Arts and Crafts A few weeks ago, I made my first trip to an art gallery, the Tucson Museum of Art, in Tucson, Arizona. I went in ready to take notes with my notepad and pen not knowing what to expect, but hopeful that I could find a few pieces worth writing about. At the entrance, the ladies at the information desk were very helpful in getting me started after I explained my mission. After relieving me of my pen and giving me a pencil, I walked through the gallery. I found many pieces that I really liked, and only very few that I didn’t. Throughout my visit, it became more and more difficult to choose only two pieces that I like and one I do not. Fortunately for me, the day I visited the Museum was the last day of Judy Miller’s exhibit called, Imaginary Dioramas. Miller’s dioramas involve taking pictures of celebrity’s wax figures (normally from Madam Toussad’s Wax Museums), and superimposing the pictures onto an unlikely background. Imaginary Dioramas is about dichotomy. One of my favorite pieces from the exhibit was titled, Outtake #26, Uma. The background of the picture is a serene forest in autumn, showing trees and many leaves on the ground. On the left side of the picture is a close-up of Uma Thurman in her part as The Bride, Beatrix Kiddo, from the movie Kill Bill volume 2, looking more than ready for the director to yell, “Action!”, so she can continue to cut bad guys in half with her sword. On the right side, the director, Quentin Tarantino, is shown making a lens box with his hands, as if to tell her to stop what she’s doing, so that he can continue to prepare the shot. Separating these two figures, in the exact middle of the portrait is a very straight tree that acts as a dividing line between the intensity and violence of Thurman’s character, and quiet patience of Tarantino’s style as a director. Miller also gave an explanation that this is