Defining the Crisis in Art History

Rubin, Patricia

doi:10.1080/01973762.2011.622211

Cited by 4 publications

(2 citation statements)

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“…The clash between the growth of digital opportunity and permissions culture is well documented in the visual arts (Adamson, 2012; Zorich, 2012). Increasingly, scholars have documented the frustrations of attempting to work within a permissions regime, particularly in the field of scholarly publishing (McGill, 2006; Rubin, 2011; Sundt, 1999; Westermann and Ballon, 2006; Whalen, 2009) and museum curation (Buskirk, 2012). Museums are uncertain about the value of long-standing policies on licensing, as some respond to the opportunities in a digital environment to make work openly accessible and others do not (Kelly, 2013; Shincovich, 2004; Tanner, 2004).…”

Section: Copyright Fair Use and Communities Of Practicementioning

confidence: 99%

The impact of copyright permissions culture on the US visual arts community: The consequences of fear of fair use

Aufderheide

Milosevic

Bello

2016

New Media & Society

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As digital opportunities emerge in the visual arts—to produce multimedia art and digital scholarship, publish online, and hold online museum exhibitions—old copyright frustrations have worsened in a field where getting permissions is routine. A national survey of 2828 visual arts professionals, combined with 100 in-depth interviews of visual arts practitioners throughout the United States, explored how visual arts professionals use the US copyright doctrine of fair use. Results showed widespread lack of confidence and misconceptions about fair use; resulting exaggerated risk assessment; personal and social relations within the community that deter reliance on fair use; and consequent delays, deformations, and failure to execute mission.

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Section: Copyright Fair Use and Communities Of Practicementioning

confidence: 99%

The impact of copyright permissions culture on the US visual arts community: The consequences of fear of fair use

Aufderheide

Milosevic

Bello

2016

New Media & Society

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“…Discussions around how to engage a large class, diversify the curriculum, foster scholarly interest in art history, and make the material relevant for today's students are thus at the heart of scholarly conversations in art history pedagogy. As funding for the humanities dries up and liberal arts programs struggle to make a case for themselves (Cascone 2018;Dix 2018;Schmidt 2018), art historians are increasingly called to rethink the place of art history in the contemporary university, the importance of "canonicity," and what they want to provide as educators, particularly in survey courses (Palace 2020;Phelan et al 2005;Rubin 2011;Yavelberg 2014Yavelberg , 2016. What role technology and openness can play in this transformation is central to this conversation, and a driving factor behind this research project.…”

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confidence: 99%

“Opening” Art History: Exploring the Motivations and Practices of Faculty using Open Educational Resources in Lower-Level and General Education Art History Courses

Chtena

2021

Journal of Interactive Media in Education

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Although over the years the conceptual understanding of OER has improved, more insights are needed on faculty's discipline-specific practices with OER. This study explored the motivations and OER-related practices of faculty in lower-level and general education (GE) undergraduate art history courses in the United States. Using twelve in-depth interviews conducted over nineteen months, it investigated why, how and to what ends a diverse group of art historians use OER and related practices in their teaching. The study found six, discipline-specific main motivations for adopting OER, which extend well beyond cost savings for students. At the same time, only small changes were reported in faculty's teaching practices as a result of adopting OER. That is, OER didn't simply trigger pedagogical innovation by virtue of being adopted. Instead, these resources were strategically utilized by faculty to address existing teaching needs and goals, which were shaped by broader conversations and concerns within the field of art history. This suggests that it is impossible to disconnect OER from current pedagogic practices and models, as well as the social and disciplinary context in which they are employed.

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Norms-Shifting for Digital and Online Arts Practice: Copyright and Fair Use in the Visual Arts Community

Aufderheide

Sinnreich

Silvernail

2019

Visual Arts Research

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This study tracks changes in behavior and attitude among visual arts professionals after the development of a code of best practices in the copyright doctrine of fair use. A survey of 2,400 professionals fielded only months after its publication demonstrated broad awareness of the code, informing practice and inspiring efforts to spread awareness. The greatest degree of awareness and change was among editors, several of whose publications altered their copyright policies. Professional and social networks were critical to spreading awareness. Despite a continuing lack of confidence in interpreting the law among individual professionals, the existence of a code contributed to significant change in norms and practices via institutional adoption. This study demonstrates that codes of best practices can affect field behavior, but that change depends on publicity, formal education, continuing support for early adopters, and institutional policy changes.

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Defining the Crisis in Art History

Cited by 4 publications

References 0 publications

The impact of copyright permissions culture on the US visual arts community: The consequences of fear of fair use

The impact of copyright permissions culture on the US visual arts community: The consequences of fear of fair use

“Opening” Art History: Exploring the Motivations and Practices of Faculty using Open Educational Resources in Lower-Level and General Education Art History Courses

Norms-Shifting for Digital and Online Arts Practice: Copyright and Fair Use in the Visual Arts Community

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