This document provides an in-depth analysis of artist Mary Jo Bole and her work. It summarizes her process of creating memorial sculptures and books that juxtapose images related to life and death. Some key points:
1) Bole creates pictorial books and sculptures that bring together seemingly unrelated images to explore themes of permanence and impermanence.
2) Her sculptures often use mosaic techniques to depict grief or incorporate realistic portraits to memorialize deceased ancestors.
3) Bole draws inspiration from cemeteries and funerary traditions, seeking to confront human emotions around death through her intimate yet detached perspective.
This poem, "Autobiography", describes Louis MacNeice's childhood in Northern Ireland following the death of his mother when he was five years old. It revolves around the profound impact this had on him, leaving him feeling lonely, isolated, and distrustful of human relationships. The simple structure and spare language belie the depth of emotion, from the childhood happiness evoked by his mother's "yellow dress" to the "black dreams" and sense of abandonment that followed her death. The haunting refrain of "Come back early or never come" expresses his lingering yearning and sense of loss.
Painting intermediate Student Work Spring 2016glennhirsch
The document contains critiques of artworks from several students in a painting intermediate class. It summarizes each student's work as follows:
Abigail Drapkin presents paintings featuring multiple transparent figures overlapping to form geometric shapes, capturing ephemeral memories and gestures of movement. Angela Hunkler's work depicts the colors of nature and cycles of life and death, inspired by expressionist artists. Colin Dunne creates images about urban infrastructure and the danger of driving, influenced by Franz Kline and Chris Burden.
The other critiques discuss magical owl paintings channeling Van Gogh and Rothko (Jennifer Hearing), portraits experimenting with color and layers (Jessica Orme), Holocaust memorial paintings in a
The document discusses Edgar Allan Poe's works and philosophy of composition. It analyzes three of his seminal works - "The Fall of the House of Usher", "The Murders in the Rue Morgue", and "The Philosophy of Composition" - examining their themes, symbols, and exploration of the human mind and emotions. Poe viewed literary works as carefully constructed to achieve a specific emotional effect. He illustrated this view through his analysis of how he wrote "The Raven" to suit both popular and critical taste.
The grotesque in loorie moore's you're ugly, tooWided Sassi
This document provides an analysis of grotesque humor in Lorrie Moore's short story "You're Ugly, Too". It summarizes that the story's protagonist Zoe Hendricks uses biting humor and sarcasm to cope with her cancer diagnosis and feelings of loneliness and alienation. While her jokes seem careless, they actually serve as a defense mechanism to avoid facing her distressing reality. The document also analyzes how Moore employs grotesque humor to critique cultural norms and values through characters like Zoe who subvert expectations of femininity.
The major themes in Poe's "The Fall of the House of Usher" include mortality, madness, fear, incest, friendship, and burial. Mortality is a central theme as the story involves a woman dying and being buried only to rise from the grave. Madness is explored through the narrator noting inconsistencies in Roderick Usher's speech which blur the line between sanity and insanity. Fear, especially of the unknown and irrational fear, is a motif that seems to terrify Roderick. Incest is implied between Roderick and Madeline who live together in the family home without spouses. Friendship is shown through the narrator visiting his boyhood friend Roderick, though family
A2 English Literature - Carol Ann Duffy Rapture presentation 'Does nature mir...BeatriceYates
The document analyzes several poems by Carol Ann Duffy that use nature imagery to mirror human emotions and relationships. It discusses how Duffy depicts relationships changing and conflicting through seasonal and natural transformations in poems like "Unloving", "Row", and "River". The analysis suggests Duffy uses nature to represent both the progression of relationships as well as foreshadowing events, similar to other authors like Thomas Hardy who set scenes using nature.
The document summarizes and imagines possible desks that Emily Dickinson used for her writing over the years from 1870 to 1886. It begins by describing the small 18-inch writing desk mentioned by Dickinson's niece, though notes this could not have accommodated Dickinson's vast body of work. The document explores other possible writing surfaces for Dickinson, including a crude lap desk recently discovered. It speculates on the transformation and dispersal of Dickinson's manuscripts after her death. The summary imagines the possibilities rather than asserting facts, reflecting the document's speculative and imaginative tone.
This poem, "Autobiography", describes Louis MacNeice's childhood in Northern Ireland following the death of his mother when he was five years old. It revolves around the profound impact this had on him, leaving him feeling lonely, isolated, and distrustful of human relationships. The simple structure and spare language belie the depth of emotion, from the childhood happiness evoked by his mother's "yellow dress" to the "black dreams" and sense of abandonment that followed her death. The haunting refrain of "Come back early or never come" expresses his lingering yearning and sense of loss.
Painting intermediate Student Work Spring 2016glennhirsch
The document contains critiques of artworks from several students in a painting intermediate class. It summarizes each student's work as follows:
Abigail Drapkin presents paintings featuring multiple transparent figures overlapping to form geometric shapes, capturing ephemeral memories and gestures of movement. Angela Hunkler's work depicts the colors of nature and cycles of life and death, inspired by expressionist artists. Colin Dunne creates images about urban infrastructure and the danger of driving, influenced by Franz Kline and Chris Burden.
The other critiques discuss magical owl paintings channeling Van Gogh and Rothko (Jennifer Hearing), portraits experimenting with color and layers (Jessica Orme), Holocaust memorial paintings in a
The document discusses Edgar Allan Poe's works and philosophy of composition. It analyzes three of his seminal works - "The Fall of the House of Usher", "The Murders in the Rue Morgue", and "The Philosophy of Composition" - examining their themes, symbols, and exploration of the human mind and emotions. Poe viewed literary works as carefully constructed to achieve a specific emotional effect. He illustrated this view through his analysis of how he wrote "The Raven" to suit both popular and critical taste.
The grotesque in loorie moore's you're ugly, tooWided Sassi
This document provides an analysis of grotesque humor in Lorrie Moore's short story "You're Ugly, Too". It summarizes that the story's protagonist Zoe Hendricks uses biting humor and sarcasm to cope with her cancer diagnosis and feelings of loneliness and alienation. While her jokes seem careless, they actually serve as a defense mechanism to avoid facing her distressing reality. The document also analyzes how Moore employs grotesque humor to critique cultural norms and values through characters like Zoe who subvert expectations of femininity.
The major themes in Poe's "The Fall of the House of Usher" include mortality, madness, fear, incest, friendship, and burial. Mortality is a central theme as the story involves a woman dying and being buried only to rise from the grave. Madness is explored through the narrator noting inconsistencies in Roderick Usher's speech which blur the line between sanity and insanity. Fear, especially of the unknown and irrational fear, is a motif that seems to terrify Roderick. Incest is implied between Roderick and Madeline who live together in the family home without spouses. Friendship is shown through the narrator visiting his boyhood friend Roderick, though family
A2 English Literature - Carol Ann Duffy Rapture presentation 'Does nature mir...BeatriceYates
The document analyzes several poems by Carol Ann Duffy that use nature imagery to mirror human emotions and relationships. It discusses how Duffy depicts relationships changing and conflicting through seasonal and natural transformations in poems like "Unloving", "Row", and "River". The analysis suggests Duffy uses nature to represent both the progression of relationships as well as foreshadowing events, similar to other authors like Thomas Hardy who set scenes using nature.
The document summarizes and imagines possible desks that Emily Dickinson used for her writing over the years from 1870 to 1886. It begins by describing the small 18-inch writing desk mentioned by Dickinson's niece, though notes this could not have accommodated Dickinson's vast body of work. The document explores other possible writing surfaces for Dickinson, including a crude lap desk recently discovered. It speculates on the transformation and dispersal of Dickinson's manuscripts after her death. The summary imagines the possibilities rather than asserting facts, reflecting the document's speculative and imaginative tone.
The document reviews several poems by Carol Ann Duffy and analyzes their themes, tones, and symbolic elements. It discusses poems such as "Standing Female Nude", "Where We Came In", "Valentine", "Dolphins", "You", "Warming Her Pearls", "Medusa", "Foreign", and "Little Red Cap", examining Duffy's exploration of relationships, power dynamics, social issues, and personal transformation through symbolic imagery and narrative techniques.
Caddy Compson-Fall of Old South Paper_EditedRebekah Barnes
This document provides an analysis of William Faulkner's novel The Sound and the Fury, focusing on the character of Caddy Compson. It discusses how Caddy represents the loss of innocence and the Old South, and how each of her brothers - Benjy, Quentin, and Jason - construct their masculine identities around her purity. When she loses her virginity, it emasculates each brother in different ways. Benjy sees Caddy as a mother figure, Quentin obsesses over her lost innocence, and Jason resents her for ruining the family name. Through Caddy, Faulkner deconstructs the ideal of the southern belle and envisions the emergence of a new South.
