Tuesday, August 7, 2012

Pablo Picasso

Pablo Picasso

Text from Thomas Hoving, "Art For Dummies®"
"Yet Cubism and Modern art weren't either scientific or intellectual; they were visual and came from the eye and mind of one of the greatest geniuses in art history. Pablo Picasso, born in Spain, was a child prodigy who was recognized as such by his art-teacher father, who ably led him along. The small Museo de Picasso in Barcelona is devoted primarily to his early works, which include strikingly realistic renderings of casts of ancient sculpture.

"He was a rebel from the start and, as a teenager, began to frequent the Barcelona cafes where intellectuals gathered. He soon went to Paris, the capital of art, and soaked up the works of Manet, Gustave Courbet, and Toulouse-Lautrec, whose sketchy style impressed him greatly. Then it was back to Spain, a return to France, and again back to Spain - all in the years 1899 to 1904.

"Before he struck upon Cubism, Picasso went through a prodigious number of styles - realism, caricature, the Blue Period, and the Rose Period. The Blue Period dates from 1901 to 1904 and is characterized by a predominantly blue palette and subjects focusing on outcasts, beggars, and prostitutes. This was when he also produced his first sculptures. The most poignant work of the style is in Cleveland's Museum of Art, La Vie (1903), which was created in memory of a great childhood friend, the Spanish poet Casagemas, who had committed suicide. The painting started as a self-portrait, but Picasso's features became those of his lost friend. The composition is stilted, the space compressed, the gestures stiff, and the tones predominantly blue. Another outstanding Blue Period work, of 1903, is in the Metropolitan, The Blind Man's Meal. Yet another example, perhaps the most lyrical and mysterious ever, is in the Toledo Museum of Art, the haunting Woman with a Crow (1903).

"The Rose Period began around 1904 when Picasso's palette brightened, the paintings dominated by pinks and beiges, light blues, and roses. His subjects are saltimbanques (circus people), harlequins, and clowns, all of whom seem to be mute and strangely inactive. One of the premier works of this period is in Washington, D.C., the National Gallery's large and extremely beautiful Family of Saltimbanques dating to 1905, which portrays a group of circus workers who appear alienated and incapable of communicating with each other, set in a one-dimensional space.

"In 1905, Picasso went briefly to Holland, and on his return to Paris, his works took on a classical aura with large male and fernale figures seen frontally or in distinct profile, almost like early Greek art. One of the best of these of 1906 is in the Albright-Knox Gallery in Buffalo, NY, La Toilette. Several pieces in this new style were purchased by Gertrude (the art patron and writer) and her brother, Leo Stein. The other major artist promoted by the Steins during this period was Henri Matisse, who had made a sensation in an exhibition of 1905 for works of a most shocking new style, employing garish and dissonant colors. These pieces would be derided by the critics as "Fauvism," a French word for "wild beasts." Picasso was profoundly influenced by Matisse. He was also captivated by the almost cartoon-like works of the self-taught "primitive" French painter Henri "Le Douanier" Rousseau, whom he affectionately called "the last ancient Egyptian painter" because his works have a passing similarity to the flat ancient Egyptian paintings.

"A masterpiece by Rousseau is in the Museum of Modern Art in New York, his world-famous Sleeping Gypsy, with an incredible tiger gazing at the dormant figure with laser-like eyes.

"Picasso discovered ancient Iberian sculpture from Spain, African art (for he haunted the African collections in the Musée d'Ethnographie du Trocadéro in Paris), and Gauguin's sculptures. Slowly, he incorporated the simplified forms he found in these sources into a striking portrait of Gertrude Stein, finished in 1906 and given by her in her will to the Metropolitan Museum. She has a severe masklike face made up of emphatically hewn forms compressed inside a restricted space. (Stein is supposed to have complained, "I don't look at all like that," with Picasso replying, "You will, Gertrude, you will.") This unique portrait comes as a crucial shift from what Picasso saw to what he was thinking and paves the way to Cubism.

