The Scope of New York 2006 Art Fair

“Things have gotten so bad, lately, that people are in revolt against life itself.” – Kurt Vonnegut

There is art, and then there is…
That is the overwhelming sentiment guiding the omnivorous visitor as he meanders, craving enlightenment, up and down the cluttered corridors of the Scope New York 2006 art exhibition.

A hairy, overstuffed goon stands guard in one of the first stalls, his faceless head a reminder of the content (or not) that lies beyond the graffiti festooned portals, his celebrity a result only of his creator’s name. The walls are draped in an uneven, oriental-looking cardboard tapestry (one of the better pieces, by the way) offset by a pile of photographs leaning against a flimsy, badly whitewashed partition. These technically competent offerings just might snag the interest of the virginal visitor who has never glimpsed the works of Diane Arbus. A progression of wide yellow stripes on the concrete fortification adjacent to this opening scene were actually painted by the work crew, the same one that will tear a hole in it once the crowds have fully dissipated – so I am told by security personnel as I stare intently at the cement in search of meaning.

Three menacing, punkily clad, life-sized and high-powered-weapon wielding papier-mâché figures (secular Iraqi insurgents, perchance?) occupy a stage that warns the unwitting voyager of what is yet to come. A glance to the right reveals the disproportionate oral sex series, artfully done but equally artful in its lack of substance – an internet porn site must have inspired the proficient sketcher. Painfully distorted, tear stained puerile faces take up yet another space in oversized photographic zeal that may have been more appropriate in a magazine titled: “How to Deal with Your Spoiled Brats,” perhaps a suggestive subtitle for the whole Scope affair, as well.

A few labored steps forward and voila! The masterpiece unveiled: A crude oil rendering of a certain Nazi Chancellor fornicating with a swine to which an astute observer behind me, certainly just barely legal for barroom admittance, remarked enthusiastically: “Awesome!” Astonishing, indeed, was the “artist’s” audacity to present this image as though it possessed a single iota of originality or, the vaguest resemblance of simple forethought.

Few and far between were works from which one might, in fact, catch a glimpse of artistic talent coupled with a search for substance. A series of drawings with abstract geometric and topological qualities (vaguely reminiscent of Klee), a sequence of non-figurative paintings on wood and an excellent collection of acrylics inspired, in equal measure, by orchids and ancient Chinese technique were especially noteworthy. Nevertheless, the outright violence and wanton hostility of the great majority of regurgitated junk culture supplied by the “exhibitionists” helped make the experience one of indelible disgust. But what can one expect from a mindset that looks to Fear Factor and South Park for cultural direction? What can one say when artistic endeavor is pulverized to the obscene ogling of wretched lives alongside the elevation of hopelessness and topped with the idle pursuit of momentary gratification?

The old adage garbage in, garbage out seems to fit as snuggly as a lambskin glove the hands of these tots of trivia. Were there reason and rhyme for the outbursts of gratuitous cruelty disguised as art, then one might even be left to ponder. There are countless examples of art employing carnage as a mere medium to put forth a broader and more significant message. However, the absolute want of rationale seems to be exactly the point: “we are doing this because we can” is proffered in the true spirit of the spoiled adolescent who thinks he is entitled to something other than a swift kick in the rump.

Talent is never enough. Talent without core is a waste of time, space and energy for both spectators and artists. One would hardly praise Graham Greene for writing brilliantly tailored laundry lists. The hackneyed approach to pointless violence is neither a social statement nor a cultural observation; it is an excuse not to think for oneself; it is the scatterbrained copycatting of a devil-may-care, pseudo anti-intellectual pose popularized by the irresponsibly frivolous, make-believe world of the affluent strata. Random brutality exists in our society and it is the duty of art, as an ultimately human manifestation, to speak out against it, deterrent that it is to the evolution of our species, but never to trivialize and glorify it, so as to wind up co-opted by the same system that they, the self-proclaimed artists, pretend to despise.

The Must See British Independent Film <i>Sixteen Years of Alcohol</i>

Sixteen Years of Alcohol is a British Film depicting an alcoholic's struggle to come to terms with the two conflicting sides of himself:  the violent addict and the passionate idealist.  It’s shot in Edinburgh, Scottland with absolutely beautiful cinematography and begins with the middle Aged Frankie Mac (Kevin McKidd) being beaten and kicked in an alley.  The rest of the movie takes places in a dream like state with Frankie looking back on his life.  The Director/Writer Richard Jobson based this movie off him and his brother’s real lives.  This gives the poetry and story a really personal realism that I think is it’s richest attraction.

