Smithsonian Releases 2.8 Million Images + Data into the Public Domain Using CC0

Smithsonian Open Access (Social Graphic)The Smithsonian—the world’s largest museum and research institution—announced yesterday  Smithsonian Open Access, an initiative that removes copyright restrictions from 2.8 million digital collection 2D and 3D images and nearly two centuries of data.

This major initiative uses CC0—Creative Commons’ public domain dedication tool—to make millions of images and data freely available to the public.

“Our goal for Smithsonian Open Access is to make the nation’s collection available to people around the world for any purpose…,” explained Effie Kapsalis, the senior digital program officer at the Smithsonian who led the strategy and implementation of Smithsonian Open Access for over a decade. “Over 100 staff members met every two weeks over the past year to create the specs and platforms,” wrote Kapsalis, “and I am extremely proud of the Smithsonian Open Access Values Statement that reflects our responsibilities as stewards of the nation’s collections, and that will be a guiding star as we move to future phases.”

Smithsonian Open Access Gallery (screenshot)
A screenshot of the Smithsonian Open Access homepage, where you can download, share, and reuse millions of the Smithsonian’s images—right now, without asking.

Included in the collection are high-resolution images from all of the Smithsonian’s 19 museums, nine research centers, libraries, and archives (including from the National Zoo); from portraits of historic American figures to 3D scans of dinosaur skeletons. Research datasets and collections metadata are also included, which users can download and access through the Application Programming Interface (API) and GitHub data repository.

CC0 is once again being used to remove barriers to artistic and cultural artifacts.

We’re excited to see this initiative come to fruition as members of the Creative Commons team, including our Interim CEO / Director of Open Education Cable Green, General Counsel Diane Peters, and CC GLAM platform lead Evelin Heidel have worked with the Smithsonian for the past few years on its open access policy. Thanks also to all of the CC alum (Jane Park, Ryan Merkley and more) who worked with the Smithsonian in prior years.

“Today’s announcement matters because the Smithsonian is dedicating its works to the public domain using CC0, communicating to the world’s museums that digitizing and using the right legal tools can and should be done,” remarked Green at the Smithsonian Open Access launch event, “The Smithsonian is a leader in this space, and it is leading.”

Watch video from the Smithsonian Open Access launch event here.

In the coming weeks and months, we’ll be working to share all of the Smithsonian’s millions of newly released works through CC Search, our tool that allows openly licensed and public domain works to be discovered and used by everyone. Additionally, we are pleased to be working with the 3D content platform Sketchfab to make all of the Smithsonian’s 3D scans and models available for download and reuse through CC Search. This coincides with Sketchfab’s announcement that the platform has added formal support for CC0 so that any cultural institutions can now easily dedicate their 3D scans and models to the public domain.

This is an extraordinary time for open access and the public domain, as the Smithsonian joins a growing list of other major cultural institutions that recognize the importance of removing barriers and increasing accessibility to artistic and cultural artifacts.

Let us know how you reuse, remix, and reshare these resources from Smithsonian Open Access by tagging us on Twitter @creativecommons and using the hashtag #SmithsonianOpenAccess!

We hope to encourage more cultural institutions to embrace open access initiatives by offering support, training, and education activities. This is a core aspect of our partnership with the Wikimedia Foundation in the OpenGLAM space. We’re currently preparing a Declaration on Open Access for Cultural Heritage that we expect will help cultural institutions understand how open access to cultural heritage is key to achieving knowledge equity.

If you are affiliated with a GLAM institution and would like guidance on using CC0, or any of our CC licenses, please email us at We’re here to help!

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The Public Domain is Alive and Well (for Now)

Public domain advocates celebrated on January 1 because, for the second year in a row, published works newly entered the public domain in the United States due to copyright expiration.

To mark the occasion, Creative Commons (CC) collaborated with the Internet Archive, the Program on Information Justice and Intellectual Property, Creative Commons USA, the Institute for Intellectual Property & Social Justice, and SPARC to hold the Public Domain Day (PDD) celebration on January 30 at the American University Washington College of Law. 

