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Art and Copyright 3rd edition [Hardback]

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  • Formāts: Hardback, 304 pages, height x width x depth: 236x158x22 mm, weight: 600 g
  • Izdošanas datums: 11-Mar-2021
  • Izdevniecība: Hart Publishing
  • ISBN-10: 1509934251
  • ISBN-13: 9781509934256
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Art and Copyright 3rd editionPalielināt
  • Formāts: Hardback, 304 pages, height x width x depth: 236x158x22 mm, weight: 600 g
  • Izdošanas datums: 11-Mar-2021
  • Izdevniecība: Hart Publishing
  • ISBN-10: 1509934251
  • ISBN-13: 9781509934256
Citas grāmatas par šo tēmu:
Permanent link: https://www.kriso.lv/db/9781509934256.html
Keywords:
"First published in 2001, Art and Copyright has established itself as a leading text in the field. Revised and updated, this third edition includes additional coverage of the following topics: - The relationship between designs law and artistic works; - EU and Brexit developments; - AI-created works; - graffiti and other non-conventional works; - blockchain and rights management; - orphan works; - new exceptions to copyright; and - digital copyright, art databases and online platforms. This book remains an invaluable work for all those involved in art law and for intellectual property lawyers involved with the exploitation and/or sale of artistic works, as well as for intellectual property academics, researchers, law students, curators, publishers, artists, gallery owners, auction houses, including those developing and running online art platforms, databases and technology to transact in art"--

First published in 2001, Art and Copyright has established itself as a leading text in the field. Revised and updated, this third edition includes additional coverage of the following topics:

- The relationship between designs law and artistic works;
- EU and Brexit developments;
- AI-created works;
- graffiti and other non-conventional works;
- blockchain and rights management;
- orphan works;
- new exceptions to copyright; and
- digital copyright, art databases and online platforms.

This book remains an invaluable work for all those involved in art law and for intellectual property lawyers involved with the exploitation and/or sale of artistic works, as well as for intellectual property academics, researchers, law students, curators, publishers, artists, gallery owners, auction houses, and those developing and running online art platforms, databases and technology to transact in art.

Recenzijas

Eminently useful The new edition of Stokess classic work makes a welcome addition to any library. -- Alexander Herman, Assistant Director, Institute of Art and Law * The IPKat * An invaluable resource not only for practitioners who intend to delve into investigating the building blocks of artistic copyright and the established precedents but also for academics, researchers and students who seek inspiration for their research, as the book also covers non-conventional forms of expression, such as bio-art and land art. -- Dr. Basak Bak * Communications Law *

