Joan Kee is Associate Professor in the History of Art at the University of Michigan. Formerly a lawyer in Hong Kong and New York, she is the author of numerous articles on contemporary art and law as well as a widely reviewed book, Contemporary Korean Art: Tansaekhwa and the Urgency of Method.
“...this wide-ranging volume offers insights into issues (of certification and distribution, for instance) that shaped Conceptual art.”
"...adds a novel perspective on art law, highlighting how both law and art can serve as sources of creative thinking. Illustrations and scholarship form an integral part of the book, and constitute an unconventional and much needed artistic take on the law [putting] six post-sixties artworks in their legal, historical, political, and artistic contexts." - Center for Art Law Blog
"Brushing with critical intersections of law and contemporary art, this book explores concepts of integrity as mediated and represented through artworks of the 1960s and onwards. Dancing fuidly between historical context, art theory, and legal theory, each piece of art is grounded in the legal developments of the time: questions of integrity for law and artists, the creation of artistic ownership rights, the constitutive power of property, and the emergence of art forms not yet recognised as art. Through art, Kee opens up vital spaces of legal discussion through depictions of (and participation in) authority, power, disobedience and other possibilities beyond compliance and consensus." - Journal for the Semiotics of Law
"[An] absorbing and rigorously researched new book. . . .Kee does more than provide a recent history of collisions between art and the law. She overlays developments in the two fields, and argues that each one can help us better understand the other. . . .Models of Integrity reads as a compelling call for artists, arts professionals, and viewers to work more ambitiously, and to think with more nuance." - Andrew Russeth,, ARTnews