In other news, thanks to
Two best things... no, three: The federal tables had the best freebies (Customs had a display of BUGS with them! Not a freebie, just a display); the two staffing companies there both seemed quite interested by my resume; and just a few blocks after I left, I saw a corgi being walked along the street! Naturally, I stopped and her human and I had a very nice chat. The Pemmie is just about the exact age of my girls, and her human and I drive the same car!
...yes, the dog was more exciting than the job fair. Deal. ;)
I feel somewhat better today.
I say that because I had a fairly lousy weekend, due to the mess I found when I got home from work Thursday (read: Friday before dawn), which turned into the scare I found. See, Annie might have separation anxiety, but that doesn't explain the... explosion in the crate. I had the girls separated because Meissa, the wench, is in heat again already and it was easier to crate them together than leave one alone and the rest of the horde loose.
However, after I secured them in the kitchen, started hauling dirty things outside, starting the laundry, deposited that which should go in the toilet in the toilet... that sounded wrong, didn't it? and otherwise started to sort things out, I found two puddles of blood in the kitchen. Not spots, puddles. As I started to pull soiled bedding out of the crate, that's when I saw what must have been the first spots.
Engage EEEK MODE. Vet wouldn't be open for another 2-3 hours.
Turns out he didn't notice anything outstanding, other than leftover blood when he took a sample. It could have been the plastic picture frame Gemma (probably) disassembled the other day. It could have been one of the seeming flock of dead birds showing up in my yard lately (I think the Puppy might be a stealth bird dog). One way or another, she didn't seem to be overly lethargic from the incident, and I've seen no problems since. Marmesh gave her meds, too. Still scary, though.
Related to this, and having to clean up so much (my poor carpet!) and maybe something I ate, not only was I feeling generally down, but I also found myself getting really groggy at all sorts of odd times during the weekend. I just sort of drooped sideways and napped where I sagged, to wit: living room floor, using my sort of computer seat as a pillow. I seemed to take 4-hour naps on the whole. It seemed to wear off some time Sunday night, for which I was grateful, because it kinda creeped me out.
Finding gaming miniatures to represent female characters that are not Frazettan nudist exhibitionists can be a real trial. I happened to spot these Dark Heaven 'Reaper Miniatures' figures while looking for historical/fantasy movies with female swordfighters and was pleasantly surprised to find:
- Normal proportions
- Complete outfits of clothing
- Pretty nice sculpting in general
- NORMALLY-PROPORTIONED FEMALES IN CLOTHES
This reminds me of what
I thought I might have had something else to post, but it's rather departed my so-called brain. I must think about mail and hemming instead.
(This was one of my favourites to do initially, in part because it took a good bit of effort to beat the table structure into a Mondrian-like background for such a fascinating artist without the text getting disjointed. And because I got to see The Dinner Party in Boston ages ago. *grin*)
Born: Chicago, IL, 1939 A childhood love of art led Judy Cohen to UCLA's art program. She earned her bachelor's degree in 1962 and her master of arts in 1964. Rechristened "Judy Chicago" by a gallery owner because of her Windy City accent, she quickly established a name for herself as a contemporary artist, showing her work at numerous local venues. 2
A childhood love of art led Judy Cohen to UCLA's art program. She earned her bachelor's degree in 1962 and her master of arts in 1964. Rechristened "Judy Chicago" by a gallery owner because of her Windy City accent, she quickly established a name for herself as a contemporary artist, showing her work at numerous local venues. 2
|In the early seventies after a decade of professional art practice, Chicago pioneered Feminist Art and art education through a unique program for women at California State University, Fresno, a pedagogical approach that she has continued to develop over the years. In 1974, Chicago turned her attention to the subject of women's history to create her most well-known work, The Dinner Party, which was executed between 1974 and 1979 with the participation of hundreds of volunteers. 1 The ambitious artwork, which Chicago humorously called a "reinterpretation of The Last Supper from the point of view of those who've done the cooking throughout history," consists of a triangular table, 48 feet long on each side, with complete place settings for 39 women who have been "forgotten by history." In the course of 15 major exhibitions in six countries, The Dinner Party was seen by a million people. 2
The Dinner Party has been the subject of countless articles and art history texts and is included in innumerable publications in diverse fields. The impact of The Dinner Party was examined in the 1996 exhibition, Sexual Politics: Judy Chicago's Dinner Party in Feminist Art History. Curated by Dr. Amelia Jones at the UCLA Armand Hammer Museum, this show was accompanied by an extensive catalog published by the University of California Press. In 2004, The Dinner Party will be permanently housed at the Brooklyn Museum as part of the Elizabeth A. Sackler Center for Feminist Art, thereby achieving Chicago's long-held goal of helping to counter the erasure of women's achievements.
|From 1980 to 1985, Chicago worked on the Birth Project. Having observed an absence of iconography about the subject of birth in Western art, Chicago designed a monumental series of birth and creation images for needlework which were executed under her supervision by skilled needleworkers around the country. The Birth Project, exhibited in more than 100 venues, employed the collaborative methods and a similar merging of concept and media that characterized The Dinner Party. Exhibition units from the Birth Project can be seen in numerous public collections around the country including the Albuquerque Museum where the core collection of the Birth Project has been placed to be conserved and made available for exhibition and study.
