ART, ARCHITECTURE, ART HISTORY AND DESIGN

by Daniel Goldstein – October 6, 2021

Roberto Delgadillo (rdelgadillo@ucdavis.edu) and the library’s Student Services Department (studentservices@ucdavis.edu) are available to assist undergraduates desiring assistance

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Make an appointment with Dan

 

Daniel Goldstein

Research Support
Researcher Services Librarian

dgoldstein@ucdavis.edu

530-752-2040

In this Guide:

Copyright [via University of California]

“As both creators and users of copyrighted and public domain materials, members of the UC academic community should understand and responsibly exercise the rights accorded them under U.S. copyright law.

The information provided on this site is intended as a guide to copyright at the University of California, and should not be taken as legal advice.”

Code of Best Practices in Fair Use for the Visual Arts [via College Art Association]

“This Code of Best Practices provides visual-arts professionals with a set of principles addressing best practices in the fair use of copyrighted materials. It describes how fair use can be invoked and implemented when using copyrighted materials in scholarship, teaching, museums, archives, and in the creation of art.”

Copyright Term and the Public Domain in the United States [via Cornell University]

An excellent summary of when copyrighted works enter the public domain. Author: Peter B. Hirtle

Digital Image Rights Computator (DIRC) [via the Visual Resources Association]

The DIRC is an interactive decision tree program to help you determine what you need to do to legally use a specific image for a specific purpose. At each stage it has a brief description of the issue at hand as well as links for more detailed discussions of those issues.

Copyright, Museums, and Licensing of Art Images [Kress Foundation]

Kenneth Crews, director of the Columbia University Copyright Advisory Office authored this study.

“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.”

This work was funded by a grant from the Samuel H. Kress Foundation.