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	<title>thelmasmith &#187; Copyright + Fair Use</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>
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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>
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<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>The State Of Womanhood</title>
		<link>http://www.thelmasmith.com/blog/2011/11/27/the-state-of-womanhood/</link>
		<comments>http://www.thelmasmith.com/blog/2011/11/27/the-state-of-womanhood/#comments</comments>
		<pubDate>Sun, 27 Nov 2011 21:12:37 +0000</pubDate>
		<dc:creator>thelma</dc:creator>
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		<description><![CDATA[
Here is a long, but very interesting, investigation of women&#8217;s possibilities today.  I find it both refreshing and illuminating in that I can foresee many possibilities for myself as the decades of my life roll out in front of me.  I&#8217;m in the process of completing the seventh decade.  I know with great certainty that [...]]]></description>
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<div id="guardian-logo">Here is a long, but very interesting, investigation of women&#8217;s possibilities today.  I find it both refreshing and illuminating in that I can foresee many possibilities for myself as the decades of my life roll out in front of me.  I&#8217;m in the process of completing the seventh decade.  I know with great certainty that I have four more decades ahead.  What interesting times.</div>
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<div id="observer-logo"><a href="http://www.observer.co.uk/"><img src="http://static.guim.co.uk/static/f76b43f9dcfd761f0ecf7099a127b603b2922118/zones/life-and-style/images/logo_observer.gif" alt="The Observer home" width="113" height="22" /></a></div>
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<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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<li> Kate Bolick</li>
<li> <a href="http://observer.guardian.co.uk/">The Observer</a>, 															 			       			Sunday 27 November 2011</li>
<li> <a href="http://www.guardian.co.uk/lifeandstyle/2011/nov/27/kate-bolick-women-marriage-relationships#history-link-box"><br />
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<div>Kate Bolick at home in Brooklyn Heights. Photograph: Mike McGregor for the Observer</p>
<div><a href="http://www.guardiannews.com/uk-home">http://www.guardian.co.uk/lifeandstyle/2011/nov/27/kate-bolick-women-marriage-relationships</a></p>
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		<title>Louise Bourgeois Dies</title>
		<link>http://www.thelmasmith.com/blog/2010/06/04/louise-bourgeois-dies/</link>
		<comments>http://www.thelmasmith.com/blog/2010/06/04/louise-bourgeois-dies/#comments</comments>
		<pubDate>Fri, 04 Jun 2010 17:16:51 +0000</pubDate>
		<dc:creator>thelma</dc:creator>
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		<description><![CDATA[This obituary is reposted from the United Kindom Guardian as a matter of fair use according to the copyright laws.  It is provided in the spirit of education.






















US sculptor Louise Bourgeois dies aged 98












French-born American sculptor Louise  Bourgeois has died in New York, at the age of 98.









Bourgeois suffered a heart attack two days [...]]]></description>
			<content:encoded><![CDATA[<p>This obituary is reposted from the United Kindom Guardian as a matter of fair use according to the copyright laws.  It is provided in the spirit of education.</p>
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<h1>US sculptor Louise Bourgeois dies aged 98</h1>
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<p style="text-align: left;"><strong>French-born American sculptor Louise  Bourgeois has died in New York, at the age of 98.</strong></p>
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<p><img src="http://newsimg.bbc.co.uk/media/images/47962000/jpg/_47962861_009421278-1.jpg" border="0" alt="File photo from 1990 of Louis Bourgeois" hspace="0" vspace="0" width="226" height="170" /></p>
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<p>Bourgeois suffered a heart attack two days ago</p>
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<p>Based in New  York since 1938, Bourgeois gained fame late in her long career and kept  working</p>
<p>to the end of her life.  Her giant spider sculptures have  been exhibited around the world and</p>
<p>earned her the nickname of  Spiderwoman.  Her abstract explorations of themes such as birth,</p>
<p>sexuality and death made her one of the world&#8217;s most influential  contemporary artists.</p>
<p><img src="http://newsimg.bbc.co.uk/media/images/47962000/jpg/_47962863_004580602-1.jpg" border="0" alt="French-born artist Louise Bourgeois' sculpture of a giant spider   outside Tate Modern in London in October 2007" hspace="0" vspace="0" width="226" height="170" /><br />
Although she had long been regarded by her  contemporaries as one of the world&#8217;s most</p>
<p>important artists, it was not  until her 70s that she began to attract a wider audience.</p>
<p>Her  spider sculptures &#8211; some of which are three storeys high &#8211; have been  exhibited</p>
<p>around the world, including the Tate Modern in London.</p>
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<p>In a statement, the gallery said: &#8220;We were deeply saddened to hear of  the death of Louise</p>
<p>Bourgeois this weekend. Always at the forefront of  new developments in art, she pursued</p>
<p>a wholly personal path and was  powerfully inventive, working in dialogue with the</p>
<p>major avant-garde  movements of her time.</p>
<p>&#8220;Her death is a great loss.&#8221;</p>
<p>Bourgeois&#8217;  vast installation, I Do, I Undo, I Redo, was the first commission in  The</p>
