CAA News Today
Artists’ Resale Royalty Bill to Be Reintroduced
posted by Linda Downs — November 26, 2013
Representative Jerrold Nadler (D, NY) announced on Monday, November 22, 2013 his intent to introduce a revised Equity for Artists bill early in 2014. He and Senator Edward J. Markey (R-Mass) who will co-sponsor the bill finished a draft on Monday and support has already been committed by Senator Tammy Baldwin (D, Wis). The bill is similar to HR 3688 introduced last year and not acted upon by the Judiciary Committee. This bill maintains the 5% of the sales price for works auction for prices at $5,000 and above for living artists and those deceased plus 70 years, which follows the copyright law. The motivation for the bill is to ensure that artists do not lose out on any increase in value for future sales and provides reciprocity with the 70 countries that already have adopted similar legislation. The new bill eliminates the portion allocated in the first bill to art museums for new acquisitions. The AAMD requested that this clause be eliminated. Only those sales through auction houses are included in the bill. Nadler indicated that galleries were not included at this time in order to provide greater opportunity to get the bill passed.
Nadler spoke on Monday as part of a five-person panel sponsored by the International Foundation for Art Research (IFAR) at Scandinavia House. In addition to Nadler the panel included Philippa S. Loengard, Assistant Director and Lecturer in Law, Kernochan Center, Columbia Law School; Karyn Temple Claggett, Associate Register of Copyrights; Director of Policy and International Affairs, U.S. Copyright Office; Theodore H. Feder, Ph.D., Founder and President, Artists Rights Society (ARS); and Sandra L. Cobden, General Counsel, Dispute Resolution and Legal Public Affairs, Christie’s. Loengard provided the historical context of artists’ resale royalty rights from the 1920s in France and the 2006 updated legislation of the European Union to the most recent legal action in the U.S. regarding the California resale royalty law originally instituted in 1976 and ruled unconstitutional by California Judge Nguyen. This case is currently on appeal brought by Chuck Close and other artists in the 9th U.S. Circuit Court and is expected to be decided early in 2014 http://clancco.com/wp/2012/05/art-law-droit-de-suite/.
At the request of Congressman Nadler the U.S. Copyright Office undertook an extensive study and analysis of the status of artists in regard to copyright and in relation to other artists such as writers, actors, screen writers and musicians who receive residuals for their work and whether artists are fully exploiting their rights within the current copyright law. The Copyright Office will issue their findings on or before December 12th. The issues they addressed were 1) financial—are visual artists benefiting within the allowance of the copyright law; 2) morality issues—are visual artists benefiting as well as other artists; 3) fairness—would this benefit a large number of professional artists, is the proposed amount reasonable and are the administrative aspects a burden; 4) limitations—what regulations or limitations should be put in place considering that the art market is generally unregulated. The Copyright Office requested formal comments in March and 59 individuals and organizations sent formal comments. On April 23, 2013 the Copyright Office held a hearing in which among other organizations, CAA made its case for the artists resale royalty represented by Anne Collins Goodyear, President. The Copyright Office also reviewed all the government studies on the effectiveness of the European Union system of resale royalties.
While many of the specifics of the Copyright Office could not be presented until it is published in December the following general observations were shared by Claggett: 1) Of all the world art markets, only China and the U.S. (the two largest art markets) do not have resale rights programs; 2) government studies indicate that these programs have no negative impact on the art market; 3) it is difficult to grasp how artists are hindered by current law and practice and the Copyright Office questions whether the resale royalty law is the best solution; 4) opposing parties are using the same statistical information to “prove” opposing perspectives on the legislation. The Copyright office staff refers to this as the “Rorschach Test.” Claggett stated that given the different perspectives on this issue that the Copyright Office report will not make any of the interested parties happy.
Ted Feder from ARS pointed out that this is only visual artists who currently do not get royalties and cited the current rates that Christie’s “taxes” buyers, from 20% to 25% and sellers from 1% to 10% depending on the price of the art work. He believes that the small percentage increase in sales required by the resale royalty legislation would be negligible to Christie’s clientele.
