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		<title>© Philadelphia Museum of Art  ~  Van Gogh Up Close</title>
		<link>http://www.thelmasmith.com/blog/2012/01/30/%c2%a9-philadelphia-museum-of-art-van-gogh-up-close/</link>
		<comments>http://www.thelmasmith.com/blog/2012/01/30/%c2%a9-philadelphia-museum-of-art-van-gogh-up-close/#comments</comments>
		<pubDate>Mon, 30 Jan 2012 23:32:13 +0000</pubDate>
		<dc:creator>thelma</dc:creator>
				<category><![CDATA[Uncategorized]]></category>

		<guid isPermaLink="false">http://www.thelmasmith.com/blog/?p=381</guid>
		<description><![CDATA[




Here is the posting from the Philadelphia Museum of Art.  It bears their copyright.
It is being provided as an educational service.


















Home





Rain, 1889
Vincent Willem van Gogh, Dutch
Oil on canvas
28 7/8 x 36 3/8 inches (73.3 x 92.4 cm)
The Henry P. McIlhenny Collection in memory of Frances P. McIlhenny, 1986
1986-26-36
[ More Details ]


Van Gogh Up Close
February 1, [...]]]></description>
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<td>Here is the posting from the Philadelphia Museum of Art.  It bears their copyright.</p>
<p>It is being provided as an educational service.</td>
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<div><em>Rain</em>, 1889<br />
Vincent Willem van Gogh, Dutch<br />
Oil on canvas<br />
28 7/8 x 36 3/8 inches (73.3 x 92.4 cm)<br />
The Henry P. McIlhenny Collection in memory of Frances P. McIlhenny, 1986<br />
1986-26-36<br />
[ <a href="http://www.philamuseum.org/collections/permanent/82820.html">More Details</a> ]</div>
</div>
</div>
<div>Van Gogh Up Close</div>
<div>February 1, 2012 &#8211; May 6, 2012</div>
<div id="exhibitions"><img src="http://www.philamuseum.org/images/interface/icons/tix_icon.gif" border="0" alt="" /> <a href="http://www.philamuseum.org/exhibitions/743.html?page=2&amp;ticket=1">Paid Tickets Required</a><br />
<img src="http://www.philamuseum.org/images/interface/icons/memberOnly_icon.gif" border="0" alt="" /> <a href="http://www.philamuseum.org/exhibitions/743.html?page=2&amp;ticket=1">Member Tickets</a><br />
<img src="http://www.philamuseum.org/images/interface/icons/info_icon.gif" border="0" alt="" /> <a>Hotels &amp; Travel</a> <img src="http://www.philamuseum.org/images/interface/icons/comment.gif" border="0" alt="" /> <a href="http://www.philamuseum.org/exhibitions/743.html?page=3&amp;comID=18">Join the Discussion &gt;&gt;</a> Vincent van Gogh was an artist of</div>
<div>exceptional intensity, not only in his  use of color and exuberant application of</div>
<div>paint, but also in his  personal life. Drawn powerfully to nature, his works&#8211;</div>
<div>particularly those  created in the years just before he took his own life&#8211;engage</div>
<div>the  viewer with the strength of his emotions. This exhibition focuses on  these</div>
<div>tumultuous years, a period of feverish artistic experimentation  that began</div>
<div>when van Gogh left Antwerp for Paris in 1886 and continued  until his death</div>
<div>in Auvers in 1890.        Radically altering and often outright abandoning</div>
<div>traditional painting  techniques, van Gogh created still lifes and landscapes</div>
<div>unlike anything  that had ever been seen before. He experimented with depth</div>
<div>of field and  focus. He used shifting perspectives and brought familiar objects</div>
<div>“up  close” into the foreground. And he produced some of the most original</div>
<div>works of his career; works that dramatically altered the course of  modern</div>
<div>painting. Through some 40masterpieces borrowed from collections  around</div>
<div>the world, <em>Van Gogh Up Close</em> is the first exhibition to explore the reasons</div>
<div>and means by which this impassioned artist made such  unusual changes to his</div>
<div>painting style in the final years of his life.        When he arrived in Paris, van Gogh</div>
<div>initially worked in the Montmartre  apartment he shared with his brother Theo.</div>
<div>He created a series of still  lifes and paintings of flowers and fruit, focusing</div>
<div>especially on aspects  of scale, angle, and color. In many of these works, objects</div>
<div>may be seen  from above, or are placed in a tightly cropped space providing no</div>
<div>clues  to their context or setting. Pieces of fruit appear to tip forward and  threaten</div>
<div>to roll out of the picture. Meanwhile, the close up views of  grasses, wheat sheaves,</div>
<div>and tree trunks, which dominate the foreground  of a number of the landscapes</div>
<div>of this period, hint at more than just a  detailed study of subject&#8211;they suggest</div>
