#RightsReproHndbk

John ffrenchYale University Art Gallery

Deborah WytheBrooklyn Museum

Anne M. YoungIndianapolis Museum of Art

Visual Resources Association Annual Conference

Denver, COMarch 11-14, 2015

Co-Published by:

“The IMA is dedicated to continued service to the museum field, and this publication is an important step for all of us that deal with the complicated world of image rights on a daily basis.”

Dr. Charles L. Venable The Melvin & Bren Simon Director and CEOIndianapolis Museum of Art

“The American Alliance of Museums is proud to partner with the Indianapolis Museum of Art in co-publishing this authoritative new book about rights and reproductions in museums, libraries, archives, and other cultural institutions in the U.S. and around the world.”

Ford W. Bell, President American Alliance of Museums

Rights & Reproductions: The Handbook for Cultural Institutions is made possible by a grant from the U.S. Institute of Museum and Library Services. The project utilizes the OSCI Toolkit,

which is supported by the Getty Foundation as a part of its Online Scholarly Catalogue Initiative.

Where We Have Come From…

• The RARIN Wiki2004: physical handbook proposed;

2006: abandoned in favor of a Wiki format;

2008: Wiki launched;

2012: entire site locked from editing;

2012: idea born to produce a new digital publication.

• The definitive rights and reproductions resource:– Guidelines;– Established standards;– Emerging best practices.

• Intended audience:– Cultural institution professionals who oversee:

• Rights clearances;• Permissions;• Intellectual property matters.

…And Where We Are Going

Why Digital? Why OSCI?

Link to primary source materials:External articles, position papers, and copyright/artist representative sites no longer simply footnoted.

• Advantageous

• Living Document

• Templates

• Link to primary source materials

• First reference publication in OSCI

• Megan P. Bryant, The Sixth Floor Museum at Dealey Plaza

• Cherie C. Chen, The J. Paul Getty Museum

• Kenneth D. Crews, Gipson Hoffman & Pancione

• John ffrench, Yale University Art Gallery

• Walter G. Lehmann, Lehmann PLC

• Naomi Leibowitz, The Solomon R. Guggenheim Museum

• Melissa Levine, University of Michigan Library

• Sofia Galarza Liu, Spencer Art Museum, University of Kansas

• Michelle Gallagher Roberts, New Mexico Museum of Art

• Nancy Sims, University of Minnesota Libraries

• Deborah Wythe, Brooklyn Museum

• Anne M. Young, Indianapolis Museum of Art

Contributors

• Jeffrey P. Cunard, Debevoise & Plimpton LLP

• Kenan Farrell, KLF Legal Intellectual Property and Business Law Office

• Janet Benson Ford, United States Holocaust Memorial Museum

• Fred Goldstein, Los Angeles County Museum of Art

• Cara Hirsch, Artstor

• Troy B. Klyber, The Art Institute of Chicago

• Lynda Knowles, Denver Museum of Nature & Science

• Pamela Kohanchi, Los Angeles County Museum of Art;

• Robert S. Meitus, Meitus Gelbert Rose LLP

• Megan M. Mulford, Bose McKinney & Evans LLP

• Virginia Rutledge, PIPE Arts Group

• Bridget Smith, The New York Public Library

• Gretchen Wagner, Save the Children

• Maureen Whalen, The J. Paul Getty Trust

Legal Review Panel

OSCI Entry – Adding Content

OSCI Entry - Publication

OSCI Entry - Section

OSCI Entry - Section

Free Online PreviewAvailable Now

• ePub exported from the OSCI Toolkit

• Available for purchase and download through the AAM Bookstore

Full Publication Coming Summer 2015

rightsrepro.imamuseum.org

Handbook Topics AddressedINTRODUCTION Law vs. EthicsLegal vs. Cultural Institution ThinkingRisk

INTELLECTUAL PROPERTYTypes of Intellectual Property (U.S.)Personal, Moral, and Third Party RightsInternational Intellectual Property Rights Infringement

INSTITUTIONAL INTELLECTUAL PROPERTY POLICIES Intellectual Property Audits Open Access Policies

RIGHTS ISSUES FOR THE COLLECTION Determining Copyright Status Identifying/Finding Copyright Holders Non-Exclusive Licensing Agreements

INSTITUTIONAL USES Publications Educational Materials Institutional Websites Traditional Marketing and Promotion Social Media Retail and Commercial Products Fair Use and Attribution Clearing Permissions and Sourcing Materials

LEVERAGING CONTENT: DISTRIBUTION PARTNERSExpanding Audiences and Potential Revenue Generation Fair Use Risk and Liability

INTELLECTUAL PROPERTY AND THE PUBLIC Licensing Collection Images (External Uses) Photography Policies Communicating Copyright to the Public

APPENDICESCourt Cases Document and Contract Templates Terms and Definitions References and Resources

Leveraging Content with Distribution Partners

INCOME GENERATINGArt ResourceScalaBridgeman ImagesDNP Communications

NON-INCOME GENERATING

Artstor

Artsy

ArtBabbleGoogle Cultural Institute Art Project, Street View, Gigapixel

While cultural institution websites often serve as the primary mechanism for delivering information and images about collections objects and related content, there are times that it is advantageous to partner with external organizations to increase community outreach and to enable a great number of users to discover the available content.

Some example organizations:

• Will the distribution partner enable the cultural institution to further its mission, directly or indirectly, by providing additional resources back to the cultural institution?

• The partnership should not be contrary to the ethics policy of the cultural institution.

• The partnership should not compromise the reputation of the cultural institution, and in appropriate cases, should in fact enhance it.

• The partnership should produce sufficient benefit for the cultural institution within its strategic objectives, and it should not be a detriment to the wider public interest for/of the collection.

• The benefits of any working agreement must outweigh any risk of disadvantage for the cultural institution through an association with the third party.

• Will the relationship be exclusive or non-exclusive (preferred)?

Key Considerations

Opening access to works in the public domain at Yale University (began in summer 2011)

Open Access• If a cultural institution decides to go the OA route for image distribution,

the question should be asked of whether it will still receive fees from these organizations and continue the working relationship.

• An institution may find itself in the position of giving something away for free while a third party is charging a licensing fee and sending the institution a check for its percentage of the sales.

• Institutions that work with third party distribution partners and also operate under an OA policy should consider whether they wish to maintain their relationships, or if there is the potential of a mixed message that may be perceived by the public.

• There is no right or wrong answer and each institution should study its own situation.

Leveraging Content with Distribution Partners Wikipedia & Wikimedia Commons

http://en.wikipedia.org/wiki/Wikimedia_Commons

http://en.wikipedia.org/wiki/Wikipedia:GLAM

Eastman Johnson (American, 1824-1906). A Ride for Liberty -- The Fugitive Slaves (recto), ca. 1862. Oil on paperboard, 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

Institutional WebsitesWeb features

Exhibitions

Blogs

Collections pages

Price Point• $4.99 for non-AAM members*

• $1.99 for AAM members***Includes Tier 1 members**Tier 2 and Tier 3 members

$1 Off• Use the discount code on

the bookmark to receive $1 off your purchase!

Thank you!

#RightsReproHndbk

John ffrenchYale University Art Gallery

Deborah WytheBrooklyn Museum

Anne M. YoungIndianapolis Museum of Art