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February 12, 2015
FAIR USE IN THE
VISUAL ARTS
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Why fair use is important in the visual
arts
Fair use: the basics
Why a code of best practices?
What’s in the CAA code
More support
What you can do
OVERVIEW
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70% of respondents say they use
copyrighted material in doing their own work
WHY IT MATTERS: 2014 CAA ISSUES REPORT
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Fair use in the visual arts
Writing about art
Teaching
Making art
Managing museums
Organizing documentation
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FOR INSTANCE
“I found a suitable image online to illustrate my article. Do I still need a license?”
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AND
“Can I use some photos I took of an artist’s work on my online course site?”
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AND
“I’m making art from found images. Do I need to get permission to use them?”
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AND
“Can I use pictures from our exhibition in museum publications?”
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“Can we put our archival collection online?”
AND
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WHAT IS FAIR USE?
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THE PURPOSE OF COPYRIGHT
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ONE PURPOSE
TO PROMOTE THE CREATION OF CULTURE
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BY
Rewarding creators with limited monopoly
Encouraging new makers
to use existing culture
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Non-infringing, unauthorized use of copyrighted material—
under some circumstances
BIGGEST BALANCING FEATURE
FAIR USE
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“FOUR FACTORS”
1. Purpose of the use
2. Kind of work used
3. Amount used
4. Effect on the market
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Judges balance interests in fair use analysis
Supreme Court: Fair use promotes free speech
Judicial interpretation has changed a lot since 1990
GOOD NEWS…
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JUDGES ASK…
Is the use for a new “transformative purpose? (in terms of context, audience,
added insight, etc.)
Does it employ an appropriate amount to fulfill the
transformative purpose?
1
2
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Judges also consider…
Custom and practice of individual creative communities…
...especially when well-documented
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WHY DON’T WE EMPLOY FAIR USE MORE FULLY?
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Perceived Risk
Legal troubleLost relationshipsBad publicity
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WHAT’S THE BIGGEST PROBLEM?
1) Restrictive publishing contracts
2) High licensing fees
3) Difficulty of obtaining clearances4) None of the above
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SELF-CENSORSHIP
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ASSESSING RISK? CONSIDER BOTH!
Legal risk associated with pursuing mission
Mission risk associated with failing to act
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2014 CAA REPORT:
1/3 in the visual arts community have avoided or abandoned work because of copyright concerns
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COPYRIGHT HYPERCOMPLIANCE
SELF-
CENSORSHIP
WE HAVE A PROBLEM
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EFFECTIVE RISK MANAGEMENT BEGINS WITH KNOWING YOUR
RIGHTS
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BEST PRACTICES
CODES
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CODES, IN FOUR STEPS:
Research discovers most common problems
Creative community discusses terms of fair use
Consensus synthesized
Lawyers check work
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DOCUMENTARY
FILMMAKERS
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COMMUNICATION
SCHOLARS
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POETS
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LIBRARIANS
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…AND MORE!
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A guide to reasoning, not a set of rules
No arbitrary limits or metrics
Based on professional consensus
Not negotiated with copyright holders
NOT LIKE FAIR USE “GUIDELINES”!
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INFORMED RISK ASSESSMENT BETTER PRACTICE: EXAMPLES
Doc filmmakers: Fair use now gets insured
Librarians: Collections digitized
Scholars: New work published
Archivists: Digital exhibits on line
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U Colorado-Boulder: YES to digital format shifting
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DEVELOPING CAA’S CODE
Nationwide fact-finding
10 discussion sessions in 5 cities
Confidential meetings building
consensus
Input from CAA Fair Use Task Force
Review by Legal Advisory Committee
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SITUATIONS
Writing about art
Teaching about art
Making art
Museum uses
Archives online
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Principle
FOR EACH SITUATION IN THE CODE:
Limitations
Description
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ENDORSERS SO FAR
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WHAT YOU CAN DO
Use the Code
Tell a colleague
Tell a student
Tell a publisher
Find an endorser
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WHERE DO I GET MORE INFORMATION?
THE CODES AND MUCH MORE
Cmsimpact.org/fair-useCollegeart.org/fair-use
(VIDEOS! PRESENTATIONS! FAQS!)
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FAIR USE
Practice
Makes Practic
e
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Please feel free to share this presentation in its entirety.
For excerpting, kindly employthe principles of fair use.