hello lovely tumblr users, I am here to ask that you take a moment of your time to look at this petition!

The petition describes the situation much better than I can, but some added info from someone who is seeing this happen in real time is that the administration of the college I attend is effectively firing up to 8 interim faculty members as we speak.

For a college this small, that is an unbelievable amount of faculty to lose. The majority of the interim faculty members that are at risk or have already lost their jobs devoted an unprecedented amount of physical and emotional labor towards making the college run during the pandemic, and for many that meant they were signed on for an extra two years than normal in order to help our college stay on its feet.

It is typical for interim (hence the name) faculty to only be with the college for a short time, but due to outstanding circumstances (the pandemic) they have become quite literally pillars of their respective departments, and of those I personally know and work with, the heart and soul of the college.

Losing them would destroy the stability of our school, and our school is making it unusually hard for these faculty members to reapply as either part-time faculty members or full-time core faculty members.

This all comes down to the fact that our administration has stated that they believe the individuals teaching the class do not make a difference in the students quality of education, only the curriculum.

Anyone on here who has had a bad professor, or a really truly good one, knows that is entirely, unequivocally, undeniably, not true.

The administration states that this was a "financial decision" (mind you our college is in the top 10 most expensive colleges in the state) and it is blatantly obvious they want to hire new part-time faculty members simply because it is cheaper to do so.

It may save money to fire the interim faculty now in the short run, but the loss of these faculty members that are now considerably less likely to be rehired will end up costing the college more money in the long run due to the instability caused by this decision.

So, I humbly ask, for the sake of my education and that of hundreds of other wonderful artists, please sign this petition and show our administration that you can't just treat educators like shit and get away with it.

Self Portrait, April 2020

MBTI & Celebs

Brendan Fraser: INFP

“Brendan James Fraser (born December 3, 1968) is a Canadian-American actor.

Having graduated from the Cornish College of the Arts in 1990, he made his film debut in Dogfight (1991). Fraser had his breakthrough in 1992 with the comedy Encino Man and the drama School Ties.

He gained further prominence for his starring role in With Honors (1994) as a Harvard student and George of the Jungle (1997) and emerged a star playing Rick O'Connell in The Mummy trilogy (1999–2008). (…)

Fraser's film career was revitalized by roles in Steven Soderbergh's No Sudden Move (2021) and Darren Aronofsky's The Whale (2022).

His starring role as an obese gay man in the latter earned him the Academy Award for Best Actor, becoming the first Canadian to win this category.”

Sources: video, wiki/Brendan_Fraser. Screencaps: transcript.

The Dream Garden, 1914–15; installed 1916, designed by Maxfield Parrish, constructed by Tiffany Studios (Collection of the Pennsylvania Academy of the Fine Arts. Partial bequest of John W. Merriam; partial purchase with funds provided by a grant from The Pew Charitable Trusts; partial gift of Bryn Maw College, The University of the Arts, and The Trustees of the University of Pennsylvania, 2001.15)

Maxfield Parrish's design was inspired by the real gardens he had built at his summer home in Cornish, New Hampshire. The artist envisioned fantastical spaces where a visitor would chance upon places of tremendous beauty and solitude, improved by careful placement of foliage and flowers, large classical urns, reflecting pools and fountains, walkways and steps.

Betsy Best tells about learning printmaking.

"Before my printmaking studies at Cornish College of the Arts in Seattle, Washington, I earned a degree in Graphic Arts from Ferris State University in Big Rapids, Michigan. In subsequent years I attended a printmaking residency in Japan, studying woodblock printmaking with master craftsmen, with further printmaking studies in Florence, Italy. These opportunities are significant to my art practice. While in Italy I studied under the American printmaker, Karen Kunc, learning an innovative reduction method using two woodblocks."