<p>Unilever Series for Tate Modern.  Her sculpture of a giant  spider, Maman, was part</p>
<p>of the Unilever Series at the gallery which  greeted the very first visitors in 2000.</p>
<p>Ann Coxon, assistant  curator at Tate Modern, said: &#8220;Apart from its overwhelming</p>
<p>physical  presence, the interesting thing is that Louise associated the spider  with</p>
<p>her mother &#8211; a tapestry restorer &#8211; a very industrious woman always  spinning or weaving.</p>
<p>&#8220;So for Louise, the spider is a very  positive feminist statement.&#8221;</p>
<p><strong>&#8216;Enormously significant&#8217;</strong><br />
The  artist said her main inspiration came from her childhood in France,  where her father</p>
<p>had an affair with her governess, which her mother  refused to acknowledge.</p>
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<p>She also used her own clothes as the basis for a series of bronzes.  Artist   Richard Wentworth,</p>
<p>from the Royal College of Art, called the sculptor  &#8220;enormously significant&#8221;  He added: &#8220;She</p>
<p>connected the  intensely  private act of being an artist with  the intensely public act of  developing</p>
<p>a worldwide audience.  &#8220;To have worked constantly for  so long and so publicly &#8211; is in a field of</p>
<p>its own. There are very few  female artists who make it to later life and it&#8217;s very tough to be a</p>
<p>woman artist or sculptor.&#8221;</p>
<p><img src="http://newsimg.bbc.co.uk/media/images/47968000/jpg/_47968301_009422389-1.jpg" border="0" alt="Three Horizontals" hspace="0" vspace="0" width="226" height="170" /></p>
<p>Conceptual artist Jenny Holzer said  she &#8220;orbited Bourgeois&#8221; and that  &#8220;my artist friends and</p>
<p>I are crying  today&#8221;.</p>
<p>French President Nicolas Sarkozy also paid tribute to  Bourgeois, calling her &#8220;a very great artist&#8221;</p>
<p>who &#8220;never stopped creating  and renewing herself in her art&#8221;.  Bourgeois had been able to  &#8220;reach</p>
<p>a higher truth, rich in its contradictions, avoiding the trap of  the latest trends,&#8221; he added.</p>
<p>French Culture Minister Frederic  Mitterrand spoke of his sadness, saying in a statement</p>
<p>that the world  had lost &#8220;a great artist, indomitable and universal&#8221;.</td>
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		<title>Nancy Erickson</title>
		<link>http://www.thelmasmith.com/blog/2008/09/26/nancy-erickson/</link>
		<comments>http://www.thelmasmith.com/blog/2008/09/26/nancy-erickson/#comments</comments>
		<pubDate>Fri, 26 Sep 2008 16:16:31 +0000</pubDate>
		<dc:creator>thelma</dc:creator>
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		<category><![CDATA[oil paints]]></category>
		<category><![CDATA[other artists]]></category>
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		<guid isPermaLink="false">http://www.thelmasmith.com/blog/2008/09/26/nancy-erickson/</guid>
		<description><![CDATA[
&#160;
Brunswick Building Gallery
233 West Railroad Street
Missoula, MontanaÂ  59802
&#160;
new oil stick paintings
Nancy N.Erickson
&#160;
Four Day Exhibit 2008
&#160;
Opening:Â                  Thursday, October 2, 5 &#8211; 8 pm
Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â           Â Â  First Friday, October 3, 1 &#8211; 8 [...]]]></description>
			<content:encoded><![CDATA[<p align="center"><a href="http://www.thelmasmith.com/blog/wp-content/uploads/2008/09/nancyericksonbears.jpg" title="nancyericksonbears.jpg"><img src="http://www.thelmasmith.com/blog/wp-content/uploads/2008/09/nancyericksonbears.thumbnail.jpg" alt="nancyericksonbears.jpg" /></a></p>
<p align="center">&nbsp;</p>
<p align="center"><strong>Brunswick Building Gallery</strong></p>
<p align="center">233 West Railroad Street</p>
<p align="center">Missoula, MontanaÂ  59802</p>
<p align="center">&nbsp;</p>
<p align="center">new oil stick paintings</p>
<p align="center"><strong>Nancy N.Erickson</strong></p>
<p align="center">&nbsp;</p>
<p align="center">Four Day Exhibit 2008</p>
<p align="center">&nbsp;</p>
<p align="center">Opening:Â                  Thursday, October 2, 5 &#8211; 8 pm</p>
<p align="center">Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â           Â Â  First Friday, October 3, 1 &#8211; 8 pm</p>
<p align="center">Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â         Â  Saturday, October 4, 11am &#8211; 5 pm</p>
<p align="center">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  Monday, October 6, close, 11am &#8211; 5pm</p>
<p align="center">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    exhibition will be removed after 5pm</p>
<p align="center">&nbsp;</p>
<p align="left">OK, First things first:Â  Nancy Erickson is one of my heroes.Â  She has subtly influenced my work for at least ten years.Â  Click on the image for a larger format.Â  If you are any where near Missoula, please, go visit the exhibition in my stead; send me thought images through the ozone.</p>
<p align="left">Second:Â  I believe the address above to be a gallery I visited in Missoula in the mid nineties.Â  It was filled with art quilts before we were really thinking about them.Â  The trust of the exhibitionÂ  made white cotton gloves available in the absence of human monitors.</p>
<p align="left">Third; What seems like a red herring.Â  Planet.textilethreads.com provides all sorts of international artists and calls to artists.Â  I underwrite this site as part of my contributions to my artistic community.</p>
<p align="left">Fourth:Â  My web master and I have never bluntly or openly asked for voluntary donations to subsidize the continuing stream of information of this site.Â  I think it is time for each reader to contribute what they can.</p>
