S+ART

The Sunny 16 Rule (and Other Useful Suggestions)

Unicycle, Rome, 2009, photograph by Angela Kleis

Back in the olden days, portraits took a long time since they had to be carved in stone.  Then, cameras were invented.  It's hard to believe these primitive cameras used an archaic medium called film, and there was no "auto" setting, so exposure had to be set by hand.  Thank goodness we left the dark ages for digital cameras and their on-board light meters, phew!

 

Except that people still use those primitive cameras, film is still the same fantastic medium it always was, and there isn't always time to stop and take a light reading before that dog riding the unicycle gets away.  How can you be sure to get the right exposure?  (And, you ran out the door without your cell phone, what are the chances?!)

  

The Sunny 16 Rule is a method to estimate the correct exposure without a light meter:  On a sunny day, set the aperature to f/16 and the shutter speed to the 1/ISO (film speed or digital ISO setting) for a subject in direct sunlight.

 

This means that if the dog riding the unicycle is also wearing sunglasses because it's so bright and sunny, and the film loaded in your camera is ISO 100, set the aperature to f/16 and the shutter speed to 1/100 (or 1/125 if that's the lowest setting on your camera).  If the film is ISO 400, then the aperature is set to f/16 and the shutter speed is set to 1/400 or 1/500.  Pretty simple, huh?

Of course, an aperture of f/16 may not always work for your needs - and, the Sunny 16 Rule can be adjusted.  Think of f/16 as a starting point - as long as the aperture and shutter speeds are equivalent, they can be changed:  at ISO 400, with each decrease in aperture number (from f/16 to f/11), double the shutter speed (from 1/500 to 1/1000).  Taking this in the other direction, increase the aperture number by one stop (from f/16 to f/22) and decrease the shutter speed by half (from 1/500 to 1/250).  This basically keeps the amount of light hitting the film or sensor the same since the proportions between the size of the opening (aperature) and the time it's open (shutter speed) are consistent.

 

If the weather isn't sunny, there are other aperature starting points to guide you - just combine with 1/ISO shutter speed:

Bright sand or snow:  f/22

Sunny, hazy day:  f/11

Bright, cloudy day (faint shadows):  f/8

Heavy clouds/overcast (no shadows):  f/5.6

Heavy shade (shadows from tall buildings):  f/4

Hopefully this will help estimate the correct exposure starting point when using a camera without an on-board or hand-held light meter, or to even creatively adjust your DSLR. 

 

-Angela Kleis

 www.angelakleis.com

 

Over, Under, Next: Experiments in Mixed Media, 1913-Present

          One of art’s ongoing assets is its ability to adapt; from social and economic reactions to those regarding aesthetics or ethical values.  Art’s evolution is both natural and necessary.  One such evolutionary leap is the incorporation of non-traditional media into the material vocabulary of fine art.  Whereas fine art once seemed restricted to material choices like stone, paint, ceramics, ink or pencil on paper, bronze, etc.; we now realize the expressive possibilities of discarded clothes, tallow, neon lights, butterfly wings, old radio broadcasts… even living snails.   Manufactured objects (re-discovered and vocal in their new contexts as works of art) alongside installations, assemblages, immersive sonic and film pieces inform our extensive modern lexicon of artistic potential in the Hirshhorn’s exhibition Over, Under, Next: Experiments in Mixed Media, 1913-Present.

Joseph Cornell, Medici Princess, 1952, paint, wood, photomechanical reproductions, glass, paper, string, cork, metal, plastic, and feather in glass-faced wood box. © The Joseph and Robert Cornell Memorial Foundation/Licensed by VAGA, New York, NY. From the Hirshhorn’s collection.

