10/11 Academic Decathlon The Great Depression Art Selection #9 - Moonrise, Hernandez, New Mexico

Moonrise, Hernandez, New Mexico, Ansel Easton Adams, 1941, Gelatin silver print, 36.9 x 48 cm (14 1/2 x 19 in.), The Art Institute of Chicago

Who doesn't love the work of Ansel Adams!?! So vivid, beautiful, even though you know he is shooting a real scene, his work looks hyper-realistic because of the crisp clarity of his picture. It was his destiny - he fell in love with Virginia Best whose family owned a photography studio in Yosemite National Park. He had a unique opportunity to have access to equipment, a darkroom and an incredible area of the country that defined his aesthetic eye. He was a pioneer in the field of photography and preferred working with a camera that had large format film (8" x 10" negatives). One thing that makes his pictures so exceptional is the contrast (or difference between the light and dark areas of the image). He is able to get the whitest whites right alongside the darkest darks, which adds to the drama of his scenes. In order to control the contrast precisely, he developed a technique called the "zone system" which allows the photographer to adjust the level of exposure in different areas of the photograph. His love of precise photography led him to a group of seven California photographers that were dedicated to "straight photography" - they were called Group f/64, named after the smallest possible opening of the aperture of a cameral lens (the part that lets the light in). When the aperture is adjusted to this setting, it produces a picture that has very sharp focus, with the foreground and background equally crisp and sharp. Their mission was to shoot without manipulating the image using cropping or special effects.

This aesthetic had a contemporary ideology behind it. Just like the art and architecture of the time, "straight photography" was interested in simplicity, objectivity and realism. Adams was interested in photographing the glory of nature and hoped that his pictures of the national parks would spur politicians to protect them and keep them pristine. He also became a part of the nature preservationist organization, the Sierra Club, and later became the director. What a great pairing - he could use his pictures to promote the mission of the club. He worked with the Department of Interior in 1941, then was awarded a Guggenheim Fellowship to continue with his work of photographing the parks. It was through this continued work and exposure that Adams lifted photography from a journalism tool to the status of fine art. He has been one of the most famous photographers of all time.

Moonrise, Hernandez, New Mexico is a serene landscape with a huge sky. In painting, perspective is shown by blurring the background detail in order for it to recede into the back, but the mountains in this photo are crystal clear even though we know them to be far away. Adams perspective is flat and emphasizes the contrast between the light and dark that create abstract shapes in the landscape. In the foreground we see different buildings nestled around the few trees in the landscape. This moment captures the setting sun - you can see the crosses of the churchyard gleaming in a brilliant white as the moon rises over a bank of clouds.

Moonrise, Hernandez, New Mexico, 1941 print

Once the negative is developed, additional prints can be made. Because printing a photograph involves chemicals and light, many variations can be made to manipulate the image. Ironically, though Adams didn't want to manipulate the image in the original shooting of it, he was not opposed to manipulating subsequent prints of the negative. Adams developed several prints of Moonrise, and each print has a difference in contrast. Compare the photo at the top of the post with the one just above this text. This is one of the places the artistry of photography comes in. Playing with the contrast, Adams could change not only the appearance of the photo, but could also alter its mood. Color is a big element in visual media - removing the color to black, white and shades of gray allows the viewer to focus more on the composition and the subject of the photograph. It helps distill the image down to its very nature. Black and white photography has been very popular in fine art photography because of its simple and direct nature.

The circumstances surrounding Adams shooting this particular scene are described by the artist:

We were sailing southward along the highway not far from Espanola when I glanced to the left and saw an extraordinary situation - an inevitable photograph! I almost ditched the car and rushed to set up my 8x10 camera. I was yelling to my companions to bring me things from the car as I struggled to change components on my Cooke Triple-Convertible lens. I had a clear visualization of the image I wanted, but when the Wratten No. 15 (G) filter and the film holder were in place, I could not find my Weston exposure meter! The situation was desperate: the low sun was trailing the edge of the clouds in the west, and shadow would soon dim the white crosses. I was at a loss with the subject luminance values, and I confess I was thinking about bracketing several exposures, when I suddenly realized that I knew the luminance of the moon: 250 c/ft2.

