People and Their Best Friends~ Fine Art and Poetry

A best friend ends up being the best spouse in bed.

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The sweetest love making happens when there is closeness outside the bed. A best friend will know everything about you, including your body, your heart beat, your mood, your eyes, your reasons. A best friend is at the top of the hierarchy of all your friends. Your friends will surround and support you two. You will not need to worry about your friends stealing your spouse or interfering when you two are firmly placed at the top.

A best friend will make loving easy. No rules, no boundaries, no complications, no rigidness. This is the person who knows you better than anyone else, no walls between you two. A best friend is hard to leave because no one knows you and understands you better, this is as good as it gets. If you both leave each other, where will you go when the best is when you two are best friends married to each other?

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He is often described as "The Artist Inspired by Love" because of his use of artistic expressions to inspire, celebrate and help understand the mystery of love. Vine, HQ Trivia cofounder dead at Moroccan saffron farmers battle knockoff spices. First-ever roller coaster at sea will debut in Getting into the festive spirit with travel vlogger Farhana Oberson Our2Cents.

Extending your stay in Nairobi? Scott "Love is the only force capable of transforming an enemy into a friend. I thought I was the only one. Lewis "Friendship consists in forgetting what one gives and remembering what one receives. He may not seem such a good friend after telling. Don't walk in front of me; I may not follow. Just walk beside me and be my friend. It's not something you learn in school. But if you haven't learned the meaning of friendship, you really haven't learned anything. There is a time for silence.

A time to let go and allow people to hurl themselves into their own destiny. And a time to prepare to pick up the pieces when it's all over. That magnet is unselfishness, thinking of others first; when you learn to live for others, they will live for you. It was a good image. It was hot, and the men were singing outside over their fire.

A lizard crawled on the outside of his mosquito netting. It was nothing like his studio back home. Later, while mist curled from the wet forest floor and the deep smell of earth, smoke, and the chemicals in his tent swirled around him, he glared at his paints. Green water stood in a drinking glass on his table, caustic reflections being cast by the lantern through the glass, and he cast one baleful look at the bird. It had settled down, hunched its emerald shoulders and set its head down to rest in between the two frail bones, but the yellow eye still watched, half-cracked and wary. These lotteries, created by Charles Yaeger in , promoted the film industry during a time when the country was its poorest and people could not afford such luxuries.

The lotteries were free to the public and involved some type of monetary prize given to the person whose name was pulled. The great depression was such a controversial time for a lottery of this nature which did not go unnoticed by those who saw the problematic nature of these practices. The bright reds and yellows are alarming as they highlight the various facial expressions of the people seen in the painting. The emotions on their faces portray concern, fear, indifference, and a solemnness that engages the audience at first glance. The facial expressions are revealing of the attitude that many held in regard to these events.

During a time of great suffering, many people had nothing else to lose. Since the lotteries were free, it is clear to see why people would want to attend bank nights with the hopes of winning some type of prize or money to help support their families. Of course the purpose of bank nights was not to help people provide for their families, but to bring publicity to the film industry. Some people actually purchased movie tickets even though the lottery was free. This helped the film industry to have a source of monetary income through the latter years of the depression.

Different scholars like Georg Simmel have analyzed the nature of the city which brings about the idea of the quantification of people through money. Money was scarce during the Great Depression, which meant people resulted to desperate means to obtain the money needed for their needs. This also meant that various industries resulted to equally desperate means to encourage people to spend the little money they did have. Each individual is merely a commodity in the city environment. This relationship of figures enhances the dynamics of the facial expressions seen in the painting.

One of the two red faces is a man looking back at the blurred figures. This suggests that the action that happens in the background in some way involves those who are distant from the other figures. As stated earlier, this could be that these people have left the lottery or are about to participate. The red faced man seems to embody a sense of longing as he is intrigued by the action in the background. This allows the assumption that Kleinholz suggests people during this time participated in bank nights out of curiosity or merely because they wanted to be a part of the relatively popular event.

Noting the despairing looks of the yellow faces, there is also a suggestion of desperation. Industries were well aware of this because they also struggled to maintain production and sales. People were still seen as commodities even though the economy drowned in debt. Industries had to be crafty in order to seduce the people of the cities into their money schemes: There needed to be a need.

