There is deep significance in Cheryl Dunn calling her solo show, LET THEM EAT CAKE, from both the era that she is now shooting and the area for which many of her best photos have come from. The original story is that during a famine around the time of the French Revolution, Marie Antoinette may have uttered that famous phrase, “let them eat cake,” in response to the protesting, starving peasants for which she was their royal. That disregard and lack of empathy has been perfectly articulated in Cheryl Dunn’s work, where from her studio near Wall Street in Manhattan, or just even on the streets of NYC, has captured the essence of protest, punk and outsider movements in the face of extreme wealth. While the kings and queens of our time are consolidating more and more power, Dunn has embedded herself into the counter-movements, the scenes of authenticity that continue to have a cultural stronghold on the ways we think and practice creativity.
I haven’t done scientific testing. But basically I’d wager that you can expect a 2 stop improvement in terms of low light performance/image quality with the 1D MKIV relative to the 5D MKII.
photographer Dina Douglas has come forward with some details regarding her dispute, and eventual settlement, with Shepard Fairey over Fairey’s usage of her image of a cancer survivor
Artist Shepard Fairey was sentenced to 300 hours of community service and fined $25,000 today in a federal courtroom in Manhattan today for destroying documents, falsifying evidence “and other misconduct” in his civil litigation two years ago against the
Artist Shepard Fairey was sentenced to 300 hours of community service and fined $25,000 today in a federal courtroom in Manhattan today for destroying documents, falsifying evidence “and other misconduct” in his civil litigation two years ago against the Associated Press
Don’t worry: L.A. artist Shepard Fairey, 41, only has a “black eye and a bruised rib” after a pummeling he received in Copenhagen, Denmark last weekend.
The Associated Press and the artist Shepard Fairey have settled their copyright battle over the unlicensed use by Mr. Fairey of an A.P. photograph of Barack Obama in the memorable 2008 “Hope” poster. The A.P. announced the settlement on Wednesday.
I’ve used a number of other brands of 35mm f/2’s and 35mm f/1.4’s and reviewed old images for comparison while testing Leica’s new model, and can definitely say this is the best 35mm focal length lens I’ve tested, period.
“In an attempt to conceal my mistake I submitted false images and deleted other images. I sincerely apologize for my lapse in judgment and I take full responsibility for my actions which were mine alone,” Fairey wrote in a statement on his Web site.
From Shepard Fairey, In Latest Legal Defense, Argues AP Copied His Poster:
The latest filing by Fairey’s attorneys includes 12 examples of images from the AP photo archive that show other works of art, including depictions of Fairey’s Obama poster.
As soon as I snapped the photo above, a guard rushed over to admonish me that photography is not allowed in the show. “I’m not using a flash,” I replied. “Is that OK?” Nope, came the reply. “Must I obey?” I asked. “Yes,” she answered, missing or — more likely — ignoring my too-cute-by-half reference to Fairey’s trademark street-and-clothing campaign about authoritarian imagery, dubbed “Obey Giant.”
As underground art phenomenon SHEPARD FAIREY’s first major museum retrospective prepares to open at the INSTITUTE OF CONTEMPORARY ART/BOSTON on February 6th, we feel the need to address some of the vicious and unfounded rumors surrounding the originality of Shepard’s artwork that have been floated online in recent years. Though written by a variety of different detractors for a questionable array of reasons, the common thread binding them all—aside from a thinly masked veneer of obvious envy in most cases—is a nearly ubiquitous lack of understanding of the artist’s use of appropriated imagery in his work and the longstanding historical precedent for this mode of creative expression.
Now that the source material for the iconic Barack Obama campaign image, produced by Shepard Fairey, has been identified, the fair use fun can begin. The photographer says that he doesn’t want to make trouble. But some in the art world have been gunning for Fairey, arguing that he’s not just a bad artist, but not an artist at all.
Oh dear. After my scoop “identifying” the source photograph and photographer of Shepard Fairey’s iconic HOPE poster, Purchase College digital photography teacher Nathan Lunstrum came up with a different image that appears to be a better and less convoluted match.
The code word was “chill.” That’s what the crew with Shepard Fairey, the cult graphic artist known for his screen prints and stickers of the wrestler Andre the Giant, had been instructed to say if a police car rolled by as Mr. Fairey was wheat-pasting one recent night here, illegally tagging warehouse walls and empty billboards with his black-and-white images. Then Mr. Fairey and his helpers would know to make a run for it, to avoid yet another arrest.
