Fair Use and Appropriation Art Niels Schaumann
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ROGERS V. KOONS -A VICTORY a Different Medium
This conclusion applies, the Court said, even though the sculpture was in ROGERS V. KOONS -A VICTORY a different medium. Koons' sculpture was based upon Rogers' pre-exlstlnq copyrighted photograph - and was OVER "APPROPRIATION" OF therefore a "derivative work" under the Copyright Act. The Act specifically provides that copyright protection in IMAGES cludes the exclusive right to create and license derivative works based upon the copyrighted work. "In By Michael D. Remer, ASMP Legal Counsel copyright law:' said the Court, "the medium ls not the message, and a t is basic law that when a photographer creates an change In medium does not preclude original image, that image is protected by copyright infringementII from the moment the shutter clicks. The copyright is I (It is worth.noting that in support of this owned by the photographer (assuming that it has not conclusion, the Court cited a 1924 been given up under work for hire or an all rights assign case which held that "a piece of statuary may be infringed by a picture ment). And unauthorized use of the image infringes the of the statuary:' The KQm court ob photographer's copyright. served that it was equally true that a SCUlpture may infringe a Clear enough - but apparently not to this "colorized" version of the photographer'S copyright. But those people who feel justified in "ap Rogers photograph. When Scanlon photographers also should under propriating" a photographer's saw the newspaper photograph, he stand the lesson of the 1924case- an copyrighted image for use in their art realized that it was not Rogers' unauthorized photograph of work In another medium. -
National Gallery of Art
National Gallery of Art FOR IMMEDIATE RELEASE Deborah Ziska, Information Officer March 19, 1999 PRESS CONTACT: Patricia O'Connell, Publicist (202) 842-6353 NATIONAL GALLERY OF ART SCULPTURE GARDEN TO OPEN MAY 23 New Acquisitions in Dynamic Space Will Offer Year-Round Enjoyment on the National Mall Washington, D.C. -- On May 23, the National Gallery of Art will open a dynamic outdoor sculpture garden designed to offer year-round enjoyment to the public in one of the preeminent locations on the National Mall. The National Gallery of Art Sculpture Garden is given to the nation by The Morris and Gwendolyn Cafritz Foundation. The landscaping of the 6.1-acre space provides a distinctive setting for nearly twenty major works, including important new acquisitions of post-World War II sculpture by such internationally renowned artists as Louise Bourgeois, Mark di Suvero, Roy Lichtenstein, Claes Oldenburg and Coosje van Bruggen, and Tony Smith. The Sculpture Garden is located at Seventh Street and Constitution Avenue, N.W., in the block adjacent to the West Building. "We are proud to bring to the nation these significant works of sculpture in one of the few outdoor settings of this magnitude in the country," said Earl A. Powell III, director, National Gallery of Art. "The opening of the Sculpture Garden brings to fruition part of a master plan to revitalize the National Mall that has been in development for more than thirty years. The National Gallery is extremely grateful to the Cafritz Foundation for making this historic event possible." - more - Fourth Street at Constitution Avenue. -
The 'Transformation' of the Copyright Fair Use Test
The 'Transformation' Of The Copyright Fair Use Test Law360, New York (December 19, 2014, 10:09 AM ET) -- The purpose of United States copyright law is “[t]o promote the Progress of Science and the useful Arts.” U.S. Const., Art. I, § 8, cl. 8. This purpose is achieved not only through protection of copyrighted works, but also by allowing “some opportunity for fair use of copyrighted materials.” Campbell v. Acuff-Rose Music Inc., 510 U.S. 569, 575 (1994). Accordingly, the current Copyright Act includes a defense that insulates the “fair use of a copyrighted work” for “purposes such as criticism, comment, news reporting, teaching ... scholarship, or research.” 