While completing the Birth Project, Chicago also focused on individual studio work to create Powerplay. In this unusual series of drawings, paintings, weavings, cast paper, and bronze reliefs, Chicago brought a critical feminist gaze to the gender construct of masculinity, exploring how prevailing definitions of power have affected the world in general - and men in particular. The thought processes involved in Powerplay, the artist's long concern with issues of power and powerlessness, and a growing interest in her Jewish heritage led Chicago to her next body of art.
|The Holocaust Project: From Darkness Into Light, which premiered in October, 1993 at the Spertus Museum in Chicago, continued to travel to museums around the United States until 2002. Holocaust Project evolved from eight years of inquiry, travel, study, and artistic creation; it includes a series of images merging Chicago's painting with the photography of Donald Woodman, as well as works in stained glass and tapestry designed by Chicago and executed by skilled artisans.
Resolutions: A Stitch in Time was Judy Chicago's most recent collaborative project. Begun in 1994 with skilled needle workers with whom she had worked for many years, Resolutions combines painting and needlework in a series of exquisitely crafted and inspiring images which - with an eye to the future - playfully reinterpret traditional adages and proverbs. The exhibition opened in June, 2000 at the American Craft Museum, New York, NY, and was toured by them to seven venues around the United States and Canada.
|For many decades, Chicago has produced works on paper, both monumental and intimate. These were the subject of an extensive retrospective which opened in early 1999 at the Florida State University Art Museum in Tallahassee, Florida. Organized by Dr. Viki Thompson Wylder, who is a scholar on the subject of Chicago's oeuvre, this was the first comprehensive examination of the body of Chicago's art. The exhibit, Trials and Tributes traveled through 2002 to eight venues and was accompanied by a catalog by Dr. Wylder with an introduction by renowned critic, Lucy Lippard.
In October 2002, a major exhibition surveying Chicago's career was presented at the National Museum of Women in the Arts. The show was accompanied by a catalog edited by Dr. Elizabeth A. Sackler with essays by Lucy Lippard and Dr. Viki Thompson Wylder and an Introduction by Edward Lucie-Smith.
|In addition to a life of prodigious art making, Chicago is the author of numerous books:
In 1999, Chicago published a book coauthored with Edward Lucie-Smith, the well-known British art writer. Published in the U.S., Canada, England, Australia, New Zealand, and Germany, Women and Art: Contested Territory examines images of women by both male and female artists throughout history. In the spring of 2000, Judy Chicago: An American Vision, a richly illustrated monograph about Chicago's career by Edward Lucie-Smith, was published. This book provided the first comprehensive assessment of Chicago's body of art.
|In 2004, Chicago published Fragments From The Delta Of Venus (powerHouse Books), a collection of images based upon the erotic writing of Anais Nin. Also, included in the book was an essay about Chicago's relationship with Nin who was her mentor in the early seventies. In conjunction with the book's publication, a number of exhibits were held around the country surveying Chicago's erotic work created over three decades. For many years, Judy Chicago has been interested in redressing the iconographic void around women's perspective on sexuality and desire.
In 1999, Chicago returned to teaching for the first time in twenty-five years, having accepted a succession of one-semester appointments at various institutions around the country-beginning with Indiana University, Bloomington, where she received a Presidential Appointment in Art and Gender Studies. In 2000, she was an Inter-Institutional Artist in Residence at Duke University and the University of North Caroline, Chapel Hill. In 2001, with her husband, photographer Donald Woodman, she undertook a project with students at Western Kentucky University, which commemorated the thirty-year anniversary of Womanhouse. Working with students, faculty and local artists, Chicago and Woodman developed a project titled, At Home, re-examining the subject of "the house," this time from the perspective of residents of Kentucky who have a keen sense of place and home. In the fall of 2003, Chicago and Woodman team-taught again facilitating an ambitious inter-institutional, multi-site project in Pomona and Claremont, California.
|Chicago is the recipient of numerous grants and awards including an Honorary Doctorate in Fine Arts from Russell Sage College in Troy, NY; an Honorary Doctorate in Fine Arts, honoris causa from Smith College, Northampton, MA; an Honorary Degree of Doctor of Humane Letters from Lehigh University, Bethlehem, PA; an Honorary Doctorate of Fine Arts from Duke University, Durham, NC; and the 1999 UCLA Alumni Professional Achievement Award.
