The Triumph of Mordecai

Andy Warhol and Pop Art

Although, I do not consider myself an artsy person, there are a few artists whose work I really enjoy. One of my favorite artists is Andy Warhol. He was a painter who is famous for his pop art. Recently I read an article from the Art Journal written by Paul Bergin. In the article, which was written in 1967, Bergin examined Warhol’s art at the pinnacle of his career. He examined many of Warhol’s painting, which he had completed at the time. Bergin argues Warhol offers his image, his mask, for public consumption, but deprives the public of anything more (Bergin 359-363). When Warhol was asked about his background he once replied, "Why don't you make it up?" The remark is characteristic. It shows Warhol's unwillingness to expose himself beyond his public mask (Bergin 359-363).

Bergin supports his claim, that with regard to the public Warhol does not want to exist outside of his image, with support from his paintings. Warhol’s emphasis upon a stylized exterior and the lack of concern for anything other than the obvious is a major theme in Warhol's art, as well as in his deportment (Bergin 359-363). He also says how all of Warhol's art takes shape and exists close to the unconscious. Meaning, it is not conceived in a conscious mind; neither is it intellectually precise (Bergin 359-363).

Also, Bergin suggests that how Warhol paints attributes to the mysteriousness meaning of his paintings. Warhol paints on silkscreen and there are a number of advantages to the use of a silkscreen (Bergin 359-363). According to Bergin it’s easier to silk-screen images than to paint them freehand. The author talks about the Warhol’s art as art of the “machine”. He says that Warhol’s art is of the machine not about it. He says the machine is, to the artist, a way of life, representative of a unique field of twentieth-century experience, and all of Warhol's art is a striving to express the machine in the machine's own terms (Bergin 359-363). In some of his painting Warhol deliberately calls upon his viewer to make a comparison between his world and the “real” world. For example in his painting, Flowers, 1964, has his viewer compare his flowers in the painting to flowers in real life (Bergin 359-363).

Lastly, Bergin finds Warhol’s death-image paintings the far most striking and interesting of all which really contribute to his argument that Warhol offers his image, his mask, for public consumption, but deprives the public of anything more. I find this evidence the most convincing. Warhol’s death-images, which he painted of news photographs, suicides, and auto accidents and then sometimes arranged them rows and repeated a number of times (Bergin 359-363). Bergin finds the end product striking, enigmatic, and a visual experience (Bergin 359-363). He says that the death images, when stacked up force the viewer to do a double take, and force him to consider the picture longer than he might have and finally force him, if he is observing the canvas at all (Bergin 359-363). Bergin concludes his article saying, if the validity of Warhol's art depends on his actually becoming the machine, it surely fails (Bergin 359-363). It takes a lot to see the true meaning Warhol’s art and someone who does not have a trained eye, like myself, won’t be able to fully understand what Warhol is trying to say in his paintings. It takes a lot more than knowing art and seeing lots of Warhol’s artwork to understand Warhol himself, but that’s the way Warhol wanted it. He wanted to offer his image for public consumption, but deprive the public of anything more.

Works Cited:
Bergin, Paul. "The Artist as Machine." College Art Association. 26.04 (1967): (359-363). Web. 20 Nov. 2011. <http://www.jstor.org.libproxy.lib.unc.edu/stable/pdfplus/775065.pdf?acceptTC=true>.

