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	<title>thelmasmith &#187; call to artists</title>
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	<description>an artist&#039;s cloud of thoughts</description>
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		<title>Alice Neel  &#8211;  and a Lesson for Artists</title>
		<link>http://www.thelmasmith.com/blog/2012/01/24/alice-neel-and-a-lesson-for-artists/</link>
		<comments>http://www.thelmasmith.com/blog/2012/01/24/alice-neel-and-a-lesson-for-artists/#comments</comments>
		<pubDate>Wed, 25 Jan 2012 00:01:49 +0000</pubDate>
		<dc:creator>thelma</dc:creator>
				<category><![CDATA[ArtScene]]></category>
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		<category><![CDATA[Carolyn Mazloomi]]></category>
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		<guid isPermaLink="false">http://www.thelmasmith.com/blog/?p=377</guid>
		<description><![CDATA[
Faith Ringgold and Alice Neel have probably done more to bring the work of women artists into the patriarchal dominated art world than any artists I can think of during the last half of the twentieth century.
Here is the link http://www.aliceneel.com/gallery/?mode=display&#38;decade=7&#38;painting=87 to the galleries on the Alice Neel website.  I suggest that you start in [...]]]></description>
			<content:encoded><![CDATA[<p><a href="http://www.thelmasmith.com/blog/wp-content/uploads/2012/01/faith-ringgold.jpg"><img class="aligncenter size-full wp-image-378" title="faith-ringgold" src="http://www.thelmasmith.com/blog/wp-content/uploads/2012/01/faith-ringgold.jpg" alt="Allice Need Portrait of Faith RInggold" width="90" height="127" /></a></p>
<p>Faith Ringgold and Alice Neel have probably done more to bring the work of women artists into the patriarchal dominated art world than any artists I can think of during the last half of the twentieth century.</p>
<p>Here is the link <a title="alice neel gallery" href="http://http://www.aliceneel.com/gallery/?mode=display&amp;decade=7&amp;painting=87">http://www.aliceneel.com/gallery/?mode=display&amp;decade=7&amp;painting=87</a> to the galleries on the Alice Neel website.  I suggest that you start in the 1920s and work your way through all the images until just before Neel&#8217;s death in 1984.  She never bowed to popular vision or demands.  She remained true to her own eye right to the very last.  Do seek out her self portrait painted in 1980.</p>
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		<title>Reprint from THe Observer</title>
		<link>http://www.thelmasmith.com/blog/2011/12/10/reprint-from-the-observer/</link>
		<comments>http://www.thelmasmith.com/blog/2011/12/10/reprint-from-the-observer/#comments</comments>
		<pubDate>Sat, 10 Dec 2011 18:36:53 +0000</pubDate>
		<dc:creator>thelma</dc:creator>
				<category><![CDATA[Artist]]></category>
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		<category><![CDATA[Women Artists]]></category>
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		<guid isPermaLink="false">http://www.thelmasmith.com/blog/?p=366</guid>
		<description><![CDATA[

I am posting this as an educational service.  The original link I 
provided is acting as a broken link although it takes you to the 
Observer world page. Sorry about the bold.



Kate Bolick: why marriage is a declining option for modern women
Approaching 40, Kate  Bolick has come to a profound insight: that she – [...]]]></description>
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<h1><strong>I am posting this as an educational service.  The original link I </strong></h1>
<h1><strong>provided is acting as a broken link although it takes you to the </strong></h1>
<h1><strong>Observer world page.</strong> Sorry about the bold.</h1>
<h1></h1>
<h1></h1>
<h1></h1>
<h1>Kate Bolick: why marriage is a declining option for modern women</h1>
<p id="stand-first">Approaching 40, Kate  Bolick has come to a profound insight: that she – and many women like  her – might never marry. But revealing that realisation in an article in  an American magazine caused frenzied comment. Here&#8217;s what she had to  say</p>
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<div>Kate Bolick</div>
</li>
<li> <a href="http://observer.guardian.co.uk/">The Observer</a>, 															 			       			Sunday 27 November 2011</li>
<li></li>
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<div id="main-content-picture"><img src="http://static.guim.co.uk/sys-images/Observer/Pix/pictures/2011/11/25/1322243877787/kate-bolick-007.jpg" alt="kate bolick" width="460" height="276" /></p>
<div>Kate Bolick at home in Brooklyn Heights. Photograph: Mike McGregor for the Observer</div>
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<p>In 2001, when I was 28, I broke up with my boyfriend. Allan and I  had been together for three years, and there was no good reason to end  things. He was (and remains) an exceptional person, intelligent,  good-looking, loyal, kind. My friends, many of whom were married or in <a title="More from guardian.co.uk on Marriage" href="http://www.guardian.co.uk/lifeandstyle/marriage">marriage</a>-track <a title="More from guardian.co.uk on Relationships" href="http://www.guardian.co.uk/lifeandstyle/relationships">relationships</a>,  were bewildered. I was bewildered. To account for my behaviour, all I  had were two intangible yet undeniable convictions: something was  missing; I wasn&#8217;t ready to settle down.</p>
<p>The period that followed  was awful. I barely ate for sobbing all the time. (A friend who suffered  my company a lot that summer sent me a birthday text this past July: &#8220;A  decade ago you and I were reuniting, and you were crying a lot.&#8221;) I  missed Allan desperately – his calm, sure voice; the sweetly fastidious  way he folded his shirts. On good days, I felt secure that I&#8217;d done the  right thing. Learning to be alone would make me a better person, and  eventually a better partner. On bad days, I feared I would be alone  forever. Had I made the biggest mistake of my life?</p>
<p>Ten years  later, I occasionally ask myself the same question. Today I am 39, with  too many ex-boyfriends to count and, I am told, two grim-seeming options  to face down: either stay single or settle for a &#8220;good enough&#8221; mate. At  this point, certainly, falling in love and getting married may be less a  matter of choice than a stroke of wild great luck. A decade ago, luck  didn&#8217;t even cross my mind. I&#8217;d been in love before, and I&#8217;d be in love  again. This wasn&#8217;t hubris so much as naivety; I&#8217;d had serious, long-term  boyfriends since my freshman year of high school, and simply couldn&#8217;t  envision my life any differently.</p>
<p>Well, there was a lot I didn&#8217;t  know 10 years ago. The decision to end a stable relationship for  abstract rather than concrete reasons (&#8220;something was missing&#8221;), I see  now, is in keeping with a post-Boomer ideology that values emotional  fulfilment above all else. And the elevation of independence over  coupling (&#8220;I wasn&#8217;t ready to settle down&#8221;) is a second-wave feminist  idea I&#8217;d acquired from my mother, who had embraced it, in part, I  suspect, to correct her own choices.</p>
<p>I was her first and only  recruit, marching off to third grade in tiny green or blue T-shirts  declaring: &#8220;A Woman Without A Man Is Like A Fish Without A Bicycle&#8221;, or:  &#8220;A Woman&#8217;s Place Is In The House – And The Senate&#8221;. Once, in high  school, driving home from a family vacation, my mother turned to my  boyfriend and me cuddling in the backseat and said, &#8220;Isn&#8217;t it time you  two started seeing other people?&#8221; She adored Brian – he was invited on  family vacations! But my future was to be one of limitless  possibilities, where getting married was something I&#8217;d do when I was  ready, to a man who was in every way my equal, and she didn&#8217;t want me to  get tied down just yet.</p>