Wayfaring — Intermezzo (Allos Documents)

Intermezzo is the second album by Wayfaring, a boundary-crossing jazz duo that originally formed in Chicago. The combo emulates the city’s best traditions by simultaneously showing their roots and not sounding much like any other band from Chicago, or anywhere else for that matter. It comprises James Falzone on clarinet, penny whistles and shruti box, and Katie Ernst on double bass and voice. While they were born in different decades, there are strong parallels in their aesthetic and professional pursuits. Both are educators, each has robust experience leading church ensembles, and they are both inclined to combine jazz with elements of classical and folk music. Additionally, they both students of poetry, from which they derive an attunement to spare, concentrated gestures. Since first convening in 2015, Ernst and Falzone have nurtured a partnership that’s survived both the latter’s departure for Seattle, where he is the academic dean at Cornish College of the Arts, and the pandemic.

The titular term, which is also the name of one of Ernst’s compositions, refers to a smaller piece of music situated between larger, related movements. Maybe it’s a humble acknowledgement Wayfaring’s place in each musician’s busy schedule? Or, since intermezzi often perform a connective function, perhaps it’s a way of noting how Wayfaring binds disparate elements into a cohesive musical whole. Falzone and Ernst can cover a lot of ground within a single tune. The inaugural strum of Ernst’s bass on the opening tune, “Bounce,” hints at the blues. But the ensuing string and clarinet figures dip and dart in close formation with chamber elegance and lived-in sense of swing.

The album doesn’t stay in one place emotionally, either. With its jaunty melody and springy rhythm, Jimmy Giuffre’s “Gotta Dance” fully lives up to its name. But “Flow My Tears,” a lament of Elizabethan vintage, plumbs a desolate vein of grief. And Falzone and Ernst know how to extract maximum impact from a good murder ballad; their performance of “Who Put The Blood” imparts a gravity that does full justice to the lyric’s exacting analysis of the web of pain, loss and disruption that can radiate from one violent act. And scattered throughout the record are brief, numbered pieces entitled “Tanka” after the Japanese poetic form, that manifest the compositional minds that guide Wayfaring’s improvisations.

Bill Meyer

JONAS PLOSKY (1940-2011) THE YELLOW YOYO signed l.l.: PLOSKY,

oil on board, Whether in the streets of his own north London, or the industrial-coloured blacks and greys of the Cornish landscape and the English coast, Jonas Plosky's highly appealing and original paintings have a style and subject that are unmistakably his own. Plosky studied at Hornsey College of Art before leaving to become a designer and illustrator.

He exhibited frequently at the Royal Academy and the Royal Society of British Artists and his work can be found in the permanent collections of Glasgow Art Gallery, the National Library of Wales and the University of Portland, Maine, USA.

Olympia Auctions

^Ballet dancer Sylvia Tell and two other dancers 

Cornish College of the Arts

Seattle, Washington, USA, c. 1925 

rayeshistory.com

Raymond Briggs, who has died aged 88, did a great deal to elevate the art of illustration to being something much more than a servant of the written word. Though he was best known for his hugely popular books Father Christmas (1973) and The Snowman (1978), his output also explored themes such as war, politics and the environment through a deeply human, very British lens that often settled on the quiet heroism of ordinary lives.

Briggs may be seen to sit comfortably in the English anecdotal tradition exemplified by Randolph Caldecott in the 19th century and Edward Ardizzone in the 20th, but his often wordless graphic literature built bridges between the picture book and the comic or graphic novel, introducing a new way of reading to the adult publishing market, or at least asking grownups to relearn the business of reading a silent visual sequence.

He started out in 1957 by hawking his portfolio around as a graduate of the Slade School of Fine Art, London, picking up freelance illustration work from newspapers, magazines and design studios. His first book commission came from the editor Mabel George at Oxford University Press, in the form of illustrations to Peter and the Piskies: Cornish Folk and Fairy Tales (1958) by Ruth Manning-Sanders.

George championed the work of a number of artists who were to transform picture-book illustration in the early 1960s, including Brian Wildsmith and Charles Keeping. She sought out printers who were at the cutting edge of developing technology, and who could do justice to the work of these emerging artists. But, as with most illustrators, Briggs’s early working years involved undertaking a range of commissions, drawing anything and everything, starting off with a schematic diagram for House and Garden magazine in 1957 – “how deep to plant your bulbs”.