Kevin McKidd ,who plays Frankie Mac, does an outstanding job and the movie as a whole is not very predictable, which is very refreshing.  The non-chronological unfolding of the story in the retrospective (looking back) point of view helps increase this effect.  The beginning is a little slow, but will keep you interested as you will instantly be able to empathize with the young childhood Frankie. There are three main stages of the film which consist of childhood, adolescence, and adulthood. 

I don’t want to spoil the plot line for those of you who haven’t seen it yet, but in short an idealistic boy is exposed to the hard reality of his father’s true character.  This disillusionment continues into adolescent where Frankie becomes a violent gang leading alcoholic.  He finds love and tries to come out of his past, but his self destructive tendencies keep pulling him back. 

Frankie’s narration is bit simply and repetitive, but the shear charisma and dualism of the main character as he struggles with the two different sides of himself make him an extremely interesting multi-dimensional character.  The main attraction to this piece is the strong character driven development of the relationships Frankie Mac has and how they change throughout the different parts of his life. 

It’s extremely microscopic, or concerning the inner struggles of the main character.  Although, he is physically beaten up a few times, the real conflict is within himself and the POV never leaves Frankie.  I love movies in this perspective.  Most Hollywood films involve a third person point of view and mainly macroscopic or outward plots.

A few critics have said that it plays into the standard self destruction drug addict loathing formula, but I would highly disagree.  The concepts have been played out before and it’s true that some of the violence seems invented and lacks realism, but the movie pulls it off beautiful in a more poetic and thought provoking way then other films of this nature.  The alcoholism is a little too much on the tame side.  In the portrayal of a self destructive violent alcoholic, I expected to see him wake up and take a drink, or black out and wake up in his own vomit or some other signs of extreme drinking.  Instead you are simply given a few stumbling home scenes, but nothing very shocking

A couple of scenes are purposefully remnant of A Clockwork Orange, which is externalized referenced in the movie itself by Frankie’s bedroom poster of A Clockwork Orange.  Unfortunately some of the violent A Clockwork Orange flash backs lack direction, so they come off a bit confusing.  The transitions and the overload of symbols and metaphors were a little too much at times and made you ask yourself is this a dream sequence or really happening or what?  This created some confusion and took away a little from the films effect. 

This movie has been released on DVD and you can currently find it at any major video store or rental chain.  I definitely recommended this film to anyone who enjoys a serious non-predictable movie with beautiful cinematography, strong acting, and a rich poetic unfolding of a personal story.

It was nominated for in the 2003 British Independent Film Awards for Best Independent Film and Susan Lynch won the Best Supporting Actress category.  In the USA the reviews have been mixed, but on the positive side.  This is definitively a must see and may possibly become a cult classic.

Art Centers to Visit in Southern Maryland

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Mattawoman Art Center sits on the scenic Mattawoman Creek in Smallwood Park, where water skiing and fishing is available as well. Wildlife abounds in this setting. I saw a bald eagle soaring in the sky. This hidden jewel of Southern Maryland is a showcase for local artists and members of the art center. The current exhibition is of Charles Reiher and Matt Borchelt and will be exhibited till March 12, 2006. Mr. Reiher is a photographer and Matt Borchelt is a modern artist. This exhibition combines modern art and photography of nature. There are always a reception on Sundays when a new show opens. Plenty of food is available and the art is present for you to enjoy.

I attended the previous art show that showcased works from high school artists, who were the best in their class. The turnout was great. There was a wide variety of art in different mediums. For example the “The Three Amigos”, three plaster objects done in bronze were exhibited.

All pictures in the exhibit are for sale. There is a gift shop where you can buy art carvings, silk scarves and painting that have been produced by members of the  Mattawoman Art Center. Handmade earrings are available at the docent’s desk the prices range from $5 to $15. Art classes are given at the art center. For more information call (301) 743-5159. The address of the art center is PO Box 258, Marbury, MD 20658.

Montpelier Arts Center is located on 9652 Muirkirk Road in Laurel MD. It is very historic because it’s located near the Monpelier Mansion. Performances such as Jazz, classical and folk as well as blues music take place in the main gallery. Meetings can gather there as well. The artist gallery presents works of artists who create art at the center. The gallery is open to the public from 10 a.m to 5.p.m. Classes and workshops are available to the public as well. The phone number is (301) 953-1993 or email the staff at Montpelier .arts@pgparks.com. Monuments of sculpture is the current exhibit available for viewing. It is up during the month of Febuary and features works in Bronze which are inspired by African Masks.