<div>a deep concern with representing  the sensory and emotional experience of being</div>
<div>outdoors.        When van Gogh discoveredthe work of other artists in Paris, such as the</div>
<div>Impressionist paintings of Monet, Pissarro, and Renoir, and the  pointillist works</div>
<div>of Seurat and others, he was inspired to use lighter  colors and to play with different</div>
<div>kinds of brushwork in his own work. At  about this time, he also began to acquire</div>
<div>Japanese woodblock prints. He  admired these for their decorative use of color</div>
<div>and flattened  compositions, and he embraced the ideas of Japanese artists who</div>
<div>worked  in close communion with nature, studying “the smallest blade of grass”  to</div>
<div>better comprehend nature as a whole. Indeed, when he moved to Arles  in 1888,</div>
<div>van Gogh wrote that being in the south of France was the  closest thing to going</div>
<div>to Japan.       The landscapes that he painted around Arles show Japanese influence</div>
<div>in  their deep views of the countryside and high horizon lines, while the  landscapes</div>
<div>he went on to create in Saint-Rémy and Auvers in 1889 and  1890 are tightly packed,</div>
<div>more structured works. Dominated by a screen of  trees or falling raindrops, these</div>
<div>paintings suggest the immediacy and  closeness of van Gogh’s surroundings. A year</div>
<div>before he died, he wrote in  a letter to his sister, “I…am always obliged to go and gaze</div>
<div>at a blade  of grass, a pine-tree branch, an ear of wheat, to calm myself.&#8221;       In his final</div>
<div>works, van Gogh closed in on his subjects in even more  dramatic ways, reducing the</div>
<div>depth of field and maximizing the expressive  impact of his brushwork and color. An</div>
<div>intimately focused view of a  clump of iris, a tangle of almond branches, and the vibrant</div>
<div>patterning  of an Emperor moth are just a few of the images in an audacious series  of</div>
<div>still lifes which mark the culmination of the exhibition.</div>
<h2>Support and Organizers</h2>
<div id="exhibitions"><em>Van Gogh Up Close</em> is made possible by GlaxoSmithKline and Sun  Life Financial.</div>
<div>The exhibition is supported by an indemnity from the  Federal Council on the Arts and</div>
<div>the Humanities.  Additional support is  provided by the Robert Lehman Foundation,</div>
<div>The Pew Charitable Trusts, The  Annenberg Foundation Fund for Major Exhibitions,</div>
<div>The Kathleen C. and  John J. F. Sherrerd Fund for Exhibitions, the National Endowment</div>
<div>for the  Arts, The Women’s Committee of the Philadelphia Museum of Art, The  Arcadia</div>
<div>Foundation, Barbara B. and Theodore R. Aronson, David and  Margaret Langfitt, Mr. and</div>
<div>Mrs. Robert E. Linck, Mr. and Mrs. John M.  Thalheimer, Mrs. Eugene W. Jackson, Mr.</div>
<div>and Mrs. Leonard Abramson, and  other generous individuals.  Promotional support is</div>
<div>provided by NBC 10  WCAU and Amtrak.   The catalogue was funded, in part, by the</div>
<div>Netherland-America Foundation.      The exhibition is organized by the Philadelphia</div>
<div>Museum of Art and the National Gallery of Canada, Ottawa.</div>
<h2>Curators</h2>
<div id="exhibitions">Joseph J. Rishel, The Gisela and Dennis Alter Senior Curator of European  Painting</div>
<div>before 1900, and Senior Curator of the John G. Johnson  Collection and the Rodin</div>
<div>Museum Jennifer A. Thompson, The Gloria and Jack Drosdick Associate Curator</div>
<div>of  European Painting and Sculpture before 1900 and the Rodin Museum</div>
<h2>Location</h2>
<p>Dorrance Special Exhibition Galleries, first floor</p>
<h2>Itinerary</h2>
<div id="exhibitions"><strong>Philadelphia Museum of Art, February 1–May 6, 2012 </strong></div>
<div><strong>(Dorrance Galleries)</strong><br />
National Gallery of Canada, Ottawa, May 25–September 3, 2012</div>
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		<item>
		<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>
]]></content:encoded>
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		<title>Another Article That Has Been Languishing On An Open Tab</title>
		<link>http://www.thelmasmith.com/blog/2011/12/21/another-article-that-has-been-languishing-on-an-open-tab/</link>
		<comments>http://www.thelmasmith.com/blog/2011/12/21/another-article-that-has-been-languishing-on-an-open-tab/#comments</comments>
		<pubDate>Wed, 21 Dec 2011 21:07:20 +0000</pubDate>
		<dc:creator>thelma</dc:creator>
				<category><![CDATA[Uncategorized]]></category>