As various narrative texts came his way, he realised that not all of them were of the highest quality, and took to writing himself. In 1961 he wrote and illustrated two books, Midnight Adventure and The Strange House, for the publishers Hamish Hamilton, with whom he would have a lasting working relationship.

That year, he began teaching illustration part-time at Brighton College of Art (now Brighton University’s faculty of arts) at the invitation of the then head of department, the calligrapher and engraver John R Biggs. He continued to teach for a day a week at Brighton until 1987, and his tuition was much admired and appreciated by generations of artists including the prolific illustrator and Observer political cartoonist Chris Riddell.

In 1963 Briggs had married the painter Jean Taprell Clark. Her death from leukaemia in 1973, and the deaths of his parents, led Briggs to throw himself into his work. A major breakthrough had already come in 1966, with The Mother Goose Treasury, for which he received his first Kate Greenaway medal. Father Christmas brought him a second, and catapulted him to fame. His grumbling, lavatorial and flawed Santa was immensely popular.

As with all Briggs’s subsequent titles, the book is full of autobiographical elements and references. His own childhood home and Loch Fyne holidays appear regularly and he himself pops up in the follow-up, Father Christmas Goes on Holiday (1975).

Briggs can be found standing ahead of Father Christmas in the queue for a shave at the campsite, along with the illustrator John Vernon Lord (sporting his initials on his wash bag). The author’s VW Camper van would make regular appearances too. Fungus the Bogeyman (1977) could also be seen as a character very much close to home, displaying as he does an extreme version of the author’s own tendency to be outspoken and impatient.

At Hamish Hamilton the newly arrived editor Julia MacRae (later to set up her own imprint) played a major role in developing the artist’s career. The illustrator John Lawrence, who was also published by Hamish Hamilton, recalled those days with great fondness: “All the talk was about ‘is the world ready for Fungus the Bogeyman?’ and we all turned up at the launch party in green wellingtons surrounded by buckets of suspicious-looking green liquid, wondering whether it might be the wine.”

The subject of mortality formed a recurrent theme, addressed explicitly in Briggs’s account of his parents’ lives, Ethel & Ernest: A True Story (1998), which was made into an admired full-length animation broadcast at Christmas in 2016, and implicitly in the melting at the end of The Snowman and the disappearance of The Bear in the 1994 book of that name.

But perhaps the most powerful motivation was a hatred of injustice by authority toward the powerless and naively respectful common man. The latter could be seen most directly in When the Wind Blows (1982), Briggs’s examination of an elderly couple’s attempts to follow government guidelines as nuclear war breaks out; and The Tin-Pot General and the Old Iron Woman (1984), a thinly disguised General Leopoldo Galtieri and Margaret Thatcher.

In 1982 he told the Times: “When I did [When the Wind Blows] I was not remotely a CND supporter. I simply thought it was good subject. It is highly depressing and fairly political, and I could not even think who was going to buy it. But I never think of the potential audience when I embark on a book; this was not even done specifically for children.”

Nevertheless, the children of his long-term partner, Liz, provided inspiration and source material for other projects, notably The Puddleman (2004), which grew from a remark made by one of the young children on passing a puddle while the family were out walking in the countryside.

His final book was consciously intended to be just that. Compiled across several of his last years, Time for Lights Out (2019) is a poignant, funny and deeply honest exploration of the experience of ageing and reaching the end of life, in the form of a collage of verse, drawings and random thoughts.

Many of Briggs’s books were successfully adapted for film and other media, Channel 4’s 1982 animated film version of The Snowman, with its familiar theme song Walking in the Air, became a staple of Christmas Day TV. Briggs endorsed a sequel, The Snowman and the Snowdog, broadcast in 2012. Other books were translated for stage and radio, with Briggs taking a keen interest in the overall production.

