Stained Glass Technique

The elegance and beauty of handmade stained glass has long been revered as one of the best forms of window adornment, whether for home or business. Few things add as much appeal to an entryway as an intricate glass panel. With a few tools that are easy to master and some basic soldering skills, you, too, can create lovely panels for window decoration, to hang as sun catchers or even to adorn a door.

Working with glass can be a bit tricky because it is very easy to nick a finger on the edges of shards, but with care and attention to safety, anyone can enjoy stained glass work. Tools needed include: glass cutter, glass selections, simple design or pattern, glass shape-cutting tool, stained glass soldering iron and solder, foil tape or lead channel material and glass pliers.

Glass cutters come in a variety of styles. First is the "stick" glass cutter, with is little more than a carbide wheel cutting tip on the end of a simple metal stick handle. It is used, as are all glass cutters, to scribe a slight line on the surface of the glass. Once the glass is scored, all it takes is gentle downward pressure on each side of the line and the glass breaks clean. Note: Always break the glass along the score line as soon after scoring as possible. As odd as it sounds, the glass surface begins to heal with time and otherwise the break will not be clean.

Glass cutters with a bit more to offer include those with oil in the handle and a wick that leaches a tiny bit of oil as the wheel turns. They keep the cutting wheel oiled and moving with much less resistance, thereby allowing the wheel to move more freely and last much longer. The fastest way to ruin a cutting wheel on any glass cutter is to over-score a previously scored line. The wheel is designed to make contact with the hard, flat surface of the glass, not the raw groove left by a previous cut.

One advantage to stained glass work is that almost any glass can be used. When doing glass fusion work, each glass has different melting tolerances and must be experimented with to determine the best order, temperature and cooling for lasting results. With stained glass there is no heat, so any glass that is of an appropriate pattern or color is good to use. You can even incorporate glass globules or marbles in the designs. There are stamped patterns and special pre-cut shapes that can make design easier and more intricate before you have experience in cutting shapes. Opaque glass, clear glass and marbled glass in every color of the rainbow along with special vintage glass with bubbles, cracks and crazing make the texture and color selection almost endless.

Patterns are essential because there are some minimal guidelines that make creating original glass work easy. One suggestion by masters is to begin with a pattern from a children's coloring book or other images with very simple shapes. With the shape-cutting tool, cut the pieces of your design, working with each color until all shapes of that color are cut. The shaping tool decreases the size of the piece being cut, allowing for the lead surround. Without decreasing the pattern, your design will not work well. You can also redraw your pattern with a 1/8-inch smaller size by drawing inside the original design. That will shrink the size of the pieces enough for the addition of the lead surrounds.

The solder you use can be of two types. Wire solder is the one used for decades and it is made of 50% tin/50% lead, all virgin metals. It is 1/8-inch in diameter and melts easily with any stained glass soldering iron. Another type of traditional solder that is available is 60% tin/40% lead. Also available is lead-free solder, made of 1% copper and 99% tin. You get reliable results with this solder and it works just as well as regular solder with less exposure to lead. The latter melts at a higher temperature, but is very easily worked.

The soldering iron needed to withstand the long working times is considered heavy duty. Although most irons get hot enough to melt solder, they don't last over long periods of time. Save money by buying a heavy duty soldering iron and you will be much happier. Temperatures of 900 degrees (CAUTION!) can be attained by this style of iron and long working times are not a problem. A soldering iron rest, which is usually included with the iron, lifts and holds the iron off your work surface, making it safe to use in almost any studio setting.

Lead channel material fits around the cut glass shapes and is soldered into place for permanence. Lengths of lead channel are cut, bent around the shape and soldered together with adjoining shapes and lead channel. This is a traditional style of working with stained glass. More contemporary and less hazardous is the use of copper foil tape. This pressure-sensitive tape is applied on and around the cut surfaces, especially tight curves, and then solder is laid over the copper tape. It very closely resembles old-world-style glass work but is much less difficult to master.

Why not head to the glass studio or art material supplier, buy a few tools for stained glass technique and have some fun! Your local art store can recommend books on procedures/tools/techniques and will likely have info on classes offered in your area. Great gifts and home or office adornment await!

Exhibition

Tiffany by Design is at the Hudson River Museum, Yonkers, NY, until May 15. This exhibition explores the design, construction and fabrication of Tiffany lamps made from 1900-1925. On view are approximately 50 Tiffany lamps and lamp parts, one leaded glass window from the collection of the Neustadt Museum of Tiffany Art, and black and white photomurals that show Tiffany producing art ware in his studio.

