George Bradshaw

Overview • Galleries (See Galleries) • Monthly Themes • Field Trips • Speakers • Projects

WIFT - Critiquing Abstracts, a Few Notes on

Assuming that one goal of art is to communicate, criticism of abstract art must first determine what the piece communicates to the viewer.  Unlike representational art, the communication may most often exist at an unconscious level or at a level difficult to express in words or actions, for example, abstract art may be trying to communicate what the color “red” is.  Nevertheless, some criteria for judging representational art can be applied to abstract art.

It is my hope that the following definitions and critique approaches will help us critique abstract photos in the WIC (Weekly Image Critique) gallery.  The information below was gleaned from information publicly available on the web and includes, for the most part, information that seems to be consistently understood across recognized authorities, qualified discussion groups and specific artists.

Definition of Abstract Art

“There is no abstract art. You must always start with something. Afterward, you can remove all traces of reality.” -  Pablo Picasso

“Non-representational works of art that do not depict scenes or objects in the world or have discernable subject matter.”  (from MOMA)

“Remove [a work of abstract art] from its art world context and it loses its meaning entirely." (From David Carrier in Aesthetic Theory, Abstract Art, and Lawrence Carrol, read first full paragraph through following page.)

The “art world context” of WIC photos includes three elements: the artist (photographer), the exhibition (WIC gallery), and the critique (provided by an OPC member).  Remove any one of these elements and the art ceases to exist.

“Abstract photography, sometimes called non-objective, experimental, conceptual or concrete photography, is a means of depicting a visual image that does not have an immediate association with the object world and that has been created through the use of photographic equipment, processes or materials.”  (from Wikipedia)

Definition of Creativity

“To bring into existence something new … through imaginative skill.”  -- Merriam-Webster

“…real creativity is independent of the creator.”  -- Harq al-Ada, on Leto II’s recognition of his role, Children of Dune, by Frank Herbert

Some Approaches to the Critique of Abstract Art

Fundamental Criteria for Evaluating Abstract Art, from a discussion at ResearchGate:

• “…abstractions [are] not about the typical aesthetics, such as color, composition, perspective, etc. However, it's about the innovation.
• “…a high degree of craft can be indicative of great abstract art - obviously not a popular point of view in a world dominated by conceptual art.”
• “…abstraction in any work of art is devoid of standard rules of objective judgement.”

Judging Guidelines from the Naples Camera Club: Focus point should be sharp and clear, unless the work is abstract.  Color should be believable, unless the work is abstract.

What makes a good abstract, from artist Jane Trotter: Simplicity, Composition, Lighting, Angle of View, Harmony and Cohesion, Mystery and Accessibility.

Judging Abstract Art, from the Emerald Photography Society: “…use your response to an image, concentrate on the big elements & use the sandwich method.”

“The Sandwich.  What that means is start off with a positive, then discuss the weaknesses, and finish off with what worked well.”  See How to Give and Take a Critique.

Judging Quality of Abstract Painting, from Artwork Archive: Recognize the intention, find conscious composition, notice meaningful use of color, spot deliberate textures, understand history and significance.

Overview • Galleries (See Galleries) • Monthly Themes • Field Trips • Speakers • Projects

Overview • Galleries (See Galleries) • Monthly Themes • Field Trips • Speakers • Projects

Overview.

This page lists the galleries for occasional personal photo projects or for personal field trips to nearby locations offering a wealth of photographic opportunities.

WHIM - WHatever Image Mélange

Definition

The WHIM is a gallery for members' short personal projects, e.g., a special event, a travel destination, photographer's profile, etc.  After uploading no more than a dozen images, the member will present a short program of about ten minutes at an upcoming OPC meeting.

File Naming Convention

YYYYMMDD - LastnameFirstInitial - Short Title - [Sequence Number] - Photo ID

The gallery contains images in reverse file name sort order.  Brackets ("[" and "]") indicate an optional field.  Spaces are before and after hyphens for legibility.

"Sequence Number" functional only when "Short Title" is the same for all photos in the date batch.

Upload

Tyson's Corner Street and Architecture

Definition

A gallery for members to share their individual field trips to Tyson's Corner.  Tyson's is a great suburban location for photographing architecture and people on the street.  The distances between venues are fairly large but one can take advantage of COVID by parking almost anywhere on deserted streets and parking lots.