<p>This unfettered future was the promise of  my time and place. I spent many a golden afternoon at my small New  England liberal-arts college debating with friends the merits of  leg-shaving and whether or not we&#8217;d take our husband&#8217;s surname. (Even  then, our concerns struck me as retro; hadn&#8217;t the women&#8217;s libbers  tackled all this stuff already?) We took for granted that we&#8217;d spend our  20s finding ourselves, whatever that meant, and save marriage for after  we&#8217;d finished graduate school and launched our careers, which of course  would happen at the magical age of 30.</p>
<p>That we would marry, and  that there would always be men we wanted to marry, we took on faith. How  could we not? One of the many ways in which our lives differed from our  mothers&#8217; was in the variety of our interactions with the opposite sex.  Men were our classmates and colleagues, our bosses and professors, as  well as, in time, our students and employees and subordinates – an  entire universe of prospective friends, boyfriends, friends with  benefits, and even ex-boyfriends-turned-friends. In this brave new  world, boundaries were fluid, and roles constantly changing.</p>
<p>In  1969, when my 25-year-old mother, a college-educated high-school  teacher, married a handsome lawyer-to-be, most women her age were doing  more or less the same thing. By the time she was in her mid-30s, she was  raising two small children and struggling to find a satisfying career.  What she&#8217;d envisioned for me was a future in which I made my own  choices. I don&#8217;t think either of us could have predicted what happens  when you multiply that sense of agency by an entire generation.</p>
<p>But  what transpired next lay well beyond the powers of everybody&#8217;s  imagination: as women have climbed ever higher, men have been falling  behind. We&#8217;ve arrived at the top of the staircase, finally ready to  start our lives, only to discover a cavernous room at the tail end of a  party, most of the men gone already, some having never shown up – and  those who remain are leering by the cheese table, or are, you know, the  ones you don&#8217;t want to go out with.</p>
<p>In the 1990s, Stephanie  Coontz, a social historian at Evergreen State College in Washington,  noticed an uptick in questions from reporters and audiences asking if  the institution of marriage was falling apart. She didn&#8217;t think it was,  and was struck by how everyone believed in some mythical Golden Age of  Marriage and saw mounting divorce rates as evidence of the dissolution  of this halcyon past. She decided to write a book discrediting the  notion and proving that the ways in which we think about and construct  the legal union between a man and a woman have always been in flux.</p>
<p>What Coontz found was even more interesting than she&#8217;d originally expected. In her fascinating <em>Marriage, a History: From Obedience to Intimacy, or How Love Conquered Marriage</em>,  she surveys 5,000 years of human habits, from our days as hunters and  gatherers up until the present, showing our social arrangements to be  more complex and varied than could ever seem possible. She&#8217;d long known  that the <em>Leave It To Beaver</em>-style family model popular in the  1950s and 60s had been a flash in the pan, and like a lot of historians,  she couldn&#8217;t understand how people had become so attached to an idea  that had developed so late and been so short-lived.</p>
<p>For thousands  of years, marriage had been a primarily economic and political contract  between two people, negotiated and policed by their families, church and  community. It took more than one person to make a farm or business  thrive, and so a potential mate&#8217;s skills, resources, thrift and  industriousness were valued as highly as personality and attractiveness.  This held true for all classes. In the American colonies, wealthy  merchants entrusted business matters to their landlocked wives while off  at sea, just as sailors, vulnerable to the unpredictability of seasonal  employment, relied on their wives&#8217; steady income as domestics in elite  households. Two-income families were the norm.</p>
<p>Not until the 18th  century did labour begin to be divided along a sharp line: wage-earning  for the men and unpaid maintenance of household and children for the  women. Coontz notes that as recently as the late 17th century, women&#8217;s  contributions to the family economy were openly recognised, and advice  books urged husbands and wives to share domestic tasks. But as labour  became separated, so did our spheres of experience – the marketplace  versus the home – one founded on reason and action, the other on  compassion and comfort. Not until the postwar gains of the 1950s,  however, were a majority of American families able to actually afford  living off a single breadwinner.</p>
<p>All of this was intriguing, for  sure – but even more surprising to Coontz was the realisation that those  alarmed reporters and audiences might be on to something. Coontz still  didn&#8217;t think that marriage was falling apart, but she came to see that  it was undergoing a transformation far more radical than anyone could  have predicted, and that our current attitudes and arrangements are  without precedent. &#8220;Today we are experiencing a historical revolution  every bit as wrenching, far-reaching, and irreversible as the Industrial  Revolution,&#8221; she wrote.</p>
<p>Last summer I called Coontz to talk to  her about this revolution. &#8220;We are without a doubt in the midst of an  extraordinary sea change,&#8221; she told me. &#8220;The transformation is momentous  – immensely liberating and immensely scary. When it comes to what  people actually want and expect from marriage and relationships, and how  they organise their sexual and romantic lives, all the old ways have  broken down.&#8221;</p>
<p>For starters, we keep putting marriage off. In 1960,  the median age of first marriage in the US was 23 for men and 20 for  women; today it is 28 and 26. Today, a smaller proportion of American  women in their early 30s are married than at any other point since the  1950s, if not earlier. We&#8217;re also marrying less – with a significant  degree of change taking place in just the past decade and a half. In  1997, 29% of my Generation X cohort was married; among today&#8217;s  Millennials (those born in the late-70s to 90s)  that figure has dropped  to 22%. Compare that with 1960, when more than half of those aged 18 to  29 had already tied the knot. These numbers reflect major attitudinal  shifts. According to the Pew Research Centre, a full 44% of Millennials  and 43% of Gen Xers think that marriage is becoming obsolete.</p>
<p>Even  more momentously, we no longer need husbands to have children, nor do  we have to have children if we don&#8217;t want to. For those who want their  own biological child, and haven&#8217;t found the right man, now is a good  time to be alive. Biological parenthood in a nuclear family need not be  the be-all and end-all of womanhood – and in fact it increasingly is  not. Today 40% of children are born to single mothers. This isn&#8217;t to say  all of these women preferred that route, but the fact that so many  upper-middle-class women are choosing to travel it – and that gays and  lesbians (married or single) and older women are also having children,  via adoption or in vitro fertilisation – has helped shrink the stigma  against single motherhood. Even as single motherhood is no longer a  disgrace, motherhood itself is no longer compulsory. Since 1976, the  percentage of women in their early 40s who have not given birth has  nearly doubled. A childless single woman of a certain age is no longer  automatically perceived as a barren spinster.</p>
<p>Of course, between  the diminishing external pressure to have children and the common  misperception that our biology is ours to control, some of us don&#8217;t deal  with the matter in a timely fashion. Like me, for instance. Do I want  children? My answer is: I don&#8217;t know. But somewhere along the way, I  decided to not let my biology dictate my romantic life. If I find  someone I really like being with, and if he and I decide we want a child  together, and it&#8217;s too late for me to conceive naturally, I&#8217;ll consider  whatever technological aid is currently available, or adopt (and if  he&#8217;s not open to adoption, he&#8217;s not the kind of man I want to be with).</p>
