Exhibitions and Events-News- CAFA Art Museum

Exhibitions and Events－News

Focusing on important exhibition and activity info of CAFA Art Museum, and updates the latest news of international museum industry.

: A free survey to measure a sense of belonging at museums

2022-10-24

Not everyone wants to visit a museum, in part due to operational issues such as cost, location, schedule, while some even don’t reach the point of worrying about logistics, because the mere idea of visiting a museum makes no sense to them. For these people, museums are not part of their world.Attributing this mentality to the museums’ failure to create a sense of belonging for these people, leaving them systemically and socially excluded from the museums’ cultures, two researchers at the Museum of Science and Technology, Aaron Price and Lauren Applebaum, designed a research model to measure belonging for museums and cultural institutions. They believe that existing studies on museum inclusion tend to focus on staff culture and fieldwide attitudes, and there has been relatively less work listening to audience speak directly about their feelings and experiences of visiting a museum.The model includes three elements of belonging: inclusion (how a person feels included or excluded in different experiences), place belongingness and context of the visit. Researchers also present an easy-to-use survey instrument designed to measure all aspects of the model, named Cultural Institution Belonging Instrument.The model of belonging in museums and cultural isntitutions, designed by the two researchersThe researchers tested their new model and survey instrument with 333 guests leaving the Museum of Science and Technology to eventually prove its validity. They have made further plans to conduct three follow-up studies in the upcoming year, including a comparative study between eight science and art museums. What’s more, the researchers have generously published the survey instrument, including supporting documentation and tutorials online for free, so that other organizations may use the model to observe the sense of belonging they could offer to their visitors, so as to improve their service.Source | American Alliance of MuseumsAuthor | Aaron Price & Lauren Applebaum
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: The city of Basel is funding its museums to scour their collections for looted objects

2022-10-17

Museums in Basel, Switzerland are examining their collections for objects that may have been unethically sourced, as part of a new city-sponsored initiative. As a result, some of the items have already been marked for deaccessioning.The project was announced in September by the Basel City government, which has set aside CHF 250,000 ($250,000) from next year’s budget for the effort. According to cantonal president Beat Jans, the goal "is to gain clarity about the origin of our collections step by step and to communicate the research results transparently."A view of the anthropological collection of the Natural History Museum Basel. © Gregor BraendliProvenance research is already underway at some of the five Basel museums under the city government’s control. At the Kunstmuseum Basel, experts have learnt that an apocalyptic, late medieval-period print in its collection was "forcibly withdrawn" from the Josephine and Eduard von Portheim Foundation in Heidelberg during the World War II era.The museum has since agreed on a "just and fair solution" with the non-profit organization: title of the artwork will be transferred to the foundation, while the piece itself will stay on view at the institution via permanent loan.Meanwhile, the Natural History Museum Basel plans to return 12 skulls and a hair sample from Aboriginal people to Australia, making good on a repatriation request from the country’s government. The Basel Museum of Antiquities has reformulated its provenance research strategy directed toward increased transparency.The initiative arrives as European and US museums have begun to respond to calls for increased transparency surrounding acquisitions. In New York, a law passed in August requiring museums in the US to disclose if artworks on display every passed through Nazi hands.Source | artnet NewsAuthor | Taylor Dafoe
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: Virtual tours of art exhibitions benefit greatly to the elderly’s health, study demonstrates

