Sample Agreements
Artist and Gallery Agreement

This sample agreement outlines what is needed when an Artist wishes to enter into a long term relationship with a Gallery where the Gallery acts as an agent.

Artist in Residence Agreement

This sample agreement summarises the conditions governing the grant of a residence to an artist.

Cast & Crew Agreement (with deferred fees)

This sample CAST & CREW AGREEMENT (WITH DEFERRED FEES) should be used when a producer (Producer) is engaging cast or crew members (Contractor), as independent contractors rather than employees, for the production of a very low (or no) budget film or video. It is for the situation where the producer has no means of paying cast and crew prior to a commercial release and where it is possible that there may not be a commercial release opportunity in the foreseeable future.

This sample agreement includes the most common terms which the Producer and the Contractor need to consider and agree.

This agreement can also be purchased as part of the Film/Video Sample Agreements Pack – Option B (No Budget) for a discounted price.

Copyright Licence for Collecting Institutions

This sample Copyright Licence for Collecting Institutions agreement should be used when a museum or other institution holding a collection of artefacts or artworks, including cinematographic or multimedia works or works of artistic craftsmanship or other copyright materials, wishes to make and publish a digital copy of a work for the purpose of facilitating public access to its collection.

Copyright Licensing Agreement

This sample Copyright Licensing Agreement should be used when a person who owns the copyright in creative content wishes to give permission to another person to use their content (whether a visual artwork, text, music, film or other content) in a particular way.

Film Loan Agreement

This sample Film Loan Agreement letter should be used on a very low budget or no budget film when the film maker or film makers wants to borrow a small amount of money from a private individual (not a bank or government agency or funding body). It is intended to be interest free until a specified repayment date and is not due for repayment until the film earns revenue

Film Location Deed of Release (no payment)

The sample Film Location Deed of Release (no payment) is for use when a film producer wants to shoot a film (including a video) on private property. It is drafted mainly from the producer’s perspective. If a producer fails to obtain a Location Release, the producer could be liable in trespass or for doing other things for which there are legal consequences.

Film/Video Partnership Deed

This sample agreement outlines what needs to be considered, both creatively and financially, when a partnership is formed to collaborate on a specific film or video project, and the parties agree to share all expenses, profits and losses associated with the film.

This sample FILM/VIDEO PARTNERSHIP AGREEMENT should be used when a group of people want to work together to make a film or video. It is appropriate for low or no budget film projects where the parties cannot afford, or chose not, to establish a company vehicle for the film project. It assumes that one of the partners originated the idea or proposal for the project (whether that person is a producer, director, screenwriter or holds an option over a novel or otherwise) and approaches others to work collaboratively with him or her to make the film. If the originator is a producer who wants to retain overall control and responsibility of the project, then it will be more appropriate for the producer to use contractor or employment agreements with the director, screenplay writer and other people working on the film such as Arts Law’s sample Producer and Director Agreement. If the originator doesn’t want to be involved in the filmmaking process but merely to pay a producer to make a film in accordance with a specific brief and wants ownership of the finished product then Arts Law’s sample Video Production Agreement may be more suitable.

Game Development Services Agreement

This sample Games Development: Services Agreement should be used when a game developer or game development company is developing an interactive media project (Game) and wants to engage the services of a third party contractor

Game Loan Agreement

This sample Game Loan Agreement should be used when a game developer or game developers want to borrow money from a private individual (not a bank, government agency or funding body) to finance the development of a game or app. The loan is unsecured and interest free until the stated ‘repayment date’. It attracts interest if not repaid on that date. The developer must repay the loan out of the revenue earned by the Game in priority to paying the development team.

Indigenous Artwork Reproduction License for fabric

This sample INDIGENOUS ARTWORK REPRODUCTION LICENCE (FABRIC) should be used when an artist who owns all rights and interests including copyright in an artwork (the Artwork) wants to grant a licensee an exclusive licence to reproduce the artwork in connection with the manufacture, importation, distribution, promotion, advertising and sale of printed fabric (the Fabric). The licence includes the right to adapt the Artwork into designs that can be printed as a repeating pattern onto Fabric under certain conditions (the Designs).

