Design Right, Artist’s Resale Right and Copyright (Amendment) Regulations 2023

Earl of Clancarty Excerpts

Monday 20th November 2023 Grand Committee

In conclusion, these two sets of regulations seek to use powers contained in the REUL Act to introduce targeted changes. The Design Right, Artist’s Resale Right and Copyright (Amendment) Regulations 2023 will make some technical changes largely to better tailor the legislation to a UK context. The Intellectual Property (Exhaustion of Rights) (Amendment) Regulations 2023 are of paramount importance for ensuring the continued operation of the UK’s exhaustion of IP rights regime. These targeted changes will ensure that rights holders, businesses and consumers can continue to have certainty and confidence in the UK’s IP framework. I beg to move.

[The Earl of Clancarty (CB)]

My Lords, I declare an interest as a visual artist. Some of my remarks will, I hope, be of interest to DCMS as well.

Many of the areas covered by these regulations are important to the arts and creative industries, but I want in particular to highlight the concerns of the visual arts. On 23 February this year, the noble Baroness, Lady Brinton, and I argued strongly for the retention of the artist’s resale right, having supported an amendment to that effect that was helpfully tabled by the noble Lord, Lord Clement-Jones, during the passage of the Retained EU Law (Revocation and Reform) Bill. I will not repeat all the arguments made in that debate, but I am glad—as will be the artists affected and, of course, the relevant rights management organisation, the Design and Artists Copyright Society—that the Government have rightly decided to allow this extremely useful scheme to be continued. I am grateful to DACS for its briefing on this.

The ARR has been in operation in the UK for 17 years. As the timely report produced by DACS this year shows, it has paid more than £120 million in royalties to over 6,000 artists and their heirs. UK artists themselves earn on average between £5,000 and £8,000 a year for their work—very little for the important work that they do, really—and much of these royalties gets reinvested in their practice, which will include studio rents and materials. Heirs use the royalties to store, restore and archive artists’ work, so this scheme is hugely beneficial not just to the individual artists concerned but, crucially, to the overall culture of the visual arts in this country.

DACS has confirmed what the Minister said, which is that the change from euros to sterling is useful, in that it will simplify the collection process for the royalty, as well as providing a currency that, to UK beneficiaries, will have a consistent value in the sense of not having to go through an exchange rate. I understand that, in response to the IPO, DACS also looked at the number of sales that would qualify under a new threshold—£1,000 rather than €1,000—which turns out to be a small percentage of total qualifying sales per year.

However, I want to make the wider point that, important as this scheme is, it will most benefit artists who are a few rungs up the ladder and have a reasonable secondary market, although the poorer artists will get the greater remuneration through ARR. Times are extraordinarily tough for a variety of reasons for those artists who are starting out or whose work has not yet achieved much value in the secondary market.

By supporting this scheme, the Government are signalling that they support visual artists, but one of the things that a Government could do better is ensure that artists are properly remunerated for the work they do, in particular for inclusion in publicly funded exhibitions. Beyond ARR, we can and should do much better in this country to support visual artists, particularly at the very beginning of their careers.

My only regret with the present legislation is that it was necessary in the first place. We have not had the gap that those who have benefited from the Horizon programme have endured, although the uncertainty will have caused some sleepless nights for the artists affected. As we know, there is no upside whatever to Brexit for the arts and creative industries. We have, quite rightly, talked a fair amount about the multitude of problems facing touring musicians, and it is too easy to forget that other forms, including the visual arts and the arts trade more generally, are significantly affected by Brexit. As I have said before, artists, particularly those without galleries to represent them, have been reduced to unwillingly smuggling their own work across borders, even for prearranged exhibitions in Europe, which is a ludicrous state of affairs. These are artists who are not just making great work but often very engaged in cultural exchange, which, even in an age of globalisation, feels even more important today, given how much communities, even within Europe, can be riven apart from each other.

In this internationalist vein, whatever one thinks, in the round, about the trade agreements that the UK has been making with other countries, it is good that ARR has been included in these deals, such as with Australia, with which we have a reciprocal agreement. Of course, these regulations honour that commitment that this country is making with other countries that also operate this scheme, as well as encouraging others to implement ARR. When the Minister comes to reply, could he provide us with a full list of those deals in which ARR features, and perhaps explain why the resale right has been left out of trade deals with Canada and India, if that is the case?

I thank the Alliance for Intellectual Property, DACS and the Authors’ Licensing and Collecting Society for their briefings on IP exhaustion. I hope that the Government understand by now how significant it is that so many artists in so many disciplines are united in wishing to continue with the current regime and not move to an international exhaustion scenario, which would so detrimentally affect these industries at every level.

Continuing the UK-plus regime is very much to be welcomed, although industry is mindful that it is officially an interim decision. Designers, writers and publishers alike, the music industry, visual artists and so many others within the creative industries are very much in agreement on this. We are very good at exporting our creative product. For example, 60% of the UK’s book sector income comes through exports, yet it is estimated that a significant proportion of its revenue—about £2 billion—could be at risk under an international exhaustion scenario, with the threat in particular to the domestic market. ALCS says:

“If we were to have a regime of international exhaustion the consequences could be less pay for authors and fewer publishers”


based in the UK able to

“take a chance and invest in creative talent across the country.”

It will be no help to the consumer whatever if, in the end, there is no product to buy.

It is worth thinking in this respect about the structure of the arts and creative industries. It is not a few large companies for which shocks to the system just might conceivably benefit consumers. The UK’s IP-rich creative industries are composed of many businesses of differing sizes, with many small businesses and freelancers. They need support. Within this context, what they need above all else is stability—a key word in the Minister’s speech—which the current regime enables. However, I welcome the new government decision on this, which will provide the necessary continuity that the arts and creative industries require, but we need to make this arrangement permanent.