S+ART

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

The Sculptural Vase

A Smithsonian Associates Studio Arts Course

A student finishes the interior of her vase. Photograph by Jen Schiller.

 

Over the millennia, ceramic vases have served various purposes, depending on the culture. Some cultures used them only for utilitarian purposes, others for religious rites; and others as objects of beauty. For example, the Greek, Syrian, and Turkish cultures adapted their architectural traditions into vases. From the heads of gods to fully carved figures, these vases reflected a departure from the traditional ceramic vases decorated with painted brushwork decoration. In The Sculptural Vase, an 8-session course, students have the opportunity to create their own unique ceramic vase.

Sculptural Vase docent works on her project. Photograph by Jen Schiller.

I sat in on Tuesday’s session with Instructor Alfredo Ratinoff. He kicked off the class by bringing out color samples students had made the previous week. Color samples display how finish coats, layering, and the glazing process react to the kiln’s heat, allowing students to get a preview before committing to their entire project. For instance, Cobalt will appear dry blue by itself but becomes vivid blue with a top coat.  “The objective is to look at the variations you get with different materials,” says Ratinoff.

This student's vase will double as a garlic holder. Photograph by Jen Schiller.

"If you don't have samples, you don't have a good piece," he says. “Certain colors change drastically in temperatures of 2200 degrees. Samples remove the guesswork.” He also points out that the real kiln (a 12-hour process) gives a better glaze than the test kiln (2 hours) used for color samples. He compares the different outcomes to microwaving versus slow simmering a meal: The result is a much richer, more vibrant color.

 

-Jen Schiller

A Re-Introduction to Watercolor

Instructor Daniels (Right) discusses student work. Photograph by Jen Schiller.

Instructor David Daniels of the Smithsonian Associates' Introduction to Watercolor class proves art is a never ending learning process. His mastery of watercolor allows students to gain new insight from each class section and build upon their knowledge. Daniels started the class with a review of student work from the previous week, making suggestions and commentary. Students approached their assignments differently; some displayed skill in photorealistic reproductions of their original photographs while others transformed landscapes into abstract, surreal interpretations.

Student Jonathon Paul creates photorealism with watercolor. Photograph by Jen Schiller.

 

 I never fail to learn something when I sit in on one of Daniels’ studio sessions. For instance, he advises students to steer clear of fugitive, or non-lightfast, hues. Students may find that these pigments disappear from their paintings in anywhere from 50-70 years thanks to UV damage. How can one circumvent this dilemma? By using glass or varnish with UV protection (however these can get expensive). The cheaper alternative: avoid red or pink, the most common victims.

 

Another tricky thing about watercolor is value, and that’s not how much your painting is worth – it’s the amount of light or dark in a particular pigment. Understanding value can improve the intensity and composition of your paintings. How can you affect value? To lighten a pigment you add water (allowing more light to pass through), and to darken it you can add a neutral tint, a compliment, or black. Color theory holds that neutral color contains no color, so adding more of it takes away the white paper’s ability to shine through, hence, darkening value.

 

-Jen Schiller

Related articles

Review: Introduction to Watercolor

Following Up with Figure Drawing

Students work from live model. Photograph by Jen Schiller.

It’s been four weeks since I gave my first impression of Figure Drawing and Independent Projects with instructor Max-Karl Winkler. Each session that followed brought new challenges – such as new models, lessons, and materials – that pushed students to develop their skills. As with practicing a sport, each challenge exercises a new muscle and helps students become stronger artists.

 

Student practices ink wash technique. Photograph by Jen Schiller.

Instructor Winkler with Students. Photograph by Jen Schiller.

Sunday’s class introduced India ink washes. The instructor asked students to draw the light part of the figure with line and use ink wash to describe the shadow. I found this concept especially challenging because I am used to outlining the entire figure in the first 30 seconds to get a sense of the shape as a whole, and then filling in the dark. This new guideline forced me to rethink my approach entirely. I even saw the figure differently; suddenly it was not one form but a two-toned couple, light and dark, lying side by side. Each side has its own personality – the light is softer and more concrete, the dark more watery and ambiguous – but together they form a whole. The ink wash lesson added to my skill range by expanding my tunnel vision view of the figure, helping me see it as tones rather than lines. 

