Copyright, if used effectively, managed well and respected in business arrangements, encourages and enhances access to content in the Internet environment. But with the advent of new technologies and the emergence of a knowledge-based society, new ways of thinking are required in order to ensure that the Internet remains a ‘place’ where information can flow with few if any restrictions. Using the modern museum as example, this paper analyzes two types of intellectual property – databases and photographs – to determine whether copyright protection reduces or enhances access. It also touches briefly on some new management models which meet the needs of the users as well as the authors of copyright materials, while still fulfilling the key financial objectives of the organizations that host or provide content.

The UK’s largest decorative arts museum is re-displaying its British art and design galleries. Information sharing is proving to be an indispensable way of working for the project teams, focused as they are on tight deadlines. Communication between many different parties is vital to the success of the project. Emphasis on electronically stored and transmitted data has given rise to new ways of working. It has also transformed the possibilities of communicating not only within the project and Museum but with visitors both to the Museum site and to its developing online resources. In the future it will also provide for those who will look to these records as a source for the history of the project.

According to a survey by Esther Bierbaum, museum libraries have poor status within their parent institutions, where they are often isolated entities. Yet current electronic developments as part of the information service model are resulting in a repositioning of such libraries within the organisational structure, as well as making them the best locations for museum information centres. Museum librarians are natural guardians of knowledge, and need to focus on supporting the development of information about the museum collections and taking on a leading role as information strategists.

The importance of the Calouste Gulbenkian Foundation in the development of artistic projects and art institutions in Portugal should be seen in the context of the evolution of the political and cultural scene in this country during the 20th century. The Foundation houses two major art museums and, by developing art information resources, has helped fill cultural gaps at times when official support has been scarce. It has also played a key role in coping with the growing cultural demand of the last few decades, both in terms of art activities and art information. The Art Library and the Gulbenkian Museum are placing special emphasis on the need to integrate library and museum information resources, taking advantage of current technologies, in order to improve the services offered to users. Strategies envisaged by the Art Library demonstrate how this convergence can enhance the value of the different kinds of art resources each holds.

Chinese art libraries reflect many of the changes which have occurred in the art and culture of this society over the past 100 years. While a visiting scholar at Nanjing Arts Institute, the author had the opportunity to interview librarians working in major art libraries in Beijing, Hangzhou, Nanjing, Shanghai and Shenyang. This first part of her report gives general background, describes the library collections in the institutions visited, and addresses questions of funding and staff. As the electronic era shrinks the world of art librarianship, and as we seek greater cooperation and expanded networking opportunities, knowledge about Chinese art libraries will provide the foundation for future partnerships and resource sharing.