2022-10-08

Museums are increasingly adopting novel ways such as virtual participatory art education to attract audiences. But this is not only a practice relevant to Gen Z audience. According to the results of a study, virtual museum visits can also contribute positively to the seniors’ health.The research, developed by researchers at McGill University in Montreal, Canada, and released in mid-August in the medical journal Frontiers of Medicine, found that seniors who visited museums virtually showed considerable improvements to their mental, physical and social health.The study compared two groups of community-dwelling seniors in three months, with one group engaged with interactive art activities at the Museum of Fine Arts in Montreal and one didn’t.The research team discovered palpable health benefits in the first group. Weekly 45-minute virtual tours, along with a 15-minute period for questions and answers at the end, showed improvements in feelings of social isolation, well-being, frailty assessments, and quality of life."Art-based activity may be an effective intervention," said Olivier Beauchet, lead author of the report and a professor at McGill. “On a global scale, this participatory art-based activity could become a model that could be offered in museums and art institutions worldwide to promote active and healthy aging.” Currently, there are already some initiatives that target museum outreach to the elderly. For example, the E.A. Michelson Philanthropy initiative has previously donated $15 million to different creative aging programs targeted at those 55 and older across the US, to support some of the best museums in the country, such as the Fine Arts Museums of San Francisco, the Brooklyn Museum, etc. “Sharing a quality art-making class with other people gives the adult an opportunity to meet new people and to connect with these people around a common experience,” said founder of the E.A. Michelson Philanthropy Ellen Michelson.Source | artnet NewsAuthor | Dorian Batycka
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: Citing copyright concerns, Getty Images bans AI-generated content

2022-09-27

While artificial intelligence (AI) image generators such as DALL-E and Midjourney has opened a new world of visual potential, they also opened a new world of potential legal complications. Looking to get ahead of problems before they begin, Getty Images, one the world’s largest supplier of stock photography, has just banned the upload and sale of all content generated using AI art tools.It only takes the technology a few seconds to generate images of a variety of styles, which can sometimes look very realistic. But what is the source material for these AI bots? Most of the time, it’s being scraped and remixed from the work of human artists, who upload their work on the Internet to connect with audiences and potential buyers. Not only do some see this as disenfranchising to artists who have worked hard to develop a personal brand, but it also presents legal quicksand for image sites that decide to trade in AI-crafted content."Effective immediately, Getty Images will cease to accept all submissions created using AI generative models (e.g., Stable Diffusion, Dall-E 2, MidJourney, etc.) and prior submissions utilizing such models will be removed," reads a statement issued by the company recently. "There are open questions with respect to the copyright of outputs from these models and there are unaddressed rights issues with respect to the underlying imagery and metadata used to train these models."French collective named OBVIOUS produced this piece of painting titled "Portrait of Edmond de Belamy" using AI. The piece was sold for $432,500 at Christie's in New York in 2018. via Arts TechnicaGetty’s decision to remove and limit such content coincides with equivalent measures being instituted by image sites like PurplePort. "Our entire purpose is to bring creatives together into a safe, honest and vibrant community to create fantastic images, and so the use of 100% machine-generated images, whilst an incredible breakthrough, is not something that helps our community," reads a September 14 statement by PurplePort CEO Russ Freeman about banning AI art on the site.Speaking of how to avoid AI content being uploaded to the platform, Getty Images CEO Craig Peters said that it’s working with C2PA (the Coalition for Content Provenance and Authenticity) to create filters screening for AI content, and it will also rely on users to identify and report such images.Source | HyperallergicAuthor | Sarah Rose Sharp
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: The National Museum of Brazil unveils the first stage of its restoration project