“This is a ‘good news’ story,” exclaimed Brewster Kahle (Founder and Digital Librarian, Internet Archive) at the start of the 1920s themed soiree, “Another year of the public domain!”

Celebrating another year of the public domain

“The Navigator,” 1924 film poster by Buster Keaton in the public domain

Indeed, there is a reason to celebrate. As we noted last year, January 2019 marked the first time works entered the public domain since the 1998 Copyright Term Extension Act—which extended copyright terms “to the life of the author plus 70 years, and for works of corporate authorship to 120 years after creation or 95 years after publication, whichever end is earlier.” 

The Copyright Term Extension Act ultimately halted the flow of published works into the public domain for 20 years. “The celebration of the public domain used to be a sad affair…,” remarked panelist Julia Reda (Fellow, Berkman Klein Center for Internet and Society). However, as of 1 January 2019, works from 1923 became freely accessible and reusable by anyone, anywhere. This year, works from 1924 followed suit; from George Gershwin’s Rhapsody in Blue to Buster Keaton’s The Navigator.

“We have to be constantly vigilant. Settled expectations can be disrupted, and thus need to be defended.” Michael Carroll

Despite the progress that’s been made since the re-opening of the public domain, Reda told attendees that they still have to create “strategies to limit the damage of long copyright terms.”

Echoing Reda’s concern that the public domain is still at risk, panelist Michael Carroll (Director, Program on Information Justice and Intellectual Property, American University Washington College of Law) warned, “We have to be constantly vigilant. Settled expectations can be disrupted, and thus need to be defended.” 

Contributing to the public domain through art

Beyond providing an important discussion space for public domain advocates and researchers, we also wanted to highlight the work of artists who contribute to the public domain. Therefore, we were excited to showcase the creative works of six local artists: Darnell Gardner, David Amoroso, Laci Jordan, Naturel, Rikasso, and Tenbeete Solomon. These artists were asked to “remix” art in the public domain and invited to share their creative process during the event.

A remix of Diego Rivera’s 1924 piece, “Day of the Dead” by Trapbob.

For example, Tenbeete Solomon, aka Trapbob, remixed Diego Rivera’s 1924 piece, Day of the Dead. “I love the celebration of something that’s dark,” explained Solomon, “[I wanted to] bring the piece into the now, so I decided to make women the focal point.”

When asked what he would like to ask the artist of the original piece, Natural, who remixed  Contrasts by Kandinsky Vasily, responded, “How would it feel to know your work is being shared with the world a second time?” 

Too important to “protect”

As the event drew to a close, many attendees were left wondering what’s in store for the public domain. Although its future appears secure and stable for now, that can quickly change. Further, panelist Amanda Levendowski (Director, Intellectual Property and Information Policy Clinic,  Georgetown University) pointed out that the public domain remains largely “white, wealthy, and Western.” With this in mind, perhaps it’s time to reframe and broaden the fight for the public domain as a global fight for “user rights” and “free speech.”

The public domain should be a treasure trove of humanity’s remixes; artifacts that are arguably too important to be “protected” by copyright because we all benefit when knowledge, culture, and history are made accessible and shareable.

“Everything we do is a remix,” Natural remarked, “we need cultural anchors to communicate.”

To watch and listen to all of the presentations and panels from the 2020 Public Domain Day celebration, access the webcast here. Thank you again to all of our collaborators for this event, as well as the participants and attendees. See you next year! 

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Why We’re Advocating for a Cautious Approach to Copyright and Artificial Intelligence

On 14 February 2020, Creative Commons (CC) submitted its comments on the World Intellectual Property Organization (WIPO)’s Issues Paper* as part of WIPO’s consultation process on artificial intelligence (AI) and intellectual property (IP) policy.

In this post, we briefly present our main arguments for a cautious approach to regulating AI through copyright or any new IP rights.