<p align="left">Please visit my <a href="http://www.thelmasmith.com/index.php?option=com_content&amp;task=view&amp;id=35&amp;Itemid=48">website </a>and scroll down to the paypal button.Â  It is grouped with the purchase of the <em>European Edition</em> of <em>Changing the World One Thread at a Time</em>.Â  You need not purchase the catalog.Â  You have full decision making power in the amount you wish to donate.</p>
<p align="left">Fifth:Â  If there is some wonderful philanthropist out there in the audience, I would love to own another of Nancy Erickson&#8217;s works.Â  I have a fondness for her polar bears.Â  thank you, thelma</p>
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		<title>Copy Right or Copy Wrong</title>
		<link>http://www.thelmasmith.com/blog/2008/04/25/copy-right-or-copy-wrong/</link>
		<comments>http://www.thelmasmith.com/blog/2008/04/25/copy-right-or-copy-wrong/#comments</comments>
		<pubDate>Fri, 25 Apr 2008 17:05:53 +0000</pubDate>
		<dc:creator>thelma</dc:creator>
				<category><![CDATA[Copyright + Fair Use]]></category>
		<category><![CDATA[Copyright Theft]]></category>
		<category><![CDATA[american history]]></category>
		<category><![CDATA[call to artists]]></category>
		<category><![CDATA[censorship]]></category>
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		<category><![CDATA[critical thinking]]></category>
		<category><![CDATA[design inspiration]]></category>
		<category><![CDATA[international artists]]></category>
		<category><![CDATA[orphan art]]></category>
		<category><![CDATA[other artists]]></category>
		<category><![CDATA[public art]]></category>
		<category><![CDATA[publications]]></category>
		<category><![CDATA[societal commentary]]></category>
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		<category><![CDATA[words]]></category>
		<category><![CDATA[writing]]></category>

		<guid isPermaLink="false">http://www.thelmasmith.com/blog/2008/04/25/copy-right-or-copy-wrong/</guid>
		<description><![CDATA[The brilliant minds that created the likes of Halliburton, Enron, and Blackwater, are bringing you another corporate privatization of enormous evil and profitable intent.  The ethics and integrity of this action is unconsciounable.   This one quote: &#8220;INTERNATIONAL LAW FORBIDS COERCED REGISTRATION as a condition of protecting your copyright.&#8221; should be enough to [...]]]></description>
			<content:encoded><![CDATA[<p>The brilliant minds that created the likes of Halliburton, Enron, and Blackwater, are bringing you another corporate privatization of enormous evil and profitable intent.  The ethics and integrity of this action is unconsciounable.   This one quote: &#8220;<font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">INTERNATIONAL LAW FORBIDS COERCED REGISTRATION as a condition of protecting your copyright.&#8221;</font> should be enough to wade through this long article.</p>
<p>It applies even to personal images you may have posted on the internet.  You may be the subject of a theft you have no protection against if this legislation passes.</p>
<p>This article by <a href="http://mag.awn.com/index.php?ltype=pageone&amp;article_no=3605&amp;page=1#">Mark Simon</a>, reprinted with permission, gives you the blunt, pithy, facts.</p>
<p>This article was printed from Animation World Magazine.</p>
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<td valign="top"><font class="title" color="#000066" face="arial" size="5"><strong>Mind Your Business: You Will Lose All The Rights to Your Own Art</strong></font><br />
<font class="desc" color="#999999" face="verdana" size="3">Mark Simon is mad as hell and, in this month&#8217;s &#8220;Mind Your Business,&#8221; he tells you why you should be too.</font><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2"> As you know, I usually handle the subjects in my articles with a sense of humor. That is not the case this month. I find nothing funny about the new Orphan Works legislation that is before Congress. </font><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">In fact, it PISSES ME OFF!  </font><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">As an artist, you have to read this article or you could lose everything you&#8217;ve ever created!  </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">An Orphaned Work is any creative work of art where the artist or copyright owner has released their copyright, whether on purpose, by passage of time, or by lack of proper registration. In the same way that an orphaned child loses the protection of his or her parents, your creative work can become an orphan for others to use without your permission. </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">If you don&#8217;t like to read long articles, you will miss incredibly important information that will affect the rest of your career as an artist. You should at least skip to the end to find the link for a fantastic interview with the Illustrators&#8217; Partnership about how you are about to lose ownership of your own artwork. </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">Currently, you don&#8217;t have to register your artwork to own the copyright. You own a copyright as soon as you create something. International law also supports this. Right now, registration allows you to sue for damages, in addition to fair value. </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">What makes me so MAD about this new legislation is that it legalizes THEFT! The only people who benefit from this are those who want to make use of our creative works without paying for them and large companies who will run the new private copyright registries. </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">These registries are companies that you would be forced to pay in order to register every single image, photo, sketch or creative work. </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">It is currently against international law to coerce people to register their work for copyright because there are so many inherent problems with it. But because big business can push through laws in the