2022-09-19

The National Museum of Brazil in Rio de Janeiro has unveiled the first phase of a phoenix project this week nearly four years after a fire gutted the historic institution and consumed most of its collection.The museum had hoped to open one wing of the building in time for the Brazilian bicentennial of independence on 7 September but faced various financial and pandemic-related delays. Till now, the Rio de Janeiro-based firms Velatura Restaurações and Construtora Biapó have completed the restoration of the museum’s façade. The full building is now tentatively scheduled to reopen in 2027.The museum had been underfunded and vulnerable to fire for years. After a series of warnings, an overheated air-conditioning unit caught fire on 2 September 2018 and quickly spread throughout the 122-room building. Within two hours, the museum itself, and more than 18 million pieces in its archive, had been destroyed. Only around 50,000 objects were recovered from the fire, including, fortunately, the 12,000-year-old skull nicknamed "Luzia", the oldest human remains discovered in South America and a cornerstone of the museum’s collection.The museum’s director, Alexander Kellner, was appointed to the role around six months before the fire struck. “Of course, this is not something that anyone would like to happen in their career—I will go down in history as the director of the museum that caught fire,” he tells The Art Newspaper. “But as long as my health allows I’ll work to recuperate the museum because overcoming this tragedy can perhaps be an inspiration for other struggling museums in Brazil and throughout South America.”The São Paulo-based firm H+F Architects, led by Eduardo Ferroni and Pablo Hereñu, has overseen the interior renovation since 2020. According to Hereñu, the fire created a “violent intervention”, making visible parts of the building that would not have surfaced during a normal renovation.Originally the home of the Portuguese slave trader Elias Antônio Lopes, the building became the residence of the Portuguese royal family in 1808 before becoming a museum in 1892. Throughout the process, it was remodeled and rebuilt and expanded several times. “Some of these layers have been hidden for more than a hundred years,” Hereñu says.Once the renovation is complete, the architects hope the history of the building will be more visible. “We would like to make it easier for visitors to read this timeline through the building itself—to reveal the contradictions that exist here,” Hereñu says.When it reopens, the museum will inescapably be more modern. “We are attempting to conserve everything that survived. But, in many situations, everything was destroyed,” Hereñu says. “There will be a more contemporary atmosphere, with a mixture of elements conserved and restored.”As Brazil seeks to re-establish its cultural identity through the restoration of its most significant institution, Kellner emphasises that it “needs to deserve this new material”, and it will “only prove that we deserve the materials if we rebuild the palace with the best safety measures in place”.Source | The Art NewspaperAuthor | Gabriella Angeleti
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: Carefully worded new definition of "museum" released

2022-09-08

A near-unanimous vote by members of the International Council of Museums (ICOM) has officially replaced its standing definition of a “museum” with a more contemporary one. The new definition introduces terms like “accessibility,” “inclusivity,” “diversity,” and “community,” marking a more horizontal and democratic conception of the modern museum.ICOM’s definition of museum was last updated in 2007 during General Assembly conference in Vienna. But since 1974, modifications to ICOM’s definition have been relatively minor. The new definition now reads:"A museum is a not-for-profit, permanent institution in the service of society that researches, collects, conserves, interprets and exhibits tangible and intangible heritage. Open to the public, accessible and inclusive, museums foster diversity and sustainability. They operate and communicate ethically, professionally and with the participation of communities, offering varied experiences for education, enjoyment, reflection and knowledge sharing."In this new definition, it is stressed that the museum, in addition to being “open to the public,” is “accessible and inclusive,” with the stated aim of facilitating “diversity and sustainability.” For the new museum, “tangible and intangible heritage” is “collected,” not “acquired”; “interpreted,” not “explained,” or “communicated.” The museum’s raison d’etre is formulated as “reflection and knowledge sharing” over “study.” Each of these subtle shifts signals that the museum world is moving towards a model wherein it occupies a node in a more level network of people and institutions rather than a neutral position of privileged authority and significance.ICOM’s definition often determines the definitions national governments use. This could in turn influence how organizations are taxed, fundings they are qualified to receive, and whether they receive heritage protection status.The new definition puts an end to a lengthy 18-month participatory process that involved 20 ICOM Define committee members and over 120 national committees globally. The committee’s work began in 2019 when a controversial definition proposed at a conference in Kyoto was not adopted, as some people questioned the definition to be stuffed with politically charged fragments such as that museums should be “democratizing, inclusive, and polyphonic spaces for critical dialogue about the pasts and the futures,” and that they should aim “to contribute to human dignity and social justice, global equality and planetary wellbeing.”Regarding the newly released definition, although some voiced dissatisfaction that it is not as transformative as they wish it to be, there are also voices like Inkyung Chang, director of the Iron Museum in Seoul, Korea, that "while it’s not strong enough…you can do strong things in your museum."Source | HyperallergicAuthor | Jasmine Liu
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: The National Gallery offers its first immersive experience in Roblox