Harmony Hall which is located on 10701 Livingston Road is a former elementary school that plays host to performances, exhibitions and art surveys. This is a great place to celebrate the performing arts and theatre. The 2006 Harmony Hall Brochure will give you more information about performances, exhibitions, art surveys and has directions to Harmony Hall Regional Center. Call the Center about how to receive the brochure at (301) 203-6040.

March 15, 2006 at 10:30, Harmony Hall will play host to Kids’ Day Out performed by Billy B., who is a show and dance man, who performs and dances about swamps, biodiversity energy and rain forests, geology and natural wonders.

March 15 an afternoon tea is offered at 2 p.m. A Harpist, Park Stickney performs. Admission is only 10:00. Check the website for more information at http://www.pgparks.com/places/artsfac/hhrc.html.

Why Not Let Your Baby Cry

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New moms and dads seem to feel that they have to keep their baby from crying. Every time their little one cries they come running. But in my own personal opinion it is perfectly ok to let your baby cry a little. Of course you do not want to let them cry all day long. Crying themselves to sleep is perfectly normal and ok. I have tried this with my children and it has really worked out well, especially at bedtime. What I do is follow my usual bedtime routine. 

Give them their bath and then one final bottle or nurse them one last time for the night. Them I put them in their crib and let them cry just for a while. Every 15 min or so you will want to go and comfort them. It is important that if you are going to let your baby cry themselves to sleep that they are given comfort. I would also recommend covering their little hands so that they do not scratch themselves. They sell little mittens for infants or the shirts with the little hand covers attached. It is also a good deterrent if your child is starting to suck their little fingers.

No one is quite sure why we exactly do cry. Did you know that there are actually two different kids of tears? One is the Basal or continuous tears that moisten the eye, and the other is reflex tears which are caused when your eyes are irritated by some type of object. Some researchers believe that emotional tears or crying actually relieves the body of harmful and excess substances, in the same way the kidneys, and the lungs do. They are not exactly sure of the reason but evidently the body produces a tear in response to emotion that is different from the kind in response to irritation. From the moment a baby is born they need tender care. Many people feel that if they respond to a crying baby they will be spoiling them. I am not sure, but I do know that no harm can come to them by just letting them cry. 

But you should keep in mind that when a child is hungry, uncomfortable or upset, the will begin to cry. You will want to make sure that you check all of these things before you let your baby cry themselves to sleep. Some researchers seem to believe that babies who are responded to quickly during the first 6-8 months of life actually cry less than babies who have been left to cry. Of course they cry less since they are constantly being picked up. There are times when just acknowledging their cry with your own voice will be sufficient. Just a simple touch can help to provide comfort.

Believe it or not it is a baby’s job to cry. At least that is what many of the parents that I have spoken to seem to thing. You do not want to let the baby cry all the time. For example I only allow my baby to cry at bedtime for an extended period. I believe this will help him to learn what bedtime means. When the baby is constantly being rocked to sleep, as they get older they will not understand why you will suddenly stop. And you will probably have a very difficult time putting your one year old baby to sleep. Keep in mind that crying is how babies communicate what they want. The bottom line is you need to help them understand when it is time to play and when it is time to sleep.

Tips for Your Commercial Photography Portfolio

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A great commercial photography portfolio is your calling card in the industry, and your ticket to winning clients and landing jobs as a professional photographer. Read on to learn 3 key tips that will help make your commercial photography portfolio shine, so prepare to start getting the gigs you need to advance your career. These commercial photography portfolio tips will take your clips to the next level, so that you can scale the ladder to your dream job.

1. Offer Your Commercial Photography Portfolio In A Variety Of Formats

When you hand out your commercial photography portfolio, one of the things it is crucial to communicate to a client is that when they hire you, you will do everything you can to make his or her life easy. You want to be seen as professional and responsive, and as someone who proactively anticipates your client's needs. One great way to make this impression fast is to have your commercial photography portfolio available in a number of formats, including in print, on CD, and online, as AllArtSchools suggests. When you follow this advice and have print, digital, and virtual clips available, your first question to a client can always be "What's easiest for you?", a sentence that will be music to any prospective employer's ears.

2. Pitch Your Commercial Photography Portfolio Directly To The Job At Hand.

Instead of having one commercial photography portfolio, have several, one targeted to each kind of work you're hoping to do in your career. Have you taken some gorgeous nature images? That's great, but a client who's hiring for a fashion shoot won't care! A prospective employer will hire the person who seems most likely to do a great job on the specific project at hand, so make sure everything in the commercial photography portfolio you hand to a possible client is directly relevant to the task they'll need you to do. Try doing as PhotoCritic suggests, and put together a portfolio of just your fashion work, another that highlights your nature shots, another for photos you've taken of products, and so on for each genre you've got clips for, and are seeking work in. That way, as you move forward in applying for a variety of jobs, you'll always have your most specifically relevant work at your fingertips, ready to impress your next boss.

