Restrictions on photographing or filming copyrighted art, architecture, or other objects in public might get stricter in the European Union. On July 9, new copyright provisions from the Legal Affairs Committee go to a vote in the European Parliament.
At stake is the freedom of panorama (FOP), which basically is when a photograph is taken in public, permanent art, structures, advertisements, or even t-shirts that are under copyright can appear without the photographer seeking permission. It’s an attempt to find a medium between the rights of property owners with freedom of visual representation in public space. In the United States, only buildings are exempt from copyright in this context. FOP currently varies from country to country within the EU, and the vote could unify them under this language:
[…] commercial use of photographs, video footage or other images of works which are permanently located in physical public places should always be subject to prior authorisation from the authors or any proxy acting for them […]
It’s unlikely, clickbait titles aside, that the EU would be confiscating tourist photos of the Louvre’s Pyramid or London Eye, but there could be major repercussions for commercial and professional photographers. Julia Reda, a member of the copyright reform-focused Pirate Party Germany and their only member in the European Parliament, made protecting FOP part of her report on changing copyright law. Although this report was adopted by the European Parliament’s Legal Affairs committee, a June 16th amendment altered the FOP proposal. Glyn Moody at Ars Technica reported that Reda explained that the amendment “could threaten the work of documentary filmmakers and the legality of commercial photo-sharing platforms.”
Some of the existing restrictive FOP restrictions aren’t widely enforced, although there are examples like Copenhagen’s statue of the Little Mermaid, which is notorious for the family of the sculptor being aggressive about its copyright and billing media for its use. Other countries also are diligent about such rules. Owen Blacker writes on Medium:
In theory, in Italy, for example, when publishing pictures of “cultural goods” (buildings, sculptures, paintings and so on) for commercial purposes one must obtain authorisation from the Ministry of Arts and Cultural Heritage. Iceland has restricted panorama rights too — there are no pictures of Hallgrímskirkja on Wikimedia Commons, as it is under copyright there until 2021.
The Signpost, Wikipedia’s online journal, has details on how EU citizens can contact their MEPs (Members of the European Parliament).
In yet another horror movie that’s actually about trauma, writer-director Alex Garland makes his points bluntly, having one actor play many facets of misogyny.
Time is itself a recycling process for Cole, whose freewheeling spirit transcends linearity in his excavations of art and music history.
A journey spanning three continents over 1,500 years comes to the National Mall in Washington, DC. On view at the Smithsonian’s NMAA through September 18.
Drawing from a wide range of personal influences, McQueen deconstructed myths and facts and refashioned them into his desired story.
Intervención/Intersección, the latest venture from MASA Galería, is a humming subversion of what public art can look like.
Graduate student work representing 19 disciplines is featured in a digital publication and returns as an in-person exhibition at the Rhode Island Convention Center.
The phishers posted an “official minting link” to a fraudulent raffle from the famous NFT artist’s account.
Through jubilant performances and speeches, the city’s first-ever Blasian March connected the large but disparate communities.
Installations by Jessica Campbell, Yasmine K. Kasem, Suchitra Mattai, Haleigh Nickerson, and Nyugen E. Smith are now on view at JMKAC in Sheboygan, Wisconsin.
“I am an artist and a human being struggling to get out of this unjust prison, but every day my love of free and honest art grows firmer,” the persecuted artist said in a statement from a maximum-security prison in Cuba.
Lewis’s tattered canvases and pasted over drawings mirror a world in need of constant upkeep and repair.
Seeing the Toronto Biennial of Art through my daughter’s eyes helped me push past some of its challenges by experiencing it on a primordial level.