Art Competitions

National Juried Photo Competition

The Camera Club of New York invites accomplished photographers from around the country to submit slides of representative work for the 2005 National Photography Competition. The competition is open to U.S. residents 18 years or older. First place winner will receive a one-person exhibition at the Alfred Lowenherz Gallery in September and a $300 cash award. Three top winners and those receiving honorable mention will be included in a group exhibition in October. Juror: Sylvia Plachy. Deadline: June 1. For info/entry form, visit www.cameraclubofnewyork.org/competition.html.

Arts for the Parks

The 19th Annual Arts for the Parks 2005 Art Competition is international and open to all artists, and subject matter must include landscape, wildlife, and/or history represented within areas governed by the National Park Service. Oil, watercolor, scratchboard, acrylic, gouache, alkyd, tempera, mixed media, pastel, pencil, pen and ink and batik are acceptable media. Winners stand to receive one of 24 prestigious awards, and their works will be displayed in a year-long nationwide exhibition. Deadline: June 1. For info, visit www.artsfortheparks.com or call 800-553-2787.

National Watercolor Exhibition

The Arizona Watercolor Association 2005 National Exhibition will be held Sept. 2 Oct. 22 at the Chandler Center for the Arts, Chandler, AZ. It's open to watermedia artists 18 years or older residing in the U.S. and AWA members regardless of residency. Cash and merchandise awards total over $5,000. Juror: Eric Wiegardt, AWS/NWS. Deadline: June 1. Visit www.watercolor.org.

Regional Juried Exhibition of Traditional Oils

Oil Painters of America will hold its Central Regional Juried Exhibition from October 1-31 at the Snowfire Gallery in Estes Park, CO. The focus will be to select paintings that show the highest quality in draftsmanship, color and composition, emphasizing diversity in representational style and subject matter. Open to residents of Alberta, AR, CO, ID, IA, KS, LA, Manitoba, MN, MO, MT, NE, NM, ND, Northwest Territories, Nunavut, OK, Ontario, Saskatchewan, SD, TX, UT, WY and Mexico. Awards total $5,000. Juror: Master Signature Member Quang Ho OPAM. Deadline: June 28. Visit www.oilpaintersofamerica.com.

National Abstract Art Exhibition

The Midwest Annual National Abstract Art Exhibition I is sponsored by the Johnson County Museum of History and the Southside Art League, Inc., and will be held Oct. 1-31 in Franklin, IN. Artists currently residing in the U.S. are eligible and 3-D works in oil, acrylic, watercolor, mixed media, graphics, pastel, drawing and sculptures may be entered. A $1,000 best of show prize and other merit awards will be given. Deadline: July 30. Visit http://www.southsideartleague.org/pages/midwest national exhibit.html.

Art Materials

Working with Inks

Remember the first ink drawing you did? You probably used a dense, rich, thick India ink and a quill pen; or perhaps your first experience was at a young age, when you might have drawn with a craft stick. The old standby, India ink, is still as popular for drawing as it was when it was the only product of its type around but has been joined by other inks and liquid "ink-like" materials that offer the design artist, calligrapher or fine artist a bevy of choices. Space-age acrylics and ultra-fine metallic pigments have entered the art scene and bring with them a dashing rainbow of colors.

India ink is an opaque, black liquid comprised most often of 100% carbon black pigment that offers permanent, fadeless, odorless, often waterproof qualities that can enhance linear designs in any work on paper. India ink is sometimes used in combination with acrylic paints on canvas as well. It can be applied with brush, dip or mechanical pens, airbrush or twig/stick. India ink is manufactured by several art product companies and comes in various bottle sizes. Some of the smaller bottles have an eyedropper cap to assist in charging pen tips. The dropper can also be used as an application tool, one that creates lines and "blurts" of ink (made by applying pressure to the bulb-style cap) that can be further manipulated for textures and designs.

Calligraphers often select an extra pure form of ink so that it will flow through their pen points without clogging. Many superb quality inks are available in small-sized bottles and in a variety of colors. Sumi inks, made of compressed carbon in stick form, are meant to be ground against a stone plate to release the particles. They mix with water to form a dark, flowing ink. The artist is in command of the density and fluid qualities of the ink.

