The Visual Resources Association gratefully acknowledges support for Session 14 from:

Broaden Your Impact:Making Collection ContentMore Openly Accessible

Nancy Sims, University of MinnesotaDeborah Wythe, Brooklyn MuseumAnne Young, Indianapolis Museum of ArtIan McDermott, ARTstor

Moderated by Anne Young, Indianapolis Museum of Art

Visual Resources Association Annual Conference, Providence, RI, April 5, 2013

Copyright BasicsNancy SimsCopyright Program LibrarianUniversity of Minnesota

Drawing by Erik J. HeelsCC-BY-NC-SA

Copyright beginswith originalexpression

Currently, automatic.

Registration is no longer required.

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Copyright beginswith originalexpression

Accurate 2D reproductionsdon’t get a new copyright

…and sometimes not even 3D ones. (Meshwerks v. Toyota)

Copyright ENDS

Rule of thumb: Published in US before 1923 = Public Domain

Engraving published in 1855 ed of “Leaves of Grass”by S. Hollyer, after daguerrotype by G. Harrison

Copyright ENDS

If never published, works from authors who died prior to 1943 – or for unidentifiable authors, works created before 1893.

Michelangelo’s ‘Cleopatra’

Copyright ENDS

Post-1923 works , if

never registered not renewed published w/out ©, etc.

Grant Wood’s “American Gothic”, 1930

Sometimes, copyright never exists

Two little girls in a park near Union Station, Washington, D.C. (LOC)Farm Security Administration - Office of War Information Collection 12002-68 (DLC) 93845501 ~1943

Assuming there is a copyright…

…what does it mean to “clear rights”?

Rights to do/authorize others to: 17 USC §106

– Reproduce (make copies)

– Distribute (sell, rent, lend copies)

– Perform or display publicly– Prepare derivative works

(translations, adaptations)Optic c BY-SA Germán Meyer

Copyright owners have…

Creators (+/- employers) Heirs, executors, other named partiesPublishers/DistributorsOther subsequent acquirers of rights

Copyright owners are…

Copyright owners also have…AgentsLicensing organizationsLicensees with right to sublicense

Reproducing copiesDistributing copies

Performing or displaying publiclyPreparing derivative works

Creators (+/- employers) Heirs, executors, other named parties

Publishers/DistributorsOther subsequent acquirers of rights

AgentsLicensing organizations

Licensees with right to sublicense

If you are doingany of these

You have talked to the necessary ones

of these

Is talking to those folks always necessary?

WOW that’s a lot of work.

MAYBE NOT

Reproducing copiesDistributing copies

Performing or displaying publiclyPreparing derivative works

Or you tried to talk to the necessary

ones of these

Creators (+/- employers) Heirs, executors, other named parties

Publishers/DistributorsOther subsequent acquirers of rights

AgentsLicensing organizations

Licensees with right to sublicense

But they are not answering

unidentifiabledenying permission

Under the Sea Jell-O Mold c by Carol at puresugar.net

“… the fair use of a copyrighted work, including such use by reproduction in copies or phonorecords or by any other means specified by that section, for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research, is not an infringement of copyright.”

17 USC §107

Purpose (of your use)Nature of the original workAmount and substantiality of the portion usedEffect of the use on the potential market for the original work

Fair Use Factors

Doing something new (and valued)

Using no more than is necessary to achieve that valued use

Transformative Use

What Libraries & Universities Are Doing to Make Collection Content More Accessible

Nancy SimsCopyright Program LibrarianUniversity of Minnesota

Public Domain Review

Systematic and Patron-driven

Authors Guild v. Hathi Trust

• Precipitated by orphan works project• Ended up being about scanning/OCR…

– …for searchability– …for preservation– …as a precursor to computational analysis– …for accessibility

• Judge said: ALL are/can be fair use

Authors Guild v. Hathi Trust

“I cannot imagine a definition of fair use that would not encompass the transformative uses made by Defendants.”