17 U.S.C. § 107. The act identifies four nonexclusive factors that “shall” be considered in evaluating fair use: “(1) the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes; (2) the nature of the copyrighted work; (3) the amount and substantiality of the portion used in relation to the copyrighted work as a whole; and (4) the effect of the use upon the potential market for or value of the copyrighted work.” Id. While the factors have remained largely unchanged since the adoption of the current act, the manner in which courts apply them has been evolving. In particular, some courts have placed substantial emphasis on a single consideration — whether a new work is “transformative” of an older work — in evaluating fair use. This singularity of focus, on a factor not expressly referenced in the Copyright Act, has prompted others to push back and insist upon an analysis that is arguably more faithful to the actual language of the statute. -
Student Tours
STUDENT T OUR S BOSTON NEW YORK CITY PHILADELPHIA WASHINGTON, D.C. LOCAL DESTINATIONS HISTORICAL SITES MUSEUMS & MORE! ® LOCAL DAY TRIPS CONNECTICUT CT Science Center Essex Steam Train and Riverboat Mark Twain House/Harriet Beecher Stowe House Seven Angels Theatre Mystic Aquarium Mystic Seaport Shubert Theatre - Educational Programs Wadsworth Athenium Mark Twain House, Hartford, CT MASSACHUSETTS Sturbridge Village Plimoth Patuxet Museum Salem Witch Museum NEWPORT, RI Self-guided Mansion Tours Servant Life Guided Tours Essex Steam Train, Essex, CT Fort Adams Tours NEW JERSEY Medieval Times Liberty Science Center American Dream Mystic Seaport Museum, Mystic, CT Salem Witch Museum, Salem, MA BOSTON Boston has it all for your group! Your DATTCO Tours representative will plan an exciting and interesting day, book all of the attraction visits, and provide you a detailed itinerary! Build your own tour with any of these attractions and more: Museums/Attractions Boston Tea Party Museum Be a part of the famous event that forever changed the course of American history with historical interpreters and interactive exhibits. Franklin Park Zoo John F. Kennedy Presidential Library & Museum Faneuil Hall, Boston, MA Exhibits highlight the life, leadership & legacy of President Kennedy Mapparium at Mary Baker Eddy Library Enter a 30ft glass bridge into a stained glass globe that serves as a historic snapshot of the world as it existed in 1935. Museum of Science New England Aquarium Quincy Market/Faneuil Hall Duck Boat, Charles River, Boston, MA Tours Shows Boston Duck Tours Blue Man Group Fenway Park Tours Boston Ballet Freedom Trail Tour (Guided) Boston Pops Harvard/MIT Tours Boston Symphony Orchestra Whale Watch Tours Broadway Shows in Boston DINING OPTIONS Fire & Ice • Hard Rock Café • Maggiano’s Quincy Market Meal Vouchers • Boxed lunches are also available NEW YORK CITY Experiences Customized Private Tours Broadway Shows NYC Guided Tour Many shows offer special student rates. -
“Print by Print: Series from Dürer to Lichtenstein” Exhibition at the Baltimore Museum of Art
A behind the scenes look: the making of the “Print by Print: Series from Dürer to Lichtenstein” exhibition at The Baltimore Museum of Art One of our recent projects was to make frames for The Baltimore Museum of Art’s “Print by Print: Series from Dürer to Lichtenstein” exhibition. In doing research on the exhibition I noticed the funding came because of the collaboration the museum did with the students from The Johns Hopkins University (JHU) and the Maryland Institute College of Art (MICA). Since funding has become much more of an issue in these days of reduced budgets, this caught my attention and I wanted to find out more about the collaboration. I was also interested in sharing with our readers a behind the scenes view of the making of an exhibition. On Friday November 18, 2011 I met with Rena Hoisington, BMA Curator & Department Head of the Department of Prints, Drawings, & Photographs, Alexandra Good, an art history major at JHU, and Micah Cash, BMA Conservation Technician for Paper. Karen Desnick, Metropolitan Picture Framing I was especially intrigued about the funding of this exhibition and the collaborative aspects with the students of The Johns Hopkins University and the Maryland Institute College of Art. Can you elaborate on the funding source and how the collaboration worked? Rena Hoisington, BMA I submitted a proposal for organizing an exhibition of prints in series a couple of years ago. Dr. Elizabeth Rodini, Senior Lecturer in the History of Art Department at The Johns Hopkins University and the Associate Director of the interdisciplinary, undergraduate Program for Museums in Society, then approached the Museum about working on a collaborative project that would result in an exhibition. -