The newest twists in inks are the delicious colors and metallics that are acrylic based. Used by commercial artists, fine artists and graphic design professionals, crafters and students, these high quality liquid acrylic inks are available in as many as 30 colors and are offered by several manufacturers. Most are water resistant, can be diluted with distilled water and offer excellent lightfastness and durability. Most can be used in fine quality mechanical pens or airbrushes without clogging, making them even more useful. Within a brand, colors may be combined to create a personal palette of tones; combining different brands may be tested, but this is not always successful.

Explore inks and you'll be surprised how versatile they can be!

New Airbrush Series from Iwata

The new Iwata Revolution Series HP-TR1 and HP-TR2 Airbrushes feature a unique pistol trigger that is comfortable and smooth. Comfort also comes with the pistol grip filter. Not just a hand-rest, this filter is your last defense against moisture. The ergonomic, balanced handle makes for easy, level spraying. The two models are dual-action, internal-mix airbrushes, which means that you have full control over your paint and spray just like with conventional airbrushes. All HP-TR models include an Iwata Pistol-Grip Filter and a ½ oz. side-mount color cup. They can also be used with Iwata 1 oz. and 2 oz. side-mount bottle sets, which are available separately. See your dealer and visit www.iwata-medea.com.

Art Styles

Op Art, Fauvism and Pointillism

Op Art

Optical Art, better known as Op Art, is a mathematically-oriented form of (usually) abstract art, which uses repetition of simple forms and colors to create vibrating effects, moiré patterns, an exaggerated sense of depth, foreground or background confusion and other visual effects. It is usually hard-edged black and white patterning or geometric shapes. Op Art's origins are found in the 1960's art movement, where tricks of visual perception and the illusions of three-dimensional space create visions that challenge the eye to make sense of visual images that are themselves the actual artwork.

Artists of the time were very much interested in the idea of creating movement on a flat plane, and the illusions they masterminded remain as an icon to their processes. Such artists as Josef Albers, Victor Vasarely and Bridget Riley and M.C. Escher were among the abstract painters who are credited with this mid-20th century movement. Escher's work was less abstract and more extensively involved with various visual tricks and paradoxes. It survives today as possibly the most recognized and beloved Op Art.

The movement actually began in Europe and in the United States simultaneously. The term Op Art was actually pinned to the movement in an article in Time Magazine in October, 1964, and by 1965 was the rage in the art world. It also spilled over into advertising and design in Pop culture.

Fauvism

Fauvism grew out of Pointillism and Post-Impressionism, but is characterized by slightly more primitive and less natural style. One of the artists who greatly influenced this movement was Paul Gauguin with his use of color and shape. Artists who are most closely associated with Fauvism are Henri Matisse, Albert Marquet and Andre Derain.

A short-lived movement, it all took place between 1898 and 1908. It was during the time when the work of Vincent van Gogh, Paul Gauguin and Paul Cezanne first became widely exhibited. Liberated by what they viewed, painters began to experiment with radical new styles originated by these icons. Fauvism was the first movement of this modern period in which color was the most significant element.

The Fauves (or wild beasts as they were called by friends and enemies alike) are credited with the birth of modernism, and their Salon d'Automne in Paris, 1905, created a stir with the avant-garde of the time. The style of painting, especially the use of unnatural colors, opened grand new avenues of creativity to artists of the movement. Van Gogh was revered for his dynamic use of color and the relationship it played with the subjects he captured. He is quoted to have said of his own art: "Instead of trying to render what I see before me, I use color in a completely arbitrary way to express myself powerfully." Artists leaped on this bandwagon and then carried the idea further, translating their feelings and emotions with a completely unknown, rather raw style.

Henri Matisse was not only a dominant figure in the movement, but is actually credited with working to keep the style alive, along with the freedom it gave. His work needed color to serve him, much the same as Gauguin did when he interpreted the landscape in unreal colors to express emotion. With Matisse, Maurice de Vlaminck and Andre Derain, color lost its usual descriptive qualities and became luminous, creating light rather than merely attempting to capture it.

The 1905 Salon d'Automne shocked viewers with unconventional style and expressive use of color, both exhibiting undeniable proof of the intense study of van Gogh's art. But, the work was more severe, more primal than anything seen before. Some of the practitioners considered their art "primitive" in style, totally unlike anything seen in the Louvre or elsewhere.

Fauvism is all about color, color and more color. Artists abandoned the softness of the Impressionism palette's shimmering tones in favor of the violent qualities and rich tones combined to create this style, often combined with an expressionistic style that allowed each to interpret his own feelings directly in the work.