Many films have been produced about her work including Right Out of History; The Making of Judy Chicago's Dinner Party by Johanna Demetrakas; documentaries on Womanhouse, the Birth Project, The Holocaust Project and Resolutions; and two films produced by the Canadian Broadcast Corporation, Under Wraps and The Other Side of the Picture. E Entertainment Television included Judy Chicago in its three part program, World's Most Intriguing Women. In 1996, the Arthur and Elizabeth Schlesinger Library on the History of Women in America at Radcliffe College, Cambridge, MA, became the repository for Chicago's papers. Chicago is the first living artist to be included in this major archive, one already being used by scholars researching Judy Chicago's work, for example, the art historian, Gail Levin, who consulted the Schlesinger archives from her upcoming biography of Judy Chicago.
In 1996, the Arthur and Elizabeth Schlesinger Library on the History of Women in America at Radcliffe College, Cambridge, MA, became the repository for Chicago's papers. Chicago is the first living artist to be included in this major archive, one already being used by scholars researching Judy Chicago's work, for example, the art historian, Gail Levin, who consulted the Schlesinger archives from her upcoming biography of Judy Chicago.
|For nearly four decades, Chicago has remained steadfast in her commitment to the power of art as a vehicle for intellectual transformation and social change and to women's right to engage in the highest level of art production. As a result, she has become a symbol for people everywhere, known and respected as an artist, writer, teacher, and humanist whose work and life are models for an enlarged definition of art, an expanded role for the artist, and women's right to freedom of expression.|
In retrospect it now seems that "The Dinner Party" came out of a social, feminist context as well as an art world one. That for the time was daring, to say the least. Whether you like "The Dinner Party" or not, it changed art. It was an event as much as an artwork. Chicago may not have done it all alone, but she certainly did not have a big New York gallery behind her. Furthermore, her art since "The Dinner Party" confirms that beginning with that work Chicago was after the really big subjects, something even now most artists shy away from for fear of embarrassment, making a mistake, or merely because the commercial art world can't handle other than formal topics or adolescent self-indulgence.
Can't you JUST see it?
pinkyheather found this at the Realm of the Runespoor, which is the creation of longtail:
The Marauders Do [name removed for surprise value by Corgi]!
...and longtail also did:
...so we can have something to giggle about while committing the righteous massacre which was previously referred to.
It's a pain having one half of a fairly-newly-made couple inside one's head. Those two take hours making love, and... OK, I think that just crossed into T.M.I. But they do take a lot of time, one way or another, away from Other People who are tapping their feet and making my skull echo as they grow more impatient waiting for their turns.
Anyway, bless her black eyepatch, Moey's got Canis Mutatem updated at the Sugar Quill; there's only one chapter left for one path, and two for the other, so it'll be 'finished' soon. Then I, too, can claim I met the SQ Fifth Book Challenge! [insert triumphant soundtrack here]
My severe car vibration problem was not, blessed-be, the axle again, but a tire, amazingly enough. I paid about... three hours for it.
I keep wanting to get back to drawing my Remus pin-up, but haven't had the time and correct headspace to pick up a pencil. I did a rough for posing and all, and got author approval on the sketch of the other character in this scene, but... haven't got any farther than that. I can see it pretty clearly in my head, so it won't be a problem for the most part... just need time.
Anyway: for those who have not yet caught the Ghibli Virus (*grin*), I would like to tell you about 'Kiki's Delivery Service'.
( My commentary )
Ghod, Remus and Sunny are gonna gang up on me one of these days if I keep not-posting like this....
'Misc.' is always such a good title for things.
For instance, I went to: http://www.jamiefrost.co.uk/whoareyou/ wherein resides a 'Harry Potter Personality Test'. I take umbrage - it assigned me a cat, and says Sirius is of average intelligence. HAH.
My SCA sister Myfi has been offered an LJ code, because, after all, this is a virus. *wink* She said, 'What am I going to put in it?' I made suggestions.
I've sent the first Canti of both the 'Wish Upon a Star' and 'Words, Vows, Gifts, Tears' to the Quill; not sure how long it'll be before Moey posts them. I'm very pleased at the reviews so far.
Thinking of reviews... I got another irritating, useless one on one of the pinup boys [note to self: find time to do Remus, already!]. I quote:
I very obvious that your a good artist,but *cough* could'nt you use your talents for something more well..............
A. Bad spelling
B. No concept of the lovely ellipsis
C. 'Something more, well...' WHAT?
Wench didn't leave her e-dress, of course, because that would mean she was making something more than a passing shot. I've been the victim of a drive-by snarking. Yesssss, I know I'm not the first or anything, but c'mon -- you KNOW these irritate.
This review's one of the cutest (for Sirius; the irritant above was for Bill):
O my goodness!!(closes eyes then looks again) O my goodness!
Must go work on my Victorian underwear. But not right this minute. Work would object to that (it's been a busy day, very annoying).