Sandra Cobden from Christie’s stated that while the auction house supports the rights and interests of artists it believes that the proposed resale royalty legislation is a “broken model.” She cited the study commissioned by Christie’s of the impact of the EU art market after the latest 2006 legislation where the art market in the EU grew 32% while that in the US grew 120% and China’s grew 121% in the same period. This was countered by Nadler who indicated that the EU at that time was in a general economic slump. She also suggested that this legislation is unconstitutional since it would only require auction houses and no galleries or ecommerce sites to institute this system. Her solution is to abandon this legislation and amend the tax laws so that artists may deduct the sales price when donating works to art museums and non-profit institutions.
Watch
Art for Sale? Bankruptcy and the Detroit Institute of Arts from Sharon Flescher on Vimeo.
Support CAA’s Journals with a Gift to the Publications Fund
posted by Nia Page — November 26, 2013
This year CAA’s three journals—The Art Bulletin, Art Journal, and caa.reviews—brought readers more of what they have come to expect from the world’s leading publisher of art-history journals: exceptional scholarship exploring the full range of the visual arts in formats as diverse as long-form essays, groundbreaking digital-media projects, and critical reviews. In today’s media landscape of repackaged content and 140-character tweets, sustaining the publication of in-depth, thought-provoking content is a challenge—it is the support of readers like you that enables CAA to do so. Because you share our mission of advancing the highest standards of intellectual engagement in the arts, please make a tax-deductible gift to the Publications Fund today.
Here are some highlights from CAA publications over the past year:
In The Art Bulletin:
- In celebration of The Art Bulletin’s centenary, eight past editors wrote reviews essays reflecting on the critical impact and afterlife of significant books published since the journal’s founding in 1913
- In the innovative “Notes from the Field,” ten authors took on a new theme in each issue: materiality, mimesis, time, and tradition. The interdisciplinary features, with texts by artists, archaeologists, literary critics, and curators as well as art historians, have proven popular in the classroom, especially at the undergraduate level
- The Art Bulletin continues to champion the long-form essay, this year including texts by Peter Parshall on Dürer, Namiko Kunimoto on Tanaka Atsuko, and David M. Stone on Caravaggio
In Art Journal:
- A rare publication of the 1957 Elbe, a series of thirty-one prints by Gerhard Richter, illustrated an essay by Christine Mehring in the Winter 2012 issue
- Moyra Davey contributed photographs and text for a ten-page artist project titled “Burn the Diaries” to the Spring 2013 issue
- In the Summer 2013 forum “Conversations on Queer Affect and Queer Archives,” seventeen artists and writers reflected on the vital importance of LGBT archives around the world for both artists and art historians
In caa.reviews:
- This fall, caa.reviews celebrates fifteen years of publishing critical reviews of books, exhibitions, and projects in all areas and periods of art history and visual studies
- Using the Scalar digital platform, caa.reviews provided an immersive, multimedia experience of the recent exhibition Bernini: Sculpting in Clay, with an array of critical texts and images as well as a virtual walk-through of the show
- The essay “Reflections on Photography” by Tanya Sheehan kicked off a new thematic series titled “Re-Views: Field Editors’ Reflections,” in which the journal editors assess—or re-view—their respective fields as seen through the lens of the reviews they have commissioned
With your support, CAA publications will continue to delight, challenge, and engage readers for many years to come. On behalf of the scholars, critics, and artists who publish in the journals, we thank you for your continued commitment to maintaining a strong and spirited forum for the visual-arts community.
With best regards,
Suzanne Preston Blier
Vice President for Publications
November 2013 Picks from CAA’s Committee on Women in the Arts
posted by Christopher Howard — November 21, 2013
Each month CAA’s Committee on Women in the Arts produces a curated list, called CWA Picks, of recommended exhibitions and events related to feminist art and scholarship in North America and around the world.
The CWA Picks for November 2013 include solo exhibitions of work by Sarah Lucas, Ana Mendieta, and Dayanita Singh in London; Anita Steckel, Dorothea Rockburne, Mary Beth Edelson, and Wangechi Mutu in New York; and Amy Sillman and Sophie Calle in Boston. In addition, the committee selected Pauline Boudry and Renate Lorenz’s show Patriarchal Poetry in Germany and Dear Art, the first appearance in the United Kingdom for the curatorial collective What, How & for Whom.