"Then came the awesome Les Demoiselles d'Avignon of 1907, the shaker of the art world (Museum of Modern Art, New York). Picasso was a little afraid of the painting and didn't show it except to a small circle of friends until 1916, long after he had completed his early Cubist pictures. Cubism is essentially the fragmenting of three-dimensional forms into flat areas of pattern and color, overlapping and intertwining so that shapes and parts of the human anatomy are seen from the front and back at the same time. The style was created by Picasso in tandem with his great friend Georges Braque, and at times, the works were so alike it was hard for each artist quickly to identify their own. The two were so close for several years that Picasso took to calling Braque, "ma femme" or "my wife," described the relationship as one of two mountaineers roped together, and in some correspondence they refer to each other as "Orville and Wilbur" for they knew how profound their invention of Cubism was.

"Every progressive painter, whether French, German, Belgian, or American, soon took up Cubism, and the style became the dominant one of at least the first half of the 20th century. In 1913, in New York, the new style was introduced at an exhibition at the midtown armory - the famous Armory Show - which caused a sensation. Picasso would create a host of Cubist styles throughout his long career. After painting still-lifes that employed lettering, trompe l'oeil effects, color, and textured paint surfaces, in 1912 Picasso produced Still-Life with Chair-Caning, in the Picasso Museum in Paris, which is an oval picture that is, in effect, a cafe table in perspective surrounded by a rope frame - the first collage, or a work of art that incorporates preexisting materials or objects as part of the ensemble. Elements glued to the surface contrasting with painted versions of the same material provided a sort of sophisticated double take on the part of the observer. A good example of this, dubbed Synthetic Cubism, is in the Picasso Museum, Paris, the witty Geometric Composition: The Guitar (1913). The most accomplished pictures of the fully developed Synthetic Cubist style are two complex and highly colorful works representing musicians (in Philadelphia and the Museum of Modern Art, New York). He produced fascinating theatrical sets and costumes for the Ballet Russe from 1914 on, turned, in the 1920s, to a rich classical style, creating some breathtaking line drawings, dabbled with Surrealism between 1925 and 1935, and returned to Classicism.

"At the outbreak of the Spanish Civil War, Picasso was appointed the director of the Prado. In January, 1937, the Republican government asked him to paint a mural for the Spanish pavilion at the world exposition in Paris. Spurred on by a war atrocity, the total destruction by bombs of the town of Guernica in the Basque country, he painted the renowned oil Guernica in monochrome (now in Madrid's Museo Nacional Centro de Arte Reina Sofia.) Something of an enigma in details, there's no doubt that the giant picture (which until the death of Franco was in New York's Museum of Modern Art) expresses a Goyaesque revulsion over the horrors man can wreak upon fellow man. The center is dominated by a grieving woman and a wounded, screaming horse illuminated, like Goya's Third of May, 1808 by a harsh light.

"Picasso lived in Paris through the war, producing gloomy paintings in semi-abstract styles, many depicting skulls or flayed animals or a horrifying charnel house. He joined the Communist party after the war and painted two large paintings condemning the United States for its involvement in the Korean War (two frightfully bad paintings about events that never happened - like American participation in germ warfare). [In fact, research has determined that the event depicted by Picasso in "Massacre in Korea" did occur. See this newspaper article written in 1999, after Hoving wrote this piece...although the claim of germ warfare is still unsubstantiated. - ed.]. He turned enthusiastically to sculpture, pottery, and print-making, and, in his later years, preoccupied himself with a series of mistresses and girlfriends, changing his style to express his love for each one, and, finally, making superb evocations of the works of old masters like Diego Velazquez. Whatever Picasso had a hand in turned out to have an unquenchable spark of utter genius."


Les Demoiselles D'Avignon (Studies in Modern Art, No 3)
William Rubin, et al
Everything you EVER wanted to know about Picasso's proto-Cubist masterwork. The graphics are of high quality and include every preparatory drawing or sketch as well as related works by other artists that influenced or were influenced by the "Demoiselles". Rubin is one of the clearest writers on art, and offers an accessible, yet thorough work.

A Life of Picasso: Volume I, 1881-1906
John Richardson, Marilyn McCully
The definitive multi-volume biography of the 20th century's most fascinating artist. Volume I covers the early years, through the Blue and Rose Periods. This paperback version is the smarter buy. Also available: A Life of Picasso: Volume II, 1907-1917, which covers the critical Cubist Period.

Picasso : The Early Years 1892-1906
This is the catalog to the blockbuster show of 1997, featuring the Blue and Rose Periods. The graphics are of exceptional quality, and the accompanying essays are enlightening, focusing on less well-known aspects of this period of Picasso's career.