Lexis Practice Advisor Intellectual Property & Technology Determining
Lexis Practice Advisor® is a comprehensive practical guidance resource for attorneys who handle transactional matters, including “how to” information, model forms and on point cases, codes and legal analysis. The Intellectual Property & Technology offering contains access to a unique collection of expertly authored content, continuously updated to help you stay up to speed on leading practice trends. The following is a practical guidance excerpt from the topic Copyright Ownership & Registration. Lexis Practice Advisor Intellectual Property & Technology Determining Copyright Ownership by Jeremy S. Goldman, Frankfurt Kurnit Klein & Selz PC Jeremy S. Goldman is counsel in the Litigation Group of Frankfurt Kurnit Klein & Selz PC, where he focuses on intellectual property, entertainment and privacy law for clients in the media, entertainment, advertising and technology spaces. Overview Copyright protection is given to authors of original and expressive works , including literary, musical, dramatic, sculptural, and certain other categories of works, which are fixed in a tangible medium. Although the author of a copyrighted work is generally also the creator of the work, there are exceptions to this, such as works made for hire and works jointly authored by more than one person. A copyright in a derivative work protects only the new and original elements added to preexisting work; the author of the derivative work has no ownership interest in the preexisting work. The ownership of a copyright may be transferred or assigned, in whole or in part. That is, each of the exclusive rights afforded a copyright owner under the Copyright Act may be owned and transferred separately. To the extent there are conflicting transfers, the prior transferee will have priority over any subsequent transferee so long as the transfer is recorded within one month of execution (for transfers made in the United States), or at any time prior to recordation of the transfer to a subsequent transferee. -
Project Windows 2018 John Singer Sargent and Chicago's Gilded
February 14, 2018 Project Windows 2018 John Singer Sargent and Chicago’s Gilded Age The Art Institute of Chicago “Art is not what you see, but what you make others see.” Edgar Degas Magritte transformed Marc Jacobs ART INSTITUTE OF CHICAGO AWARD, 2014 Magritte, The Human Condition Lichtenstein reimagined Roy Lichtenstein, Brushstroke with Spatter Macy’s BEST OVER-ALL DESIGN 2015 Vincent brought to life Vincent van Gogh, Self-Portrait AT&T PEOPLE’S CHOICE AWARDS, 2016 2017 Gauguin: Artist as Alchemist Neiman Marcus Paul Gauguin, Mahana no atua (Day of the God), 1894 ART INSTITUTE OF CHICAGO AWARD, 2017 Sargent Inspiration - Experiential Sargent Inspiration - Visual Sargent Inspiration - Tactile Benefits Part of a citywide cultural Public Voting Drives traffic and builds celebration awareness Judges Showcase your designers Awards Celebration talent Resources michiganavemag.com/Project-Windows Images + developed merchandise PR + Social Media Advertising Annelise K. Madsen, Ph.D. Gilda and Henry Buchbinder Assistant Curator of American Art John Singer Sargent (American, 1856–1925) John Singer Sargent and Chicago’s Gilded Age The Fountain, Villa Torlonia, Frascati, Italy (detail), 1907 Oil on canvas 71.4 x 56.5 cm (28 1/8 x 22 1/4 in.) July 1–September 30, 2018 | Regenstein Hall East Friends of American Art Collection, 1914.57 The Art Institute of Chicago Gilded Age Painter of International Renown John Singer Sargent (1856–1925) The Art Institute of Chicago Inspiration Sargent’s art is both old and new, traditional and avant-garde.6 John Singer -
Appreciation and Appropriation, Art and Architecture