<p>Foremost  among the reasons for all these changes in family structure are the  gains of the women&#8217;s movement. Over the past half century, women have  steadily gained on – and are in some ways surpassing – men in education  and employment. From 1970 (seven years after the Equal Pay Act was  passed) to 2007, women&#8217;s earnings grew by 44%, compared with 6% for men.  In 2008, women still earned just 77 cents to the male dollar – but that  figure doesn&#8217;t account for the difference in hours worked, or the fact  that women tend to choose lower-paying fields like nursing or education.  A 2010 study of single, childless urban workers between the ages of 22  and 30 found that the women actually earned 8% more than the men. Women  are also more likely than men to go to college: in 2010, 55% of all  college graduates aged 25 to 29 were female.</p>
<p>By themselves, the  cultural and technological advances that have made my stance on  childbearing plausible would be enough to reshape our understanding of  the modern family – but, unfortunately, they happen to be dovetailing  with another set of developments that can be summed up as: the  deterioration of the male condition. Of late, men have been rapidly  declining – in income, in educational attainment, and in future  employment prospects – relative to women. As of last year, women held  51.4% of all managerial and professional positions, up from 26% in 1980.  Today women outnumber men not only in college but in graduate school;  they earned 60% of all bachelor&#8217;s and master&#8217;s degrees awarded in 2010,  and men are now more likely than women to hold only a high-school  diploma.</p>
<p>No one has been hurt more by the arrival of the  post-industrial economy than the stubbornly large pool of men without  higher education. An analysis by Michael Greenstone, an economist at  MIT, reveals that, after accounting for inflation, male median wages  have fallen by 32% since their peak in 1973, once you account for the  men who have stopped working altogether. The Great Recession accelerated  this imbalance. Nearly three-quarters of the 7.5 million jobs lost in  the depths of the recession were lost by men, making 2010 the first time  in American history that women made up the majority of the workforce.  Men have since then regained a small portion of the positions they&#8217;d  lost – but they remain in a deep hole, and most of the jobs that are  least likely ever to come back are in traditionally male-dominated  sectors, like manufacturing and construction.</p>
<p>The implications are  extraordinary. If, in all sectors of society, women are on the ascent,  and if gender parity is actually within reach, this means that a  marriage regime based on men&#8217;s overwhelming economic dominance may be  passing into extinction. As long as women were denied the financial and  educational opportunities of men, it encouraged them to &#8220;marry up&#8221; – how  else would they improve their lot? Now that we can pursue our own  status and security, and are therefore liberated from needing men the  way we once did, we are free to like them more, or at least more  idiosyncratically, which is how love ought to be, isn&#8217;t it? When Gloria  Steinem said, in the 1970s, &#8220;We&#8217;re becoming the men we wanted to marry,&#8221;  I doubt even she realised the prescience of her words.</p>
<p>But while  the rise of women has been good for everyone, the decline of males has  obviously been bad news for men – and bad news for marriage. For all the  changes the institution has undergone, American women as a whole have  never been confronted with such a radically shrinking pool of what are  traditionally considered to be &#8220;marriageable&#8221; men – those who are better  educated and earn more than they do. So women are now contending with  what we might call the new scarcity. Even as women have seen their range  of options broaden in recent years – for instance, expanding the kind  of men it&#8217;s culturally acceptable to be with, and making it OK not to  marry at all – the new scarcity disrupts what economists call the  &#8220;marriage market&#8221; in a way that in fact narrows the available choices.  This shrinking pool of traditionally &#8220;marriageable&#8221; men is dramatically  changing our social landscape, and producing startling dynamics in the  marriage market, in ways that aren&#8217;t immediately apparent.</p>
<p>In their 1983 book, <em>Too Many Women? The Sex Ratio Question</em>,  two psychologists developed what has become known as the  Guttentag-Secord theory, which holds that members of the gender in  shorter supply are less dependent on their partners, because they have a  greater number of alternative relationships available to them; that is,  they have greater &#8220;dyadic power&#8221; than members of the sex in oversupply.  How this plays out, however, varies drastically between genders.</p>
<p>In  societies where men heavily outnumber women – in what&#8217;s known as a  &#8220;high-sex-ratio society&#8221; – women are valued and treated with deference  and respect and use their high dyadic power to create loving, committed  bonds with their partners and raise families. Rates of illegitimacy and  divorce are low. Women&#8217;s traditional roles as mothers and homemakers are  held in high esteem. In such situations, however, men also use the  power of their greater numbers to limit women&#8217;s economic and political  strength, and female literacy and labour-force participation drop.</p>
<p>One  might hope that in low-sex-ratio societies – where women outnumber men –  women would have the social and sexual advantage. (After all, didn&#8217;t  the mythical all-female nation of the Amazons capture men and keep them  as their sex slaves?) But that&#8217;s not what happens: instead, when  confronted with a surplus of women, men become promiscuous and unwilling  to commit to a monogamous relationship. (Which, I suppose, might  explain the Amazons&#8217; need to keep men in slave quarters.) In societies  with too many women, the theory holds, fewer people marry, and those who  do marry do so later in life. Because men take advantage of the variety  of potential partners available to them, women&#8217;s traditional roles are  not valued, and because these women can&#8217;t rely on their partners to  stick around, more turn to extrafamilial ambitions like education and  career.</p>
<p>As a woman who spent her early 30s actively putting off  marriage, I have had ample time to investigate, if you will, the  prevailing attitudes of the high-status American urban male. (Granted,  given my taste for brainy, creatively ambitious men – or &#8220;scrawny  nerds,&#8221; as a high-school friend describes them – my sample is skewed.)  My spotty anecdotal findings have revealed that, yes, in many cases, the  more successful a man is (or thinks he is), the less interested he is  in commitment.</p>
<p>Take the high-powered magazine editor who declared  on our first date that he was going to spend his 30s playing the field.  Or the prominent academic who announced on our fifth date that he  couldn&#8217;t maintain a committed emotional relationship but was very  interested in a physical one. Or the novelist who, after a month of  hanging out, said he had to get back out there and tomcat around, but  asked if we could keep having sex anyhow, or at least just one last  time. Or the writer (yes, another one) who announced after six months  together that he had to end things because he &#8220;couldn&#8217;t continue fending  off all the sexual offers&#8221;. And those are just the honest ones.</p>
<p>To  be sure, these men were the outliers – most of my personal experience  has been with commitment-minded men with whom things just didn&#8217;t work  out, for one reason or another. But the non-committers are out there in  growing force. If dating and mating is in fact a marketplace – and of  course it is – today we&#8217;re contending with a new &#8220;dating gap&#8221;, where  marriage-minded women are increasingly confronted with either deadbeats  or players.</p>
