Vra 2013 broaden your impact fullworkshop
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This document summarizes a workshop on making collection content more openly accessible while respecting copyright. The workshop covered topics like determining the copyright status of artists' works, using non-exclusive licensing agreements, tracking permissions, communicating copyright to users, and differences between 2D and 3D copyright claims. Resources on copyright research, fair use, and open licensing models were also discussed. The goal was to help institutions broaden the impact of their collections while managing copyright permissions.
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Vra 2013 broaden your impact fullworkshop
- 1. Broaden Your Impact: Making Collection Content More Openly Accessible Nancy Sims, University of Minnesota Deborah Wythe, Brooklyn Museum Anne Young, Indianapolis Museum of Art Ian McDermott, ARTstor Moderated by Anne Young, Indianapolis Museum of Art Visual Resources Association Annual Conference, Providence, RI, April 5, 2013
- 2. Workshop Topics 1. Artists 1. Copyright? 2. Public domain? 3. Orphan work? 2. Non-Exclusive Licensing Agreements 3. Tracking Permissions 1. Utilitarian Objects 2. Forms 3. Databases 4. Communicating Copyright to the Public 5. 2D vs. 3D Copyright Claims 6. CopyWRONGS 7. Questions?
- 3. Artists
- 4. Artists – under © or not? 1. Lewis Wickes Hine (1874-1940) 2. Stuart Davis (1892-1964) 3. Joseph Stella (1877-1946) 4. Edward Hopper (1882-1967) 5. Vincent Van Gogh (1853-1890) 6. Charles Eames (1907-1978) & Ray Eames (1912- 1988) 7. Emile Bernard (1868-1941) 8. Paul Cezanne (1839-1906)
- 5. Artists – under © or not? 1. Lewis Wickes Hine (1874-1940) Public Domain or © 2. Stuart Davis (1892-1964) © BUT 3. Joseph Stella (1877-1946) © BUT 4. Edward Hopper (1882-1967) © BUT if you 5. Vincent Van Gogh (1853-1890) Public Domain 6. Charles Eames (1907-1978) & Ray Eames (1912- 1988) © BUT 7. Emile Bernard (1868-1941) Public Domain BUT 8. Paul Cezanne (1839-1906) Public Domain
- 6. Artists – under © or not? 1. Lewis Wickes Hine (1874-1940) Public Domain 2. Stuart Davis (1892-1964) VAGA claims © 3. Joseph Stella (1877-1946) © BUT Orphan 4. Edward Hopper (1882-1967) © BUT if you own the work, you own the rights too 5. Vincent Van Gogh (1853-1890) Public Domain 6. Charles Eames (1907-1978) & Ray Eames (1912- 1988) © BUT utilitarian/design objects produced by manufacturers – so what rights are with whom? 7. Emile Bernard (1868-1941) Public Domain BUT ARS claims © 8. Paul Cezanne (1839-1906) Public Domain BUT
- 7. Researching Copyright Status Hirtle Chart
- 9. Researching Copyright Holders ARS is the preeminent copyright, licensing, and monitoring organization for visual artists in the United States.
