Andrea Wallace

“ Work by Kenneth Crews and Melanie Brown between 2010-2012 examined the broad website terms of use and licensing policies of 50 art museums in the United States. Crews and Brown uncovered a range of “copyright overreach” strategies limiting reuse in ways that inhibit new creativity, scholarly exploration and pose a threat to the public domain. [6] Kristin Kelly’s 2013 report surveyed 11 art museums in the United Kingdom and United States at various stages of opening up public domain collections. ”

“ In Australia, a 2021 report explored audiences’ expectations around, and engagement with, art through new technologies, including how COVID-19 has accelerated the shift to digital cultural engagement and the development of a growing ‘dual economy’. ”

“ These studies document almost two decades of research undertaken on how technology has changed the ways cultural institutions document and manage their collections, and the new barriers and opportunities that can arise through licensing and open access. ”

“ None of the institutions fully recovered the costs of the services through licensing alone. [1] Simon Tanner’s follow-on 2004 report explored reproduction charging models for digital cultural heritage in the US among 100 museums, including in-depth interviews and observations of a representative sample of 20. Tanner found most licensing departments operated at a loss. A few larger museums produced profits based on income generated around a relatively tiny group of popular works. ”