Statement by the International Council of Museums Concerning Exceptions
to Copyright

Why Reproduction and Distribution of Collections?
Institutions that harbor collections of cultural heritage, loosely defined, have the opportunity toplay a broad role in modern society. In keeping with the pressures of modern society, apart fromthe educational, scholarly and preservation objectives well known to many, cultural heritage
institutions are now very much concerned with the ability to communicate globally. Theircollections have not diminished in importance, nor have their mandates and their prominencechanged. Instead, the issue before them now is the means by which cultural heritage institutions
remain relevant in an ever-changing communications based society.
For millennia, libraries, archives and museums, institutions included under the cultural heritage
umbrella, were concerned with tangible collections. With the advent of new technology andmeans of communication, how, where and by what means cultural heritage is communicatedhas changed dramatically. It is not sufficient to circulate or provide access to physicalcollections. Cultural heritage institutions cannot expect scholars, educators, patrons and visitors
to make physical visits their only means of accessing collections. The expectation now is thatmuseums and other like cultural heritage institutions must also facilitate access using modernmeans of communication to reproduce and distribute material, art and artifacts in theircollections.

Why Exceptions to Copyright for Museums?
Libraries and Archives have been effective in elaborating their respective positions concerning
exceptions to copyright. It is not for the International Council of Museums to elaborate upon
their respective positions further. Instead, the International Council of Museums endorses theposition taken by the library and archive communities in seeking exceptions to copyright. The
International Council of Museums does, however, seek to elaborate upon the need for specificexceptions relative to museum oriented activities, in addition to those already advocated by thelibrary and archive communities.
The International Council of Museums in 2009 redefined its definition of a museum. Generally
speaking, a museum can now be, “…either the institution or the establishment or the placegenerally designed to select, study and display the material and intangible evidence of man andhis environment.” 1This means, of course, that the display, selection and study can happen remotely or at thephysical site where the collection is situated. This expanded definition follows a 2007 formal
redefinition by the International Council of Museums in its formal statutes:“A museum is a non-profit, permanent institution in the service of society and its development,
open to the public, which acquires, conserves, researches, communicates and exhibits thetangible and intangible heritage of humanity and its environment for the purposes of education,
study and enjoyment.” 2
The purpose, therefore, in modernizing the definition was to address the importance ofcommunications, conservation, research and exhibition as part of the museological mandate andthat both tangible and intangible heritage comprises museum collections for those purposes.
Turning to copyright law, the Berne Convention 3 allows for certain limitations and exceptions toeconomic rights in copyright law. However, generally speaking, international legal standards
suggest that exceptions should be strictly construed so as not to allow for broad but rather
restrictive interpretation so as to remain consistent with the letter and spirit of copyright law
designed to protect rights holders interests. Given this generally accepted restrictive approachto prescribed limitations to copyright, given the communications expectations of society,enabled by new technologies, and given the broadened mandate that museums have tocommunicate for the purposes of education and study, museums are faced with a heightened
frustration, and in certain respect, an inability to perform their functions. This is particularly true
where performance relates to their mandate driven activities. On this basis, the International
Council of Museums is now advocating for limited exceptions to copyright to assist museums incarrying out their scholarly, educational and exhibition related activities in an environment
where museums are expected to carry out such activities both online and on site.

Proposed Exceptions and Limitations to Copyright
I. Limitations on Scope

Notwithstanding a call for exceptions to copyright relating to museum activities, certain
limitations must be applied to exceptions in this regard in keeping with the traditional restrictive
approach to interpretation mentioned above.
First, should museums be granted exceptions to copyright, the exceptions should relate directly
to the museum’s mission and mandate. If an activity does not relate to a museum’s mandate,then it should not be undertaken as an exception to copyright.
Second, exceptions should apply universally both to electronic and analog media but in bothinstances in carrying out a reproduction or distribution of a copyright protected work, thereproduction of the work should be limited to only the amount of the work that is absolutely
necessary to carry out the museum function. With respect to images of art works or artifacts,
this means that if a museum can perform its function with a lower resolution image, or with
thumbnails, then it should choose to do so in keeping with the restrictive interpretation of

exceptions to copyright law generally.
Third, while museum are defined as not-for-profit institutions, museums are also places of great
beauty, discovery and scholarly pilgrimage. The definition prescribed by the International
Council of Museums acknowledges that museums can be places of enjoyment. Given this facetof museum programmatic activity, and given the generally accepted principles in defining
exceptions to copyright, exceptions to copyright for museums should apply only to thoseactivities relating to education, exhibition and museological scholarship. In this context, theInternational Counsel of Museums defines “education” to mean activities in a museum
environment, whether online or on site, where the main purpose of the activity is to impartknowledge, information, skills, or attitudes.4
Specifically, exceptions should not apply to museum activities related to the production anddistribution of merchantable products.
Fourth and finally, in keeping with scholarly standards, any reproduction or distribution of acopyright protected work by a museum, within the context of any exception should be carriedout with full attribution to the author (in keeping with scholarly standards and moral rights) andthe copyright owner.
II. Proposed Exceptions