		<guid isPermaLink="false">http://www.thelmasmith.com/blog/?p=373</guid>
		<description><![CDATA[http://www.guardian.co.uk/artanddesign/2011/nov/27/alex-hartley-nowhereisland-cultural-olympiad

For a woman raised on a farm who has lived a life of autonomy and entrepreneurship rather than functioning as a wage slave, this article has a lot to say about the state of today&#8217;s world particularly in light of the current economic mess.
]]></description>
			<content:encoded><![CDATA[<p><a href="http://www.guardian.co.uk/artanddesign/2011/nov/27/alex-hartley-nowhereisland-cultural-olympiad">http://www.guardian.co.uk/artanddesign/2011/nov/27/alex-hartley-nowhereisland-cultural-olympiad</a></p>
<p><a href="http://www.thelmasmith.com/blog/wp-content/uploads/2011/12/Alex-Hartley-007.jpg"><img class="aligncenter size-full wp-image-374" title="Alex-Hartley-007" src="http://www.thelmasmith.com/blog/wp-content/uploads/2011/12/Alex-Hartley-007.jpg" alt="Echos of the 60s" width="460" height="276" /></a></p>
<p>For a woman raised on a farm who has lived a life of autonomy and entrepreneurship rather than functioning as a wage slave, this article has a lot to say about the state of today&#8217;s world particularly in light of the current economic mess.</p>
]]></content:encoded>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Women&#8217;s Work and deep thoughts</title>
		<link>http://www.thelmasmith.com/blog/2011/12/21/womens-work-and-deep-thoughts/</link>
		<comments>http://www.thelmasmith.com/blog/2011/12/21/womens-work-and-deep-thoughts/#comments</comments>
		<pubDate>Wed, 21 Dec 2011 20:12:09 +0000</pubDate>
		<dc:creator>thelma</dc:creator>
				<category><![CDATA[Uncategorized]]></category>

		<guid isPermaLink="false">http://www.thelmasmith.com/blog/?p=369</guid>
		<description><![CDATA[Here&#8217;s another interesting article.  I hope the link takes you to the right place this time.
http://www.theatlantic.com/magazine/archive/2010/07/the-end-of-men/8135/2/
It&#8217;s a long read but well worth the time.
]]></description>
			<content:encoded><![CDATA[<p>Here&#8217;s another interesting article.  I hope the link takes you to the right place this time.</p>
<p><a href="http://www.theatlantic.com/magazine/archive/2010/07/the-end-of-men/8135/2/">http://www.theatlantic.com/magazine/archive/2010/07/the-end-of-men/8135/2/</a></p>
<p>It&#8217;s a long read but well worth the time.</p>
]]></content:encoded>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<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>
		<category><![CDATA[Copyright + Fair Use]]></category>
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		<category><![CDATA[Women Artists]]></category>
		<category><![CDATA[Women's Studies]]></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>
			<content:encoded><![CDATA[<div id="article-header">
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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>
</div>
</div>
<div id="content">
<ul>
<li>
<div>Kate Bolick</div>
</li>
<li> <a href="http://observer.guardian.co.uk/">The Observer</a>, 															 			       			Sunday 27 November 2011</li>
<li></li>
</ul>
<div id="article-wrapper">
<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>
</div>
<div id="article-body-blocks">
<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 Guggenheim &amp; Reviews</title>
		<link>http://www.thelmasmith.com/blog/2011/12/02/the-guggenheim-reviews/</link>
		<comments>http://www.thelmasmith.com/blog/2011/12/02/the-guggenheim-reviews/#comments</comments>
		<pubDate>Fri, 02 Dec 2011 16:46:51 +0000</pubDate>
		<dc:creator>thelma</dc:creator>
				<category><![CDATA[Uncategorized]]></category>