3. Include The Right Written Information In Your Commercial Photography Portfolio.

As Marketing For Photographers and Photography points out, you don't need to include much written information in your commercial photography portfolio. However, what you do put in can make or break a client's interest in your work. By reducing the amount of text, you help keep your prospective employer engaged with the images you're presenting, which is the goal of your commercial photography portfolio. You don't need to put forward the technical information for each picture, like your equipment choices or shutter speed, because the client only cares about your end result, not about the road you took to get the shot. You should offer a brief description of what each picture is, to provide some context, and a clean, professional, and specific title for each shot, so that it's easy for clients to reference a particular image in your commercial photography portfolio when they're in discussion with you, or with any colleagues who may be involved in making the decision to hire you.

Blair Hill Photography in Salt Lake City, Utah

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Blair Hill Photography services the Wasatch Valley areas locating between Provo to Logan Utah.

Blair Hill Photography began in the year 2000 when Blair first decided she wanted to use her camera for something other than fun. Though Blair had been taking photographs for a long time, and was very familiar with the SLR camera she owned, she was always just snapping photographs of family & friend adventures, music events, or other various events around the town. She had been published several times in her local newspaper and other various sources, but still never quite thought of the idea to go 'professional.'

When Blair decided that it was time to put her passion to work, she started to attend classes right away on her new favorite subject, so that she could learn as much as she could aside from what she already knew. She attended classes at her local community college, a local arts program, and MICA - Maryland Institute College of Art. She began developing her progressing in the field of musical/industrial photography, and developed a clientel very quickly.

To the downside of all the progress Blair had made with her work, in 2003 she moved 2000 miles across the county, which means her clients were not locals anymore. Discouraged, and looking for a refreshing moment in life, Blair took a break from her passion of photography until 2005. In 2005, Blair realized how much she missed doing what she loved most, taking pictures. She realized how much her focus of photography had changed though, and began to pursue portrait photography.

Since 2005, Blair has been an active portrait photographer in the greater Wasatch Valley in Utah. She has been complemented again and again on her wonderful work, with a repeat clientel that simply keeps growing and growing.

With astonishing photography, incomparable to any of the other local photographers here in Utah, yet still with the most amazingly affordable prices, Blair Hill Photography is completely unique, and perfect. Every day Blair is coming up with new ideas on how to make her work different, better. She is constantly attending trainings and schooling to further her educational background in photography, and to learn anything new she could possibly learn.

Her current creditinals include the following:

Anne Arundel Community College - 2001, Photography Certificate

Maryland Institute College of Art - 2002-2003 Photography Classes

Salt Lake Community College - 2006-current A.A. Photography Classes

In addition to her passion of photography, Blair has a B.S. In sociology from the University of Utah, and is currently working towards her masters in Gerontology. She hopes to one day mix her love for people and culture with her love and passion for photography.

To see Blairs work, please visit Blair Hill Photography by Clicking Here.

Christmas Photography Tips and Advice

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For Christmas photography tips, or any sort of photography, we want the best results to come from our time and effort. Christmas photography captures special moments, especially when children are involved. In fact, this leads to my first Christmas photography tip:

(1) Focus on the children first. This admittedly is a bias of mine, but Christmas foremost should be a children's holiday. This applies to gift-giving, and also to photography. If you disagree and/or if adults are at the center of your Christmas, fine, that's just my opinion. Just think of ol' Art Linkletter: "Kids Say the Funniest Things." Kids also make the best photo subjects, and regardless, Christmas (like Trix cereal) is for Kids.

Our Top Ten Christmas photography tips are going to relate to the strategy of taking the best photos, not to the type of camera. That's a whole 'nuther topic. In fact, yours truly is not even a shutterbug. My advice comes from working as a local daily newspaper reporter, among some of the best professional photographers, going back to the 1970s when they still used darkrooms, up to today in the digital age. These Christmas photography tips are geared toward how you interact with your subjects, once the camera is chosen and the lighting adjustments are made.

(2) Don't be one of these photographers who is constantly out front and interrupting things, asking people to pose. For your best Christmas photography, be the fly on the wall. Stay in the background and take candid photos of what's happening, photos in which the subjects don't realize you're taking their photos.

(3) A lower angle (shooting "upward" toward the subjects and the scene) often yields better results. Don't hesitate to sprawl on the floor.

