text:
"In art, when you are creative and inventive, you can work with what you have and arrive at something new."
-Joseph Cassar
Edgar Degas, Bowing Dancer, (1880-1885)
Edgar Degas was an artistic genius. He studied classical techniques and is known as one of the founders of Impressionism. Fun fact: he didn't have enough money to always buy canvas or paper, so he often drew and painted on cardboard.
This is just one nugget of knowledge I learned last Saturday at the Smithsonian Associates incredible workshop,"Learn, Look, Create: Investigating the Art of Drawing." Led by artist and art historian Joseph Cassar, workshop participants explored the art of drawing through lectures, demonstrations, a museum visit, and hands-on studio time.
Cassar presenting
Photo by Haley Moen
The day began with Cassar's captivating presentation on the history of drawing. He explained the fundamental drawing techniques and materials used by master artists, such as Michelangelo, Fra Bartolomeo, and Albrecht Dürer. For example, he shared photos of Michelangelo's sketches to show that every masterpiece begins with a drawing, such as Michelangelo's beloved paintings, The Creation of Adam and The Last Judgement.
Michelangelo's study for The Creation of Adam, 1508
Study for The Last Judgment, unknown
Artists, such as Michelangelo, used the most common drawing mediums - charcoal and conté. Charcoal is a carbon made from spindle tree wood. It has a powdery, dark residue and it's easy to erase. By contrast, conté is compressed powdered graphite or charcoal mixed with wax or clay to produce a shiny, polished finish.
Cassar discussed and demonstrated both mediums throughout the day. During our private tour of a few rooms in the Hirshhorn Museum, he used charcoal to teach the technique when you don't lift your pencil from the paper. He described it as "capturing the rhythm of the subject," and he said that Henri Matisse described it as "taking a line for a walk."
Cassar demonstrating drawing techniques
Photos by Haley Moen
When I tried the "no picking your pen up from the paper" technique, I wanted to fix and erase my marks. Then I thought about what Cassar said during his lecture:
"Art is serious. But please, take it a little lightly….because it should be fun, too!"
Cassar was an entertaining speaker. He exudes passion for art, and it's clear that he's talented and knowledgeable. After all, he earned 5 art degrees! He studied art at the Malta Government School of Art and at the Accademia di Belle Arti Pietro Vannucci in Perugia, Italy. He has a PhD in Art History and Criticism from the University of Malta, an MFA from Charles Sturt University, New South Wales, Australia, and an MA from Columbia Pacific University, San Rafael, California. He is a super cool guy – learn more about him here.
After the Hirshhorn museum visit, we enjoyed a delicious catered lunch. It was the perfect fuel for the latter half of the day: more demonstrations by Cassar and studio time to apply what we learned.
Cassar began by showing us the cross-hatching technique to render darks and lights with graphite pencils. Later we used charcoal sticks, which were messy but fun! We drew spheres with dramatic lighting.
Drawing and Photo by Haley Moen
This program was a fantastic way to explore the history and fundamental techniques of drawing. One of my favorite moments of the day was during Cassar's tour of the Hirshhorn Museum, when he led us to Jannis Kounellis' installation of plasters of Greek busts and figures. They're fragmented and precariously arranged to suggest a breakdown of art and the destruction of cultural cohesion. The broken parts, however, can still be drawn, studied for artistic purposes, or viewed for aesthetic pleasure. They're still there. Cassar even told us that he strictly studied plasters of classic busts and figures for four years in Italy. While this installation suggests the downfall of classical art, it may also represent it's survival and hope: the survival of traditional art ideologies and the hope that art from all centuries will be respected and preserved, one way or another.
On that note, here is one more nugget of knowledge Cassar shared while discussing the evolution of drawing:
"Anything that is old does not mean that it's old-fashioned. Anything that is new does not mean that it's better. We must analyze carefully."
This awesome workshop was one of many that we offer. It also counted as a 1-credit elective course for our exciting Certificate Program in World Art History. I loved it because of its unique combination of lectures, a museum tour, demonstrations, and studio-time. At the end of the day I was particularly inspired to keep investigating the rich history of this timeless art. Stay tuned for more re-caps of the programs we offer here at the Associates!
…painting a picture is like fighting a battle; and trying to paint a picture is, I suppose, like trying to fight a battle. It is, if anything, more exciting than fighting it successfully. But the principle is the same.
-Winston Churchill, Painting as a Pastime (1965)
Mimizan Plage, Landes. Churchill (1920)
Throughout history, a select few political leaders have painted as a hobby: Winston Churchill, Ulysses S. Grant, Dwight D. Eisenhower, and George W. Bush. Although painting and political policy seem to be polar opposites and both too time consuming to pursue simultaneously, these four politicians exemplify that painting is a balancing and mindful practice—something that is especially advantageous in a busy, high-pressured life. Are there other political figures who painted? Ones with much darker roles in history? Sure. As many of us know, Hitler was rejected from art school. I discuss the following four figures because, for me, they best demonstrate the benefits and joy that painting has to offer.
I start with Churchill because he was arguably the most passionate painter out of the bunch. He painted 530 works in his lifetime, which is especially impressive because he did not start painting until he was 40 years old.
Why did he start painting? After a failed naval attack in the Dardanelles that occurred under his leadership as First Lord of the Admiralty during World War I, Churchill resigned and started to paint as a way to overcome his chronic depression. His sister-in-law originally encouraged him to paint. She lent him her young son's paint kit. From there, Churchill never stopped. He famously said "experiments with a child's paint-box led me the next morning to produce a complete outfit in oils."[1] Shortly after, artist and friend Hazel Lavery taught him some techniques that led Churchill to pursue his hobby more seriously.
Winter Sunshine, Chartwell, 1924
In 1924, Churchill won his first amateur prize for "Winter Sunshine, Chartwell," a sunny depiction of his home in Chartwell. That same year, he sent five paintings to be exhibited in Paris. Four were sold for £30 each. Although he made some money from his work, he remained a devoted painter because it made him happy. He found tranquility in art. As English journalist William Rees-Mogg stated, "In his own life, he had to suffer the 'black dog' of depression. In his landscapes and still lives there is no sign of depression."[2] Indeed, the majority of Churchill's works are peaceful, impressionist landscapes painted with pastel colors.
Distant View of the Pyramids, 1921
Churchill discovered that painting landscapes allowed him to notice details – varying hues, lights, forms – that he never noticed before. Painting became a meditative process. It consoled and rejuvenated him. He reflected on his soothing observational landscape studies:
"One is quite astonished to find how many things there are in the landscape, and in every object in it, one never noticed before. And this is a tremendous new pleasure and interest which invests every walk or drive with an added object. So many colours on the hillside, each different in shadow and in sunlight; such brilliant reflections in the pool, each a key lower than what they repeat; such lovely lights gilding or silvering surface or outline, all tinted exquisitely with pale colour, rose, orange, green or violet."
The Harbour at St. Jean Cap Ferrat, 1921
He painted during times of war and peace. For instance, he managed to paint one canvas in January 1943, during a visit to meet Franklin Roosevelt in North Africa. He also painted after his daughter, Marigold, passed away. Painting provided a remedy for pressure and anxiety, as demonstrated by the following excerpt from his book, Painting as a Pastime.
"Like a sea-beast fished up from the depths, or a diver too suddenly hoisted, my veins threatened to burst from the fall in pressure. I had great anxiety and no means of relieving it ... And then it was that the Muse of Painting came to my rescue — out of charity and out of chivalry ... — and said, "Are these toys any good to you? They amuse some people."
Churchill's words and works continue to inspire people to paint today, leaving the legacy that it's never too late to learn a new art.
Distant View of Eze, date unkown
Click here to see more of Churchill's paintings.
Ulysses S. Grant
Although he did not pursue painting to the extent that Churchill did, Grant was an accomplished painter. While he was training at West Point Military Academy, he created paintings and sketches that are still around today. Many are privately owned, and a few are in museums.
Is that a sword or a big paintbrush in his hand?? :)
Grant especially loved details. One of his most famous pieces is a painting of a Native American trader kneeling beside a dog and a woman breastfeeding. It is on display at the museum at West Point.
He also made paintings to give as gifts. At the age of 18, he painted a tranquil landscape for his girlfriend at the time, Kate Lowe. In the 1870s, he gave several of his pieces to Adolph Borie, Secretary of the Navy and one of his favorite card playing partners.
He created several sketches of horses because they were favorite animal, and he was the greatest horse rider in the army, (fun fact – one of the few times Grant became angry was when he saw a horse being mistreated during the Civil War.)
Check out the paintings discussed on this webpage.
Grant's hobby revealed a softer side to him. As President, he spoke about the satisfaction he felt when he created something "artistic." And he wasn't the first president to pick up a paintbrush – read on to see who else!