<p>When I turned 36, I&#8217;d been in the dating game for  longer than I&#8217;d ever thought possible, and I wanted out. (Is there an  expiry date on the fun, running-around period of being single captured  so well by movies and television?) My escape came to me in the form of a  revelation: all this time, I realised, I&#8217;d been regarding my single  life as a temporary interlude, one I had to make the most of – or  swiftly terminate, depending on my mood. Without intending to, by  actively rejecting our pop-culture depictions of the single woman – you  know the ones – I&#8217;d been terrorising myself with their spectres. But now  that 35 had come and gone, all bets were off. It might never happen. Or  maybe not until 42. Or 70, for that matter. Was that so bad? If I  stopped seeing my present life as provisional, perhaps I&#8217;d be a little…  happier. Perhaps I could actually get down to the business of what it  means to be a real single woman.</p>
<p>It&#8217;s something a lot of people  might want to consider, given that now, by choice or by circumstance,  more and more of us (women and men), across the economic spectrum, are  spending more years of our adult lives unmarried than ever before. The  numbers are striking: The Census Bureau has reported that in 2010, the  proportion of married households in America dropped to a record low of  48%; 50% of the adult population is single (compared with 33% in 1950) –  and that portion is very likely to keep growing, given the variety of  factors that contribute to it. The median age for getting married has  been rising, and for those who are affluent and educated, that number  climbs even higher. (Indeed, Stephanie Coontz told me that an educated  white woman of 40 is more than twice as likely to marry in the next  decade as a less educated woman of the same age.) Last year, nearly  twice as many single women bought homes as did single men. And yet, what  are our ideas about single people? Perverted misanthropes, crazy cat  ladies, dating-obsessed shoe shoppers, etc – all of them some form of  terribly lonely. The single woman is very rarely seen for who she is –  whatever that might be – by others, or even by the single woman herself,  so thoroughly do most of us internalise the stigmas that surround our  status.</p>
<p>In 2005, social psychologist Bella DePaulo coined the word singlism, in an article she published in <em>Psychological Inquiry</em>.  Intending a parallel with terms like racism and sexism, DePaulo says  singlism is &#8220;the stigmatising of adults who are single [and] includes  negative stereotyping of singles and discrimination against singles&#8221;. In  her 2006 book, <em>Singled Out</em>, she argues that the complexities  of modern life, and the fragility of the institution of marriage, have  inspired an unprecedented glorification of coupling. (Laura Kipnis, the  author of <em>Against Love</em>, has called this &#8220;the tyranny of two.&#8221;)  This marriage myth – &#8220;matrimania&#8221;, DePaulo calls it – proclaims that the  only route to happiness is finding and keeping one all-purpose,  all-important partner who can meet our every emotional and social need.  Those who don&#8217;t have this are pitied. Those who don&#8217;t want it are seen  as threatening. Singlism, therefore, &#8220;serves to maintain cultural  beliefs about marriage by derogating those whose lives challenge those  beliefs&#8221;.</p>
<p>The cultural fixation on the couple blinds us to the  full web of relationships that sustain us on a daily basis. We are far  more than whom we are (or aren&#8217;t) married to: we are also friends,  grandparents, colleagues, cousins, and so on. To ignore the depth and  complexities of these networks is to limit the full range of our  emotional experiences.</p>
<p>Personally, I&#8217;ve been wondering if we might  be witnessing the rise of the aunt, based on the simple fact that my  brother&#8217;s two small daughters have brought me emotional rewards I never  could have anticipated. I have always been very close with my family,  but welcoming my nieces into the world has reminded me anew of what a  gift it is to care deeply, even helplessly, about another. There are  many ways to know love in this world.</p>
<p>This is not to question  romantic love itself. Rather, we could stand to examine the ways in  which we think about love; and the changing face of marriage is giving  us a chance to do this. &#8220;Love comes from the motor of the mind, the  wanting part that craves that piece of chocolate, or a work promotion,&#8221;  Helen Fisher, a biological anthropologist and perhaps this country&#8217;s  leading scholar of love, told me. That we want is enduring; what we want  changes as culture does.</p>
<p>Our cultural fixation on the couple is  actually a relatively recent development. Though &#8220;pair-bonding&#8221; has been  around for 3.5 million years, according to Helen Fisher, the hunters  and gatherers evolved in egalitarian groups, with men and women sharing  the labour equally. Both left the camp in the morning; both returned at  day&#8217;s end with their bounty. Children were raised collaboratively. As a  result, women and men were sexually and socially more or less equals;  divorce (or its institution-of-marriage-preceding equivalent) was  common. Indeed, Fisher sees the contemporary trend for marriage between  equals as us &#8220;moving forward into deep history&#8221; – back to the social and  sexual relationships of millions of years ago.</p>
<p>It wasn&#8217;t until we  moved to farms, and became an agrarian economy centred on property,  that the married couple became the central unit of production. As  Stephanie Coontz explains, by the middle ages, the combination of the  couple&#8217;s economic interdependence and the Catholic church&#8217;s success in  limiting divorce had created the tradition of getting married to one  person and staying that way until death do us part. It was in our  personal and collective best interest that the marriage remain intact if  we wanted to keep the farm afloat.</p>
<p>That said, being too  emotionally attached to one&#8217;s spouse was discouraged; neighbours,  family, and friends were valued just as highly in terms of practical and  emotional support. But as the 19th century progressed, and especially  with the sexualisation of marriage in the early 20th century, these  older social ties were drastically devalued in order to strengthen the  bond between the husband and wife – with contradictory results. As  Coontz told me: &#8220;When a couple&#8217;s relationship is strong, a marriage can  be more fulfilling than ever. But by overloading marriage with more  demands than any one individual can possibly meet, we unduly strain it,  and have fewer emotional systems to fall back on if the marriage  falters.&#8221;</p>
<p>Some even believe that the pair bond, far from  strengthening communities (which is both the prevailing view of social  science and a central tenet of social conservatism), weakens them, the  idea being that a married couple becomes too consumed with its own tiny  nation of two to pay much heed to anyone else. In 2006, the sociologists  Naomi Gerstel and Natalia Sarkisian published a paper concluding that  unlike singles, married couples spend less time keeping in touch with  and visiting their friends and extended family, and are less likely to  provide them with emotional and practical support. They call these  &#8220;greedy marriages&#8221;. I can see how couples today might be driven to form  such isolated nations – it&#8217;s not easy in this age of dual-career  families and hyper-parenting to keep the wheels turning, never mind  having to maintain outside relationships as well. And yet we continue to  rank this arrangement above all else!</p>
<p>Now that women are  financially independent, and marriage is an option rather than a  necessity, we are free to pursue what the British sociologist Anthony  Giddens termed the &#8220;pure relationship&#8221;, in which intimacy is sought in  and of itself and not solely for reproduction. (If I may quote the  eminently quotable Gloria Steinem again: &#8220;I can&#8217;t mate in captivity.&#8221;)  Certainly, in a world where women can create their own social standing,  concepts like &#8220;marrying up&#8221; and &#8220;marrying down&#8221; evaporate – to the point  where the importance of conventional criteria such as age and height,  Coontz says, has fallen to an all-time low (no pun intended) in the <a title="More from guardian.co.uk on United States" href="http://www.guardian.co.uk/world/usa">United States</a>.</p>