United States, our country is about to break with the rest of the world, again, and take your rights away. </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">With the tens of millions of photos and pieces of artwork created each year, the bounty for forcing everyone to pay a registration fee would be enormous. We lose our rights and our creations, and someone else makes money at our expense. </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">This includes every sketch, painting, photo, sculpture, drawing, video, song and every other type of creative endeavor. All of it is at risk! </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">If the Orphan Works legislation passes, you and I and all creatives will lose virtually all the rights to not only our future work but to everything we&#8217;ve created over the past 34 years, unless we register it with the new, untested and privately run (by the friends and cronies of the U.S. government) registries. Even then, there is no guarantee that someone wishing to steal your personal creations won&#8217;t successfully call your work an orphan work, and then legally use it for free. </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">In short, if Congress passes this law, YOU WILL LOSE THE RIGHT TO MAKE MONEY FROM YOUR OWN CREATIONS!  </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">Why is this allowed to happen? APATHY and MONEY.  </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">Artists have apathy and corporations have money.  </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">We need to be heard in order to protect our incomes, our creations and our careers. GET OFF YOUR ASS!  </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">That means writing letters to our congressmen and representatives. That means voicing your opinion about how we need copyright protection, as we&#8217;ve had since 1976, that protects everything we create from the moment we create it. This is the case around the world. </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">However, an Orphan Works bill is also in the works in Europe. I was speaking recently with Roger Dean, the famed artist of the Yes album covers, and he is greatly concerned with what will happen if Orphan Works bills become law. </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">&#8220;This will devastate the livelihood of artists, photographers and designers in a number of ways,&#8221; Dean says. &#8220;That at the behest of a few hugely rich corporations who got rich by selling art that they played no part in the making of, the U.S. and U.K. governments are changing the copyright laws to protect the infringer instead of the creator. This is unjust, culturally destructive and commercial lunacy. This will not just hurt millions of artists around the world. </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">&#8220;On the other side of the coin, what argument will a U.S. court have with a Chinese company that insists it did its research in China and found nothing? If the cost of this is onerous for a U.S.-based artist, what will it be like for artists and small businesses in emergent economies?&#8221; </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">If an artist whose work is as famous as Roger Dean&#8217;s is concerned with this legislation, it should be of great concern for all of us.</font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2"> The people, associations and companies behind the Orphan Works bill state that orphaned works have no value. If that were true, no one would want them. However, these same companies DO WANT your work, they just don&#8217;t want to pay for it. If someone wants something, IT HAS VALUE. It&#8217;s pretty simple. </font><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">Some major art and photography associations, or I should say, the managers of the associations, support this bill. The reason they support it is that they will operate some of the registries and stand to make a lot of money. Some have already been given millions of dollars by the Library of Congress. Follow the money and you will see why some groups support this bill of legalized theft of everything you have ever created.</font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2"> Two proponents of this new legislation are Corbis and Getty Images. They are large stock photo and stock art companies. They sell art and photos inexpensively and are trying to build giant royalty-free databases. Do you see how they could benefit from considering most works of art in the world orphans? </font><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">Do you know who owns Corbis? Bill Gates. He doesn&#8217;t do anything unless it can make a huge amount of money. Helping you lose the copyright to your art is big business for Gates. </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">For years we&#8217;ve heard of Hollywood fighting with China to protect copyrights and stop the pirating of DVDs. Our government has worked with the studios to protect their investment. </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">Our government is NOW WORKING AGAINST US by allowing our own fellow citizens TO STEAL OUR CREATIVE WORKS.  </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">It will be easy for them to get away with it unless we make ourselves heard.  </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">Your calls and letters do work. I&#8217;ve seen many instances in which a single letter made a difference in public policy. Tens of thousands of calls and letters help even more. </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">This is not empty talk. I have written letters to my congressmen and I will do so again. I do what I can to let every creator know about terrible legislation like this&#8230; thus you are reading articles like this one and you can listen to interviews I&#8217;ve posted online. </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">CONTACT YOUR LEGISLATOR:<br />
