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Betty Friedan, 11 x14 inches, watercolor and crayon on cotton paper Painting

Kenney Mencher

Painting, Watercolor on Paper

Size: 11 W x 14 H x 0.1 D in

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About The Artwork

The size is a standard US frame size and can be framed inexpensively. Try buying a frame on the net. I try to make really well crafted work about the human figure and the human condition. I focus on the kind of beauty for both men and women that is "non-standard." I'm a voyeur who appreciates the beauty in all people, especially the unusual or non-standard variety. Betty Friedan Betty Friedan 1960.jpg Born Bettye Naomi Goldstein February 4, 1921 Peoria, Illinois, U.S. Died February 4, 2006 (aged 85) Washington, D.C., U.S. Education Smith College (BA) University of California, Berkeley Spouse(s) Carl Friedan (1947–1969) Children 3 Betty Friedan (/ˈfriːdən, friːˈdæn, frɪ-/[1][2][3][4][5] February 4, 1921 – February 4, 2006) was an American writer, activist, and feminist. A leading figure in the women's movement in the United States, her 1963 book The Feminine Mystique is often credited with sparking the second wave of American feminism in the 20th century. In 1966, Friedan co-founded and was elected the first president of the National Organization for Women (NOW), which aimed to bring women "into the mainstream of American society now [in] fully equal partnership with men." In 1970, after stepping down as NOW's first president, Friedan organized the nationwide Women's Strike for Equality on August 26, the 50th anniversary of the Nineteenth Amendment to the United States Constitution granting women the right to vote. The national strike was successful beyond expectations in broadening the feminist movement; the march led by Friedan in New York City alone attracted over 50,000 people. In 1971, Friedan joined other leading feminists to establish the National Women's Political Caucus. Friedan was also a strong supporter of the proposed Equal Rights Amendment to the United States Constitution that passed the United States House of Representatives (by a vote of 354–24) and Senate (84–8) following intense pressure by women's groups led by NOW in the early 1970s. Following Congressional passage of the amendment, Friedan advocated for ratification of the amendment in the states and supported other women's rights reforms: she founded the National Association for the Repeal of Abortion Laws but was later critical of the abortion-centered positions of many liberal feminists. Regarded as an influential author and intellectual in the United States, Friedan remained active in politics and advocacy until the late 1990s, authoring six books. As early as the 1960s Friedan was critical of polarized and extreme factions of feminism that attacked groups such as men and homemakers. One of her later books, The Second Stage (1981), critiqued what Friedan saw as the extremist excesses of some feminists.[6]

Details & Dimensions

Painting:Watercolor on Paper

Original:One-of-a-kind Artwork

Size:11 W x 14 H x 0.1 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Born 1965 in New York, NY, Kenney Mencher earned a BA and MA in Art History from City University of New York and University of California, Davis, respectively, following which he went on to obtain a MFA in painting from the University of Cincinnati in Ohio. He has taught at a number of institutions including the University of Chicago and Texas A&M University, and now teaches at Ohlone College in Fremont, California. He is the author of a text book Liaisons: Readings in Art, Literature and Philosophy. His exposure via solo and group exhibitions is extensive nationwide.A painterly Peter Sellers, Mencher's works are like the film "Being There." Mencher likes to watch.Citing literature, television, film, and stage drama, as major influence's on his work, Menchers objective is to present a figurative composition divorced from its context that forces viewers to create their own interpretation of the narrative. By combining calligraphic gestural brushstrokes with passages of tight traditional glazing techniques, Mencher's work explores the thread of human connection that is woven into our experiences. Collaged from posed photographs and pop-culture, Mencher's paintings are frozen moments in a play. Sometimes these moments are outrageous or surreal and the figures in his paintings are character actors caught up in the action. William Wisner writes,Realist in execution like a Zola novel, the subjects of Mencher's work hold coffee cups sit in leather chairs, make confessions and declare intentions, but the silence of the paint leaves us only a visual trace as to what's being said and what understandings are being clarified. As you look at Mencher's art you are reminded of your own lost moments- the people you should have comforted, but didn't; the lover you trusted who stopped returning your calls; the companion at work who quietly knifed you in committee and then cheerfully chatted you up at the coffee break. Humble stuff, average people making average choices. . .

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