The third category of works, those of particular concern to us here, are those that entered the collection via a sale, donation, or barter arrangement that prohibited commercial use, reserved for the photographers the right in perpetuity to borrow the works for exhibition and publication purposes, did not specify transfer of ownership, and otherwise contain explicitly or implicitly encumbering language. Here too the court should determine this by examination of the relevant contracts and letters of agreement covering those works, whose sale to buyers not bound by the initial understandings between the Polaroid Corporation and the photographers would in fact constitute breach of contract. […]
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Why should student artists get special tutorials in “the business of being an artist” when no one seems to think that student anthropologists need special instruction in the business of being an anthropologist? Do we assume that young artists, as distinct from young physicists or historians or literary scholars, are special-needs cases meriting the pre-professional equivalent of training bras to ready them for the elementary truth that once they leave school they’ll have to earn a living somehow? […] |
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Cowflop from the Adams Herd (1)
This minor event has evoked such hysteria and vituperation from the Adams marketing machine — which does not own the negatives in question or have any claim thereto — that this phenomenon in itself merits some examination. William Turnage, managing trustee of the Ansel Adams Publishing Rights Trust, actually compared the claims of Norsigian to the Nazi propaganda strategy of the “big lie.” “Hitler used that technique,” Turnage said. “You don’t tell a small one. You tell a big one.” It takes one deeply sick puppy to analogize Norsigian’s assertions of authenticity for these negatives to the despised Nazi propaganda technique. Turnage should feel ashamed of himself for this loathsome conduct, which embarrasses him and the Ansel Adams Trust as well. […]