Indigenous Collaboration Agreement – Fashion and Furnishings

This sample INDIGENOUS COLLABORATION AGREEMENT should be used when a designer in the fashion, textile or home furnishing industry, or a business that is involved in the production of articles for the fashion and furnishing industries  (the Designer) wishes to work together with an Aboriginal or Torres Strait Island visual artist/ or group of visual artists (the Artist) to create and produce clothing, textiles and/or furnishing items based on or incorporating or inspired by the artworks of that artist or artists.

Music Licence for Games

This sample Music Licence for Games (often referred to as a synchronisation licence or master licence) is for use where a game developer wants to synchronise existing music and an existing master recording of the music to a soundtrack for a game. It is appropriate when the composer of the music owns the copyright in both the music (and lyrics) and the sound recording.

Music recording agreements guide

This guide outlines the basic concepts of a recording agreement. It explains the different types of recording contracts and briefly states the formalities of forming and negotiating a deal with a record company. The checklist also has a glossary of common terms which will help you understand what is being offered in a recording deal.

Public Art: Design and Commission Agreement

This sample agreement should be used when a visual artist is commissioned to design and create a public artwork. If the artwork is not a public work Arts Law's Design and Commission Agreement is more appropriate.

This sample Public Art: Design and Commission Agreement should be used when a visual artist is being commissioned to design and create a public artwork.

See also Jilalga Murray-Ranui case study

See also Arts Law’s case study on the best practice use of this sample agreement by the Town of Victoria Park

Sample Website Terms of Use

These sample Website Terms of Use are for use on websites either with a blog (i.e. a public "discussion board" that allows users to post their comments for others to read and comment on) or a more traditional website without a blog.

Workshop Participation Deed

This sample WORKSHOP PARTICIPATION DEED should be used when a person takes part in a workshop in which they will create copyright material, for example by writing text, composing music, creating new dance movement or coming up with new lines for a play, and possibly performs the material created.

 Info Sheets
Agency agreements

Actors, musicians and bands often appoint agents or managers to act on their behalf. Visual artists often have a dealer who represents them. The manager or agent can enter into contracts that are binding on the person who appointed them (the principal). There are specific legal rules which apply to these agency relationships.

This information sheet explains what an agency is, how it is created, the authority granted to an agent, an agent's obligations, and the important terms of agency agreements. It also deals with any state legislation that applies to agents, managers and venue consultants in the entertainment industry. Bands and visual artists should also read the “Music management checklist” and “Artist-gallery checklist”.

Computer Games - legal issues for creative designers

This information sheet addresses legal issues that can arise when creating computer games, including the copyright in the various elements that make up a computer game such as the artistic works and the computer programs that operate the game. The discussion of copyright covers the use of ‘authoring’ programs and the need for games developers to have appropriate contracts with employees, independent contractors or unpaid volunteers.

This information sheet also discusses copyright in ‘user generated content’ and how ownership of ‘user generated content’, ‘End User Licence Agreements’ (EULAs) and the ‘terms of use’ of a Massively Multiplayer Online Roleplaying Game (MMORG).

Arts Law has a suite of agreements suitable for games design and development here.

Contracts: A glossary of jargon

When negotiating, discussing, entering or arguing about an agreement, a vocabulary of unfamiliar word and expressions may be introduced into the conversation.

This information sheet contains a list of some of the more common legal terms that you might come across in negotiations as well as words and expressions that may appear in an agreement. This information sheet should be read in conjunction with Arts Law’s information sheet Contracts: An introduction

Contracts: Getting it write/right

This information sheet also explains the requirements for a legally binding contract. They include a clear offer; the acceptance of that offer; the exchange something of value (known as ‘consideration’); and the intention to enter into a contractual relationship. There also needs to be certainty as to the important matters that each party is promising to do or to refrain from doing for a contract to be enforced by a court of law.