The perfect photo required not only the correct equipment, but ultimately the eye of the artist seeing the image in the flash of a second. Nature's cycles do not wait, and photography is ultimately about capturing light on film. Adams, though he had been out working for the government that day, did not bill the government for the photograph. Somewhere in his mind his intuition was acute. This image would become one of his most famous and popular images and he was ultimately able to profit from it. He also had full rights of the image and could control how he developed and used each print.

I lived in New Mexico as a young girl in the early 1960s. This print captures the nostalgia of that special part of the country and supports the slogan still sported on the New Mexico automobile license plate - "Land of Enchantment".

Ansel Adams Self-portrait, 1936

10/11 Academic Decathlon The Great Depression Art Selection #8 -Contrasting No. 331 East 39th Street with Chrysler Building and Daily News Building

Contrasting No. 331 East 39th Street with Chrysler Building and Daily News Building, Manhattan, Berenice Abbott, November 8, 1938 Art Institute of Chicago

New building materials, steel, glass and chrome, in the 20th century led to the rise of many new skyscrapers. Steel was an incredible new material, and allowed for lighter walls which then allowed for glass to be utilized in new ways. Elevators became a more reliable technology and allowed for buildings to be built higher and higher. Architectural styles used in buildings that were built from World War I until the 1930s are known as "traditional", after that time they were considered to be "modern". These new materials created the modern aesthetic - one that was not only new but would also showcase these innovative materials. The Bauhaus was in full swing in Germany and one architect, Le Corbusier, was the champion of the International Style.

The cityscapes were changing rapidly; Bernice Abbott took note and set out to document the changes. She studied in Paris and was a darkroom assistant to Man Ray, a very famous portrait photographer and Dada and Surrealist artist. He trained her in his methods, and soon she was shooting for herself and mounting her own shows. Rather than take pictures of people, she decided to take portraits of the buildings that were appearing in the city. New York was one of the most dynamic places for new skyscrapers at the time, so that's where she settled down. She realized that her goals were in tandem with the WPA/FAP, and submitted a proposal to document the historical changes being made to the New York City skyline. He proposal was accepted.

Look at the building that is named only by its address - its windows are boarded up, posters cover the doors and windows on the street level. It appears to have been a residential building. It was unremarkable, except to Abbott it spoke of the problems during the Depression - evictions, people fleeing in search of a lucrative opportunity, an example of urban decay. The new buildings, the Chrysler Building at the far left and the Daily News Building to the very left of No. 331 East 39th, are beautiful, new, named and renowned within the city. This contrast between the old and new is not necessarily a political statement. Much like Walker Evans, she is merely capturing the image of the change and bringing it to the viewer's attention.
Bernice Abbott

10/11 Academic Decathlon The Great Depression Art Selection #7 - Migrant Mother

Migrant Mother, Nipoma, California, 1936, Dorothea Lange, printed later, Photogravure, 30.4 x 23 cm, The Art Institute of Chicago

OK - a little more background detail. FDR's New Deal programs are in place and at work. Among the tasks of the Resettlement Administration's mission was to provide loans to farmers, set up camps for migrant workers, work on soil conservation and reforestation programs, and document all of this work under the RA's Historical Section. Photography was a fairly new technology and was really efficient at documenting the problems of the Great Depression. Roy Stryker was appointed the head of the Historical Section of the FSA and was in charge of directing the imagery that would capture the story. His photographers, such as Dorothea Lange and Walker Evans, travelled around the country capturing the details of people as they moved through this extraordinary life situation. He was the consummate promoter in that he knew how to use the images in magazines and newspapers to show people what was going on across the country. This work of his produced an enormous body of documentary photographs of the Great Depression.

Dorothea Lange suffered polio at the age of seven, but survived the disease and went on to study photography in New York City. When she moved to San Francisco, she set up a successful portrait studio but eventually began to document life on the streets of San Francisco. It wasn't too much of a leap then to begin taking pictures for Roy Stryker who recruited her to the Historical Section in 1935. This began her work documenting migrant workers in California. Her work is some of the most compelling photography of the Great Depression, and this photograph, Migrant Mother, is iconic of the time.