This poem explores Carol Ann Duffy's "Little Red Cap" and how it represents her portrayal of problematic relationships in "The World's Wife". "Little Red Cap" tells the story of a girl leaving childhood and her first sexual encounter with an educated wolf man. Over time, she grows disillusioned by his repetition and takes his life, leaving the forest empowered and singing. The analysis discusses Duffy's metaphorical language, imagery, characters shifts, and the poem's reflection on lost innocence.
- The narrator arrives at the gloomy House of Usher on a dull, dark day and feels a sense of insufferable gloom upon seeing the house. He examines the bleak walls, vacant windows, and decaying trees on the property, feeling sinking and sickening sensations.
- The narrator receives a letter from his old friend Roderick Usher, who invites him to the house in hopes his company can alleviate Roderick's acute illness and mental disorder. The narrator agrees to visit.
- Upon arriving, the narrator is led through dark passages to meet Roderick. He is shocked by Roderick's terrible alteration in appearance since childhood and senses an atmosphere of deep, irre
This document provides summaries of terms and literary awards:
- It defines terms like "bathos", "chantey", "kenosis", and "volta" which are used to describe literary techniques or concepts.
- It summarizes the Nobel Prize in Literature awarded to Czeslaw Milosz in 1980, highlighting some of his most known works.
- It summarizes the Pulitzer Prizes for Fiction, Poetry, and Drama awarded in 1935, 1971, and 1971 respectively, describing the winning works.
The document discusses Carol Ann Duffy's poem "Cuba" and F. Scott Fitzgerald's novel The Great Gatsby, analyzing how both works explore the theme of unrequited love through their use of language and structure. In Duffy's poem, the short, sharp sentences emphasize the narrator's anger at her lover rejecting their romantic getaway. Similarly, Fitzgerald uses repetitive negative language in Chapter 7 of Gatsby to convey the finality and impossibility of Gatsby's unrequited love for Daisy. Both works illustrate loves that are one-sided and unable to be reciprocated through their intentional uses of language.
This document summarizes and critiques Thomas H. Johnson's 1958 edition of Emily Dickinson's letters. It analyzes four specific cases where Johnson editorially reconstructed letters by splicing together multiple manuscript fragments in questionable ways. In each case, the document argues that Johnson obscured textual details and relationships between fragments, at times reordering them in non-viable ways. The overall critique is that Johnson's editorial decisions were influenced by the cultural and scholarly norms of his time, and his reconstruction replaced Dickinson's original textual forms with a standardized narrative that domesticated her works.
The poem is about a woman who was forced to leave her home country as a child for political reasons. She fondly remembers her homeland and native city in bright, positive terms. While her homeland may now be experiencing war and tyranny, her memories remain fixed as a "bright, filled paperweight". In her new country, she is accused of being "dark" and faces threats for speaking her native language and connecting to her culture. Despite this, her city and memories of it continue to be associated with "sunlight".
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
This document provides information about the art installation "Purge Incomplete" by Mary Jo Bole located at Eastern State Penitentiary in Philadelphia. The installation explores the prison's historic plumbing system and its role in controlling inmates. It includes replicas of the original hopper-style toilets and soil pipes, as well as salvaged doors decorated with Bole's drawings and research on the prison's sanitation history. Bole's work sheds light on the overlooked role of plumbing in influencing inmate behavior and the unsanitary conditions that resulted from the flawed system.
Literary technique used by woolf in to the lighthouseNiyati Pathak
This presentation is a part of my academic activity i...
I'm dying my masters in English literature in India ..
Where I have american literature paper were i presented library technique used by Virginia Woolf in to the lighthouse ............
This document provides a detailed analysis and comparison of Lewis Carroll's original Alice's Adventures in Wonderland novels and Disney's 1951 film adaptation. It argues that Disney's version flattens the complexity of Carroll's work by trying too hard to make it family-friendly. Specifically, the Disney adaptation dismisses Alice's imaginative Wonderland world as nonsensical rather than appreciating it as Carroll did. It also replaces Carroll's philosophical themes and social commentary with shallow entertainment. The document analyzes key aspects of meaning in Carroll's original dreamscape portrayal to demonstrate how Disney misunderstood or ignored important elements of the source material.
The document discusses a 1926 book called "Genius: Some Revaluations" by Dr. Arthur C. Jacobson. The book argues that tuberculosis and alcohol facilitated creative genius in notable figures like Voltaire. It claims the decline of tuberculosis has led to a decline in creative writing. The summary mocks the rigid application of Elisabeth Kübler-Ross's five stages of grief. It praises the intelligence and wit of doctors who can absorb and learn from acerbic humor.
This document provides an in-depth analysis of David Foster Wallace's use of visual art and ekphrasis in his novel Infinite Jest. It examines Wallace's reference to Bernini's sculpture The Ecstasy of St. Teresa, which is verbally identified with by the character Joelle van Dyne. The sculpture serves as a metaphor for her experience with freebasing. The document also discusses Wallace's invention of disturbing paintings advertising the product Nunhagen aspirin, and argues that Wallace had a profoundly visual approach to writing influenced by Impressionism, with his detailed descriptions of changing light throughout scenes and passages of time. Overall, the document analyzes how Wallace's use of describing and alluding to visual
Altarwise by Owl-Light is probably Dylan Thomas' most obscure poem and can therefore be all too readily dismissed as a bewildering and incoherent work. On closer inspection this judgment does not prove valid for resons adduced in this study.
The poem describes a sick rose that is corrupted by a hidden worm. The worm finds and destroys the rose's "bed of crimson joy", which can be interpreted as the worm destroying the rose's virginity through covert sex. The rose symbolizes love, beauty, and mortality. The worm represents death, decay, sexuality, and the devil. The poem serves as a warning about parasitic relationships where one person consumes and destroys the other.
This document provides context and summaries about Oscar Wilde's only novel The Picture of Dorian Gray. It discusses the initial publication and revisions of the novel. It also examines the influence of Joris-Karl Huysmans' novel Against the Grain on Wilde and his development of decadent themes in Dorian Gray. Several quotes from the novel are presented, as well as Wilde's reaction to the public response to the work and the moral it conveys.
The document reviews several poems by Carol Ann Duffy and analyzes their themes, tones, and symbolic elements. It discusses poems such as "Standing Female Nude", "Where We Came In", "Valentine", "Dolphins", "You", "Warming Her Pearls", "Medusa", "Foreign", and "Little Red Cap", examining Duffy's exploration of relationships, power dynamics, social issues, and personal transformation through symbolic imagery and narrative techniques.
Caddy Compson-Fall of Old South Paper_EditedRebekah Barnes
This document provides an analysis of William Faulkner's novel The Sound and the Fury, focusing on the character of Caddy Compson. It discusses how Caddy represents the loss of innocence and the Old South, and how each of her brothers - Benjy, Quentin, and Jason - construct their masculine identities around her purity. When she loses her virginity, it emasculates each brother in different ways. Benjy sees Caddy as a mother figure, Quentin obsesses over her lost innocence, and Jason resents her for ruining the family name. Through Caddy, Faulkner deconstructs the ideal of the southern belle and envisions the emergence of a new South.
This poem explores Carol Ann Duffy's "Little Red Cap" and how it represents her portrayal of problematic relationships in "The World's Wife". "Little Red Cap" tells the story of a girl leaving childhood and her first sexual encounter with an educated wolf man. Over time, she grows disillusioned by his repetition and takes his life, leaving the forest empowered and singing. The analysis discusses Duffy's metaphorical language, imagery, characters shifts, and the poem's reflection on lost innocence.
- The narrator arrives at the gloomy House of Usher on a dull, dark day and feels a sense of insufferable gloom upon seeing the house. He examines the bleak walls, vacant windows, and decaying trees on the property, feeling sinking and sickening sensations.
- The narrator receives a letter from his old friend Roderick Usher, who invites him to the house in hopes his company can alleviate Roderick's acute illness and mental disorder. The narrator agrees to visit.
- Upon arriving, the narrator is led through dark passages to meet Roderick. He is shocked by Roderick's terrible alteration in appearance since childhood and senses an atmosphere of deep, irre
This document provides summaries of terms and literary awards:
- It defines terms like "bathos", "chantey", "kenosis", and "volta" which are used to describe literary techniques or concepts.
- It summarizes the Nobel Prize in Literature awarded to Czeslaw Milosz in 1980, highlighting some of his most known works.
- It summarizes the Pulitzer Prizes for Fiction, Poetry, and Drama awarded in 1935, 1971, and 1971 respectively, describing the winning works.
The document discusses Carol Ann Duffy's poem "Cuba" and F. Scott Fitzgerald's novel The Great Gatsby, analyzing how both works explore the theme of unrequited love through their use of language and structure. In Duffy's poem, the short, sharp sentences emphasize the narrator's anger at her lover rejecting their romantic getaway. Similarly, Fitzgerald uses repetitive negative language in Chapter 7 of Gatsby to convey the finality and impossibility of Gatsby's unrequited love for Daisy. Both works illustrate loves that are one-sided and unable to be reciprocated through their intentional uses of language.