Nicolas Chaperon Expressions Through Mythology

Ramifications of Detail

Leonardo da Vinic: Expressoins in Paintings

In my past years, art has not been one of my hobbies to study. Today I have come across an interesting article by Kim Veltman about an artist that goes by the name Leonardo da Vinci. He was born in 1452, about 2 years before the printing press was invented. Leonardo da Vinci would travel around with little notebooks that he would keep is artwork in. When it came to his work it was fairly basic and simple but yet he would create wonderful detailed artwork. The work was so detailed that when he wanted to print his work, it was difficult. The author gives off the impression that she in a way glorifies Leonardo da Vinci by his work. Kim believes that without Leonardo da Vinci then the Renaissance would have become of anything.
Kim goes into detail on the little aspects of the great artist. She explains how Leonardo had two little notebooks that he would keep is drawing in when he travelled. One was used to focus on the world of nature, animals, and human beings. The other one was used to pay more attention to focused on the man-made world which consists of machines, fortifications, and inventions. “Although Leonardo is typically called a universal man, it was mainly as an artist that he was known and then mainly in terms of a handful of masterpieces such as Mona Lisa and the Last Supper”( Veltman,3). It is amusing to realize how he is such an artist that he “idealizes scenes”(Veltman,3) in a way that portrays him to be the kind of person that would have loved to use a digital camera as he travelled to the different countries perhaps. The author claims that the influence that Leonardo had one the art culture is how much of the Renaissance developed. The Renaissance was a period of growth in the artistic world. This was a time period where imagination and innovation expanded upon many individuals and expressions where seen through paintings and other forms of similar works of art.
The points that Kim Veltman made about Leonardo da Vinci make me believe that he was an inspiration to the whole art culture. In fact far more is known about his thought and the great range of his mind than of the events and circumstances of his life, especially its early stages. His impact on the Italian Renaissance was crucial enough to impact the world. Her whole article depicts the side of Leonardo da Vinci being a great artist. In the article it also explains how other painters also believe in the impact that Kim has portrayed.

In conclusion, Leonardo da Vinci was a great painter and played a huge role in influencing others to bring new ideas to art. Without da Vinci, the Italian Renaissance may not have become of anything. I assume that Kim Veltman must have been personally influenced by Leonardo’s paintings because of the way she speaks about his work with such grace and honor.

                                                                          

Works Cited

Veltman, Kim H. "Leonardo Da Vinci: A Review." Leonardo 41.4 (2008): 381-388. Academic

Search Premier. Web. 20 Nov. 2011.

Analysis of a Pop Art Painting at Ackland Art Museum

Noli Me Tangere by Gerard Seghers

"The Last Supper" With Leonardo da Vinci.

Andy Warhol's Marilyn Monroe

Analysis of the Painting Styles of Georgia O'Keeffe

Photography as Historical Documentation

    Robin Kelsey’s article “Of Fish, Birds, Cats, Mice, Spiders, Flies, Pigs, and
Chimpanzees: How Chance Casts the Historic Action Photograph into Doubt,” seeks to address why some photographs are acclaimed as pieces of history while others or not.  She suggests that chance discredits some photographs as historical events.  Kelsey centers his study on Joe Rosenthal’s popular image of the soldiers planting the flag on top of Iowa Jima.  The arguments that he uses to suggest that pictures may not be a relevant piece of historical information include several zoological analogies designed to cast doubt upon the accuracy of the portrayal of various acts of history by popular photographs.
    Robin Kelsey first analogy is of a fisherman.  On a fishing expedition, two fisherman hooked two fish at the same time.  They were fishing in Alaska for lingcod and halibut.  One fisherman caught a 82.6 pound lingcod that broke records. The other fisherman caught a 210 pound halicut.  When both men hooked the fish, the other men on the ship focused on the fisherman who had hooked the 210 pound halicut.  This is a large fish but less than half the record size for this particular fish.  It was only after the two fish were brought on deck that the men on the ship recognized the significance of the lingcod’s mass.  Robin Kelsey finds this analogy revelent to Joe Rosenthal’s picture because Rosenthal did not know the significance of the photograph of the flag raising at Iowa Jima.  In fact Rosenthal took several pictures of the flag after it was placed.  These pictures included the soldiers in a celabratory pose underneath the flag with rifles raised triumphantly.  Rosenthal delivered the photographs for development and the developer sent the famous picture of the flag raising to Guam.  By the next morning the photograph had been placed in many major newspapers accross the United States.  When Rosenthal learned of this, he expected that the photograph of the soldiers posing had recieved special attention, not the photograph of the flag raising.  In fact, the photograph of the flag raising was not posed, and Rosenthal hastily took the picture, almost missing the oppurtunity.  Thus, chance has placed the significance on Rosenthal’s ‘lucky catch.’ Rosenthal argues that this act of chance marginalizes the historical importance of many historical action photographs.  He explains that many of the people that have viewed the photograph feel betrayed when they learn that this was the second flag raised at this famous battleground.  One of the general’s suggested that the flag that was placed after the battle was to small.  This larger flag was then placed into the soil, giving Rosenthal his oppurtunity to capture his pullitzer winning photograph.  

