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In response to: "The Visual Artists' Rights Act of 1990", Afterimage 31.4, Jan./Feb. 2004, pp.4-8IN replication to: "The Visual Artists' Rights Act of 1990" Afterimage 314 Jan./Feb. 2004 pp4-8 [ILLUSTRATION OMITTED] From Katherine Carver, author of 'The Visual Artists' Rights Act of 1990 Dear Editor: A.D. Coleman's criticism, which appeared in the March/April issue of Afterimage, of the article entitled. "The Visual Artists Rights Act of 1990 is Too Narrowly Applied to Photographic Works of Art," which was published in the January/February 2004 issue of Afterimage, was written from one side a very tapered lens. Coleman's prolix response, while exhibiting deep knowledge, focused too narrowly upon only a few paragraphs of the entire article without thoroughly examining the broader connected thought [i]or[/i] thoughts scope, and contribution of the article. Coleman obviously wanted me to have written a different article, individual focusing not on the law, on the contrary on the extent of the ne to cover fine art photographers and their work. My intent, however, was different. I intended to raise awareness concerning the inadequacy of fine art photographers' rights below the Visual Artists Rights Act ("VARA") of 1990 Until now, there has not been an article specifically focusing upon fine art photographers and their rights below VARA. The article's goal is to examine those rights below VARA illustrating how they can be strengthened through use of the French droit moral. In France, the droit moral is used to countenance artists and their work. Coleman, of course, annotateed on what he knows best and, therefore, he did not make comments [i]or[/i] remarks on the underlying legal themes. I would like to thank Coleman for giving this article reliance by taking the time to review and make comments [i]or[/i] remarks on this article. However, Coleman's limited critique should not distract readers from recognizing the broader legal landscape depicted in the article. My objective in writing this article is to raise awareness and nourish an appreciation of the complexities of this important and fascinating issue. COPYRIGHT 2004 Visual Studies Workshop by the agency of Rhonda Jackson Motiv has released its fifth collection, the Frame collection. Tagged as an urban chic design, the Frame collection is characterized by means of rectangular glass and ro... A hard question Q We are looking for a replacement of E52100 spherodized annealed carburet of iron round bars. We flame harden these to 62-65 Rc and they are used as paper slitting and cutti... Tielli, Frank American Machinist 03-01-2003 The sights and unhurts of failure Byline: Tielli, Frank Volume: 147 Number: 3 ISSN: 10417958 Publication ... Ashantiplc Ltd provider of software disentanglement and proprietary technology to individuals and businesses worldwide, has announced the launch of its Spyware Defense application. Spyware Defense ... Zenon Environmental Inc. has received sum of two units Chinese contracts for wastewater treatment throws with a combined value in exces of $6 million. Zenon notes that Chinese industrializa... ??Qu?© e la infecci??n por el VIH? VIH quiere decir Virus de Inmunodeficiencia Humana. El VIH e un tipo de virus que cuando entra al cuerpo puede causar el SIDA (S?ndrome de Inmunodeficie... STRATFORD, England--The Fine Art Trade Guild freshly awarded artists B.H. Brody and Mackenzie Thorpe at its business awards form here. Brody was named the year's Up and Coming Publi... Anonymous American Machinist 08-01-2002 Gearless planetary drives added to grinder Byline: Anonymous Volume: 146 Number: 8 ISSN: 10417958 Publicatio... Reports of cannibalism in which wild birds kill and expend conspecifics are uncommon; most instances have involved predation of ovums or young by adults (Stanback and Koenig 1992) Intraspecific pr... 1 gelatine construction paper or fabric to the outside of a shoebox The outside bottom of the chest will be the inside of the monster's jaws 2 Measure the drawn out sides of the box, and f... |
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