Janet Hicks and Ted Feder –
For years American illustrators have sought to protect our copyrights by promoting the proper secondary licensing of our works, to establish transparent accountability of our reprographic royalty streams, and to return this income to the illustrators who earned it. Reprographic rights are held individually by each artist but are licensed collectively by a copyright collecting society that artists have mandated to administer these rights. Despite best efforts, illustrators remained unable to establish a society due to ongoing competing claims for our royalties by other parties. In 2018, after years of supporting illustrators’ efforts, the Artists Rights Society (ARS) formally expanded its representation to include the Collective Administration of Illustrators’ Secondary Rights, providing the services and protections of a bona fide CISAC visual art collecting society to American illustrators. Dr. Theodore Feder, President of Artists Rights Society, and Janet Hicks, Vice President and Director of Licensing, introduce ARS and detail its advocacy of both artists rights and illustrators’ secondary rights, in the U.S. and internationally.
Vice President and Director of Licensing, Artists Rights Society (ARS). Janet Hicks serves on the Executive Committee of the International Council of Creators of Graphic, Plastic, and Photographic Arts (CIAGP), the visual arm of the International Confederation of Societies of Authors and Composers (CISAC). She is also a curator and advocate for emerging contemporary and outsider artists and the Director of One Mile Gallery, an art gallery in New York that has recently shown at the Outsider Art Fairs in Paris and New York. She received her M.A. in Art History from the University of Oregon in 1997 and has been at Artists Rights Society since 1998.
Ted Feder, PhD
President and Founder, Artists Rights Society (ARS). Founded in 1987, ARS represents the intellectual property rights interests of over 80,000 visual artists and estates of visual artists from around the world (painters, sculptors, photographers, architects). ARS represents American artists who become its direct adherents and it also represents foreign artists who are members of affiliated arts organizations abroad. ARS is a member of the International Council of Creators of Graphic, Plastic, and Photographic Arts (CIAGP) of the International Confederation of Societies of Authors and Composers (CISAC). As part of this international network of rights organizations, ARS maintains relationships with sister societies abroad. Dr. Feder received his Ph.D. from the Department of Art History and Archaeology at Columbia University, where he also taught the subject. While still a graduate student he started Art Resource, the world’s largest fine art stock photo archive, and later founded Artists Rights Society (ARS) at the behest of the then two French quasi-governmental artists rights organizations, ADAGP and SPADEM. Its repertory includes such prominent names as Pablo Picasso, Henri Matisse, Jackson Pollock, Willem de Kooning and Georgia O’Keefe, but also thousands of lesser-known artists. Dr. Feder has published extensively in art history, biblical archaeology, comparative literature, and not least on intellectual property. Dr. Feder’s contribution to the protection of artists’ rights here and abroad has been so significant that in 2015 he was Knighted by the French Government and made a Chevalier de l’Ordre des Arts et des Lettres (Knight of the Order of Arts and Letters) for his outstanding work on behalf of artists rights in the US and France. Of special note in a detailed accounting of Dr. Feder’s accomplishments was his founding of the CLA Berne 18 project. The objective of CLA 18 Berne was to encourage the U.S. Government to restore copyright protection to all works of art, music, film, and literature. At the time, these works were considered to be in the U.S. public domain and free to be used without the permission of their creators, if the creators had not fulfilled the U.S. formalities of copyright registration and notice. CLA 18 Berne project lobbied strenuously for reform of this law, and in 1994 finally succeeded, when President Clinton signed the Copyright Restoration Act which at long last restored protection, both retroactively and prospectively, to literally millions of foreign works of art, music, and literature, but alas left the U.S. system intact for American works.