Edward Kienholz and Nancy Reddin Kienholz, Blue Duck Chair, galvanized sheet metal, wood, paint, resin, fresnel lens, mechanical reproduction, porcelain pn steel, brass, leather, and electric light, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC

          The pieces in this exhibition are from the Hirshhorn’s permanent collection and offer an illuminating variety of material-based adventures that traverse subject matter and popular movements from the art world over the last century.  The broader commentary this exhibit seems to make regards the potential for material-specific expression in visual arts.  A collection of assemblages by Joseph Cornell illustrate the possibilities that found objects have in suggesting narrative content, as well as the allure of intimate specimen-like inquest in display and scale.  That presence of scale, with no reduction in narrative or involvement, is elaborated upon in Blue Duck Chair by Edward Kienholz and Nancy Reddin Kienholz, offering a suggestive surrealistic relationship of material and compositional decisions.  Memory of My Youth in the Mountains by Joseph Beuys poses some unique questions on material (albeit, from my perspective, mainly curatorial); composed from tallow, oil, wax, wood, metal and a carpenter’s rule, this piece calls attention to descriptive components based on the nature of the materials themselves.  This is to say, the materials have significance due to what they are, and not only because of their aesthetic or workable considerations.

Joseph Beuys, Memory of My Youth in the Mountains, wax, wood, metal, oil, and carpenter's rule, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC

         Such queries into material choices and what implications can be made by media impart a curious subliminal layer to this exhibition.  Simply put, the inclusion of materials like these into our lexicon of art resources expands the vocabulary and potential dialogue of artistic expression.  Although this exhibit surveys the past century of material exploration, it respectfully represents the initial thrust of the continuing inventive material potential in art’s evolution.

This exhibition runs through September 8, 2013.  For more information, please visit: http://www.hirshhorn.si.edu/collection/home

-Bill Bridges

Max-Karl Winkler: Excellence in Review

As a student I’ve had the good fortune of having several good teachers, and some of those teachers were REALLY good!  The qualities which placed them in that echelon were few, but vital.  First, they loved teaching- the act of transferring understanding and proficiency was like a catharsis for them.  Also, they understood their subject matter exceptionally well (the history, the questions, the critical discourse, etc.).  These teachers recognized when to diligently instruct and when to let go, both for classes and individual students (that was whom they taught to- individuals, not crowds).  Max-Karl Winkler, although never having directly taught me, radiates many of these admirable qualities.  He has been a professional practicing artist and teacher in excess of 40 years, over the past 25 of which have been in the DC metropolitan area.  Max sees the potential for articulate artistic expression in those who crave it enough to learn its materials, techniques and, of course, practice!  In his opinion, the ability to create effective art isn’t linked to some inborn quality, art can be understood strategically through its fundamentals.  This perspective of accessibility is crucial - the dominant point being that potent artistic expression is a result of logical decision making, which comes through knowledge and practice, and less through some elusive magical muse.

                                             
                    Angry Girl on Train (all images courtesy of the artist)                         Ellen at Work

This philosophy is one which Max follows in his own work, as well as imparting it to his students.  The motivations of access and understanding are undercurrents which stem from his “fascination with myth, history and language.”  These inspirations are about communication, and the transference of ideas.  This symbolic root is evident in Max’s work- not only do the prints I’ve seen possess subliminally understood narratives, but the compositional decisions transcend each piece’s individual story to a product of palpable poetry.  The articulate combination of composition, motive and medium are merely the descriptive elements of what makes Max’s work so engaging.  There’s a strong sensation that while you’re witnessing a moment, there’s definitely a past and future which you become implicitly aware of.

                        
     Gull Lake                                                                                                                                                     Standing Nude

            I accepted the opportunity to attend Max’s final class before his retirement from teaching; this was a figure drawing class.  There were two models, which afforded multiple possibilities for interaction and spatial conversation- which the students were encouraged to explore through their compositions’ vantage points.  Posing strategies, which were mostly determined by Max, included long intervals of 20-30 minute poses, and short dynamic poses (1-2 minutes, determined by the models).  The first allowed for detailed exploration of the figures, while the latter provided vibrant gestural studies, as those positions are nearly impossible to hold for extended periods of time.  Max went on to enforce that the gesture wasn’t the making of art, but the learning of it, and that one wasn’t going to “make a masterpiece the first 500 times, or so” doing it.  This further illustrated his commitment to building physical memory and familiarity with materials.  His propensity towards strategy in composition lends such sensible expert advice as extending the vertical and horizontal planes of a picture when one is drawing from real-life.  This reinforces accounting for space, concerning points- like between a knee and a nose, or a hip and an elbow; thus making an accurate composition that’s reinforced through deliberately learning to see one’s subject matter.

