{"id":1074,"date":"2014-02-27T05:25:18","date_gmt":"2014-02-27T13:25:18","guid":{"rendered":"http:\/\/www.artsjournal.com\/worth\/?p=1074"},"modified":"2014-02-27T05:25:18","modified_gmt":"2014-02-27T13:25:18","slug":"droit-de-suite","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/worth\/2014\/02\/droit-de-suite\/","title":{"rendered":"Droit de suite"},"content":{"rendered":"

\"how<\/a>Legislation is proposed to bring droit de suite – a rule in which some artists receive a share of proceeds from some resales of their art – to the United States. The New York Times<\/em> reports here<\/a>, and blog neighbour Lee Rosenbaum analyses the proposal here<\/a>.<\/p>\n

I will just deal with one point. Patricia Cohen in the Times<\/em>\u00a0writes:<\/p>\n

Artists have long complained that unlike composers, filmmakers or writers, they do not receive a share of future sales.<\/p><\/blockquote>\n

But that is a very partial view. All artists in all genres can receive one or both of two kinds of revenue: up-front payments for their work at first sale; and later royalties. Recording artists and writers, for the most part, rely on royalties, although the more promising ones can also receive an advance on their work. Visual artists, traditionally, receive all payment at first sale, and nothing thereafter. Is this unfair? We can’t say that<\/em> based on this information, because it depends on the relative size of the payments. There is nothing in this different treatment of artist compensation across genres that is inherently<\/em> unfair. The payment visual artists receive at first sale are, in part, a function of how the buyer believes the work will retain its value. If it is expected the work will age well (in a monetary sense), that increases the initial payment the artist can command.<\/p>\n

Droit de suite reduces the net value of a work of art to the collector. She knows that a future sale, if it meets the criterion for a droit de suite payment to the artist, will mean less profit for herself. And in turn, that reduces the amount she will be willing to pay for the art in the first place. So there is no guarantee such legislation will work to the net<\/em> benefit of artists. You cannot increase the amount collectors ultimately<\/em> pay to artists simply by a work of legislation – supply and demand don’t work that way.<\/p>\n","protected":false},"excerpt":{"rendered":"