  • There is a lack of clarity and understanding around “artificial intelligence” 

Technological developments in AI are fast-paced and raise complex policy, legal, and ethical issues that deserve global attention. However, AI needs to be properly understood before any copyright implications can be addressed. At this nascent stage of AI technology, there lacks consensus on how to define AI. 

As discussed more fully in our submission, AI algorithms differ in the depth and breadth of input required to produce coherent output, and it’s not clear how to judge the originality of a work essentially composed of random snippets of thousands or millions of input works. There is also uncertainty about whether and to what extent AI is capable of producing content “autonomously” without any direct human involvement, and whether AI outputs should be protected by copyright. Clarity on these and other basic definitions in the “AI” space is a prerequisite to competent regulation in this arena. 

At present, it is ill-advised to force the application of the copyright system—an antiquated system that has yet to adapt to the digital environment—onto AI. 

  • Copyright is centered on human creativity

Human creativity is the bedrock of copyright. We ought to maintain the expectation that direct human, authorial involvement exists as a pre-condition to determining whether a work is worthy of copyright protection. Outputs from a mechanical process with no direct human involvement should not constitute works protected by copyright absent further examination and understanding of how the many different types of AI operate, generate output, and how closely humans are generally involved in the process. Simply put, it is premature to conclude that all AI applications should be considered “creators.” 

AI-generated outputs should not as a default be considered original works. Courts the world over have affirmed that originality is a reflection of the intellectual, creative choices made by the author. The originality bar may be low, but it does exist and must be respected. 

Regarding the use of copyright material as inputs in AI applications, Creative Commons’ FAQs clarify how the CC licenses work in the context of openly licensed content that is used to train AI tools. 

  • New rights would be inappropriate

Copyright is not designed to handle any and all policy issues adjacent to the creation and use of IP. To wit, press publisher rights and the ongoing debate over broadcasting rights demonstrate the danger of overstretching copyright to regulate peripheral issues. Using copyright to govern AI is unwise and contradictory to copyright’s primordial function of offering an enabling environment for human creativity to flourish. Issues such as ethics, privacy, and personality rights, among many others, are valid concerns, but they should be addressed and debated in their respective policy arena, not within the framework of copyright.

Using copyright to govern AI is unwise and contradictory to copyright’s primordial function of offering an enabling environment for human creativity to flourish.

For the same reasons, we strongly urge against the temptation to create new sui generis (specific, tailor-made) rights established for AI-generated content. Incentives and rewards in recognition of the investment made and the innovation brought about by the organizations and individuals involved in the development of AI can be found in other areas, including patents, trade secret laws, and laws protecting against unfair competition. 

We suggest proper safeguards if copyright or new rights apply to AI

Assuming WIPO members are keen to rely on copyright or new sui generis rights to regulate AI and protect AI-generated content despite our concerns, this should be done conservatively and with restraint. Members should set a high bar for the creation of such new rights, consider a much lesser term of protection than that provided to the original works created by human creators, and ensure that robust exceptions and limitations are in place to uphold users’ rights, safeguard the public interest, and ensure a vibrant public domain. 

Next steps

Creative Commons looks forward to the next version of the WIPO Issues Paper and will continue to take part in WIPO’s discussion process on AI and IP

To learn more about CC’s work with the World Intellectual Property Organization (WIPO), check out this Wiki page

*The WIPO consultation aims to gather submissions to identify important issues related to AI and IP, which will form the basis of structured discussions in the future. For example, the consultation seeks answers to questions such as:

  • Should AI-generated outputs be protected by copyright?
  • Should there be specific exceptions to allow the use of copyrighted material by AI applications?


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Welcome Our Newest Staff Members!

Over the past few months, we have added four new staff members to our team: Network Manager Julia Brungs; Development Manager Moumita C.; Data Engineer Brent Moran; and Open Policy Manager Brigitte Vézina.

Learn more about our newest staff members below!

Julia Brungs
Julia Brungs (Photo by Victoria Heath, CC BY)

Julia Brungs, Network Manager

Prior to joining CC, Julia led the cultural heritage work at IFLA and coordinated EU projects for Europeana. She is passionate about open culture and bringing people together.