Dwight Eisenhower
Eisenhower started painting at a much later age than Grant, but guess who encouraged him to start painting? His good buddy, Winston Churchill! By this time, Eisenhower was 58 years old and the Chief of Staff of the Army. It is also said that Major General Howard Snyder recommended that he paint as a way to relieve stress. Once he started, he couldn't stop. He would sometimes spend up to two hours trying to get a color "right." Below is a portrait of Mamie Eisenhower, painted by Thomas E. Stephens, that originally inspired him to pick up a paintbrush.
Eisenhower stated that he found more time to paint as president because his time was better scheduled. By the end of his lifetime, he produced at least 250 known paintings. Although unskilled, they show significant effort. His art was even displayed in New York at the Huntington Hartford Museum in 1967.
Eisenhower's hobby represents the importance of appreciating the arts at a national level. He gave one of his paintings, "Landscape in Switzerland" to Major General and Mrs. Everett S. Hughes. In 1980, Mrs. Hughes niece inherited the painting, and then sold it to the Lyndon Baines Johnson Library and Museum Foundation three years later, where it remains today. It is held here because Lyndon Johnson was committed to prioritizing the arts.
This preservation and appreciation for Eisenhower's work illustrate that political leaders have continued to promote the arts as a national priority.
Dwight D. Eisenhower, 1942
President George W. Bush
After reading Churchill's Painting as a Pastime, President Bush was inspired to pick up a brush in 2012. Perhaps the most interesting fact is that he painted 30 portraits of various world leaders who he collaborated with as president. The portraits illustrate his relationship with that person. For instance, Vladmir Putin looks disinterested and concerned in his portrait. The Dalai Lama looks joyful and amused. The portrait of Bush's father is perhaps the most carefully done with extra details and colors. Bush explain that painting helped him relax and express his thoughts in a new way. He also loved to paint dogs.
Painting can serve many purposes – it can be someone's entire livelihood, or it can be a casual hobby. These 4 individuals' genuine interest in painting represents the benefits that art can provide as a way to relieve stress, express love, and think creatively—abilities that are especially important for people in political power. Above all, their stories show that anyone (you?) can learn to paint – no matter your age or how busy you are.
To close, a note from Churchill:
"Happy are the painters for they shall not be lonely. Light and colour, peace and hope, will keep them company to the end, or almost to the end, of the day."
Churchill Painting
Churchill waving the Victory sign to the crowd in Whitehall on the day he announced to the nation that Germany had been defeated, 8 May 1945.
[1] Robbins, Ron Cynewulf. The Artist Winston Churchill. National Churchill Museum.
[2] Rees Mogg, William (22 May 2007). "Portrait of the artist with his black dog". The Times (London).
There are MILLIONS of pounds of plastic in our oceans today, and that number is scarily increasing. At the current rate, the World Economic Forum and Ellen MacArthur Foundation reported that the weight of plastic in oceans will be greater than that of fish by 2050.[1] The increasingly threatening plastic weight in our oceans flows through the ocean's tides and accumulates in giant patches. According to the Washed Ashore project, the most well-known patch is called the Great Pacific Garbage Patch, an area twice the size of Texas.[2] Common plastic products include bags, bottles, toys, toothbrushes and fishing gear. This waste takes years to decompose and often kill sea life that mistake it for food.
What is being done to save the seas? How many people are aware of the severity of ocean pollution? In order to motivate people to take action, they must be informed about the issue. One method of increasing awareness is through art. Not just any art, but art that arrests a viewer, art that forces nearly everyone that walks by to stop and stare and learn about the artist's intention.
The Washed Ashore: Art to Save the Sea exhibit is doing just that. Currently held at the Smithsonian Zoo until September 5, these 17 larger-than-life sea creature sculptures are composed entirely of plastic objects found in the sea. This exhibit visually shows viewers the severe impact of plastic pollution in our oceans.
The first sculpture, Priscilla the Parrot Fish, is placed directly after the zoo's main entrance. At first glance, Priscilla looks like a colorful, fun fish. When you look closer, you see that she is made of plastic toys and other beach objects. Still, kind of fun, but not after you read about the message behind the art. The plastic toys were found under the sea, where parrot fish and their coral reef homes are endangered due to plastic debris.
Priscilla the Parrot Fish and Me
Photo by Jordan Cohen
Close-up of Priscilla
Photo by Haley Moen
As you continue to walk through the zoo, you will find more visually-arresting plastic sculptures accompanied by informative boards that illustrate Washed Ashore's mission to save the seas. The sculptures draw you in because of their massive size and colors – you can't miss them. You feel drawn to read what they're all about. Once up close, you may get lost in the layers of plastic waste that have been transformed into a work of art. I was particularly surprised by some of the objects I found – a Barbie Jeep, detergent bottles, car oil bottles, and a toilet seat. Something about the peculiarity of these objects made me realize that the presence of plastic in our oceans extends beyond any scope that I imagined before I visited the exhibit.
Photos by Haley Moen
Washed Ashore: Art to save the Sea is meant to evoke, to raise awareness. Over the span of 6 years, the exhibit's lead artist and Washed Ashore executive director, Angelina Haseltine Pozzi, and over 1,000 volunteers collected trash from the ocean for the art. When speaking about the exhibit, Angelina stated, "I decided to take action…artistic action, and involve as many people as possible in the process. I knew the language of the arts could affect people in ways they could not ignore." Her words are displayed at the zoo on one of many informational boards throughout the exhibit:
Photo by Haley Moen
If you haven't checked it out already, I recommend this exhibit. Here is the Washed Ashore website if you wish to learn more and/or take action. To read more about the artist, here's her website. And don't forget to recycle plastic!! :)
As Angela herself concludes, "Everyone can make the world a better place – it is the reason we are here."
Photo by Jordan Cohen
In April 2016, I conducted a 4-week independent study project on an indigenous type of pottery in the Pastaza region of Ecuador. Specifically, I lived and learned at Rosa Dahua's house in a small city called Puyo, where approximately 36,659 mestizo and native people reside.
Puyo on map of Ecuador
Rosa's house and studio
Photo by Haley Moen
Rosa is Kichwa, one of many native nationalities in Ecuador. She is a master potter of ceramics, a traditional craft that is fundamental to Kichwa identity. Traditionally, a Kichwa woman was not considered worthy unless she made ceramics, and men were not allowed to produce the delicate craft.
Today, girls are no longer required to learn how to make it. Due to a multiplicity of urbanization processes in Ecuador, many native communities have moved to cities to live a "modern" life. Further, foreign oil and logging companies have exploited the Amazon region, which forced many indigenous people out of their native lands. This shift from rural to urban living has prevented indigenous people from carrying on many traditional customs, such as pottery-making.
Ceramics are an integral part of Kichwa identity because they are not only made for practical purposes in the kitchen, but they also are used at parties and ceremonies.
For example, this is a mukawa (plural: mukawakuna). Mukawakuna are used to serve chicha, a drink made from fermented vegetable root called yuka. Beware the chicha that has fermented for many days – it's strong!
Chicha in a mukawa amongst unfinished ceramics
Photo by Haley Moen
Enjoying chicha
Photo by Rosa Dahua
Kichwa people prepare chicha to drink every day in the house or at special ceremonies. For example, there is an eight-day celebration in November during which the women produce a mountain of mukawakuna to drink chicha. After everyone drinks, they smash the mukakuna by throwing them at the ceiling. The main purpose of this ceremony is for women to find husbands.
In addition to the mukakuna, ceramists create musical instruments and figures out of clay for cultural celebrations. For example, here are cornetas, an instrument that produces low, deep sounds.
Two Cornetas
Photo by Haley Moen
Ceramists also use clay to render figures of mythological spirits. There are TONS of spirits in Kichwa philosophy. Each has a special story that reveal Kichwa values, such as respect for nature, compassion towards others, or the importance of preserving their native language.
Here are some photos of an evil spirit I made called a huri huri huarmi. This spirit lures people and animals under giant tree roots where it lives, only to kill and eat them with their second mouth in the back of their head (2-faced figuratively and literally!)
Front view of Huri Huri Huarmi
Photo by Haley Moen
Side view of Huri Huri Huarmi
Photo by Haley Moen
Back view of Huri Huri Huarmi
Photo by Haley Moen
Spirit ceramics used for celebrations can also provide a visual representation of Kichwa people's relationship with the outside world. For example, women make unattractive monkey figures or monsters to represent foreign people who have invaded and exploited their land.
There are hundreds of abstract designs painted on the ceramics, creating a secret language among the Kichwa people. Each design represents a spiritual force, an animal, or a plant from the Amazon jungle, which Kichwa people refer to as Pachamama, or "mother earth." Each spirit, animal, or plant exhibits special qualities. For example, Here are some pictures of mukawakuna and the meaning behind their designs.
