As a practical matter, most organizations dedicated to the advancement of the arts that regard themselves as within the scope of I.R.C. section 50l(c)(3) find it imperative to obtain a favorable ruling or determination letter from the Internal Revenue Service (IRS). The question has been posed as to the circumstances under which organizations dedicated to the advancement of the arts in the United States might be denied, in the first instance, or threatened with the loss of, after having attained, any of the four classifications above described.

Report on the voluntary rating code of the film industry and whether it discriminates against independent producers. This allegedly was being accomplished by the awarding of more restrictive ratings to independent producers, while the nine major studios would be given softer ratings for the same type of film. Thus, the rating code was supposedly being used to the economic benefit of the major studios and the economic detriment of the smaller independents. In fact, the findings were that no such discrimination existed. Includes a review film industry regulation and censorship over the years.

The Detroit Institute of Arts has experienced in the ninety-two years of its existence virtually every type of funding and corporate organization possible for an American art museum. For the last thirty years, as secretary and administrator of this institution and as secretary of the mayor-appointed Arts Commission, I have been confronted with many legal problems, which I believe to be typical of those afflicting all museums. I will try to discuss them in order, after a brief historical digression. (p. 551).

The purpose of this research effort has been to determine the potential impact of a proposed change in the copyright law. The analysis focuses on the three major groups affected by the Bill; broadcasting stations, in particular, radio broadcasters, performing artists, and record companies.

Executive board faces law suit from dancer as a result of administrative problem arising from conflict between her teaching responsibilities and her desire to perform in black community show. (Table of Contents, p. 1) This case was written by Stephen A. Greyser based on material provided by Quinton Baker. Copyright 1971 by the Institute of Arts Administration.

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.

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.

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

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

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