Go to http://www.usa.gov/Contact/Elected.shtml to quickly find the phone number, address and e-mail of every U.S. senator, U.S. representative, governor and state legislator. </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">Forward this article to every creator you know and urge them to take a moment to protect their very livelihood. I am giving everyone the right to reprint this article in any form to help spread the word to protect our creative rights. </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">Instead of sitting around watching TV tonight, TiVo that show, write a letter and make yourself heard.  </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">Letters to our government officials don&#8217;t have to be long, but they should be heartfelt. A good story helps. Tell them who you are, how this legislation negatively affects you and that you want them to vote against the Orphan Works legislation. It&#8217;s that easy! </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">If you don&#8217;t, you will have only yourself to blame when you see other people making money from your art and you don&#8217;t see a dime. </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2"><em>Spider-Man</em> comic artist Alex Saviuk is also concerned about the loss of copyright protection. &#8220;When I found out all the negative aspects of the new legislation, it would almost behoove us to want to do something else for a living,&#8221; says Saviuk. &#8220;If we would have to register with all the different companies, we would never be able to make a living.&#8221; </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">&#8220;It would be impossible for me to register all my art,&#8221; continues Saviuk. &#8220;It would put me out of business.&#8221;  </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">You can listen to my complete <a href="http://www.sellyourtvconceptnow.com/orphan.html" target="_blank">interview with Alex</a> online. Think this doesn&#8217;t apply to you? Maybe you don&#8217;t license your artwork? How about this?  </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">Photos on the internet could be orphaned. With tens of millions of photos shared online with services like Flickr, Shutterfly and Snapfish, there is a huge opportunity for unauthorized use of your photos&#8230; legally. </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">You could see photos you take of your family and kids, or of a family vacation, used in a magazine or newspaper without your permission or payment to you. You would have to pay to register your photos, all of them, in every new registry in order to protect them. Say the average person takes 300 photos per year (I take a lot more than that). If a registry only charges $5 per image, that is a whopping $1,500 to protect your photos that are protected automatically under the current laws. If there are three registries, protecting your images could cost an amazing $4,500. Not to mention the time it would take to register every photo you take. Plus, you will also have to place your copyright sign on every photo. </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">That&#8217;s not including all your art, sketches, paintings, 3D models, animations, etc. Do you really have all that extra time and money? Plus, even if you do register, the people stealing your work can still claim it was orphaned and, unless you fight them, they win. Even if you win, you may not make back your legal fees. </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">It gets even better. Anyone can submit images, including your images. They would then be excused from any liability for infringement (also known as THEFT) unless the legitimate rights owner (you) responds within a certain period of time to grant or deny permission to use your work. </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">That means you will also have to look through every image in every registry all the time to make sure someone is not stealing and registering your art. You could actually end up illegally using your own artwork if someone else registers it. DOES ANYONE SEE A PROBLEM WITH THIS? </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">Do you think the U.S. Copyright Office is here to protect you from this legislation? Think again.  </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">Brad Holland of the Illustrators&#8217; Partnership shares his notes from a recent meeting with David O. Carson, general counsel of the Copyright Office. </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2"> <strong>Brad Holland:</strong> <em>If a user can&#8217;t find a registered work at the Copyright Office, hasn&#8217;t the Copyright Office facilitated the creation of an orphaned work?</em>  </font><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2"><strong>David O. Carson:</strong> Copyright owners will have to register their images with private registries.  </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2"><strong>BH:</strong> <em>But what if I exercise my exclusive right of copyright and choose not to register?</em>  </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2"><strong>DOC:</strong> If you want to go ahead and create an orphan work, be my guest!  </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">This cavalier and disrespectful dialogue should have you seeing red. Who the hell does he think he is? Carson should be fired and RUN OUT OF WASHINGTON! </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">None of this could happen with our current laws. Our current laws work and they protect us and our creations.  </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">The only people who will benefit from the copyright law change are those who can&#8217;t create work on their own or companies who stand to make a lot of money from using our works of art. They make contributions to congressmen, which is why they get what they want. We need to stand up and be heard. Every one of you need to write your senators and representatives. We have to protect our livelihoods. It&#8217;s that serious. </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">Plus, the technologies being developed for locating visual art don&#8217;t work well enough. On March 13, 2008, PicScout, the creators of one of the software applications used in the registries, stated to the House IP subcommittee: </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">&#8220;Our technology can match images, or partial information of an image, with 99% success.&#8221;  </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">A 1% margin of error is huge when you consider the millions of searches performed for art every day. That means for every million searches, 10,000 images could be orphaned. </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">Plus, this only takes into account images registered on their system. If you have registered all your work on another system, they won&#8217;t be searched here and, even though you may have spent thousands of dollars registering your creations, a new or unused directory could orphan everything you&#8217;ve ever created. </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">This is just one of the many reasons why INTERNATIONAL LAW FORBIDS COERCED REGISTRATION as a condition of protecting your copyright. The United States is about to break international law by making us register our works. The people behind the bill say it&#8217;s not forced registration, but you won&#8217;t have any rights unless you register. THIS IS SEMANTICS! Of course, this is forced registration and we can&#8217;t stand for it! </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">There are many, many other problems with the Orphan Works legislation. As a creator, YOU MUST understand what is going on.  </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">For additional information on Orphan Works developments, go to the <a href="http://www.illustratorspartnership.org/01_topics/article.php?searchterm=00185" target="_blank">IPA Orphan Works Resource Page for Artists</a>.  </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">This is not something that is going to go away easily. We need to be vocal NOW!  </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">This legislation has been beaten or delayed for the past two years and they will keep trying until it passes. This is no time to be quiet and see what happens. What will happen depends on you. Send e-mails and call your congressmen. Ownership of your own creations depends on it. </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2">Roger Dean sums this up well. &#8220;Where are the colleges and universities in all this? Has the whole world gone to sleep?&#8221;  </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2"><strong>GET ON ORPHAN WORKS E-MAIL LIST</strong><br />
To be notified of the latest information on the Orphan Works bill and when to contact your legislators, send an <a href="mailto:%20illustratorspartnership@cnymail.com">e-mail</a> and ask to be added to the Orphan Works list.  </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2"><strong>AUDIO INTERVIEW LINK</strong><br />
I have recorded a fantastic <a href="http://www.sellyourtvconceptnow.com/orphan.html" target="_blank">interview with Brad Holland</a> of the Illustrators&#8217; Partnership regarding this bill and what it means to us as artists. Please listen and learn more about how you may lose ownership of all your art and photos. This article and the recorded interview are available for anyone to use in print or online. Please forward this information to every person and group you know so that we can work together and protect our creations and livelihoods. </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2"><em>Mark Simon is an award-winning animation producer/director and speaker. He speaks around the world on subjects about art, animation and TV production. His copyrighted companies may be found online at www.SellYourTvConceptNow.com and www.Storyboards-East.com. He may be reached at marksimonbooks@yahoo.com.</em>  </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2"><em>Portions of this article use information and phrasing provided by the Illustrators&#8217; Partnership.</em>  </font></p>
<p><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif" size="2"><em>The opinions expressed in this article reflect those of the columnist and do not necessarily reflect the opinions of AWN, Inc. and its affiliates.</em></font></p>
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<p align="center">Â© 1996 &#8211; 2008 AWN, Inc.  All rights reserved.<br />
No part of this article may be reproduced  without the written consent of AWN, Inc.</p>
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		<title>Kate Lenkowsky  &#8211;  Hot Off the Press</title>
		<link>http://www.thelmasmith.com/blog/2008/04/22/kate-lenkowsky-hot-off-the-press/</link>
		<comments>http://www.thelmasmith.com/blog/2008/04/22/kate-lenkowsky-hot-off-the-press/#comments</comments>
		<pubDate>Wed, 23 Apr 2008 02:07:43 +0000</pubDate>
		<dc:creator>thelma</dc:creator>
				<category><![CDATA[Copyright + Fair Use]]></category>
		<category><![CDATA[Women Artists]]></category>
		<category><![CDATA[american history]]></category>
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		<guid isPermaLink="false">http://www.thelmasmith.com/blog/2008/04/22/kate-lenkowsky-hot-off-the-press/</guid>
		<description><![CDATA[
Kate Lenkowsky and I met at the International Quilt Study Center in Lincoln, Nebraska, in 2003.   Lots of star power quilters to interview.  The result is stunning.