2022-08-29

In April 2022, the National Gallery in London released its first augmented reality experience. The free mobile-based The Keeper of Paintings and the Palette of Perception invited young visitors on an AR-powered quest through the institution the locate the lost "Palette of Perception". Guided by the "Keeper of Paintings", players were asked to solve puzzles, uncover secrets, and collect gems related to works in the galleries, effectively immersing themselves in the National Gallery’s collection.Three months later, the onsite experience has now gone offsite. It is adapted as an at-home experience on the virtual gaming platform Roblox, continuing to entertain, educate and interact with kids even when they are not physically in the museum.In the Roblox game titled The Keeper Council, participants are sent on a quest to collect paintings, which they can then use to curate their own galleries. Under the game’s magic world style visual and sound design, the exploration of museum feels like an adventure.The offsite and onsite immersive programs are built out by digital studio Arcade and co-created with children, with help from researchers at Royal Holloway and Brunel Design School. Throughout design and development, which reportedly began during the pandemic, schoolchildren from London, Brighton, and Bournemouth were consulted about gameplay and enlisted to test The Keeper Council. “The way the project has evolved with the children through the design process,” noted Lawrence Chiles, Head of Digital at the National Gallery, “is really special.”Roblox has seen an influx of projects as the metaverse has boomed. In 2021, it has already teamed up with the Museum of Science on a game in which players could role play as astronauts to explore the moon, Mars and the international Space Station. As an open-source gaming platform that everyone can make its own world, Roblox represents an opportunity for organizations to create educational and interactive programs with gamified elements to reach digital natives.Source | Jing Culture and Commerce
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: A record number of museum buildings opened in 2021

2022-08-01

According to the Cultural Infrastructure Index published by AEA Consulting, after a predictable dip in 2020 due to broader pandemic lockdowns, 2021 showed an extraordinary robust rebound in new buildings and projects.The report, now in its sixth year, measures investment in capital projects in the cultural sector around the world. The significant impact of the coronavirus pandemic in 2020 led to a decrease of roughly 30 percent in their volume and value, with only 104 projects completed with a value of $5.7 billion. However, in 2021, “the data paints quite a different picture as we record the highest number of completed and announced projects since we first published in 2016,” according to the report. A total of 211 projects were completed with a total value of $11.2 billion in 2021, more than double the previous year, and 174 projects were announced, up by 34%.Museums remained the dominant building type, accounting for 51 percent of announced and completed projects and accounting for $8.9 billion of total investment, up 29 percent from the previous year. Performing arts centers were the next most popular form, accounting for 24 percent of projects, and also saw increased investment amounting to $4.8 billion, up 72 percent from the previous year. Multifunction arts venues accounted for 17 percent of projects, and “cultural hubs/districts” accounted for eight percent of projects.Meanwhile, other than rebound in the number of new infrastructure, there’s also more lasting change in the character of the projects. In 2021, AEA Consulting for the first time paid attention to the category of "adaptive reuse projects" in addition to new buildings, renovations and expansions. They represent a growing segment of total investment, as project leaders seek to minimize waste while maximizing social value and relevance to local communities.Source | artnet newsAuthor | Eileen Kinsella
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: What university museum educators have learned from the pandemic