                         Woman Washing Hair                                                                         View from Porta Rosa

            The enrichment one experiences in teaching their craft is multi-faceted; teaching makes the teacher a better artisan via explaining inert concepts and techniques to new students.  That process enables the teacher to view his/her own work with a fresh perspective, thereby expanding their artisanship; this translates to them becoming better teachers, and the cycle perpetuates itself.  For teachers who love the vocation and what they teach, the undertaking is a tremendous fortune; and having those teachers is a fantastic advantage for students.  Professional artists who elect to teach are a terrific asset, especially when they are as accomplished, as Max is, at both endeavors.

Max-Karl Winkler: http://www.max-karl.com/

-Bill Bridges

Jennie C. Jones: Higher Resonance

 

               The installation Higher Resonance by Jennie C. Jones at the Hirshhorn museum is a well-grouped, well-functioning installation which offers multiple experiences that respond to the pulse of the museum’s visitors.  Entering the space I was greeted by two wedge-shaped forms on my right; they were low in stature, made from laminated wood, partially covered in coarse dark felt with a neon yellow accent casting a reflection from one’s low corner toward their plinth.  The central space is flanked on two sides by rectilinear compositions partially covered with grey felt, which bear highlights of the afore-mentioned neon yellow, this time in noticeable paint-like medium (which doesn’t detract from the luminescence it casts on the museum’s white walls). 

               The soundscape for this installation consists of a pre-recorded soundtrack which Jones has constructed from re-appropriated excerpts of recordings, in addition to the Hirshhorn museum’s acoustic ambiance (which drifts in from the halls and fluctuates in clarity and volume as visitors enter and exit… some quietly, others not so much).  It turns out that the recorded portion is tempo-shifted and instrument-isolated samples Jones has chosen from experimental music compositions.  Selections from Alice Coltrane, Olly Wilson, Alvin Singleton and other African-American musicians over the past forty years contribute to this soundtrack. Expanding this sonic dialogue is the Hirshhorn’s alarm for patrons approaching too near to sculptures, which calls to mind the timbre of a high-pitched brass or woodwind note.  The material and compositional economy of the visual pieces effectively contrasted with the sonic elements, but not constantly- when the silent spaces of the recording correspond with a lull in the museum’s din, a quietude descended within which the visual pieces seemed omnipresent (perhaps to spite the afore-mentioned cacophony?).

Installation view of Directions: Jennie C. Jones: Higher Resonance at the Hirshhorn Museum and Sculpture Garden, Washington DC, 2013. Photo: Cathy Carver

               Assuming one enters from the right side of the installation as I did, exiting will afford the sight of three screen print compositions, which have staunch vertical linear qualities.  They possess a rhythm which I couldn’t help but feel carried over from the previous experience and helped to sublimate my transition back into a more typical version of reality.

               Further exploration of Jones’s work exposes inclinations rooted in identity, history and a concept steeped in active listening. The latter, perhaps, being why the installation acquires dynamic differences throughout the daily breaths of the museum’s crowd.  Furthermore, the works she displays are artifacts of the physical detritus which comes from music-making and recording (instrument cables, acoustic tiles, cassette cases, etc.).  These material choices carry metaphorical contexts regarding what and whom audiences deem acceptable in the worlds of art and music. The two of which, in Higher Resonance, are intrinsically linked.