This document summarizes and critiques Thomas H. Johnson's 1958 edition of Emily Dickinson's letters. It analyzes four specific cases where Johnson editorially reconstructed letters by splicing together multiple manuscript fragments in questionable ways. In each case, the document argues that Johnson obscured textual details and relationships between fragments, at times reordering them in non-viable ways. The overall critique is that Johnson's editorial decisions were influenced by the cultural and scholarly norms of his time, and his reconstruction replaced Dickinson's original textual forms with a standardized narrative that domesticated her works.
The poem is about a woman who was forced to leave her home country as a child for political reasons. She fondly remembers her homeland and native city in bright, positive terms. While her homeland may now be experiencing war and tyranny, her memories remain fixed as a "bright, filled paperweight". In her new country, she is accused of being "dark" and faces threats for speaking her native language and connecting to her culture. Despite this, her city and memories of it continue to be associated with "sunlight".
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
This document provides information about the art installation "Purge Incomplete" by Mary Jo Bole located at Eastern State Penitentiary in Philadelphia. The installation explores the prison's historic plumbing system and its role in controlling inmates. It includes replicas of the original hopper-style toilets and soil pipes, as well as salvaged doors decorated with Bole's drawings and research on the prison's sanitation history. Bole's work sheds light on the overlooked role of plumbing in influencing inmate behavior and the unsanitary conditions that resulted from the flawed system.
Literary technique used by woolf in to the lighthouseNiyati Pathak
This presentation is a part of my academic activity i...
I'm dying my masters in English literature in India ..
Where I have american literature paper were i presented library technique used by Virginia Woolf in to the lighthouse ............
This document provides a detailed analysis and comparison of Lewis Carroll's original Alice's Adventures in Wonderland novels and Disney's 1951 film adaptation. It argues that Disney's version flattens the complexity of Carroll's work by trying too hard to make it family-friendly. Specifically, the Disney adaptation dismisses Alice's imaginative Wonderland world as nonsensical rather than appreciating it as Carroll did. It also replaces Carroll's philosophical themes and social commentary with shallow entertainment. The document analyzes key aspects of meaning in Carroll's original dreamscape portrayal to demonstrate how Disney misunderstood or ignored important elements of the source material.
The document discusses a 1926 book called "Genius: Some Revaluations" by Dr. Arthur C. Jacobson. The book argues that tuberculosis and alcohol facilitated creative genius in notable figures like Voltaire. It claims the decline of tuberculosis has led to a decline in creative writing. The summary mocks the rigid application of Elisabeth Kübler-Ross's five stages of grief. It praises the intelligence and wit of doctors who can absorb and learn from acerbic humor.
This document provides an in-depth analysis of David Foster Wallace's use of visual art and ekphrasis in his novel Infinite Jest. It examines Wallace's reference to Bernini's sculpture The Ecstasy of St. Teresa, which is verbally identified with by the character Joelle van Dyne. The sculpture serves as a metaphor for her experience with freebasing. The document also discusses Wallace's invention of disturbing paintings advertising the product Nunhagen aspirin, and argues that Wallace had a profoundly visual approach to writing influenced by Impressionism, with his detailed descriptions of changing light throughout scenes and passages of time. Overall, the document analyzes how Wallace's use of describing and alluding to visual
Altarwise by Owl-Light is probably Dylan Thomas' most obscure poem and can therefore be all too readily dismissed as a bewildering and incoherent work. On closer inspection this judgment does not prove valid for resons adduced in this study.
The poem describes a sick rose that is corrupted by a hidden worm. The worm finds and destroys the rose's "bed of crimson joy", which can be interpreted as the worm destroying the rose's virginity through covert sex. The rose symbolizes love, beauty, and mortality. The worm represents death, decay, sexuality, and the devil. The poem serves as a warning about parasitic relationships where one person consumes and destroys the other.
This document provides context and summaries about Oscar Wilde's only novel The Picture of Dorian Gray. It discusses the initial publication and revisions of the novel. It also examines the influence of Joris-Karl Huysmans' novel Against the Grain on Wilde and his development of decadent themes in Dorian Gray. Several quotes from the novel are presented, as well as Wilde's reaction to the public response to the work and the moral it conveys.
This document contains 5 questions and their answers about various artworks from the 19th century that were influenced by or commented on religion.
1. John Martin's works were strongly influenced by his family's devout religious upbringing.
2. In Henry Fuseli's painting "The Nightmare", symbols include a female figure, a demon disturbing her sleep, and a horse whose head emerges from the curtain.
3. Aubrey Beardsley's paintings were inspired by Japanese woodcuts and emphasized the grotesque, focusing on erotic illustrations for Oscar Wilde's Salome.
Summers 1
Buffy Summers
Professor Baker
English 1302
15 December 2015
Preaching to Their Respective Choirs: Political and Religious Divides in YA Literature
In a 1989 special issue of Children’s Literature Association Quarterly, editors Craig Werner and Frank P. Riga identify a shift regarding how authors of novels for young readers address religious matters. Several narratives are indeed full-blown declarations of their beliefs, but they have also been politicized in more obvious ways. The formula associated with these narratives is relatively simple: a rebellious protagonist who is “smart, sensitive, and perceptive” defies the “flagpole Christian majority,” which results in the protagonist being harassed and bullied. Darwin’s theories of evolution are frequently at the center of the conflict, possibly a reflection of the dramatization of the Scopes monkey trial, Inherit the Wind. Eventually, the protagonist’s actions are proven justified; the Christian majority is clearly wrongheaded and narrow-minded, particularly when it comes to evolution’s place in the school curriculum.
The contemporary political and ideological landscape and distance between conservative (including the “religious right”) and liberal thought make the sensibilities and models of which Cadden speaks nearly impossible to define or reconcile. Further, the once “partial answers” offered in the narratives to which Werner and Riga refer have been replaced by certainty. The protagonists offer “full blown declarations of faith” or non-faith, but the declarations are clearly a result of the political environment and meant for a specific audience thus leaving the protagonists preaching to their respective choirs, an unproductive and uncritical endeavor.
Summers 1
Buffy Summers
Professor Baker
ENG 1302
12 June 2015
Identity, Music, and Gestalt Theory in V for Vendetta: Projections of Discontent
Traditionally a mask is used to conceal the identity of the person wearing it, yet its very existence draws even more attention to the person under the mask. But what if there is nothing under the mask? What if the masked man is merely a projection of the inner turmoil of the protagonist? Bruce Kawin notes that when dealing with a projection of the protagonist or audience, “the health is achieved by taking the projection back into oneself, in other words by deeply acknowledging the connection between the monster and the official self” (Kawin loc. 7433). In the film V for Vendetta (2006), directed by the Wachowski siblings, the terrorist V functions as a personified projection of Evey Hammond’s disdain for the corrupt dystopian England. The key to his terrorist activity is the use of music, specifically Tchaikovsky's “1812 Overture.”
Film can utilize sound, specifically music, to drive the plot and shape characterization. Sound in film can be diagetic (sound that the characters interact with) and non-diagetic (such as the film score). Both can be used in tandem to create an ad ...
Hans Baldung Grien created woodcut prints in the early 16th century depicting nude witches. His piece The Witch's Sabbath from 1510 shows naked witches holding a black mass in the woods accompanied by animals. Another work, The Bewitched Groom from 1544, portrays a man accompanied by a torch-bearing witch and a horse in a composition representing chaos. Baldung's nude witches reference Eve's temptation and the idea of women as temptresses. They also reflect the cultural fascination with the supernatural and notions of masculinity, reason, and control during the Northern Renaissance.
Emily Dickinson was one of America's greatest poets, known for her unusual life of self-imposed social seclusion despite writing poetry of great power questioning immortality and death. The document provides biographical details of Dickinson's life and upbringing, discusses her unconventional poetic style and themes of religion and mortality. It also analyzes one of her poems, "A Book", which expresses the importance she gave to books and literature as a means of transporting the reader anywhere without cost.
Virginia Woolf was born in 1882 in London to an intellectual family. She grew up surrounded by literature but suffered from mental illness throughout her life. Some of her most famous works include Mrs. Dalloway, To the Lighthouse, and Orlando, which explored themes of feminism, mental illness, and the passage of time through modernist techniques. Woolf helped form the Bloomsbury Group and co-founded the Hogarth Press with her husband. Despite her struggles with mental health, she produced groundbreaking fiction until her death by suicide in 1941.
Dr Martin Akpans Speech "A Labyrinth of Hurts"Mmanti Umoh
This document provides a summary and analysis of the novel "Burning Hurt" by author Unyime-Ivy King. It discusses the book's themes of love, relationships, and a young woman's journey dealing with a dysfunctional home and premarital pregnancy. The summary highlights some of the main issues explored in the book such as broken homes, teenage pregnancy, cultural traditions, and the erosion of traditional African values. It analyzes how the author uses these themes and issues to tell an engaging story and provide commentary on contemporary society.