It provides some basic contract tips to help you to negotiate and end up with an agreement that is a binding legal commitment. Arts Law recommends artists read this information sheet before using any of our sample agreements. This information sheet should also be read in conjunction with Arts Law’s information sheet “Contracts: A glossary of jargon”. 

Copyright and moral right infringement by media letter of demand (Visual arts & Photo)

This information sheet explains to visual artists and photographers how to prepare a letter of demand to send to a person or organisation in the media (e.g. a newspaper) who you believe is infringing your copyright and/or moral rights, whether in print or online. The first step is to understand your copyright and moral rights and make a careful assessment as to whether they are being infringed.

Direct Licensing Guidelines

This information sheet is for small Australian record companies and independent artists that have an input agreement with the Phonographic Performance Company of Australia (PPCA). All record companies and independent artists that are PPCA licensors must have direct licensing guidelines that outline the circumstances in which they may directly licence public performance and transmission rights for their sound recordings. This information sheet includes sample Direct Licensing Guidelines. All PPCA licensors are entitled to free legal advice from Arts Law about their guidelines and input agreements. For advice, lodge a query here.

Disclaimers, exclusion clauses and risk warnings

This information explains the difference between a disclaimer and an exclusion clause in a contract and the circumstances when a risk warning should be used. It explains when you should use them, what they mean and the effectiveness of such clauses or statements in limit liability for injury, loss or damage. This information sheet should be read in conjunction with our insurance and liability information sheet.

Film competitions

Entering a film competition creates a binding contract between the film maker and the competition organiser. It is important to understand the competition’s terms and conditions. These might include requiring the entrant to give the competition organisers a copyright licence or assignment and a warranty that all underlying copyright has been cleared. This information sheet talks about typical terms and conditions in competitions and what to look out for. Arts Law routinely reviews the terms and conditions of current competitions and film makers should check to see whether their competition has been reviewed here

Film Financing

This information sheet looks at domestic and international sources of funding for film, television and games developers including both funding by way of grants (e.g. Screen Australia) or investment. Free-to-air broadcasters and pay television channels may provide partial funding for film and television programming. Film distributors may assist in the financing of feature films and distributors and publishers of computer games are possible sources of financing for computer games. A number of funding options exist, including the “Producer Offset”/ “Producer Rebate” scheme, and private avenues such as crowd funding. Each of these funding options is explored in more detail in this information sheet. Arts Law has a sample Film Loan Agreement and a Games Loan Agreement which may be relevant.

Film Location Releases

If you are filming on private property or in a public space (such as a park or council land), you may need a film location release. This information sheet when and why a film location release is important. Information is also provided on which parties should be contacted to obtain film location releases. Arts Law has two sample film location deeds of release (with payment and without payment).

Music Copyright and Publishing for Bands and Recording Artists

Composers, lyricists, independent recording artists and bands that own the copyright in their music can derive income through the licensing and performance of their compositions and sound recordings. This information sheet explains music copyright and royalties, the role of collecting societies such as APRA/AMCOS and PPCA, and music publishing. Sample agreements that may be relevant include Music Recording agreements guide, Music Studio Recording Agreement for Unsigned Artists and Session Musician’s release

Writers and authors: useful resources

This information sheet lists resources, including sample agreements, which authors, writers and illustrators may find useful. It includes a brief description of the different resources available on the websites of the Arts Law Centre of Australia, the Australian Society of Authors, the Australian Writers’ Guild and the Australian Copyright Council.

 Articles
360 Degree Record Deals

In the face of declining record sales, record companies are presenting some artists with 360 degree deals, enabling the record company to share in revenue traditionally only collected by artists. This article looks at the arguments for and against these deals and what artists should consider before signing them.