(4) In your Christmas photography, look for sequences of events. A photo is just one moment in time and to capture a sequence, many folks nowadays prefer a video camera. Still, there's nothing like a series of photos. For example: (A) Child awaits anxiously for gift-giving to begin. (B) Child receives wrapped gift. ( C ) Child tears wrapping off of gift. (D) Child reacts to gift.

(5) In fact, your sequence of events could begin hours earlier. Child helps decorate tree. Child puts on Christmas outfit. Etc.

(6) Just because you're staying out of the spotlight with your camera, that doesn't mean you can't be persistent. Patience is a virtue in waiting for just the right moment, just the right shot.

(7) Be a minimalist. Don't try to illustrate the whole scene of the Christmas event at once. If it's a party, take turns focusing on individual participants, or no more than two or three in one frame. If your Christmas photography involves a group of carolers, go ahead and photograph the whole group, but also aim for closeups of one caroler, or a small group.

(8) If you still want some posed Christmas photography for the archives, that's fine. Try to do the posing at the conclusion of the shindig, not at the start or during the middle.

(9) For posed photos, try to keep the number of subjects small. Let's imagine the group of Christmas revelers is 20. Go ahead and shoot the group of 20, but keep in mind that with so many folks in there, their faces are going to be the sizes of dimes. Also shoot "subgroups" with three, four, five people.

(10) When people pose in groups, have them put their heads as close together as possible. This may seem like a minor point, but when you see the results, you'll understand. Faces can be 20 percent larger and up close if we eliminate the wasted space between their heads.

SOURCES

Personal experience

http://digital-photography-school.com/16-christmas-photography-tips

http://www.best-family-photography-tips.com/Christmas-pictures.html

http://photography.about.com/od/christmas/Christmas_Photography.htm

DIY Wedding Photography on a Budget

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So, your wedding is fast approaching and you want memories that will last a lifetime. However, you are on a budget and don't have a lot of money to spend for a professional wedding photographer. You can still get professional-looking, creative, memorable pictures with DIY wedding photography.

The first thing to do is to find someone who takes great pictures. This doesn't have to do be a professional photographer. Many people have a "great eye" and instinctively know how to take great pictures. Think of friends or family members who you've complimented on their photography from vacations, for example. Another way to find a cheap wedding photographer is to look on local college bulletin boards, or post on them yourself in the art department or photography department. Many students have amazing talent, but since they are still a bit inexperienced, will be your wedding photographer for a fraction of the price of a professional wedding photographer. Some may even photograph your wedding for free, for no more than a free meal and use of your wedding pictures for their portfolio. You can also consider putting an ad on Craigslist for a hobbyist who is not a professional wedding photographer, but has an artistic eye and loves to take pictures. Get samples of work and negotiate a price you are both pleased with.

Whether you use a talented stranger or an artistically-inclined friend or family member as your wedding photographer, make sure they have a good camera. You may even consider purchasing a good quality, digital camera that you can give them as their "payment". If you need to purchase a camera for your DIY wedding photography, make sure you give it to the wedding photographer in plenty of time for them to learn the ins and outs of the camera, so they can adjust the settings. Digital cameras also allow for easy editing, so you or your DIY wedding photographer can edit your wedding pictures. Also, digital cameras have a large capacity to store many pictures, with a memory card they can hold hundreds of pictures, so you will have plenty of wedding photos to choose from to preserve your special day.

Another idea is to meet with your DIY wedding photographer to develop a plan of what you want photographed. Remember, since you will be saving a lot of money by not hiring a professional wedding photographer, you will have to do some of the work yourself. This includes providing the DIY wedding photographer with a list of what you want photographed. This may include photographs of the wedding rings, the wedding invitations, the bridal party, the groomsmen, the family of the bride, the family of the groom, the bride and groom's first kiss, the wedding service, etc. This will help you and your DIY wedding photographer be on the same page and know each other's expectations beforehand, so you get exactly what you want on your special day.

Also, encourage others to take pictures of your wedding. Some of the best wedding photography are those wonderfully candid moments caught by some of the guests. Some wedding couples choose to put disposable cameras on tables for guests to take photographs of, then ask that they leave the cameras when they leave the wedding reception. Some give the cameras out as wedding favors and ask that any great wedding photographs be sent to the married couple.

Lastly, consider the best of both worlds. You can hire a professional wedding photographer for a short period of time to take a few very specific pictures, then rely on your DIY photographer and wedding guests to take the rest of the photographs. This will eliminate a lot of cost for a professional wedding photographer. You can also opt to don your wedding attire a few days after the event and go to a studio to have a few professional pictures taken.

Remember, it doesn't take a professional photographer to take some amazing, creative, professional-looking wedding photography. Have a great day!