- 10. Appropriation? Rights? Laura Grisi. The Game, 1990-1991. Silkscreen on forex and aluminum, 12 x 12 1/2 in. (30.5 x 31.8 cm). Brooklyn Museum, Gift of Estelle Schwartz, 1998.103. © Laura Grisi
- 12. IMA Licensing Agreement • Non-exclusive agreement sent to rights holders • Not a transfer or surrender of any rights
- 13. Informative subject line Friendly intro Object list Why we’re writing Copyright basics Invitation to ask Qs Cover letter
- 14. Object information (long lists at end) About us Grant of rights Specific rights 3rd party licensing Approved rights statement License
- 15. Affirmation by artist or authorized representative of right to sign Signature, name, date (now: mailing address)
- 16. Street View Filming Google films & IMA responsible for clearing rights Contacted each 100 Acres artist to ensure they approved of having their work in the Art Project. They all said YES! Beyond Licensing Agreement Scope – Google Art Project
- 17. Indoor View Filming Google films & IMA responsible for clearing rights Beyond Licensing Agreement Scope – Google Art Project
- 18. Finalizing Copyrighted Artist Permissions Approved Artists Kendall Buster Los Carpinteros Jeppe Hein Alfredo Jaar Teä Makipää Type A Atelier Van Lieshout Andrea Zittel Mary Miss visiondivision Alyson Shotz James Turrell Maya Lin Tara Donovan Tim Hawkinson El Anatsui Heather Rowe Orly Genger Don Gummer Fred Sandback Allison Smith Jackie Ferrara Julianne Swartz Ellsworth Kelly Mark Tansey Donald Lipski Awaiting Responses Robert Indiana Do Ho Suh Josiah McElheny William Lamson Scott Stack Roger Brown Pending Image Review Robert Irwin Sol LeWitt Beyond Licensing Agreement Scope – Google Art Project
- 20. Do I need to clear it? Copyright in Utilitarian/Design Objects and Fashion Existing Images vs. Institution Created Designer vs. Manufacturer André Courrèges, dress, late 1970s. Indianapolis, Museum of Art, Gift of Mr. and Mrs. Kenneth and Valerie Johnson, 2003.160 Charles and Ray Eames (designers); Herman Miller Furniture Company (manugacturer), Armchair and ottoman, about 1957. Indianapolis Museum of Art, Gift of Margaret, Catherine, Elizabeth and Will Miller, MH2010.19A-B
- 29. Communicating Copyright to the Public
- 30. Joe Overstreet (American, born 1934). Power Flight, 1971. Acrylic on canvas with metal grommets and white rope, . Brooklyn Museum, Gift of Mr. and Mrs. John de Menil, 72.165. © artist or artist's estate
- 31. Joe Overstreet (American, born 1934). Power Flight, 1971. Acrylic on canvas with metal grommets and white rope, . Brooklyn Museum, Gift of Mr. and Mrs. John de Menil, 72.165. © artist or artist's estate
- 33. “freemium” model – provide content free to the public, then charge for access to additional rights not in the CC license. Sylvain Zimmer, Jamendo. Creative Commons: The Power of Open http://thepowerofopen.org/
- 34. ▲ Free JPG, 1536 pixels wide -- 350Kb Value added ► TIF 5010 pixels wide -- 55Mb Sliding scale starting at $45, depending on use Eastman Johnson (American, 1824-1906). A Ride for Liberty -- The Fugitive Slaves, ca. 1862. Oil on paper board, 21 15/16 x 26 1/8 in. (55.8 x 66.4 cm). Brooklyn Museum, Gift of Gwendolyn O. L. Conkling, 40.59a-b
- 35. By asserting “no known copyright restrictions,” participating institutions are sharing the benefit of their research without providing an expressed or implied warranty to others who would like to use or reproduce the photograph.
- 36. This image was uploaded as a donation by the Brooklyn Museum, and is considered to have no known copyright restrictions by the institutions of the Brooklyn Museum. Note: While the Brooklyn Museum cannot make an absolute statement on copyright status for legal reasons, it supports and encourages the Wikimedia community in researching and applying the copyright status tag that is most appropriate for their purposes.
- 39. IMA Collection Pages ARS & VAGA represented artists – Download disabled; Copyright notice
- 41. IMA Collection Pages Download from IMA website – Images about 1600 x 983 pixels (3 x 5 in.) @ 300 dpi
- 42. IMA Image Resources Pages
- 43. 2D vs. 3D Copyright Claims
- 44. Helen K. Garber (American, born 1954). Empire State Radio Tower, 1997. Selenium-toned gelatin silver photograph, Sheet: 16 x 20 in. (40.6 x 50.8 cm). Brooklyn Museum, Gift of the Pikitch and Zwickler families in memory of Benjamin Pikitch, 2003.25. © Helen K. Garber Sparks-Withington Co.. Sparton Table Radio, ca. 1936. Glass, metal, wood, rubber, 8 3/4 x 17 1/2 x 8 3/8 in. (22.2 x 44.5 x 21.3 cm). Brooklyn Museum, Purchased with funds given by the Walter Foundation, 83.158. Creative Commons-BY
- 45. Rights Statement: Creative Commons-BY You may download and use Brooklyn Museum images of this three-dimensional work in accordance with a Creative Commons license. Fair use, as understood under the United States Copyright Act, may also apply.
