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 , <EM>fair use</EM> (most simply, nonprofit use is fair use) is practiced. However, in Canada, United Kingdom and Australia, the operative concept is <EM>fair dealing</EM>. 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...

The right to publicity is the right of celebrities and other famous individuals to have control over their names and likeness in various licensing ventures. The issue discussed in this article is over whether this right can be left to the heirs.

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.

This book was written to present the law relating to museum organizations in a simple and concise form and, thus, to provide museum personnel with a guide in solving minor legal problems and a management tool to help prevent future legal complications. The book is not intended as a substitute for good legal advice. With the sample documents provided to illustrate practical applications of some of the legal principles discussed, the book should prepare museum directors with a working knowledge of all important areas of law with which they may be confronted.