		<guid isPermaLink="false">http://www.thelmasmith.com/blog/?p=363</guid>
		<description><![CDATA[
I read a lot of different information on the blog.  I wish I knew how to embed this video, here, for you to watch.  It is fascinating.
http://www.guggenheim.org/new-york/interact/watch?view=item&#38;catid=713%3Acurrent-exhibition-videos&#38;id=34%3Amaurizio-cattelan-all
Now that you have seen that one, please go here:
http://www.guggenheim.org/new-york/exhibitions/on-view/maurizio-cattelan-all
for the in house director&#8217;s and curator&#8217;s take on what is going on.  For me, the one phrase, in the [...]]]></description>
			<content:encoded><![CDATA[<p><a href="http://www.thelmasmith.com/blog/wp-content/uploads/2011/12/building_callout.jpg"><img class="aligncenter size-full wp-image-364" title="building_callout" src="http://www.thelmasmith.com/blog/wp-content/uploads/2011/12/building_callout.jpg" alt="" width="160" height="115" /></a></p>
<p>I read a lot of different information on the blog.  I wish I knew how to embed this video, here, for you to watch.  It is fascinating.</p>
<p>http://www.guggenheim.org/new-york/interact/watch?view=item&amp;catid=713%3Acurrent-exhibition-videos&amp;id=34%3Amaurizio-cattelan-all</p>
<p>Now that you have seen that one, please go here:</p>
<p>http://www.guggenheim.org/new-york/exhibitions/on-view/maurizio-cattelan-all</p>
<p>for the in house director&#8217;s and curator&#8217;s take on what is going on.  For me, the one phrase, in the first video, &#8220;it&#8217;s a gallows&#8221; is the only comment that sums up what I see.  You will probably enjoy the second video and the commentary is well worth reading.</p>
<p>Then go here to read the Henri Art Magazine&#8217;s irreverent, but pithy and insightful rant on the exhibition.</p>
<p>http://henrimag.com/blog1/</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>
				<category><![CDATA[Artist]]></category>
		<category><![CDATA[Copyright + Fair Use]]></category>
		<category><![CDATA[Women Artists]]></category>
		<category><![CDATA[Women's Studies]]></category>
		<category><![CDATA[american history]]></category>
		<category><![CDATA[critical thinking]]></category>
		<category><![CDATA[image of self]]></category>
		<category><![CDATA[latina/latino]]></category>
		<category><![CDATA[other artists]]></category>
		<category><![CDATA[societal commentary]]></category>
		<category><![CDATA[state of the world]]></category>
		<category><![CDATA[writing]]></category>

		<guid isPermaLink="false">http://www.thelmasmith.com/blog/?p=359</guid>
		<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>
			<content:encoded><![CDATA[<div>
<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="guardian-logo"><a href="http://www.guardiannews.com/uk-home"><img src="http://static.guim.co.uk/static/f76b43f9dcfd761f0ecf7099a127b603b2922118/common/images/logos/the-guardian/life-and-style.gif" alt="The Guardian home" width="115" height="22" /></a></div>
</div>
<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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<div id="article-header">
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<h1></h1>
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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>
</div>
</div>
<ul>
<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 />
</a></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</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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</ul>
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		<title>Back from the Outer Limits</title>
		<link>http://www.thelmasmith.com/blog/2011/09/28/back-from-the-outer-limits/</link>
		<comments>http://www.thelmasmith.com/blog/2011/09/28/back-from-the-outer-limits/#comments</comments>
		<pubDate>Wed, 28 Sep 2011 17:41:44 +0000</pubDate>
		<dc:creator>thelma</dc:creator>
				<category><![CDATA[Artist]]></category>
		<category><![CDATA[acrylic paints]]></category>
		<category><![CDATA[archives]]></category>
		<category><![CDATA[cat]]></category>
		<category><![CDATA[the herd of cats]]></category>