Design: Tortoise design, large mukawa
Design: Lizard Eye, small mukawa
Desgin: Yaku Osa (mother of river), medium mukawa
Tihirsanka (type of bird), small mukawa
Bird wing design, small mukawa
Design: Snake spine, small mukawa
Photos by Haley Moen
Often a ceramist will paint designs based on her dreams. For example, when Rosa dreams of a river spirit, she paints a river spirit design the next day. While I was working with Rosa, I had a dream about tortoises and snakes, so I painted tortoise and snake designs the next morning on my mukawakuna! For me, the painting part was the most difficult because it required the most time and patience.
Painting tortoise design
Photo by Rosa Dahua
The paintbrushes are made from four to five strands of hair from a child, and every other tool to make the pottery is carefully retrieved from the Pachamama. For example, the palette for the paintbrushes is a bowl-shaped rock, and the clay is found 2 or 3 feet below the moist earth next to rivers. The three paints – black, white, and red – are made from rocks that the ceramist grinds together with rainwater to make a watery paint mixture. Even more interestingly, the ceramist will dream of certain river stones that she must find the next day. She uses the smooth stones to sand the surface of the ceramic before she paints the fine designs. There are a multitude of other tools from nature used throughout the production process. As the ceramist collects the materials from the earth, she only takes what she needs from the earth – not a leaf or rock more. This demonstrates the respect and compassion Kichwa communities have for the Pachamama.
Here are some photos I took using these awesome tools from nature:
Clay Coils for Mukawa
Mukawa coil method
Three wiwishku, or pieces of tree gourd, used to form mukawa shape
Corn husks used to smooth surface before painting
Making red
Mukawakuna drying after first base paint layer
River stone used to polish ceramic before designs
Grinding paint in rock pallet
Longer brushes from child's hair
Firing over traditional wood-burning fire
Sealing hot ceramic with piece of tree resin to produce shiny finish
Photos by Haley Moen
Although the production of this pottery is integral to Kichwa culture, many women have stopped learning how to make it. In addition, the relatively few Kichwa ceramists today, such as Rosa, sell to tourists and international companies. For example, Rosa collaborates with Fundación Sinchi Sacha, a company in Quito that exports South American indigenous artisan crafts to China.
Although the ceramics have managed to survive in a global market, their production has decreased, and they are not used as much for their traditional purposes. This shift in their use exemplifies how indigenous customs are often altered by global mechanisms.
Here is a photo of Rosa packing 118 little spirit head ceramics with newspaper to ship off to Fundación Sinchi Sacha.
Photo by Haley Moen
In case you are wondering, the tiny spirit heads looks like this. They are called Walilumbas and can be hung on walls.
Photo by Haley Moen
Rosa, who taught me the majority of what I just shared, was not only an incredibly talented teacher and master-ceramist, but she was also my friend. She is a single mother of 6 beautiful children, and she is beloved by many. She is also one of the hardest workers I know. She would wake up by 6 AM every day to start work. She would not stop until 10 or 11 at night, with only a couple breaks to cook delicious meals or to clean the house. For Rosa, ceramics are her livelihood. She graciously opened up her heart, her home, and her studio to my presence.
Finally, Rosa's first language is Kichwa, which has many dialects that are only spoken between Kichwa families and communities today. She also speaks Spanish, so we were able to communicate via our second spoken languages and through the language of art. As I learned from her every day, I recorded my experience in a big sketchbook (see photos below). However, no matter how much I wrote in words, I found that the best ways to convey the incredible world Rosa exposed me to were to illustrate drawings and to actually create ceramics. For this experience, I thank Rosa a million times over. Muchísimas gracias por todo, Rosa. Shunkumata yupaichani mama Rosa.
Select pages from work journal,
Photo by Haley Moen
Color pencil drawing of Rosa painting a mukawa
Photo by Haley Moen
Hello! My name is Haley Moen, and I am super excited to contribute to the Smithsonian Studio Arts blog for summer 2016.
My blog posts will focus on the following content:
I am a senior at Brown University, where I study International Relations with a focus on security and society. I am also an avid art student. Below are photos of some of my art. Fine details and color fascinate me.
For My Parents
Oil on Canvas, 30x40
Gate in Perspective
Graphite pencil, 19x24
I am interested in the intersection of global relations and art. For example, at Brown I have studied the political and cultural implications of ISIS's destruction of art museums and cultural monuments in Northern Iraq and Syria. During my recent semester abroad in Ecuador, I conducted a 4-week independent research project on the cultural significance of an indigenous type of pottery that is in danger of extinction due to urbanization and environmental degradation in Ecuador's Amazonian region. I am also interested in art law, stolen art, and art history as they relate to international politics and world cultures.
As I continue to explore and develop my own art techniques, I become increasingly passionate about the preservation and proliferation of studio arts worldwide.
Here is a link to my online art portfolio.
My iguana friend and me in Guayaquil, Ecuador :)
Thank you for reading, and I hope you enjoy future posts!
Hello! The Smithsonian Studio Arts blog has been on hiatus during our intern-less winter and spring semesters. Happily, our brilliant and talented summer intern - who will introduce herself to you very soon - has just arrived and will start blogging next week. In the meantime, please enjoy this wonderful post by long-time Smithsonian Studio Arts drawing and printmaking instructor, Max-Karl Winkler.
-Kathy Fuller, Smithsonian Studio Arts Program Coordinator
Elephants, Accordions, and Exquisite Corpses: A Visit to "Artists' Books & Africa"
Tucked away in the long hall connecting the Smithsonian Institution's Ripley Center and the National Museum of African Art is a compact exhibition that succeeds in accomplishing its purposes on various levels: it is attractive, informative, and aesthetically rewarding. Artists' Books & Africa - is a joint production of the National Museum of African Art and the Smithsonian's Warren M. Robbins Library, with outstanding works from both collections.1 This exhibition will be on view until September 11, 2016.
Artists' books and Africa? Why not in Africa, or from Africa? The title itself is intriguing enough to invite a visit. The visitor is rewarded with examples of work that range widely in origin, in topic, in craftsmanship, though each is a leaf on the branch of art called "artists' books," and each is by an African artist or takes Africa as its subject.
The artist's book, of course, is a rather esoteric art form, resistant to specific definition. This exhibit opens with a definition of the artist's book as a limited-edition, handmade book created by an artist. It goes on to group the books in categories that represent not types of artists' books, but prominent characteristics of them. These categories are nine: Elephant Folios, Artists' Illustrated Books, Fine Press Editions, Exquisite Corpses, Accordion Folds, Democratic Multiples, Multipart Books, Enclosures, and the Conventional Codex, with examples of each group displayed in the nineteen vitrines that line the wide corridor.
The presentation of the books in categories is a great help to the viewer, especially to the lay visitor with little experience of artists' books. The labels carry clear descriptions of the categories, as well as information about the books and their origins. Further, the National Museum of African Art and the Smithsonian Libraries have provided a useful and handsome takeaway. Primer on Artists' Books is a six-by-six-inch full-color booklet which both describes and incorporates many of the formats and features of artists' books.
ELEPHANT FOLIOS. Fittingly, the exhibit begins and ends with volumes relating to the opening of Africa to European travelers and scholars. One volume, both the oldest and the largest work, is an atlas folio 31 inches tall. The twelve-volume Denkmäler aus Ägypten und Äthiopien (Monuments of Egypt and Ethiopia), by Carl Richard Lepsius and Maximillian Weidenbach, was published in Berlin between 1849 and 1856 and is the result of a three-year expedition to the Valley of the Nile sponsored by the Emperor of Prussia. Weidenbach's chromolithographs—the book is open to an image of a 25th-dynasty stone relief from a tomb in the Sudan—are very detailed, but the truly arresting quality of the work is the freshness of the color in the prints. As the label points out, they look as if they had been printed yesterday. They represent the summit of the printer's art in the middle of the nineteenth century. With their hieratic compositions and stiffly posed figures, they could serve as a template for our idea of the "look" of ancient Egyptian art.
At the opposite entrance to the exhibit is an elephant folio, The Kafirs Illustrated: A Facsimile Reprint of the Original 1849 Edition of Hand-coloured Lithographs, published in 1974 in Cape Town by A. A. Balkema. This volume contains reproductions of thirty hand-colored lithographs and eleven wood engravings based on watercolors made by George French Angas as he traveled in southern Africa in the 1840s. French's visual records are of immense ethnographic value, not only because of his depictions of the native peoples, but also because of their objects of daily use included in his compositions.
Strictly speaking, neither of these folio editions is an artists' book, though they are certainly works of art, produced in the collaborative manner that characterizes many artists' books.
ARTISTS' ILLUSTRATED BOOKS. Across the hall from Denkmäler aus Ägypten und Äthiopien are two examples of illustrated artists' books, selected as if to demonstrate the changes that can be presented on that category. The artist's Bruce Onobrakpeya Portfolio of Art and Literature from 2003 pairs 27 etchings with poems and other writings from African writers. Now in his eighties Onobrakpeya is Nigeria's foremost printmaker. His images are strongly, almost brutally graphic: black and white, some of them colored with scarlet and yellow-orange, pale blue, and acid green. The book is unbound, stored in a black leather case with gold lettering. The spreads are divided in half, horizontally or vertically, with the text (in calligraphy executed by studio assistant Charles Ohu) occupying one half and Onobrakpeya's etching the other.