He was born in Wimbledon, south-west London, to Ethel (nee Bowyer) and Ernest Briggs. Their first meeting is beautifully described in the wordless opening sequence of the book devoted to their story. Ethel, a young parlour maid in a Belgravia house, had been innocently shaking out her duster from an upper window as Ernest passed by on his bicycle and confidently returned what he took to be a friendly wave.

Briggs attended the local Rutlish school and went on to study at Wimbledon School (now College) of Art, the Central School of Arts and Crafts (now Central Saint Martins) and, after a two-year break for national service, the Slade. His father, a milkman, had tried to dissuade his son from studying at art school, fearing that it would not equip him for stable employment.

Briggs’s keen interest in narrative drawing was not welcomed at Wimbledon School of Art, which was rooted in traditional representational painting. He recalled: “I had gone to art school to learn to draw so as to become a cartoonist. But I was soon told that cartooning was an even lower form of life than commercial art.”

Such prejudices, still not entirely eradicated today, were commonplace at art schools of the time. Although he bemoaned his tutors’ failure to recognise a “natural illustrator”, the formal training that he received imbued in Briggs a strong sense of structure and of the importance of good draughtsmanship. These equipped him well in book illustration, although he left the Slade with what he saw as a poor sense of colour and a dislike of paint. When he eventually arrived at the film version of The Snowman, he expressed pleasure at how it so faithfully and painstakingly replicated his coloured-pencil technique, despite the massively labour-intensive approach that this necessitated.

The characteristic that the journalist John Walsh described in a 2012 interview as a very English “strenuous curmudgeonliness” had become in later years a stereotype that Briggs embraced, exemplified by his column in the Oldie, Notes from the Sofa, collected in book form in 2015, where he would rail against sundry incomprehensible aspects of modern life.

But friends knew another side to Briggs – loyal and playful, an inveterate practical joker. Lord once made the mistake of confessing to a dislike of dogs in the presence of Briggs, thereby immediately committing himself to becoming the recipient of all manner of canine-related gifts on subsequent birthdays and Christmases. Like so many of his characters, Briggs’s grumpiness never quite managed to conceal an underlying warmth and kindness. In 2017 he was appointed CBE.

Liz died in 2015. He is survived by her children, Clare and Tom, and grandchildren, Connie, Tilly and Miles.

🔔 Raymond Redvers Briggs, illustrator and author, born 18 January 1934; died 9 August 2022

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

might go up to the cornish arts college booth and insult their ugly building

.ೃ࿐ ( calum hood , cis man , he/him ) a little birdy told me TEDDY CORNISH just moved to sunset hills . have you met them yet ? they look somewhere around TWENTY-FOUR , if i had to guess ! pretty sure i heard them driving down the street playing IT WILL COME BACK by HOZIER , they sounded a little pitchy but they had the spirit ! must be their favorite or something . hey … it looks like they just moved into SUNSET VILLAGE . have you heard about what they do for a living ? someone told me they’re a MARINE BIOLOGY GRAD STUDENT , but who knows if that’s even true . guess we’re just gonna have to wait and see . nervous ? maybe you should be . sunset speaks just posted about them … apparently they’re RESIDENT ID 008? between you and me , i think that might spark some things in the community … but what do i know ! you guys might get along just fine ! ( finn , she/they , 24 , est . )

HI there !! I’m finn (she/they). feel free to hit me up here or on discord

s  t  a  t  i  s  t  i  c  s  

full  name ,  nicknames  :  jude theodore cornish, Teddy

age  ,  dob  ,  zodiac :  twenty-four  , novemeber 1  ,  scorpio

hometown  : las vegas, nevada

gender  ,  pronouns :  cismale  , he / him

orientation  :  bisexual , biromantic

height : 6′1″

relationship status :  single

occupation  :  marine biology grad student

positive traits  :   kind , patient , funny , loyal .

negative traits  :    reluctant , busy , tired , spread thin .

language(s)  spoken  :  english  -  fluent   ,   french  -  fluent

aesthetics  :   sunrise at the beach , homemade lunches , a fridge covered in kid’s art, music always playing, a winter bonfire.