Picasso and Portraiture : Representation and Transformation
William Rubin (Editor), Anne Baldassari, Pierre Daix
This is the catalog to the blockbuster show of 1996, featuring portraits from the beginning to end of Picasso's long career. The graphics are again of exceptional quality. Rubin's essay in particular is critical in art historical writing on the Spanish master.

Picasso's Variations on the Masters : Confrontations With the Past
Susan Grace Galassi
This is an extremely interesting look at Picasso's series paintings based on masterworks from the past, from Velazquez to Delacroix to Manet. It was as if he could not find sufficient competition among contemporary artists, and looked to outdo the masters of the past in their own works.

Pablo Picasso's Confessions

Pablo Picasso's Confessions

In many of my discussions with people who defend "modern art", people express the idea that the artist is by definition right about his evaluation of his own "art" and that nobody else can really decide whether or not it is good or valuable since "It could be that there's really something deeply important hidden beyond your ability to interpret it." Though I don't subscribe to that position myself, it might be instructive for such people to listen to what Pablo Picasso, one of the early proponents of the ugly and meaningless in 20th century painting had to say about his work.

This page previously included quotes reportedly taken from an interview with Picasso by Giovanni Papini called "Picasso Confesses". As it turns out this was a fantasy interview which never took place. As it turns out, Picasso said numerous things at least as bad as what was reported earlier.

On Sayings..."If you take my sayings and explode them in the air, they remain only sayings. But if you fit them together in their correct places, you will have the whole story." (Dor del la Souchere, 1960, p. 13)

On The Parthenon..."The Parthenon is really only a farmyard over which someone put a roof; colonades and sculptures were added because there were people in Athens who happened to be working and wanted to express themselves. It is not what the artist does that counts, but what he is. Cezanne would never have interested me a bit if he had lived and thought like Jacques Emile Blanche, even if the apple he painted had been ten times as beautiful. What forces our interest is Cezanne's anxiety - that's Cezanne's lesson; the torments of Van Gogh - that is the actual drama of the man. The rest is a sham." (Cashiers de Art, Conversation Avec Picasso, 1949)

On The Dictatorship of the Painter(s)..."There ought to be an absolute dictatorship...a dictatorship of painters...a dictatorship of one painter...to suppress all those who have betrayed us, to suppress the cheaters, to suppress the tricks, to suppress the mannerisms, to suppress charms, to suppress history, to suppress a heap of other things. But common sense always gets away with it. Above all, let's have a revolution against that! The true dictator will always be conquered by the dictatorship of common sense...and maybe not!" (Cashiers de Art, Conversation Avec Picasso, 1949)

On Guernica and Communism..."I am a communist and my painting is a communist painting. But if I were a shoemaker, Royalist or Communist or anything else, I would not necessarily hammer my shoes in any special way to show my politics." (Interview with Jerome Seckler, 1945, Picasso Explains)

On Truth..."What is truth? Truth cannot exist. ... Truth does not exist. ... Truth is a lie." (Parmelin, Picasso: The Artist, His Model, and Other Related Works, 1965, p. 110)

On How Awful Art Is..."Enough of Art. It's Art that kills us. People no longer want to do painting: they make art. People want Art. And they are given it. But the less Art there is in painting the more painting there is." (Parmelin, Picasso Plain, 1964, p. 30)

On Truth and Lies..."We all know that art is not truth. Art is a lie that makes us realize truth, at least the truth that is given us to understand. The artist must know the manner whereby to convince others of the truthfulness of his lies." (The Arts, Picasso Speaks, 1923)

On The Threat of Artists..."[T]oday we haven't the heart to expel the painters and poets from society because we refuse to admit to ourselves that there is any danger in keeping them in our midst." (Cashiers de Art, Conversation Avec Picasso, 1949)

On Academic Training..."Academic training in beauty is a sham. We have been so deceived, but so well deceived that we can scarcely get back even a shadow of the truth." (Cashiers de Art, Conversation Avec Picasso, 1949)

On Planning..."I see, for others, that is to say, in order to put on canvas the sudden apparitions which come to me. I don't know in advance what I am going to put on canvas any more than I decide beforehand what colors I am going to use. While I am working I am not conscious of what I am putting on the canvas. Each time I undertake to paint a picture I have a sensation of leaping into space. I never know whether I shall fall on my feet. It is only later that I begin to estimate more exactly the effect of my work." (Zervos, Pablo Picasso, 1932, p. xv)