The second way that Kelsey uses the fisherman analogy is to determine the significance of a photograph.  She suggests that, unlike a fish, a photograph cannot be quantitately measured for significance.  A fish may be weighed to determine whether it is a record breaking fish.  Each photograph has unique qualities and no set rule for determination of quality.  Kelsey proceeds to analyze the stature and position of the flag, flagpole and the men.  The men are spanned from left to right in the photograph and the flag pole crosses the picture diagonally.  The repetitive body positions of the man and there close proximity to one another suggests unity and teamwork.  The man at the far right is at a larger distance from the men and is standing in a muscular position deliberately placing the end of the flag pole.  Kelsey suggests that this man represents leadership emerging from unity. Kelsey suggests that because of qualitative information that is broadcast through photographs, photographs may not be considered for there historical accuracy.  Kelsey provides a famous picture of Vietnamese children running from a Napalm Strike.  She then reveals a second photograph where the viewpoint has changed to include another still image photographer in the image.  The first image was successful while the second was not.  Kelsey writes that the presence of the photographer in photograph is what ruined the appeal of the photograph to the general public.  While the inclusion of the photographer is historically accurate, it changes the visual appeal.  Kelsey uses this as further proof that chance and success of photographs lower the historical attributes of popular action history photographs.

The second analogy chosen to support Robin Kelsey’s article relates Joe Rosenthal’s photograph to a cuckoo.  A mother cuckoo will lay an egg in the nest of another bird.  When that egg hatches, the baby bird will proceed to roll the other eggs out of the nest.  The mother bird will continue to watch the cuckoo until the cuckoo leaves the nest.  The mother cuckoo arbitrairily picks a nest.  Just as fame for a photograph may arbitrarily pick a photographer.  Kelsey argues that Rosenthal did not intend to capture the much repeated photograph of the flag raising when he opened the shutter.  He merely saw an oppurtunity for a photograph and took it.  The other way that this analogy works is to suggest that the photograph feeds off the information that the viewer infers from the photograph.  Whether accurate or inaccurate, such as the case when viewers of Joe Rosenthal’s picture feel they are examining the first flag raising after the major battle of Iowa Jima.  As a mother bird thinks she is feeding her own child.

Robin Kelsey explains the opposing view point that the significance of a photograph is captured instantly by the eye of an experienced photographer.  The analogy he uses to describe this is a spider tracking a fly or a cat tracking a mouse.  When the predator sees his opportunity he takes it.  Similarly a photographer would see the oppurtunity for an important photograph and capture it.  However, Robin Kelsey discredits this belief because there are no criteria to distinguish a photograph taken at the right moment by a master photographer from a photograph stumbled upon by chance.  He argues that because Rosenthal himself was not aware of the significance of his photograph of the second flag raising, it must be considered blind luck.

Robin Kelsey’s last analogy is to a group of chimps striking keys at random.  He suggests that if a chimp sat at a keyboard long enough he would reproduce a completed work.  He suggests that if someone takes enough pictures they will chance upon a photograph of some significance.  He suggests that this analogy is valid because Rosenthal himself commented on his blind luck in the capture of the famous moment in Iowa Jima.

The most convincing argument in the piece that would discredit historical validity of action historical images is the comparison of the two images in Iowa Jima and the two images of the children fleeing the napalm in Vietnam.  The reasoning behind which photograph made it big and which did not was the staple point of the article.

Vincent Van Gogh: Artistic Genious or Mental?

Known for the eerie beauty in his artwork, nineteenth century artist Vincent Van Gogh is well known for his painting “Starry Night”. While most of us are solely familiar with this piece of Van Gogh’s artwork, others pieces tend to resemble that same sense of espionage with its symbolic textures. Patricia Matthews author of “Aurier and Van Gogh: Criticism and Response”, analyzes Albert Aurier’s analysis of Van Gogh’s artwork. Albert Aurier was a nineteenth century art critic and artist himself who lived during the time period of Van Gogh. In article, Matthews includes many direct quotations that Aurier made regarding Vincent Van Gogh’s artwork and includes several paintings to exemplify these ideas. Overall, it seems most obvious that Albert Aurier considered Van Gogh’s work to be highly symbolical in a twisted yet dazzling way.

