The majority of Isabella’s scholarship has sought to excavate the history of copyright law in 18th and 19th century Britain and Australia. She became interested in the history of copyright and the visual arts via her project on the history of copyright and maps. That project explored how copyright law came to be applied to maps, and to regulate the creation, circulation, and use of geographic information. In the course of that research, Isabella realised how little historical and archival work had been done on the history of art and copyright and, together with Cristina S. Martinez, decided to investigate this further. They pooled our resources to publish a chapter on Elizabeth Blackwell, the botanical artist who brought the first copyright case under the Engravings Act 1735, and an article on 18th century copyright litigation over a map game. She is excited to join forces with the other researchers on this project so that they can continue to explore the connections between art, law, and technology into the present day in an even more interdisciplinary way.

Andrea’s research focuses on the intersections of art and cultural heritage law with the digital realm and digital heritage management. She works across multiple disciplines and specialties including intellectual property law, art and cultural heritage law, digital humanities, visual studies, and museum studies. Her wider interdisciplinary interests consider the impact of digital technologies on the presentation, interpretation, and dissemination of cultural heritage and data. She frequently writes and presents on topics related to open GLAM (Galleries, Libraries, Archives, and Museums). 

Andrea’s work on the project explores how digital surrogates of public domain works have been published by heritage institutions under new rights claims, open access frameworks, or to the public domain. She is especially interested in the afterlife of digital surrogates as they circulate online, multiply and (re)appear in new contexts, and transform into new communications nodes in a global information society. She is studying digitization practices around William Hogarth’s A Rake’s Progress and collaborating on an exhibition that reimagines copyright for visual artworks and reproductions at the turn of the 21st century.

Stina’s research revolves around issues of design and intellectual property management, management education and new technologies. She is particularly interested in historicizing and situating notions and practices of intellectual property in design considering diverse historical, social, technological and regional contexts and their implications for strategy. Furthermore, Stina researches and writes on business school education.

Stina’s contribution to Hacking Copyright in the 21st Century: Art, Law & Technology focuses on developing new methods for doing interdisciplinary research and for training tech savvy future lawyers and legally astute managers. 

Cristina is an art historian whose interests span from the eighteenth century to the present. Her research has focused on British art and culture, the history of copyright, women and print, graphic satire as well as Canadian art. She is co-editor (with Cynthia Roman) of Female Printmakers, Printsellers and Print Publishers in the Eighteenth Century: The Imprint of Women, c. 1700 -1830 (Cambridge University Press, 2024), and she has authored the entry on Jane Hogarth for the Oxford Dictionary of National Biography. Her interdisciplinary work has been supported by fellowships from the Oxford-Bodleian Library, the Francis Haskell Memorial Fund, the Terra Foundation for the Arts, and the National Gallery of Canada amongst others.

Cristina is currently working with Isabella Alexander on a book project tracing the beginnings of visual copyright law, and she is thrilled to explore with others in this team questions related to the appeal and wide circulation of William Hogarth’s works – copied, imitated and appropriated, then and now.

Cynthia Roman is an art historian and curator of eighteenth-century British art. Her scholarship focuses on the production, circulation and collecting of prints, especially graphic satire. Her works extends to inquiries around collecting copies, the practice of copying in the education of professional and non-professional artists, the associative power of copies that continue to prompt a ubiquity of appropriations and parodies and related matters of invention and quality.

Cynthia has published and presented widely on graphic satire, collecting history and the work of non-professional artists. In addition to many articles and essays, she has been editor, co-editor and contributor to several book projects including Hogarth’s Legacy (2016); Enduring Presence. William Hogarth’s British and European Afterlives with Caroline Patey and Georges Letissier (2021); Staging The Mysterious Mother with Jill Campbell and Jonathan Kramnick (2023); and Female Printmakers, Printsellers and Print Publishers in the Eighteenth Century: The Imprint of Women, c. 1700 -1830 with Cristina S. Martinez (Cambridge University Press, 2024).

She is honoured to be part of the ArTechLaw research team’s cross- disciplinary investigations into the complex and nuanced dynamics of copyright law for the protection of artistic property versus the competing significant cultural currency of copying in the visual arts that has long carried meaning across centuries and geographies.

Joy is a PhD Candidate at Durham Law School, UK and acts as the research assistant on the ArTechLaw project. Her own research focuses on applying critical phenomenological approaches to examining legal phenomena. She is particularly interested in how to foster spaces which facilitate a sense of justice, or highlights the lack there-of, through creative interventions.

Joy’s contributions to the ArTechLaw project has focused on developing innovative legal pedagogical and methodological interventions around the themes of the project. These include working with Dr. Alexander to design a meme-based seminar for teaching copyright law, and working with Dr. Shane Burke to develop a sound-instillation on the experience of legal alienation.

Leonardo Impett is Associate Professor in Digital Humanities in the Faculty of English at the University of Cambridge, and Bye-Fellow of Selwyn College. He also leads the Machine Visual Culture research group at the Bibliotheca Hertziana, Rome. His research attempts to entangle AI and machine vision together with art history and visual studies. Alongside his work in digital art history, he has collaborated on machine learning projects in arts and culture for the Liverpool Biennial, the Royal Opera House, and the Whitney Museum of American Art.

He has a background in information engineering and machine learning, and has worked or studied at the Cambridge Machine Learning Lab, the Cambridge Computer Lab’s Rainbow Group, Microsoft Research Cairo, and EPFL’s Image and Visual Representation Lab. He was previously Assistant Professor of Computer Science at Durham University and DH Fellow at Villa I Tatti.