Open Access Advocacy

Working for public access to the published resultsof academic research

OSTP PolicyFASTR

Some stuff we’re doing at the U of MN Libraries

The “No Rights” letterThank you for contacting us about use of materials from our collections The University of Minnesota does not hold copyrights in most of the materials in our collections, including these. As such, we cannot give you “permission” or “approve” your use; permission is not ours to give. Some of the materials in our collection are in the public domain, but we cannot and do not certify that. For works that are not in the public domain, some uses may be allowed as fair uses, or under other copyright exceptions. However, it is your responsibility to assure that your use of the materials is permitted under applicable law. The University cannot and will not bear any responsibility or liability for your use of the materials. When materials from our collections are used, we always appreciate receiving credit as the holding institution.

The “Fair Use” letterHi, X!

We believe using screenshots from a web resource or piece of software in order to talk about that resource/software is often fair use, so we don't provide permissions for that kind of use. We always appreciate being credited as the source of such images, and appreciate being notified about your intended use.

Thanks,-Nancy Sims-Copyright Program LibrarianUniversity of Minnesota Libraries

Deed of Gift Options

Deed of Gift Options

Trying to communicate better

Principles from a strategic document in development:

• Communicate ownership and rights status transparently, both internally and externally, to the best of our ability with available information.

• Commit resources to investigation of rights status, in order to surface more materials in the public domain available to all.

• Make all digitized materials available as unrestrictedly as possible.

• Communicate clearly about both usage rights and usage limitations.

Trying to communicate better

But, like everyone, we do still have a ways to go, and some ‘legacy’ problems to overcome.

PUTTING THEORY INTO PRACTICE -- THE BROOKLYN MUSEUM COPYRIGHT PROJECT

Deborah WytheHead of Digital Collections and Services

@dwythe

THE PROBLEM

• 1000s of works of art• 1000s of artists• Steep learning curve • Legal implications

George Copeland Ault (American, 1891-1948). Miss Whiting, 1923. Oil on canvas, sight: 23 1/2 x 17 1/2 in. (59.7 x 44.5 cm). Brooklyn Museum, Gift of Manhattan Art Investments, LP, 2007.29

WHY?• Mission • Impossible to ignore• Respect for artists• Streamline an arduous process• Get ahead of the curve

First Saturday (2/24/2012) Jonathan Dorado photo

WHO?

• Practitioner• Institutional

counsel• Technology• Collections

Management

Esther Bubley (American, 1921-1998). New York Harbor, Painters at Work on the Brooklyn Bridge, November, 1946, 1946. Chlorobromide photograph. Brooklyn Museum, Gift of Standard Oil Company, New Jersey, 54.201.4. Standard Oil (New Jersey) Collection, Photographic Archives, University of Louisville

>> IN

Any works that could be protected by ©(no item-level legal analysis)

WHAT?

Utagawa Hiroshige (Ando) (Japanese, 1797-1858). Towboats Along the Yotsugi-dori Canal, No. 33 in One Hundred Famous Views of Edo, 2nd month of 1857. Woodblock print. Brooklyn Museum, Gift of Anna Ferris, 30.1478.33

• Created before 1923• Handled by a licensing agency• Useful objects• Government works• Anonymous

makers

WHAT? << OUT

Arthur Wesley Dow (American, 1857-1922). The Long Road--Argilla Road, Ipswich, ca. 1898. Colored inks on laid paper. Brooklyn Museum, Alfred T. White Fund, 1999.115

Winslow Homer (American, 1836-1910). In the Mountains, 1877. Oil on canvas, 23 7/8 x 38 1/8 in. (60.6 x 96.9 cm). Brooklyn Museum, Dick S. Ramsay Fund, 32.1648

~ 24,800 works ~ 5000 artists

HOW MANY?