    Van Gogh often distorted images of nature such as trees and mountains to convey various symbolic messages. This method of portraying nature in his artwork was fairly consistent throughout many of his paintings and have deep metaphorical implications. Van Gogh considered himself a “highly sensitive” artist and he felt as though he “lost consciousness” when he was painting through his emotions. Van Gogh was a very unconventional artist, thus his work received a great deal of criticism.
    Patricia Matthews spends the majority of this scholarly article talking about the critical remarks that Albert Aurier made regarding Van Gogh’s artwork. For example, in response to Van Gogh’s piece Cypresses, Aurier responds to how the trees are “twisted like battling giants”, and how the bright colors “set fire onto themselves”. Aurier states that these paintings give off a very radiant vibe which is fairly obvious after viewing Van Gogh’s artwork. Aurier stated that it seemed that Van Gogh felt as though nature was its own being and had a mind of its own. While observing this artwork, it is hard to disagree with how Aurier responded to Van Gogh’s artwork. Images of nature truly are distorted to convey a sense of personality within the trees, mountains, clouds, etc.
    Aurier also stated that the one of the main feelings that Van Gogh’s pieces give off is that of ecstasy and exaggeration. Based on viewing the piece Mountains at St. Remy, it is clear that the overall shape and representation of the mountains are very distorted. While some might interpret it as distortion, others, including Aurier interpreted it as overwhelming and fascinating. I myself feel that this painting is quite interesting. It seems as though Van Gogh interpreted the mountains as living and moving beings. Overall, I feel that Aurier’s interpretations of Van Gogh’s work are very convincing. The analysis that he made regarding various paintings are quite accurate seeing that they go beyond what the common viewer would see. In this article, it is obvious that Aurier is a professional art critic and his opinions are even more convincing since he lived during the time that many of these pieces were constructed.
    Throughout this article, we see detailed analysis and opinions that Albert Aurier makes regarding Vincent Van Gogh’s artwork. From this article, it is obvious that Aurier had a general feeling of bedazzlement about Van Gogh’s paintings and that they were all highly symbolic. While it is common to hear criticism of older pieces of art by those studying art today, I feel that since this article represents Van Gogh’s art by someone who lived over a century ago is compelling. It is truly informational to hear a professional art critic’s response to one of the most famous artists known in history to better understand the symbolism of art.

Flag Raising Photograph Comparison

Study of Video Games part 2

This is a Nail Biter.

Students all across the world get nervous at times. The question of why this unconscious decision happens so often still lingers. A study done by Gilly Koritzky and Eldad Yechiam about nail biting (Onychophagia) tries to examine the reasons behind the impulsive habit. The two authors express the idea of using non-removable bands placed around the wrist as well as the ankle. The two factors are used to see whether or not a reminder is needed to stop a habit. Participants were 80 students (51 males and 29 females) who replied to ads spread around campus. Unconscious behavioral decisions made by individuals can be put to an end by using a simple “no”.
          In past studies reminders have been shown to be effective. Doctors use reminders all the time to manage their routine check-ups with patients. This study is generated to evaluate the use of reminders for modifying an “impulsive and maladaptive habit”. Koritzky and Yechiam are mainly focusing on the ability to use reminders to avoid this impulsive behavior that is not regulated and doesn’t contemplate long-term goals. Quick immediate satisfaction is the actual motive. There are two major theories that say reminders should be helpful in the modification of impulsive behavior. “Bandura’s (1989)sociocognitive theory suggests that means of affecting behavior should be regulated by the person’s own agency”(Koritzky,Yechiam, 3). The second theory consists of a weak memory process. This states that not only poor impulse control and related motivational biases but “addiction” is the cause root cause of the problem.
          The participants were, nail biters that had the willingness to quit, randomly chosen to participate in one of two conditions. A portion of these participants were told to where a non-removable vinyl wristband for a period of 6 weeks. The wristbands were created to represent participants’ resolution to stop biting their nails and remind them of it. They were also told to apply a secondary manipulation to keep the individuals from biting their nails. This manipulation made them applied bitter-tasting nail enamel to their nails routinely. Half of these participants applied normal clear enamel to their nails while the other half had colored enamel placed on the nails.
           Within this 6 week period these participants were observed on how many times they normally bit their nails. The first session the average was around 10 times a day. At the Second session the average dropped dramatically to an estimated 2 times a day. Sessions 3 and the end result at the follow up were sitting at the same number of 2.5 times a day. This shows how over a 6 week period of consciously reminding yourself not to continue partaking in a bad behavioral habit that it can be stopped.
           Many college students that have this obsession to bite their nails are able to put an end to if they truly want to. Onychophagia also known as nail biting is a behavior that many college students have and deal with on a day to day basis. As this study shows, participants that have a desire to put an end to something then it can be done.