Legislation is proposed to bring droit de suite – a rule in which some artists receive a share of proceeds from some resales of their art – to the United States. The New York Times reports here, and blog neighbour Lee Rosenbaum analyses the proposal here. I will just deal with one point. Patricia Cohen […]<\/p>\n","protected":false},"author":3,"featured_media":1076,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[26],"tags":[],"class_list":{"0":"post-1074","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-issues","8":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/www.artsjournal.com\/worth\/wp-content\/uploads\/2014\/02\/auction.jpg","jetpack_shortlink":"https:\/\/wp.me\/p3dIW5-hk","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":1390,"url":"https:\/\/www.artsjournal.com\/worth\/2014\/06\/droit-de-suite-revisited\/","url_meta":{"origin":1074,"position":0},"title":"Droit de Suite revisited","author":"Michael Rushton","date":"June 30, 2014","format":false,"excerpt":"Today at Slate, Whitney Kimball tries to make the case for US adoption of resale royalties for visual artists, or droit de suite: In what would become the first scandalously record-breaking Sotheby\u2019s art auction in 1973, taxi magnate Robert Scull and his wife famously made a fortune on 50 artworks\u2026","rel":"","context":"In "issues"","block_context":{"text":"issues","link":"https:\/\/www.artsjournal.com\/worth\/category\/issues\/"},"img":{"alt_text":"We're back ...","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/worth\/wp-content\/uploads\/2014\/06\/auction.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.artsjournal.com\/worth\/wp-content\/uploads\/2014\/06\/auction.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.artsjournal.com\/worth\/wp-content\/uploads\/2014\/06\/auction.jpg?resize=525%2C300&ssl=1 1.5x"},"classes":[]},{"id":2294,"url":"https:\/\/www.artsjournal.com\/worth\/2018\/02\/artists-as-speculators\/","url_meta":{"origin":1074,"position":1},"title":"Artists as speculators","author":"Michael Rushton","date":"February 7, 2018","format":false,"excerpt":"A new working paper from Amy Whitaker and Roman\u00a0Kr\u00e4ussl suggests a new model of finance for visual artists (described by Isaac Kaplan in Artsy here). The abstract of the paper (free download here) is: Using unique historical sales data from the Leo Castelli Gallery, we introduce a novel model of\u2026","rel":"","context":"In "issues"","block_context":{"text":"issues","link":"https:\/\/www.artsjournal.com\/worth\/category\/issues\/"},"img":{"alt_text":"Hockney's are up three basis points","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/worth\/wp-content\/uploads\/2018\/02\/traders.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.artsjournal.com\/worth\/wp-content\/uploads\/2018\/02\/traders.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.artsjournal.com\/worth\/wp-content\/uploads\/2018\/02\/traders.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.artsjournal.com\/worth\/wp-content\/uploads\/2018\/02\/traders.jpg?resize=700%2C400&ssl=1 2x, https:\/\/i0.wp.com\/www.artsjournal.com\/worth\/wp-content\/uploads\/2018\/02\/traders.jpg?resize=1050%2C600&ssl=1 3x, https:\/\/i0.wp.com\/www.artsjournal.com\/worth\/wp-content\/uploads\/2018\/02\/traders.jpg?resize=1400%2C800&ssl=1 4x"},"classes":[]},{"id":3107,"url":"https:\/\/www.artsjournal.com\/worth\/2024\/10\/how-should-we-evaluate-guaranteed-income-for-artists\/","url_meta":{"origin":1074,"position":2},"title":"How should we evaluate guaranteed income for artists?","author":"Michael Rushton","date":"October 2, 2024","format":false,"excerpt":"Back in the day, I took a few years leave from academia to work in the public service, as a policy advisor to the Cabinet of the government of the province of Saskatchewan. We would receive from various line departments proposals for policy changes or new initiatives, and a large\u2026","rel":"","context":"In "issues"","block_context":{"text":"issues","link":"https:\/\/www.artsjournal.com\/worth\/category\/issues\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/worth\/wp-content\/uploads\/2024\/10\/image-1.png?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.artsjournal.com\/worth\/wp-content\/uploads\/2024\/10\/image-1.png?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.artsjournal.com\/worth\/wp-content\/uploads\/2024\/10\/image-1.png?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.artsjournal.com\/worth\/wp-content\/uploads\/2024\/10\/image-1.png?resize=700%2C400&ssl=1 2x, https:\/\/i0.wp.com\/www.artsjournal.com\/worth\/wp-content\/uploads\/2024\/10\/image-1.png?resize=1050%2C600&ssl=1 3x, https:\/\/i0.wp.com\/www.artsjournal.com\/worth\/wp-content\/uploads\/2024\/10\/image-1.png?resize=1400%2C800&ssl=1 4x"},"classes":[]},{"id":1641,"url":"https:\/\/www.artsjournal.com\/worth\/2014\/10\/what-do-college-students-in-the-arts-do-after-graduation\/","url_meta":{"origin":1074,"position":3},"title":"What do college students in the arts do after graduation? (updated)","author":"Michael Rushton","date":"October 20, 2014","format":false,"excerpt":"They get to use what they have learned in college?: Among ... respondents\u00a0employed at the time they completed the survey, 64% of recent grads and 69% of prior graduates were in jobs they described as either \u201cvery relevant\u201d or \u201crelevant\u201d to their educational training. Or not?: The majority of arts\u2026","rel":"","context":"In "issues"","block_context":{"text":"issues","link":"https:\/\/www.artsjournal.com\/worth\/category\/issues\/"},"img":{"alt_text":"What does my future hold?","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/worth\/wp-content\/uploads\/2014\/10\/art-students.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":2861,"url":"https:\/\/www.artsjournal.com\/worth\/2023\/03\/artists-guaranteed-income-and-how-to-do-arts-policy-analysis\/","url_meta":{"origin":1074,"position":4},"title":"Artists’ guaranteed income, and how to do arts policy analysis","author":"Michael Rushton","date":"March 24, 2023","format":false,"excerpt":"The New York Times reports on how the Irish experiment in giving some randomly selected artists a small guaranteed income (while also observing a control group of artists not included in the program) is going: Lydia Mulvey, 47, a screenwriter, said that she quit her job in a telecommunications firm\u2026","rel":"","context":"In "issues"","block_context":{"text":"issues","link":"https:\/\/www.artsjournal.com\/worth\/category\/issues\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/worth\/wp-content\/uploads\/2023\/03\/image.png?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.artsjournal.com\/worth\/wp-content\/uploads\/2023\/03\/image.png?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.artsjournal.com\/worth\/wp-content\/uploads\/2023\/03\/image.png?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.artsjournal.com\/worth\/wp-content\/uploads\/2023\/03\/image.png?resize=700%2C400&ssl=1 2x, https:\/\/i0.wp.com\/www.artsjournal.com\/worth\/wp-content\/uploads\/2023\/03\/image.png?resize=1050%2C600&ssl=1 3x"},"classes":[]},{"id":1507,"url":"https:\/\/www.artsjournal.com\/worth\/2014\/09\/artists-should-not-retain-copyright-in-publicly-commissioned-art\/","url_meta":{"origin":1074,"position":5},"title":"Artists should not retain copyright in publicly commissioned art (Updated)","author":"Michael Rushton","date":"September 10, 2014","format":false,"excerpt":"An interesting story from Portland, Oregon, on the copyright held by sculptor Raymond Kaskey in his statue Portlandia. Willamette Week reports on his close guarding of reproduction rights in the large, iconic statue made 30 years ago, commissioned by the city: You would think the image of Portlandia would adorn\u2026","rel":"","context":"In "issues"","block_context":{"text":"issues","link":"https:\/\/www.artsjournal.com\/worth\/category\/issues\/"},"img":{"alt_text":"Good thing he didn't make Mount Hood","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/worth\/wp-content\/uploads\/2014\/09\/Portand-Mt-Hood.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/worth\/wp-json\/wp\/v2\/posts\/1074","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/worth\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/worth\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/worth\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/worth\/wp-json\/wp\/v2\/comments?post=1074"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/worth\/wp-json\/wp\/v2\/posts\/1074\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/worth\/wp-json\/wp\/v2\/media\/1076"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/worth\/wp-json\/wp\/v2\/media?parent=1074"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/worth\/wp-json\/wp\/v2\/categories?post=1074"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/worth\/wp-json\/wp\/v2\/tags?post=1074"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}