The New York Times and the Copyright Litigation Blog both provide an overview of the case. However, the First Circuit ruled that Büchel's right-of-attribution claim was moot because VARA provides only injunctive relief to protect the right of attribution and his installation no longer exists. Büchel’s installation by showing it to several people after making changes in it without his approval. The court also ruled that the district judge in the lower court improperly granted the Museum of Contemporary Art summary judgment for one of Büchel’s integrity claims under VARA and his Copyright Act claim finding that there were “material disputes of fact” that should be decided by a jury about whether the museum distorted Mr. In so holding, the court reasoned that “moral rights protect the personality and creative energy that an artist contributes to his or her work,” and “hat convergence between artist and artwork does not await the final brushstroke or the placement of the last element in a complex installation.” The First Circuit decided a number of complex issues related to the Visual Artists Rights Act ("VARA"), holding that VARA's protection of an artist's moral rights extends to unfinished creations that are "works of art" within the meaning of the Copyright Act. On January 27, the First Circuit affirmed in part, vacated in part, and remanded for further proceedings the district court's grant of summary judgment for the Museum of Contemporary Art, holding that artists have moral rights in unfinished artworks. In a statement, Timur Galen, the chair of Mass MoCA, commended Edmunds’s range of multidisciplinary projects “in different venues and environments around the world,” as well as “her evident care and commitment to artists, her staff and colleagues.Massachusetts Museum of Contemporary Art Foundation v. And she has served as the inaugural consulting artistic director for the Park Avenue Armory in New York. She was also the founding executive and artistic director of the Portland Institute for Contemporary Art and the Time-Based Art Festival (TBA) in Portland, Ore. She previously served as the artistic director of the Melbourne International Arts Festival and the head of the School of Performing Arts and deputy dean at the Victorian College of the Arts at the University of Melbourne. She said she would continue to serve as an artistic adviser, so that she can see through to completion a capital campaign for renovations and the opening of the university’s Nimoy Theater (in honor of the actor Leonard Nimoy), scheduled for next fall. “I lived in Minneapolis as a child,” she said, “and I’ve always been yearning to go back to the snow.”Īt the University of California, Los Angeles, Edmunds has presented dance, theater, and music as well as cross-disciplinary and experimental projects that include visual and digital art. The University of California center has annual costs of $8 million to $10 million.Īnd Edmunds said she doesn’t mind the change in climate. While New England will be a shift from Southern California for Edmunds, the annual operating budgets of each institution are similar - Mass MOCA’s annual operating budget was recently reduced to $10.5 million from $12 million because of the pandemic. “But the diversity of voices in Mass MoCA’s programming is significant and it will grow.” “It’s predominantly white in that area of the world,” she said. “This is a place that resonates with me,” Edmunds said in a telephone interview, citing “the way they create a pipeline for helping artists to help them dream the culture forward.”Įdmunds said she would prioritize issues of equity and inclusion. Thompson, who helped found the museum and led it for more than 32 years. Edmunds, currently the executive and artistic director of the University of California, Los Angeles’s Center for the Art of Performance, will replace Joseph C. Kristy Edmunds, an experienced leader in the performing and multidisciplinary arts, in October will become the new director of the Massachusetts Museum of Contemporary Art, known as Mass MoCA.
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