Check the archive of CWA Picks at the bottom of the page, as several museum and gallery shows listed in previous months may still be on view or touring.
Image Caption
Wangechi Mutu, Riding Death in My Sleep, 2002, ink and collage on paper, 60 x 44 in. Collection of Peter Norton, New York (artwork © Wangechi Mutu).
Projectionists and Room Monitors in Chicago
posted by Lauren Stark — November 20, 2013
CAA is no longer taking applications for projectionists and room monitors.
Working as a projectionist or room monitor at the 102nd Annual Conference, taking place February 12–15, 2014, in Chicago, is a great way to save on conference expenses. All candidates must be US citizens or permanent US residents. CAA encourages students and emerging professionals—especially those in the Chicago area—to apply for service.
Projectionists
CAA seeks applications for projectionists for conference program sessions. Successful applicants are paid $12 per hour and receive complimentary conference registration. Projectionists are required to work a minimum of four 2½-hour program sessions, from Wednesday, February 12 to Saturday, February 15; they must also attend a training meeting on Wednesday morning at 7:30 AM. Projectionists must be familiar with digital projectors. Please send a brief letter of interest to Lauren Stark, CAA manager of programs.
Room Monitors
CAA needs room monitors for two Career Services mentoring programs (the Artists’ Portfolio Review and Career Development Mentoring), several offsite sessions, and other conference events, to be held from Wednesday, February 12 to Saturday, February 15; they must also attend a training meeting on Thursday morning at 7:30 AM. Successful candidates are paid $12 per hour and receive complimentary conference registration. Room monitors are required to work a minimum of eight hours, checking in participants and facilitating the work of the mentors. Please send a brief letter of interest to Lauren Stark, CAA manager of programs.
News from the Art and Academic Worlds
posted by Christopher Howard — November 20, 2013
Each week CAA News publishes summaries of eight articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.
Eight Years Later, Google’s Book Scanning Crusade Ruled “Fair Use”
Eight years after a group of authors and publishers sued Google for scanning more than twenty million library books without the permission of rights holders, a federal judge has ruled that the web giant’s sweeping book project stayed within the bounds of US copyright law. Last week Judge Denny Chin dismissed a lawsuit from the Author Guild, ruling that Google’s book scans constituted fair use under the law. (Read more from Wired.)
Supreme Court Won’t Hear Controversial Copyright Case
The US Supreme Court, in an order issued last week, has decided not to hear the controversial copyright case between the photographer Patrick Cariou and the artist Richard Prince, who appropriated Cariou’s images of Rastafarians in thirty paintings in the series titled Canal Zone. (Read more from the Art Newspaper.)
SMU’s Major New National Arts Report: What Does Arts Leadership Do?
Southern Methodist University’s National Center for Arts Research (NCAR) has just previewed its inaugural report, a major effort drawing on the largest arts database in the country. Jerome Weeks reports some of the study’s conclusions are a little unexpected. NCAR’s purpose is to determine what constitutes success for an arts group and how can it be encouraged and duplicated? (Read more from Art and Seek.)
German Government Knew about Massive Art Trove Nearly Two Years Ago
The German government knew for nineteen months that a huge trove of art, possibly including works stolen by the Nazis, had been found in Bavaria, but kept quiet while prosecutors carried out their investigation. Jewish groups and lawyers for heirs who might have a claim to the works have criticized the secrecy surrounding the case, and the fact that the government only sprang into action after it was revealed by Germany media earlier this month. (Read more from the Huffington Post.)
Sunday Dialogue: Academia’s Two Tracks
A recent study of Northwestern University indicating that non-tenure-track faculty are better teachers than tenure-track faculty has been met with disbelief and derision—by tenure-track faculty and the American Association of University Professors. It calls into question the myth that the two-track system in academe is an equal opportunity merit system. It is not; it is in fact a caste system with the tenured faculty occupying the upper caste and the off-track faculty serving as the “untouchables.” (Read more from the New York Times.)