Starry Night by Vincent Van Gogh

Georgia O'Keeffe

Painting by Georgia O'Keeffe, 1931
Picture By MetMuseum.org

      Iconic feminist artist Georgia O’Keeffe was one of the first female artists to depict simplistic objects, such as flowers and cow skulls, on a much larger scale in comparison to other artist. She is especially known for, not only the condensed yet detailed structure of her paintings, but their larger than life proportions. Although the size of her paintings seem to be grandiose author Sharyn R. Udall seems to think that O’Keeffe, herself, suffered from depression which was a major contributing factor to the success of her artwork. In Udall’s article “Georgia O’Keeffe and Emily Carr: Health, Nature, and Creative Process” she proceeds to inform us of the connection between O’Keeffe, her emotions, and her artwork.
     According to Udall, O’Keeffe suffered from patterns of depression which stemmed from numerous physical illnesses that she developed early on in her life as well as from aliments that her family endured. For example, at the age of eighteen she contracted typhoid, and the disease left her physically exhausted without hair and in low spirits. However, despite these troubling times O’Keeffe tried to maintain an optimistic mantra especially while her mother fought her last battle with tuberculosis. Unfortunately, in spite of her positivity O’Keefe fell victim to her depression only three months after the passing of her mother (Udall 20).
     But these devastating moments often worked in favor for O’Keeffe and her artwork. As she began to mature O’Keeffe recognized that her health and body image directly affected her artistic production this being because her “energies and emotions were intimately intertwined” as Udall describes. At times O’Keeffe seemed to recognize how life’s tensions undermined her art realizing that her mind and body functioned together both in sickness and in health and art seemed to lend itself therapeutically to her. In the year 1928, many of her canvasses seemed dark in coloration; including corn plants, abstractions, as well as a series of lack luster works she called Portrait a Day (Udall 23) which reflected the depression that she felt living the conservative city life.
     In 1929 O’Keeffe had still not adjusted to her metropolitan lifestyle so having to reside in New York her work often mirrored the dismay that she felt. Her paintings frequently evoked many torn, broken, and jagged edges as well as the New York skyline (Udall 24). During this period O’Keeffe was also struggling with the relationship she shared with her husband, artist --- Stieglitz and his growing infatuation for a woman named Dorothy Norman. Knowing that another summer spent with Stieglitz would create further depression and tension for herself she departed for Mexico that same year, which worked in favor of her paintings. During her time spent in Mexico O’Keeffe became physically and emotionally healthier than she had been in years (Udall 24) created some of the most upbeat pieces of art that she ever painted.
     Essentially, the story behind artist Georgia O’Keeffe is that emotions oftentimes were the fueling force behind her paintings. Frequently, the physical ailments that surrounded her contributed to the depression that she experienced but her depression often found escape through the canvas. Having endured many difficult life situations O’Keeffe learned how to maintain a balance between her emotions and her artwork, essentially leading to the success of her artistic career.

Works Cited

Udall, Sharyn R. "Georgia O'Keeffe and Emily Carr: Health, Nature and the Creative Process."Woman's Art Journal 27.1 (2006): 17-25. Wilson Webb. Web. 17 Nov. 2011.

The Most Importanat Meal of the Day! Part II

Video Games v.s. Active Habits

Results of Sleep Study

How Did A Lack of Caffeine Affect Me?

Cardio vs Strength Training - Symptoms of Exercise

Caffeine: Less or more to score?

Sleep More Do More

Exercise Experiment

The Most Important Meal of the Day!

Binge Eating and Body Image

Binge eating disorder is a serious eating disorder in which people frequently consume very large amounts of food. According to the Mayo clinic, people with binge eating disorder keep eating even when they are full, they eat rapidly during binge episodes, feel that their eating behavior is out of control, and frequently eating alone (Staff). Body image is the image a person constructs of how they appear and how they imagine they appear to others. (Thompson, 2004).

Image provided by Axom

http://www.flickr.com/photos/axomina/5783892036/

The Behavior Modification study compared the females who have binge eating disorder and females that do not have binge eating disorder. The study had 15 female participants with severe obesity and a binge eating disorder (OBE) as well as 15 female participants with only obesity (ONB) (Legenbauer, Vocks, Betz, Puigcerver, Benecke, Troje, and Rüddel 160-185). The binge eating disorder group had an average age of 33.8 years and an average weight of 121.1 kg (Legenbauer, Vocks, Betz, Puigcerver, Benecke, Troje, and Rüddel 160-185). For the ONB group, the average age was 40.7 years and the mean weight of the group was 120.2 kg (Legenbauer, Vocks, Betz, Puigcerver, Benecke, Troje, and Rüddel 160-185).

