Shepard Fairey: Inspiration Or Infringement?

Fresh Air from WHYY, February 26, 2009

The Associated Press has threatened to sue the artist who created the iconic "Hope" poster of Barack Obama for copyright infringement, but Shepard Fairey says his work is protected under the principle of "Fair Use," which exempts artists and others from some copyright restrictions, under certain circumstances.

Fairey based his poster on an April 2006 photo of Obama taken by AP photographer Mannie Garcia. Last month, the AP contacted Fairey threatening him with a lawsuit for using the image without permission, seeking payment for using it, and asking to share in the profits from it.

Pre-empting the suit, the Stanford Law School's Fair Use Project filed a lawsuit on behalf of Fairey stating that his work is protected under Fair Use. Fairey is the founder of Studio Number One, a Los Angeles-based design company; he's created album covers for several bands, including the Black Eyed Peas and the Smashing Pumpkins.

Listen to this story which aired on NPR 2/26/09 here:

(Click on "Listen Now")


Go To See This Film (Free) Based on the Graphic Novel "Persepolis!"

Film: “Persepolis” (2007)

Wednesday, March 4, 2009

4:00pm, Konover Auditorium, Thomas J. Dodd Research Center

"A fascinating and wholly unexpected take on Iran’s Islamic revolution beginning in the 1970s, Persepolis is an enthralling, animated feature about a spirited young woman who spends her life trying to deal with the consequences of her nation’s history. Based on an autobiographical comic book by Marjane Satrapi.

An unique window onto a crucial chapter of 20th century history, Persepolis is graphically engaging with its black-and-white, bold lines and feeling of repressed energy, fit to burst. The emotional content is so strong that after awhile, one almost forgets the film is a cartoon. Satrapi co-wrote the screenplay and co-directed the film along with animator Vincent Paronnaud." --Tom Keogh, Amazon.com


More Summer Internship Opportunities!

American Lung Association of Connecticut of Hartford is now accepting applications for unpaid Summer 2009 and Fall 2009 Graphic Design Internships

Interns will gain experience designing collateral materials for media campaigns, newsletters, and web design. Should be knowledgeable in InDesign, Photoshop, and Illustrator. Interns will assist staff graphic designer as part of regional communications team in fast-paced non-profit agency. Intern will report directly to the Vice President of Communications. Intern will have a flexible schedule so as not to conflict with individual’s school schedule.

After an initial screening process, we will tailor an internship to your specific needs and availability. This real-life, hands on job experience will boost your resume, increase your self confidence, enhance those skills that you have learned in college, and help prepare you for your first job. Set yourself apart from other graduates with an internship that will give you the real world experience that most employers are seeking.

Start date: May 25, 2009
Interested? Contact Margaret LaCroix, Vice President, Communications at 860-838-4369 or by email: mlacroix@lungct.org for an application.



The New Canaan Nature Center is seeking a talented, creative student with a strong portfolio to
assist with the design of printed material to advertise environmental educational programs for
adults, families and children.

Duties include but are not limited to:
• Create brochures, postcards, fliers, posters and signage.
• Develop visual concepts and illustrations for upcoming programs.
• Coordinate distribution and display of materials.

Proficient in InDesign, Illustrator and Photoshop. Knowledge of Dreamweaver, Go Live, or HTML skills a plus. Demonstrate high standards for creativity, accuracy and usability. A quick learner with a self-teaching approach to investigating and solving problems. Strong written and oral communications skills with the ability to work well with a team. High ethical and professional standards and values.

Internships start and end dates are flexible but are expected to last approximately 12 weeks.
Interns must work on site for a minimum of 10 hours per week and will be assigned a New
Canaan Nature Center staff member as supervisor. Interns who do not comply with the time
requirements will be dismissed from the internship program.

Internship is for credit only. Students who wish to receive course credit must arrange this
through their college or university. Your college internship program criteria must be submitted
with your application.

Deadline to submit applications for the summer internship program is April 15, 2009
If called for an interview, the candidate must bring a portfolio of work and be prepared to discuss the projects represented with multiple members of the Nature Center staff.