A Cancelled Commission Case Study

Rod Nash was shocked when a Sydney council told him to stop work on the sculpture they had commissioned him to make for a public library. He was suddenly lumbered with the rather large, unfinished, site-specific sculpture for which he had not yet been paid.

Author Beware!

Earlier this year Arts Law was contacted by a number of authors who wanted advice about their rights to royalties for sales of their books. Problems arose when the authors received letters from a new Australian publishing company, explaining that the first publishing house's business had been sold to the new company but without any obligation for the new company to continue paying royalties to the authors for sales of their books.

Deferred Payments

Deferred payments allow low-budget filmmakers to produce films when they don't have the resources to pay the cast and crew upfront. The producer and the cast and crew agree that the cast and crew will be paid only if, and when, the film is commercially exploited and a revenue stream is created.

Digital rights – American labels step up actions against online music companies

In the last year, a number of American-based online music businesses have taken advantage of new software, offering consumers faster access to streamed and downloaded music online. Two actions for copyright infringement have been brought against MP3.com, the most significant by RIAA (Recording Industry Association of America) in relation to their new my.mp3.com account service which offers members two new means of music delivery.

Keeping The Fun In Funding

Local, State and Federal Government in Australia provide grants to artists, organisations and spaces such as galleries to acknowledge artistic expression as an important freedom of individuals and to support and develop artists and creative industries. This article will discuss how a Funded Organisation can take some simple steps to maximise the exposure of their work whilst minimising the risk of losing funding or having their work censored.

Love (not) thy neighbour

The recent NSW Supreme Court case of Biscayne Partners Pty Ltd v Valance Corp Pty Ltd & Ors attracted much media attention, due in no small part to the identity of its main protagonists, former "Neighbours" stars Scott Michaelson and Holly Valance.

Low Budget Films – contracts with cast and crew

Making films with a very low budget or no budget at all is a challenge which faces lots of Arts Law's clients. Films are made with borrowed cameras, friends step in as actors and technicians, the script is a one page plot line that evolves as filming progresses, and often the only perk is a round of drinks at the local pub when it's finally in the can. No one expects to make any money but everyone dreams that maybe this film might go somewhere. Sound familiar?

Meet the Lawyer: Harold Littler, McKays Solicitors, Brisbane

The Arts Law Centre of Australia would not be able to achieve its mission of advising artists and arts organisations on their legal rights and obligations without the assistance of the lawyers on its panel of volunteer lawyers. Those lawyers donate their time to carry out some of Arts Law’s essential tasks, such as the delivery of its document review service (DRS). One of those lawyers is Harold Littler, Senior Consultant at McKays Solicitors in Brisbane.

Money Matters: Selling and Licensing Part One

Alison Patchett provides an overview of two of the most common agreements that visual artists should use in managing their arts business.  This part addresses preliminary issues and a sale of artwork agreement.  Part two (to appear in the September edition of Art + Law) will consider they key common issues in an image reproduction licence

PPCA takes Radio Cap to the High Court

On Tuesday 10 May, the High Court of Australia heard an appeal from the Phonographic Performance Company of Australia Ltd (PPCA) against the current 1% cap on royalties payable by radio for the use of sound recordings. The PPCA hopes to remove the statutory cap that has had Australian artists subsidising the provision of content to the highly profitable commercial radio sector for over forty years.

Q&As for filmmakers

The Arts Law Centre of Australia (Arts Law) regularly advises filmmakers on a wide range of legal issues affecting their arts practice, such as copyright, trade marks, or telling real stories. This is the first instalment of questions and answers that Arts Law lawyers deal with most often, either as part of the telephone legal advice or document review service they provide, or in the context of education seminars they deliver.

Sculptures in public - protecting your work

Australian law has traditionally been fairly unhelpful when it comes to protecting sculptures. Until recently artists have had very little power to prevent their work from being subjected to ill treatment once sold. Sculptors who display their works permanently in public have also been powerless to stop others from commercialising their work.  Fortunately, there have been some positive steps of late to address these long-standing problems.

