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                <text>Control of Museum Art Images: The Reach and Limits of Copyright and Licensing</text>
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                <text>Many museums and art libraries have digitized their collections of artworks. Digital imaging capabilities represent a significant development in the academic study of art, and they enhance the availability of art images to the public at large. The possible uses of these images are likewise broad. Many of these uses, however, are potentially defined by copyright law or by license agreements imposed by some museums and libraries that attempt to define allowable uses. Often, these terms and conditions will mean that an online image is not truly available for many purposes, including publication in the context of research or simple enjoyment. Not only do these terms and conditions restrict uses, they also have dubious legal standing after the Bridgeman case. This paper examines the legal premises behind claiming copyright in art images and the ability to impose license restrictions on their use.</text>
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                <text>Melissa A. Brown, Kenneth D. Crews </text>
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                <text>Annual Congress of the International Association for the Advancement of Teaching and Research in Intellectual Property (ATRIP)</text>
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                <text>&lt;ul&gt;&lt;li&gt;&lt;a href="http://espace.okfn.org/items/show/241"&gt;http://espace.okfn.org/items/show/241&lt;/a&gt;&lt;/li&gt;
&lt;li&gt;&lt;a href="http://espace.okfn.org/items/show/242"&gt;http://espace.okfn.org/items/show/242&lt;/a&gt;&lt;/li&gt;
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                <text>V&amp;amp;A Images, the commercial image licensing unit of the Victoria and Albert Museum, had a difficult task: to generate profits through image licensing while also fostering the museum’s public and scholarly mission of providing access. In 2009, our study V&amp;amp;A Images: Image Licensing at a Cultural Heritage Institution (&lt;a href="http://sca.jiscinvolve.org/wp/files/2009/07/sca_bms_casestudy_vaimages.pdf"&gt;http://sca.jiscinvolve.org/wp/files/2009/07/sca_bms_casestudy_vaimages.pdf&lt;/a&gt;) focused on the challenges of operating an image licensing business whose sustainability model depends on monetising the same assets that are available for free. In part due to these challenges, the group expanded their scope in 2010 to include mobile app development in addition to content production, rights management and sales. Yet in 2011, with revenues not keeping pace with costs, the museum opted to disband the unit, retaining only the sales function.</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="2549">
                <text>Strategic Content Alliance</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>2011</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="2551">
                <text>&lt;a href="https://creativecommons.org/licenses/by-nc-nd/2.0/uk/"&gt;CC BY-NC-ND 2.0 UK&lt;/a&gt;</text>
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            <description>The nature or genre of the resource</description>
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            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>A review of a year of open access images at Te Papa</text>
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                <text>In June 2014, The Museum of New  Zealand, Te Papa, made more than 30,000 high resolution images of its collection available to the public to download and reuse.  The images were made available with No Known Copyright Restriction statements (17,000 images) or Creative Commons attribution, non-commercial, no derivatives BY-NC-ND licenses (14,000 images) through Te Papa’s collections website, Collections Online (www.collections.tepapa.govt.nz). This paper describes Te Papa’s open access program with an emphasis on the results of the program after one year of activity.&#13;
&#13;
The paper is divided into three parts. Part One details the reasons why Te Papa developed an open access program, describing what we hoped might happen if we made our collection images available for reuse; and exploring the international, New Zealand and organisational context within which the decision to support an open access program was made. Part Two explains Te Papa’s open access program in more depth, documenting what we put in place to deliver downloadable images and describing the initial response we received after launch. The final part of the paper, Part Three, explores the results of the program one year on, describing the extent – and ways – to which Te Papa’s collection images have been used; and compares this activity with similar open access programs internationally.</text>
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                <text>&lt;a href="http://mwa2015.museumsandtheweb.com/paper/a-review-of-a-year-of-open-access-images-at-te-papa/"&gt;http://mwa2015.museumsandtheweb.com/paper/a-review-of-a-year-of-open-access-images-at-te-papa/&lt;/a&gt;</text>
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                <text>Adrian Kingston and Philip Edgar (Museum of New Zealand Te Papa Tongarewa, New Zealand)</text>
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          <element elementId="45">
            <name>Publisher</name>
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                <text>MWA2015: Museums and the Web Asia 2015</text>
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                <text>15 August 2015</text>
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            <description>An account of the resource</description>
