One of the most high-profile lawsuits in recent years has erupted in the world of tattoo art and copyright. On June 9, 2026, Judge Mary H. Murguia, presiding over the U.S. Ninth Circuit Court of Appeals, issued an unprecedented decision: the copyright infringement case of photographer Jeffrey B. Sedlik against renowned tattoo artist Kat Von D (real name Katherine von Drachenberg) will be reheard by the full court. This event, known as an en banc review, is extremely rare and signals the importance of the precedent for the entire creative industry.
Miles Davis tattoo
Kat Von D Completes Blackout: A New Chapter and the End of a Legal Drama
Katherine von Drachenberg, better known to the world as Kat Von D, has once again found herself in the spotlight of the tattoo community. The star of the iconic TV shows Miami Ink and LA Ink, whose name has been associated with intricate black and grey realism for years, has practically completed her massive blackout transformation. What began in 2020 as a bold experiment to cover old works has today evolved into a monumental canvas symbolizing the profound internal changes of the 43-year-old artist. The decision to “black out” a large portion of her body has met with mixed reactions from fans, but for Kat herself, it has become a way to shed the visual noise of the past that had begun to weigh her down.
Copyright in the Tattoo Industry: The Case of Kat Von D and the Fate of the “Total Concept and Feel” Doctrine
The world of artistic tattooing and the strict legal framework of intellectual property have clashed in an unprecedented confrontation that could forever change the rules of the game for artists worldwide. This refers to the protracted legal battle between the icon of the modern tattoo scene, Kat Von D, and renowned photographer Jeffrey Sedlik. At the heart of the dispute is the iconic portrait of jazz legend Miles Davis, which Kat transferred to her client’s skin. This case has ceased to be a mere private dispute over fees and has evolved into a large-scale discussion about where copying ends and a new art form begins, and why traditional tests for “similarity” of works no longer work in the era of social media and hyperrealism.