The Devil in the detail

Competitions provide a necessary forum for artists, especially those embarking on their artistic careers, to advertise and promote their particular talent to a wider audience and to seek and possibly secure future commissioning for their work. For all manner of artists, creating works for and entering competitions at one stage or another in their career is so prevalent as to be considered a rite of passage! Regardless of whether you are entering your first competition or your hundredth, the devil is likely to be found in the competition detail.

Translations

Arts Law is sometimes contacted for advice about the copyright issues involved in making and commissioning foreign language translations of literary works.

 Case Studies
Negotiating a licensing agreement

What happens when you negotiate a deal with a company and then the person you spoke to leaves and their successor tries to back out or change the terms? Can you still hold the company to the agreement?

Andrée Greenwell: negotiating production contracts

Andrée Greenwell is a highly-regarded composer, performance maker and music educator and is artistic director of Green Room Music. Andrée approached Arts Law with a query about a production for which she was music producer, composer and artistic director.

Artists of Ampilatwatja: Dealing with an overseas gallery

In 2012 Artists of Ampilatwatja Corporation contacted Artists in the Black about a dispute with an overseas gallery relating to a contract for the consignment and sale of artworks. Artists in the Black was able to persuade international law firm DLA Piper to provide the services of a lawyer based in the United Kingdom on a pro bono basis. Solicitor Luke Holmes negotiated a successful resolution of the dispute.

Bede Tungutalum and “Owl Man”

Senior Tiwi artist Bede Tungutalum is a painter, carver and printmaker and one of the founders of Tiwi Designs the well known Indigenous screen printing business based on Bathurst Island. In 2004, he approached Artists in the Black after seeing prints of his limited edition linocut work "Owl Man" for sale on the internet and through galleries in Australia.

Best practice advice benefits the Little Big Shots International Film Festival and its participants

Since the first Festival in 2005, Little Big Shots has become an iconic annual event. This international children’s film festival held in Melbourne is operated by a not-for-profit organisation dedicated to 'enhancing the media literacy of young people, fostering children's creativity and showcasing the very best in filmmaking for, by and about kids'.

Christine Tschuna - What to do if you don’t get paid – letters of demand

Christine Tschuna is an Wirangu artist with the Ceduna Arts and Cultural Centre. In June 2006 she signed a Licence Reproduction Agreement with a company with produces postcards and tourist memorabilia. After the company stopped returning her calls or emails Christine turned to Artists in the Black for assistance. Arts Law pro bono lawyer Robert Lempens of Camatta Lempens in Adelaide offered to help Christine.

Donny Woolagoodja

Worora man Donny Woolagoodja is a renowned artist whose giant Wandjina artwork featured at the opening ceremony of the Sydney 2000 Olympic Games. He asked Artists in the Black to help him prepare a document which would protect him from being held responsible if participants on his tours were injured and which would also enable him to restrict participants from photographing and publishing images of culturally sensitive sites.

Ilbijerri Theatre Company – copyright ownership and contract

Ilbijerri Theatre Company in Victoria is the longest running Indigenous theatre company in Australia creating innovative contemporary works by Aboriginal and Torres Strait Islander artists. Ilbijerri asked Artists in the Black to help clarify these issues in a way which recognized and protected the contributions of the workshop participants but also made sure that Ilbijerri had all of the rights it needed to stage a successful production for the public.

Jack Barrington’s wartime exploits published under licence. When is a release not a release?

Second World War veteran Jack Barrington approached Arts Law in August 2010. Jack was an air gunner flying Lancaster bombers from England with 460 Squadron RAAF. The Sydney Region Aircrew Group wanted to publish a book called ‘The Spirit of Aircrew’ that would feature stories of aircrew who participated in the War. They are a voluntary organization determined to ensure that the contributions made by their members are not forgotten.