- 46. Rights Statement: No known copyright restrictions This work may be in the public domain in the United States. Works created by United States and non-United States nationals published prior to 1923 are in the public domain, subject to the terms of any applicable treaty or agreement. You may download and use Brooklyn Museum images of this work. Please include caption information from this page and credit the Brooklyn Museum. If you need a high resolution file, please contact reproductions@brooklynmuseum.org (charges apply).
- 47. • Revision of fee schedule Rates determined by publication type rather than status of the requester Scholarly publications (under 5,000 copies) and personal/research requests No reproduction fee assessed Image preparation fee may apply if new photography or scan is needed IMA Increasing Access
- 48. • Income is no longer the goal • Still want to know where/when our collection is reproduced • Instead seek to disseminate images and foster scholarly endeavors • Fee reduction has resulted in increased requests and workload IMA Increasing Access
- 49. Open Access – NGA
- 50. Open Access – Yale
- 51. Open Access - LACMA
- 52. CopyWRONGS
- 53. AUTHOR Austin, Daniel Berry. TITLE Brooklyn Kings County Penitentiary [picture] / [Daniel Berry Austin]. © All Rights Reserved http://www.flickr.com/photos/brooklyncollecti on/3766031048/in/set-72157621873768916 Daniel Berry Austin (American, born 1863, active 1899-1909). Brooklyn Kings County Penitentiary, Rogers Avenue Entrance opposite Carroll Street, Brooklyn, ca. 1899- 1909. No known copyright restrictions http://www.flickr.com/photos/brooklyn_muse um/5832920461/
- 54. For more details, including order or lease information … NYC.gov/Records http://www.nyc.gov/html/records/html/ga llery/html/details.shtml?cat=street&imgn ame=bpm_1024b.jpg http://brooklynpix.com/photofram ex1.php?photo=/photo1/D/dumb o37.jpg&key=DUMBO%2037
- 55. QUESTIONS?
- 56. Broaden Your Impact: Making Collection Content More Openly Accessible Nancy Sims, University of Minnesota Deborah Wythe, Brooklyn Museum Anne Young, Indianapolis Museum of Art Ian McDermott, ARTstor Thank you Visual Resources Association Annual Conference, Providence, RI, April 5, 2013
- 57. RESOURCES Eastman Johnson (American, 1824-1906). Self-Portrait, ca. 1865- 1870. Oil on canvas, 9 3/4 x 7 13/16 in. (24.8 x 19.9 cm). Brooklyn Museum, Purchased with funds given by Mr. and Mrs. Leonard L. Milberg and the A. Augustus Healy Fund, 1994.64
- 58. Contacts Nancy Sims, Copyright Program Librarian, University of Minnesota, nasims@umn.edu Deborah Wythe, Head of Digital Collections and Services, Brooklyn Museum, deborah.wythe@brooklynmuseum.org Anne Young, Manager of Rights and Reproductions, Indianapolis Museum of Art, ayoung@imamuseum.org Ian McDermott, Collection Development Manager, ARTstor, ian.mcdermott@artstor.org
- 59. Copyright • Copyright and Cultural Institutions: Guidelines for Digitization for U.S. Libraries, Archives, and Museums. Peter B. Hirtle, Emily Hudson, Andrew T. Kenyon (2009). E-book (free download): http://ecommons.cornell.edu/bitstream/1813/14142/2/Hirtle- Copyright_final_RGB_lowres-cover1.pdf ; Print: https://www.createspace.com/3405063 • U.S. Copyright Office, Copyright Information Center http://www.copyright.gov/ • Copyright Term and the Public Domain in the United States (Hirtle) http://www.copyright.cornell.edu/resources/publicdomain.cfm • WIPO (World Intellectual Property Organization) resources, U.S. http://www.wipo.int/wipolex/en/profile.jsp?code=US • Copyright Watch (monitors international laws) http://www.copyright-watch.org/ • Copyrightlaws.com http://www.copyrightlaws.com/
- 60. Issues • Digital cultural collections in an age of reuse and remixes. K.R. Eschenfelder and M. Caswell (2010). http://bit.ly/10t7tX1 • Control of Museum Art Images: The Reach and Limits of Copyright and Licensing. Kenneth D. Crews and Melissa A. Brown (August 1, 2011). http://bit.ly/10vjI4X
