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Arts Law : Article : Photo Reproduction of Artworks. Emu © Mandy Davis This is a black-and-white print of Indigenous artist Mandy Davis' work Emu. The colour photograph would be difficult to distinguish from the original artwork from a distance – the colours were carefully calibrated, and there are no shadows or tell-tale flash glare. Another example of a colour photograph faithfully capturing an artwork is Richard Glover's image of Andrew Leslie's 2008 work at, a sculpture of painted aluminium rods reflecting coloured light onto the supporting wall.1 In each case, the photographer has captured the work with perfect fidelity. Obviously these photos can only be taken with the permission of the owner of the copyright in the underlying work (usually the artist) as both are a substantial reproduction. Assuming however that such permission has been obtained, what are the photographer's rights? In Australia this issue has yet to be considered.

Delwyn Everard is senior solicitor at Arts Law. 3 25 F. 4 36 F. 5 Walter v Lane, [1900] AC 539 Related. Framed by an idiot, passed by muttonheads. "Only one thing is impossible for God: to find any sense in any copyright law on the planet" - Mark Twain In July of 1876, less than a month after the novel's initial release in England, copies of Mark Twain's The Adventures of Tom Sawyer had begun to circulate the U.S. in large numbers. One would expect Twain to have celebrated such a development, however the book wasn't due its U.S. release for another four months, these 'pirated' editions having been produced in Canada by publishers Belford Brothers, entirely legally according to the Canadian Copyright Act of 1875. For the remainder of his career, Twain fought to see copyright laws changed and the letter below is a prime example of his subsequent frustrations, written in 1880 to friend, fellow author and, briefly, politician Rollin Dagget following an unsuccessful appeal to James Blaine.

Transcript follows. Transcript. Attribution-NonCommercial-ShareAlike 3.0 United States — CC BY-NC-SA 3.0 US. The 1709 Blog: March 2010. Tuesday’s ECJ judgment in the three Google France cases isn’t just important for trade mark law. It’s news for copyright too as it addresses the hosting defence of the E-Commerce Directive. The hosting defence limits liability for copyright as well as trade mark infringement.

It has therefore been taken as a defence for a wide range of websites for copyright liability, particularly UGC sites, such as YouTube, Facebook etc. The hosting defenceArticle 14 of the E-Commerce Directive states that the provider of an ‘information society service’ that consists of the storage of information provided by a user of the service is not liable for illegal information, so long as the provider didn’t authorize, control or know about the information and removes it promptly when alerted to it.

An ‘information society service’ is defined as any service normally provided for remuneration, at a distance, by electronic means and at the individual request of a recipient of the service. Commons:Reuse of PD-Art photographs. Wikimedia Commons explicitly permits the hosting of photographs that carefully reproduce a two-dimensional public domain work; such photographs are in the public domain in the United States, where this site is based (if you are a Commons contributor, see Commons:When to use the PD-Art tag for more information on this policy). However, there may be local laws that prevent or restrict the reuse of such images in your country, some of which are listed below.

While we hope this information will be helpful, any use of such content is at your own risk, and you should consider securing legal advice in your jurisdiction before using content. The U.S. case of Bridgeman v. Corel (1999)[edit] In Bridgeman Art Library v. Corel Corp. (1999), the New York District Court held that "a photograph which is no more than a copy of a work of another as exact as science and technology permits lacks originality. That is not to say that such a feat is trivial, simply not original". Country-specific rules[edit] File:Mona Lisa.jpg. Copyright Fair Use and How it Works for Online Images Social Media Examiner.

You’ve heard the adage that a picture is worth a thousand words, but when that picture is protected by copyright, the picture is only worth three words: cease and desist. OK, that’s kind of a lawyer joke. But it illustrates how protective people are about finding their images used online without permission. Copyright laws were established not to give the author the right to deny their work to other people, but instead to encourage its creation. Article I, Section 8, clause 8, of the United States Constitution states the purpose of copyright laws is “to promote the Progress of Science and useful Arts, by securing for limited times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries.”

