1 tablespoon(s) balsamic vinegar
1.Heat oil in a large saucepan over medium-high heat. Add onion; cook 5 minutes, stirring occasionally.
Saturated Fat 0.24g
Total Carbohydrate 46g
Dietary Fiber 5.8g
Sugars 3.78g
Random Thoughts from an Introspective Artist

father asked me this weekend if I was going to get married before he died. Really? I mean, really? I don’t want to meet anyone. I don’t care. I’m making enough money to live on my own. I don’t need a man. I don’t need the stress, the anxiety, the complication, the insecurity, the neuroses, the crazy person I turn into when I’m dating. I don’t care if I’m lonely. I’ll get a dog when I’m done with grad school. I just don’t think I can experience the absolute death that occurs in my soul once again when I am dropped like yesterday’s trash.

I'm not shopping until next school year (I know, I'm such a kid, I LOVE back to school shopping even as a teacher!!)....
I usually do some graphic design stuff for my friends and family. However, with my busy schedule I haven't really had the time to sit down and create. Recently a friend of mine asked for me to do some 'Save a Dates' for her wedding. For the first time in my life I said "No."
This weekend my boyfriend and I took to the IMAX to see Sucker Punch. Sucker Punch is one of those stylistic movies in the vein of Sin City or 300. The cinematography was amazing (or maybe I should say the graphic designers that created the cinematography were amazing).
The action and fight scenes were awesome. My boyfriend actually had to explain one of the fight scene genres of "Steampunk." I also looked up Steampunk on Wikipedia and this is what I got: Steampunk is a sub-genre of science fiction, alternate history, and speculative fiction that came into prominence during the 1980s and early 1990s. Specifically, steampunk involves an era or world where steam power is still widely used—usually the 19th century and often Victorian era Britain—that incorporates prominent elements of either science fiction or fantasy. Works of steampunk often feature anachronistic technology or futuristic innovations as Victorians may have envisioned them; in other words, based on a Victorian perspective on fashion, culture, architectural style, art, etc. This technology may include such fictional machines as those found in the works of H. G. Wells and Jules Verne or real technologies like the computer but developed earlier in an alternate history.
Back to Sucker Punch, you don't see this movie for the script, I would say it is more like seeing a work of art unfold than watching a movie. The storyline is not for kids. It involves child molestation, murder, rape (alluded to, not actual) and teenage girls dressed way beyond their maturity level (even though most of the girls in the movie are 22-28 years old). It was good, and to be honest, you do need to see it on the big screen.
“Fear is Pain” (Uta Grosnick, 2005, p. 45) claims Louise Bourgeois, a French born, but American working artist. I’ve always been drawn to artists who explore their emotions in their artwork, especially when one of those emotions is fear. As a young teen, I chose Fear as my AP concentration. I was drawn to the topic conceptually because, as a seventeen year old girl, I had several fears: death, failure, the future, pain, ostracization, rejection, the unknown, and even living.
I used to repeat the following from my favorite book: "I must not fear. Fear is the mind-killer. Fear is the little-death that brings total obliteration. I will face my fear. I will permit it to pass over me and through me. And when it has gone past I will turn the inner eye to see its path. Where the fear has gone there will be nothing. Only I will remain." (Frank Herbert, 1965/1984, p. 8)
I wish I had known about Louise Bourgeois when I was in high school. In her series “Personages and Destruction of the Father,” 1974, she created “cells.” They were based on actual prison cells, and she wanted: “Each cell [to tell] of fear. Fear is pain.” (Grosnick, 2005, p. 45) Unfortunately, my high school art classes and teachers did not branch out in the area of art history to include female and minority artists beyond the already famous ones. Art history books, Janson's History of Art: The Western Tradition, which I had for Art History AP, did not cover currently-working female artists or even conceptual work. The focus was on technically superior art that had historically focused subject matter. I did not get to study Bourgeois until later when I was learning about the inequalities represented in art history. According to The Guerrilla Girls (1998), “[Janson’s] History of Western art reduced centuries of artistic output to a bunch of white male masterpieces and movements, a world of ‘seminal’ and ‘potent’ art where the few women you hear about are white, and even they are rarely mentioned and never accorded a status anywhere near the big boys,” (p. 7). During my studies of art in graduate school, I was challenged to “name 10 famous female artists” (Dennis Earl Fehr, 1994/2010, Section 2, Chapter 7, para 5). I met the challenge, but it required much thought.
I could have used the inspiration of Bourgeois’s work to convey the goals of my Fear concentration. My perception of high school art as a haven of learning and artistic expression turned into what felt like a prison sentence. I found out quickly that my technical artistic skills could not convey the depth and breadth of my imagination and conceptual mind. I felt lacking compared to the other students in my AP class.
I began to question my life decision to be an artist. This was where my passion was but, since my skills were so lacking compared to others, I changed my focus from studio to wanting to major in art history and be a gallery owner or museum curator. I loved the history of art and knowing the meaning behind the paintings, sculptures, and such. It wasn’t creation, but it was near enough to creation as to be acceptable in my mind if not my soul.