No More Digitally Challenged Liberal-Arts Majors
While I don’t think liberal-arts education should be at the service of employers, I do think it is important to enable our BAs to build careers that allow them to continue what they valued about their undergraduate experiences. Too many liberal-arts graduates, especially in the arts and humanities, struggle to find their first positions, and many end up in jobs that have few obvious connections to what they imagined themselves doing. Yearning to follow their academic interests and to be appreciated for what they have to contribute, they end up going to graduate school. (Read more from the Chronicle of Higher Education.)
How to Handle Your Inevitable Rejection: The Vitae Primer
It’s no secret that rejection is a constant and integral part of academic life, especially during job-hunting season. But that doesn’t make repeated knocks to your candidacy (or your psyche) any easier to take or less painful. There’s an abundance of advice on how to get an academic job and manage your career, but little is offered on how to manage your misery when search committees shut the door on your bids. (Read more from Vitae.)
Artist Asks: “What Do You Want to Accomplish Before You Die?”
In the midst of New Orleans still reeling from Hurricane Katrina, Candy Chang channeled her frustration and pain into building a wall. Unlike most walls, this one wasn’t meant to keep people apart, but to bring them closer than ever. Chang, an artist and designer known for thought-provoking, interactive installations, has been preoccupied with the idea of death since her mother passed away when she was fifteen. In 2011, Chang repurposed a wall of a dilapidated house to ask the simple question: What do you want to accomplish before you die? (Read more from Mashable.)
Report from the October 2013 Meeting of the Board of Directors
posted by Anne Collins Goodyear — November 19, 2013
From October 24-27, the College Art Association Board of Directors, Editorial Boards, and Annual Conference Committee held their fall meetings to discuss current and future programming.
During a retreat held on Saturday, October 26, the Board met to discuss the development of the 2015-2020 strategic plan and the transition from an income-based membership model to one oriented to benefits. At the upcoming February 2014 meeting, CAA’s membership will have a chance to learn more about the proposed strategic plan and to provide feedback as well as to vote to amend the bylaws of the Association to permit the new membership structure. This will also us to maintain lower rates for students and retired members, provide discounted fees for part-time and contingent faculty, and allow all members greater flexibility in determining what benefits they would like to receive. Likewise, the new strategic plan prioritizes cultivating and serving the membership, placing a strong emphasis on the use of new technologies for enhancing communications from social media to publications to expanding the reach of the Annual conference virtually.
During its meeting on Sunday, October 27, the Board of Directors elected a new director: Debra Riley Parr, who replaces Saul Ostrow, whose term she will complete. It approved a balanced budget for the second half of the FY 2014 and adopted several new resolutions. These include the creation of a new Web Editor position for the Art Journal to support the ongoing development of its website as well as the adoption of several new guidelines developed by its Professional Practices Committees. These comprise: Guidelines for CAA Interviews, Guidelines for Part-Time Professional Employment, Guidelines for Presenting Works in a Digital Format, Standards for Professional Placement, and a Statement Concerning the Deaccession of Works of Art. At the request of the Committee on Women in the Arts, it approved a revision to the committee’s charge, which now designates:
“The Committee on Women in the Arts (CWA) promotes the scholarly study and recognition of women’s contributions to the visual arts and to critical and art historical studies; advocates for feminist scholarship and activism in art; develops partnerships with organizations with compatible missions; monitors the status of women in the visual arts professions; provides historical and current resources on feminist issues; and supports emerging artists and scholars in their careers.”
The Board heard updates on two signature projects: the ongoing development of its Best Practices Code for Fair Use in the Creation and Curation of Artworks and Scholarly Publishing in the Visual Arts and the digitization of its publications. With respect to CAA’s Fair Use Code, the first phase of the project is close to completion, with an Issues Report distilling the results of interviews with 100 thought leaders in the field, a survey of CAA membership, and a literature review, due to be released in early 2014. CAA’s Committee on Intellectual Property will devote its annual session at the Annual Conference to this topic, at noon on Saturday, February 15th.