TLDR: Teddy is raising his three sisters, after his mother’s passing. He’s in his first year of grad school and is trying to relearn how to be a young adult and not a parent.

a  b  o  u  t (tw: parental death)

It really all started when Josephine, teddy’s mother, met Jude Cornish in law school. He came from a long line of entertainment lawyers and had what she claimed were “good genes”. Marriage and children came from it with very little love

After Teddy’s birth, his father moved to California due to his inability to handle the pressure of being a father. It took four years before Jude would come back to Vegas, with the two attempting to fix the marriage for their image.

Three more kids and ten years later, it was clear that Jude and Josephine were never going to be the right fit for each other, ending in a messy divorce. He kept partial custody but never visited.

When Teddy was 18, his mother got into a fatal car accident, leaving him and his three sisters. Jude was given full custody of the girls, but Teddy took him to court as he felt he was unfit to have the kids in his life. With the help of his friends (who had Extremely Rich Parents), he was able to get together a legal team that eventually won Teddy full rights.

While this was great, he was then left with a twelve year old, a nine year old, and a six year old. He took two years off from college to be around for his sisters as much as he could before he went on to attempt a pre-law program.

He found himself very stressed and spread thin, leading him to make reckless and poor decisions. It took a lot of help, but eventually he realized that he did not love law and wished to go forward with his passion of Marine Biology. Moving away from the expectations of his mother helped him get back to the right path.

With his sisters permission, the four of them moved to California to allow Teddy to go through grad school. He’s stressed and overworked but grateful all the same.

So yeah. We’re leaving 2022 behind us. Some great adventures. Wonderful experiences. And hard work that legitimately produced great work.

We also said goodbye to some very important people in our lives, though.

So the year was very much a Best of times/Worst of times kind of deal.

Now, I told you about Linzy’s year (plus a little bit of next year), yesterday. Oh — except for finally, finally, finally: Linzy got to walk Cornish College of the Arts graduation at Benaroya Hall. The classes of 2020 & 2021 joined the class of 2022 for a completely deserved act of closure.

Brava!

Our year involved a lot of traveling both professionally and recreationally. On the recreation side, Kimmer’s become quite serious about van conversions, transforming our minivan into a stripped-down version of a campervan, complete with a double bed and kitchen/cooking set-up. We took it on the road in the Olympic Peninsula in July for a marvelous time. 😇

Kimmer’s also big time diagramming, planning, and managing the changes to and construction on our house. All year long. It’s a pretty involved process with a definite eye to the future.

Of course it’s not all recreation for Kimmer. She’s also a full throttle health and mental health care provider. An endeavor that keeps her fully scheduled.

And me? Well, the highlights of my professional career in 2022, aside from my deep dive into all things Real Road Adventures, include editing the mockumentary, "Convergent Belonging" and the horror film, "What Lingers", for the 48-Hour Film Project. We screened both films in Seattle movie theaters with fellow production teams, friends, and family. I had no idea what an addicting, wonderful experience it is to have your work experienced like that. 😊

Family highlights this year include the three of us rockin’ that Pat Benatar / Neil Giraldo concert at the Moore. Hiking to the base of Snoqualmie Falls on Father's Day. All 4 seasons of Stranger Things. Kimmer’s birthday adventure, Linzy’s birthday adventure, and Kimmer ‘n me celebrating thirty years of being married. 😁

Now, as I said before, this was very much a Best of times/Worst of times kind of year.

On the morning of Wednesday, March 16, our friend Susan was taken to the hospital because of dizziness. They did CT scans and discovered she had cancer. This led to further scans, tests, and a number of prognoses by Friday that took her from 3 months life expectancy to 3 weeks life expectancy to one week.

Life expectancy.

Susan left us before any of those prognoses came to pass. She died early early Sunday morning (basically Saturday night) three-and-a-half days after being admitted to the hospital.