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                <text>Access to art images –especially images of art works in museum collections here and abroad – is essential to teaching, learning, research and scholarship in the history of art, and indeed in all the many fields engaged with the study of visual culture. Such access has been rendered both easier and more problematic by the emergence of new technologies. In 2009, the Samuel H. Kress Foundation awarded a research grant to Dr. Kenneth D. Crews, Director of the Copyright Advisory Office at Columbia University Libraries. Dr. Crews proposed to undertake a study of art museum image licensing concepts, terminology and policies, including “terms and conditions” for the use of art images. The principal objectives of this study were to gather a representative sample of art museum license agreements; to analyze their similarities and differences with respect to both terminology and policies; and to produce a systematic inventory of the range of issues addressed in and posed by such licensing agreements and the different ways in which museums have responded to these issues. This inventory and analysis has sought to provide insight into the issues of copyright and licensing that are of concern to art museums and to educational and scholarly users of art images.</text>
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                <text>&lt;a href="http://www.kressfoundation.org/research/copyright_museums_and_licensing_of_art_images/"&gt;http://www.kressfoundation.org/research/copyright_museums_and_licensing_of_art_images/&lt;/a&gt;</text>
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                <text>Museum Policies and Art Images: Conflicting Objectives and Copyright Overreaching</text>
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                <text>Museums face steady demand for images of artworks from their collections, and they typically provide a service of making and delivering high-resolution images of art. The images are often intellectually essential for scholarly study and teaching, and they are sometimes economically valuable for production of the coffee mugs and note cards sold in museum shops and elsewhere. Though the law is unclear regarding copyright protection afforded to such images, many museum policies and licenses encumber the use of art images with contractual terms and license restrictions often aimed at raising revenue or protecting the integrity of the art. This article explores the extent to which museums have strained the limits of copyright claims and indeed have restructured concepts of ownership and control in ways that curtail the availability and use of art images far beyond anything that may be grounded in the law. This article examines the relevant copyright law applicable to the making and use of reproductions of art images, and it identifies the challenging pressures that museums face as they strive to make policies in the context of law but that also serve the multiple competing interests coming to bear on officials and decision makers inside museums. The article analyzes selected policies from major museums and provides an original construct of forms of “overreaching” that often appear in written standards offered by museums for the use of images. The analysis of policies also demonstrates that museums have choices in the shaping of institutional policies, and that breaking away from familiar policy terms can sometimes better serve institutional and public interests.</text>
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                <text>&lt;a href="http://papers.ssrn.com/sol3/papers.cfm?abstract_id=2120210"&gt;http://papers.ssrn.com/sol3/papers.cfm?abstract_id=2120210&lt;/a&gt;</text>
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                <text>Kenneth D. Crews</text>
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                <text>July 2012</text>
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                <text>&lt;a href="http://creativecommons.org/licenses/by/3.0/"&gt;CC-BY 3.0&lt;/a&gt;</text>
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                <text>&lt;ul&gt;&lt;li&gt;&lt;a href="http://espace.okfn.org/items/show/229"&gt;http://espace.okfn.org/items/show/229&lt;/a&gt;&lt;/li&gt;
&lt;li&gt;&lt;a href="http://espace.okfn.org/items/show/241"&gt;http://espace.okfn.org/items/show/241&lt;/a&gt;&lt;/li&gt;
&lt;/ul&gt;</text>
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        <name>copyright</name>
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        <name>museums</name>
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          <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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                  <text>Case studies</text>
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              <description>An account of the resource</description>
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                  <text>Case studies looking at possibilities for the reuse of digital cultural heritage material by cultural institutions</text>
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              <text>All</text>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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                <text>Orphan works licensing scheme: Museum of the Order of St John</text>
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            <description>An account of the resource</description>
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                <text>Case study on how the orphan works licensing scheme has helped the Museum of the Order of St John tell the story of a wartime nurse for a new generation.</text>
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                <text>&lt;a href="https://www.gov.uk/government/case-studies/orphan-works-licensing-scheme-museum-of-the-order-of-st-john"&gt;https://www.gov.uk/government/case-studies/orphan-works-licensing-scheme-museum-of-the-order-of-st-john&lt;/a&gt;</text>
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                <text>Intellectual Property Office</text>
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            <name>Date</name>
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                <text>8 September 2015</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>&lt;span&gt; &lt;/span&gt;&lt;a href="https://www.nationalarchives.gov.uk/doc/open-government-licence/version/3/"&gt;Open Government Licence v3.0&lt;/a&gt;</text>
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            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>Webpage</text>
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        <name>case study</name>
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        <name>museums</name>
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        <name>orphan works</name>
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