The Board also learned that CAA’s negotiations with Taylor and Francis to serve as a copublisher for its journals were close to conclusion. Thanks to this agreement, which is now complete, as recently reported, CAA will be able to digitize its print journals, Art Journal and The Art Bulletin and to offer caa.reviews open access. Both The Art Bulletin and Art Journal will also continue in printed form.
It also turned its attention toward the future. To this end, the Board heard from Kathleen Fitzpatrick, Director of Scholarly Communications at the Modern Language Association about the MLA’s new Humanities Commons. CAA will consider whether it might make sense to partner with MLA as this new virtual space of scholarly discussion and exchange continues to grow.
The Board also entertained discussion about the status of the Ph.D. in art practice and its relationship to the terminal Master of Fine Arts. CAA’s Professional Practices Committee is currently engaged in researching and developing a statement regarding these degrees and the expertise they represent.
Finally, the Board selected its new President-Elect, DeWitt Godfrey, Associate Professor at Colgate University. A talented sculptor and CAA Board Member since 2009, Professor Godfrey will assume office in May 2014, and current President, Anne Collins Goodyear, will serve as past-President until May 2015.
The Board looks forward to meeting with CAA’s membership at the Annual Business meeting on Friday, February 14th at 5:30 pm.
New Developments among ACLS Associations
posted by Linda Downs — November 19, 2013
Each fall the ACLS convenes a meeting for the chief administrative officers (CAOs) of learned societies to exchange information on new developments in our organizations and to explore possible conference sites. This year’s conference was held in Louisville, KY. My takeaways from Louisville were the unforgettable gleaming white nine-ton Carrara marble statue of Louis XVI (the city’s namesake) by Achille-Joseph-Étienne Valois (1829) commissioned in 1829 by the king’s surviving daughter Marie-Thérèse which stands in front of the Louisville City Hall; and the contemporary art museum-cum-hotel called 21C with an installation of Pierre Gonnord’s striking photos of people in rural Spain and a great menu at the restaurant called Proof (as in bourbon).
Among the new developments within the 50 associations that attended were:
- A new census that will gather vital information on all the associations in ACLS to better gauge the trends in the humanities field;
- The success of the ACLS Public Fellows program where fellows are placed in government and non-profit sector positions http://www.acls.org/research/publicfellows.aspx?id=7006;
- The positive reaction to the copublishing agreement between CAA and Taylor & Francis and the transition to online publishing (in addition to print) for The Art Bulletin and Art Journal and open access for caa.reviews in the spring https://www.collegeart.org/news/2013/11/05/caa-journals-to-be-published-by-taylor-francis/ and http://www.collegeart.org/publications/copublicationFAQs;
- The new public resource from the Society for Architectural History’s image encyclopedia of 1,200 American architectural images called ARCHIPEDIA http://sah-archipedia.org/;
- The Modern Language Association’s new social media site for members, MLA Commons http://commons.mla.org/ and plans to expand it for use by other academic associations;
- The National Humanities Alliance’s new advocacy initiative Video Resources http://www.nhalliance.org/ which presents the value of the humanities to the public;
- New digital extensions to annual conferences such as CAA’s conference app (available prior to the February 2014 conference in Chicago) that allow registrants to organize their own schedule of sessions and events; streaming conference sessions, YouTube and podcasts of sessions; and a parallel digital conference offered by the Association of College and Research Libraries http://www.ala.org/acrl/conferences;
- The Renaissance Society’s free access to Early English Books Online (EEOB) for their members www.rsa.org/news/146393/The-RSA-Announces-Early-English-Books-Online-EEBO-Database-Access-as-a-New-Member-Benefit.htm;
- The advocacy work of the Society for Cinema and Media Studies related to fair use and film clips, teach-ins in conference city high schools, an oral history program of members and forming an undergraduate research conference http://www.cmstudies.org/;
- Online courses on professional development organized by the College Forum of the National Council of the Teachers of English http://www.ncte.org/online-learning/courses;
- The need to advocate for the restoration of Title VI and IX funds for foreign language education through the State Department
The CAOs also heard presentations from the American Academy of Religion and the Society of Biblical Literature on how these societies dealt with the threat of union strikes at their conference hotels.