The Victorian Experience discusses various critical analyses of Thomas Hardy's novel Far From the Madding Crowd. It summarizes that critics have viewed the character Bathsheba in different ways, such as a powerful pagan figure or a victim of male domination. The document also discusses Hardy's use of biblical and mythological allusions in the novel and how they relate the story to cultural traditions while introducing comic aspects. It analyzes how discord in nature reflects the human conflicts in the story and Hardy's philosophical perspective on fate and the absurdity of human actions.
This document provides guidance for students on developing a commonplace book over the summer as part of a Drawing Methodologies course. Students are instructed to create their own traditional book format commonplace book to bring together thoughts, ideas, drawings, and objects of interest in an analytical, diary-style format. The goal is for students to develop their unique aesthetic perspective and voice as an illustrator. Students are provided questions to ask themselves to aid discovery and analysis of what they observe. Upon returning, instructors expect to see students' commonplace books demonstrating a professional, meticulous categorization of their work, research, and observations.
Kerry James Marshall's 1994 painting Many Mansions depicts three solemn men tending to a garden in front of stark high-rise housing projects. Marshall uses symbolic elements to examine the idealized vision of public housing versus its harsh reality. The painting combines acrylic paint with collage in a style that references both African American folk art traditions and Renaissance pastoral compositions. Marshall grew up in public housing himself and seeks to represent both the struggles and pleasures of life within such communities.
James Joyce was an Irish novelist born in 1882 who is considered one of the most influential writers of the 20th century. Some of his most famous works include Dubliners, A Portrait of the Artist as a Young Man, and Ulysses. Ulysses, published in 1922, depicts the wanderings of Leopold Bloom through Dublin in a single day and is influenced structurally by Homer's Odyssey. Joyce is noted for using experimental literary techniques like stream-of-consciousness and interior monologue to provide subjective perspectives on ordinary life and events in Dublin. He lived in exile for much of his life due to criticism of his works' depiction of sexuality and the Catholic Church.
A Bakhtinian Reading Of William Faulkner S Quot As I Lay DyingKaren Benoit
This document provides a summary and analysis of William Faulkner's novel As I Lay Dying through the lens of Mikhail Bakhtin's literary theories. It begins with background on Bakhtin's concepts of polyphony, heteroglossia, and chronotope. It then analyzes how Faulkner employs these techniques in As I Lay Dying through the use of multiple narrators with independent voices, hybridized language, and character zones. Specifically, it examines how characters like Darl, Cash, and Vardaman develop complex inner dialogues and zones of influence that go beyond their direct speech. The document argues Faulkner's techniques create an authentic polyphony and demonstrate Bakht
The document provides a biography of Emily Dickinson and analyzes her poem "I Cannot Live With You" using imagery theory. It summarizes the poem, which explores the impossibility of the speaker living with her lover in life, death, resurrection, or judgment. Through metaphors of being locked away and separated by oceans, the poem expresses how the only option is to live apart with just a partially open door between them, sustained only by despair. The document analyzes Dickinson's use of imagery in the poem to convey these meanings and emotions.
Similar to Dear Little Twist of Fate - Exhibition Catalog (20)
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help boost feelings of calmness and well-being.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive function. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
The document discusses the benefits of exercise for mental health. It states that regular physical activity can help reduce anxiety and depression and improve mood and cognitive function. Exercise causes chemical changes in the brain that may help alleviate symptoms of mental illness.
Morgan Freeman is Jimi Hendrix: Unveiling the Intriguing Hypothesisgreendigital
In celebrity mysteries and urban legends. Few narratives capture the imagination as the hypothesis that Morgan Freeman is Jimi Hendrix. This fascinating theory posits that the iconic actor and the legendary guitarist are, in fact, the same person. While this might seem like a far-fetched notion at first glance. a deeper exploration reveals a rich tapestry of coincidences, speculative connections. and a surprising alignment of life events fueling this captivating hypothesis.
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Introduction to the Hypothesis: Morgan Freeman is Jimi Hendrix
The idea that Morgan Freeman is Jimi Hendrix stems from a mix of historical anomalies, physical resemblances. and a penchant for myth-making that surrounds celebrities. While Jimi Hendrix's official death in 1970 is well-documented. some theorists suggest that Hendrix did not die but instead reinvented himself as Morgan Freeman. a man who would become one of Hollywood's most revered actors. This article aims to delve into the various aspects of this hypothesis. examining its origins, the supporting arguments. and the cultural impact of such a theory.
The Genesis of the Theory
Early Life Parallels
The hypothesis that Morgan Freeman is Jimi Hendrix begins by comparing their early lives. Jimi Hendrix, born Johnny Allen Hendrix in Seattle, Washington, on November 27, 1942. and Morgan Freeman, born on June 1, 1937, in Memphis, Tennessee, have lived very different lives. But, proponents of the theory suggest that the five-year age difference is negligible and point to Freeman's late start in his acting career as evidence of a life lived before under a different identity.
The Disappearance and Reappearance
Jimi Hendrix's death in 1970 at the age of 27 is a well-documented event. But, theorists argue that Hendrix's death staged. and he reemerged as Morgan Freeman. They highlight Freeman's rise to prominence in the early 1970s. coinciding with Hendrix's supposed death. Freeman's first significant acting role came in 1971 on the children's television show "The Electric Company," a mere year after Hendrix's passing.
Physical Resemblances
Facial Structure and Features
One of the most compelling arguments for the hypothesis that Morgan Freeman is Jimi Hendrix lies in the physical resemblance between the two men. Analyzing photographs, proponents point out similarities in facial structure. particularly the cheekbones and jawline. Both men have a distinctive gap between their front teeth. which is rare and often highlighted as a critical point of similarity.
Voice and Mannerisms
Supporters of the theory also draw attention to the similarities in their voices. Jimi Hendrix known for his smooth, distinctive speaking voice. which, according to some, resembles Morgan Freeman's iconic, deep, and soothing voice. Additionally, both men share certain mannerisms. such as their calm demeanor and eloquent speech patterns.
Artistic Parallels
Musical and Acting Talents
Jimi Hendrix was regarded as one of t
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Tom Cruise Daughter: An Insight into the Life of Suri Cruisegreendigital
Tom Cruise is a name that resonates with global audiences for his iconic roles in blockbuster films and his dynamic presence in Hollywood. But, beyond his illustrious career, Tom Cruise's personal life. especially his relationship with his daughter has been a subject of public fascination and media scrutiny. This article delves deep into the life of Tom Cruise daughter, Suri Cruise. Exploring her upbringing, the influence of her parents, and her current life.
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Introduction: The Fame Surrounding Tom Cruise Daughter
Suri Cruise, the daughter of Tom Cruise and Katie Holmes, has been in the public eye since her birth on April 18, 2006. Thanks to the media's relentless coverage, the world watched her grow up. As the daughter of one of Hollywood's most renowned actors. Suri has had a unique upbringing marked by privilege and scrutiny. This article aims to provide a comprehensive overview of Suri Cruise's life. Her relationship with her parents, and her journey so far.
Early Life of Tom Cruise Daughter
Birth and Immediate Fame
Suri Cruise was born in Santa Monica, California. and from the moment she came into the world, she was thrust into the limelight. Her parents, Tom Cruise and Katie Holmes. Were one of Hollywood's most talked-about couples at the time. The birth of their daughter was a anticipated event. and Suri's first public appearance in Vanity Fair magazine set the tone for her life in the public eye.
The Impact of Celebrity Parents
Having celebrity parents like Tom Cruise and Katie Holmes comes with its own set of challenges and privileges. Suri Cruise's early life marked by a whirlwind of media attention. paparazzi, and public interest. Despite the constant spotlight. Her parents tried to provide her with an upbringing that was as normal as possible.
The Influence of Tom Cruise and Katie Holmes
Tom Cruise's Parenting Style
Tom Cruise known for his dedication and passion in both his professional and personal life. As a father, Cruise has described as loving and protective. His involvement in the Church of Scientology, but, has been a point of contention and has influenced his relationship with Suri. Cruise's commitment to Scientology has reported to be a significant factor in his and Holmes' divorce and his limited public interactions with Suri.
Katie Holmes' Role in Suri's Life
Katie Holmes has been Suri's primary caregiver since her separation from Tom Cruise in 2012. Holmes has provided a stable and grounded environment for her daughter. She moved to New York City with Suri to start a new chapter in their lives away from the intense scrutiny of Hollywood.
Suri Cruise: Growing Up in the Spotlight
Media Attention and Public Interest
From stylish outfits to everyday activities. Suri Cruise has been a favorite subject for tabloids and entertainment news. The constant media attention has shaped her childhood. Despite this, Suri has managed to maintain a level of normalcy, thanks to her mother's efforts.
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Dear Little Twist of Fate - Exhibition Catalog
1.
2.
