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Massimo Sterpi
Partner - Head of IP - Gianni, Origoni, Grippo, Cappelli & Partners - Rome office
Massimo Sterpi is an Italian lawyer specializing in Intellectual Property (IP), New Technologies, and Art Law. He currently holds the position of Partner and Head of IP/Technology and Art Law at Gianni & Origoni, a prominent law firm.12
Professional Roles and Expertise
Sterpi is actively involved in several international legal organizations:
- Chair of the AI Task Force at the Union Internationale des Avocats (UIA)2
- Member of the International Bar Association (IBA)2
His areas of expertise include:
- Intellectual Property Law
- Technology Law
- Art Law
- Artificial Intelligence (AI) and its legal implications
Recent Activities and Contributions
Sterpi has been particularly active in discussions and presentations related to AI and its impact on various fields:
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AI and Bias: He recently spoke at a working session about AI and bias, demonstrating his engagement with cutting-edge legal issues in technology.3
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Art and Technology: Sterpi has discussed how technology has changed the art world, showing his expertise at the intersection of art and tech law.4
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Cultural Goods and Art Law: He gave a presentation at the University of Verona about the impact of rules on cultural corporations, highlighting his involvement in art law and cultural heritage issues.5
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Generative AI and Fair Use: Sterpi has expressed views on the legal challenges surrounding generative AI, particularly regarding fair use claims and copyright issues.6
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AI in Creative Industries: He has engaged in discussions about AI's role in creative industries, including its impact on art and cultural institutions like the Tate Modern.7
Massimo Sterpi's professional activities demonstrate his deep involvement in the evolving legal landscape surrounding technology, art, and intellectual property. His expertise and leadership roles position him as a significant figure in these fields, particularly in the context of emerging technologies like AI.
Highlights
INVISIBLE ART (AND WHAT IT TEACHES US ABOUT AI GENERATED ART)
Here are some highlights from my presentation on Invisible Art at the Salon organized yesterday by the always forward looking Sarah Conley Odenkirk in L.A.:
Art can be invisible in many ways. So much so that we may wonder if not all art is actually invisible.
What we see, in fact, is not art itself, but a mere object that we consider and define as art.
Art, therefore, is not the object, but a quality that we attribute to an object, so that we call it “artwork “.
Or, as Invisible Art teaches us, a quality that we may also attribute to a “non object”: a situation, a sensation, a feeling.
Think about the Invisible Sculpture presented by Andy Wahrol in 1985: a white plinth with an invisible sculpture on it (see picture).
With Invisible Art, the artist leaves behind the pretext of the visible object and focuses on the mere concept or the non visible object that he/she uses to convey meaning.
The concept of conveyance of meaning that is the basis for Invisible Art to be considered as art, is also very important to determine if art created exclusively by AI may be actually considered art, and not mere decoration. In my opinion, the mere creation of shapes, however beautiful, by an algorithm is neither intended nor able to “convey meaning” of any sort, as “conveyance of meaning” is hinting to a dialogue between humans where the artwork is used to convey a message from the artist to the public. Absent a human artist, shapes created by A.I. are mere decoration and could not be considered as art.
More to come in an essay I am writing on the subject.
Sarah Conley Odenkirk #art #invisibility #ai