Papildus informācija

Revised and updated edition of this leading text that examines in detail the intellectual property rights protecting artistic works and artists' rights generally in the United Kingdom.
Preface and Acknowledgements v
Frequently Cited Material xiii
Table of Cases
xxi
Table of Legal Instruments
xxxiii
1 Introduction
1(7)
1.1 Background and Scope
1(2)
1.2 Copyright and Art
3(5)
2 The Copyright System: Justification and History
8(16)
2.1 Introduction
8(1)
2.2 Justifications for Copyright
9(11)
2.2.1 The Economic/Utilitarian Justifications for Copyright
10(1)
2.2.2 Public Policy Arguments
11(1)
2.2.3 Moral Rights/Natural Law Rights
11(5)
2.2.4 Copyright Scepticism
16(3)
2.2.5 Some Conclusions
19(1)
2.3 The History of Copyright
20(4)
3 The Modern Law of Copyright
24(48)
3.1 Background
24(2)
3.1.1 Overview
24(2)
3.1.2 Economic Rights and Moral Rights
26(1)
3.2 UK Law
26(46)
3.2.1 The Classes of Work Protected by Copyright
27(14)
3.2.2 Criteria for Protection: Work Must be `Original'
41(2)
3.2.3 Who is the Author?
43(1)
3.2.4 The Need for Fixation/Permanence of the Work
44(1)
3.2.5 Qualifying Factors for Protection
45(1)
3.2.6 The Duration of Protection
46(1)
3.2.7 The First Owner of the Copyright, Works of Employees and Commissioned Works
47(1)
3.2.8 Economic Rights and the Idea/Expression Dichotomy
47(7)
3.2.9 Exceptions/Defences to Copyright Infringement
54(4)
3.2.10 Industrial Designs
58(8)
3.2.11 Other Rights Analogous or Related to Copyright (Excluding Moral Rights)
66(6)
4 Moral Rights and Artist's Resale Right (Droit de Suite)
72(26)
4.1 Moral Rights
72(7)
4.2 Implications of Moral Rights and some UK Cases
79(5)
4.2.1 Morrison Leahy Music and Another v Lightbond Limited and Others (1991)
80(1)
4.2.2 Tidy v The Trustees of the Natural History Museum and Another (1996)
80(1)
4.2.3 Pasterfield v Denham and Another (1999)
81(1)
4.2.4 Confetti Records v Warner Music (2003)
82(1)
4.2.5 Harrison v Harrison (2010)
82(1)
4.2.6 Emma Delves-Broughton v House of Harlot Limited (2012)
83(1)
4.2.7 Conclusion: Derogatory Treatment in UK Law
83(1)
4.3 Performers' Moral Rights and Performance Works
84(1)
4.4 Moral Rights in the United States
85(2)
4.5 Artist's Resale Right (Droit de Suite)
87(11)
4.5.1 Background, Rationale and History
87(3)
4.5.2 EU Harmonisation
90(4)
4.5.3 UK Implementation of the Resale Right Directive
94(2)
4.5.4 International Developments
96(2)
5 Art, Technology and the Internet: Copyright, Related Rights and Digitisation
98(28)
5.1 Copyright in Digital and Digitised Works
98(2)
5.1.1 How does Copyright Protect Digital Works?
98(1)
5.1.2 Digitised Works
99(1)
5.2 Copyright, Artificial Intelligence (AI) and Computer-Generated Works
100(9)
5.2.1 Artificial Intelligence (AI) and Art
102(5)
5.2.2 Virtual and Augmented Reality and Art
107(2)
5.3 Copying and the Internet
109(3)
5.3.1 Caching
110(1)
5.3.2 Linking and Framing
111(1)
5.3.3 Liability of ISPs, Platforms and Others, Including for User-Generated (and Uploaded) Content
111(1)
5.4 Transmission Right/Communication to the Public Right
112(1)
5.5 Publication Right
113(1)
5.6 Database Right and Art (and Art Market) Databases
114(3)
5.6.1 Art (and Art Market) Databases and Image Libraries
114(3)
5.7 Implications of Moral Rights for the Digital Environment
117(1)
5.8 Blockchain, Art and Copyright Management
118(2)
5.8.1 Blockchain
118(1)
5.8.2 Blockchain and Art
119(1)
5.8.3 Blockchain and Artistic Copyright (Including Artist's Resale Right) Management
120(1)
5.9 Art, Copyright Legislation and the Digital Future
120(6)
5.9.1 Legislation
120(3)
5.9.2 The Future
123(3)
6 Some Current Issues
126(70)
6.1 Copyright in Photographs of Public Domain Artistic Works
126(16)
6.1.1 Graves' Case (1869)
128(2)
6.1.2 The Bridgeman Case (1998)
130(5)
6.1.3 Comment on Bridgeman on the Basis of UK Law Before Infopaq and the Development of a European Standard of Originality by the CJEU
135(4)
6.1.4 European Copyright Law
139(1)
6.1.5 Article 14 of the Digital Single Market Copyright Directive
140(2)
