Adam Jomeen, Founder of the specialist art law firm Art Law Studio, participated in our LLM in Art, Business and Law. Read about his background and experience studying with the Institute of Art and Law.
Can you tell us a little bit about your career and background?
I read History at King’s College London before converting to law and training with Travers Smith. I moved to the firm’s Paris office on qualification where I was lucky to work (hard!) on some really interesting deals with carefully chosen local lawyers. I enjoyed navigating a civil law jurisdiction as an English lawyer and, having returned to London, took the chance to move to Brazil with Clyde & Co where I spent nearly 7 years resolving complex disputes which often touched more than one jurisdiction. An aviation matter on which I was the lead associate involved parallel proceedings in France, the US and Colombia; conflicting decisions of the French Supreme Court and US Court of Appeals for the Eleventh Circuit; and far too many air miles!
Can you tell us a bit about Art Law Studio and what sets it apart?
After a decade in private practice with leading law firms, my experience coalesced with my deep interest in the art world and Art Law Studio was born: a fully regulated UK law firm focussed on the particular needs of artists, advisors, collectors and dealers. Our fees are intentionally accessible and we only advise on art-related matters. We are proudly based at Studio Voltaire in South London alongside an inspiring group of artists and curators – readers are most welcome to visit us and to support Studio Voltaire’s vital mission by visiting House of Voltaire for special edition artworks amongst other gems.
What aspects of the LLM did you enjoy most?
Above all I enjoyed the first-rate teaching by the IAL faculty and visiting experts who were consistently well prepared, passionate and engaging. Given the global nature of the art market, I found the programme’s comparative law aspects to be invaluable, including, for example: how and when title to stolen art transfers in the key art market jurisdictions; the differing approaches to copyright and moral rights in the US, UK and Europe; and the registration of financial interests in artworks in the US and UK. Behind-the-scenes tours to Tate Britain, the V&A and Bonhams were also highlights.
How has the LLM/IAL enhanced your career?
The LLM and shorter IAL courses have helped me build expertise in art law; compile a valuable reference library of art-specific case law and legislation across the key art market jurisdictions which I regularly refer to; and connect with art law experts in the UK and overseas. I’ve enjoyed writing for the IAL’s blog and quarterly journal Art, Antiquity and Law, and recently presented at
a seminar on ‘Law and Photography’ with a stellar line-up of international colleagues. It’s always a pleasure to work with the Institute and I look forward to our continued collaboration.
What advice would you give to someone considering the LLM or otherwise studying with the IAL?
I’d encourage them to go for it. The shorter IAL courses are a great way to test the water and I recommend the LLM for anyone seeking a more holistic approach to this complex field. My only advice to potential LLM applicants is to think about when you will get the most out of it – either directly after your undergraduate studies or after qualifying in your jurisdiction and gaining some practical work experience.
Note: Adam will be speaking at the next IAL study forum (virtual) on 19 March. To hear him, sign up here.