84TH ACSA ANNUAL MEETING THEORY AND CRITICISM 1996 263 Appreciation and Appropriation, Art and Architecture ALEX T. ANDERSON University of Pennsylvania INTRODUCTION journey in this enlightened way must satisfy themselves with 'nutrition' and 'digesting,' the rationalized and limited Architecture differentiates itself from other forms of art by forms of tasting, savoring and incorporation of food. It is demanding a different sort of attention. Rapt concentration difficult for tourists to fully experience the places they visit does not reveal it. Appreciation is not enough. Architecture because they cannot live with them. demands appropriation. This becomes particularly evident when we consider the In this essay I demonstrate that art and architecture difference between tourist's experience of a building and a distinguish thernselves not in their physical constitutions, lived experience of it. "Buildings," according to Benjamin, but according to the relationships they form with those who "are appropriated in a twofold manner: by use and percep- observe them. In making a work of architecture, it is crucial tio~rrather by touch and by sight."' The tourist's expe- first to understand these relationships, and then to create a rience of a building is limited because the inevitable brevity field that is capable of sustaining them. of 'touring' precludes tactile appropriation, which, Ben- jamin asserts, "is accomplished not so much by attention as VISUAL EXPERIENCE by habit."4 The true experience of a building involves a In his well-known essay, "Art in the Age of Mechanical gradual incorporatio~notthe "introjection of an 'out- Reproduction" Walter Benjamin disparages "the attentive side"' that Calvino's sophisticated tourist experiences, but concentration of the tourist before a famous building."' He an extended temporal involvement. -
Sampling Real Life: Creative Appropriation in Public Spaces
Sampling Real Life: Creative Appropriation in Public Spaces Elsa M. Lankford Electronic Media & Film (EMF) Towson University [email protected] I. Introduction Enter an art museum or a library and you will find numerous examples of appropriation, all or most of which were most likely legal at the time. From the birth of copyright and the idea that an author, encompassed as a writer, artist, composer, or musician, is the creator of a completely original work, our legal and moral perceptions of appropriation have changed. Merriam-Webster defines appropriation in multiple ways, two of which apply to the discussion of art and appropriation. The first, “to take exclusive possession of” and the second “to take or make use of without authority or right.”1 The battle over rights and appropriation is not one that is only fought in the courtroom and gallery, it also concerns our own lives. Many aspects of our lives involve appropriation, from pagan holidays appropriated into the Christian calendar to the music we listen to, even to the words we speak or write appropriated from other countries and cultures. As artists, appropriation in many forms makes its way into works of any media. The topic of appropriation leads to a discussion of where our creative ideas come from. They, in some sense, have been appropriated as well. Whether we overhear a snippet of a conversation that ends up woven into a creative work or we take a picture of somebody, unknowingly, as they walk down a tree-shadowed street, we are appropriating life. For centuries, artists have been inspired by public life, and the stories and images of others have been appropriated into their work. -
Ethics of Appropriation Found Footage T. ELSAESSER
Keynote Recycled Cinema Symposium DOKU.ARTS 2014 The Ethics of Appropriation: Found Footage between Archive and Internet © Thomas Elsaesser, 2014 Appropriation as Spectatorship Appropriation is a varied concept, and it can carry very different meanings. For instance, applied to the engagement of the film-viewer, appropriation can be a more vivid term for spectatorship and reception studies, especially if we think of the active and interactive role we now tend to assign to the spectator—as viewer, as user, as player—given the different screen activities that are involved in the consumption and apperception of moving images. These include going to the cinema, watching television, using the monitor screens of our laptops and tablets, or acquiring the skills needed to play video games. In short, spectatorship as appropriation acknowledges the active participation of the viewer in the process of reception of films and the consumption of visual displays and spectacles. Appropriation and cinephilia However, in the more specific case of the