		<guid isPermaLink="false">http://www.thelmasmith.com/blog/?p=346</guid>
		<description><![CDATA[I&#8217;ve finally reclaimed my password.
I&#8217;ve been &#8220;doin&#8217; life&#8221; and missing out on my blog.  Apologies to everyone.  Here&#8217;s a life summary since you last heard from me.
Printmaking classes at Santa Barbara City College Adult Education.  The instructor, Siu Zimmerman, is the best.
Started an acrylic class as I need to get a lot more familiar with [...]]]></description>
			<content:encoded><![CDATA[<p>I&#8217;ve finally reclaimed my password.</p>
<p>I&#8217;ve been &#8220;doin&#8217; life&#8221; and missing out on my blog.  Apologies to everyone.  Here&#8217;s a life summary since you last heard from me.</p>
<p>Printmaking classes at Santa Barbara City College Adult Education.  The instructor, Siu Zimmerman, is the best.</p>
<p>Started an acrylic class as I need to get a lot more familiar with the paints themselves.  Will let you know how that goes if anyone is interested.</p>
<p>Helped birth seven kittens on Thursday, September 22.  Feya, the fluffy flier, is a good mother; Morgan Freeman is a typical teen aged father.  I lost one of the tiny, 58 gram, babies on day three.  By now &#8211; I weighed them at four days old &#8211; they are almost double in size.  I&#8217;ve still one runt, I think a girl, she&#8217;s a funny tan tabby color.  We&#8217;ll see if she is strong enough to survive.<a href="http://www.thelmasmith.com/blog/wp-content/uploads/2011/09/MorgamFreemanCalleighCat.jpg"><img class="aligncenter size-full wp-image-347" title="MorgamFreeman&amp;CalleighCat" src="http://www.thelmasmith.com/blog/wp-content/uploads/2011/09/MorgamFreemanCalleighCat.jpg" alt="Papa and Grand ma" width="500" height="465" /></a></p>
<div id="attachment_348" class="wp-caption aligncenter" style="width: 610px"><a href="http://www.thelmasmith.com/blog/wp-content/uploads/2011/09/CabbageLeafLitter.9.26.11.jpg"><img class="size-full wp-image-348" title="CabbageLeafLitter.9.26.11" src="http://www.thelmasmith.com/blog/wp-content/uploads/2011/09/CabbageLeafLitter.9.26.11.jpg" alt="Babies in a bowl" width="600" height="450" /></a><p class="wp-caption-text">Waiting to get weighed</p></div>
<p><a href="http://www.thelmasmith.com/blog/wp-content/uploads/2011/09/BabyCat.jpg"><img class="aligncenter size-full wp-image-349" title="BabyCat" src="http://www.thelmasmith.com/blog/wp-content/uploads/2011/09/BabyCat.jpg" alt="" width="500" height="371" /></a><a href="http://www.thelmasmith.com/blog/wp-content/uploads/2011/09/FpurOfSeven.9.26.11.jpg"><img class="aligncenter size-full wp-image-351" title="FpurOfSeven.9.26.11" src="http://www.thelmasmith.com/blog/wp-content/uploads/2011/09/FpurOfSeven.9.26.11.jpg" alt="" width="500" height="301" /></a></p>
<p>Not much happening.  I&#8217;ve got to clean up my wet palette and add a couple of colors.  Then off to school.</p>
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		<title>Derivatives and Teaching Your Eye</title>
		<link>http://www.thelmasmith.com/blog/2011/09/05/derivatives-and-teaching-your-eye/</link>
		<comments>http://www.thelmasmith.com/blog/2011/09/05/derivatives-and-teaching-your-eye/#comments</comments>
		<pubDate>Mon, 05 Sep 2011 18:46:41 +0000</pubDate>
		<dc:creator>thelma</dc:creator>
				<category><![CDATA[Uncategorized]]></category>

		<guid isPermaLink="false">http://www.thelmasmith.com/blog/?p=353</guid>
		<description><![CDATA[Art News is one of the best visual teaching mechanisms on the web for me.  In the last several months I&#8217;ve been seeing early picasso.  Many thanks to Google Images for the use of teaching materials.

Here&#8217;s a link to the most recent article.
http://www.artknowledgenews.com/04_10_2011_22_00_01_the_frick_collection_features_picassos_drawings_1890_1921_reinventing_tradition.html?utm_source=feedburner&#38;utm_medium=email&#38;utm_campaign=Feed%3A+artknowledge+%28Art+Knowledge+News+-+Keeping+You+in+Touch+with+the+World+of+Art&#8230;%29
These early Picasso always remind me of Botero.