Beside this display is Qauqaua: A San Folk Story from Botswana Told by Coex'ae Qgam, a remarkable project of The Artists' Press of Johannesburg, which commissioned a group of informally trained San artists to illustrate a San folktale. The tale itself is told in the ancient tradition of stories invented to explain the origins of objects and practices. It is a horrific tale of multiple murders within a family. The illustrations, however, are lyrical, brightly colored images of figures, animals, flowers, and other shapes on an empty white ground. They recall embroidered peasant work from many parts of the world. The book is beautifully bound in goatskin from the Kalahari Desert; the title embossed on the cover.
FINE PRESS EDITIONS. Qauqaua, as well as Onobrakpeya's portfolio, could fairly be exhibited as fine press editions, which are distinguished by the high quality of their materials and production. An interesting example in this exhibition is Willow Legge's An African Folktale, produced and published in England—an excellent instance of the worldwide reach of Africa as an idea. Some of its design motifs derive from African decoration, while others have their origins in Victorian natural history illustration. The tale itself came from Folk Stories from Southern Nigeria, West Africa, published in 1910 by a British colonial official delightfully named Elphinstone Dayrell.
Alongside it is Skoelapperheuwel, Skoelappervrou (Butterfly Hill, Butterfly Woman), a poem by Wilma Stockenström and illustrated by Judith Mason. It was published as a limited edition by Ombondi Editions in Pretoria, South Africa. This is a fine example of the collaborative nature of many such book projects. It began when Caspar G. Schmidt, the director of Ombondi Editions, commissioned Stockenström's poem and Stockenström in turn selected Judith Mason to illustrate the text. Schmidt also hired New York calligrapher David Baker to design an alphabet suited to the text and typographer Cynthia Hollingsworth to convert it to a digital format. Judith Mason's full-page designs are layered shapes resembling veined stone in strong colors, like collages that suggest—but not describe—aspects of the poem, which itself hints at—again without describing—foreboding aspects of the life of the woman on the hill.
EXQUISITE CORPSE. The "exquisite corpse" is a book form derived from children's books but first brought into the art world by Dada artists in the years following the First World War. The typical exquisite corpse is a group project in which each artist produces a print conforming to a predetermined format; the artists' prints are stacked, cut vertically into right and left halves, and then sliced horizontally into two or more pieces. The prints are bound on their right and left sides, allowing the reader to turn partial pages to create multiple images. In this exhibition, Emandulo Re-Creation, a collaboration initiated by Robbin Ami Silverberg and Kim Berman at Artist Proof Studio in Johannesburg, follows the classic format. Twenty-two artists produced prints on the topic of the creation myth, with a female figure on one half of the print and a male figure on the other half. Each print was divided into three horizontal parts, with the head and neck in the upper part, the torso with genitalia in the middle part, and the legs in the bottom third. After binding, the prints could be viewed in many combinations of medium and style, with each combination showing the work of as many as six different artists.
ACCORDION FOLD. The accordion fold, on the other hand, exhibits variety with the many ways the pages can be revealed: the pages can be turned like those of an ordinary bound book, stretched out to reveal several pages at a time or even further stretched to reveal a single long sheet. They can be printed on both sides, read from front to back, then turned over and read from back to front. They invite cutting, shaping, and the addition of pop-ups. Many more variations are possible and are limited only by the imagination and persistence of the artist.
Peter Clarke of Ocean View, South Africa produced a work titled Bits and Pieces in 2006. Using scraps of paper—found objects, essentially—he assembled a tiny accordion-folded book of 138 folds, each measuring only 1 3/8 x 1 7/8 inches and stored, folded, in a narrow handmade box of cardboard covered in decoupage. Displayed partially open, so that it snakes and curls across the floor of the vitrine, it is one of the most arresting pieces in the exhibition.
Equally arresting is Atta Kwami's accordion-fold tribute to his mother, the artist Grace Kwami, produced in London in 1993. Grace Kwami Sculpture consists of eight three-panel elements that stand on edge, radiating from the central binding to suggest the legs of an a spider, a reference to the clever trickster Ananse who figures prominently in Asante folklore.
GATEFOLD. The gatefold is a two-page spread in which the left and right pages are doubled in width, and folded inwardly, creating a spread which, when unfolded, is twice the width of a standard spread. It is an elaboration of the centerfold we know from magazines like Playboy and National Geographic; it can be further elaborated by adding another page-width to each side, creating a double gatefold.
"Artists' Books & Africa" features only one example of the gatefold, Keith Dietrich's 2007 Fourteen Stations of the Cross. The three-volume boxed set is a complex work of great craft and scholarship by an artist-scholar who has clearly thought—and felt—deeply about his country and its history, about human suffering, and even about meanings of the word "station." The book is a study of the topography of South Africa and its relation to the establishment of fourteen mission stations, beginning in the seventeenth century. Woven into that theme is the implied connection to the fourteen prayer stations of the Roman Catholic Church, a connection further emphasized by the quotation of the Roman Catholic Stabat Mater Dolorosa, each of its twenty verses printed singly in red ink on a black ground, spread over the three volumes. The book was produced in collaboration with Heléne van Aswegen, bookbinder and artist, and Arthur Wadman, master bookbinder and restorer, both of them colleagues at Stellenbosch University, Stellenbosch, South Africa.
DEMOCRATIC MULTIPLES. At the opposite end of the craftsmanship spectrum from Fourteen Stations of the Cross are the so-called democratic multiples: books produced usually in small numbers with simplified and unsophisticated means. Such books are often intended to be given away, or sold at very low prices, and they generally espouse a social or a political cause. In Cape Town, South Africa, Luan Nel produced 200 copies of Paper: An Installation by Luan Nel at the Mark Coetzee Fine Art Cabinet to accompany a 1997 exhibition. The book consists of a small corrugated-cardboard box containing forty prints, each of them a detail of one of the works in the exhibition. Most of the prints are black images on grey paper; eight are color prints. They are simplified figures performing mundane and enigmatic actions: a couple dancing, a man kicking up his heels, a woman in a bridal dress. The economy of the sketches and the puzzling nature of their actions invite the viewer to arrange and rearrange the cards according to whim, creating the viewer's own version of the "story."
MULTIPART BOOKS. Nowadays, with many commercial publishers inserting video and audio disks into the covers of their books, the concept of multi-part books is within the awareness of most readers. Artists were early espousers of this practice, with "multi-part" assuming a host of forms: sets of booklets, decks of cards, print portfolios, multimedia packages, and whatever other forms artists can imagine and design.
Listen, Listen: Adadam Agofomma: Honoring the Legacy of Koo Nimo, whose title only begins to suggest the multiplicity of its parts and collaborators, is a book about Ghana's palm-wine musical tradition, also called "high-life music," whose revered proponent is Koo Nimo, leader of the musical group Adadam Agofomma. The group met in Kumasi, Ghana in 2009 for a session that was recorded by British producer Ben Mandelson. The funds to produce the CD were raised by Mary Hark, an American papermaker and textile designer based at the University of Wisconsin in Madison, Wisconsin. She founded Take Time Press, a limited-edition press dedicated to collaboration among international artists and preservation of the culture of the Ashanti Region of Ghana. She also designed the accordion-fold pamphlet that includes the lyrics to one of Koo Nimo's songs (in both Twi and English), and others that carry the DVD with the music and a description of the musical legacy of Koo Nimo. The package also includes a set of three etchings by Atta Kwami, titled Sound Fabric. The book was printed on handmade paper under the supervision of—again—Mary Hark, proprietor of HARK! Handmade Paper Studio.
ENCLOSURES. The boxed set has a long and patrician history in book publishing. In the hands of artists, the book enclosure assumes many forms. In this exhibit, the most striking by far is the wood slipcase, held upright by two cast bronze hooves adhered to its front and back, for GIF 2.
GIF 2 was a collaboration between Mark Attwood at the Artists' Press and Wayne Barker and Robert Weinek at FIG Gallery, both in Johannesburg. The plan was to publish a book of images by any artist who submitted an edition of 101 prints. The seventeen participating artists, working in a wide variety of media and styles, delivered prints which were hand-tipped onto the pages by Mark Attwood, who also printed and bound the book.
THE CONVENTIONAL CODEX. "Codex" is the established term for what we commonly call a "book," consisting of sequential pages which can be printed on both sides. The pages are bound together on one side, and protected by a substantial cover. The codex is an economical and versatile format, adaptable to many ways of presenting and preserving texts and other information.