Pointillism

Pointillism was a late 19th century method of painting. The style, actually the evolvement of impressionist color theories, originated from the French painters Georges Seurat and Paul Signac. The goal of Pointillism was to develop a systematized color theory that was already in practice by the impressionists, but without scientific precision. It was also an influence in the development of Fauvism.

Color was the most important element in this period of artistic exploration. In Pointillism, dots of complementary colors were placed close together, creating a vibration that made objects and scenes appear more alive. The combination of light and color by pointillist artists, along with the experiments of the impressionists, helped to develop a method where hues were mixed visually by the viewer. This was achieved by placing pure dots of color adjacent to each other.

Although there are clear distinctions between Fauvism and Pointillism, they were so closely linked as to be nearly related. The pointillist artists simply created a theory that the Fauves continued to expand upon until another movement evolved. And because all these compelling and dynamic art forms were pouring into the mainstream, the art-viewing public was part of the process as well. The excitement and energy generated by all three of these styles of art insured continued magnetism among the art, the artists and the public.

Exhibition

The National Gallery of Art, Washington, D.C., has brought together its collection of fauve paintings in an exhibition to commemorate the 100th anniversary of the naming of this movement in French art. Fauve Painting from the Permanent Collection is on view through May 30. Highlighting the exhibition is Matisse's "Open Window, Collioure" (1905), a central icon of the fauve movement and one of the artist's acknowledged early masterpieces.

Art School/Workshops

Jack Richeson & Co. Art School

The Jack Richeson Art School has offered classes since 2004; but in September, a newly constructed state-of-the-art studio and gallery will be unveiled. Every detail has been planned with the artist in mind. Located in Wisconsin's Fox Valley, artists of all skill levels will be served through classes taught by the finest local instructors as well as seminars and workshops with nationally renowned artists. Visit www.richesonart.com for the spring class schedule, special workshops scheduled for 2005/6, and Jack Richeson's extensive line of fine products.

Art in the Adirondacks

The Indian Lake (NY) Events Department in cooperation with ARTtalk.com will host "Art in the Adirondacks," a unique opportunity for students to immerse themselves in intense art workshops with renowned artists. Classes will be held June 3-5 in Indian Lake, NY, in the scenic Adirondacks.

--Basic/Intermediate Airbrush Techniques (6 hours) will be taught by award-winning teacher and artist/author Robert Paschal, and all equipment/materials will be provided.

--Automotive and Motorcycle Airbrushing (2 days, 12 hours total) will be taught by acclaimed artist/author Pamela Shanteau. In this unique hands-on workshop, Pamela will share her moneymaking secrets and show you everything you need to know to paint skulls and freehand flames. All materials are provided for use in class, and a basic working knowledge of airbrush technique is a prerequisite.

--Intensive Mixed Media, an exciting 2-day hands-on workshop, will be taught by artist/author Sean Dye, who is recognized nationally as a leading expert on safe mixed-media technique. Lots of individual attention and critique will be given to participants.

Pre-registration is required for all classes. For more information, visit www.arttalk.com/workshop/workshop.htm or call (845) 831-1043.

Airbrush

Just Pull that Trigger!

A traditional dual-action airbrush is activated by a trigger or button located midway on top. You depress the trigger with your forefinger for air and then pull back to release paint. On the other hand, a spray gun is shaped similar to a pistol and to activate air/paint, you just pull back on the trigger.

Over the years, manufacturers have offered airbrushes with various triggering mechanisms, and one such brush features the pistol trigger. This is dual action/internal mix and works like other airbrushes; however, to activate the air and paint, you simply pull back on the trigger beneath the brush as you would with a spray gun. Control is identical to that of a traditional brush in that the amount of paint released is determined by to what degree the trigger is pulled back.

A major and growing application for airbrush technique is the art of custom painting. And individuals coming into airbrush art from that industry are already accustomed to working with spray guns, so the pistol trigger airbrush is ideal for these artists.

When using a traditional airbrush, you aim by sighting down the side and holding it at eye level. With the pistol trigger airbrush, it's almost like shooting from the hip. Just aim the airbrush at the area to be painted and pull the trigger!

Pistol trigger airbrushes are available with side-feed cups that are gravity fed or bottles that are siphon fed and can be adapted to either the right or left side. On the new Iwata Revolution HP-TR1 and HP-TR2 Airbrushes, a built-in moisture filter/trap also works as the pistol handle/hand rest, ensuring comfort when spraying.