3. A Poetry of Odd Opposition 1
by Glen R. Brown
To the left, a feathery divi-divi tree grows absurdly slanted in the trade winds
sweeping the island of Aruba; to the right, a horizontal plume of smoke escapes
a factory stack on the windy industrial flats of Cleveland: in the juxtaposition of
these uncannily similar yet dissimilar images from one of Mary Jo Bole’s pictorial
books lies a useful synopsis of her art. The tree, a living emblem of perseverance,
and the smoke, a noxious symbol of dispersion, encapsulate not just the general
qualities of permanence and impermanence but also the strange, insoluble symmetry
between them. The wind, the agent in this revelation, is an intangible energy only
evident through its effects on a diverse array of media. As a metaphor in Bole’s
work, the wind plucks things up, carries them off and deposits them together in
extraordinary ways and in the process opens gaps in the blank wall encircling the
ordinary perception of things. This metaphor deals not in the declarative but in
the ambiguous: the vaguely grasped insights that arise from odd analogies and
ostensible quirks of fate. It wreaks havoc with logical oppositions such as ugliness
and beauty, making one seem to appear within the other. Most importantly, it
unsettles the conventional perspectives that placate the mind and prevent thought
from wandering after inexplicable desires and confronting unnamed fears.
In Bole’s art most viewers are likely to encounter an unsettling quality arising
not from the artist’s tendency to sensationalize the ultimate fear — to raise the
“Divi Divi Tree” and “Smoke”, Bole’s introduction page from the book Rust/Rest,
1996, conceived and organized by Mary Jo Bole, Berry van Boekel and Birdie repressed specter of death with a coarseness that would be relatively easy to dismiss
Thaler, 7 1⁄2 x 8 inches, hardcover book, edition of 400, signed by the artists;
stencil print: Knust Press (Extrapool), The Netherlands. Photo: Tony Walsh. — but rather to embrace the fear of death in the way that some people make pets
of tarantulas or poisonous reptiles, developing a kind of fondness out of familiarity.
As a child Bole lived near Cleveland’s Lakeview cemetery: a shortcut to the local
bakery, the “private park” where she walked her dog, and the resting place of
4. 2 “old aunties” and other relatives whose names — Winifred, Gertrude, Matilda, 3
Ludmilla — evoked a musty Victorian world of heavy lace, mourning jewelry,
finger bowls and dark drapery. With lurid fascination, at the age of six Bole
discovered, buried among her father’s record collection, a copy of Dear Dead
Days, a volume of Charles Addams’s macabre and freakish source-material for
his Addams Family cartoons. Later, Michael Lesy’s Wisconsin Death Trip, a photo-
graphic and journalistic record of dementia, alcoholism, assaults, and funerals in
a turn-of-the-century Wisconsin township, reinforced her association of time with
a transformation of the ordinary into the “exotic, singular, and strange.”
Although Bole has penned essays for the magazine Morbid Curiosity and an
anthology entitled Death’s Garden, her own books are primarily pictorial. Like
the valises of Marcel Duchamp, they contain images that both document and
transform her earlier works, not simply by reinterpreting them through heavily
stylized representation. Bole’s books also contextualize these earlier works amid Initially
cryptic references to sources of inspiration while comparing and contrasting them Thankful Subjects, 1997, inspired by her father’s pas-
5 3⁄4 x 10 1⁄4 inches, softcover book,
to parallel images. The earliest of these books, Rust/Rest, a 1996 collaboration edition of 230, signed by the artist; time, the references to stamp collecting were
stencil print: Knust Press (Extrapool),
with then husband Berry van Boekel and artist Birdie Thaler, jumbles bridges The Netherlands. Photo: Tony Walsh. expanded and given greater conceptual complexity in Bole and
and rainbows together with Trees of Life, Faiyum death portraits, rains of van Boekel’s second collaborative book, Splitting Pictures. Composed of stencil-
sperm, haloes of flowers, and tombstone panoramas. The allusions to photo printed, scored pages, complete with gummed backing, the book was realized
albums and scrapbooks are overt. More subtle are the implications of a through the contributions of thirty artists from five countries, each of whom
stamp collector’s portfolio, introduced as a concept near the beginning of produced unique stamp images for the project. The concept of a circulating art,
the book through the image of a nineteenth-century Spanish postage stamp something capable of breaking from the pages of the compendium and dispersing
provided by van Boekel and revived at its end through an affixed cello- itself across the contexts of the external world, reverses the acquisitive metaphor
phane envelope that actually contains artist’s stamps for the viewer’s use. of the scrapbook and makes Splitting Pictures more a point of departure than a
site of summation. Bole, however, seems more at home with the practice of gath-
ering disparate images together, and her next book, a solo effort titled Thankful
Subjects, is a collection of rust-belt sketches, photographs of funereal sculpture
and pithy bits of text describing activities such as scavenging washed-up debris on
the shores of Lake Erie or collecting old “bricks, quack medical devices, 45s, light
Stamp sheet from the book Rust/Rest (collaboration with
switch plates, aprons, hand-painted souvenir plates, purses, zines, stamps, religious
Berry van Boekel and Birdie Thaler), 1996.
doo-dads, printed board games, souvenirs in general, Lake Erie glass, thrift store
paintings, postcards, barbed wire….”
5. 4 To this list of melancholy cast-offs, salvage, and ephemera can be added a host of
mortuary imagery and paraphernalia. Bole has long been fascinated by the pathos
of the contradiction between the reality of human materiality and the aspirations
of consciousness to overcome it that funerary monuments embody. A self-stylized
cemetery aficionado, she has made an on-going research activity of visiting tombs,
graves, crypts, mausoleums, catacombs, cenotaphs and other sites associated with
commemoration of the deceased. This interest has given rise to a series of major
sculptures and installations relating to mortuary monuments. Despite their culti-
vated morbidity, these works are not celebrations of death. Bole’s sculptures are
perhaps best regarded as palliatives, a means of diminishing the psychological
power of death by endeavoring to understand it more intimately. In this process
she does not assume bravado or adopt the lampooning attitude that is found, for
example, in Día de los Muertos skeletal caricatures. Her purpose instead is to
confront the real human emotions that arise from the loss of loved ones, although
she necessarily adopts a somewhat detached, if not actually disinterested, perspec-
tive on those emotions.
Bole’s foray into the production of ersatz funerary monuments began more than below: Cemetery in Dubuque, Iowa
[inspirational source for Tree of Life
ten years ago. Her important 1993 exhibition My Yard (at the Wexner Center (Future Tense)]. Photo: Mary Jo Bole.
for the Arts) included a monument devoted to the poignant commemoration right: Tree of Life (Future Tense),
1991–93, bronze, photo decals,
of deceased children, while another monument of sorts, Tree of Life — Future china paint on porcelain monument
plaques, ficus tree, 76 x 73 x 57 inches.
Photo: Tony Walsh.
Tense, a 1600-pound bronze form containing a living red oak sapling, evoked the
same theme metaphorically. The concept of preserving something
fragile and fleeting beyond the corruptive forces of touch or even
the outside air carried over into the two obelisk-shaped “koche-
lofens” also featured in the exhibition. Bole’s original intention
was to encase these faux mortuary sculptures in delicate and airy
wood-framed-glass membranes, a plan first formulated through
6. 6 some early sketches the artist made in graduate Bole incorporated hand-blown German glass to 7
school. The disappointing results of her initial achieve the gently undulating surface effect
attempt to realize these enclosures, which that she recalled from visits to Cleveland’s
seemed heavy and tank-like in contrast to her glass-enclosed memorial to assassinated
vision, were ultimately omitted from the exhibi- president James Garfield. The title My
tion. Bole, however, acquired the necessary First Dutch Lesson derives from the
skills for working with leaded glass that residency during which she acquired
same year during an artist residency at her glass-working skills. It refers to
the Europees Keramisch Werkcentrum Bole’s introduction to the Dutch lan-
’s-Hertogenbosch in the Netherlands. guage, which occurred on the grounds
Since then, she has relied on expert aid of a cemetery she had stopped to visit on
with the more complicated aspects of such the drive from the airport to the Centre.
work. Without this assistance, as well as No dictionary was needed to translate the
the more general help of a host of factories, phrase “Hier rust...” with which began the mournful epitaphs on many of the
friends and students over the years, tombstones. In reference to the similarity between the Dutch “rust” and the
Bole contends that her most English “rest” — not only phonetically but in terms of the euphemism associated
ambitious works could never with the loving interment of a human body — Bole incorporated the words in
have been realized. bold relief on either side of the pedestal beneath the paired lambs. This kind of
left: Signs of Embracing, 1993, bronze, cultural connection, which for Bole represents the universality of certain attitudes
mosaic with silicone grout, photo
The major sculptures that Bole has decals, china paint on porcelain toward life and death, has accounted for many of the distinctive formal character-
monument plaques, slip cast tile,
produced since the mid-1990s have con- cement, “lucky” stones & wood,
156 x 53 x 53 inches. From the
istics that her sculptures have acquired. One of the most intriguing of these
tinued to explore the process of memorializing exhibition My Yard, Wexner Center
for the Arts, Columbus, Ohio.