On The Virtue of Vagueness..."You have to have an idea of what you are going to do, but it should be a vague idea." (Kahnweiler, Juan Gris: sa vie, son oeuvre, ses ecrits, 1946, p. 83)

On Planning..."One never knows what one is going to do. One starts a painting and then it becomes something quite else. It is remarkable how little the 'willing' of the artist intervenes." (Kahnweiler, Gesprache mit Picasso, 1959, p. 85-98)

On Subjects..."...even if the painting is green, well then! the 'subject' is the green. There is always a subjet; it's a joke to suppress the subject, it's impossible." (Parmelin, Picasso: The Artist and His Model, and other Recent Works, 1965, p. 43)

On Bad Habits..."I paint the way someone bite his fingernails; for me, painting is a bad habit because I don't know nor can I do anything else." (Gallego Morell, de Renoir a Picasso, 1958, p. 3)

On Imitation..."Imitators? All right! Disciples if your like. But disciples be damned. It's not interesting. It's only the masters that matter. Those who create. And they don't even turn around when you piss on their heels..." (Georges-Michel, de Renoir a Picasso, 1954, p. 94-95)

On Imitation..."What does it mean for a painter to paint in the manner of So-and-So or to actually imitate someone else? What's wrong with that? On the contrary, it's a good idea. You should constantly try to paint like someone else. But the thing is, you can't! You would like to. You try. But it turns out to be a botch...And at the very moment you make a botch of it that you're yourself." (Parmelin, Picasso: The Artist and His Model, and other Recent Works, 1965, p. 43)

On Beauty..."'I have never in any museum seen a picture as beautiful as this one.' [Picasso] said to me, pointing to a sheet of tin hanging on the door. 'the man who painted this picture was not thinking of his glory.'" (Sabartes, Picasso: portraits et souvenirs, 1946, p. 210-212)

On Bad Paintings..."I like all painting. I always look at the paintings - good or bad - in barbershops, furniture stores, provincial hotels...I'm like a drinker who needs wine. As long as it is wine, it doesn't matter which wine." (Guttuso, Journals, Quoted in Mario De Micheli, 1964)

On Objective Reality..."The goal I proposed myself in making cubism? To paint and nothing more. And to paint seeking a new expression, divested of useless realism, with a method linked only to my thought - without enslaving myself with objective reality. Neither the good nor the true; neither the useful or the useless." (Del Pomar, Con las Buscadores del Camino, 1932, p. 126)

On Beauty, Art, and Research..."I have a horror of people who speak about the beautiful. What is the beautiful? One must speak of problems in painting! Paintings are but research and experiment. I never do a painting as a work of art. All of them are researches." (Liberman, Picasso, Vogue, November 1, 1956)

On Blindness as a Virtue..."[T]hey ought to put out the eyes of painters as they do goldfinches in order that they can sing better." (Teriade, En causant avec Picasso, Intransigeant, June 15, 1932)

On Kiddie Art...When visiting an exhibition of children's drawings, Piscasso remarked: "When I was their age I could draw like Raphael, but it took me a lifetime to learn to draw like them." (Penrose, Picasso: His Life and Work, 1958, p. 275)

On Imposters..."Museums are just a lot of lies, and the people who make art their business are mostly imposters." (Zervos, Conversation avec Picasso, 1935)

On Symbolism and Communism..."If I paint a hammer and sickle people may think it is a representation of Communism, but for me it is only a hammer and sickle. I just want to reproduce the objects for what they are, not for what they mean." (Interview with Jerome Seckler, Picasso Explains, 1945)

On Re-Education Camps and Art..."If everyone would paint, political re-education would be unnecessary." (Spender, Keeping a Great City Alive, Vogue, December 1946, p. 194, 224, 226)

On Art as a Weapon..."No, painting is not made to decorate apartments, it's an offensive and defensive weapon against the enemy." (Tery, Picasso, n'est pas officer dans l'Armee francaise, Les Lettres Francaises, March 24, 1945)

Epic Mickey Concept Art by A.J. Trahan

Epic Mickey Concept Art by A.J. Trahan

Concept artist and illustrator A.J. Trahan has released concept artwork he created for Disney’s Epic Mickey. After working for two and a half years on Epic Mickey, A.J. has now been able to show his work which contains a few concepts he did for the opening cinematic.