               This exhibit runs through October 27, 2013.  For further information, please visit: http://www.hirshhorn.si.edu/collection/home/#collection=directions-jennie-c-jones

-Bill Bridges

 

Hand Held: Gerhard Pulverer’s Japanese Illustrated Books

Mass production has the potential to incite all sorts of prospects, challenges and developments in a society or culture; Kyoto Japan around the early 17^th century was no different.  The combination of woodblock printing and book binding ushered in the potential for effective manufacturing, distribution and convenience of printed information.  Combined with an idle literate warrior class (after all, it was a peaceful period) there became a demand for narrative, humorous and informative enrichment.  These circumstances led towards booms in publishing, artisanship and communication which survive in the collection of Dr. Gerhard Pulverer, currently on display in the Arthur M. Sackler Gallery.

Upon entering the exhibit, one is greeted by historical accounts of these events, in addition to the positive impact this technology and demand had on the developing city of Edo- whose name marks this period of Japanese history (1615-1868).  Poetry, illustration, narrative and erotica bore increased appeal and request, and were met with reprinted volumes of high quality and quantity.

    Hosoda Eishi, Onna sanju-rokkasen, 1801, woodblock printed; ink and color on paper,

Freer Gallery of Art Study Collection

 

Changes in audience, artistry and arrangement arose during this period.  No longer intended solely for the audience of the Kyoto imperial court, artisans offered simplified and illustrated versions of court literature, which broadened its appeal.  Foremost among such artisans in this exhibit is Katsushika Hokusai, who experienced great notoriety as an author and illustrator for poetry in this transformative period.

Katsushika Hokusai, Ehon Sumidagawa ryōgan ichiran, vol 2, 1805, woodblock printed; ink and color on paper; paper covers,

Freer Gallery of Art Study Collection

This collection of artistic heritage also illustrates the influence of Chinese on Japanese culture through informing and instructing painting styles, ceramics and metal working techniques; in addition to exemplifying Japanese craftsmanship in print making, book binding and paper making.  The quality of this collection resonates with the variety and vibrancy of the prints themselves, some of which seem like they could have been made yesterday, rather than over 200 years ago. 

This exhibit runs until August 11, 2013.  For further information, please see the Freer/Sackler Museums’ website:

http://www.asia.si.edu/exhibitions/current/hand-held.asp

-Bill Bridges

 

Boy in a Red Vest

Boy in a Red Vest by Paul Cezanne 1890

 "An art which isn't based upon feeling isn't an art at all" --Paul Cezanne

Madonna of Humility

                                                Madonna of Humility by Jacopo della Quercia 1400

    Madonna of Humility is a marble sculpture depicting the Virgin Mary holding her child Jesus closely to her chest. Created in 1400 by Jacopo della Quercia, this piece was one of many Quercia would become known for. After being trained by his father, Piero d’Angelo, and ready to begin making his own work. Quercia was influenced by Nicola Pisano and Arnolfo di Cambio whose art work adorned the Siena Cathedral. Quercia’s early works were in the Gothic manner and he later transitioned to the highly realistic style of the Italian Renaissance.

    Quercia was not the first to render the “Madonna of Humility” image; it appears in many artworks from Europe during the Renaissance. Even though there are variations on how the Madonna is positioned with the child in these works, the projected feeling to the viewer remains one of love between mother and child. Pieces such as Madonna of Humility were created heralded a new age coming to Europe in not only art, but culture as well.

     Quercia's work is on display at the National Gallery of Art along with many other sculptures and paintings of the era featuring the Madonna and child. Viewing the differences in the artistic rendering of the subject makes a visit worthwhile. 

 NGA website: http://www.nga.gov/content/ngaweb.html

 

-----Dylan Planeta

Out of the Ordinary

    On display at the Hirshhorn Museum is the Out of the Ordinary exhibit. This exhibition encompasses works of art that use the process of faking, copying and duplicating following in the footsteps of Marcel Duchamp and Jasper Johns who both used everyday objects in their work. The exhibit focuses on this technique, causing viewers to look closer at the artwork due to the strangeness behind the familiarity.