- 61. Fair Use, the Public Domain, Creative Commons • Reclaiming Fair Use: How to Put Balance Back in Copyright. Patricia Aufderheide and Peter Jaszi (University of Chicago Press, 2011). http://www.centerforsocialmedia.org/reclaiming • Fair Use, Center for Social Media, American University http://www.centerforsocialmedia.org/fair-use • AAMD Policy on the Use of “thumbnail” Digital Images in Museum Online Initiatives https://aamd.org/standards-and-practices • VRA Statement on the Fair Use of Images for Teaching, Research, and Study http://www.vraweb.org/organization/pdf/VRAFairUseGuidelinesFinal.pdf • ARL Code of Best Practices in Fair Use for Academic and Research Libraries http://www.arl.org/pp/ppcopyright/codefairuse/code/index.shtml • Fair Use Network http://fairusenetwork.com/ • Center for the Study of the Public Domain http://web.law.duke.edu/cspd/ • The Public Domain: How to Find & Use Copyright-Free Writings, Music, Art & More. Stephen Fishman (2010). Print or e-book: http://www.nolo.com/products/the-public-domain-PUBL.html • Creative Commons http://creativecommons.org/
- 62. Guides • Cornell University Copyright Information Center http://www.copyright.cornell.edu/resources/ • Columbia University Copyright Advisory Office http://copyright.columbia.edu/copyright/copyright-in- general • Center for Intellectual Property, University of Maryland http://www.umuc.edu/cip/ • Teaching Copyright, A project of the Electronic Frontier Foundation http://www.teachingcopyright.org/ • IPinCH (Intellectual Property issues in Cultural Heritage) http://www.sfu.ca/ipinch • Copyright for Librarians, Berkman Center for Internet and Society http://cyber.law.harvard.edu/publications/2013/copyright_for_librarians • ARROW (Accessible Registries of Rights Information and Orphan Works) towards Europeana http://www.arrow-net.eu/ • Brooklyn Museum copyright project http://www.brooklynmuseum.org/community/blogosphere/bloggers/tag/ copyright
- 63. Professional Organizations • RARIN (Rights and Reproductions Information Network) http://www.rarin.org/index.php?title=Main_Page • AAM Registrar’s Committee listserv http://www.rcaam.org/Listserv • VRA Intellectual Property Rights News http://vraiprnews.wordpress.com/ and Resources http://www.vraweb.org/resources/ipr/copyright.html • MUSIP: Museum IP Yahoo group http://groups.yahoo.com/group/musip/ • College Art Association: IP resources http://www.collegeart.org/ip/ • ALA Copyright Advisory Network http://librarycopyright.net/ Digital Copyright Slider: http://librarycopyright.net/resources/digitalslider/ Fair Use Evaluator: http://librarycopyright.net/resources/fairuse/ Section 108 Spinner: http://librarycopyright.net/resources/spinner/ • CHIN (Canadian Heritage Information Network) http://bit.ly/10uoAHI A Museum Guide to Digital Rights Management http://bit.ly/10uoFej Developing Intellectual Property Policies http://bit.ly/XUV8ZV • AIPLA, American Intellectual Property Law Association http://www.aipla.org/Pages/default.aspx • LIBLICENSE Project http://liblicense.crl.edu/
- 64. Copyright Clearance, Licensing, and Image Acquisition Was it registered? • The Catalog of Copyright Entries, 1923-1978 http://onlinebooks.library.upenn.edu/cce/ • Online registration and renewal information, 1978 to present http://www.copyright.gov/records/ Find contact information • The WATCH File (Writers, Artists and Their Copyright Holders, University of Texas, Austin) http://tyler.hrc.utexas.edu/index.cfm • Library of Congress, Prints and Photographs Rights and Restrictions http://www.loc.gov/rr/print/res/rights.html
- 65. Does a licensing organization control rights? • ARS -- Artists Rights Society http://www.arsny.com/ • VAGA – Visual Artists and Galleries Association, Inc. http://www.vagarights.com/ • DACS – Design and Artists Copyright Society http://www.dacs.org.uk/ • BACS – The Bridgeman Artists’ Copyright Service http://www.bridgemanart.com/about-bridgeman/information-for-artists- and-galleries • CARCC – Canadian Artists Representation Copyright Collective http://www.carcc.ca/main-E.html Researching artists • MUSIP: Museum IP Yahoo group http://groups.yahoo.com/group/musip/ • Social Security Death Index http://ssdi.rootsweb.ancestry.com/ • CAA Obituaries http://www.collegeart.org/news/category/obituaries/ • International Foundation for Art Research: catalogues raisonnés http://www.ifar.org/cat_rais.php • Catalogue Raisonne Association http://www.catalogueraisonne.org
- 66. Image and Licensing Sources • ARTstor Images for Academic Publishing http://bit.ly/10uzLjq • DPLA – Digital Public Library of America http://dp.la/ • Bridgeman Art Library http://www.bridgemanart.com/ • Bridgeman Education http://www.bridgemaneducation.com/ • The Public Domain Review http://publicdomainreview.org/ • Art Resource http://www.artres.com • Getty Images http://www.gettyimages.com/ • Corbis Images http://www.corbisimages.com/ • Wikimedia Commons http://commons.wikimedia.org/wiki/Main_Page • CCC (Copyright Clearance Center) http://www.copyright.com/