Most of the books in "Artists' Books & Africa" are bound as codices; a few are impressive examples of the bookbinder's art. One of the finest is Rachid Koraïchi's Les sept dormants (The Seven Sleepers), a memorial tribute to seven Trappist monks murdered by Islamic extremists at the monastery of Tibhirine, Algeria, in 1996. The book, published with text in both Arabic and French in Arles, France in 2004, consists of seven chapters, one devoted to each of the seven victims. Each chapter includes photographs of fourteen of Koraïni's original etchings that simultaneously resemble Qur'anic tablets and tombstones. They are on the left-hand page, with Arabic text on the right. The entire book is a meditation on the mystical number seven. In addition to the seven monks and seven chapters, the book measures seven by fourteen centimeters, and each chapter contains fourteen images. The book is elegantly designed with wide margins. The slipcase is covered in grey cloth with the title stamped in silver on the spine and both sides, in French on the front and in Arabic on the back.
Equally attractive is a slender book by Susan Allix titled Egyptian Green: Views from Egypt with the Writing of Amelia Edwards, Herodotus, Catullus, Ancient Coffin Texts & Various Other Descriptions. Published in London 2003 in an edition of 24, this work has the distinction of being entirely the work of the artist. Beginning with the selection of writings, Allix created the design, the illustration (including its etching, relief, stencil, and hand coloring), typography, letterpress printing, binding, and box-making—an admirable set of skills, admirably engaged.
In addition to the 25 books in "Artists' Books & Africa," the exhibition includes a brief film by filmmaker Matthew Morrison, featuring several of the artists in the show. The Warren M. Robbins Library's website (http://library.si.edu/exhibition/artists-books-and-africa) includes images and thorough descriptions of each book in the exhibit, as well as the Morrison film.
Books, of course, are made to be carried, opened, leafed through, and read. One of the few limitations of the book is its unsuitability for display. To exhibit a book is analogous to exhibiting prints or paintings in a stack, so that only the top one is visible. Given that barrier to full enjoyment, "Artists' Books & Africa" is rich in displays that leave the viewer wishing for fuller, more leisurely views. The books are handsomely mounted in or on acrylic stands designed specifically to suit the folds and structures the individual books. Importantly, the exhibit serves as a primer for the uninitiated, and a delight to even the informed visitor.
Artists' Books & Africa is on display in the National Museum of African Art, 950 Independence Avenue SW, Washington, DC, from 10:00 am to 5:30 pm, until 11 September 2016. Groups interested in a tour are invited to contact the curator, Janet Stanley, Librarian, Warren M. Robbins Library, National Museum of African Art, telephone 202:633.4681, e-mail email@example.com.
Max-Karl Winkler has been an artist, a teacher, and occasionally a writer in the Washington area since 1984.
1 I am indebted to Ms. Janet Stanley, Librarian, Warren M. Robbins Library, National Museum of African Art, both for a personal tour of the exhibition, and for steering me to the information on the Library web site, http://library.si.edu/exhibition/artists-books-and-africa, which includes not only thorough descriptions of the books, but images from each of the books in the show.
Qauqaua: A San Folk Story from Botswana Told by Coex'ae Qgam, Johannesburg: Artists' Press, 1996, Smithsonian Libraries
Grace Kwami Sculpture, Atta Kwami, London, 1993, Edition: 6/32, National Museum of African Art, purchase funds donated by Brian and Diane Leyden, 93-17-1
Emandulo Re-Creation, Johannesburg: Artist Proof Studio, 1977, Edition: 6/30, National Museum of African Art, 98-1-1
Egyptian Green: Views from Egypt with the Writing of Amelia Edwards, Herodotus, Catullus, Ancient Coffin Texts & Various Other Descriptions, Susan Allix, London, 2003, Edition: 9/24, Smithsonian Libraries
Everyone loves a good feud. This has proven itself time and time again in our society's latent obsession with dueling figures in the public, specifically of the creative variety-- did we or did we not ravenously read articles about Nicki Minaj and Miley Cyrus post-2015 Video Music Awards? Is it any coincidence that Drake's song Back to Back, a track specifically written to diss Meek Mill, is nominated for a Grammy, or that we guilty-pleasure belt to Bad Blood when we think no one is judgmentally eyeballing us from the neighboring car? Actors and musicians aren't the only people who grapple with a case of the adversarial. There are many dark spots in art history which are marked by the spite and contempt that artists had for one another, and boy is it a fun list.
Here are a few of my favorite artist-on-artist feuds (most are visual artists, but some are masters of other crafts):
Leonardo Da Vinci and Michelangelo
Jacopino del Conte, Portrait of Michelangelo, c 1535
This relationship is often glossed over in typical history classes. Stylistically opposed but both resoundingly genius, contemporary lore suggests that Da Vinci and Michelangelo competed for recognition and patronage in Italy. They were both commissioned to work on the same council hall and to paint directly across from one another, which went as well as one might anticipate. Supposedly these two even exchanged slights and snide remarks on the streets. I am in no way actively supporting the validity of these claims, but none of this would be surprising. Two artists lauded in their time, working around one other's egos, is asking for mutually assured destruction.
Lorenzo Ghiberti and Filippo Brunelleschi
Dome of the Santa Maria del Fiore, designed by Filippo Brunelleschi, c. 1436
Both men were burgeoning Renaissance sculptors and faced off viciously in none other than Florence. In 1401, Ghiberti and Brunelleschi entered a competition to design bronze doors for the Florence Baptistery. The competition was close, but Ghiberti won; it's suggested that Ghiberti and Brunelleschi might have even tied. Brunelleschi, wounded from his loss, went on and forged a career in architecture. The two crossed again in 1418 when they competed to design a dome (cupola) for the Santa Maria del Fiore. This time Brunelleschi bested Ghiberti and was offered the position of superintendent over the cupola project. Ghiberti, however, was a bit of a golden boy in Florence, so he was offered a job as co-superintendent and earned the same salary to boot. This partnership led to unprecedented chicanery. Brunelleschi went as far as to feign ill and put Ghiberti in the hot seat-- masons and carpenters were at a loss as to how to construct the beams necessary for a tension rig, and only after Ghiberti assisted in placing some of the beams did Brunelleschi make a miraculous recovery, and just in time to insult his adversary's work. He cast just enough shade on Ghiberti to acquire a pay raise.
Picasso and Matisse
I think most of this goes without saying, but there's a detailed article about the complex Picasso-Matisse relationship on the Smithsonian Magazine's website. Both men studied and privately revered one another's work, especially for the vitality it infused in their own art. If ever there were frenemies, they were the ultimate pair.
James McNeill Whistler and the World
Seriously, this guy had beef with everyone. James Whistler had as many petty opponents as H.G. Wells had sinewy affairs. In the same mantra as "art for art's sake," Whistler should have coined the phrase "arguing for the sake of arguing." Whistler wrote a book that was entirely compiled of frivolous squabble and banter between himself and acquaintances (The Gentle Art of Making Enemies, the very inspiration for this post). His book was partially written in response to his infamous libel suit against critic John Ruskin.
To exemplify his combative nature, I leave you with a light-hearted transgression between Oscar Wilde and Whistler before their relationship went sour:
Wilde, in a telegram to Whistler: "Punch too ridiculous. When you and I are together we never talk about anything except ourselves."
Whistler: "No, no, Oscar, you forget. When you and I are together, we never talk about anything except me."
Lesson learned: if you want to be recognized in the world of art, you first need to develop a solid, life-long enemy.
Krista Alba
Kay WalkingStick (Cherokee, b. 1935), New Mexico Desert, 2011
Right before Thanksgiving, I visited the National Museum of the American Indian to check out their newest exhibition, Kay WalkingStick: An American Artist, which opened on November 7, 2015 and runs until September 18, 2016. The year-long exhibition is WalkingStick's first major retrospective. Since I hadn't seen much of her work in person, I made a point to walk into the exhibit without overwhelming myself with information or looking at her artwork beforehand. I can say with certainty that I'm glad I didn't. The exhibit featured over 75 of her works, including paintings, sculptures, drawings, notebooks and diptychs. Her materials used in her work were diverse, but demonstrated the lull and transition of her state of focus over four decades.
She began as a representational artist while she was attending graduate school she studied Native American art and history, but subsequently began making work that tiptoed toward the abstract. For example, she began a series that channeled Chief Joseph of the Nez Perce by utilizing simplified shapes and limited color palette. Then came the integration of other materials into her wax, oil, and ink paintings, such as shells, rocks, and pieces of pottery. Because this exhibition followed her years chronologically, the work often addressed whatever was transpiring in WalkingStick's life at the time or spoke as a reflection of her spiritual state. She started making diptychs in 1985 (her most renowned artworks). The diptychs usually incorporate multiple perspectives of the same scene in nature. While the images are focused on portraying landscapes, WalkingStick does not call them landscapes, as they focus on the variation in depiction—representational versus abstract, temporary versus lasting, visual versus energetic memory. The images focus on the inherent differences in vitality between the two representations.