is her tendency to compose some works by heaping up
Photo: Richard K. Loesch.
the dead, often through mosaic making. This laborious technique was, for example, a profusion of similar forms, a practice inspired by
right top: My First Dutch Lesson,
employed to form the distressing images of grief on the floor of her 1997–99 1997–99, mosaic, leaded glass, bronze, memories of a 1991 visit to the astounding “Hill
silicone, carbide refactory, glass beads
enclosed-glass sculpture, My First Dutch Lesson. In this work, a pair of tessarae- on wire & ceramic, 36 x 60 x 36 inches. of Crosses” near Siauliai in Lithuania, a site
Photo: Tony Walsh.
covered lambs set on a stepped pedestal symbolically attest to the innocence of which Bole has described as the “most
bottom: My First Dutch Lesson (detail).
the deceased. These gentle creatures and the mosaic base beneath them are Photo: Heather Protz. moving spot on the globe.”
encased in a seemingly airless space of a transparent cupola. In this structure,
7. The innumerable crosses studding the 9
Lithuanian hill like hairs on the back
of a recumbent beast produced for Bole
a powerful evocation of the vastness of
death and the legions that it has con-
sumed. In an early attempt to harness
this rhetorical potential — a poignant
sculpture titled Nipped Buds in which
a gently rounded mound of children’s
mittens reflects upon the vast numbers
of premature deaths — she employed
the multiple in an obviously metonymi-
cal fashion. In her more recent work,
however, multiplicity has formed a
subtler connection to mortality, as in
the whimsically titled Odd Luck — a
colossal u-shaped heap composed of
thousands of slip-cast black porcelain
horseshoes of varying sizes. Here the
forms suggest not lives in themselves
but rather the diverse hopes for perpet-
uating those lives: the various optimisms
about evading death that are ultimately
as impotent as the lucky horseshoes
that represent those hopes. Embedded
in the dark tangle of porcelain good-
luck charms are plaques upon which
left: Hill of Crosses, Lithuania (inspirational source for Nipped
Buds). Photo: Mary Jo Bole.
above: Nipped Buds, 1993; floor piece: slip cast porcelain
over airplane nose cone, 36 x 48 x 48 inches; wall piece:
mosaic on wood, 30 x 40 x 3 inches. From the exhibition
My Yard, Wexner Center for the Arts, Columbus, Ohio.
Photo: Richard K. Loesch.
8. 10 Bole has inscribed images and phrases that characterize life as a game of chance
in which some draw longer straws than others, but none can ever hope to win.
While works like Odd Luck reflect only abstractly on death, the 2000 sculpture
Granny’s Necklace, conceived as a memorial bench, is intimately tied to Bole’s above left: Odd Luck, 1997–2000,
mosaic, bone china, “twist of fate”
haunted sense of her own deceased ancestors and their legacy in her life. Having monument plaques with computer
process decals and china paint on
grown up in an environment redolent of Victorianism and rememberance, she porcelain, 19 x 102 x 112 inches.
Photo: Tony Walsh.
chose to top her bronze commemorative bench with a ceramic mosaic depicting above right: “Twist of fate” monument
plaque (detail from Odd Luck).
portrait photographs of nineteenth-century women. In the Photo: Chas Ray Krider.
beads of a pearl necklace, which runs like a Roman guil-
loche pattern around the borders of the image, she
repeated a series of faces of Victorian ladies who,
right: Granny’s Necklace (A Bench), 1997–2000, mosaic with
silicone grout, bronze, wood, 17 x 56 x 41 1⁄2 inches.
Collection of Pamela & Steve Hootkin, NYC.
Photo: Chas Ray Krider.
opposite: Granny’s Necklace (A Bench) detail.
Photo: Chas Ray Krider.
9. 12 due to the inherent limitations of working with tesserae, appeared as distinct Odd Luck. Only later did she discover, after fortuitously encountering some 13
though related. At the center of the mosaic, she constructed a collage incorporating examples in a Cleveland pet cemetery, that the J. A. Dedouch Company was
an old postcard image depicting three famous Rochester sisters who took the producing traditionally hand-colored photographic tomb plaques much closer
nineteenth-century oddities stage by storm with their luxuriously long to home. Devising a residency for herself at the company’s Chicago factory, she
tresses — a picture of vanity and the brevity of human learned the laborious technique of transferring photo-
beauty, to be sure, but also an ironic symbol of graphic images to enamel plaques; she then
immortality, since human hair can in fact utilized her skills to produce a number
be preserved indefinitely. of these for incorporation into subse-
quent works. Inset into her larger
The themes of vanity and sculptures, the elliptical convex
preservation — ephemerality plaques are evocative of
and immortality — are cemetery portraits but also
recurrent in Bole’s art, of jewelry: lustrous cabo-
generally in a curious chons or the crystalline
reciprocity. She notes, for domes guarding cherished
example, the irony in the portraits in lockets.
“attempt to cheat fate and
live vicariously through the The mourning brooch —
pretentiousness of your made stylish during Queen
death marker.” Two recent Victoria’s interminable show
sculptures — Great Granny’s of grief for the deceased Prince
Mourning Brooch and Ossified Albert — is the embodiment of the
Alliance — explore this idea in rela- impermanence of vanity and the perma-
tion to the photographic portrait plaques nence of death. In Great Granny’s Mourning
still made for some cemeteries. In the early Brooch, an eight-foot circular sculpture in which an
1990s Bole worked with an Italian company to pro- immense enameled-steel plaque is surrounded by a carved brick
duce such plaques so she could specifically integrate them into her sculptures, and opposite: Great Granny’s Mourning bezel inset with smaller plaque adornments, the jewel becomes a funereal monu-
Brooch, 2003–05, enamel on steel,
in 2000 she traveled to Vicenza to make the “Twist of Fate” porcelain plaques for Belden brick, bronze, 8 monument ment. The central image, repeated on the smaller plaques, hearkens back to the
plaques (photogenic drawings: enamel,
china paint on copper), 8 x 84 x 84
inches. Photo: Chas Ray Krider.
above: Ossified Alliance, 2003–05,
enamel on steel, Belden brick,
6 3⁄4 x 47 x 42 inches.
Photo: Tony Walsh.
10. 14 mound of mittens in Nipped Buds. Representing a rectangular life-sized field of In the end, Bole’s singular art cannot
snow-white children’s socks, it connotes purity, innocence and small lives. For be denied this kind of optimism born
Bole the sculpture is primarily a reflection upon lineage: the long dead of the dark of pessimism. Optimism is the source
past and the burgeoning of new lives. The implications of mourning are for Bole of much of the humor that shares
relevant both to the deceased generations who came before and to the descendents space with pathos in her observations
that she has not left to carry on. Children, after all, are one’s living memorials: on life. Her newest artist’s book, MJ’s
themselves mortal but at the same time invested with a parent’s hope of vicarious Daily Spy History — hot off the Knust
lingering after death. press in the Netherlands — contains
ample evidence of each. A record of
In Bole’s work as a whole, the relationship between the brevity of life and the Bole’s musings during a 2004 residency
will to sustain some aspect of it eternally is a recurrent theme that lifts her efforts in Dresden, the Spy History was
above the level of mere morbid fascination. If the ultimate inability to escape originally painted on the pages of a
death’s grasp confirms the tragic in human nature, the attempt to do so — at two-and-a-half by three-inch blank
least vicariously — has undeniably accounted for some of the heights of human book purchased from a German street
achievement. Brevity begets longevity; mortality inspires the vendor. The minuteness of this volume
immortal. This paradox is perhaps most evident in the great only amplifies the expansiveness of
mortuary monuments of the past: the colossal tomb of Bole’s thoughts as they radiate across
Rameses II, the vast terracotta army at Xian, the glorious history (from Augustus the Strong’s
New Sacristy of San Lorenzo, or any of thousands of similar purported creation of three-hundred
examples. The paradoxical principle, however, is implicitly offspring to the death of thousands
at work in all aspects of creativity. Bole’s sepulchral sculp- caused by incendiary bombs in 1945);
tures do not acquiesce pessimistically in the inevitability language (idioms such as “the black hole of summer” and neologisms such as the
of death but rather affirm the poet Wallace Stevens’s obser- Euro-critical “Teuro”); customs (candy-filled cones “to sweeten the first days of
vation that ‘death is the mother of beauty’. In Bole’s work, opposite: Mary Jo Bole working in school before they turn sour”); and oddities (a hair shield, the freak-antler room
her Columbus studio on mosaic for
the theme of human mortality is ultimately a prelude to Winifred, Ruth, Winifred (a companion at the Moritzburg Schloss). The images prompted by
work to Granny’s Necklace). Photo:
confirmation of the potential for transcendence through Kevin Fitzsimons (from On Campus, OSU these diverse claims on the attention are exemplary
publication, 1/6/05 edition).
art, a triumph that is only possible because life itself is a above: Dead Flowers as Incendiary
of Bole’s art, which in its scavenging and juxtaposing
losing proposition. (detail), 2004, photo retouch paint,
watercolor, coffee, rubbing alcohol,
is always intuitive, strange, and revelatory.