Notes de l'éditeur
- Probably the hardest part of sending out licensing agreements is doing the research to identify the current copyright holders. A variety of resources exist that aid researchers, including: the RCAAM and Museum IP listservs - review past posts about copyright holders or post a new query to the group the WATCH file – “A database of copyright contacts for writers, artists, and prominent figures in other creative fields” one of my first stops when I start researching copyright holders and don’t forget to simply utilize Google to search for individual artist web sites and/or gallery representations
- And, always be sure to check to see if the artist and/or the estate you are researching is represented by VAGA and ARS. You won’t have a licensing agreement to send to one of these organizations, but you will at least know who to contact for any future clearances.
- To further inform the balance of motives and access it is vital for museums to determine when they are comfortable asserting fair use verses when they need to clear permissions for their internal purposes. To help museums with these determinations, non-exclusive licensing agreements sent to rights holders are an invaluable tool that informs museums about how and where they can use images of works that are under copyright in their collections. It is important to point out that this is NOT a transfer or surrender of any rights. Rather it is document that grants certain permissions. Additionally, in the age of constantly evolving technologies and media formats, an agreement that is equally specific and broad is vital – such as the 5th point seen here where permission is sought for: “…any and all media, whether now known or unknown, throughout the Universe.”
- Restrictions: No loans to the permanent collection; No works with lender/donor restrictions; No copyrighted works, UNLESS, IMA owns the copyright or clears the permissions to include the artist’s work(s); No temporary exhibitions or rotations, UNLESS, a collection would not be otherwise represented (i.e. Textile and Fashion Arts).
- One of our most popular images can be downloaded for free. There are no copyright restrictions – it’s in the public domain. The public domain means that the image or work can be used for any purposes you are not required to provide a copy at all, but if you do, anyone can use it: you can’t specify how you are not required to provide a high resolution image on request
- So we offer it for easy download at a size we’re comfortable giving away. But we charge for the time and effort of scanning/photographing/preserving when people need a high resolution image. This allows us to support increasing and improving our digital collections.
- And also applied to specific images to which we hold copyright. (Discuss 2D - 3D distinction)
- This past summer we updated our fee schedule to reflect our move to support scholarly publications. If a publication-quality image file is already available of an artwork for an external request there are no fees assessed at all for research, teaching, or scholarly publications under 5,000 copies. The only situation that might result in a fee being assessed for one of these types of requests is if a new scan or photography is required, which is a nominal charge of $50 per work.
- By reducing fees, the IMA is seeking to disseminate images and foster scholarly endeavors. To this end we are researching various types of open access models that will work with our overall goals and mission. Importantly, we still want to know where and when our collection is being reproduced – not for control of the images or to charge fees, but to attempt to retain as complete a bibliography of where pieces in our collection are reproduced as is possible. Now, as irony would have it – the fee reduction has actually let to more requests and more revenue as having to only pay for new photography is much less than have to pay for both new photography and reproduction fees. And, now more of our collection is having publication-quality images created and more is being reproduced.
- the public domain means that the image or work can be used for any purposes Don’t put “All rights reserved” on a public domain image!
- Ownership of a physical or digital object does not equal ownership of copyright It’s not all right to “copyright” images that you acquired from another source.