6.2 Copyright and Visual Search Engines: Fair Use and Fair Dealing in the Online Environment
142(11)
6.2.1 Kelly v Arriba Soft (1999--2004)
142(5)
6.2.2 Perfect 10 v Google (2006--11)
147(1)
6.2.3 Comment
148(1)
6.2.4 A View from the United Kingdom
148(5)
6.3 Image Sharing, User-Generated Works and Online Artistic Collaboration
153(5)
6.3.1 Case Study: The National Portrait Gallery, Derrick Coetzee and Wikimedia Commons
153(3)
6.3.2 User-Generated Content and Online Artistic Collaboration
156(2)
6.4 Modern and Contemporary Art and Copyright (Including Film, Video and Performances)
158(22)
6.4.1 Ready-Mades, Objets Trouvis, Installations and Assemblage
159(1)
6.4.2 Appropriation Art
160(2)
6.4.3 Minimalist Art and Conceptual Art
162(2)
6.4.4 Graffiti and Street Art
164(4)
6.4.5 Bio-Art, Land Art and Other Non-conventional Art Works
168(2)
6.4.6 Film Copyright, Modern Art and Advertising: Gillian Wearing, Mehdi Norowzian and Beyond
170(4)
6.4.7 The Limits of Appropriation: Parody
174(5)
6.4.8 Appropriation and Parody: Some Concluding Thoughts
179(1)
6.4.9 Film, Video, Multimedia Works, Animation, Computer Games and Performance Works: Copyright and Performers' Rights
179(1)
6.5 Orphan Works
180(6)
6.5.1 Background
180(2)
6.5.2 The EU Approach -- The Orphan Works Directive
182(2)
6.5.3 UK Legislation Relating to Orphan Works -- The UK's Orphan Works Licensing Scheme
184(1)
6.5.4 Orphan Works in the US
185(1)
6.6 Art, Originality, Infringement and the Development of EU Copyright Law
186(1)
6.7 Brexit and UK Copyright Law Relating to Artistic Works
187(1)
6.8 Freedom of Panorama
188(1)
6.9 Traditional Cultural Expressions, Intangible Cultural Heritage and Copyright
189(7)
6.9.1 Traditional Cultural Expressions
189(5)
6.9.2 Intangible Cultural Heritage
194(2)
7 Some Practical Issues and Precedents
196(22)
7.1 Collecting Societies/Collective Management Organisations (CMOs)
196(2)
7.2 Copyright in the Context of Art Loans
198(2)
7.3 Copyright and Setting Up a Website, Online Viewing Room and Using Instagram: Acquiring and Using Image Rights
200(3)
7.3.1 Use on a Gallery's Website (Including Online Viewing Room)
200(2)
7.3.2 Platforms Including Instagram
202(1)
7.4 The Use of Images in Art Books: The Limits of Fair Dealing
203(1)
7.5 Transferring/Acquiring Copyright in Artistic Works: Commissioned Art Works and Moral Rights Waivers
204(1)
7.6 Licensing Artistic Works and Creative Commons
205(2)
7.6.1 Licensing Artistic Works
205(1)
7.6.2 Creative Commons and Open Access
205(2)
7.7 Artist's Resale Right (ARR) in the United Kingdom: Practical Guidance
207(5)
7.7.1 What is Artist's Resale Right?
208(1)
7.7.2 Resale Royalty
209(1)
7.7.3 What Works of Art are Relevant?
210(1)
7.7.4 What Sales Attract the Resale Royalty?
211(1)
7.7.5 Who is Entitled to Claim the Right?
211(1)
7.7.6 Who is Liable to Pay the Resale Royalty?
212(1)
7.7.7 Right to Information
212(1)
7.7.8 The Works of Deceased Artists
212(1)
7.8 Copyright, Moral Rights and ARR Following the Death of the Artist
212(2)
7.8.1 Copyright on Death
213(1)
7.8.2 Moral Rights on Death
213(1)
7.8.3 ARR on Death
214(1)
7.8.4 Conclusion
214(1)
7.9 Copyright, Moral Rights and ARR Where the Artist is an Employee or Company Director
214(4)
7.9.1 Copyright and the Employed Artist
214(1)
7.9.2 Moral Rights and the Employed Artist
215(1)
7.9.3 ARR and the Employed Artist
215(1)
7.9.4 Chadwick & Ors v Lypiatt Studio Ltd & Anor
216(2)
8 Art and Intellectual Property Rights Other than Copyright
218(11)
8.1 Breach of Confidence
218(1)
8.2 Passing Off
219(3)
8.3 Trade Marks
222(2)
8.3.1 The Artist as a Brand
222(1)
8.3.2 Use of Trade Marks in Artistic Works
223(1)
8.4 Domain Names
224(1)
8.5 Privacy and Publicity Rights
225(2)
8.6 Copyright and Freedom of Expression
227(2)
9 Conclusion
229(7)
9.1 Categories of Art' and the Subsistence of Copyright
230(2)
9.2 Appropriating the Public Domain: Idea Versus Expression
232(2)
9.3 Art, Technology and the Future
234(2)
Appendix: Precedents and Precedent Checklists 236(11)
Index 247
Simon Stokes is a solicitor and partner with Blake Morgan in London, UK.