Trevor Parry-Giles of the National Communication Association presented a history of the development of impact factors and the pros and cons, inflation and gaming of current systems such as Thomson Reuters http://thomsonreuters.com/journal-citation-reports/, SCImago http://www.scimagojr.com/, Google Scholar Metrics http://scholar.google.com/citations?view_op=top_venues; and the latest metric under development, Microsoft Academic http://academic.research.microsoft.com/?SearchDomain=3&entitytype=2 . Digital factors have yet to be fully addressed such as counting downloads versus citations and tracing social media such as Facebook and Twitter.
In 1964 the ACLS supported a Commission on the Humanities whose report eventually led to the establishment of the National Endowment for the Humanities. Some of the recommendations from the Commission were to fund the humanities at the level of the sciences, give more national emphasis on higher education humanities, attract a more diverse faculty, and a demand for faculty to work together. Three learned societies compared then and now. It was noted that there was enormous expansion in humanities departments in the 1960s and so many teaching positions that PhD candidates left school before finishing their degrees to take teaching positions. While the humanities have not attracted a more diverse faculty and faculty positions and departments have been compressed, one very positive result is that faculty has embraced collaboration in both formal (humanities and digital humanities centers) and informal ways, and advocacy of higher education in the public sphere has assisted greater understanding of the value of a humanities education.
ARTexchange in Chicago
posted by Lauren Stark — November 18, 2013
CAA’s Services to Artists Committee invites artist members to participate in ARTexchange, an open forum for sharing work at the 2014 Annual Conference in Chicago. Free and open to the public, ARTexchange will be held on Friday, February 14, 5:30–7:30 PM, in a central location at the Hilton Chicago. A cash bar will be available.
ARTexchange is an annual event showcasing the art of CAA members, who can exhibit their paintings, drawings, prints, photographs, sculptures, and digital works using the space on, above, and beneath a six-foot folding table. Artists may also construct temporary mini-installations and conduct performance, sound, and spoken-word pieces in their space. In the past, many ARTexchange participants found the event to be their favorite part of the conference, with the table parameter sparking creative displays.
To be considered for ARTexchange in Chicago, please send your full name, your CAA member number, a brief description of the work you want to exhibit (no more than 150 words), and a link to your website to Lauren Stark, CAA manager of programs. Artists presenting performance or sound art, spoken word, or technology-based work, including laptop presentations, must add a few sentences about their plans. Such performance pieces must significantly limit volume and action so as not to disrupt the other ARTexchange participants. Accepted participants will receive an email confirmation. Because ARTexchange is a popular venue with limited space, early applicants will be given preference. Deadline: December 13, 2013.
Participants are responsible for their work; CAA is not liable for losses or damages. Sale of work is not permitted. Participants may not hang artworks on walls or run power cords from laptops or other electronic devices to outlets—bring fully charged batteries.
Image Caption
The artists Jeff Schmuki and Wendy DesChene, founders of PlantBot Genetics, demonstrate their products during ARTexchange at the 2012 Annual Conference in Los Angeles (photograph by Bradley Marks).
Finalists for the 2014 Morey and Barr Awards
posted by Christopher Howard — November 18, 2013
CAA is pleased to announce the finalists for the 2014 Charles Rufus Morey Book Award and the Alfred H. Barr Jr. Award. The winners of both prizes, along with the recipients of ten other Awards for Distinction, will be announced in January and presented during Convocation in Chicago, in conjunction with the 102nd Annual Conference.
Charles Rufus Morey Book Award
The Charles Rufus Morey Book Award honors an especially distinguished book in the history of art, published in any language between September 1, 2012, and August 31, 2013. The four finalists are:
- Jacqueline E. Jung, The Gothic Screen: Space, Sculpture, and Community in the Cathedrals of France and Germany, ca. 1200–1400 (New York: Cambridge University Press, 2013)
- Joan Kee, Contemporary Korean Art: Tansaekhwa and the Urgency of Method (Minneapolis: University of Minnesota Press, 2013)
- Yukio Lippit, Painting of the Realm: The Kano House Painters in 17th-Century Japan (Seattle: University of Washington Press, 2012)
- Cynthia Robinson, Imagining the Passion in a Multiconfessional Castile: The Virgin, Christ, Devotions, and Images in the Fourteenth and Fifteenth Centuries (University Park: Pennsylvania State University Press, 2013).