<p>Everywhere  I turn, I see couples upending existing norms and power structures,  whether it&#8217;s women choosing to be with much younger men, or men choosing  to be with women more financially successful than they are (or both at  once). My friend M, a successful film-maker, fell in love with her dog  walker, a man 12 years her junior; they stayed together for three years,  and are best friends today. As with many such relationships, I didn&#8217;t  even know about their age difference until I became a member of their  not-so-secret society. At a rooftop party last September, a man 11 years  my junior asked me out for dinner; I didn&#8217;t take him seriously for one  second – and then the next thing I knew, we were driving to his parents&#8217;  house for Christmas.</p>
<p>In the months leading to my breakup with  Allan, my problem, as I saw it, lay in wanting two incompatible states  of being – autonomy and intimacy – and this struck me as selfish and  juvenile; part of growing up, I knew, was making trade-offs. I was too  ashamed to confide in anyone, and as far as I could tell, mine was an  alien predicament anyhow; apparently women everywhere wanted exactly  what I possessed: a good man; a marriage-in-the-making; a &#8220;we&#8221;.</p>
<p>So  I started searching out stories about those who had gone off-script  with unconventional arrangements. In August, I flew to Amsterdam to  visit an iconic medieval bastion of single-sex living. The Begijnhof was  founded in the mid-12th century as a religious all-female collective  devoted to taking care of the sick. The women were not nuns, but nor  were they married, and they were free to cancel their vows and leave at  any time. Over the ensuing centuries, very little has changed. Today the  religious trappings are gone (though there is an active chapel on  site), and to be accepted, an applicant must be female and between the  ages of 30 and 65, and commit to living alone. The institution is  beloved by the Dutch, and gaining entry isn&#8217;t easy. The waiting list is  as long as the turnover is low.</p>
<p>I&#8217;d heard about the Begijnhof  through a friend, who once knew an American woman who lived there, named  Ellen. I contacted an old boyfriend who now lives in Amsterdam to see  if he knew anything about it, and he put me in touch with an American  friend who has lived there for 12 years: the very same Ellen.</p>
<p>The  Begijnhof is big – 106 apartments in all – but even so, I nearly  pedalled right past it on my rented bicycle, hidden as it is in plain  sight: a walled enclosure in the middle of the city, set a metre lower  than its surroundings. Throngs of tourists sped past toward the adjacent  shopping district. In the wall is a heavy, rounded wooden door. I  pulled it open and walked through.</p>
<p>Inside was an enchanted garden:  a modest courtyard surrounded by classic Dutch houses of all different  widths and heights. Roses and hydrangea lined walkways and peeked  through gates. The sounds of the city were indiscernible. As I climbed  the narrow, twisting stairs to Ellen&#8217;s sun-filled garret, she leaned  over the railing in welcome – white hair cut in a bob, smiling  red-painted lips. A writer and producer of avant-garde radio programmes,  Ellen, 60, has a chic, minimal style that carries over into her little  two-floor apartment. Neat and efficient in the way of a ship, the place  has large windows overlooking the courtyard and rooftops below. To be  there is like being held in a nest.</p>
<p>When an American woman gives  you a tour of her house, she leads you through all the rooms. Instead,  this expat showed me her favourite window views: from her desk, from her  (single) bed, from her reading chair. As I perched for a moment in each  spot, trying her life on for size, I thought about the years I&#8217;d spent  struggling against the four walls of my apartment, and I wondered what  my mother&#8217;s life would have been like had she lived and divorced my  father. A room of one&#8217;s own, for each of us. A place where single women  can live and thrive as themselves.</p>
<p><em>© 2011 The Atlantic Media Co. A longer version of this article first appeared in the Atlantic Magazine. Read the full version </em><a href="http://www.theatlantic.com/magazine/archive/2011/11/all-the-single-ladies/8654/"><em>here</em></a><em>. All rights reserved. Distributed by Tribune Media Services</em></p>
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		<title>Vox Populi</title>
		<link>http://www.thelmasmith.com/blog/2010/07/28/vox-populi/</link>
		<comments>http://www.thelmasmith.com/blog/2010/07/28/vox-populi/#comments</comments>
		<pubDate>Wed, 28 Jul 2010 20:30:07 +0000</pubDate>
		<dc:creator>thelma</dc:creator>
				<category><![CDATA[ArtScene]]></category>
		<category><![CDATA[Artist]]></category>
		<category><![CDATA[archives]]></category>
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		<category><![CDATA[call to artists]]></category>
		<category><![CDATA[design inspiration]]></category>
		<category><![CDATA[exhibitions]]></category>
		<category><![CDATA[fabrics]]></category>
		<category><![CDATA[fancy fabrics]]></category>
		<category><![CDATA[hand painted fabric]]></category>
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		<category><![CDATA[immigration]]></category>
		<category><![CDATA[international artists]]></category>

		<guid isPermaLink="false">http://www.thelmasmith.com/blog/?p=337</guid>
		<description><![CDATA[I&#8217;ve an entry active at 3rd Ward in New York City.
Please go to:
 thelmasmith.3rdward.com
The Vox Populi Award is based on  public voting.  Take a look at a selection from the Left Turn Lane and  vote for me.  Winning the Vox Populi Award will help me progress to the  jurying process.  It&#8217;s a [...]]]></description>
			<content:encoded><![CDATA[<p>I&#8217;ve an entry active at 3rd Ward in New York City.</p>
<p>Please go to:</p>
<p><a href="http://thelmasmith.3rdward.com/" target="_blank"> thelmasmith.3rdward.com</a></p>
<p>The Vox Populi Award is based on  public voting.  Take a look at a selection from the Left Turn Lane and  vote for me.  Winning the Vox Populi Award will help me progress to the  jurying process.  It&#8217;s a good thing to see art quilts in an artist&#8217;s  venue.</p>
<p>Thank you for your support.  thelmasmith</p>
]]></content:encoded>
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		<title>Arts Funding, Programming and Performance Opportunities</title>
		<link>http://www.thelmasmith.com/blog/2009/01/28/arts-funding-programming-and-performance-opportunities/</link>
		<comments>http://www.thelmasmith.com/blog/2009/01/28/arts-funding-programming-and-performance-opportunities/#comments</comments>
		<pubDate>Wed, 28 Jan 2009 15:32:00 +0000</pubDate>
		<dc:creator>thelma</dc:creator>
				<category><![CDATA[Women Artists]]></category>
		<category><![CDATA[Women's Studies]]></category>
		<category><![CDATA[acrylic paints]]></category>
		<category><![CDATA[art supplies]]></category>
		<category><![CDATA[artist's workroom]]></category>
		<category><![CDATA[call to artists]]></category>
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		<category><![CDATA[critical thinking]]></category>
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		<category><![CDATA[international artists]]></category>
		<category><![CDATA[latina/latino]]></category>
		<category><![CDATA[mixed media]]></category>
		<category><![CDATA[native american artists]]></category>
		<category><![CDATA[oil paints]]></category>
		<category><![CDATA[other artists]]></category>
		<category><![CDATA[pattern work]]></category>
		<category><![CDATA[print making]]></category>
		<category><![CDATA[public art]]></category>
		<category><![CDATA[societal commentary]]></category>
		<category><![CDATA[state of the world]]></category>
		<category><![CDATA[tools]]></category>

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		<description><![CDATA[Not one of the hotlinks appears to have transferred.Â  I think you will have to google.
Arts Funding, Programming and Performance Opportunities:Â  Take the time to review this list.Â  Deadlines vary.