• Self education• Communication

with counsel• Staff awareness

HOW? 1 -- Education

N. Jay Jaffee (American, 1921-1999). Girl Learning to Skate (Livonia Avenue, East New York), from the series An Era Past: Photographs of Brownsville and East New York, Brooklyn, 1950; printed 1995. Selenium-toned gelatin silver. Brooklyn Museum, Gift of Paula W. Hackeling, 1997.164.20. © The N. Jay Jaffee Trust

• Partner with collections management• Partner with technology/web

HOW?2 -- partnerships

Gerhard Marcks (German, 1889-1981). The Goatherd (Der Ziegenhirt), 1922. Woodcut on laid paper, Image: 8 x 12 in. (20.3 x 30.5 cm). Brooklyn Museum, Gift of J. B. Neumann, 37.424

• Define workflow• Develop internship

program

HOW?3 – project management

Eight-Pointed Star Tile with a Gazelle, 13th - 14th centuries. Ceramic; fritware, painted in luster and blue over an opaque white glaze, 8 1/4 x 3/8 x 8 1/4 in. (21 x 1 x 21 cm). Brooklyn Museum, Gift of the Ernest Erickson Foundation, Inc., 86.227.71. Creative Commons-BY

(lather, rinse and repeat)HOW? -- 4, 5, 6 …..

Nathan Lerner (American, 1914-1997). Store Window, 1943, printed later. Gelatin silver. Brooklyn Museum, Gift of Kiyoko Lerner, 2011.25.33. ©Nathan Lerner

2008 - 2012~7500 works cleared (28%)~800 artists (17.5%)

1100 licenses sent4400 actions tracked research, contacts, licenses sent/received

WHEN ( . . . will we be done)?

Arthur Mones (American, 1919-1998). Milton Resnick, 1979. Gelatin silver photograph. Brooklyn Museum, Gift of Wayne and Stephanie Mones at the request of their father, Arthur Mones., 2000.89.60. © Estate of Arthur Mones

• Artist interactions• Community • Database-driven

website• Transparency• Workflow

OUTCOMES

Zarh H. Pritchard. Bream in 25 Feet of Water Off the West Coast of Scotland, 1910. Pastel, Image: 23 5/16 x 16 9/16 in. (59.2 x 42 cm). Brooklyn Museum, Anonymous gift, 30.1147

The Brooklyn Museum copyright project

http://www.brooklynmuseum.org/community/blogosphere/bloggers/tag/copyright

Working Guidelines for the Copyright ProjectLittle Images, Big ArtCopyright is ComplicatedDoing the Right Thing

Deborah WytheHead of Digital Collections and Servicesdeborah.wythe@brooklynmuseum.orgor copyright@brooklynmuseum.org

Anne YoungManager of Rights and ReproductionsIndianapolis Museum of Art

What’s the Use?

When to Utilize Fair Use• Scholarship, research & education• Commentary, criticism & reporting• Non-commercial

1. Purpose and character of use2. Original nature of the copyrighted work3. Amount and substantiality of work used4. Effect of the use upon the work

Determining Fair Use

Fair Use Statements• Association of Art Museum Directors:

– Guidelines on Fair Use of Thumbnail Digital Images (2011)

• Visual Resources Association: – Statement on the Fair Use of Images for Teaching,

Research, and Study (2012)

• Association of Research Libraries:– Code of Best Practices in Fair Use for Academic and

Research Libraries (2012)

• Web?– Institution’s Site– Social Media– External Partners

• Exhibition?– PR & Marketing– Labels & Didactics

• Publication?– Print – Digital

So, what is the use?

Edward Hopper (American, 1882-1967), Hotel Lobby, 1943, Indianapolis Museum of Art, William Ray Adams Memorial Collection, 47.4© Edward Hopper

Museum Website – Collection Pages

Copyright Notice

Link to the Rights &Reproductions section

of the IMA web site

Social Media• Do you consider it fair use?