Drawing the live, nude form is an  unsurpassed experience that feels simultaneously primal and Enlightened. Combined with expert instruction, Figure Drawing is surely one of the most challenging - and rewarding - studio arts classes at the Smithsonian.

-Jen Schiller

Review: Drawing on the Right Side of Your Brain

A Smithsonian Studio Arts Course

Blind Leading the Blind, 2005. Oil on canvas. 48"x60" (150cm x120cm). Shahin Shikhaliyev.

Artists and scientists alike are interested in studying the process of drawing. What makes one person a better artist than another? How can one practice to become a better artist? We often hear about how the right side of the brain is responsible for understanding spatial relationships, symbols, and putting bits of information together to form a whole – all essential skills for drawing. Unlike myself, left-hemisphere dominant “lefties” are gifted with linear and logical understanding, but they may lack the creative and spatial command of “righties”, which hinders their drawing ability. Logical individuals seek a concrete explanation of what is going on in the brain so that they may practice and improve upon their skill. That’s where Shahin Shikhaliyev's course, Drawing on the Right Side of Your Brain, comes in. Students walk away from Shikhaliyev's  class with not only a new drawing skill but a new vision of the world.

Friday’s session focused on negative space. The concept is vital in the perceptual understanding of shapes and spatial relationships; for logical lefties, it is akin to learning a new language. Shikhaliyev placed a stool in the center of the room and asked his students to sketch the “space around the stool, not the stool”. In the instructor’s demonstration, a seemingly random collection of shapes magically emerged into a stool. As he drew, he clearly verbalized his process: “I am not thinking about the object. I am just enjoying the line, how it develops, its relation to this line as compared to that line.”

 When it comes to becoming an artist, says Shikhaliyev: “You have to create a new view of the world. You are converting the 3-dimensional into the 2-dimensional. Drawing is a very active process; even though the object exists out there, it is your vision. You are creating it.”

-Jen Schiller

One Point Perspective

An Interview with Photographer and Smithsonian Associates Instructor Leland Bryant

Coexist, 8/08 (Leeds, UK). Digital Capture, Canon 40D. Leland Bryant.

Leland Bryant has been instructing photography for over 25 years and producing inspiring photographs for even longer.  He leads The Smithsonian Associate’s Fine Printing course in which intermediate photographers develop black-and-white negatives into archival prints.  

How did you get into photography?

It’s quite a story. When I was 10 my aunt had a Leica G, which was a pre-WWII camera. I just fell in love with it. So, she let me play with it. We went out the next day and turned [the negatives] in to the People’s Drugstore and they came back shiny, glossy, black-and-white prints – I was hooked. I’ve been doing it ever since.

Your work varies in location and subject matter from parking lots to British architecture, but there is a recurring theme of finding the beauty in the ordinary. How do you choose your subjects?

They speak to me when I see them. You have to be in the kind of mood where you’re not worrying about being late or what you’re doing or who you have to pick up. You have to be in a therapeutic place where you’re looking for another input, for something that will take you out of yourself into an external awareness that lets the left and right brain take on each other, battle each other, and leave you at peace. There is no such thing as a boring thing (except for politics). There is a visual language and dialogue that we need to learn. When I’m behind the camera looking at a subject I am totally unaware of external problems, except for where the sun will be in 20 minutes.

Is that what you’re hoping the viewer feels as they see your work?

My goal is to have the viewer stop for a minute. To silence that internal dialogue chattering away in their brains and have them say, what’s that?

Your piece “The Monster and the Wizard” really caught me. As soon as I saw the title I saw [the forms], but I never would have ordinarily stopped and seen that.

Titles are really important. To leave something untitled is like having kids without names. It’s their personality. So I try not to hang anything that says “untitled”. I got tired of [the “Views from the Parking Lot”] series after I had it on my website. You just need to set things down after a while and come back to them. I picked up my 4x5 and started shooting again in black-and-white, going back to my roots.