After WalkingStick's husband died in 1989, she began integrating different types of imagery—darker, dismal, and turbulent— to represent various forms of her losses, as well as her people's losses. Pictured below is an example of her diptych style, except instead of her usual palette, the colors are deep black and blood red. Waterfalls became symbolism for the tumult and steadfastness of time.
Kay WalkingStick, The Abyss, 1989
Photo credit: Ecourtc
Later she went on to culminate previous styles and motifs, such as legs and feet, into her diptychs. She continued to push inversions and opposites into her work in the early 2000's. WalkingStick, in further tribute to her ancestry, wove symbols and Native American patterns into her representation of nature. Of diptychs, WalkingStick said, ""[T]he diptych is an especially powerful metaphor to express the beauty and power of uniting the disparate and this makes it particularly attractive to those of us who are biracial."
Gioioso Variation II, 2001, by Kay WalkingStick
Photo credit:Ecourc
WalkingStick's retrospective not only aligns her personal perception of her Native American ancestry, of nature, and her personal history, but also illuminates her experiences with others' perceptions of her identity. She draws spiritual truth from her reimaginings of nature and the nature of existence. I invite you to look at her retrospective—the lushly painted mountains, crisp gold leaf horizons, and abstracted forms. I also suggest looking at her intimate sculptures and sketchbooks, as they reveal a great degree of her creative process and reflection.
Krista Alba
What is identity?
The question might seem silly, but the topic of identity is one that many artists frequent, often in multiple examinations and different angles. We already know identity to be mutable, but how in control are we of the way we feel and present ourselves? How does our personality construct our identity, or how much does culture construct our identity? Now before you go off and start quoting Fight Club, know that I am not necessarily referencing the idea of harboring multiple personalities-- that is a different beast entirely. Rather, I am insinuating that identity can be as meaningful or meaningless as you make it, but confounding all the same. Our relationship with our own identity, as well as the identities of others, is heavily dependent on our personal philosophies about the state of being.
Now that I'm done being metaphysical, on to the art:
Cindy Sherman is one of the most beloved American photographers of the 20th century. She is often considered a feminist icon (though she doesn't fully embrace the stereotypical feminist rhetoric nor does she overtly label herself a feminist). Regardless of her personal classification, her art has aligned itself with inherent feminist questions about gender, identity, and media. In her work, Sherman transforms herself by way of costume, make-up, lighting, and atmosphere. She sometimes designs elaborate sets, or she transports herself to a place that convenes well with her ensemble. Her self portraiture, especially her series, "Untitled Film Stills," are a capricious and disorienting glimpse into the persona of different female characters, especially in close association with American media in the 50's and 60's.
The reason I describe the experience as disorienting is because, while obviously emulating archetypes, there is something altogether too convincing about her portrayals. You begin to see where one persona transforms into another because there are so many in rotation that they begin to blend.
Cindy Sherman, Still #54, 1980
Image credit: Viola Renate on Flickr
After viewing Sherman's works, I began to closely evaluate myself and the behavior of others. Think closely about how you choose to dress, how you act, what you say and even how you choose to speak. Think about your posture, facial expressions, and body language. Do you change these elements of yourself depending on who you are speaking to or what type of occasion it is? Perhaps you alter your identity just as much as Cindy Sherman, but in a more subdued manner. Perhaps you yourself are a chameleon. Ask yourself: what is identity, and is it relative?
You can view some of my favorite pieces from her "Untitled Film Stills" collection here:
Untitled Film Still #43
Untitled Film Still #45
Untitled Film Still #48
Untitled Film Still
Krista Alba
Believe it or not, the most powerful tool you have to take terrific images is one of your most overlooked daily devices. Taking photos with phones has been an increasing trend for almost a decade now-- it offers convenience, portability, and accessibility. Even if the megapixel quality on cell phones wasn't always as staunch as it is now, it never deterred anyone from snapping a great pic with their flip phone. Now there are fervent races between feuding competitors to see who can ramp up the best camera quality in phones and which company can offer, among other things, the best clarity, stabilization, color accuracy, and low light/daylight capabilities.
In the last couple of years, some phones have easily outperformed basic point and shoot cameras. Of course they aren't on the same level as a DSLR, but they for sure have their advantages. With that in mind, if you have a smartphone and you're interested in photography, you should take advantage of every tool you have and start capturing those special moments! This post is here to help detail the why and the how of smartphone photography.
Here are the main points of my post:
It's now common culture to carry around our smartphones to stay in touch with our family, friends and acquaintances. Not only this, but we are heavily dependent on our phones now for a variety of tasks, from entertainment to news to productivity. Unless you are one of those types who carries around their cameras and has them ready at a moment's notice, smartphones can be invaluable for capturing the spontaneity of our daily lives. They are small, portable, and convenient. Do not underestimate the importance of accessibility.
When you're photographing shots with your phone, there's less expectation to nail a good picture versus when you're experimenting with a nice camera. Less expectation and pressure can drive a desire to take more pictures and venture outside your comfort zone. The repetition of taking pictures on your phone will help you pay attention to composition and other basic photographic elements that make an image attractive.
The great thing about smartphones is that they work as a camera and a device for disseminating information. You can easily take your picture, edit your content, and post it on apps and websites such as Flickr, Instagram, and Facebook for sharing and critiquing purposes. This also allows you to build a community and a following of people who are interested in your content. It can additionally serve as a visual diary-- you can go back and examine your growth over time.
TOOLS (optional):
It's important to make sure your phone is properly protected, so buy a case and maybe a screen protector! This will make your device more secure when you go for riskier shots. For example, I went hiking last week-- I didn't have to worry much about dropping my phone and cracking the screen in case it slipped. You can also buy waterproof cases. This is helpful if you want to do some photographing in the rain or even potentially underwater. Make sure to do your research!
If your phone doesn't already come with a reliable camera application, there are others you can download. I would recommend finding one that has the following features: gridlines, exposure adjustments, flash on/off, timer, HDR, video capability, etc. There are also camera applications that allow you to adjust more minute details (apps such as Manual Camera, A Better Camera, VSCO Cam, etc.). There are also a measure of editing applications, some which are dual sharing applications, e.g. Instagram allows you to take photos, edit them, and then post to your Instagram feed.
There are now assortments of lenses that you can clip over your normal camera lens. These attachments will change the effect you get, from macro to fisheye to wide angle. While not necessary, depending on what brand you purchase lenses from, the overall cost is not too expensive and adds some drama to your photos.
Again, while not necessary, if you wanted to get a little more serious you could buy a cheap, adjustable tripod or stand. You could even get a selfie stick if you're into self portraiture!
Understanding composition is essential to composing an excellent shot. While you don't always have to follow every rule or staple to achieve good composition (there are always exceptions to the rule), it's important to understand concepts like line, direction, rule of thirds, etc.
Controlling depth of field with a manual camera is a little different than using a camera phone, but the overall effect is still attainable if you want something more dramatic or a shallow depth of field. Some phones come with a lens blur function, and I'm sure there are lens attachments that allow you to attain the illusion of a shallow depth of field.
High Dynamic Range is a setting that comes on most phones. HDR mode takes several shots at once with several different exposures and combines them into one image. When you take a photograph in HDR mode, it levels out the lights and darks so they aren't so extreme-- ultimately, it makes the shot appear a bit more natural. Most of the photos on this blog are taken in HDR mode on my iPhone 6.
Take advantage of your phone's weaknesses. If your phone doesn't have the best resolution, take images that look intriguing while grainy. If your phone reduces your shutter speed, sometimes taking pictures of moving objects can result in interesting images. For example, while I didn't take this following image with my phone, I reduced the shutter speed on my GoPro to capture the Washington Monument and allow movement around it to blur. This was the result:
There are so, so many places to distribute your work. Imgur, Instagram (app), Flickr, DeviantArt, Tumblr, and Pinterest are a few that I can list off the top of my head. Some of these platforms aren't simply image sharing--they can double up as social media or information hubs. Tumblr and Pinterest are among these social media platforms, but they are more image focused than websites like Facebook.
Before you sign up for these applications or websites, make sure to read the user agreements associated with each business. Know what rights you do and don't have when you post your content. Some websites allow you to state what kind of license is associated with an image, some do not. Overall, sharing can be an excellent tool to make friends, network, or receive constructive criticism regarding your shots.
I hope this guide was helpful! If you have any feedback or suggestions, feel free to write a comment!
Krista Alba


text:
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Moving Sale Big Items Still Here!!
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Yard Sale 216 Milton Rd Pensacola Sat & Sunday 8am -3pm
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subset: commoncrawl


text:
February 25: Day of the Week
February 25, 2016 was the 56th day of the year 2016 in the Gregorian calendar. There were 310 days remaining until the end of the year. The day of the week was Thursday.