Ringing Rocks Foundation Offers Support to Conserve Cultural and Healing Practices of Indigenous People
Cintas Foundation Announces Opening of Fellowship Competition for Artists of Cuban Lineage
National Film [...]]]></description>
			<content:encoded><![CDATA[<p>Not one of the hotlinks appears to have transferred.Â  I think you will have to google.</p>
<p>Arts Funding, Programming and Performance Opportunities:Â  Take the time to review this list.Â  Deadlines vary.<br />
Ringing Rocks Foundation Offers Support to Conserve Cultural and Healing Practices of Indigenous People<br />
Cintas Foundation Announces Opening of Fellowship Competition for Artists of Cuban Lineage<br />
National Film Preservation Foundation Offers Grants to Preserve Avant-Garde Films)First Nations</p>
<p>Composer Initiative Invites Applications for Common Ground Grant Program<br />
Open Society Institute Seeks Proposals for Documentary Photography Distribution Grants<br />
ICMA Offers Public Library Innovation Grants<br />
National Endowment for the Humanities Offers Small Grants to Libraries to Host Lincoln Exhibit<br />
Music Matters Announces Music Education Grant Guidelines<br />
Multi-Arts Production Fund Offers Support for New Work in Performing Arts<br />
Big Read Offers Support for Community Reading Projects<br />
National Museum of the American Indian Invites Applications for Indigenous Contemporary Arts Program<br />
Blakemore Foundation Offers Support for Asian Language Study and Fine Arts Programs<br />
Sundance Institute Accepting Entries for Documentary Fund<br />
ASCAP Foundation Invites Entries for Young Jazz Composer Awards<br />
NAMM Foundation Offers Funding for Music Making and Research<br />
Nominations Invited for Carnegie Corporation of New York/New York Times I Love My Librarian Award<br />
Harry Ransom Center Seeks Applications for Research Fellowships in the Humanities<br />
Community Leaders Invited to Apply for Preserve America Community Designation<br />
Guitar Center Music Foundation Offers Support for Music Instruction<br />
Princess Grace Foundation-USA Announces Availability of Applications for 2008 Awards in Theater, Playwriting, Dance, Choreography, and Film<br />
Doris Duke Charitable Foundation&#8217;s Arts Program Announces National Projects Fund<br />
American Councils for International Education Offers Support for Policy Relevant Research<br />
Meet The Composer Accepting Applications for Creative Connections<br />
Theatre Communications Group Announces Deadlines for Career Development Programs for Theater Directors and Designers<br />
Bush Foundation Announces Artist Fellows Program<br />
Surdna Foundation Announces Request for Proposals for Creative Writing Residencies for Teens</p>
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		<title>New England Foundation for the Arts</title>
		<link>http://www.thelmasmith.com/blog/2009/01/28/new-england-foundation-for-the-arts/</link>
		<comments>http://www.thelmasmith.com/blog/2009/01/28/new-england-foundation-for-the-arts/#comments</comments>
		<pubDate>Wed, 28 Jan 2009 15:25:27 +0000</pubDate>
		<dc:creator>thelma</dc:creator>
				<category><![CDATA[Women Artists]]></category>
		<category><![CDATA[Women's Studies]]></category>
		<category><![CDATA[call to artists]]></category>
		<category><![CDATA[commissions]]></category>
		<category><![CDATA[critical thinking]]></category>
		<category><![CDATA[exhibitions]]></category>
		<category><![CDATA[image of self]]></category>
		<category><![CDATA[mixed media]]></category>
		<category><![CDATA[native american artists]]></category>
		<category><![CDATA[oil paints]]></category>
		<category><![CDATA[other artists]]></category>
		<category><![CDATA[print making]]></category>
		<category><![CDATA[public art]]></category>
		<category><![CDATA[societal commentary]]></category>
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		<guid isPermaLink="false">http://www.thelmasmith.com/blog/2009/01/28/new-england-foundation-for-the-arts/</guid>
		<description><![CDATA[New England Foundation for the Arts: National Native Artist Exchange, a program of the New England Foundation for the Arts, provides travel grants for Native artists residing in any of the 50 United States to visit different regions of the country so that they may exchange artistic knowledge and skills to teach, learn, and collaborate [...]]]></description>
			<content:encoded><![CDATA[<p>New England Foundation for the Arts: National Native Artist Exchange, a program of the New England Foundation for the Arts, provides travel grants for Native artists residing in any of the 50 United States to visit different regions of the country so that they may exchange artistic knowledge and skills to teach, learn, and collaborate in traditional and/or contemporary Native art forms. Travel grants of up to $1,500 will be awarded based on budgets appropriate to the scope of travel. Requests must be received no later than two calendar months prior to the departure date of the proposed trip. Visit the website listed above to review the program guidelines. Travel Grants for Native Artists up to $1,500 www.nefa.org/grantprog/nativearts/nativeartistexchange.html</p>
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		<title>Call To Artists &#8211; Tubac Arizona Winter Invitational</title>
		<link>http://www.thelmasmith.com/blog/2008/11/01/call-to-artists-tubac-arizona-winter-invitational/</link>
		<comments>http://www.thelmasmith.com/blog/2008/11/01/call-to-artists-tubac-arizona-winter-invitational/#comments</comments>
		<pubDate>Sat, 01 Nov 2008 19:05:04 +0000</pubDate>
		<dc:creator>thelma</dc:creator>
				<category><![CDATA[Women Artists]]></category>
		<category><![CDATA[acrylic paints]]></category>
		<category><![CDATA[art supplies]]></category>
		<category><![CDATA[artist's workroom]]></category>
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		<category><![CDATA[commissions]]></category>
		<category><![CDATA[design inspiration]]></category>
		<category><![CDATA[exhibitions]]></category>
		<category><![CDATA[international artists]]></category>
		<category><![CDATA[mixed media]]></category>
		<category><![CDATA[other artists]]></category>
		<category><![CDATA[print making]]></category>
		<category><![CDATA[societal commentary]]></category>
		<category><![CDATA[textile]]></category>
		<category><![CDATA[tools]]></category>

		<guid isPermaLink="false">http://www.thelmasmith.com/blog/2008/11/01/call-to-artists-tubac-arizona-winter-invitational/</guid>
		<description><![CDATA[&#62;
~ Manos Gallery~
Tubac Arizona Winter Invitational
Open to all media
Feb 28 &#8211; March 15Â Â  2009
Contact Person: Mary Helen Watson 520-398 8144 manosgallery@msn.com
website manosgallery.com
Juror:Â  Michaelin Otis LWS, TNWS, NPWS avalonarts.com
CALENDAR: Please keep this Prospectus for reference until the show closes.
ENTRIES and Fees MUST BE POSTMARKED NO LATER THAN Nov 30, 2008.