This arrived by courier this afternoon.  I have not had time to study more than the Table of Contents.  The last quarter of the [...]]]></description>
			<content:encoded><![CDATA[<p><a href="http://www.thelmasmith.com/blog/wp-content/uploads/2008/04/lennkowskycover.png" title="lennkowskycover.png"><img src="http://www.thelmasmith.com/blog/wp-content/uploads/2008/04/lennkowskycover.thumbnail.png" alt="lennkowskycover.png" /></a></p>
<p>Kate Lenkowsky and I met at the <a href="http://www.quiltstudy.org/">International Quilt Study Center</a> in Lincoln, Nebraska, in 2003.   Lots of star power quilters to interview.  The result is stunning.</p>
<p>This arrived by courier this afternoon.  I have not had time to study more than the Table of Contents.  The last quarter of the book,  <em>A Guide for Buyers &amp; Collectors</em>, is information that has never, to my knowledge, been put in one place. The information is extensive.  Lenkowsky covers care, insuring and appraising as well as a long list of other topics in the guide.</p>
<p><a href="http://iupress.indiana.edu">Contemporary Quilt Art, An Introduction and Guide,</a> by Kate Lenkowsky is published by<br />
<a href=" http://iupress.indiana.edu">Indiana University Press</a><a href=" http://iupress.indiana.edu">.</a>    Extensive author&#8217;s commentary accompanies the large color photographs.  The quality of the printing and binding are lovely.  IBSN 978-0-253-35124-1</p>
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		<title>Censorship</title>
		<link>http://www.thelmasmith.com/blog/2008/04/05/censorship/</link>
		<comments>http://www.thelmasmith.com/blog/2008/04/05/censorship/#comments</comments>
		<pubDate>Sat, 05 Apr 2008 17:49:08 +0000</pubDate>
		<dc:creator>thelma</dc:creator>
				<category><![CDATA[Copyright + Fair Use]]></category>
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		<category><![CDATA[censorship]]></category>
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		<guid isPermaLink="false">http://www.thelmasmith.com/blog/2008/04/05/censorship/</guid>
		<description><![CDATA[Reprinted from  Women&#8217;s eNews as an educational service under the fair use doctrine of the U. S. Copyright Law.Â Â  Subscribe here.
As an aside, personally I subjected myself to a tubal ligation so that I would never face the emotional and psychological consequences of possibly having to make this sort of decision.Â  However, I will [...]]]></description>
			<content:encoded><![CDATA[<p>Reprinted from <a href="wom"></a><a href="http://www.womensenews.org"><strong> Women&#8217;s eNews</strong></a> as an educational service under the fair use doctrine of the U. S. Copyright Law.Â Â  Subscribe <a href="www.womensenews.org/join.cfm.">here</a>.</p>
<p>As an aside, personally I subjected myself to a tubal ligation so that I would never face the emotional and psychological consequences of possibly having to make this sort of decision.Â  However, I will to my dying day stand tall for all women to retain the right to make their own choices.</p>
<p>&#8220;Abortion&#8221; as a search term had been blocked in <a href="http://db.jhuccp.org/ics-wpd/popweb/">POPLINE</a>, the largest reproductive health database, according to an April 2 post by Women&#8217;s Health News blogger Rachel Walden. The research database is funded by the federal government as a project of the Johns Hopkins Bloomberg School of Public Health. The result is that a person who types abortion in to the database for a keyword search will retrieve no articles on the topic.</p>
<p>Database officials advised a librarian who queried about the omission that the term &#8220;unwanted pregnancy&#8221; should be substituted instead. A more difficult search through the database&#8217;s index can still be used to retrieve abortion-related articles, but most average library users will not know the workaround, Walden, who is a librarian, points out in her post.</p>
<p>The database is funded through the U.S. Agency for International Development, which is prohibited from distributing foreign aid to international groups that provide abortions, make abortion referrals or lobby for change in their nation&#8217;s abortion laws, under the so-called global gag rule policy of the Bush administration.</p>
<p>On April 4, apparently in response to bloggers, Michael J. Klag, dean of the Bloomberg School, reversed the decision to remove &#8220;abortion&#8221; as a search term and said he would launch an inquiry into the change. In a statement published on the school&#8217;s Web site, Klag said that USAID had found two items in the database that did not meet POPLINE&#8217;s criteria for &#8220;evidence-based information&#8221; and administrators decided to remove the search term.</p>
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		<title>Gamblin Color DVD</title>
		<link>http://www.thelmasmith.com/blog/2007/11/11/gamblin-color-dvd/</link>
		<comments>http://www.thelmasmith.com/blog/2007/11/11/gamblin-color-dvd/#comments</comments>
		<pubDate>Sun, 11 Nov 2007 19:36:55 +0000</pubDate>
		<dc:creator>thelma</dc:creator>
				<category><![CDATA[Copyright + Fair Use]]></category>
		<category><![CDATA[acrylic paints]]></category>
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		<guid isPermaLink="false">http://www.thelmasmith.com/blog/2007/11/11/gamblin-color-dvd/</guid>
		<description><![CDATA[
Gamblin was the  color man when the Smithsonian set out to recreate the renaissance, earth, colors of the old masters.  He gives a twenty minute tutorial on thinking about color.