Pistol trigger airbrushes are especially well suited for individuals with arthritis or who have difficulty in activating the trigger with a single finger or for those artists who just have a preference for this type of finger action; and the custom automotive painter, muralist, sign painter or fine artist working in acrylics on canvas will find them an indispensable asset.

Art Portfolio

Tips for Photographing Your Artwork

Good slides and photos of the creative work you do are essential for a number of reasons. It is well worth your while to invest some time and effort in capturing the images you want to be known for rather than trusting that a juror or committee will see your skill through the haze of blurs, distractions and distortions. A good manually adjustable camera is required to get a great slide, proper lighting is essential and some practice in placement and alignment of subject matter will help you create great images and slides to be proud of. You can save money doing this yourself and the time invested will be well worth the effort if slides are a big part of your portfolio.

You will need quality slides for competition entry and exhibition proposals. Most competition jurors will accept only slides for the contests they jury. The slides are shown in unison so that the judge can see multiple images, all at the same time or in immediate sequence, created by a given artist. If your slides are not good quality or if they do not correctly represent the work you do, you are sabotaging yourself before the juror begins. When the focus is bad, the image distorted or the background distracting, the juror might immediately dismiss your skill and the value of your work. Gallery owners and curators will want to see clear, definitive examples of your work, and the same slides used for quality portfolio and competition entry will do very nicely.

Further, slides make a great professional-style chronological record of the work you do. It is important for you to keep tabs on your growth throughout your career. Slides do that very well and duplicates of the same slides used for exhibition and exhibit proposals are perfect for this purpose.

The camera used for creating good quality slides is one that can be manually adjusted, which enables you to control the depth of field and achieve the exact crispness of focus you want. Use of a tripod will make the effort more worthwhile. It will hold the camera still, straight and at the perfect angle so that the image will be the best possible.

Proper lighting is vital and is the most important element after the choice of camera. Light bulbs with the "temperature" or light quality of daylight are the best choice in tungsten lighting. Fluorescent tube light has a green cast and will greatly change the look of your work. Filters can correct the greenish tone, but natural light and special tungsten are best. Natural light is good and readily available. Avoid using direct sunlight because it might be so harsh that it burns out the colors of your work. The perfect day is one that is overcast, or the setup can be made in a shaded area where there is a lot of indirect lighting. A patio is often perfect - covered with an overhang, lots of indirect light and a place where setup is easiest.

Photograph without glass for the best images because glass will reflect any light that shines on it, and those reflections will wash out your photo in those spots. Also, be aware that clutter in the background is distracting and may automatically disqualify your work during a jury. The juror does not have enough time to decipher your item from the background and may hurry past your entry. Solid, basic colors make the best background. Rolls of background paper are available through camera supply houses or you can create your own backdrop with a large piece of fabric. Drape it in a fashion that will not distract from the art; ideally, it will simply be an undefined space around and behind the artwork being photographed. If there is some distraction in the background, use special slide masking tape to cover the clutter. This tape is available at photo centers or camera catalog ordering facilities.

The film used is very important, too. In 35mm you have a lot of choices, but a medium speed film--one that allows for a reasonable depth of field and adjustable shutter speeds--will be your best selection. Brand is unimportant, although most artists find one they like and stick with it.

When it comes time to process the film, use a reputable film development center. It's difficult enough to get the shots you want, and doing them a second time is downright painful! When you find a processor that works with you, develop a relationship that will last because they are a valuable tool in your presentation attempts. Mail order developers are both good and bad. The time lost in mailing/shipping and the likelihood of eventual mishap with the arrival of your images is a major consideration.

With a bit of trial and error, you will find the right combination of light, depth of field and a setup that will make creating slides of your work easy and fun. This is part of the business of art, one that you may not love to do, but that's important to your success. Professionals can help, but you'll pay for those professional services. Try it first on your own or ask a friend for assistance. It may be easier than you might think.

ArtPourri

Studio Tours Planned--The Sedona (AZ) Visual Artists' Coalition's Open Studios 2005 tour will take place May 14 and 15 from 10am 5pm. This 3rd annual event features free, self-guided tours of artists' studios throughout West Sedona, Uptown and the Village of Oak Creek. Easy to use tour maps are available. Call (928) 282-0776 or visit www.sedonaartistscoalition.org.