Deadline for emailing entry images (digital) Nov [...]]]></description>
			<content:encoded><![CDATA[<p>&gt;</p>
<p align="center">~ Manos Gallery~<br />
Tubac Arizona Winter Invitational<br />
Open to all media</p>
<p>Feb 28 &#8211; March 15Â Â  2009<br />
Contact Person: Mary Helen Watson 520-398 8144 manosgallery@msn.com<br />
website manosgallery.com</p>
<p>Juror:Â  Michaelin Otis LWS, TNWS, NPWS avalonarts.com</p>
<p>CALENDAR: Please keep this Prospectus for reference until the show closes.</p>
<p>ENTRIES and Fees MUST BE POSTMARKED NO LATER THAN Nov 30, 2008.</p>
<p>Deadline for emailing entry images (digital) Nov 30, 2008</p>
<p>Acceptance notices will be sent out by Dec 15, 2008</p>
<p>Opening Reception: Feb 28Â  2009â€” 2 to 4 PM</p>
<p>Last Day of Show: Sunday, March 16Â  2009</p>
<p>Return of Unsold Work: Monday, March 17, 2009â€” Prepaid shipping labels required or d</p>
<p>All work must be original, created within the last 2 years and not shown previously in<br />
a juried show in Tubac or surrounding area, including Tucson and Phoenix. Frames can be metal or wood. Wood frames must be simple, classic, and 2 1/3â€ or less in width. Manos reserves the right to refuse anything too ornate. Plexiglas is required if needed. Mat color should be white or off-white. Colored liner mat (fillet) is OK.Â  No frame larger than 42â€ on either side.<br />
All artwork must be for sale.</p>
<p>IDENTIFICATION LABELS: Face back of artwork &amp; place in lower left hand corner. Be sure the information on Entry #1 is identical to that on the Title #1 entry form and that<br />
Entry #2 and Title #2 match also. We suggest you photocopy these in order to keep your<br />
prospectus information intact.</p>
<p>Entry #1Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â  Entry #2</p>
<p>Artist _____________________________ Artist ______________________________</p>
<p>Title ______________________________ Title ______________________________</p>
<p>Medium ___________________________ Medium_____________________________</p>
<p>Size ________ Price ___________ Size __________Price __________</p>
<p>Presentation:Â  Work will be rejected from the jury process: any artwork not presented<br />
in a professional manner, appropriate for exhibitingÂ  or not accurately represented by slide or image. Frame carefully, making sure frames are in pristine condition with tight corners and wire that is fastened about 1/3 the height down and has 2 to 3-inch flexibility. Mats must be clean and well cut. Plexi should be damage free and have no foreign matter (i.e.. pet hair, bugs, etc.) underneath. If this sounds daunting, please consult a professional framer.Â  Manos requests that each entry have a brief bio fastened securely to the back.</p>
<p>Entry Fee: Non-refundable $35 for the first entry and $20 for the second entry, with a maximum of 2 entries for $55 due with entry. Entries postmarked no later than Nov 30 2008. Mail to</p>
<p>MH Watson</p>
<p>747 Via Vanilla</p>
<p>Rio Rico, AZ 85748</p>
<p>MAKE CHECKS PAYABLE TO Manos.<br />
Shipping instructions sent with acceptance card.</p>
<p>Bios: e-Mail a 1-page bio to manosgallery@msn.com.</p>
<p>Juror: The Juror of Selection and Awards will be: Michaelin Otis of Green Valley, AZ.<br />
Check her website at avalonartsgallery.com</p>
<p>Commissions and Awards: A 40% commission from each sale will go to Manos<br />
Please price your paintings accordingly. Cash awards will be given including<br />
the $500 Best of ShowÂ  Jurors Recognition $100 and 3 $50 Awards of Merit.</p>
<p>Sales and Shipping Procedure: Sales will be handled by the Manos Staff. Payment for sales to artists will be made by April 1.Â  All shipping of sold work will be handled by Manos Gallery.</p>
<p>Security and Gallery Features: The gallery carries insurance on these paintings (up to<br />
$150,000 collectively) during the time they are in the gallery. Humidity, temperature, and<br />
lighting are carefully controlled to assure paintings are protected and displayed in the best<br />
professional manner.</p>
<p>Opening Reception and Show Specifics:<br />
Saturday, Feb 28 2009, 2 to 4 PM is our opening reception.<br />
Awards will be presented at that time.<br />
The show will remain open daily from 10 AM to 5 PM.<br />
Subject Matter: Open</p>
<p>Pg 3</p>
<p>Watercolor Invitational ENTRY FORM</p>
<p>Mail to ManosÂ Â  747 via VanillaÂ Â  Rio Rico AZ, Arizona, 85648,<br />
Postmarked no later than Nov 30, 2008. Include a check payable to Manos for $35 for one entry or $55 for two entries. Photocopies are acceptable if you do not want to lose the<br />
Information on the back of the form.</p>
<p>Artist (print)</p>
<p>______________________________(Sign*)_______________________________</p>
<p>*I confirm that the work submitted is my own unique, original creation. It is not copied or<br />
derived, in whole or in major significant part, from the work of another artist and/or photographer without his/her written permission. I also understand that, although all possible care will be afforded each entry, Manos Gallery will not assume responsibility for damage or loss.</p>
<p>Address ______________________________________________________Zip _______</p>
<p>Phone _______________________ Email _____________________________________</p>
<p>TITLE#1_____________________________________ Frame Size _________________</p>
<p>Medium _______________________________________Price _____________________</p>
<p>TITLE #2 _____________________________________Frame Size ________________</p>
<p>Medium _______________________________________ Price ____________________</p>
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		<title>VIVA ARIZONA! Hispanic Performing Arts Conference-</title>
		<link>http://www.thelmasmith.com/blog/2008/06/18/viva-arizona-hispanic-performing-arts-conference/</link>
		<comments>http://www.thelmasmith.com/blog/2008/06/18/viva-arizona-hispanic-performing-arts-conference/#comments</comments>
		<pubDate>Wed, 18 Jun 2008 23:34:30 +0000</pubDate>
		<dc:creator>thelma</dc:creator>
				<category><![CDATA[Women Artists]]></category>
		<category><![CDATA[Women's Studies]]></category>
		<category><![CDATA[american history]]></category>
		<category><![CDATA[artist's workroom]]></category>
		<category><![CDATA[call to artists]]></category>
		<category><![CDATA[critical thinking]]></category>
		<category><![CDATA[exhibitions]]></category>
		<category><![CDATA[immigration]]></category>
		<category><![CDATA[international artists]]></category>
		<category><![CDATA[latina/latino]]></category>
		<category><![CDATA[native american artists]]></category>
		<category><![CDATA[other artists]]></category>
		<category><![CDATA[public art]]></category>
		<category><![CDATA[societal commentary]]></category>

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		<description><![CDATA[July 30-August 2
Will present workshops, fiesta &#38; concerts at The University of Arizona School of Music &#38; the UA Centennial Hall July 30-August 2, 2008. Music &#38; Dance Workshops will be hosted at The University of Arizona School of Music: Flamenco, Salsa, Hip Hop, Folklorico, Mariachi, Tejano, Guitar Trio, Classical Flamenco Guitar, Zumba and Voice. [...]]]></description>
			<content:encoded><![CDATA[<p>July 30-August 2<br />
Will present workshops, fiesta &amp; concerts at The University of Arizona School of Music &amp; the UA Centennial Hall July 30-August 2, 2008. Music &amp; Dance Workshops will be hosted at The University of Arizona School of Music: Flamenco, Salsa, Hip Hop, Folklorico, Mariachi, Tejano, Guitar Trio, Classical Flamenco Guitar, Zumba and Voice. This yearâ€™s mariachi workshops will be directed by Jose Hernandez from Mariachi Sol De Mexico. VIVA FIESTA will be held in front of UA Centennial Hall on Saturday, August 2 from 3pm to 6pm. The AHS will conduct a Storycorps program at the fiesta, modeled on National Public Radioâ€™s oral history project of that name, where the attendees can reminisce about how music and dance has influenced them in their everyday lives. Authentic Mexican and Spanish food and drink will also be available at the Fiesta.â€œVIVA ARIZONA!â€ 100 Years of Hispanic Musical Memories CONCERT at the University of Arizona Centennial Hall Saturday August 2,Â  2008 at 7:00pm. A Musical and Dance Production- showcasing the History and Evolution of Tucsonâ€™s Hispanic Musical Heritage. Featuring: Special Guest Jose Hernandez and Mariachi Sol de Mexico, IMAS,Hermanos Perez Trio, Olga Flores, Viva Orchestra under the direction of Jesse Tovar, the Viva Arizona Dancers and much more. Tickets available at the UA Centennial Hall Box Office 1020 E. University Blvd. (520) 621-3341 For more information you can visit www.vivaazworkshops.com</p>
