I gather that you aspire to becoming a working photography critic — which might mean that you would piece together a revenue stream from some different activities, as I have (some writing, some teaching, some lecturing, some curating perhaps), but that you’d get paid for all of them, including the writing. In which case the writing would be done vocationally, not avocationally, meaning that you’d take it on as part of your daily job, not as a hobby or sideline. […]
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@adcoleman@hcommons.social
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While I consider the protection afforded me by the copyright law appropriate and necessary, I also believe in the justness of the “fair use” exception thereto, when properly applied. I make use of this myself, as a researcher and scholar and author, and allow others to make use of it in relation to my own work, so long as they respect the rules that apply to “fair use.” I can’t recall ever complaining about anyone quoting an excerpt from my writing — even a lengthy one — in a non-commercial context. […] I’m variously amazed, amused, bemused by the amount of misinformation about IP issues in circulation, and the attitude of hapless bewilderment adopted by many otherwise competent professionals in relation to them. While copyright law, trademark law, and patent law certainly have their complexities, the basic principles thereof, including the “fair use” exception to the copyright law, hardly qualify as arcane. Don’t let the laziness or ineptitude of others discourage you from learning about this. It ain’t rocket science. Even trademark law and patent law, much less familiar to the lay public, function according to elementary rules and reasoning that aren’t hard to grasp. […] In selling a work of visual art — a painting, a sculpture, a photographic print — the artist doesn’t commonly sell the IP rights thereto. The artist gets to benefit for decades from the licensing of all IP rights to the work, as do his heirs and assigns. Presumably the artists cheering on the follow-up rights campaign don’t intend to give any share of that income to collectors of their works. But shouldn’t that be part of any droit de suite deal? […] |
 SPJ Research Award 2014All content of this publication is © copyright 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017 by A. D. Coleman unless otherwise noted. All materials contained on this site are protected by United States copyright law and may not be reproduced for commercial purposes without prior written permission. All photos copyright by the individual photographers. "Fair use" allows quotation of excerpts of textual material from this site for educational and other noncommercial purposes.
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Dog Days (1): News & Notes
I’m envisioning a performance piece for TverCA, the “new contemporary art centre” in Russia, to commemorate that phase of the infamous Katyn Massacre perpetrated therein April 1940. For ten hours at a stretch, with the occasional break, the performer places a cantaloupe on a shelf attached to the log wall, puts the barrel of the pistol against it, and fires a single shot — maintaining NKVD executioner Vasili Mikhailovich Blokhin’s implacable pace of one every 3 minutes. Bottles of vodka are passed around at the end of each session, as was Blokhin’s custom. […]