What is your favorite part about the Fine Printing course here at the Smithsonian?

These people – the many people who love photography, who battle to come in here, keep this place open, and take the extra time to do something a little better. Because photography is really easy; the magic of electronics has done a very good job. The camera [I’m holding] has more computer power than the first guy who went to the moon. When you think about what a Canon EOS2 can do, it’s astounding. It will give you good pictures, but it won’t put the feet back on in the picture if you did not capture them when you initially took the shot. It won’t put the top of the head back in the photograph or correct your focus. We’re still in charge.

 

To be continued.

-Jen Schiller

Review: Introduction to Watercolor

                               A Smithsonian Associates Studio Arts Course

Blending and scotch tape demonstrations by David Daniels. Photo by Jen Schiller.

The Smithsonian Associate’s Introduction to Watercolor class met for the second time this week. Instructor David Daniels, a renowned watercolor painter and teacher known in the art world as Mr. Watercolor, fascinated students with demonstrations of his distinctive techniques. While he has painted for more than 30 years, Daniels continues to experiment with the medium, resulting in works that capture the eye and are unlike any watercolor you have seen.  “That’s what drew me to this class, and to this instructor in particular,” said student Liz Bumgarner. “His work is not as conservative as typical watercolor painters – it is more complex, brighter, and more colorful. He is more imaginative.” Bumgarner is a photographer who says she always took pictures because she “couldn’t draw”. The beauty of watercolor is that it allows people with varying skills to create aesthetically pleasing artwork with form and color rather than line.  

Mingled (wet on wet) blending demonstration. David Daniels. Photo by Jen Schiller.

Daniels’ students come from a wide range of skill levels, backgrounds, and professions – from photographers to lawyers to retirees. His easygoing teaching style was encouraging yet helpful in this environment; he supported students’ individual visions yet didn’t hesitate to suggest more effective ways in reaching these goals. He kicked off the class with a review of assignments from the previous week, then gave a brief talk on different mixing techniques (flat, graded, and mingled) and their outcomes, then instructed students on creating a glaze chart. Glaze charts are valuable tools in understanding how hues will look and dry in your painting before you commit. By making strips of every color in your palette and painting various colors on top you can see how the colors interact and have a “cheat sheet” for future paintings, sparing you time and supplies. Watercolor involves more chemistry than other painting styles because density and chemical makeup affects how the colors run, bleed and blend.  

Watercolor glaze chart. David Daniels. Photo by Jen Schiller.

“I’ve given lectures around the world,” said Daniels. “And I always say, I can teach you how to draw pretty well and I can teach you how to paint pretty well. But what I can’t give you is that spark of curiosity that causes you to ask, how do I push my painting further?” If there’s one thing in particular I took away from this class, it was the motivation to pursue that spark, to keep pushing my work further.

 

Introduction to Watercolor takes place every Monday from 10:15-12:45 from October 15 – December 10, 2012.

 

-Jen Schiller

 

 

  

 

Upcoming Class: The Era of Modernism Begins

Luscious Invention, Mixed Media. Peter Karp. Permission granted by the artist.

In light of The Smithsonian Associate’s upcoming seminar/workshop The Era of Modernism Begins: From Abstraction to Collage, I got in touch with art historian Aneta Georgievska-Shine and artist Peter Karp, who will be leading the all-day event, to discuss their backgrounds and their relative program activities.   

An interview with Art Historian Aneta Georgievska-Shine

Q: Ms. Georgievska-Shine, You are leading a class this November that addresses the Modernist movement of the early 20th century. What can participants expect from this class?

Participants can expect to get a sense of the important developments in the visual arts that happened in different European cities in the first decade of the twentieth century. 2012 is the centennial of a particularly significant year in this regard, so it is an appropriate time to reflect on and appreciate these events. 

Q: The Modernist movement happened almost simultaneously in a variety of cities across Europe. What were the common sources of inspiration?

One cannot provide a definitive answer, but there was a sense of crisis and a feeling that the world was going through rather dramatic changes. Why did artists strive to completely break from tradition and replace it with something new? What were people looking for? These are some of the questions we shall be addressing.