    One of the works on display is Katharina Fritsch’s 1989 which is a tower-like structure composed of yellow Madonna’s (shown below) entitled Display Stand with Madonnas. Fritsch, from West Germany, is a contemporary sculptor known for her work by manipulating everyday objects with shifts in color and scale.

Katharina Fritsch, Display Stand with Madonnas, 1987–1989. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC.

    Also on display is Robert Gober’s 1985 Three Parts of an X. This piece pulls in the viewer with its strange familiarity but the slight distortion keeps the viewer consumed and a little obsessed with it. It’s easy to lose a sense of time when staring at Gober’s work attempting to figure out the “puzzle” of exactly what it is.

Robert Gober, Three Parts of an X, 1985. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC.

    This exhibit closes on May 19th and this is one that shouldn’t be missed. Rarely does an opportunity pop up where someone can view works of art as interesting and thought provoking as this exhibit provides.

Tattoo: Your Body of Art

   On April 18th The Smithsonian Associates held an event titled Tattoo: Your Body of Art which was a forum about the significance behind tattoos. This permanent art form is capable of reflecting history and culture on the greatest canvas of all, the human body. As Sam, the moderator said “You want it to represent you. You want it to be something about you”.

                                  
                                        Sam Kean speaking at Tattoo: Your Body of Art

    Jessing, the public program coordinator at the Smithsonian American Art Museum and National Portrait Gallery, began her discussion with a story about her current tattoo; at age 15 she and her boyfriend got matching tattoos. Sadly, her boyfriend passed away and her tattoo became a way to remember him. Life events inspired her to add to her tattoo. She incorporated the Western Meadowlark, her home state’s bird. Jessing also told the crowd that her tattoo has “secrets built into it” such as her parents’ & sisters names into the tree. As time passes, Jessing plans to continue adding to her tattoo.

                            
                                  Jessing showing her tattoo

    Dr. Lars Krutak, better known as the Tattoo Hunter from the Discovery Channel series, traveled around the world observing different cultures and the meaning behind their tattoos, “it opens a window that you probably couldn’t enter through other means of investigation and it is deeply personal”. During his journey, Dr. Krutak traveled to Papua New Guinea and found the Kaningara Tribe who live in a village in the Sepik Province.  He found that they practice skin cutting in order to give themselves “the power of the crocodile” by cutting their bodies in a way that resembles a crocodile and Dr. Krutak became the first foreigner to participate in the ceremony. Further along his journey, Dr. Krutak met Theravada Buddhist monks in Thailand, who practice hand-tapping, giving tattoos that contain magical power.

                                                        
                                                             Dr. Lars Krutak

    Paul Roe, proud British Ambassador of The Bristol Tattoo Club, went through the history of tattoo designs between 1870’s to the present. Roe explained the importance of the bat tattoo, the clubs logo, to The Bristol Tattoo Club. Originally, the tattoo had to be done by a member of the Skuse family for the tattoo to be considered legitimate. This changed when the last surviving member of the Skuse family could not travel to the U.S often enough to meet the U.S clubs’ tattoo demand causing Roe to receive the honor of tattooing international members of the club in his place. 

 

                            
                                                                 Paul Roe

    Roe is an admirer of “the American style” which is a quick form of tattooing. With thick lines and simple color Roe began to clarify how beautiful these tattoos were in comparison to the thinly lined, highly detailed tattoos dating back to the 1870’s. The new style would set in motion a wave of change in the art of tattoos.  

    Even though history, culture, and memories can vary from person to person, so do tattoos. However, all of those things are interconnected because they are not only permanent, but they also define who we are, leaving an everlasting impression on us.

 

----Dylan Planeta

The Spirit of War

The Spirit of War by Jasper Francis Crospey (1851)

"We shall defend our island, whatever the cost may be, we shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills; we shall never surrender." --- Winston Churchill