Link: ajtronart.blogspot.com

Sunday, August 5, 2012

2012 The Zebra Awards

2012 The Zebra Awards

Black and white photography is as simple as it is complex, carefully weaving streaks of light into the black-unknown, giving rise to lines, shapes, textures, emotions and stories. TZIPAC is proud to celebrate this magic of black and white photography with The Zebra Award 2012 . With US$5000 worth of grand prizes and our custom-made TZIPAC medals up for grabs, we hope The Zebra Award 2012 will bring to light the marvelously diverse and vibrant visions of black and white photography from many amazing artists worldwide.

“Dodging and burning are steps to take care of mistakes God made in establishing tonal relationships.” Ansel Adams

Eligibility: Open to all photographers over 18 years old from around the world, professionals and non professionals.

Entry Fee: $20 for one, $75 for five, and $100 for ten.

Prizes: $5000 in cash prizes as well as the prestigious TZIPAC medals to all categories 1st Place Winners.

Image Specifications: Images must be in JPG/JPEG format, 8 bit, 1500pixels on the longest side, 72 dpi, and have maximum file size of 300KB. Colour space should be RGB or sRGB. Images must have no border, nor marks or logos identifying the artists.

All images must be gray scale or RGB mode without any colouring or toning. All images which are not strictly black and white will be disqualified on judging.

You warrant that submitted artworks have been created by you, and that you own all necessary rights to use the artworks for participating in TZIPAC’s competitions. In particular, the artworks must not violate or infringe on any copyrights, trademarks, moral rights, rights of privacy/publicity or intellectual property rights of any person or entity, and no other party must have any rights, claim or interest in the artwork.
Artworks that fail to comply with these copyrights conditions will be disqualified.
The copyrights of submitted artworks will remain with the artists at all times. However, the competition participants agree to grant TZIPAC permission to use the artworks for promotional purposes, without further permissions or remunerations, in its publications, including electronic media or printed materials, including website, online galleries, online magazines, as well as other forms (potentially with third-party publications) for the expressed purpose of promoting the artworks, the artists and TZIPAC.
Any artwork used by TZIPAC will credit the artist.
Third-party Releases/Licences
Upon TZIPAC’s request, each entrant must be prepared to provide a signed written personal release (i.e., model release forms) from all recognizable individuals featured in submitted artworks, authorizing TZIPAC to reproduce, distribute, display and create derivative works of the competition entry in connection with and promotion of the TZIPAC competition, in any media now or hereafter. Please do not submit model release forms unless requested.
In addition, upon TZIPAC’s request, each entrant must be prepared to provide a signed written license from the copyright owner of any sculpture, artwork or other copyrighted material that appears in the submitted competition entry, authorizing us to reproduce, distribute, display and create derivative works of the artwork in connection with and promotions of the TZIPAC competition.
Failure to provide such releases upon request may result in disqualification and forfeiture of all prize winnings.

Deadline: 31st October (we will also have an extended deadline until the 30th November but wish not to advertise this date as yet)

Website: http://www.tzipac.com/

International Fine Art Photography Competition 2012

International Fine Art Photography Competition 2012

International Fine Art Photography Competition (Grand Prix de la Découverte)

Open to emerging and mid-career photographers worldwide (18+ years)

Entry Fee: $20 per image (up to 10 images)

Prizes: $10,000 in cash awards

All finalists’ photographs will be:
-featured at the NoFound Photo Fair in November in Paris (more than 20,000 visitors)
-published in an exhibition book and in an article in aCurator Magazine (seen by curators all over the world)
-accepted into the prestigious collection of the Bibliothèque Nationale
-featured in the Grand Prix online gallery

The Grand Prix winner also receives travel to Paris and accommodations for the week of the awards ceremonies, exhibition, and press events.

Copyright: The photographer retains all rights to submitted images. Finalists’ images may be used in the November 2012 exhibition, exhibition book, and for promotion, with the photographers’ permission. This competition is proud to be in compliance with the Artists Bill of Rights.

Deadline: August 15 (11:59 pm Pacific Daylight Time)

Website: https://www.internationalfineartphoto.org/

Professional Photographer of the Year 2012

Professional Photographer of the Year 2012

The Professional Photographer of the Year awards are only open to digital submissions but to all photographers, worldwide.