• Yes, if you consider:– Social media as satellite “branded” institution sites– Images are relatively low resolution– Inclusion of caption and credit information, including

copyright notices where applicable

• Use to Promote:– Collections & Exhibitions– Programming & Events

Social Media

@IMAMuseum Clockwise from upper left: • Do Ho Suh, Floor, 1997-2000, Ann M. Stack Fund

for Contemporary Art, 2004.152;• Spencer Finch: Following Nature installation in

the Efroymson Family Entrance Pavilion, 2013;• visiondivision, Chop Stick, 2012 in The Virginia B.

Fairbanks Art & Nature Park: 100 Acres.

Credit lines and copyright notices

Social Media

Several options available, which means…

• Who do you share images with?

and…

• How much do you provide them with?

External Partners

Images Uses:• Research• Personal• Editorial• Commercial

Revenue

External Partners – Bridgeman

Copyright & Permissions Notices

External Partners - ArtBabbleArt-Bab-ble[ahrt-bab-uhl]

noun; verb (used without object) -bled, -bling

1. free flowing conversation, about art, for anyone.

2. a place where everyone is invited to join an open, ongoing discussion - no art degree required.

Intended to showcase art video content in high quality format from a variety of sources and perspectives.

Collection Launch – April 2012IMA images of public domain works

External Partners – Google Art Project

Indoor View & Street View Filming Google films & IMA responsible for clearing rights

External Partners – Google Art Project

Restrictions:No loans to the permanent collection;

No works with lender/donor restrictions;

No copyrighted works, UNLESS, IMA owns the copyright or clears the permissions to include the artist’s work(s);

No temporary exhibitions or rotations, UNLESS, a collection would not be otherwise represented (i.e. Textile and Fashion Arts).

Selecting the Gigapixel Works:– Submitted with collection images– Part of the Indoor View filming– Two dimensional work– Can be shot vertically– Public Domain

External Partners – Google Art Project

Aelbert Cuyp, The Valkhof at Nijegen, about 1652-1654. Indianapolis Museum of Art, Gift in commemoration of the 60th anniversary of the Art Association of Indianapolis in memory of Daniel W. and Elizabeth C. Marmon, 43.107.

Georges Seurat, The Channel of the Gravelines, Petit Fort Philippe, 1890.Indianapolis Museum of Art, Gift of Mrs. James W. Fesler in memory ofDaniel W. and Elizabeth C. Marmon, 45.195.

Vincent van Gogh, Landscape at Saint-Remy (Enclosed Field with Peasant, 1889.Indianapolis Museum of Art,Gift of Mrs. James W. Fesler In Memory of Daniel W. and Elizabeth C. Marmon, 44.74.

External Partners - ArtsyPublic Launch – October 2012

IMA images of public domain works

Images available for:• Teaching• Study• Research• Scholarly publications

Furthering Open Access

External Partners – ARTstor, including Images for Academic

Publishing & soon the DPLA

Multiple reviewers:• Organizing institution(s)• Artist(s) and/or studio(s)• Rights holder(s)/representative(s)

Exhibitions – PR & Marketing

Inclusion of image caption/copyright credit AND exhibition organization credit line.

Press/Media: • Generally free.

Marketing:• Often restrictions

on uses permitted.• Fees usually apply

based on print run and distribution.

Exhibitions – Labels & Didactics• Comparative/supplemental use• Licensing for short-term installations (wall labels)• Licensing for permanent gallery spaces (didactics)• Inclusion of caption/credit information

• Licensing images & copyright clearances• Reproduction size relative to page• Color vs. black and white• Distribution• Language• Print run

Print Publications

• Similar to print, BUT• Term lengths• Image & video

resolution• Protection from

download• Format & distribution• Multiple platforms

Digital Publications

Digital Publications – iBooks AuthorVast amount of media content• Images of:

• Completed Works• Process & Installation• Exhibition Walkthrough

• Videos of:• Process & Installation• Artist Videos Licensed

Be prepared to pay just as much on licensing for a digital publication as you would a print publication!