http://www.artknowledgenews.com/04_10_2011_22_00_01_the_frick_collection_features_picassos_drawings_1890_1921_reinventing_tradition.html?utm_source=feedburner&#38;utm_medium=email&#38;utm_campaign=Feed%3A+artknowledge+%28Art+Knowledge+News+-+Keeping+You+in+Touch+with+the+World+of+Art&#8230;%29
http://www.google.com/search?q=botero&#38;hl=en&#38;client=firefox-a&#38;hs=MHs&#38;rls=org.mozilla:en-US:official&#38;prmd=imvns&#38;tbm=isch&#38;tbo=u&#38;source=univ&#38;sa=X&#38;ei=26eMTr29A6mLsQLV07DFBA&#38;ved=0CEYQsAQ&#38;biw=1417&#38;bih=1005
Enjoy your cruise through all the [...]]]></description>
			<content:encoded><![CDATA[<p>Art News is one of the best visual teaching mechanisms on the web for me.  In the last several months I&#8217;ve been seeing early picasso.  Many thanks to Google Images for the use of teaching materials.</p>
<p><a href="http://www.thelmasmith.com/blog/wp-content/uploads/2011/10/Picasso-Head-Woman.jpg"><img class="aligncenter size-full wp-image-355" title="Picasso-Head-Woman" src="http://www.thelmasmith.com/blog/wp-content/uploads/2011/10/Picasso-Head-Woman.jpg" alt="" width="215" height="389" /></a></p>
<p>Here&#8217;s a link to the most recent article.</p>
<p>http://www.artknowledgenews.com/04_10_2011_22_00_01_the_frick_collection_features_picassos_drawings_1890_1921_reinventing_tradition.html?utm_source=feedburner&amp;utm_medium=email&amp;utm_campaign=Feed%3A+artknowledge+%28Art+Knowledge+News+-+Keeping+You+in+Touch+with+the+World+of+Art&#8230;%29</p>
<p>These early Picasso always remind me of Botero.</p>
<p><a href="http://www.thelmasmith.com/blog/wp-content/uploads/2011/10/images.jpg"><img class="aligncenter size-full wp-image-354" title="images" src="http://www.thelmasmith.com/blog/wp-content/uploads/2011/10/images.jpg" alt="" width="193" height="135" /></a></p>
<p>http://www.artknowledgenews.com/04_10_2011_22_00_01_the_frick_collection_features_picassos_drawings_1890_1921_reinventing_tradition.html?utm_source=feedburner&amp;utm_medium=email&amp;utm_campaign=Feed%3A+artknowledge+%28Art+Knowledge+News+-+Keeping+You+in+Touch+with+the+World+of+Art&#8230;%29</p>
<p>http://www.google.com/search?q=botero&amp;hl=en&amp;client=firefox-a&amp;hs=MHs&amp;rls=org.mozilla:en-US:official&amp;prmd=imvns&amp;tbm=isch&amp;tbo=u&amp;source=univ&amp;sa=X&amp;ei=26eMTr29A6mLsQLV07DFBA&amp;ved=0CEYQsAQ&amp;biw=1417&amp;bih=1005</p>
<p>Enjoy your cruise through all the images.</p>
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		<title>Cleanups, upgrades and downtimes</title>
		<link>http://www.thelmasmith.com/blog/2011/03/02/cleanups-upgrades-and-downtimes/</link>
		<comments>http://www.thelmasmith.com/blog/2011/03/02/cleanups-upgrades-and-downtimes/#comments</comments>
		<pubDate>Thu, 03 Mar 2011 03:53:19 +0000</pubDate>
		<dc:creator>thelma</dc:creator>
				<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[announcement]]></category>
		<category><![CDATA[upgrade]]></category>
		<category><![CDATA[website]]></category>

		<guid isPermaLink="false">http://www.thelmasmith.com/blog/?p=339</guid>
		<description><![CDATA[With spring right on the corner, I was thinking of getting things in order on the website. Please be patient, rough waters ahead for a few weeks.

PS: Contact via email should still work.
]]></description>
			<content:encoded><![CDATA[<p>With spring right on the corner, I was thinking of getting things in order on the <a href="http://www.thelmasmith.com">website</a>. Please be patient, rough waters ahead for a few weeks.</p>
<p><a href="http://www.thelmasmith.com/blog/wp-content/uploads/2011/03/sailboat50.png"><img class="aligncenter size-full wp-image-342" title="Rought waters ahead..." src="http://www.thelmasmith.com/blog/wp-content/uploads/2011/03/sailboat50.png" alt="Image: Rought waters ahead..." width="400" height="400" /></a></p>
<p>PS: Contact via email should still work.</p>
]]></content:encoded>
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