Julia lives in Finland and she loves Finnish libraries, saunas, and nature.



Image credit: “Proserpine (1874) by Dante Gabriel Rossetti 1828-1882, CC BY-NC-ND 3.0

Moumita C., Development Manager

Moumita supports CC’s global fundraising efforts and strategy. She has a background in international development, gender justice, and human rights spaces. When not fundraising, she tries to learn new languages or travel.

Moumita is currently based in California.



Brent Moran
Brent Moran (Photo by Victoria Heath, CC BY)

Brent Moran, Data Engineer

Brent believes that the internet is one of the most powerful tools available for collaboration on, and sharing of, creative output. He hopes that his work at CC removes barriers to the free flow of content on the internet.  

Brent lives on the western edge of Germany with his fiancée.


Brigitte Vézina
Brigitte Vézina (Photo by Victoria Heath, CC BY)

Brigitte Vézina, Open Policy Manager

Before joining CC, Brigitte worked as a legal officer at WIPO and then ran her own consultancy on copyright matters. She gets a kick out of tackling the fuzzy legal and policy issues that stand in the way of access, use, re-use, and the remix of culture and knowledge.

She lives in the Netherlands with her husband and two kids. 


Please join us in welcoming the newest members of our team!

As a nonprofit organization, we need you to help us keep the lights on, support our staff, and complete our mission. Become a CC supporter today! 💡

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CC Launches the Global Search for Its Next Chief Executive Officer

I’m delighted to announce, on behalf of the Creative Commons (CC) Board of Directors, the formal launch of the global search for the next Chief Executive Officer (CEO) of CC.

The timing could not be more exciting for CC. We will welcome our next CEO as we prepare to enter our third decade as the global standard for sharing works of knowledge and creativity.

Our new CEO will both shape the organization’s future strategy and operationally lead the team and community by leveraging CC’s tremendous assets. These assets include CC’s core competencies, credibility, and track record; as well as the skills, commitment, and passion of its talented board of directors, advisory council, staff, global network, and volunteers.

This is an outstanding opportunity for a creative strategist and manager to champion the work of a leading voice in the open movement as it evolves its role within its community and the world. 

The full job description can be accessed here.

Questions or confidential nominations can be shared with our search partners at Viewcrest Advisors:

Thank you for sharing this post broadly! 

Molly Van Houweling | Creative Commons Board Chair

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Here’s a Sneak Peek at the Updated Creative Commons License Chooser

This is part of a series of posts introducing the projects built by open source contributors mentored by Creative Commons during Google Summer of Code (GSoC) 2019. Ari Madian was one of those contributors and we are grateful for his work on this project.

The Creative Commons (CC) License Chooser was made nearly 15 years ago and is long overdue for an update. The purpose of the CC Chooser is to help users choose which CC license is right for them and their needs. However, since its release, it has fallen short in a few respects. 

First, the user interface is quite cluttered, with no clear visual hierarchy. For example, elements on the page appear to be fighting for equal importance. Second, the lack of a clear call-to-action makes it difficult to get started using the tool. Third, it’s difficult to understand what the selected license means, as well as get an idea of what the full CC license suite has to offer due to a lack of information.

The New Chooser

Since May 2019, an updated version of the CC License Chooser has been in development as part of the 2019 Google Summer of Code (GSoC). The main goal of the original GSoC project, “Human-Centered Education of CC Licenses,” was to revamp the CC Chooser with a greater focus on usability and on the educational experience of the license suite. Today, the updated CC Chooser is still a work in progress, particularly with regards to the user interface design and internationalization.

A screenshot of the updated CC License Chooser, as of early 2019.

The screenshot above shows a small section of the new CC Chooser. At the top of the image is the updated CC license selection section. In terms of design and usability, this is already a huge improvement over the existing CC Chooser. However, we’re still making minor improvements based on user feedback. We’ve carried over the functionality of the HTML license mark generator from the original CC Chooser but added rich text generation, simplified it to be more usable, and brought a more contemporary look to the generated mark.

