Category Archives: copyright

Museum of the City of New York on ARTstor


The ARTstor Blog announces the addition of over 14,000 images from the Museum of the City of New York and the Wurts Brothers Company. Nathaniel and Lionel Wurts pioneered an architectural photography studio that documented a wide range of New York buildings, from apartments to skyscrapers, their work spanning a large part of the twentieth century. View the collection by clicking here.

Image source: ARTstor

The Getty’s Open Content Program


The Getty Trust is now sharing as many of their digital resources as possible, freely and without restriction. Through their recently announced Open Content Program, restrictions to all digital images they hold the rights to or are in the public domain have been lifted. They wanted to make quality images available for all those who appreciate art. Over time additional images will be added from the Getty Research Institute and the Getty Conservation Institute.

Image Resource: The Getty Trust

Petition to Restore Copyrights to Original Duration


The White House is currently backing a petition that supports the 28-year duration for copyrights. The proposed time restriction was originally prescribed by the founding fathers to satisfy the constitutional mandate that requires copyrights to be limited.  Today, most copyrights can be held for 120 years, a practice that arguably restricts the free flow of information. Petition organizers hope that restoring the 28-year duration will support the arts and sciences by permitting greater and better access to more information. To sign the petition, click here.

Image Source: Insights

Copyright in 3D


With the  re-release of James Cameron’s movie Titanic in 3D, new issues of copyright protection and intellectual property laws have been ignited by Cameron’s use of Pablo Picasso’s famous painting Les Demoiselles d’Avignon. Though this painting originally was used in the 1997 release of the film, the Picasso family and estate argued that the painting is now a different work of art with the 3D animations. The actual canvas resides at the Museum of Modern Art, but the Picasso estate holds the copyright of the painting, stemming from intellectual property laws that allow the family of the artist to retain copyright to images up to 70 years after the artist’s death. This law, as well as the mistaken copyrights of several other artists, also caused numerous paintings to be removed from the ever-growing Google Art Project due to copyright infringement. The Artists Rights Society and the Visual Arts and Galleries Association both are working in tandem to ensure that all rights are being protected within these various burgeoning digital projects.

Image Source: Art Tech Law

Orphan Works and Mass Digitization


Last month, the Berkeley Center for Law and Technology’s Digital Library Copyright Project hosted a symposium entitled Orphan Works and Mass Digitization. The symposium addressed issues revolving around the access and utility of orphan works, and the platforms and legal parameters that support that use. Symposium materials including PowerPoints and audio are now available online.

The Digital Library Copyright Project works to develop the intellectual framework to support changes in copyright law in the wake of increased institutional digitization.

Public Art Archive


The Public Art Archive™, a new project presented by the Western States Arts Federation (WESTAF), is a searchable database of public art in the United States. The Archive makes art more accessible to the public with sophisticated searchable databases of art throughout the United States. The Archive makes public art and its processes more accessible by displaying images of each piece alongside an extensive description, including audio and video supplementary files when they are available.

Image Courtesy: Library as Incubator Project

The Lively Morgue


The New York Times has created a blog, The Lively Morgue, to publish some of its most memorable and well-known archival images. Beginning in 1896, the Times began publishing images in their magazines, and over the next century, developed a vast image archive consisting of more than five million prints and contact sheets, 300,000 stacks of negatives ranging from 35 mm to 5×7 inches and 13,500 DVDS filled with digital images. Each week, the blog will publish several photos from the archive, including the back of the image that shows the annotations and published captions of each image. The New York Times hopes to continue digitizing these images for greater accessibility to the public.

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Bankrupt Kodak Betting on Digital Printing


Burgeoning opportunities in the digital photography industry have prompted bankrupt Kodak to shift focus. The company hopes to displace older printing devices by creating faster, flexible commercial and consumer digital printers that use the company’s superior ink system.  Kodak’s inks are made of long lasting pigments, unlike the watery dye used in many other devices, allowing for a quick dry time and smaller machine sizes. These new printers also will produce faster pages on a range of different materials with digital flexibility.

Image Courtesy: Google Images

Metadata Gone Mad


In December, a consortium of advertising and telecommunications special interest groups published the Embedded Metadata Manifesto establishing five principles to promote better metadata management practices when circulating media files. In response, Madison Avenue has moved to implement measures that reduce industry errors costing millions of dollars each year while improving ad production by embedding instructions for editing and post-production processes directly into advertising content when it is created. For more, see this December 13th article in MediaPost News.

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