Like Shahn's Riveter, Lange crops into the image tightly. The mother and her three children fill the frame. The composition is powerful - the mother's face is full of anxiety; she is deep in thought, her brow furrowed. She clings to her children as the cling to her. Their faces are turned away or only partially revealed. The are worn and dirty, gaunt and miserable. This image of a mother caring for her children in a world of misery is a universal one and produces a visceral response in the viewer. Here is her quote about taking this photograph:

"I saw and approached the hungry and desperate mother, as if drawn by a magnet. I do not remember how I explained my presence or my camera to her, but I do remember she asked me no questions. I made five exposures, working closer and closer from the same direction. I did not ask her name or her history. She told me her age, that she was 32. She said that they had been living on frozen vegetables from the surrounding fields, and birds that the children killed. She had just sold the tires from her car to bury food. There she sat in that lean-to tent with her children huddled around her, and seemed to know that my pictures might help her, and so she helped me. There was a sort of equality about it."

That migrant mother was Florence Owens Thompson. Listen to an audio file of her talk about that time.

10/11 Academic Decathlon The Great Depression Art Selection #6 - Negro Barber Shop Interior, Atlanta

Negro Barber Shop Interior, Atlanta, Walker Evans, 1936, Gelatin silver print, 22.1 x 18.3 cm, The Art Institute of Chicago

Walker Evans worked through the Farm Security Administration (FSA) and toured the Southern United States for a year with Roy Stryker. We've seen artists so far that used their art to illustrate social injustice (Rivera, Shahn, Biddle), but Evans wanted his work to be "pure record, not propaganda...no POLITICS whatsoever." Stryker had an agenda for Walker to follow, but Evans was deliberate and careful about his shots. He was looking for images that would engage the viewer and make them think, without giving them a political agenda or viewpoint.

Evans broke from the FSA in 1936 to work with James Agee on a commissioned article about white sharecropper families in Alabama. They were on location for several weeks compiling the story and the images that were to accompany it. It was published as the book Let Us Now Praise Famous Men. Walker's imagery was contemplative and objective and his style established a new way of supporting Agee's passionate text through illumination, not illustration. He was fired from the FSA in 1937 but "Evans had already established his fame as a documentary photographer. He had the honor of being the first solo photographer to have an exhibition at the Museum of Modern Art, and received a Guggenheim Fellowship in 1940 that funded his projects." (Thanks DemiDec for your great art resource!!) He eventually became a staff photographer at Fortune magazine and worked there until 1965. He went on to become a professor of photography at Yale University until his death in 1975. He was one of the most important photographers of this time because he had a keen, unimpassioned eye and inspired other photojournalists to shoot without opinion or emotion.

This black and white photograph is full and empty at the same time. The scene is carefully constructed - chairs wait for customers, linen ready to be used, hairdressing tools at the ready. And yet, there are no people in the shot. People are not even reflected in the mirrors. One mirror reflects black emptiness, the other filled with an image of a full shop. The shop is in an old space - chipped paint on the back wall, worn leather chairs - there's a sense that it's been patched together to fit the space. The documentary style of Evans captures all of these details in a high degree because he used a large-format camera.

The barbershop is a communal and intimate space. Men are groomed here on a regular basis. Relationships are formed. Social discourse takes place - the are free to talk about life, work, sports, politics. During the 1930s segregation was in place and black men were required to frequent their own barbershop, not one that white men went to. Evans shows us that environment, without people and without judgment. He presents richly detailed images that are direct and interesting inviting the viewer to interpret what is happening. Check out more of his work from this major retrospective exhibit of his work that was held at the Metropolitan Museum of Art.

Artist of the Week - Chris Jordan

Light Bulbs, Chris Jordan, 2008, 72x96"
Depicts 320,000 light bulbs, equal to the number of kilowatt hours of electricity wasted in the United States every minute from inefficient residential electricity usage (inefficient wiring, computers in sleep mode, etc.).

Educating ourselves in regard to our consumption and waste is a step toward modifying behavior. Starting to make changes on a personal level will begin the shift into societal change. Chris Jordan's work represents visually the staggering statistics of how we use resources and dispose of our waste without thinking about the ramifications.

The post headline leads you to a TED talk in which he explains his work and his hope that we can each raise our consciousness to the various issues his manipulated photography highlight: how much electricity we use, how many trees we cut down, how many plastic cups are used on air flights every day, etc. Once we are informed about the issue, we can begin to make changes in our every day life.

I particularly love this piece which is evidence of part of the collective moving in the direction his work wants to take us. Our collective web is strengthening.

E. Pluribus Unum, 2010, 21x21 feet, laser etched onto aluminum panels
Depicts the names of one million organizations around the world that are devoted to peace, environmental stewardship, social justice, and the preservation of diverse and indigenous culture. The actual number of such organizations is unknown, but estimates range between one and two million, and growing.