Jilalga Murray-Ranui: Protecting your rights in a public work commission project

Jilalga Murray-Ranui is an Indigenous visual artist who is passionate about producing digital images, paintings, and smaller works of art inspired by the Pilbara landscape, people, animals and lifestyle

In July 2010, Jilalga was approached by Mungabareena Aboriginal Corporation (MAC) to create a large mural on a bridge.  The MAC and the Victorian Department of Transport had entered into an agreement in relation to the creation of a public art work and Jilalga had been retained by MAC to do this work. She was not a party to the agreement between MAC and the Victorian Department of Transport so she was concerned about how that agreement might affect her copyright and her moral rights. 

As an Indigenous artist, Jilalga receives a free subscription to Arts Law which she used to access Arts Law’s Document Review Service. Arts Law arranged for lawyers Jarod Benson and Jessica Karasinski of Minter Ellison to help Jilalga to understand the agreement.

 Jilalga says:

“For me the size of the contract and the wording was very daunting. Arts Law helped me understand it. And they helped me renegotiate parts where I felt uneasy or concerned. Another concern I had was distance between all parties. I lived in Perth, the Victorian Transport department was in Melbourne, Mungabareena was in Wodonga, and then Arts Law was in Sydney. I was worried for a little while about the distance - I felt like I was just one lone artist on the other side of Australia.  But it was reassuring that Arts Law made contact with some Perth lawyers to assist me. I felt good that I had local people on board to help me and that gave me a bit more confidence.”

Jilalga asked the Department of Transport and MAC to consider the amendments suggested by Jarod and Jessica. Those amendments were accepted and the contract was changed in a way that gave much greater protection to Jilalga.

The mural project http://www.abc.net.au/local/photos/2011/02/10/3135519.htm was unveiled in February 2011. Jilalga reflects on the process:

“Arts Law gives you the confidence to have your say by talking with you, then talking to the other party and negotiating on your behalf if and when you need it. By working with Arts Law, I felt reassured that my rights were worthy, and that my rights deserved to be heard and respected.

I enjoyed the process, all people involved worked positively together. I was so happy about the work I produced for the community, especially the Koorie community. The project was a success for the community, for the organisations involved, and for myself as a practising artist.”

This story demonstrates that it is important for artists to be aware of their rights and to be vigilant with agreements dealing with copyright of an artist, especially when the artist is not a party to the agreement. Artists should consider their moral rights (such as making sure they are named as the artist of the work) and should not be afraid to negotiate to protect their rights.

 

Further resources you might find useful:

-  Arts Law’s information sheets: Contracts: an introduction

-  Arts Law’s sample agreements: Public art: design and commission agreement

Joseph McNeill: Licensing Music

Joseph McNeill, also known as “Saucypeanuts”, is a Byron Bay based performer and composer. Joseph decided to upload his song ‘Convoluted Aether’ to Triple J Unearthed and subsequently received interest from a party wanting to licence the song. Joseph contacted Arts Law in May 2014 seeking advice about copyright licensing. Arts Law explained that if Joseph wanted advice on the particular terms of a copyright licence he wanted to enter into then he would need to use Arts Law’s Document Review Service. Otherwise Arts Law could give him high level advice about the general issues that arise when licensing music. Joseph decided to receive high level advice from Arts Law first.

Lawrence Omeenyo licenses his image for Arts Law’s Christmas card

Artist Lawrence Omeenyo is a painter, sculptor and elder of the Lockhart River Community. He works through the Lockhart River Arts Centre. After Arts Law had worked with the Lockhart River Art Centre drafting wills for their artists, Arts Law decided to approach the art centre to see if it was possible to license one of the artist's images for Arts Law's 2010 Christmas card.

Ninuku Arts - Selling works on consignment: chasing payment and negotiating a settlement

Ninuku Arts entered into a consignment agreement with an Adelaide gallery for the sale of 29 artworks by 19 of its artists. Ninuku Arts made many requests for payment for the 6 outstanding paintings, but no response was received. Artists in the Black turned to its long time supporters DLA Phillips Fox in Adelaide (now Fox Tucker Lawyers) for pro bono assistance.