28 x 33 inches.
right: “Dancing ladies” from MJ’s Daily Glen R. Brown is associate professor of art history
Spy History, 2004–05, original water-
color book available as: 3 x 2 1⁄2 inch at Kansas State University.
softcover book, edition of 400, signed
by the artist; 4 3⁄4 x 3 7⁄8 inch softcover
book, edition of 100, signed by the
artist; stencil print: Knust Press
(Extrapool), The Netherlands.
11. Mary Jo Bole DEAR LITTLE TWIST OF FATE Sculptures, Drawings and Bookworks by Mary Jo Bole
16 November 18, 2005 — January 14, 2006 17
Teaching 2005 Full Professor, Department of Art,
Alice F. & Harris K. WESTON ART GALLERY Aronoff Center for the Arts 650 Walnut St., Cincinnati, Ohio 45202
The Ohio State University, Columbus, Ohio
Artist in Residence 2005 Residency at Knust Press, Nijmegen, The Netherlands 2000 Artist in Residence; Sanitary ware “Gustavsberg”
2001–05 Residency at Belden Brick Company, Sugar Creek, Factory, Stockholm, Sweden
Ohio (self-organized) 1999 Artist in Residence; Women’s Studio Workshop, 1. Odd Luck, 1997–2000, mosaic, bone 12. The Perforating Machine at Knust Press, 23. Wilted Flowers: Winifred’s Lilacs,
Dresden Artist in Residence Exchange Program, Rosendale, New York china, “twist of fate” monument plaques 1997, watercolor, 14 1⁄8 x 17 inches 2004, 4 photogenic drawings: enamel,
The Greater Columbus Arts Council, Columbus, (Andy Warhol Foundation Grant)
with computer process decals and china china paint on copper, (3) 7 x 5 inches,
Ohio 1993 Artist in Resident Europees Keramisch paint on porcelain, 19 x 102 x 112 inches 13. Rust Rest, 1996, conceived and organ- (1) 5 x 7 inches; 1 photogenic drawing:
2003/04 Dedouch Monument Plaque Company, Chicago, Werkcentrum ’s-Hertogenbosch, The Netherlands ized by Mary Jo Bole, Berry van Boekel enamel, china paint on steel, 10 x 8 inches
Illinois (self-organized) 1988/89 Artist in Residence; John Michael Kohler Arts 2. My First Dutch Lesson, 1997–99, and Birdie Thaler, 7 1⁄2 x 8 inches,
2002 Headlands Center for the Arts, Sausalito, Center at the Kohler Factory, Kohler, Wisconsin mosaic with silicone grout, leaded glass, hardcover book, edition of 400, signed 24. Study for Yesterday’s Owl, 2003,
California (sponsored by the Ohio Arts Council) bronze, carbide refactory, glass beads on by the artists; stencil print: Knust Press 2 photogenic drawings (brown, green):
wire & ceramic, 36 x 60 x 36 inches (Extrapool), The Netherlands enamel, china paint on copper,
Solo Exhibitions 2002 “Dear Little Twists of Fate”, Seigfred Hall, 1995 Ann Nathen Gallery; Chicago, Illinois 5 x 7 inches each
School of Art, Ohio University, Athens, Ohio 1993 “My Yard” Installation in Gallery, B; The Wexner 3. A Child’s Metamorphosis, 1994–96, 14. Dead Flowers as Incendiary, 2002–03,
2001 “Relics & Reliqueries”, William Busta Gallery, Center for the Performing and Visual Arts; leaded glass, bronze, glass beads on photo retouch paint, watercolor, coffee, 25. Bench Moulding Study for Granny’s
Cleveland, Ohio The Ohio State University; Columbus, Ohio wire, mosaic, wood, refractory, Necklace, 2000, photo retouch paint,
10 x 25 5⁄8 inches
2000 The Barth Galleries, Columbus, Ohio 59 x 55 x 55 inches watercolor, 17 1⁄2 x 22 3⁄4 inches.
15. Dead Flowers as Incendiary, 2002–03, Collection of Christine Strehl.
Selected Group 2005 “A Matter of Place”, Pomerene Center for the Arts, 2002 “Connections: Ohio Artists Abroad” organized by 4. Thankful Subjects, 1997, 5 3⁄4 x 10 1⁄4 photo retouch paint, watercolor, coffee,
Exhibitions Coshocton, Ohio the Ohio Arts Council, Curated by Susan Channing, inches, softcover book, edition of 230, 26. Study for Hair, 2004, 2 photogenic
Riffe Gallery, Columbus, Ohio, (Catalogue), Spaces 19 1⁄2 x 24 7⁄8 inches
“A Tale to Tell”, John Michael Kohler Arts Center, signed by the artist; stencil print: Knust drawings (white, tawny): enamel, china
Sheboygan, Wisconsin Gallery, Cleveland and the Weston Art Gallery, paint on copper, 7 x 5 inches each
Press (Extrapool), The Netherlands 16. Dead Flowers as Incendiary, 2004,
Cincinnati, Ohio
2003 “The Vitrified Image”, International Invitational photo retouch paint, watercolor, coffee,
curated by Paul Scott (UK), Hyde Art Gallery, “Materials Speculations”, The H&R Building, 5. Tree of Life (Future Tense), 1991–93, 27. MJ’s Daily Spy History, 2004–05,
The Kansas City Art Institute, Kansas City, rubbing alcohol, 28 x 33 inches
Grossmont College, El Cajon, California bronze, photo decals, china paint on original watercolor book available as:
Missouri, (Catalogue Essays by Donald Kuspit and porcelain monument plaques, ficus tree, 3 x 2 1⁄2 inch softcover book, edition
“Are you sitting comfortably?”, The Water Closet Roger Brown) 17. Study for Dead Flowers as Incendiary,
Workshop, The Bowes Museum, England, The 76 x 73 x 57 inches 2003, drawing: enamel, china paint on of 400, signed by the artist; 4 3⁄4 x 3 7⁄8
Collins Gallery, Glasgow, Scotland, The Hatton copper, 5 x 7 inches inch softcover book, edition of 100,
Gallery, Newcastle University, England 6. Winifred’s Lilacs, Quadrant, 2005, signed by the artist; stencil print: Knust
enamel on steel, 24 x 18 inches 18. Study for Dead Flowers as Incendiary, Press (Extrapool), The Netherlands
Selected Grants 2004 Ohio Arts Council Project Grant, Columbus, Ohio 2002 Money for Women/Barbara Deming Memorial
Fund Inc., New York, New York 7. Winifred’s Lilacs, 2004, photogenic 2004, 2 photogenic drawings (blue,
2002 Level II Grant, College of the Arts, The Ohio State 28. MJ’s Daily Spy History, 2004–05,
University, Columbus, Ohio 2000 Ohio Arts Council Individual Fellowship Grant drawing: enamel, china paint on copper, brown): enamel, china paint on copper,
3 gang–printed page samples;
(in the Visual Arts) 7 x 5 inches 5 x 7 inches each
Individual Fellowship Grant, The Greater stencil print: Knust Press (Extrapool)
Columbus Arts Council, Columbus, Ohio 1999 Andy Warhol Foundation Grant through Women’s The Netherlands
8. Yesterday’s Owl (A Rug), 2003, Belden 19. Wilted Flowers: Winifred’s Magnolia,
Studio Workshop, Rosendale, New York
brick, 4 3⁄4 x 50 1⁄2 x 43 1⁄2 inches 2003–04, 5 photogenic drawings 29. MJ’s Daily Spy History, 2004–05,
Selected Publications 2004 Morbid Curiosity, Issue 8, “Lasting Images by 1998 “Howling at the Edge of a Renaissance, Spaces and (chocolate, prune, blue black, black 6 page enlargements; stencil print:
and Catalogues Bole”, Pgs 54–56, Automotism Press, San Alternative Art in Cleveland,” Spaces Gallery 9. Granny’s Necklace (A Bench), blue, caramel): enamel, china paint on Knust Press (Extrapool) The
Francisco, California Cleveland, Ohio 1997–2000, mosaic, bronze, wood, copper, 7 x 5 inches each Netherlands
2001 Morbid Curiosity, Issue 5, Automatism Press, Morbid Curiosity, Issue 2, “Smiling at Death: The 17 x 56 x 41 1⁄2 inches. Collection of
San Francisco, California Fine Art of Mary Jo Bole” (Interview), Automatism Pamela & Steve Hootkin, NYC 20. Snowflakes, Ohio, Headlands, Path, 30. Owls, 1996, photo retouch paint,
“Watercloset Workshop” Rohsska Museet, Press, San Francisco, California 2002, photo retouch paint, watercolor, watercolor, 15 x 14 inches
Goteborg, Sweden 1995 “Deaths Garden”, Automatism Press, 10. Ossified Alliance, 2003–05, enamel on coffee, rubbing alcohol, 20 x 29 1⁄2 inches
Loren Rhoads, Editor. steel, Belden brick, 6 3⁄4 x 47 x 42 inches 31. Bat, 1996, photo retouch paint,
21. Snowflakes, 2003, photogenic drawing: watercolor, 13 x 15 inches
Collections 2005 The Museum of Modern Art (Artist Book 1998 The Museum of Modern Art (Artist Book 11. Splitting Pictures, 1997, conceived and enamel, china paint on copper,
Collection Archive) New York, New York Collection Archive) New York, New York organized by Mary Jo Bole and Berry 7 x 5 inches 32. San Francisco Bay Area Cemetery
2004 The Gustavsberg Factory Collection, The Getty Museum (Artist Book Collection) van Boekel, 8 1⁄2 x 11 3⁄8 inches softcover Research Diner Mugs, 2002, 3 mugs
Stockholm, Sweden Los Angeles, California book, edition of 350, signed by the 22. Sole Heir, 2004–05, photo retouch (pet cemetery; Colma, CA cemetery;
1999 Robert J. Shiffler Collection & Archive, Dayton, Ohio artists; stencil print: Knust Press paint, watercolor, coffee, rubbing nipped buds): Buffalo china, china paint,
(Extrapool), The Netherlands alcohol, 28 x 33 inches decals, 4 x 4 1⁄2 x 3 1⁄2 inches each
Education 1982 M.F.A., New York College of Ceramics at Alfred 1979 B.F.A., Cum Laude; University of Michigan;
University; Alfred, New York Ann Arbor, Michigan
12. Thank You
Thanks to Maureen Bloomfield, Ruth Bole, Willi Born, Carmel Buckley, Randi Channel,
Malcolm Cochran, Beth Coleman, Katie Collins, Todd DeVriese, Krista Grecco, Chris Gose,
Marthe Grohman, Mark Harris, Tim Hutchinson, Michelle Lewin, Dana Marshall, Kami
Meighan, Shauna Merriman, Sarah Myers, Ryuji Noda, Benjamin Organick, Thomas
Piontek, Petra Schilder, Rhian Kelly-Simon, Paul Simon, Berry van Boekel, Wim van
Vonderen and everyone else who has helped me over the years.