A new addition to the CC Chooser is what we call the “Help Section,” which can be seen at the bottom of the image. The purpose of this section is to help answer questions that users might have during the license selection process and to help users get a better idea of what the CC license suite has to offer, as well as how it works.

What’s Next?

The new CC Chooser still needs some work before it’s ready to become the CC Chooser. For example, we need to:

  • Make improvements to the CC Chooser’s UI and selection process. This includes making license selection easier, simplifying the UI, and integrating it with CC’s new web design system called Vocabulary.
  • Internationalize the CC Chooser (i.e. make it available in multiple languages)
  • Finish technical work related to the CC Chooser’s infrastructure

The UI improvements and internationalization work are core objectives of the Outreachy internship running from December 2019 to March 2020. Olga Bulat is the Outreachy intern currently working on the CC License Chooser. She’s experimenting with the introduction of a step-based system for CC license selection, which will help guide the user through the various licensing considerations. She’ll also be collaborating with CC’s legal counsel and communications team to provide updated text describing each license in a clear and succinct way. 

Tasks, issues, and discussions related to the release of the new CC Chooser are tracked with the Launch Milestone in the creativecommons/cc-chooser repository on GitHub.

How Can I Contribute?

Anyone can contribute by testing the beta deployment of the new CC License Chooser. At the top of the page, there is a link to a feedback form. Take a look at the new CC Chooser and let us know what you think! You can also join the #cc-dev-license-chooser channel on Creative Commons’ Slack and keep an eye out for calls for volunteers to test usability.

Those who are technically inclined can contribute by fixing code issues, as well as finding and reporting bugs. The GitHub repo for the new CC Chooser is called “cc-chooser,” and can be found here. Please remember to read the contributing section in the chooser repo’s README. Issues marked with the green “help wanted” tag are open to contributors, however issues marked with the yellow “in progress” tag are not open.

Quick Links

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Introducing the Linked Commons

This is part of a series of posts introducing the projects built by open source contributors mentored by Creative Commons during Google Summer of Code (GSoC) 2019. Maria Belen Guaranda was one of those contributors and we are grateful for her work on this project.

“By visualizing information, we turn it into a landscape that you can explore with your eyes.” David McCandless

Linked Commons (Feature)
Force-directed graph, “The Linked Commons”, uses one month of data.

The landscape of openly licensed content is wide and varied. Millions of web pages host and share CC-licensed works—in fact, we estimate that there are over 1.6 billion across the web! With this growth of CC-licensed works, Creative Commons (CC) is increasingly interested in learning how hosts and users of CC-licensed materials are connected, as well as the types of content published under a CC license and how this content is shared. Each month, CC uses Common Crawl data to find all domains that contain CC-licensed content. This dataset contains information about the URL of the websites and the licenses used.

Using the Linked Commons

In order to draw conclusions and insights from this dataset, we created the Linked Commons: a visualization that shows how the Commons is digitally connected.

In the Linked Commons, nodes (units in a data structure) represent websites of an organization, person, academic institution, etc. A link between nodes exists if one website hosts CC-licensed content that belongs to or is hosted by another website (as indicated by a URL link). A community represents a group of websites that are closely related to each other because they produce and/or share CC-licensed content between them.

Vast quantities of data make any web browser render elements slowly and may eventually freeze. Due to the 100k nodes included in the Linked Commons, the visualization initially took a long time to render and had a clustered appearance—this was a major concern. 

That’s why we decided to use data from only a single month and chose the top 500 websites containing links to CC-licensed material, as well as all of the other domains those 500 nodes are connected to. In addition to lessening the loading time, we found that this was also more user-friendly because navigating the entire dataset’s graph would be dizzying. Even with this smaller dataset, we were able to gather valuable insights from the graph, including discovering subcommunities of CC license hosts and users. One such subcommunity is shown in the image below.

Linked Commons
Educational community, including libraries and universities.