Northern Editions – who owns copyright in museum exhibits?

Northern Editions (http://www.northerneditions.com.au/) is a print-making workshop located at the Charles Darwin University in Darwin. Since 1993, Northern Editions has been collaborating with artists to produce limited edition fine art prints and conducting printmaking workshops on campus and in remote communities with artists from across the Top End, Central Australia, the Kimberley and Queensland.

Pauline Casely-Hayford: Getting your public commission contract right

Pauline Casely-Hayford is an experimental filmmaker, visual sound and performance artist. One of her most recent experimental films Confidential Despatch was officially selected for the 2014 International Black Women's Film Festival in San Francisco, U.S.A. Pauline is currently completing a PhD that focuses on experimental film, moving image, visual culture and legacy at Queensland University of Technology's Creative Industries Faculty. 

The Brow Horn Orchestra: On the road to success

The Brow Horn Orchestra (http://www.facebook.com/thebrowhornorchestra) is a six piece afro-electro funk band based in Perth, Western Australia. The band has garnered a cult following since winning Best Funk Act at the 2010 Western Australian Music Industry Awards and Best Live Act  at the Perth Dance Music Awards. In light of the band’s growing profile, founding members Nic Owen and Karri Harper-Meredith (who started out ‘The Brow’ as a street performing duo back in 2007) sat down with Arts Law Senior Solicitor Delwyn Everard at the 2011 WAMi Festival to get some general legal advice around band management.

Urban Smart Projects: Best Practice in Public Artwork Projects

Urban Smart Projects (USP) is a street art initiative that engages local artists and residents to turn cities into brighter places by painting original artwork onto traffic signal boxes around Australia. USP approaches local councils to commission the project in their local area. Once commissioned, USP places a call out to the local community and artists who are interested in contributing submit an original design to USP for approval.  The artists are asked to sign a contract with USP which explains the obligations of both of the parties, including the copyright licensing arrangements. Once the contract is signed, USP provides the artist with the equipment to create their original artwork on a particular signal box in their local area. 

Whitehouse Scores A Master Licensing Deal For its First Album

In June 2011, Arts Law was approached by Grant Saunders aka Sonic Nomad of Sydney band Whitehouse  http://whitehous.bandzoogle.com/fr_home.cfm

Formed in 2006 and boasting an Aboriginal frontline and a Sri-Lankan rhythm section, the band won the Indigenous Emerging Artists grant in 2010 and its self-funded debut album is due for release in late 2011.

 News & Events
Answers for Artists Seminar - Alice Springs

Arts Law will be hosting a general artists’ rights seminar in Alice Springs.

This seminar will deal with issues such as copyright, moral rights,
licensing and contracts, putting work online, the new PPSA legislation,
prizes and competitions!
 

DATE: Friday 17 May 2013

TIME: 9.30am-12pm

WHERE: 27 Hartley Street, Alice Springs, NT.

Answers for Artists Seminar - Darwin

Arts Law will be hosting a general artists’ rights seminar in Darwin.

This seminar will deal with issues such as copyright, moral rights,
licensing and contracts, putting work online, the new PPSA legislation,
prizes and competitions!
 

DATE: Monday 20 May 2013

TIME: 9am-11.30am

WHERE: Arts NT conference room, AXA Building, Level One, 9-11 Cavenagh Street, Darwin NT.

Answers for Artists: a Guide to Basic Legal Issues for Artists 2012 OUT NOW!

Arts Law's new 2012 publication Answers for Artists: a Guide to Basic Legal Issues for Artists has been released in English.

The original 2007 version is available in 2 bi-lingual versions, Chinese/English and Arabic/English.

This is a free resource.

Arts Law - Answers for Artists in Brisbane

Wednesday 24 October Forum – Arts Law Centre Australia

Join us at JWCoCA Fortitude Valley to hear about the latest information on copyright laws and other arts law issues.