Belden Brick Company, especially John Belden, Kevin Fruchey, Doug Mutschelkanaus,
Jeff McIntire, Jim Meyers, Gary Stein, Bill Swinderman and Don Weaver
The College of the Arts, The Ohio State University
The J.A. Dedouch Company, especially, Vicki Jones, George Musinski
and Dick Stannerd
Installation view: Upper Gallery (left), East Gallery (right).
Photos: Tony Walsh. The Greater Columbus Art Council and the Dresden Residency Exchange Program.
Kunsthaus Raskolnikow (gallery and pension [where I stayed]) especially Iduna Böhning
33. Wilted Flowers: Gilda’s Euphorbia 41. California Topiary, 1997, photo retouch 52. Headlands Barracks Provocative The Ohio Arts Council, especially Susan dePasquale and Ken Emerick
(Fresh to Ossified), 2003–04, paint, watercolor, 13 1⁄4 x 18 3⁄4 inches Toilets, 2004, drawing: enamel, china
5 photogenic drawings: enamel, china paint on copper, 5 x 7 inches Everyone at Knust Press, (Extrapool) The Netherlands, especially Alfred Boland,
paint on copper, 7 x 5 inches each 42. California Topiary, 1997, photo retouch
paint, watercolor, 14 1⁄4 x 18 3⁄4 53. Headlands Barracks Provocative
Jan Dirk de Wilde, Joyce Guley and Jolanda Wijdezen
34. Wilted Flowers: Winifred’s Bleeding Toilets, 2004, photogenic drawing:
43. Dead Bugs, 1999, photo retouch paint, The staff of the Weston Art Gallery: Dennis Harrington, director; Kelly O’Donnell,
Heart, 2003–04, 5 photogenic drawings enamel, china paint on copper,
(green, mint, red, smoke, lime): enamel, watercolor, coffee, 17 x 22 3⁄4 inches 5 x 7 inches assistant director; and gallery assistants, Sara McDulin and Allen Smith
china paint on copper, (1) 5 x 7 inches, 44. Dead Bugs, 2004, photo retouch paint, 54. Suicide-Resistant Toilet, 2005, Belden The Weston Art Gallery installation crew: Sharon Buckner, Stephanie Cooper,
(4) 7 x 5 inches watercolor, coffee, 23 1⁄2 x 29 1⁄2 inches brick, 18 x 25 x 9 1⁄2 inches Chad Cully, Rob Deslongchamps, Rolf Kuhn, Tim McMichael, Alan Sauer,
35. Smothered, 2004–05, photo retouch 45. Dead Bugs, 1999, photo retouch paint, Allen Smith and Patrick Williams
paint, watercolor, coffee, rubbing 55. Tiny Sink, 2005, Belden brick,
watercolor, coffee, 17 x 22 3⁄4 inches 8 1⁄2 x 7 1⁄2 x 8 1⁄2 inches
alcohol, 28 x 33 inches Lenders to the exhibition: Pamela & Steve Hootkin and Christine Strehl
46. Wall of Drawings, 1961–2005 56. Barracks Toilets at Headlands, 2003,
36. Family Portraits, Now and Then, 2004, Exhibition Sponsors: Barbara & Gates Moss and the Weston Art Gallery Support Committee
photo retouch paint, watercolor, coffee, 47. Toilets for Your Friends, 2005, 9 x 12 photo retouch paint, watercolor,
rubbing alcohol, 28 x 33 inches inch stamp sheet edition of 300, signed 22 x 27 1⁄2 inches 2005–06 Weston Art Gallery Season Sponsors: Jackie & Mitch Meyers
by the artist; stencil print: Knust Press and Starbucks Coffee Company
37. We Will Go to Nature: Love Lies (Extrapool), The Netherlands
Bleeding (I–VIII), 2003–04, 8 photo- Alice F. & Harris K. WESTON ART GALLERY
genic drawings: enamel, china paint on 48. Gustausburg Factory Souvenir Blanks,
Aronoff Center for the Arts 650 Walnut St., Cincinnati, Ohio 45202-2517
copper, 7 x 5 inches each 2001, 2 factory blanks, silkscreen decals,
china paint, 5 x 3 x 4 inches each www.CincinnatiArts.ORG/Weston WestonArtGallery@CincinnatiArts.ORG
38. So Long: Leaching, Fuming, 2004–05, Ph: 513.977.4165 Fax: 513.977.4182
pâte de verre, soapstone, 18 x 31 x 2 49. Headlands Barracks Provocative Toilets
inches Diner Mug, 2002, Buffalo china, china So Long: Leaching, Fuming, 2004–05, pâte de verre, soapstone,
18 x 31 x 2 inches. Photo: Tony Walsh. Since opening in 1995, the Cincinnati Arts Association’s Alice F. and Harris K. Weston Art
paint, decals, 4 x 4 1⁄2 x 3 1⁄2 inches
39. Nipped Buds, 2003–04, 4 photogenic Gallery has established a reputation for innovative programming, award-winning publica-
drawings (blue, blood, brown, moss): 50. History of Penal Institution Sanitation, The artist would like to acknowledge the J.A. tions and museum-quality exhibitions. A catalyst for, and integral member of, the Cincinnati
enamel, china paint on copper, 2 Views, 2000–01, Kohler prison sink Dedouch Company which was west of Chicago in
arts community, the Weston Art Gallery’s mission is to present and support the visual arts
7 x 5 inches (Chilton™ model), silkscreen decals, Oak Park, Illinois since the late 19th century and
closed on March 1, 2004. Monument plaques were
of the tri-state region through exhibitions and special programs. Its objectives are to foster
china paint, 18 x 15 x 15 inches
40. Great Granny’s Mourning Brooch, made by Bole at a makeshift residency at Dedouch an awareness and appreciation of the visual arts among area residents, and to support the
2003–05, enamel on steel, Belden brick, 51. Alcatraz Cell with Kohler Prison from June 2003 to March 1, 2004. Bole refers to development of professional and emerging artists of the region.
bronze, 8 monument plaques (photo- Fixtures, 2004, photogenic drawing: them as photogenic drawings; a term used by the
genic drawings: enamel, china paint on enamel, china paint on copper, earliest photographers to describe work that is a front cover: Ossified Alliance (detail), 2003–05, enamel on steel, Belden brick, 6 3⁄4 x 47 x 42 inches
copper), 8 x 84 x 84 inches 5 x 7 inches middle ground between photography and drawing.
rear cover: Wilted Flowers: Gilda’s Euphorbia (Fresh to Ossified) (detail), 2003–04, 5 photogenic
drawings: enamel, china paint on copper, 7 x 5 inches each
To view more images from the exhibition, visit www.CincinnatiArts.ORG/Weston