cinema, appropriation can also signify a more intimate gesture of love and an act of devotion. Thus, cinephilia—the particularly intense manner of living the film experience, by wanting to repeat it and to prolong it—should also be seen as a form of appropriation. But cinephilia, as a way of watching films, of speaking about them, of accumulating expertise and then writing about films, is both appropriation (in the sense of holding on to, and not letting go) and its opposite: a desire to share, to diffuse this knowledge and create, through this sharing, a likeminded community. Cinephilia of the Internet age has produced its own form of active and productive appropriation, in the form of the video-essay: a genre that combines the history of compilation films, of found footage films and the essay film: all genres that try to make films reflect about their own conditions of possibility, and that enrich our experience of cinema by creating forms of para-cinema, post- cinema and meta-cinema. -
An Overview of Legal Protection for Fictional Characters: Balancing Public and Private Interests Amanda Schreyer
Cybaris® Volume 6 | Issue 1 Article 3 2015 An Overview of Legal Protection for Fictional Characters: Balancing Public and Private Interests Amanda Schreyer Follow this and additional works at: http://open.mitchellhamline.edu/cybaris Part of the Intellectual Property Law Commons Recommended Citation Schreyer, Amanda (2015) "An Overview of Legal Protection for Fictional Characters: Balancing Public and Private Interests," Cybaris®: Vol. 6: Iss. 1, Article 3. Available at: http://open.mitchellhamline.edu/cybaris/vol6/iss1/3 This Article is brought to you for free and open access by the Law Reviews and Journals at Mitchell Hamline Open Access. It has been accepted for inclusion in Cybaris® by an authorized administrator of Mitchell Hamline Open Access. For more information, please contact [email protected]. © Mitchell Hamline School of Law Schreyer: An Overview of Legal Protection for Fictional Characters: Balanci Published by Mitchell Hamline Open Access, 2015 1 Cybaris®, Vol. 6, Iss. 1 [2015], Art. 3 AN OVERVIEW OF LEGAL PROTECTION FOR FICTIONAL CHARACTERS: BALANCING PUBLIC AND PRIVATE INTERESTS † AMANDA SCHREYER I. Fictional Characters and the Law .............................................. 52! II. Legal Basis for Protecting Characters ...................................... 53! III. Copyright Protection of Characters ........................................ 57! A. Literary Characters Versus Visual Characters ............... 60! B. Component Parts of Characters Can Be Separately Copyrightable ................................................................ -
Law, Art, and the Killing Jar
Digital Commons @ Touro Law Center Scholarly Works Faculty Scholarship 1993 Law, Art, And The Killing Jar Louise Harmon Touro Law Center, [email protected] Follow this and additional works at: https://digitalcommons.tourolaw.edu/scholarlyworks Part of the Entertainment, Arts, and Sports Law Commons, and the Other Law Commons Recommended Citation 79 Iowa L. Rev. 367 (1993) This Article is brought to you for free and open access by the Faculty Scholarship at Digital Commons @ Touro Law Center. It has been accepted for inclusion in Scholarly Works by an authorized administrator of Digital Commons @ Touro Law Center. For more information, please contact [email protected]. Law, Art, and the Killing Jart Louise Harnon* Most people think of the law as serious business: the business of keeping the peace, protecting property, regulating commerce, allocating risks, and creating families.' The principal movers and shakers of the law work from dawn to dusk, although they often have agents who work at night. 2 Their business is about the outer world and how we treat each other during the day. Sometimes the law worries about our inner life when determining whether a contract was made5 or what might have prompted a murder,4 but usually the emphasis in the law is on our external conduct and how we wheel and deal with each other. The law turns away from the self; it does not engage in the business of introspection or revelation. t©1994 Louise Harmon *Professor of Law, Jacob D. Fuchsberg Law Center, Touro College. Many thanks to Christine Vincent for her excellent research assistance and to Charles B.