petersberg 2014, 52–69.
  • On the Copyright Hermeneutics of the Original, in: The Challenge of the Object / Die Herausforderung des Objekts (ed. by G. Ulrich Großmann und Petra Krutisch), 3 Volumes, Nürnberg 2013, Vol. 1, 166–70.
  • Arrangement in Business. The Art Markets and the Career of James McNeill Whistler, Hildesheim et al.: Olms 2011.
  • Rechtsnorm, wirtschaftlicher Wert der Kunst und ästhetische Normenpluralität: der Fall Whistler ./. Ruskin, in: Kanonisierung, Regelverstoß und Pluralität in der Kunst des 19. Jahrhunderts (ed. by Stefan Grohé, Ekaterini Kepetzis und Stefanie Lieb), Frankfurt am Main 2007, 194–211.
  • Kunsttransporte für Sonderausstellungen: Vergaberechtliche Probleme kommunaler Kunstmuseen, in: Kommunaljurist 2006, 205–209.