2022-07-13

The prolonged impact of COVID-19 on university campus and museum operations has forced museum educators to reframe the once-temporary adaptations they implemented as tactics for survival into long-term strategies. After more than two years of disruption to university campuses and museum operations, we asked educators in university museums how they pivoted to serve their core audience of students and faculty, and which pandemic adaptions they are planning to keep in place.Enhancing the student experienceThough Covid restrictions limited the access of public audience, at many university museums, the pandemic has strengthened the connection to students and faculty, who are granted priority access. This meant a shift in educators’ time and resources to focus on the in-person experience of their campus community.For example, the Bowdoin College Museum of Art reopened to the campus community in the fall of 2020 but remained closed to the public until summer of 2021. The resulting gaps in the museum’s exhibition schedule created an opportunity to rethink the use of the gallery spaces. In spring 2021, it emptied its lower galleries and converted the spaces into a series of classrooms, where different courses could curate mini-exhibitions, with the galleries rotating every week.Supporting students’ professional trainingThe museum job market was tough pre-COVID and only worsened when the pandemic hit. The positions most impacted by furloughs and layoffs were those on the front line, precisely where many recent graduates get a foot in the door.In this climate, many students planning careers in the museum field doubted their prospects. Given the uncertainty many students felt, some academic museums saw a role to play in supporting them through the transition, while keeping balance between professionals and students contributing to their work. Museo de Historia, Antropología y Arte de Río Piedras at the University of Puerto Rico reimagined the hiring and onboarding processes of their student workers, and during the summer months they diligently recruited, conducted interviews, facilitated virtual orientations and training, and scheduled work shifts for twenty-two student helpers to start in September. It is rather a mentorship than internship, in which supervisors double as mentors for the students, and provide the network and guidance for them to navigate the foreign terrain.A menu of digital offerings on the Lowe Art Museum’s websiteDesigning a website for online learningLike other museums across the world, university museums worked to overhaul their websites during the pandemic to encourage virtual engagement with their audiences. The updates make it easier for the public to access collection search portals, classroom lesson plans, live virtual programs, instructional videos and virtual tours. Two years after serving the public through digital webpage, Mark Osterman, the director of Digital Engagement and Head of Education at the University of Miami’s Lowe Art Museum acknowledged that the museum’s staff feel okay to "let go of the notion that visitors should all visit the museum," and "virtual visitation and reach is real and enhances access and accessibility when done right." Online presence can also virtually extend the life of exhibitions.Meanwhile, university museums found significant success in virtual programming. By holding conferences, lectures, panels or interviews online, it allows far more people than ever to participate.Thanks to these benefits, many museums are planning to continue hosting virtual programs for the near future, even as in-person programming becomes possible. For example, the Yale University Art Gallery will keep two of its popular virtual programs, Arts in Mind program that help those dealing with early-onset memory loss, and Teacher Leadership Program that typically served educators in the immediate community before the pandemic, but since becoming virtual, allowed participants to join from across the country and even internationally.Source | American Alliance of MuseumsAuthor | Lori Kartchner, Abbey Newkirk
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: Hong Kong Palace Museum opens on July 2

2022-07-01

The Hong Kong Palace Museum (HKPM), located in the West Kowloon Cultural District of the Hong Kong Special Administrative Region, was inaugurated on June 22 and is scheduled to open to the public on July 2, a day after the 25th anniversary of the handover of Hong Kong to mainland China.The 3.5 billion HKD boasts 30,000 square meters over seven storeys, where an impressive 1,600 sqm will be for education activities, and 7,800 sqm dedicated to exhibitions. Designed by local firm Rocco Design Architects, the museum is built roughly in the shape of a ding - a traditional Chinese cauldron. In the nine gallery spaces of the cauldron, 914 artifacts on loan from the Palace Museum in Beijing will be on display for its opening exhibition.Festive Robe with Dragons, Clouds, and Bats, Embroidery on Silk Satin. Qing Dynasty, Qianlong Period, 1736-95. It will be exhibited at HKPM's opening exhibition.From paintings and bronze wares to embroideries and ancient architectures, the exhibits span the 5,000-year history of Chinese civilization, covering all categories of the collection of the Palace Museum, including 166 pieces of first-class cultural relics of the country. This will be the largest and highest-level cultural heritage exhibitions of the Palace Museum outside of the mainland since its establishment in 1925.HKPM Gallery 7However, the new HKPM is not a branch of Beijing’s Palace Museum, but "a partner" of the its Beijing counterpart, according to the information displayed on the first floor of the HKPM.Thirteen pieces of artifacts from the Louvre Museum in Paris, France, will also be exhibited in the HKPM after it opens. As director of HKPM Louis Ng explains, this reflects the rationale behind the establishment of the HKPM, which is not only to inherit and promote traditional Chinese culture, but also to promote cultural exchanges between the East and the West.Source | Xinhua
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Child Public Education Reservation Form

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Group Public Education Event Reservation Form

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Group Visit Agreement
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CAFA Art Museum Publication Authorization Agreement

I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.

CAFA Art Museum Event Safety Disclaimer

Article I

This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

Article II

Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.

Article V

During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.

Article VI

Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.

CAFA Art Museum Portraiture Rights Licensing Agreement

According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

I have carefully read and agree to the above provisions.