  • Copyright –issues in digital environment
  • Resale royalties –how does it work?
  • Personal Property Securities Act – what do you need to do?
  • Prizes and competitions – the good and the bad
Computer Games: Issues for Creators and Developers

In June 2014, Arts Law was asked to present a seminar to Sydney and Melbourne members of the International Game Developers Association (IGDA) about the legal issues creators and developers need to consider when embarking on a games project. In this recording, Arts Law Deputy Director, Delwyn Everard, and Solicitor, Anika Valenti, discuss copyright and moral rights in relation to games, the importance of contracts in securing chain of title and the different ways to structure the business of creating a game.

Click here to view the video.

New legal resources for game developers

Arts Law have recently developed a suite of legal resources specifically for game developers. All the legal issues are covered from conception through to development, production and distribution.  There are also sample agreements available including a loan agreement and music licence. 

System Upgrade

Dear Arts Law Supporters,

We are currently doing a system upgrade. As a result, over the next couple of weeks our ability to answer your query as quickly as usual will be affected. We endeavour to get back to our usual response time as soon as we can. Your patience during this period will be greatly appreciated.

Working with Indigenous Artists - Alice Springs

On Friday 5 October 2012, a workshop to help understand and implement best practice will be conducted

Do you work with Indigenous artists and creators or use their work in your resources, products, promotional material etc?

Arts Law will be conducting a workshop for people in Government, the educational sector, libraries, museums, galleries and other institutions whg with Indigenous creatives.

Working with Indigenous Artists - Victoria workshops

On Tuesday 2 October 2012, a workshop to help understand and implement best practice will be conducted

Do you work with Indigenous artists and creators or use their work in your resources, products, promotional material etc?

Arts Law will be conducting a workshop for people in Government, the educational sector, libraries, museums, galleries and other institutions whg with Indigenous creatives.

 Checklists
Music publishing checklist

This checklist outlines the basic concepts of music publishing agreements. Music publishing is one of the most complex areas of the music industry. Music publishers are an integral part of the contemporary music industry as they act as an interface between songwriters or composers and the rest of the music industry.

 Guides
Music recording agreements guide

This guide outlines the basic concepts of a recording agreement. It explains the different types of recording contracts and briefly states the formalities of forming and negotiating a deal with a record company. The checklist also has a glossary of common terms which will help you understand what is being offered in a recording deal.

Sponsorship agreements guide

Corporate sponsorship is assuming an increasingly important role in the arts. This guide outlines the different forms of sponsorship that an artist or arts organisation may need to seek from a commercial organisation and what should be included in a sponsorship agreement.

 Seminar Papers
Photography and the Law (1996)

This paper provides a brief overview of legal issues that arise in relation to photography, with particular emphasis on copyright. It covers the legal issues that arise from the time a client asks for photographs to be taken, through the time when the photographer actually sets up a tripod or takes off the lens, to the time the resulting image is sold on or licensed.

 Books
Answers for Artists: a Guide to Basic Legal Issues for Artists

Arts Law's new 2012 publication Answers for Artists: a Guide to Basic Legal Issues for Artists has been released in English.

The original 2007 version is available in 2 bi-lingual versions, Chinese/English and Arabic/English.

This is a free resource.

Earning a Living in the Visual Arts and Crafts (3rd edition)

This must read for everyone involved in the visual arts and crafts includes new chapters on sponsorship, working from home, hobbyist vs professional and the role of design in serial production, while information on income tax, copyright, finance, marketing, selling, pricing and costing have been updated and expanded.

Visual Artists and the Law (eBook - PDF format)

A completely revised and updated third edition of Shane Simpson’s seminal book, The Visual Artist and the Law.

X Festival: Do It Yourself Gigs book

X Festival: Do It Yourself Gigs is a comprehensive guide for anyone interested in staging their own arts and performance‐based events.

 Other Organisations