Digital PublicationsOnline Scholarly Catalogue Initiative

Digital PublicationsOnline Scholarly Catalogue Initiative

• Choose the sites and tools that work for your institution:– Consider any IP issues prior to establishing new

accounts or partnerships.

• Better safe than sorry:– Best to over credit than to not include any

notice of copyright.

Final Thoughts

No One Size Fits All:Access at ARTstorIan McDermottCollection Development ManagerARTstor

ARTstor BackgroundLegal ReviewImages for Academic PublishingShared Shelf CommonsDigital Public Library of AmericaOpen ARTstor

Williams and Williams, 1958-1972Job 3466: Santa Fe Federal Savings (Palm Springs, Calif.), 1960

Photographer: Julius ShulmanJulius Shulman Photography Archive, 1936-1997,

Getty Research Institute, Accession no. 2004.R.10

Metropolitan Museum of Art Magnum Photos

L: Frans Hals, Dutch, born after 1580, died 1666, Claes Duyst van Voorhout (born about 1600), early 1630s, The Metropolitan Museum of ArtR: Eve Arnold, USA, NYC, Black is Beautiful, 1968, Magnum Photos

Eve Arnold USA, NYC, Black is Beautiful, 1968 Magnum Photos

William M. Vander Weyde (American, 1871-1929), Francis Wellman, Lawyer, ca. 1900, negative, gelatin on glass, George Eastman House

Item level analysis of copyrightUnderlying Rights Photographic Rights

Bildkunst of Germany Beeldrecht of the Netherlands BONO of Norway BUS of Sweden Copydan of Denmark DACS of the United KingdomProlitteris of Switzerland SIAE of Italy

VEGAP of Spain SABAM of Belgium. VBK of Austria VISCOPY of Australia SODRAC of Canada KUVASTO of Finland AUTVIS or Brazil SOMAAP of Mexico

Working with International Artists’ Rights GroupsOver 40,000 artists available worldwideArtists Rights Society and Visual Artists and Galleries Association andInternational Sister Societies

Images for Academic Publishing (IAP)

Live• The Metropolitan Museum of Art• Mellink Archive, Bryn Mawr• Metropolitan Museum of Art: Brooklyn Costume

Collection• Dallas Museum of Art• Getty Research Institute• Indianapolis Museum of Art• Northwestern University Library: Ramon Casas • Yale University Art Gallery

Forthcoming• Princeton University Museum of Art• University of California, Irvine: Frank Cancian• Yale Center for British Art

Charles James, American, born England, 1906-1978, (Designer), American, Robe (dressing gown), Costume-Main Garment-Women, Night and Dressing Wear, 1945, Brooklyn Museum

Costume Collection at the Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Gift of Arturo and Paul Peralta-Ramos; Photographed by Lolly Koon

Change, Poster created on the occasion of the 2008 January 20 Inauguration of Barack Obama, 44th President of the United States of

America, Division of Rare and Manuscript Collections, Cornell University Library

Shared Shelf Commons Contributors• Cornell University• Colby College• University of Delaware• Harvard University• Pratt Institute

Greetings from Dover Del., 1930-1945, Special Collections, University of Delaware Library / Newark, Delaware 19717-5267

Thank you!Ian McDermott, ian.mcdermott@artstor.org Collection Development Manager, ARTstor

• ARTstor, www.artstor.org• Images for Academic Publishing,

www.artstor.org/iap • Shared Shelf Commons,

www.sscommons.org • Read about ARTstor & the

Digital Public Library of America on the ARTstor Blog, www.artstor.org.blog and at www.dp.la

Yupik Eskimo | Mask: The Bad Spirit of the Mountain | late 19th century | Dallas Museum of Art