I received this DVD as a gift at a recent art&#8217;s materials exposition.  Check with your supplier of art supplies and see if [...]]]></description>
			<content:encoded><![CDATA[<p><a href="http://www.thelmasmith.com/blog/wp-content/uploads/2007/11/gamblindvd.png" title="gamblin dvd"><img src="http://www.thelmasmith.com/blog/wp-content/uploads/2007/11/gamblindvd.png" alt="gamblin dvd" /></a></p>
<p><a href="http://www.gamblincolors.com/">Gamblin</a> was the  color man when the Smithsonian set out to recreate the renaissance, earth, colors of the old masters.  He gives a twenty minute tutorial on thinking about color.</p>
<p>I received this DVD as a gift at a recent art&#8217;s materials exposition.  Check with your supplier of art supplies and see if you can obtain a copy of this.Â  OOPS,Â  go to the Gamblin website, linked above.Â  You can view it online. Â  It addresses color in several ways including the historic time frame and the colors produced and used.</p>
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		<title>El Anatsui</title>
		<link>http://www.thelmasmith.com/blog/2007/11/07/el-anatsui/</link>
		<comments>http://www.thelmasmith.com/blog/2007/11/07/el-anatsui/#comments</comments>
		<pubDate>Thu, 08 Nov 2007 00:36:22 +0000</pubDate>
		<dc:creator>thelma</dc:creator>
				<category><![CDATA[African Artist]]></category>
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		<category><![CDATA[jazz]]></category>
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		<guid isPermaLink="false">http://www.thelmasmith.com/blog/2007/11/07/el-anatsui/</guid>
		<description><![CDATA[
I was at the University of Arizona Museum of Art today.  This is from a new installation by
El Anatsui.
These works are copyright of the artist and are shown here under the doctrine of fair use for educational purposes.  The work above uses the rims of screw on caps of cheap liquor that the [...]]]></description>
			<content:encoded><![CDATA[<p><a href="http://www.thelmasmith.com/blog/wp-content/uploads/2007/11/1.jpg" title="1.jpg"><img src="http://www.thelmasmith.com/blog/wp-content/uploads/2007/11/1.jpg" alt="1.jpg" /></a></p>
<p>I was at the University of Arizona Museum of Art today.  This is from a new installation by<a href="http://www.elanatsui.com/biography/index.htm"><br />
El Anatsui.</a></p>
<p>These works are copyright of the artist and are shown here under the doctrine of fair use for educational purposes.  The work above uses the rims of screw on caps of cheap liquor that the anglo world has exported to Africa for the last several centuries.  It references that societal problem, the problem of garbage, and also the West African textile tradition.</p>
<p>Not to mention that it is lusciously gorgeous and cries out to be carressed.</p>
<p><a href="http://www.thelmasmith.com/blog/wp-content/uploads/2007/11/1-1.jpg" title="1-1.jpg"><img src="http://www.thelmasmith.com/blog/wp-content/uploads/2007/11/1-1.jpg" alt="1-1.jpg" /></a></p>
<p>More societal commentary.  Aluminum printing plates used in their most maleable form to comment on waste and waste paper in particular.</p>
<p>If you are traveling or happen to be around Tucson, Arizona, do yourself a favor and go to the University of Arizona.  There is the Museum, two galleries, the Center for Creative Photography, the Flanrau Observatory, the Arizona Historical museum and much more.</p>
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