Q: What were the movements that led to the birth of Modernism?

The second half of the 19^th century was crucial in general, with Impressionism and the various forms of Post-Impressionism, particularly Symbolism.

Q: You are fascinated with the Moderns, from music to painting to their contribution to other arts. What is it about this era that fascinates you?

The radical departure from convention definitely fascinates me – the rejection of the tradition of Western painting, which had always been oriented toward an ideal. Modernists believed that art was not about beauty, but about capturing the essence of the world. Suddenly they were using different materials like newspaper and throwing conventional academic, representational standards out the window… destroying all hierarchies and preconceptions.

Q: Does the movement continue to influence art – even today?

Modernists had a lasting impact in that they opened the field for a variety of possible expressions. In some ways, the “anything goes” ethos of contemporary art is a direct result of their radical embrace of the new.

Q: You use the term “musical painting.” Can you explain?

It’s a mode of painting that tried to be as abstract as music was abstract, starting around 1910. Artists who aimed to create this kind of painting focused on its fundamental instruments: light, line, and color. Kandinski was one of the crucial figures, Kupka was another.

Q: How did you get into art history?

By loving art.

Q: Are you an artist?

I cannot deny that; loving art usually means that one also tries to make art (at least at some point in one’s life).

Q: Who is your favorite Modernist?

Oh, that’s a hard one. There are so many good artists who were working at the same time, so I really cannot have a favorite. That’s the beauty of Modernism.

An Interview with renowned local artist Peter Karp

 

Q: Mr. Karp, What can participants expect for the workshop portion? 

 

An opportunity to experiment and explore new ways of artistic expression. Hopefully, participants will bring their own expectations and discover their creative talents.

 

Q: What tips would you give to someone who has never collaged?

 

Don’t wait for inspiration, start somewhere. Keep it simple, one good idea goes a long way. Don’t be afraid to “steal”.

 

Q: Your work is evocative of early 20^th century Modernism, such as Cubism and Dada. Why does this style intrigue you?

 

Dada has probably had the greatest influence on contemporary art of any avant-garde movement so I think it is virtually impossible to ignore. But it’s also in my blood. Having grown up in Berlin during and after WWII, it was natural to embrace its challenge of traditional values and revolutionary approach to making art.

 

Q: Your use of black and white is distinctive and intriguing. Why do you largely stay within the grayscale?

 

Gray is of interest to me because it signals ambiguity, and ambiguity is conducive to conversation. And much of my work is about inviting speculation and conversation.

 

Q: Many of your works blend exquisite (and sometimes contradictory) human forms, geometric shapes, and nature scenes. What’s the significance?

 

The significance emerges, hopefully, in the mind of the viewer as he/she looks at my work. Some of my pieces have an underlying narrative, others don’t. And the logic, if there is any, is the logic of dreams.  

 

Q: What’s your favorite piece?

 

The title is “Luscious Invention”, borrowed from a Steely Dan tune. It is a very quiet, dreamlike construction, now in the possession of a dear friend who bought it from the wall of my house. I still miss it, but get to see it when we have dinner at their house.

 

Q: Do you have a specific process that you go through while creating your work?

I call it “systematic coincidence”. I rarely begin with a pre-conceived notion of the final product, but often with an image or object of interest to me. It’s a  process of creating/juxtaposing images and objects, without the filter of reason. I often work on several projects at the same time, with carry-over of ideas from one project to the other.

 

Q: Have you always worked with collage?

 

Actually, not at all. My first art classes at the Corcoran were in portrait drawing and painting, which I still enjoy. My interest in collage and assemblage began in 2005 when I was invited to contribute ten portraits of soldiers who had died in Iraq and Afghanistan, called “Faces of the Fallen”.  Photography also plays an important role in my work.

 

Q: What’s the most difficult thing about being an artist?

 

Getting started, and knowing when a piece is finished.

 

Q: Do you have a golden rule for art?

 

It’s never good enough.

 

For more information on Peter Karp’s work, contact Studio Gallery.

The Era of Modernism Begins: From Abstraction to Collage takes place Saturday, November 17 from 10am – 4pm. Don’t miss out on creating your own personal collage!