Broaden Your Impact:Making Collection ContentMore Openly Accessible

Nancy Sims, University of MinnesotaDeborah Wythe, Brooklyn MuseumAnne Young, Indianapolis Museum of ArtIan McDermott, ARTstor

Thank you

Visual Resources Association Annual Conference, Providence, RI, April 5, 2013

RESOURCES

Eastman Johnson (American, 1824-1906). Self-Portrait, ca. 1865-1870. Oil on canvas, 9 3/4 x 7 13/16 in. (24.8 x 19.9 cm). Brooklyn Museum, Purchased with funds given by Mr. and Mrs. Leonard L. Milberg and the A. Augustus Healy Fund, 1994.64

Contacts

Nancy Sims, Copyright Program Librarian, University of Minnesota, nasims@umn.edu

Deborah Wythe, Head of Digital Collections and Services, Brooklyn Museum, deborah.wythe@brooklynmuseum.org

Anne Young, Manager of Rights and Reproductions, Indianapolis Museum of Art, ayoung@imamuseum.org

Ian McDermott, Collection Development Manager, ARTstor, ian.mcdermott@artstor.org

Copyright

• Copyright and Cultural Institutions: Guidelines for Digitization for U.S. Libraries, Archives, and Museums. Peter B. Hirtle, Emily Hudson, Andrew T. Kenyon (2009). E-book (free download): http://ecommons.cornell.edu/bitstream/1813/14142/2/Hirtle-Copyright_final_RGB_lowres-cover1.pdf ; Print: https://www.createspace.com/3405063

• U.S. Copyright Office, Copyright Information Center http://www.copyright.gov/

• Copyright Term and the Public Domain in the United States (Hirtle)http://www.copyright.cornell.edu/resources/publicdomain.cfm

• WIPO (World Intellectual Property Organization) resources, U.S.http://www.wipo.int/wipolex/en/profile.jsp?code=US

• Copyright Watch (monitors international laws) http://www.copyright-watch.org/

• Copyrightlaws.com http://www.copyrightlaws.com/

Issues

• Digital cultural collections in an age of reuse and remixes. K.R. Eschenfelder and M. Caswell (2010). http://bit.ly/10t7tX1

• Control of Museum Art Images: The Reach and Limits of Copyright and Licensing. Kenneth D. Crews and Melissa A. Brown (August 1, 2011). http://bit.ly/10vjI4X

Fair Use, the Public Domain, Creative Commons

• Reclaiming Fair Use: How to Put Balance Back in Copyright. Patricia Aufderheide and Peter Jaszi (University of Chicago Press, 2011). http://www.centerforsocialmedia.org/reclaiming

• Fair Use, Center for Social Media, American University http://www.centerforsocialmedia.org/fair-use

• AAMD Policy on the Use of “thumbnail” Digital Images in Museum Online Initiatives https://aamd.org/standards-and-practices

• VRA Statement on the Fair Use of Images for Teaching, Research, and Study http://www.vraweb.org/organization/pdf/VRAFairUseGuidelinesFinal.pdf

• ARL Code of Best Practices in Fair Use for Academic and Research Libraries http://www.arl.org/pp/ppcopyright/codefairuse/code/index.shtml

• Fair Use Network http://fairusenetwork.com/• Center for the Study of the Public Domain http://web.law.duke.edu/cspd/• The Public Domain: How to Find & Use Copyright-Free Writings, Music, Art

& More. Stephen Fishman (2010). Print or e-book: http://www.nolo.com/products/the-public-domain-PUBL.html

• Creative Commons http://creativecommons.org/

Guides

• Cornell University Copyright Information Center http://www.copyright.cornell.edu/resources/

• Columbia University Copyright Advisory Office http://copyright.columbia.edu/copyright/copyright-in- general

• Center for Intellectual Property, University of Maryland http://www.umuc.edu/cip/

• Teaching Copyright, A project of the Electronic Frontier Foundation http://www.teachingcopyright.org/