If you are trying to learn French then this day of the week in French is jeudi.
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Here's the February calendar. You can also browse the full year monthly calendar.
Are you not curious to find out some fun facts about your birthday? Find out 'what happened on my birthday' and what was the number one song on your day of birth. Know the meaning of your birth and which celebrity shares your special day! (Sponsored link)
Zodiac & Birthstone
Pisces is the zodiac sign of a person born on this day. Amethyst is the modern birthstone for this month. Bloodstone is the mystical birthstone from Tibetan origin that dates back over a thousand years.
February 25 Historical Event(s)
- 138The Emperor Hadrian adopts Antoninus Pius, effectively making him his successor.
- 1570Pope Pius V excommunicates Queen Elizabeth I of England.
- 1932Adolf Hitler obtains German citizenship by naturalization, which allows him to run in the 1932 election for Reichspräsident.
- 1941February Strike: In occupied Amsterdam, a general strike is declared in response to increasing anti-Jewish measures instituted by the Nazis.
- 1945World War II: Turkey declares war on Germany.
- 1947The State of Prussia ceases to exist.
- 1948The Communist Party takes control of government in Czechoslovakia and the period of the Third Republic ends.
- 1954Gamal Abdul Nasser is made premier of Egypt.
- 1956In his speech On the Personality Cult and its Consequences Nikita Khrushchev, leader of the Soviet Union denounces the cult of personality of Joseph Stalin.
- 2009BDR massacre in Pilkhana, Dhaka, Bangladesh. 74 people are killed, including more than 50 army officials, by Bangladeshi Border Guards inside its headquarters.
Who were born on February 25?
- 1591Friedrich von Spee, German writer (d. 1635)
- 1714René Nicolas Charles Augustin de Maupeou, Chancellor of France (d. 1792)
- 1841Pierre-Auguste Renoir, French painter and sculptor (d. 1919)
- 1921Pierre Laporte, Canadian statesman (d. 1970)
- 1936Jiří Černý, Czech music critic
- 1952Jerry Chamberlain, American musician
- 1971Dave Harris, American disc jockey
- 1976Rashida Jones, American actress and musician
- 1982Flavia Pennetta, Italian professional tennis player
- 1987Kwaku Afriyie, Ghanaian footballer
Now try another date like anniversaries, birthdays of someone you know or any other date that is special to you. Don't forget to share the info to your friends, loved ones or social media followers. Who knows, they might appreciate and thank you for it.


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Modiji, kindly forget Delhi fiasco and let us work, says Kejri...Tension between the Centre and Delhi government doesn't seem to lose pace as they engaged in yet another scuffle with Delhi Chief Minister Arvind Kejriwal attacking Prime Minister Narendra Modi after the Centre returned 14 bills passed by Delhi ... News24online, 2 days ago
Centre returned bills because Kejriwal refused to follow rules: BJP - Ani News, 1 day ago
Delhi: Centre returns 14 bills, including Lokpal, to Delhi govt; invites ire from Kejriwal - International Business Times India, 2 days ago
35 images for modiji
Sorry Modiji, Air Miles, Yoga & Selfies Are Not a Substitute for Real Diplomacy
Lost in the din around Brexit, was the news coming out of Seoul, South Korea but it should be just as worrying, if not depressing. At the 26th plenary of the Nuclear Suppliers group where India was hoping it would finally get a seat at the ...IBNLive, 2 days ago
Parl Secs row: Modiji, you can target me but don't harass people of Delhi, says CM
New Delhi, Jun 15 (UNI) Taking on Prime Minister Narendra Modi over the issue of withholding assent to the bill amending the law on "Office of Profit", Delhi Chief Minister Arvind Kejriwal today said, If you want to target someone, then target me, ...United News of India, 1 week ago Parliamentary Secretary row: Target me Modiji, don't let people of Delhi suffer, says Kejriwal Indian Express, 1 week ago Modiji you can target me but do not harass people of Delhi: Kejriwal United News of India, 1 week ago Delhi stares at mini polls as EC calls 21 AAP MLAs for hearing DNA, 1 week ago
'Modiji ne chamchon ki fauj jama ki': Kejriwal slams Chetan Chauhan's appointment as NIFT chairman
The Delhi CM lashed out at PM Modi over the appointment.DNA, 1 week ago Now, ex-cricketer to helm premier fashion institute DNA India, 1 week ago Chauhan's appointment as NIFT boss has Twitterati in stitches AhmedabadMirror.com, 1 week ago Ex- cricketer for NIFT top job creates furore Deccan Herald, 1 week ago
'Jumla' Modi regime has become 'restless': AAP
Modiji doesn't have any work left to propagate to the nation, said Dilip Pandey.DNA, 1 week ago
Office of profit row: Target me, not people of Delhi, Kejriwal tells PM Modi
"I want to request Modiji with folded hands that do whatever you want to me but don't let the people of Delhi suffer," Kejriwal said during a press conference.India Today, 1 week ago Panama Papers: Rahul Gandhi slams Modi for silence on probe, claims PM only makes false promises First Post.com, 2 months ago Modi does not know what people want, says Rahul MSN India, 2 months ago Rahul slams drug trade in Punjab The Hindu, 1 week ago
Modiji is unable to digest the loss of Delhi in 2015: Kejriwal
NI Wire Chief Minister of Delhi, Arvind Kewjriwal has criticized Prime Minister Narendra Modi for the disqulifies of his 21 MLA in the current scenario. He accused that PM is trying to get 21 AAP MLAs disqualified because he was scared of the ...News Track India, 1 week ago
Why is Modi ji only behind disqualifying Delhi's Parl. Secy: Delhi CM
Modiji says that Sonia Gandhi ji isn't allowing the Parl. to function because she can't digest defeat. I want to ask Modi ji why is he not allowing Delhi Govt to function because he is unable to digest defeat in Delhi- AKejriwal For latest ...ABP Live, 1 week ago
Rawat prepares to hit the road as fate of budget hangs in balance
Modiji, mero budget kakh ge (Modiji, where has my budget gone?) will be the catchline of Uttarakhand chief minister Harish Rawat, who will hit the road informing people how the Centre is depriving the state of its share of budget. The fate of new ...Hindustan Times, 1 week ago Harish Rawat asks PM Narendra Modi: Where is my Budget? Financial Express, 1 week ago Where Is My Budget? Uttarakhand Chief Minister Harish Rawat Asks PM Modi NDTV, 1 week ago Where is my budget, Mr Modi, asks Harish Rawat Rediff.com, 1 week ago
More from: , News18.com...and 4 other sources
Modiji, are you listening? Udta Punjab needs your help!
Shahid Kapoor starrer Udta Punjab and the Censor Board are at loggerheads, as the CBFC has ordered 89 cuts along with dropping the name 'Punjab' from the title of the film. Irked by the Censor Board's decision, producer Anurag Kashyap has tweeted ...Manorama Online, 2 weeks ago Nihalani under no pressure, behaving like 'dictator': Kashyap Ani News, 2 weeks ago
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It is a mistake to assume that content development is an assumed talent, or that it can be an afterthought in the digital marketing realm. Content strategy is more than writing for the web. There is a science and strategy behind developing quality content for web pages, blogs, advertisements and social media. And although every successful copywriter must have a foundation of basics writing skills, such as subject matter expertise, an engaging style and tone, and basic grammar usage, there is much more to being a content king.
May 09, 2012
Boticca.com, an online jewelry and accessories store, took a sample from 50,000 referrals from Facebook and Pinterest, and found that Pinterest users spent more money, according to GigOm. According to Boticca Pinterest users spent $180 per user as opposed to $85 per Facebook user.
The tracking also found out that while Pinterest users spent more money, Facebook users will spend more time browsing the various items and tend to be more engaged in the online community.
(www.boticca.com, www.pinterest.com, www.facebook.com)


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There are few subjects in New Zealand that provide less stable footing for reasoned debate than Maori healthcare.
About the only thing that people can agree on is that the health statistics for Maori are appalling, and even worse when compared with those for non-Maori. The facts are simple, brutal: Maori tend to die younger, are more likely to suffer illness and disease, and are less likely to seek help or access medical care (the two are different) when such ailments are treatable and their outcomes could be more positive. Which is why Maori are also more likely to end up in hospital when it's too late to make a real difference.
The reasons for that ill-health are also hard to dispute: Maori make up a fair slice of our most vulnerable population and are most likely to live below the poverty line (however you measure it), which means they are more likely to live in cold, sub-standard houses, eat poorly and find themselves reflected in all the very worst statistics.
But that's about all anybody can agree on. The great mystery remains as to why Maori, who, it seems, are targeted relentlessly by health officials over smoking, cancer and other ailments, should continue to find themselves being buried by the ambulance at the bottom of the cliff.