File Naming Convention

LastnameFirstInitial - Title - Photo ID

The gallery contains images in reverse date of upload sort order.  Brackets ("[" and "]") indicate optional field.  Spaces are before and after hyphens for legibility.

Upload 

George Mason University Campus

Definition

A gallery for members to share their individual field trips to the GMU Campus.  The GMU campus has some beautiful architecture, hardscapes, gardens, stands of trees, monuments, art, and people (even with social distancing).   There is a charge for parking even during COVID.

File Naming Convention

LastnameFirstInitial - Title - Photo ID

The gallery contains images in reverse date of upload sort order.  Brackets ("[" and "]") indicate optional field.  Spaces are before and after hyphens for legibility.

Upload

Overview • Galleries (See Galleries) • Monthly Themes • Field Trips • Speakers • Projects

Overview • Galleries (See Galleries) • Monthly Themes • Field Trips • Speakers • Projects

OPC Email Voting Procedure

Under those circumstances when the OPC 2nd Friday meeting is not held, voting for the Photo of the Month will take place via email.  The procedure for email voting is as follows:

1. Candidates. Review the current month’s competition slideshow to select an image.
   1. Click March 2020 Slideshow to be taken to this month’s slideshow gallery.
2. Selection. Note your selected image’s Number and Title which is found on the “Thumbnail Collage” image, the first image in the slideshow gallery (sample below).

3. Ballot. Create an email following this example:

To: olliphotoclub@gmail.com
Subject: OPC Photo of the Month Vote
Email Body:
8                                      [this is the Image Number]
Tangle Creek Morning     [this is the Image Title]

4. Submission. Send the email between the hours of 6 PM Thursday (eve of competition) and 10 AM Friday (day of competition).

Notes.

Numbering.  USE NUMBERS ONLY FROM THE THUMBNAIL COLLAGE.

Automated Replies. Members will receive an automated reply a few minutes after sending the first email.  The second email sent will have no reply.

Image Upload Period.  Upload of images for the competition will be accepted only until 12 PM, Thursday noon before the 2^nd Friday.

Winner Announcement.  The “Four Tops” gallery will be populated by noon on the day of voting (the first image in the Four Tops gallery is the winner).  The winner will also be announced via email shortly thereafter.

Voting Rules.  One vote per person and everyone votes.

- - - - - - - - - - - - - - - - - - - - - -

Overview • Galleries (See Galleries) • Monthly Themes • Field Trips • Speakers • Projects

Overview • Galleries (See Galleries) • Monthly Themes • Field Trips • Speakers • Projects

Photo Ops

A list of opportunities for using the camera.  The intention is to identify temporary exhibits, fairs, or other events not routinely available to the photographer.  The list will resume its currency upon the end of our social isolation.

Photo Exhibitions in Washington, D.C.

American Association for the Advancement of Science HQ: “Nature’s Witness - National Wildlife Federation Exhibition” through February 28. The NWF has selected 50 images from its National Wildlife Photo Contest, a competition that celebrates the power of photography to advance conservation and connect both photographers and viewers with wildlife and nature.

National Geographic Museum: “Women: A Century of Change” through May 10. Photographs depicting women from around the globe, demonstrating what it means to be female.

National Museum of the American Indian: “Developing Stories: Native Photographers in the Field” through June 7. An exhibition of the works of Rusel Daniels, one of three Native American photographers whose work focuses on issues in contemporary Native life.

National Portrait Gallery: “In Mid-Sentence” through March 8. An exhibition of photographs from the gallery’s collection, including public speeches, jokes, intimate conversations, lectures and political confrontations.

National Portrait Gallery: “Women of Progress: Early Camera Portraits, through May 31. An exhibition of ambrotypes and daguerreotypes from the 1840’s and 1850’s featuring portraits of iconic feminists Lucy Stone and Margaret Fuller, author Harriet Beecher Stow and abolitionist Lucretia Mott.

This one sounds weird:
Smithsonian National Museum of Natural History: “Challenging the Face of Science: The Bearded Lady Project” through April 30. An exhibition of 38 large-format, black and white female paleontologists conducting research while wearing fake beards, challenging preconceived notions on what professional scientists should look like.

Overview • Galleries (See Galleries) • Monthly Themes • Field Trips • Speakers • Projects