The study used questionnaires to measure body image disturbances and eating behavior. They called the questionnaire Eating Disorder Examination Questionnaire or EDE-Q for short. The EDE-Q measured the relevant characteristics of eating disorders on a 7-point scale (Legenbauer, Vocks, Betz, Puigcerver, Benecke, Troje, and Rüddel 160-185). Answers on the high end of the scale like 5 to 6 were scores reflecting greater severity or frequency of binge eating disorder (Legenbauer, Vocks, Betz, Puigcerver, Benecke, Troje, and Rüddel 160-185). The study also included and visual aspect. The researchers took photographs of the participants in leggings and a tight-fitting T-shirt (Legenbauer, Vocks, Betz, Puigcerver, Benecke, Troje, and Rüddel 160-185). The picture was presented on a computer screen with the following questions: “What do you really look like?”(actual body image), “What do you feel you look like?” (felt body image), and “What would you like to look like?” (Legenbauer, Vocks, Betz, Puigcerver, Benecke, Troje, and Rüddel 160-185). By pressing keys, the participants could adjust the width of their picture, making their body appear thinner or fatter (Legenbauer, Vocks, Betz, Puigcerver, Benecke, Troje, and Rüddel 160-185)

The study found that the group with binge eating disorder (OBE) showed higher body dissatisfaction. Throughout the study the women with OBE reported higher dissatisfaction for all parts of the body (Legenbauer, Vocks, Betz, Puigcerver, Benecke, Troje, and Rüddel 160-185). The photo part of the study revealed no significant differences between OBE and ONB groups in relation to the perception of body dimensions (Legenbauer, Vocks, Betz, Puigcerver, Benecke, Troje, and Rüddel 160-185).

The journal used multiple references for support for of the study. For example, in a recent review by Yanovski (2003) they suggest that binge eating may be an important contributor to obesity (Legenbauer, Vocks, Betz, Puigcerver, Benecke, Troje, and Rüddel 160-185). They also state that binge eating behavior could possibly be an emotion regulation strategy for coping with negative feelings such as frustration and even the depressive symptoms associated with body satisfaction (Legenbauer, Vocks, Betz, Puigcerver, Benecke, Troje, and Rüddel 160-185). According to Bruce and Agras, approximately, 10% of the obese population and 30% of obese participants in weight reduction programs have a binge eating disorder (BED; de Zwaan & Mitchell, 1992; Spitzer et al., 1992, 1993; Striegel-Moore & Franko, 2003).

It’s clear to see from the results of the study that people with binge eating disorder have more problems with body image. If you have poor body image or know someone with poor body image, get them the help they need. There are many counselors and nutritionists available for students at UNC. Those people are here for you. If you don’t know anyone with a eating disorder or poor body image, it’s important to know how eating disorders can affect the people who have them. It’s better to be aware of what they can cause the people going through them because the affects can be physically and psychologically detrimental to one’s life.

Works Cited:

Legenbauer, Tanja, Silja Vocks, Sabrina Betz, María Puigcerver, Andrea Benecke, Nikolaus Troje, and Heinz Rüddel. "Differences in the Nature of Body Image Disturbances Between Female Obese Individuals With Versus Without a Comorbid Binge Eating Disorder: An Exploratory Study Including Static and Dynamic Female Obese Aspects of Body Image." Behavior Modification . (2011): 160-185. Print. <http://bmo.sagepub.com.libproxy.lib.unc.edu/content/35/2/162.full.pdf html>.

(Legenbauer, Vocks, Betz, Puigcerver, Benecke, Troje, and Rüddel 160-185)

Staff, Mayo Clinic. "Mayo Clinic." Binge-Eating Disorder . Mayo Foundation for Medical Education and Research, Aug 2011. Web. 19 Oct 2011. < Mayo Clinic: http://www.mayoclinic.com/health/binge-eating-disorder/DS00608>.

Thompson, J. K. (2004). The (mis)measurement of body image: Ten strategies to
improve assessment for applied and research purposes. Body Image, 1, 7-14.