Okpaluba discusses the concept of the ‘fair use doctrine’, and in doing so outlines three methods in which the United Sates and the United Kingdom excuse copyright infringement: 1) original work is not subject to protection; 2) the defendant did not make a “copy”; 3) the use of copied material falls within the exemption (Okpaluba, p198). Continuing in support of appropriation art, Okpaluba illustrates how users can win infringement cases because appropriation art serves as a valid function and as a means of creation and social criticism; this function allows artists to divulge a reaction from the public and interpret different meanings of cultural icons (Okpaluba, p198).
Appropriation art has always existed throughout history and serves as a means of creating new forms of expression. The incorporation of other works has become mainstream and commonplace because everything has been done before, and appropriation art is a modern expression through recycled materials and ideas – hence, copyright law cannot accommodate expression because it is never authentic (Okpaluba, p200). There are three forms of appropriation: 1) using exact, protected images; 2) a collection of several sources to compile a new work; 3) use of an entire, general genre
References: Michael F. Brown. "Can Culture Be Copyrighted?" from Current Anthropology, Vol. 29, No. 2, University of Chicago Press, April 1998, 193-206. Johnson Okpaluba. "Appropriation Art: Fair Use or Foul?" from Dear Images: Art, Copyright and Culture, Karsten Schubert & Daniel McClean, ed(s)., Ridinghouse, 2002, 197-224. Trevor Ross. "Copyright and the Invention of Tradition" from Eighteenth Century Studies, Vol. 26, No. 1, The John Hopkins University Press, Autumn 1992, 1-27.