Americans for the Arts

This case study documents Sojourn Theatre Company’s intervention at Lima, OH, Senior High School following a tragic shooting in 2008 that resurfaced racial tensions in the community. Lima City Schools enlisted Allen County Common Threads, a locally based volunteer group promoting arts-based civic dialogue and Sojourn Theatre Company to implement an immediate arts-based project to help students process the tragedy. Sojourn interviewed students, and wrote, performed, and recorded theatrical monologues expressing student perspectives on the incident and the racial tensions exposed

In 2003, the world premiere of Nuevo California at the San Diego REPertory Theater marked the culmination of an intensive, three-year project that brought together citizens on both sides of the U.S./Mexico border in an effort to imagine their region’s binational future. The International Border Fence, a 14-mile metal wall that divides San Diego and neighboring city Tijuana, served as the project’s springboard for both a cross-border dialogue on critical regional issues as well as the new play’s theme. San Diego REPertory Theater—together with project partners San

Local arts agencies—arts councils, arts commissions, cultural affairs departments—are an essential tool for community leaders as they rebuild their economies and promote social cohesion. The nation’s 4,500 local arts agencies (LAAs) support, present, and promote the dynamic value of the arts. Through their partnerships and leadership, LAAs are building healthier communities through the arts.

The arts are fundamental to our humanity. They ennoble and inspire us—fostering creativity, goodness, and beauty. The arts bring us joy, help us express our values, and build bridges between cultures. The arts are also a fundamental component of a healthy community—strengthening them socially, educationally, and economically—benefits that persist even in difficult social and economic times.

This one-pager provides a quick overview of copyright, trademark, publicity/privacy rights, patents and ideas and trade secrets.

In the fall of 2012, motivated by concerns about how the actual and perceived limitations of copyright can inhibit the creation and publication of new work in visual arts communities, particularly in the digital era, the College Art Association commenced a four-phase project to develop and disseminate a Code of Best Practices for Fair Use in the Creation and Curation of Artworks and Scholarly Publishing in the Visual Arts. Supported by generous preliminary funding from the Samuel H. Kress Foundation and a major grant from the Andrew W. Mellon Foundation, CAA engaged Patricia Aufderheide and

The purpose of this overview and form contract is to give a general idea of the structure and make up of a Design Development Agreement, not to suggest that this is the only way to draft such an agreement.

Issue briefing on sales tax for artists, sculptors and small businesses.

This Concept Consultancy Letter Agreement Template is intended to cover a specific situation – one in which an agency, program or private developer is interested in exploring the potential of an art project for a specific location

This agreement template is designed as a recommendation for developing a contract between a commissioning agency and an artist as a means to contract with the artist to develop a concept for an art project for a specific location.

This annotated model agreement addresses many of the most current requirements and considerations of a contractual agreement to commission a work of art and is provided as a service to the field. This document provides discussion of a number of issues and points typically found in a commission agreement and is intended primarily as a reference and educational resource.

To preserve the State’s investment, the State Art Collection requires dedicated resources for its ongoing care, including resources for conservation and maintenance. ArtCare guides the management of the State Art Collection. This document serves as an guide and example of a collections management policy.

This article focuses on three topics concerning the definition of obscenity as defined by the courts. First, the author traces the history of major cases leading to the present criteria for judging a work obscene. Second, the history of the cases is outlined with related information as to why the lower courts are not able to follow established guidelines. Third, ways are suggested by which obscenity case may be judged more efficiently.

This article does not really address copyright law relevant to arts organization or artists, but is an interesting look at Canadian libraries and demonstrates the dramatic differences that exist even between common law countries. For example, in the , fair use (most simply, nonprofit use is fair use) is practiced. However, in Canada, United Kingdom and Australia, the operative concept is fair dealing. That is, most simply, all reproduction is copyright infringement except for a very few and very narrowly defined exceptions.

This article argues that a failure inherent in obscenity law itself explains why art is increasingly on trial. In recent years, we have witnessed a stunning assault on sexually explicit contemporary art in this country. Waged in Congressional funding debates, in political campaigns, and in the courts, this assault has raised a recurring question: What is obscenity and what is art? The question has sent artists, museums, galleries, judges and lawyers scrambling to decipher the constitutional law of obscenity, a hotly disputed and peculiarly anachronistic area of law. Over the past two years,