It's easy to find the Ministry of Health official who, backed by a myriad reports and initiatives, claims they are doing everything to reverse those terrible stats; and the Maori advocate who blames the Crown for not doing enough. But it appears that both sides are right and wrong, and the real losers are the sick and dying people caught in the cross-fire of blame and political point-scoring; the people both sides purport to support and defend.
The Crown appears to have spent an incredible amount of money on academic reports and consultants, some of them Maori, who have concluded that whanau are struggling to connect with their health providers.
However, despite those accepted, awful statistics and perceptions of 'special treatment' in the community, money directed towards Maori health specifically equates roughly to their percentage of the population.
That's despite their clear greater need when their health outcomes are compared with those of non-Maori.
That does not explain, however, why Maori are not using the health services available to them until it is potentially too late. And it is here that their own advocates can maybe shoulder part of the blame.
It's worth asking if all of the finger- pointing and vitriol directed towards the Crown may have created a deadly culture of mistrust. Maori are constantly told by their own leaders that the health system is not serving their needs and cannot be trusted. (In Taranaki, Government- appointed advocate Colleen Tuuta has openly questioned crucial health board initiatives.) So is it so surprising that Maori show a lack of faith in the health system?
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35-year-old Kevin W Bradley lives in Harrisonburg, Virginia. Other places in which he has lived are Villanova, Pennsylvania and Horsham, Pennsylvania. He is a 1998 graduate of Joseph A. Foran High School. Companies in which he has a work history include Us Navy, Trugreen Landcare, Enlisted, Structural Fabricator and Fabrication Tech.. His work experience includes positions as Laborer. Online, Kevin goes by the alias navyway02.


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Baba Ramdev to launch agitation against Congress
New Delhi: Yoga guru Baba Ramdev Sunday accused the Congress-led government of failing to check corruption and bring back black money stashed abroad and announced a countrywide agitation from Sep 13.
Addressing "Vyavastha Parivartan Rally" (rally to change the system) at Jantar Mantar here, Ramdev also attacked Prime Minister Manmohan Singh and Congress President Sonia Gandhi for "mismanaging the economy".
"The Congress leaders are making no efforts to retrieve the black money deposited in Swiss banks," Ramdev said.
He claimed that the prime minister`s decisions were influenced by Sonia Gandhi.
"He should act as per constitution and not take directions from 10 Janpath (Sonia Gandhi`s residence)," Ramdev said.
Ramdev also accused the Congress of failing to check corruption.
The yoga guru supported moves to declare Gujarat Chief Minister Narendra Modi as prime ministerial candidate of the Bharatiya Janata Party (BJP).
Referring to Manmohan Singh`s remarks that Rahul Gandhi will be ideal choice for prime minister after the 2014 elections, Ramdev said people will give their decision on the issue.
Ramdev said he would agitate throughout the country on the issues of black money and corruption.
"Beginning from Madhya Pradesh Sep 13, we will organise a mass rally and travel to all states of the country and even go outside to the US and Britain," he said.
"The fight is against the government and we want to make the people aware about the large-scale corruption and black money that involves the Congress government," he added.
Senior lawyer Ram Jethmalani and BJP leader Subramanian Swamy also shared the stage with the yoga guru.
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Toby is a sweet boy that I consider for an advanced beginner and up who knows the basics. This boy is stunning has a nice smooth natural gait and is a…$2,500
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OFFERED FOR SALE Concord, MA Rachael aka Remi is a 1997, 16.0 Black German Hanoverian mare Regazzoni Rubinstein I Extra lovable She is perfect, shown and…$10,000
Fina is a well bred Hanoverian mare with nice blood lines. (See her blood line here: allbreedpedigree.com/finalle) She has stunning movement and is ready…$5,500
Athletic 16.2h TB Hanoverian mare suitable for hunter jumpers, dressage, and eventing, with fantastic blood lines. Ready to start back to work to be shown…$9,000
Charlie is a gentle giant. I purchased him for my daughter but she really did not rode much, when I bought him he was a trail horse and jumped, he was…SOLD
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Sweet and quiet packer. Great for beginner, kid coming off pony, or moving up to 3'. Auto lead changes. No prep needed, EVER! Big stride. For sale…SOLD


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Chair back with lumbar and pelvic supports
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An office chair is provided having a back assembly which is configured to provide supplemental support to the back of a chair occupant in addition to the support provided by the primary support surface of the chair back. The chair back includes a lumbar support unit having a lumbar support pad wherein asymmetric support is provided to the left and right halves of the lumbar pad. As such, the asymmetric support loads are independently adjustable to more comfortably support a chair occupant. The chair back also includes a pelvic support pad which is disposed vertically adjacent to the lumbar support.
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TWI hires Barney to focus on expansionsComments Email
CORONA, Calif. (March 5, 2014) — Tire distributor Tire's Warehouse Inc. (TWI) has hired Ray Barney for the newly created position of director, business development.
Mr. Barney, who previously managed sales in the western half of the U.S. for Zafco International Inc., will focus primarily on TWI's expansions into new markets, according to the company.
Mr. Barney began his career with Michelin North America Inc. as a regional manager in California and eventually became the president of Competition Parts Warehouse. He also owned a retail tire dealership.
"Ray is the latest addition to our management team and a strategic step in our growth plans." said Dan King, TWI president. "His extensive leadership experience in opening new branches will be instrumental in the success of our long term plans."
TB Reader Poll
How will the new Labor Department rule on overtime pay affect you?
|I've already had to demote some managers and assistant managers because of it
(13 votes)
|I was hoping to hire some new technicians soon. I can't now because of the new overtime rules
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|It won't affect me much
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|I'm voting a straight GOP ticket this November to see if we can get rid of this
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|Total votes: 81


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Written on: 11/07/2009 by hiitsphil (1 review written)
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£60 wasted. Broke on third use
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Do not buy the Black & Decker GT524 520w Electric Hedge Trimmer, I used it twice third time burning smell and then dead BandQ wont replace as its a year old having purchased it last summer. BandD customer service non existant.
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The Broncos sit at an even 7-7 on the season and will look to jump above .500 against BYU in their first game of the San Diego Classic. Boise State is 0-2 overall against BYU and hopes it's top three batters will step up to get past the Cougars. Holly Bourke leads the Broncos with a .385 average. Sarah Barnes and Devon Bridges aren't far behind, hitting .344 and .340, respectively. Barnes has eight RBIs and two home runs while Bridges has a team-high 16 RBIs and three home runs. Redshirt junior Rebecca Patton has five of the Bronco's seven wins and leads with a 3.53 ERA and 32 strikeouts this season. The Broncos were chosen to finish fourth in the Mountain West Conference this year behind San Diego State, Colorado State and Fresno State.
Fresno State
BYU ended the Bulldog's season last year, defeating them 8-3 in the championship game of the Western Athletic Conference tournament to advance to the NCAA regionals. That was only BYU's third win against Fresno State as the Bulldogs hold an 8-3 overall advantage over BYU. Fresno State is 10-8 this season. Brooke Ortiz leads with a .361 average and 22 hits, while Brenna Moss and Stesha Brazil provide power for the Bulldogs. Moss has five triples and 10 RBIs, while Brazil leads with a team-high five home runs. Taylor Langdon, Jillian Compton and Hannah Harris each have part in each of the team's 10 wins. Compton is 5-5 with 26 strikeouts and 59.2 innings pitched, while Langdon leads with a 2.15 ERA.
New Mexico
BYU has an overall record of 36-13 against New Mexico and is 30-5 under Eakin. The Cougars had a 13-game win streak against the Lobos before New Mexico beat them in 2011, 3-2. New Mexico is another .500 team at 9-9 on the season. The Lobos lost their first seven games before rebounding to win nine of their last 11 games. The team has five pitchers who have made an appearance this season but are led by Lauren Soles who is 4-2 with 32 strikeouts and only 13 earned runs given up in her eight appearances. Offensively, freshman outfielder Mariah Rimmer is hitting .400 with a team-high 24 hits, alongside two home runs and eight RBIs. Rimmer also leads the team with 14 stolen bases to add to the team's total of 30. Junior infielder Chelsea Anaya isn't far behind, hitting .377 with two home runs and 14 RBIs.
Long Beach State
The Cougars are 2-2 overall against Long Beach State and have won the last two meetings against the 49ers. Long Beach State sits at 7-6 this season and is led by junior Hannah De Gaetano who is sporting a .356 batting average along with two home runs and 11 RBIs on the season. Catcher Karli Sandoval and infielder Ashley Holmes also bring power to the lineup with five and three home runs, respectively, on the season. These three batters have combined for 37 of the team's 56 RBIs. Erin Jones-Wesley has the most time on the mound for the 49ers. With eight starts, she has a 4-4 record alongside 59 strikeouts and has held opponenets to an average of .294.
Every game of the weekend will be available via live stats. Check the schedule for updated information
Jamie Morris is the softball sports information director for BYU Athletic Communications.
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