Permissions, A Survival Guide: Blunt Talk about Art as Intellectual Property

Pirmais vāks
University of Chicago Press, 2010. gada 15. jūn. - 188 lappuses
If a picture is worth a thousand words, then it's a good bet that at least half of those words relate to the picture's copyright status. Art historians, artists, and anyone who wants to use the images of others will find themselves awash in byzantine legal terms, constantly evolving copyright law, varying interpretations by museums and estates, and despair over the complexity of the whole situation. Here, on a white—not a high—horse, Susan Bielstein offers her decades of experience as an editor working with illustrated books. In doing so, she unsnarls the threads of permissions that have ensnared scholars, critics, and artists for years.

Organized as a series of “takes” that range from short sidebars to extended discussions, Permissions, A Survival Guide explores intellectual property law as it pertains to visual imagery. How can you determine whether an artwork is copyrighted? How do you procure a high-quality reproduction of an image? What does “fair use” really mean? Is it ever legitimate to use the work of an artist without permission? Bielstein discusses the many uncertainties that plague writers who work with images in this highly visual age, and she does so based on her years navigating precisely these issues. As an editor who has hired a photographer to shoot an incredibly obscure work in the Italian mountains (a plan that backfired hilariously), who has tried to reason with artists' estates in languages she doesn't speak, and who has spent her time in the archival trenches, she offers a snappy and humane guide to this difficult terrain.

Filled with anecdotes, asides, and real courage, Permissions, A Survival Guide is a unique handbook that anyone working in the visual arts will find invaluable, if not indispensable.

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Susan Bielstein is the executive editor for art, architecture, classical studies, and film at the University of Chicago Press. In that capacity, she has dealt with the vexed and complex question of ... Lasīt pilnu pārskatu

Saturs

1 Permissions A Love Story
1
2 An Admission
4
3 Bleeding Dollars and Euros and Pounds and Yen
7
4 What Is Copyright?
12
5 The Copy Trade and the Public Domain
35
Museums and an Empire of Signs
51
Artists Moral Rights
57
Copyrighting Architecture
59
10 Doing and Saying Whatever It Takes in the Name of Scholarship
101
See America
143
12 A Supplicants Manifesto
153
13 What Did It Cost? A Summary of Fees for This Book
160
Sample Copyright Permission Letter
162
Sample Use Permission Letter
163
Sample Permissions Log and Summary
164
Image Banks and Artists Rights Organizations
165

Privacy Woes and the Duchess of York
63
Events and Performances
71
8 Monks in Faraway Places or Latin Lives
72
9 Fair Use
79
Further Reading
167
Index
169
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Populāri fragmenti

30. lappuse - Ownership of a copyright, or of any of the exclusive rights under a copyright, is distinct from ownership of any material object in which the work is embodied.
82. lappuse - ... (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.
31. lappuse - Transfer of ownership of any material object, including the copy or phonorecord in which the work is first fixed, does not of itself convey any rights in the copyrighted work embodied in the object; nor, in the absence of an agreement, does transfer of ownership of a copyright or of any exclusive rights under a copyright convey property rights in any material object § 203.
14. lappuse - An Act for the Encouragement of Learning, by vesting the Copies of printed Books in the Authors or Purchasers of such Copies during the Times therein mentioned...
30. lappuse - That the copyright is distinct from the property in the material object copyrighted, and the sale or conveyance, by gift or otherwise, of the material object shall not of itself constitute a transfer of the copyright...
35. lappuse - I thought how unpleasant it is to be locked out; and I thought how it is worse perhaps to be locked in...
148. lappuse - If the natural utilization of productive forces is impeded by the property system, the increase in technical devices, in speed, and in the sources of energy will press for an unnatural utilization, and this is found in war. The destructiveness of war furnishes proof that society has not been mature enough to incorporate technology as its organ, that technology has not been sufficiently developed to cope with the elemental forces of society.
37. lappuse - ... the work of art. This is a symptomatic process whose significance points beyond the realm of art. One might generalize by saying: the technique of reproduction detaches the reproduced object from the domain of tradition. By making many reproductions it substitutes a plurality of copies for a unique existence.
43. lappuse - There must in addition be some element of material alteration or embellishment which suffices to make the totality of the work an original work.
27. lappuse - None 28 years + could be renewed for 47 years, now extended by 20 years for a total renewal of 67 years. If not so renewed, now in public domain 28 years for first term; now automatic extension of 67 years for second term Life + 70 years or 12/31/2002, whichever is greater Life + 70 years or 12/31/2047, whichever is greater 1.

Par autoru (2010)

Susan M. Bielstein is executive editor for art, architecture, classical studies, and film at the University of Chicago Press and a trustee of the Graham Foundation for Advanced Studies in the Fine Arts. She has lectured widely on publishing issues and has taught graduate and postdoctoral writing workshops at numerous universities.

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