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		<title>Library of Congress Announces Pilot Training Program for Indigenous Communities</title>
		<link>http://www.thelmasmith.com/blog/2008/06/10/library-of-congress-announces-pilot-training-program-for-indigenous-communities/</link>
		<comments>http://www.thelmasmith.com/blog/2008/06/10/library-of-congress-announces-pilot-training-program-for-indigenous-communities/#comments</comments>
		<pubDate>Tue, 10 Jun 2008 19:44:14 +0000</pubDate>
		<dc:creator>thelma</dc:creator>
				<category><![CDATA[African Artist]]></category>
		<category><![CDATA[Women Artists]]></category>
		<category><![CDATA[american history]]></category>
		<category><![CDATA[archives]]></category>
		<category><![CDATA[call to artists]]></category>
		<category><![CDATA[critical thinking]]></category>
		<category><![CDATA[design inspiration]]></category>
		<category><![CDATA[exhibitions]]></category>
		<category><![CDATA[native american artists]]></category>
		<category><![CDATA[other artists]]></category>
		<category><![CDATA[public art]]></category>
		<category><![CDATA[publications]]></category>
		<category><![CDATA[societal commentary]]></category>
		<category><![CDATA[state of the world]]></category>

		<guid isPermaLink="false">http://www.thelmasmith.com/blog/2008/06/10/library-of-congress-announces-pilot-training-program-for-indigenous-communities/</guid>
		<description><![CDATA[The American Folklife Center (AFC) at the Library of Congress announces a new pilot program that will train members of indigenous communities to document their own cultural traditions, archive this heritage for future generations, and undertake the task of protecting their intellectual property rights to these recordings and the traditions they document. The project is [...]]]></description>
			<content:encoded><![CDATA[<p>The American Folklife Center (AFC) at the Library of Congress announces a new pilot program that will train members of indigenous communities to document their own cultural traditions, archive this heritage for future generations, and undertake the task of protecting their intellectual property rights to these recordings and the traditions they document. The project is a collaboration among the AFC, the Center for Documentary Studies (CDS) at Duke University in North Carolina, and the World Intellectual Property Organization (WIPO) based in Geneva, Switzerland. http://www.loc.gov/today/pr/2008/08-095.html</p>
]]></content:encoded>
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		<title>Call to Artists &#8211; Art of Democracy Posters/Political Art &#8211;</title>
		<link>http://www.thelmasmith.com/blog/2008/06/10/call-to-artists-art-of-democracy-posterspolitical-art/</link>
		<comments>http://www.thelmasmith.com/blog/2008/06/10/call-to-artists-art-of-democracy-posterspolitical-art/#comments</comments>
		<pubDate>Tue, 10 Jun 2008 19:41:45 +0000</pubDate>
		<dc:creator>thelma</dc:creator>
				<category><![CDATA[Women Artists]]></category>
		<category><![CDATA[american history]]></category>
		<category><![CDATA[block carving]]></category>
		<category><![CDATA[call to artists]]></category>
		<category><![CDATA[censorship]]></category>
		<category><![CDATA[critical thinking]]></category>
		<category><![CDATA[design inspiration]]></category>
		<category><![CDATA[exhibitions]]></category>
		<category><![CDATA[latina/latino]]></category>
		<category><![CDATA[native american artists]]></category>
		<category><![CDATA[print making]]></category>
		<category><![CDATA[public art]]></category>
		<category><![CDATA[societal commentary]]></category>
		<category><![CDATA[state of the world]]></category>

		<guid isPermaLink="false">http://www.thelmasmith.com/blog/2008/06/10/call-to-artists-art-of-democracy-posterspolitical-art/</guid>
		<description><![CDATA[deadline September 30
Open to all artists living in Arizona, California Colorado, Nevada, New Mexico and Utah. For the exhibition of the Art of Democracy posters we will be show original print posters, e.g. screen prints or other traditional printmaking. Submit unframed and the Union Gallery will mount in a uniform way. These posters will not [...]]]></description>
			<content:encoded><![CDATA[<p>deadline September 30<br />
Open to all artists living in Arizona, California Colorado, Nevada, New Mexico and Utah. For the exhibition of the Art of Democracy posters we will be show original print posters, e.g. screen prints or other traditional printmaking. Submit unframed and the Union Gallery will mount in a uniform way. These posters will not be returned. and/or for the Political Art original prints is the primary focus, but we will also accept a variety of work in different media as well. For artists exhibiting original work (who will want it returned) we will need to have an exhibition application. Download it here or at the website.</p>
<p>http://www.union.arizona.edu/csil/gallery/exhibiting.php deadline September 30. Artists who would like to submit are encouraged to contact Holly Brown at brownhb@email.arizona.edu or at the gallery, 520-621-6142.</p>
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		<item>
		<title>From Our Perspective,</title>
		<link>http://www.thelmasmith.com/blog/2008/06/10/from-our-perspective/</link>
		<comments>http://www.thelmasmith.com/blog/2008/06/10/from-our-perspective/#comments</comments>
		<pubDate>Tue, 10 Jun 2008 19:38:19 +0000</pubDate>
		<dc:creator>thelma</dc:creator>
				<category><![CDATA[African Artist]]></category>
		<category><![CDATA[Women Artists]]></category>
		<category><![CDATA[Women's Studies]]></category>
		<category><![CDATA[acrylic paints]]></category>
		<category><![CDATA[art supplies]]></category>
		<category><![CDATA[artist's workroom]]></category>
		<category><![CDATA[call to artists]]></category>
		<category><![CDATA[critical thinking]]></category>
		<category><![CDATA[design inspiration]]></category>
		<category><![CDATA[exhibitions]]></category>
		<category><![CDATA[international artists]]></category>
		<category><![CDATA[mechanical ability]]></category>
		<category><![CDATA[mixed media]]></category>
		<category><![CDATA[native american artists]]></category>
		<category><![CDATA[oil paints]]></category>
		<category><![CDATA[other artists]]></category>
		<category><![CDATA[public art]]></category>
		<category><![CDATA[societal commentary]]></category>
		<category><![CDATA[state of the world]]></category>

		<guid isPermaLink="false">http://www.thelmasmith.com/blog/2008/06/10/from-our-perspective/</guid>
		<description><![CDATA[a national womenâ€™s art exhibition â€“ deadline August 1
Sponsored by the Oakland Community College Womencenter, Farmington Hills, Mi., From Our Perspective is accepting digital entries, with a deadline of August 1st. This juried exhibit will feature women artists and will include two- and three-dimensional works of art.Â  The Juror, Susan Goethel Cambell, lives and works [...]]]></description>
			<content:encoded><![CDATA[<p>a national womenâ€™s art exhibition â€“ deadline August 1<br />
Sponsored by the Oakland Community College Womencenter, Farmington Hills, Mi., From Our Perspective is accepting digital entries, with a deadline of August 1st. This juried exhibit will feature women artists and will include two- and three-dimensional works of art.Â  The Juror, Susan Goethel Cambell, lives and works in Detroit, Mi. and has work in many public and private collections, including the National Museum of Women in the Arts, The New York Public Library, The Detroit Institute of Arts, The Toledo Museum of Art and The University of Michigan Special Collections Library. Fee: $25 for up to 3 works. Awards: Best of Show $800.00, Presidentâ€™s Award $250.00 and a Purchase Prize of $250.00 (for smaller pieces).Â  To view full prospectus, and to upload images online, go to www.oaklandcc.edu/womencenter/artshow.htm.Â  Exhibit runs Sept. 18-Oct. 10 2008.Â  Please contact Arlene Frank with any questions at womenart@oaklandcc.edu</p>
]]></content:encoded>
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		<slash:comments>0</slash:comments>
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