Alfred H. Barr Jr. Award
The Alfred H. Barr Jr. Award for museum scholarship is presented to the author(s) of an especially distinguished catalogue in the history of art, published between September 1, 2012, and August 31, 2013, under the auspices of a museum, library, or collection. The two finalists for this year are:
- Jean-Louis Cohen, Le Corbusier: An Atlas of Modern Landscapes (New York: Museum of Modern Art, 2013)
- Jeff L. Rosenheim, Photography and the American Civil War (New York: Metropolitan Museum of Art, 2013)
Second Barr Award for Smaller Museums, Libraries, or Collections
The Barr jury has shortlisted a second Barr Award for Smaller Museums, Libraries, or Collections. The two finalists are:
- Colin G. Calloway, ed., Ledger Narratives: The Plains Indian Drawings of the Lansburgh Collection at Dartmouth College (Norman: University of Oklahoma Press, in cooperation with the Hood Museum of Art, Dartmouth College, 2012)
- Peter C. Sturman and Susan S. Tai, eds., The Artful Recluse: Painting, Poetry, and Politics in Seventeenth-Century China (Santa Barbara, CA: Santa Barbara Museum of Art; New York: Delmonico/Prestel, 2012)
The presentation of the Awards for Distinction will take place on Wednesday evening, February 12, 2014, 5:30–7:00 PM, at the Hilton Chicago. The event is free and open to the public. For more information about CAA’s Awards for Distinction, please contact Lauren Stark, CAA manager of programs and archivist.
Artists Resale Rights in the US: Overdue or Shouldn’t Do?
posted by Linda Downs — November 18, 2013
The International Foundation for Art Research will host its next IFAR Evenings event, “Artists Resale Rights in the US: Overdue or Shouldn’t Do?” in New York on Monday, November 25, 2013, from 6:00 to 8:30 PM. A Q&A session and a reception will follow the presentations.
Unlike many countries, the United States does not provide for resale royalties for visual artists (also known as droit de suite) by statute. A California royalty right, enacted in 1976, was recently ruled unconstitutional, a decision currently on appeal. In December 2011, Congressman Jerrold Nadler sponsored H.R. 3688, the Equity for Visual Artists Act, recommending a federal resale royalty. While the Judiciary Committee failed to act on the bill in the 112th Congress, a new version of the bill is expected to be reintroduced in this Congress. On Nadler’s request, the US Copyright Office has been reviewing the implications of enacting a federal resale royalty law. Its report is expected soon.
Please join the following distinguished speakers as they discuss this important and often divisive issue:
- Karyn Temple Claggett, Associate Register of Copyrights and Director of Policy and International Affairs, US Copyright Office
- Sandra L. Cobden, General Counsel, Dispute Resolution and Legal Public Affairs, Christie’s
- Theodore H. Feder, Founder and President, Artists Rights Society
- Philippa S. Loengard, Assistant Director and Lecturer in Law, Kernochan Center, Columbia Law School
- Jerrold L. Nadler, Congressman, Tenth Congressional District, New York
Space is limited; advance reservations with payment are essential. The program is free to IFAR members and supporters, with a reduced rate for IFAR Journal subscribers and full-time students with ID. Tickets are $25 each for the general public.
About IFAR
Established in 1969, the International Foundation for Art Research (IFAR) is a nonprofit educational and research organization dedicated to integrity in the visual arts. It works at the intersection of art scholarship, art law, and the public interest. IFAR has hosted IFAR Evenings since 1981. These are informal lectures and panels on topics related to IFAR’s core areas, including art attribution and authenticity, ownership, theft, looting, and other legal, ethical and scholarly issues concerning art objects. Several IFAR Evenings are usually scheduled each year. IFAR also organizes conferences and symposia; publishes the award-winning IFAR Journal, offers an Art Authentication Research Service and provenance research services; serves as an information resource; and has recently launched an expanded website with several new research tools, including the Art Law & Cultural Property Database and the Catalogue Raisonné Database.