For more information contact:
Nancy Gamerman
144 Oenoke Ridge
New Canaan, CT 06840
Email: ngamerman@newcanaannature.org
(203) 966-9577 x20



Rossi Studios is accepting resumes and references for interns and apprentices to work directly with the Karen Rossi design studio, located in Connecticut. Internships are considered paid PT/FT positions to assist with commercial, community, and goal oriented projects. We are seeking to increase our network circle of like-minded people for short-term goals and possible permanent placement and freelance opportunities. The schedule is flexible and hourly pay is commensurate on job experience and availability. Candidates should be able to work independently as well as with other team employees.

Sorry, no phone calls. Please submit a cover letter that describes why this opportunity would be meaningful to your career, resume, and references to: info@karenrossi.com
Students who are applying for an internship for credit must submit the appropriate school forms to be reviewed and signed by Rossi Studios.


Speak to Professor Deibler before applying to this position at Rossi Studios.


This picture provided by the Metropolitan Museum of Art shows the painting "Washington Crossing the Delaware" by Emanuel Gottlieb Leutze. It is one of the most iconic and enduring images in American art, dazzling visitors at the Metropolitan Museum of Art for more than a century. But the painting will be out of sight until 2011 as the artwork gets a touchup and an ornate new frame and its gallery undergoes a renovation.

Maria Patino works with others to restore a replica of the original decorative frame that once held the famous 22x12-foot painting. The frame weighs a few thousand pounds and takes up more than 250-square feet, almost as much space as a small Manhattan studio apartment.

Eli Wilner poses for a portrait as workers restore a replica of the original decorative frame that once held the famous 22x12-foot painting.

Workers restore a replica of the original decorative frame that once held the famous painting. This studio has been commissioned to recreate the original frame, which will replace the current plain frame when the painting, now undergoing restoration, goes back on view to the public at the Metropolitan Museum of Art in 2011.

Washington painting in NY gets new frame, touchup

NEW YORK (AP) — The iconic painting that depicts George Washington crossing the Delaware River is getting even more dazzling. The plain frame that held the room-size painting is being replaced with an ornate recreation of its original.
A recently discovered photograph showing Emanuel Leutze's "Washington Crossing the Delaware" with an elaborate border during an 1864 exhibition inspired the Metropolitan Museum of Art to replace the plain frame.

The masterwork's current frame "minimized it," said Carrie Rebora Barratt, the Met's curator of American paintings and sculpture, although it's difficult to imagine how the painting, more than 21 feet by 12 feet, could be missed.

Leutze painted the masterpiece in 1851, depicting Washington and his companions crossing an ice-strewn Delaware River from Pennsylvania to New Jersey. Washington crossed the river on Dec. 25, 1776, in a surprise attack during the Revolutionary War.
Eli Wilner, whose company has made frames for the Met, was hired to recreate the original golden frame — an intricate and large project that takes up more than 250 square feet at Wilner's workshop in Queens.

Leutze had specifically ordered the original, which bore shields at each corner and was topped with an eagle crest and a ribbon that marked lines from George Washington's eulogy: "First in War, First in Peace, and First in the Hearts of his Countrymen."
In the world of frame-making, "this is by far the largest complex project that anyone's ever undertaken in America," Wilner said.

About 30 employees have been involved since the process began in November 2007. Wilner said an Ecuadorean carver, Felix Teran, spent nearly eight months creating the pieces for the crest.
Work continues on the new frame, as employees painstakingly apply clay to the shields or thousands of thin gold leaves to gild the wood.
Wilner and the Met wouldn't disclose the cost of the frame, but Wilner said anyone who wanted to repeat the effort could expect to pay around $800,000.
He expected to finish by the end of the March, but the frame would stay with the company for about two years while the Met renovates the American wing, where the painting has hung for decades.

As work is done to the gallery space, the painting has been moved to another section in its second-floor home because it's too big to fit into an elevator. Rolling it up — as it was transported to the museum more than a century ago — would cause damage.
Washington "crossed the Delaware, but we can't get him off the second floor of the Metropolitan Museum of Art," Barratt said.

While the painting awaits its new frame, Barratt said it also has been getting a touchup. Conservators Lance Mayer and Gay Myers removed grime and deteriorating surface paint from the canvas and added a layer of varnish, making the painting clearer and the colors brighter and deeper.

Barratt said the viewing experience would be "magnificent" after completion of the cleaning, the renovations and the new frame, which she said will have design elements that correlate to the details on the canvas.
"I just think Leutze knew what he was doing, that it's going to make sense compositionally in the way that a great frame should," she said.