It’s a delicate balance between the rights of the creator and the public’s interest. This article will cover exactly what copyright is and what it covers. And then we’ll look at the concept of fair use as it pertains to using images online. What Is Copyright? In Summary. Free Music Archive. The Free Music Archive is an interactive library of high-quality, legal audio downloads directed by WFMU, the most renowned freeform radio station in America. Radio has always offered the public free access to new music. The Free Music Archive is a continuation of that purpose, designed for the age of the internet. It was launched in 2009. Every MP3 you discover on The Free Music Archive is pre-cleared for certain types of uses that would otherwise be prohibited by copyright laws that were not designed for the digital era. These uses vary and are determined by the rights-holders themselves (please see our FAQ) who feel that allowing a degree of free cultural access is beneficial not only to their own pursuits, but to our society as a whole.

The Free Music Archive is a resource for audiophiles of all stripes, and unlike other websites, all of the audio has been hand-picked by one of our established audio curators. Press & Further Reading Where to download free music (MacWorld) Spin Magazine. Copyright Week. Skip to main content Day 1: You Bought it, You Own It Day 2: Fair Use Rights Day 3: Transparency Copyright policy must be set through a participatory, democratic and transparent process. It should not be decided through back room deals or secret international agreements. Learn More: Day 4: Building and Defending a Robust Public Domain Sign on to support the principles!

Participating Organizations. For Faithful Digital Reproductions of Public Domain Works Use CC0. Jane Park, January 23rd, 2015 We’re taking part in Copyright Week, a series of actions and discussions supporting key principles that should guide copyright policy. Every day this week, various groups are taking on different elements of the law, and addressing what’s at stake, and what we need to do to make sure that copyright promotes creativity and innovation. Today’s topic is the “Public Domain.” The public domain is our cultural commons and a public trust. Creative Commons has long upheld that faithful digital reproductions of works in the public domain are also in the public domain, adhering to the U.S. Creative Commons currently offers two public domain tools, CC0 and the Public Domain Mark, which can be confused with each other but are very different tools. We recommend using CC0 for digital reproductions of public domain works where there is reason for users to be concerned that the reproduction itself is subject to copyright.

Rijksmuseum Statens Museum for Kunst Europeana. IMCL2007_MayrWessel. 14_isi-98-dv-schweibenz-saarbruecken. Cultural Heritage and Open Data: a possible key? : Digital meets Culture : «A museum is a non-profit, permanent institution in the service of society and its development, open to the public, which acquires, conserves, researches, communicates and exhibits the tangible and intangible heritage of humanity and its environment for the purposes of education, study and enjoyment». So the International Council of Museums has defined the museum since 1986, highlighting the importance of preservation and communication with the public aimed at different objectives. Today, museums are more and more following this path showing the works, opening virtual galleries to the public and sharing their databases with users.

This is exactly the philosophy of the OpenData, «data available for free use, reuse and redistribution only limited by the author's request for attribution and for redistribution in the same way (that is without variations) » (FormezPA, 2011). What is the international and national best practice arising from this new awareness? Sources P. An Error Occurred Setting Your User Cookie. Leonardo Description:Leonardo was founded in 1968 with the goal of becoming an international channel of communication for artists who use science and developing technologies in their work. Today, Leonardo is the leading international journal for readers interested in the application of contemporary science and technology to the arts and music. The benefits of a Leonardo subscription are manifold. A subscription to Leonardo includes Leonardo Music Journal, ISSN 0961-1215 (including compact disc), featuring the latest in music, multimedia art, sound science and technology.

In addition Leonardo subscribers become members of Leonardo/ISAST (the International Society for the Arts, Sciences and Technology) and receive reduced rates on all Society publications. Subscribers to Leonardo are also granted access to Leonardo Electronic Almanac. Museums can get copyright right - Scholarly Communications @ Duke. One type of question that I get over and over again from faculty and graduate students involves copyright and images of art works held in museums. In fact, question is probably the wrong name for these discussions; mostly I try to be sympathetic as the researcher bemoans the thicket of claims and permission costs in which they have become entangled as they undertake some project. I recently met with one faculty member who is creating an amazing “digital humanities” project and needs to obtain, from a significant number of different museums, high-res images of works that are clearly in the public domain.

Even this author, who is both remarkably good-humored and very persistent, was confused and bemused by the Pandora’s box she had opened. Then I saw this article about the Rijsmuseum in Amsterdam, which reminded me that even in Pandora’s box, hope remained in the bottom — some museums are bucking the trend and creating reuse-friendly policies for images of public domain works. Mona lisa. Center for the Future of Museums: Opportunities and Challenges with Reproductions.