With the above limitations in mind, the International Council of Museums proposes thefollowing exceptions to copyright:
1. An Exception to the reproduction, display and distribution of copyright protected work for thepurposes of the museum publishing a scholarly work, including critical analysis or a catalog
raisonné, in either electronic or analog format where the publication by the museum of thescholarly work is for educational purposes.
2. An Exception to copyright to allow a museum to reproduce a copyright protected work, makeit available and display it for the purposes of exhibition, giving a lecture, or for carrying out
museum educational programing. For the purposes of clarity, this activity can be carried out by
the museum on site or made publicly available on the Internet.
3. An Exception to allow a museum to reproduce copies of a copyright protected work in any
format or media in the course of carrying out the preservation of a work in a museum collection.
4. An Exception to copyright that will allow museums, libraries and archives to interchangeably
avail themselves of exceptions to copyright in each of their respective disciplines where theirprogrammatic activities overlap.

Prepared by Legal Affairs Committee of the International Council of Museums:
Chair, Rina Elster Pantalony
Massimo Sterpi
Rachelle V. Browne
John McAvity
Stephen J. Knerly, Jr.
Willem Hekman
Lawrence M. Kaye
Kidong Bae
Marie-Francoise Delval
Jean-Jacques Neuer
Adrian Parkhouse

Endnotes
1 Andre Desvallees, Francois Mairesse, Eds.;“Key Concepts in Museology”; International Council of Museums,
Armand Colin; 2009;http://icom.museum/fileadmin/user_upload/pdf/Key_Concepts_of_Museology/Museologie_Anglais_BD.pdf;p.56
2 Ibid; p.57
3 http://www.wipo.int/treaties/en/ip/berne/summary_berne.html
4 Ibid, footnote 1; p. 32

About the International Council of Museums (ICOM)The International Council of Museums (ICOM), created in 1946, is the world organisation ofmuseums and museum professionals. ICOM is committed to promoting and protecting naturaland cultural heritage, present and future, tangible and intangible.
With more than 30,000 members in 136 countries, the ICOM network is made up of museum
professionals from a wide range of museum- and heritage-related disciplines. ICOM promotes
standards of excellence in the museum field, in particular through its ICOM Code of Ethics forMuseums, a standard-setting tool for museums, which includes basic principles for museum
governance, the acquisition and disposal of collections, and rules for professional conduct. In
order to carry out its activities, ICOM partners with entities such as the World Intellectual
Property Organization, INTERPOL, the World Customs Organisation, ICCROM, and maintains itslong-standing collaboration with UNESCO.
ICOM’s activities include fighting illicit traffic in cultural goods and promoting risk management
and emergency preparedness to protect world cultural heritage in the event of natural or manmade disasters. The UNESCO-ICOM Museum Information Centre, created in 1946, gathers themost comprehensive collection of ICOM publications including ICOM News, ICOM Red Lists,publications by ICOM’s committees, and conference proceedings. ICOM’s commitment toculture and knowledge promotion is reinforced by its 30 International Committees, which arededicated to a wide range of museum specialities and conduct advanced research in theirrespective fields for the benefit of the museum community.
The organisation’s International and National Committees, Regional Alliances and Affiliated
Organisations hold conferences and symposiums worldwide that revolve around pre-defined
themes with a view to fostering exchange among museum professionals of all nationalities. Inaddition, ICOM organises International Museum Day each year, a worldwide event held around18 May, to increase public awareness of the role of museums in developing society.
Website: http://icom.museum

About the ICOM Legal Affairs Committee
The Legal Affairs Committee (2014-2016) is a Technical Committee of ICOM to advise theExecutive Council and the Advisory Committee of ICOM.
The purpose and missions of the Committee are to provide expertise on legal issues of interest tothe museum community, such as but not limited to cultural heritage, intellectual property andinformation technology laws.
The Committee assists ICOM in advancing and promoting knowledge, best practices and informed
action focusing on legal issues for museums and museum professionals.