Notably, while we are able to approximate the copyright status of the underlying physical artwork, the copyright treatment of digital copies of public domain works varies from jurisdiction to jurisdiction in important ways. Eventually, this creates a discontinuity in the copyright status for artworks published around 1926. More precisely, we exploit exogenous variation in copyright status introduced by the 1998 US copyright law change, which extended copyright protection for an additional 20 years for works that were still under protection at that time, from 75 years to 95 years of copyright protection from the date of publication (as approximated by the year of creation, and explained in detail in the our paper). Using large-scale data from museum collections and image aggregators online, we leverage a quasi-natural experiment made possible by a significant change in copyright protection in the US following pioneering research by Reimers (2019), Watson et al. 2023), we seek to address this question with causal empirical evidence for the visual arts sector. ![]() This question has been fiercely debated in recent public policy debates on the optimal terms of copyright protection (Reimers 2019), as well as the effects of copyright on the availability and distribution of creative goods on digital platforms (Peukert and Kretschmer 2019). Once the creation of a work is adequately incentivised, however, the need for protection to ensure availability and distribution is less clear. ![]() ![]() Researchers have long debated the role of copyright laws in incentivising creativity, and agree that some level of exclusivity is needed to create quasi-public goods such as creative works (e.g.
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