As I travel the country talking to museumers, one of the most frequently asked questions is "in the future, will people still value ‘real’ things? " People wonder, naturally enough, whether constant exposure to virtual worlds, digital depictions and ever more accurate replicas will erode the respect accorded to the collections we work so hard to amass and maintain. Why should people subsidize collections care and conservation if they are just as happy with a good copy? If, in the future, anyone can fabricate a good facsimile of any object, what happens to the competitive advantage museums hold in being able to mount only-see-it-here exhibitions? This week, Jasper Visser, who blogs at The Museum of the Future, shares his thoughts on the repro v. real based on his recent experience opening an exhibit at the Beurs van Berlage in Amsterdam. This weekend in Amsterdam we opened an exhibition around the works of the famous Dutch painter Vincent van Gogh, Van Gogh, My Dream Exhibition.

Open Content Program (The Getty) The Getty makes available, without charge, all available digital images to which the Getty holds the rights or that are in the public domain to be used for any purpose. No permission is required. For additional information please see the related press releases, as well as overviews of each phase of the program on The Getty Iris.

Why Open Content? The Getty adopted the Open Content Program because we recognized the need to share images of works of art for free and without restriction, so that all those who create or appreciate art—scholars, artists, art lovers, and entrepreneurs—will have greater access to high-quality digital images for their studies and projects. What's in Open Content? Access to Open Content Images All of the images can be found on Getty Search Gateway, and the J. Open content images are identified with a "Download" link.

If you need new photography, resizing, or color correction, you can request these services by contacting Museum Rights & Reproductions (for J. Wipo_pub_1001. Commons:Copyright rules by subject matter. This project page in other languages: Shortcut: COM:CB This page brings together a variety of subjects and aims to answer the question "Do copyright laws allow the upload of pictures of […]? ". It is OK to upload: Generally, photos you have taken yourself of uncopyrightable subjects such as views, nature, yourself (as long as you don't use this as your private web space), people who have given their consent for you to photograph them and for you to publish the photograph.Photos taken by you or scans or photocopies made by you of objects or designs whose copyright has expired (usually 70 years after the death of the author, but see Commons:Copyright rules by territory for a country-by-country list).Mere mechanical scans or photocopies, made by somebody else, of an object or design old enough to be in the public domain (usually 70 years after the death of the author, but see Commons:Copyright rules by territory for a country-by-country list).

Advertisements[edit] Album covers[edit] See also: 1. Must You Pay to Use Photos of Public Domain Artworks? No, Says a Legal Expert | Bernard Starr. I recently completed a book that includes photos of Medieval and Renaissance artworks. Although the paintings are out of copyright and in the public domain, I was dismayed to discover that the museums that own these paintings charge hefty licensing fees to use their photos of these works. Then, lo and behold, I stumbled upon an article about a court decision that so-called "slavish" photos of public domain paintings, which are faithful reproductions of the originals, cannot be copyrighted and are therefore in the public domain as well. According to a landmark 1999 federal district court ruling, The Bridgeman Art Library, Ltd., Plaintiff v.

Corel Corporation, "exact reproductions of public domain artworks are not protected by copyright. " The situation is confusing, especially for the growing numbers of self-published authors many of whom charge low prices for their e-books and soft cover books. Sprigman: Yes. But keep in mind that there are a couple of limitations. Sprigman: That's true. Metropolitan Museum Of Art Claims Copyright Over Massive Trove Of Public Domain Works. Open Content Program (The Getty) <i><b>Metropolitan Museum Initiative Provides Free Access to 400,000 Digital Images</i></b> Metropolitan Museum Launches Expanded, Redesigned Website, Providing Unprecedented Access to Collections, Programs, Research, and Visitor Information. Museums are being mobbed - Star2.com. Rijksstudio: Make Your Own Masterpiece!

Museum 2.0: Museum Photo Policies Should Be as Open as Possible. Digital Imaging for Cultural Heritage Preservation: Analysis, Restoration ... - Google Books. The Public Domain vs. the Museum: The Limits of Copyright and Reproductions of Two-dimensional Works of Art.