New Stamp/Sketchbook Available--The U.S. Postal Service has issued the Nature of America: Northeast Deciduous Forest commemorative souvenir stamp sheet and Artist's Sketchbook. Family members can use the stamp sheet as an educational flash card to quiz each other, as the sheet's reverse side provides the common and scientific names of the 27 animals and plants pictured on the front. The 24-page Artist's Sketchbook, with stamp sheet included, is a must-have field guide that can be used while exploring the beauty of America's northeastern forests. Artist John D. Dawson's artwork shows the transformation of sketches into stamp art that is enveloped into a larger portrait of the forest realm.

Drawings Donated--Roy Lichtenstein's widow and sons and the Roy Lichtenstein Foundation have donated to the National Gallery of Art 13 drawings that are directly related to 11 of the artist's paintings in the Robert and Jane Meyherhoff Collection. Given in memory of art collector and philanthropist Jane Meyerhoff, the entire Collection of late 20th Century art has been promised to the NGA. The rarely exhibited drawings will be on view through July 24th.

Outdoor Exhibition Scheduled--The Madison Square Park Conservancy has announced that artist Sol LeWitt has created two major concrete-block pieces for the park for the 2005 season. The 6.2 acre park is located along Fifth Avenue between 23rd and 26th Sts. The sculptures will be open to park users through Fall 2005 for sitting, touching, and admiring.

Artwork Returns--The High Museum of Art, Atlanta, GA, has reinstalled "Retracings" by Deanna Sirlin in the atrium windows of the Museum. The work is comprised of monumentally scaled images of an abstract painting that, when installed in the multi-paned windows, produce the effect of stained glass. Through June 20.

Prize Awarded--Thom Mayne, who founded the firm Morphosis, has been chosen as the 2005 Laureate of the Pritzker Architecture Prize. The 61 year old architect is the first American Laureate in 14 years and is the recipient of myriad awards and honors from around the world. The formal award ceremony will be held on May 31 in Chicago's Millennium Park in the Jay Pritzker Pavilion, where a $100,000 grant and a bronze medallion will be bestowed.

Arts Contribute to Well-Being--A preliminary report of a 4-year study initiated and funded in part by the National Endowment for the Arts, "Creativity and Aging," says that professionally conducted arts programming makes older adults happier and healthier. Participants who are actively involved in high quality arts programs report better overall health, more energy and increased involvement in social activities, as well as higher morale and better vision. For more, see www.nea.gov/about/NEARTS/Aging.html.

Photographic Collection Acquired--The Metropolitan Museum of Art (NY) and The Howard Gilman Foundation have announced that the Museum has acquired the Gilman Paper Company Collection, widely regarded as the world's finest collection of photographs in private hands. Containing more than 8,500 photos, the collection includes exceptional examples of 19th century French, British and American photos, as well as masterpieces from the turn-of-the-century and modernist periods.

Exhibitions:

Napa, CA -- COPIA -- Icing on the Cake II, a biennial exhibition of extravagant confections, showcases the creativity and consuming passion of five of America's finest cake designers. Amazing food sculptures are inspired by architecture, art, animation, pop culture, and the creators' fantastic imaginations. Through July 4.

Washington, D.C. -- National Gallery of Art -- Gilbert Stuart features nearly 100 exceptional works by the most successful portraitist of the early American republic. Stuart's natural talent and wit in the representation of likeness and character is evident in his portraits of some of the most famous men and women of this era in America, including George Washington and John Adams. Through July 31.

Indianapolis, IN -- Downtown -- Tom Otterness in Indianapolis features 17 sculptures displayed in downtown Indianapolis by this renowned New York sculptor. The artist's most recent exhibition was this same highly successful show that spanned five miles of New York City's Broadway. Through July 31.

New York, NY -- Metropolitan Museum of Art -- CHANEL, the Costume Institute's major spring exhibition, will examine the history of the house of Chanel both thematically and chronologically and will reveal ideas, techniques and elements of biography as they were expressed in Chanel's work. Featured will be designs and accessories from the Museum's Costume Institute collection, the Chanel Archives and other international institutions. Opens May 5 through August 7.

Arlington, VA -- Arlington National Cemetery, Women in Military Services to America Memorial -- Faces of the Fallen features more than 1,300 portraits of servicemen and women who have died in the wars in Afghanistan and Iraq. Painted by 200 different artists, the portraits were done from photos taken in Iraq/Afghanistan or from enlistment photos taken by the services. Through Sept. 5.

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Copyright ARTtalk Vol. 15 No. 7 -- May 2005