The subcommunity above is an “educational” community; made up of libraries, universities, and schools. 

Visualizations like these are valuable for CC because they can help guide our outreach efforts and targeted communications. The CC Search team can also use this data to choose which domains to prioritize indexing in the CC Catalog.

The visualization is interactive; users can pan, zoom in and out, hover over a node to see its neighbors, and click on a node to display a pie chart, like the one below. We encourage users to test out the Linked Commons and see what insights they can gather from this information!

Linked Commons (2)
Pie chart of
Linked Commons (3)
Force-directed graph, “The Linked Commons”. Neighbors of domain svgsilh highlighted.

What’s next?

We plan to continue working on the Linked Commons. Here are some features we hope to add:

  • Live updates—The graph is currently static because it uses a single month’s data file that has already been processed. We would like to automatically update the graph as soon as new data is processed.
  • Filtering domains by country—Some domains have suffixes that represent countries, such as which corresponds to a domain from Australia. We plan to use these suffixes to filter nodes in the visualization by country.
  • Filtering domains by name—A user might want to check if a specific domain has CC-licensed content and how that content is used. We plan to add a search bar and provide the user with the ability to search for a specific node given a domain name and/or URL.

Interested? Check out the Linked Commons here!

Give us your feedback!

The Linked Commons is an open source project. The project’s source code is available in the Github repo. Contributions are welcome! For the technical details of how this project was developed, please read this series of posts on the CC Open Source blog.

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CC Global Summit: Call for Proposals and Scholarship Applications

We’re excited to announce that the Call for Proposals and Scholarship Applications for the 2020 CC Global Summit is now open! 

The CC Global Summit gathers those in the open community under the umbrella of learning, sharing, and creating; united by a passion for growing a vibrant, usable commons powered by collaboration and gratitude.

Call for Proposals, Art Submissions, and Research Posters

This year, we invite proposals that address the topics and issues outlined in the tracks below with a focus on actionable insights and outcomes, from case studies to workshops and storytelling sessions. 

  • Creators of the Commons—The faces, work, and stories of those building the Commons
  • Powering the Commons—Exploring the tools, technology, and communities that power the Commons
  • Open Education and Open Scholarship—Supporting communities that practice open access to education and scholarship
  • Open Galleries, Libraries, Archives, and Museums—Improving and expanding open access to cultural heritage
  • Policy and Advocacy Promoting the Commons—Strategies for legal action and copyright reform

We’re also pleased to announce that we’ve added two new ways for you to engage with the CC Summit, these include art submissions and digital research posters! Before submitting a proposal, art submission, or digital research poster idea, please read through the submission guidelines!

CC Summit Scholarship Fund 

Finally, in order to reach the largest number of community members possible, we invest a significant amount of resources into our CC Summit Scholarship Fund and invite community members from around the world to submit an application for a scholarship. Learn more about our scholarship program!

Mark these important deadlines on your calendar! 

  • Proposal submissions: 12 February 2020
  • Scholarship applications: 12 February 2020
  • Art submissions: 19 February 2020
  • Research poster submissions: 19 February 2020

Questions? Contact! Interested in becoming a sponsor for the 2020 CC Global Summit, learn more about our sponsorship opportunities by contacting CC’s Director of Development Jami Vass at

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Meet the Artists Commissioned for the Public Domain Day Celebration

Creative Commons is pleased to be a part of the second annual Public Domain Day (PDD) celebration held in Washington D.C. on January 30, in collaboration with the Internet Archive, the Institute for Intellectual Property & Social Justice, the Program on Information Justice and Intellectual Property, and SPARC.

CC TilesIn order to celebrate the public domain and highlight the work of artists around the world who contribute to the global commons, we are excited to showcase the creative works of six artists during the PDD celebration in Washington, D.C. Following the event, these works will be made available under a CC License or released into the public domain. 

Meet the artists below! 

  • Darnell Gardner

Darnell Gardner is a photographer from Detroit. He explores how our senses of self form, fall, and form again.