• IPinCH (Intellectual Property issues in Cultural Heritage) http://www.sfu.ca/ipinch

• Copyright for Librarians, Berkman Center for Internet and Society http://cyber.law.harvard.edu/publications/2013/copyright_for_librarians

• ARROW (Accessible Registries of Rights Information and Orphan Works) towards Europeana http://www.arrow-net.eu/

• Brooklyn Museum copyright project http://www.brooklynmuseum.org/community/blogosphere/bloggers/tag/copyright

Professional Organizations • RARIN (Rights and Reproductions Information Network)

http://www.rarin.org/index.php?title=Main_Page • AAM Registrar’s Committee listserv http://www.rcaam.org/Listserv • VRA Intellectual Property Rights News http://vraiprnews.wordpress.com/

and Resources http://www.vraweb.org/resources/ipr/copyright.html• MUSIP: Museum IP Yahoo group http://groups.yahoo.com/group/musip/• College Art Association: IP resources http://www.collegeart.org/ip/ • ALA Copyright Advisory Network http://librarycopyright.net/

Digital Copyright Slider: http://librarycopyright.net/resources/digitalslider/ Fair Use Evaluator: http://librarycopyright.net/resources/fairuse/ Section 108 Spinner: http://librarycopyright.net/resources/spinner/

• CHIN (Canadian Heritage Information Network) http://bit.ly/10uoAHI A Museum Guide to Digital Rights Management http://bit.ly/10uoFej Developing Intellectual Property Policies http://bit.ly/XUV8ZV

• AIPLA, American Intellectual Property Law Association http://www.aipla.org/Pages/default.aspx

• LIBLICENSE Project http://liblicense.crl.edu/

Copyright Clearance, Licensing, and Image Acquisition Was it registered? • The Catalog of Copyright Entries, 1923-1978 http

://onlinebooks.library.upenn.edu/cce/ • Online registration and renewal information, 1978 to present

http://www.copyright.gov/records/ Find contact information• The WATCH File (Writers, Artists and Their Copyright Holders, University of

Texas, Austin) http://tyler.hrc.utexas.edu/index.cfm • Library of Congress, Prints and Photographs Rights and Restrictions

http://www.loc.gov/rr/print/res/rights.html

Does a licensing organization control rights? • ARS -- Artists Rights Society http://www.arsny.com/ • VAGA – Visual Artists and Galleries Association, Inc.

http://www.vagarights.com/ • DACS – Design and Artists Copyright Society http://www.dacs.org.uk/ • BACS – The Bridgeman Artists’ Copyright Service

http://www.bridgemanart.com/about-bridgeman/information-for-artists-and-galleries

• CARCC – Canadian Artists Representation Copyright Collective http://www.carcc.ca/main-E.html

Researching artists • MUSIP: Museum IP Yahoo group http://groups.yahoo.com/group/musip/ • Social Security Death Index http://ssdi.rootsweb.ancestry.com/ • CAA Obituaries http://www.collegeart.org/news/category/obituaries/ • International Foundation for Art Research: catalogues raisonnés

http://www.ifar.org/cat_rais.php • Catalogue Raisonne Association http://www.catalogueraisonne.org

Image and Licensing Sources

• ARTstor Images for Academic Publishing http://bit.ly/10uzLjq• DPLA – Digital Public Library of America http://dp.la/• Bridgeman Art Library http://www.bridgemanart.com/• Bridgeman Education http://www.bridgemaneducation.com/• The Public Domain Review http://publicdomainreview.org/ • Art Resource http://www.artres.com• Getty Images http://www.gettyimages.com/• Corbis Images http://www.corbisimages.com/• Wikimedia Commons http://commons.wikimedia.org/wiki/Main_Page• CCC (Copyright Clearance Center) http://www.copyright.com/

The Visual Resources Association gratefully acknowledges support for Session 14 from: