Oliver v. Meow Wolf, Inc

CourtDistrict Court, D. New Mexico
DecidedMarch 7, 2022
Docket1:20-cv-00237
StatusUnknown

This text of Oliver v. Meow Wolf, Inc (Oliver v. Meow Wolf, Inc) is published on Counsel Stack Legal Research, covering District Court, D. New Mexico primary law. Counsel Stack provides free access to over 12 million legal documents including statutes, case law, regulations, and constitutions.

Bluebook
Oliver v. Meow Wolf, Inc, (D.N.M. 2022).

Opinion

IN THE UNITED STATES DISTRICT COURT FOR THE DISTRICT OF NEW MEXICO

LAUREN ADELE OLIVER,

Plaintiff,

v. Civ. No. 20-237 KK/SCY

MEOW WOLF, INC. et al.,

Defendants.

MEMORANDUM OPINION AND ORDER

THIS MATTER is before the Court on: (1) Defendant Meow Wolf, Inc.’s Motion to Recognize its Amended Answer and Counterclaim for Declaratory Judgment as an Amendment as of Right, or in the Alternative for Leave to Amend Answer to Assert Counterclaim for Declaratory Judgment (Doc. 182) (“Motion to Amend”), filed July 6, 2021; and, (2) Plaintiff’s Motion to Dismiss Defendant’s Counterclaim for Lack of Standing and for Failure to State a Claim (Doc. 203) (“Motion to Dismiss”), filed August 10, 2021. Having reviewed the parties’ submissions, the record, and the relevant law, and being otherwise sufficiently advised, the Court FINDS that: (1) Defendant’s Motion to Amend is well taken and should be GRANTED; and, (2) Plaintiff’s Motion to Dismiss is not well taken and should be DENIED. I. Factual Background and Procedural History In her original complaint, Plaintiff Lauren Adele Oliver alleged the following. From 2006 through at least 2015, Plaintiff created, developed, and exhibited various versions of “the Space Owl,” an original “owl-like alien … with horns and a face visor,” placing this character at the center of a project entitled “Ice Station Quellette” (“ISQ”). (Doc. 1 at 3-4.) Plaintiff holds registered copyrights for the Space Owl and ISQ. (Id. at 11.) Defendant Meow Wolf, Inc. (“MWI”) is a Delaware corporation with a principal place of business in New Mexico.1 (Id. at 2.) Defendant Vince Kadlubek was at relevant times a director and/or officer of Defendant MWI. (Id.) Before Defendant MWI’s incorporation, “Meow Wolf” was an “artists’ collective” that acted through Defendant Kadlubek and other representatives. (See id. at 3-6.)

In early 2015, Meow Wolf representatives asked Plaintiff to install ISQ at a permanent exhibition in Santa Fe, New Mexico, called the “House of Eternal Return” (“HoER”). (Id. at 4.) “In exchange for [Plaintiff’s] timely installation of ISQ at [the] HoER without initial compensation,” these representatives, including Defendant Kadlubek, “offered [Plaintiff] membership in the Meow Wolf artists’ collective and a right to receive a share of Meow Wolf’s revenue.” (Id. at 5, 17.) Plaintiff accepted this offer and spent months and “considerable personal resources” designing and installing versions of ISQ and the Space Owl at the HoER. (Id. at 6.) The HoER opened in March 2016. (Id. at 12.) It was “a monumental success,” and as a result Defendant MWI grew into “an artistic enterprise ... valued at hundreds of millions of

dollars,” with “huge profit margins” and “hundreds of employees.” (Id. at 6, 11.) The Space Owl became a “fan favorite” and an “iconic element” of the HoER, appearing in numerous social media posts and press articles. (Id. at 12.) In 2017 or 2018, Defendants began to call artists’ compensation a “[b]onus [p]rogram” rather than a revenue share. (Id. at 6.) Also, in 2018, Plaintiff discovered that Defendants were “making money from the ISQ without compensating or crediting [her],” e.g., by including images of her work in books sold in the HoER gift shop. (Id. at 7, 12-13.) Around April 2018, Plaintiff

1 The Court has previously taken judicial notice of a government webpage indicating that Defendant MWI was incorporated in November 2016. (Doc. 59 at 2 & n.2.) “decided the parties needed to formalize their agreement and relationship.” (Id. at 7.) When negotiations failed to produce a formal agreement by June 2018, Plaintiff asked Defendant MWI to “stop using the Space Owl until their relationship had been formalized.” (Id.) Nevertheless, in December 2018, Plaintiff learned that Defendant MWI had used the Space Owl in a documentary. (Id. at 8.)