Connect with Darnell on Instagram @dgardnerjr.

  • David Amoroso

David Amoroso shows his admiration for Latin culture through his artwork. Although the majority of his work is dedicated to painting portraits of everyday people, he also represents Mexican pop culture through his work. David has exhibited and worked in the D.C. Metro Area, New York, California, Arizona, North Carolina, and Mexico, as well as Central and South America.

Connect with David on Instagram @amorosoart.

  • Laci Jordan 

Laci Jordan is a multidisciplinary designer, illustrator, Creative Director, and the true definition of a modern-day renaissance woman. Laci’s work concentrates on color, pop culture, the representation of marginalized people, and the intersectionality that exists amongst all of these spheres.

Connect with Laci on Twitter @SoLaciLike or on Instagram @solacilike.

  • Naturel 

Naturel is a celebrated artist and leader in the creative community and we are excited that he will be showcasing some of his works during our event. Naturel’s influence in the art world and pop culture demonstrates the power creators of color have to shift culture once they are given direct access to their audiences and the power to build their own platforms. 

Connect with Naturel on Twitter @therealnaturel or on Instagram @naturel.

  • Rikasso

Rikasso’s work is best described as a collage of various components that work in tandem to create one cohesive picture. Viewing the various components becomes an engaging game of look-and-find. By using various relatable references, Rikasso gives viewers a sense of themselves in the work. 

Connect with Rikasso on Twitter @Big_Rikassi or on Instagram @rikasso.

  • Tenbeete Solomon

Tenbeete Solomon, aka Trap Bob, is a visual artist, illustrator, and animator based in the D.C. Metro Area. She is known for her use of bold colors and gestures to convey both the humor and struggles of everyday life. Her work is socially conscious and frequently inspired by activism and community issues, with an aim to bridge the gap between her audience and her message. As the founder of Trap Bob World, LLC, a freelance design and product company, Tenbeete has worked with leading corporations, brands, and organizations—including Giphy, Pabst Blue Ribbon, the Elizabeth Warren Campaign, Apple, and Refinery 29. 

Connect with Tenbeete on Twitter @trapbob or on Instagram @trapxbob.

Stay tuned for a follow-up post showcasing these artists’ final works!

Interested in attending the event? Register here! If you’re not able to join us, there will be a webcast available here, starting from 6:30 PM EST on January 30, 2020!

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Join Us in Washington D.C. to Celebrate Culture and Heritage on Public Domain Day

Creative Commons is pleased to be a part of the second annual Public Domain Day celebration held in Washington D.C. on January 30, 2020! 

In collaboration with the Internet Archive, the Institute for Intellectual Property & Social Justice, the Program on Information Justice and Intellectual Property, and SPARC, this event will “bring together a diverse group of organizations, musicians, artists, activists, and thinkers” to celebrate the works entering the public domain in 2020 as well as highlight the “elements of knowledge and creativity that are too important to a healthy society to lock down with copyright law.”


The program includes lightning talks on a variety of topics, such as bias in algorithms, shared cultural resources, and technological innovation. There will also be a panel discussion on “how the freedom to build upon creative works can inspire and move culture” and live performances by the Bob Schwartz Quartet! 


January 30, 2020 | 5:30-9:00pm
American University Washington College of Law, Grossman Hall
4300 Nebraska Ave., NW, Washington, D.C. 20016


  • 5:15 – Registration Opens
  • 5:30 – Facets of the Public Domain – Public Interest Organization Showcase and Reception (featuring the Bob Schwartz Quartet)
  • 6:30 – Realizing Access to the Public Domain 
  • 6:50 – Remixing the Public Domain
  • 7:15 – Too Important to be Protected: Limits on Copyright for a Healthy Society – Presentation by former MEP Julia Reda, followed by Lighting Talks
  • 8:30 – Reception: featuring the Bob Schwartz Quartet

Interested in joining us? Register here!

If you’re not able to attend, there will be a webcast available here starting from 6:30 PM EST on January 30, 2020!

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