 

-Jen Schiller

 

First Impression: Figure Drawing Course

Male nude, c.1917-1920. John Singer Sargent (1856-1925). Photograph by G. Dallorto. Source: Wikimedia Commons.

Figure Drawing and Independent Projects, an 8-session course held by The Smithsonian Associates, began on Sunday. Artist Max-Karl Winkler is the instructor, who has taught studio arts courses since 1968 and whose illustrations have been published by the likes of The Washington Post. This month marks his 25^th anniversary of working with The Smithsonian Associates.

Artists from every experience level trickled in, set up their easels, donned their smocks and readied their charcoals. The instructor blanketed the model’s platform and angled the studio lights, and the model took his position on the pedestal. Jiri Stavovcik is one of the best models this side of the Mississippi, Winkler voiced. I was convinced as soon as he seemed to come alive under the dramatic lighting, his pose intense and purposeful from fingertip to facial expression to toe. At first, keeping up with the short pose intervals was stressful – It was as if my hand was racing the clock. But the 3 minute, 2 minute and 30-second intervals were strategic in getting the students to loosen up and capture gesture and form. This is always the hardest part about drawing for me – breaking loose from inhibition and perfectionism, my inner nagging voice. The exercise allowed my body to take over, to “feel” the figure rather than see it, and prepared me for the longer poses.

Next the instructor requested specific poses of the model for the 25 minute sets: an inclined standing pose, an upright seated pose, and finally a sideways fetal position. As students sketched, he would circle the room giving tips and occasional commentary. Beginning drawers had the option to step outside and hear a more in-depth talk on proportions and anatomy. Three hours passed by in no time, and I already sense an improvement in my figure drawing skills. But there is still so much to learn and the next 7 weeks will provide invaluable practice.

The course is held every Sunday, 1-4 pm from October 14-December 16, 2012.

 

-Jen Schiller

Drawing on the Right Side of Your Brain

Popular theory on right-side brain activity holds that the right brain is primarily responsible for the intuitive understanding of visual and spatial relationships. Designed to improve the way people see and record objects on paper, a set of visual exercises helps build the ability to draw. If you doubt your artistic ability or were told as a child that you could not draw, this is your opportunity to challenge that perception.

 

Even though I have an art background, this course has proven to be a successful challenge and enhancer. It never came across to me as an art educator and artist that I would forget how to draw. Before entering college I was never taught ‘how to draw’ besides my one and only art class in high school. My first drawing class EVER was in college. This Smithsonian Associates course taught me more than what I learned in my first college drawing course.

 

On the first day of class, we started with an activity that illustrated the mental conflict that occurs between the L-mode and R-mode of our brain. When doing this activity my mind was tricked – this famous optical illusion drawing, titled “Vase/Faces” allowed me to see either a symmetrical vase in the center or two facing profiles. My task was ultimately to see and complete the second profile, which inadvertently completes the symmetrical vase in the center. Shahin Shikhaliyev was our instructor for the course — he knows his stuff! He warned me, that since I already had a background in drawing I needed to put that in the back of my mind and act as if I had never taken a class.

 

Desire, Shahin Shikhaliyev, 2008, Oil Painting.

This course had me becoming best friends with the right side of my brain – some evenings were a success and others left me with a splitting headache. I realized after the second class, that when taking this course one has to center his or her chi in order to utilize the right side. I had to let go of everything that was going on around me and literally see what shapes made the object versus what the object was. My mind kept telling me this is a stool or this is a nose but I had to let go. 

 

I highly recommend taking this course! This course is for beginners who have zero drawing experience - like the majority of my classmates - to people with art degrees like myself. I’m not saying it’s an easy class, but it’s not necessarily difficult — it requires effort and outside dedication/practice.

 

Drawing can be such a hard skill to learn, but one benefit from learning how to draw and taking this course is getting to know your own brain a little bit better. Check out our photo album for images of this course.

 

The course I took was, “Drawing on the Right Side of the Brian” on Fridays, July 13-August 17 from 6 – 8:30pm.

 

-Christopher Trujillo