The one thing that people desperately needed is exactly what the film industry used for its own gain: Without money people could not hold on to their social status, which was of dire importance before and even during the Great Depression. Interestingly enough, this helped reduce the pressure brought upon by a society that revolved around social status.

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The depression created an equal opportunity for everyone to start over and rebuild their lives. Simmel explains this concept in terms of monetary value in the following quote: Simmel places everyone on the same level with only their monetary value differentiating them. To some this may not have been a major issue, especially if they were already poor or lower class before the depression, or if they did not view money as a social necessity.

Kleinholz uses primary colors throughout the entire painting with only a hint of orange to highlight the sign of the building attracting the blurred crowd and shades of a lighter yellow and green on the buildings in the background. Primary colors are the most basic colors outside of black and white on the color scale. More importantly, primary colors are needed in order to create any other shade of color. They are the base of all colors known to man. This is significant because during the Great Depression people within the city were just as important.

Their labor and investments in the city is what caused the city to thrive and grow. Kleinholz could have used more secondary or tertiary colors, but instead he keeps a steady palate of primary colors that effectively create movement throughout the painting. Because of this color choice, no one area of the painting goes unnoticed, which indicates that every detail is important to the whole.

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Furthermore, primary colors have the ability to create the color gray. Gray is the mixing of colors so that each component bends together to create a homogeneous shade. Gray is a dull color when compared to primary colors. This defense mechanism allows the blocking out of unwanted emotions and reactions. It is almost as if the children in the painting are unaware of what is happening although the facial expressions from the other figures reveal that something is indeed happening.

This is mainly evident in the alarming red face of the woman in the center of the crowd of people. Not in the sense that they are not perceived, as of the mental dullness, but rather that the meaning and the value of the distinctions between things and therewith of the things themselves, are experienced as meaningless. To the person of the city, all interactions are disregarded and only money accounts for a meaningful interaction. The people in the painting are grouped together in reaction to the monetary exchange or the lack there of in relation to the bank night.

They are one group, yet they are not homogenous. Their facial expressions allow the differentiation of their individual reactions and attitudes to their surroundings. The equal use of warm and cool colors gives a balance to the group of people, which does not allow any one or more persons to dominate the eye of the viewer. The same is seen throughout the painting as a whole. The eyes are drawn to the light shading in the background and then moves downward towards the people. The light shading in the background follows a line that allows the eyes to move to the left to notice the blurred group of people that are a part of the background.

Every shade of color and detail in the painting are used to direct the eye to the appropriate places. Each aspect is essential to the function of the whole. The medium of the painting is another important aspect that must not be overlooked. It is oil on Masonite, which is a type of hardboard. Kleinholz could have chosen to do the painting on another material, but the hardboard speaks to the struggle of the Great Depression.

Each element of the painting adds to the disparity of the life of the individual living in the city during this time period. The bank night, though perceived as an outing on the town, was actually another means of reinforcing the individuals in terms of their monetary value. The reaction to this, which is so eloquently depicted by Frank Kleinholz, shows a realistic perspective of those affected.

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As an artist, Kleinholz often depicted images of the city through his work. His work speaks for those who are often overlooked by other artists. He has been known as a painter who did not confine to the norms, but it is his work that has created its own path with its use of color and simplistic style. He allows the painting to speak for itself without forcing his own opinion or biases. He is simply a passerby who watches and notices his surroundings, which translates in his works. Every morning, she rises slow as a longneck bottle, plants her heels in her worn house slippers.

Her scars are translucent. This woman still feels. She was called brackish water baby.

The load sweetens the dead air. Individual poets featured in the Third Thursday series are represented in a broadside series. The series has been printed in a limited edition set of The series can also be bought online, here.

Poetry – Jule Collins Smith Museum of Fine Art

The poetry program will begin at 6: The next reading is Thursday, March 20, at 7: Galleries remain open until 8: Ken Autrey, who coordinates the series with Keetje Kuipers, said that the series is the only monthly poetry offering in the Auburn-Opelika area. She is also writing a young adult novel. He is the recipient of the Robert Hughes Mount, Jr.

She holds a B.