At a meeting in June 2019, Defendant Kadlubek offered Plaintiff a “cruel ultimatum,” i.e., either “sell [Defendant MWI] all rights to the Space Owl for a nominal sum and end the relationship or remove ISQ from [the] HoER without additional compensation and end the relationship.” (Id. at 8-9, 14.) After this meeting, Plaintiff continued to try to “negotiate a fair resolution” to the parties’ disputes. (Id. at 9.) Meanwhile, Defendant MWI “repeatedly threatened [Plaintiff] with the removal of ISQ without her permission.” (Id. at 10.) “Because of the way it is constructed, removal of the installation would require its destruction.” (Id.) A “significant portion” of Defendant MWI’s success and value is due to ISQ and the Space Owl. (Id. at 15.) However, to date, Plaintiff has received only $2,000 from Defendants for her

work at the HoER, which does “not even cover the personal funds she … expended for the installation.” (Id. at 8, 15.) Plaintiff filed her original complaint against Defendants MWI and Kadlubek and fifty Doe Defendants on March 16, 2020. (Id. at 1-2.) In this complaint, Plaintiff asserted claims for copyright infringement, violation of the Visual Artists Rights Act (“VARA”), breach of contract, breach of the implied covenant of good faith and fair dealing, unjust enrichment, conversion, intentional misrepresentation, negligent misrepresentation, and constructive trust. (Id. at 15-21.) Based on these claims, she sought injunctive relief, compensatory, punitive, and statutory damages, equitable relief including disgorgement of unjust enrichment and conveyance of an ownership interest in “the Meow Wolf artists’ collective,” and attorney’s fees and costs. (Id. at 22- 24.) On August 3, 2020, Defendants filed an answer to Plaintiff’s original complaint. (Doc. 30.) They also filed a motion to dismiss the complaint in part, (Doc. 32), which the Court granted in part and denied in part on November 25, 2020. (Doc. 59.) Specifically, the Court dismissed

Plaintiff’s conversion claims without prejudice and denied the motion in all other respects. (Id. at 41.) Plaintiff filed a motion for leave to amend her complaint on February 22, 2021. (Doc. 77.) In it, Plaintiff sought leave to: (1) add promissory estoppel claims against all Defendants; (2) assert revised conversion claims against all Defendants; and, (3) add supporting factual allegations. (Id. at 1.) On May 24, 2021, the Court denied Plaintiff leave to assert her proposed revised conversion claims but otherwise granted her motion. (Doc. 135 at 20.) Plaintiff duly filed her amended complaint on June 1, 2021. (Doc. 148.) In response to Plaintiff’s amended complaint, Defendants filed an amended answer on June

15, 2021. (Doc. 164.) Notably, in response to Plaintiff’s breach of contract claims, Defendants admitted “there was a contract which [Plaintiff] accepted and whereby [Plaintiff] installed ISQ and Space Owl” but denied “that the terms of the contract are as she alleges.” (Id. at 13.) Twenty-one days later, on July 6, 2021, Defendant MWI filed its Motion to Amend. (Doc. 182.) Simultaneously, Defendants filed Defendants Meow Wolf, Inc. and Vince Kadlubek’s Amended Answer to Plaintiff’s First Amended Complaint (Doc. 183) (“Second Amended Answer”), which adds a counterclaim by Defendant MWI for declaratory judgment. (Id. at 18-27.) In its counterclaim, Defendant MWI alleges the following. “Meow Wolf began in 2008 as a group of artists working together to build art shows, host music shows, and be a social group.” (Id. at 18.) Plaintiff participated in the group in 2008 but did not participate between 2009 and 2015. (Id.) After a financially successful show in 2011, “the first Meow Wolf company was formed.” (Id. at 18-19.) In 2014, “Meow Wolf” began making plans to open the HoER as a permanent exhibition in Santa Fe. (Id. at 19.) “Meow Wolf” purchased the materials for artists’ installations at the HoER and in some

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