There are 13 categories, 12 of which require a single image to enter and ONLY the Portfolio category allows three images to be entered. We will shortlist ready for the March 2013 issue, and inform winners accordingly. We will celebrate with the winners at an awards ceremony in March 2013, at a location yet to be finalised. The closing date for the competition is: 16 January 2013.

Eligibility: worldwide

Free to Enter

Prizes: We’d like to think that becoming Professional Photographer of the Year 2012, or a category or Portfolio winner, are strong enough reasons for entering, but in addition to that each winner will receive a professionally produced print of their winning image and a specially designed and created logo they can use for marketing purposes. They will also be invited to the exclusive awards night with magazine staff, judges, the other category winners, the competition sponsors and specially selected VIP guests and their work will be featured in a PPOTY 2012 special supplement in the June 2013 issue celebrating the winner’s images, including an interactive multimedia version which will be emailed to magazine purchasers, subscribers and winners.

Categories: There are 13 categories, 12 of which require a single image to enter and ONLY the Portfolio category allows three images to be entered. We will shortlist ready for the March 2013 issue, and inform winners accordingly. We will celebrate with the winners at an awards ceremony in March 2013, at a location yet to be finalised.

Copyright and usage of your entry: All necessary model and property releases have been obtained from any clearly identifiable person appearing in any image, By entering the competition, Participants grant Professional Photographer and its Competition Partners an irrevocable, non-exclusive, worldwide royalty-free licence to reproduce, publicly display, distribute, publicly perform and create derivative works from their Submitted Materials, in all media, solely in connection with the administration, judging and promotion of the Professional Photographer of the Year Awards 2012.

Deadline: January 16, 2013

Website: http://www.professionalphotographer.co.uk/PPOTY2012

BBC August 2012 photo contest: really wild cats

BBC August 2012 photo contest: really wild cats

Felines are fascinating whether they are roaming the African savanna or spying on birds at your garden feeder. We want to see your best images of these agile animals demonstrating really wild behaviour.

Capture their whiskers twitching as they creep through the undergrowth stalking their prey or watch them defend their territory, play with their siblings and nurture their young.

From tropical rainforests to urban jungles, share your favourite photographs of mischievous moggies as they show instinctive behaviour.

Eligibility: Worldwide

Free to Enter

Copyright: You remain the owner of the copyright in any original User Contribution that you submit.

The final date for submissions is 1 September 2012.
The final date for voting is 1 October 2012.

Website: http://www.discoverwildlife.com

2013 Calendar Photo Contest at Photoscramble

2013 Calendar Photo Contest at Photoscramble

The photo with the most votes will be the cover of MVGSDR’s 2013 Calendar. The 12 photos with the next highest votes will be the monthly pages.

Eligibility: Worldwide

Fees: This contest is free to enter. This contest is free to vote for your favorite photos.

Winners will be announced on Aug 31, 2012 at
1st: Calendar Cover and Free Calendar
2nd: Monthly Calendar Page and Free Calendar

Voting Method: Thumbs Up
Allow 1 Vote per day

Copyright We DO NOT OWN any of the Content submitted by our users and you are NOT TRANSFERRING TO US any copyright ownership in your content.
Usage of entry you grant us the following world-wide, royalty free, irrevocable, perpetual and non-exclusive license(s) only for use in DISPLAY, PROMOTION AND MARKETING our property(s): With respect to Content you submit or make available to us, you grant us the license to use, distribute, reproduce, edit, modify, adapt, publicly perform and publicly display such Content and the right to sublicense the Content with the sublicense having the right to use, distribute, reproduce, modify, adapt, publish, translate, publicly perform and publicly display such Content (in whole or in part) and to incorporate such Content into other works in any format or medium now known or later developed. This license grant is from you to Company and does not pertain to any license between Contest Host and Contestant, Voter, or any other third party, which remains the sole responsibility of the Contest Host consistent with Paragraph 4 above. (visit website for more details)

Contest: Aug 01,2012 – Aug 31,2012
Entry: Aug 01,2012 – Aug 31,2012
Voting: Aug 01,2012 – Aug 31,2012

Website: http://www.photoscramble.com/contests/2013-calendar-photo-contest/