Concept and design: chris jordan
Computing and design: Craig S. Kaplan, University of Waterloo, Ontario, Canada
Organizations database research: Paul Hawken

Artist of the Week - Clark Little

Red Dirt

There are times when I love the way stuff becomes viral on the Internet. My sister forwarded me an email with images of Clark Little's amazing ocean photography. Thank you! This California native not only loves the ocean, but has an incredible sense of timing and a true artist's eye to see the beauty and drama of the ocean. My husband loves the ocean, but I have had little time at the beach since my family bonded with the Colorado Rockies and that is where I feel at home. Mr. Little's photography is beautiful, dramatic and compelling - though I think I could spend a lot of time on the beach and never "see" what he is able to capture with his camera. Check out his website which is linked to the post title.

Sun Curl

Artist of the Week - Edward Burtynsky

Check out the documentary film of his work.

Artist of the Week - Ju Duoqi

The Vegetable Museum - 04, Ju Duoqi, 2008
The Third of May 2008
C-Print Size A: 120x150cm Edition: 6 Size B: 80x100cm Edition: 12

(Blogger's note: It was a subconscious act that I chose "The Third of May" for my Third of May post! Only AFTER I viewed the post did I see the cosmic nature of it. Those of you who know me well know how much I LOVE cosmic events!)

What is it about food art that we love so? I think it is because we love food AND art - when they come together it is fun and interesting. Ju Duoqi is a Chinese artist who reinterprets classic paintings using vegetables as her medium. She photographs the scene she has created and prints editions for sale. Click on the post title to go to a site that features The Vegetable Museum. She displays sensitivity and humor in her work. Before going, I'd like to leave you with one quote from the site that captures her feeling about her work: "Everything has a spirit, each vegetable, each person, and each second, under careful observation, has extraordinary meaning." Here is a link to a video interviewing the artist at work.

The Vegetable Museum - 07, Ju Duoqi, 2008
Napoleon on Potatos
C-Print Size A: 150x120cm Edition: 6 Size B: 100x80cm Edition: 12

Artist of the Week - Barry B. Doyle

Flamingo at Rest - Image copyright © 2007 by Barry B. Doyle, used with permission.

One of our TAG parents, Barry Doyle, is quite the artist and I asked him if I could include his work in my blog. His son Colin ('05) and Tory ('06) both attended TAG and are also very artistic!

I specifically wanted to feature his photography for my AP Studio Art students. Several are going to use photography for their concentrations this semester. I recommend that my students look at the work of other artists in order to inform their own visual vocabulary. Digital cameras have made taking pictures so exciting! You can instantly see what image you have captured, download it quickly into your computer, move it about easily or modify it with the help of Photoshop. The key element in becoming a great photographer is developing a keen eye and learning how to frame the image for a striking composition. Check out his flickr photostream to see more of his work.

Barry has a book coming out featuring his photographs of Dallas - "Dallas Iconography" will be available to purchase from Amazon soon. Here's what the Dallas Visitor's Bureau says about his upcoming publication: " Just what we've needed and a fitting tribute to our beautiful city. The versatile Dallas Iconography serves as a useful guide for visitors, a valued commemorative gift and the perfect souvenir. And besides its utilitarian function, this impressive work of fine art and design makes an elegant coffee table book. --Jay Burress, VP Sales & Marketing, Dallas Convention & Visitors Bureau". I'm excited to see his book - his work is evident that talented and gifted students spring from talented and gifted parents! Kudos, Barry!!

07/08 Academic Decathlon Art Selection #12

Ah, "out west"! It still has a romantic quality about it today. This is a photograph of Canon de Chelle by Timothy H. Sullivan done in 1873. Photography was still an early medium. As cumbersome as it was, people dragged their equipment and developing chemicals along with them to document this still unfolding nation. It was a great way for photographers to promote new American locations to people looking for adventure!

07/08 Academic Decathlon Art Selection #3

This photo is called "The Sick Soldier" and is the work from the Mathew Brady Studio, 1863. Photography is a huge contributor to war journalism. Now images from the scene of the battle could be captured for people to see. How did this new technology contribute to people's views on the war? Check out Mathew Brady and find out how new this technology was at the time. How has technology changed our perception of wartime?