Okay.

I’m gonna skip forward ‘cause this was already in the works at the time Susan passed away:

It’s what our family calls "Memorial Quests".

You see, Kimmer's dad passed away last year and we didn’t have the opportunity to celebrate his life in the midst of the pandemic. So Kimmer decided to recreate a trip she took with him to the national parks of southern Utah: Zion, Bryce, Capitol Reef, Canyonlands, and Arches. She packed our bags for a campervan trip, we flew into Salt Lake City, picked up the campervan, and were on our way following in the footsteps of her memories. A unique, incredible, breathtaking adventure that, because it conjured specific memories through camping, hiking, and long-distance road travel, well, it felt like a quest... which is how the term “Memorial Quest” entered our family's vocabulary.

Having done that and, with Susan's death still fresh in our hearts, we decided to do the same for Susan. To travel down Susan's memory lane and indulge what was special to her. In this case, Disney World and Harry Potter. I know, I know, it’s not a very quest-y thing to do... but the point was chasing down memories as well as conjuring new ones wrapped around our friend.

And it worked more profoundly than we could’ve imagined.

One of our early ideas was to spread Susan's ashes in Disney World. Linzy objected to that, however, since it seemed like throwing Susan away. So we thought maybe turn some of those ashes into glass cat figurines to leave at Disney because Susan was thoroughly a cat person. That was gonna be tragically expensive, though. So then I hit on the idea of buying nine PVC plastic cat figurines, three for each of us. We’d leave two of them at different locations in Disney that either meant something to Susan or to our relationships with her. We'd keep the third for the rest of our lives as a reminder of the other two. Which is exactly what we’ve done.

Now, before Linzy joined us in Orlando, Kimmer 'n I indulged a day in Universal Studios because they have a Harry Potter land there called Diagon Alley which is where I left the first of my cats. But. The choice to do anything Harry Potter exposed the fact that we are not fans of Harry Potter, the books or the movie franchise. So Kimmer thought we should watch all eight movies so we’d know what we're looking at. Which is what we did. Making for the best experience in Diagon Alley after which, when we got home, we watched all eight movies a second time. And then a week or so after we finished those... we watched the whole lot again.

Three times we watched those movies.

Allllllll the way through.

Also, inexplicably, many of our belongings now sport stickers from the Harry Potter universe plus I started thinking I wanted a Marauder Map for Christmas. Linzy said of course that makes us Potter Heads. Kimmer misunderstood Linzy to mean that we're Pot Heads.

And me? I just wanted a Marauder Map for Christmas. 😉

By the way...

I got a Marauder Map for Christmas. Huzzah! 😁 😁 😁

In the end… our year was a balancing act of thankfulness and loss. Of course we all know that loss has an easy way of occupying excessive amounts of mental and emotional real estate. However. We are reminded that more of our days are colored in wonder, adventure, fun, love, joy, and friendship. We are aware that the ways in which our lives are shaped by our closest friendships cannot be revoked without our consent even by death.

Even. By death.

And we know how lucky we are for all those (and there are many) who've poured their time and wisdom and love into our lives.

You really can’t put a price on that.

So yeah. We’re leaving 2022 behind us.

Some great adventures. Some wonderful experiences. And a bunch of hard work that legitimately produced great work.

We also said goodbye to some very important people in our lives.

So yeah. The year was very much a Best of times/Worst of times kind of deal.

It is, in that respect, Life with a capital “L”. 

To. its. fullest.

🙂

Newcastle Art Lights Up Downing Street

Celebrating Northeastern Talent in the Heart of Government

In a vibrant celebration of art and culture, Downing Street's famous corridor is now adorned with a collection of nine exquisite artworks from the Laing Art Gallery in Newcastle. These pieces, representing the rich cultural heritage of Newcastle and the wider North East of England, will grace the halls of Number 10, capturing the attention of world leaders, industry bosses, and high-profile guests for the next twelve months.   A Museum in Residence at Number 10 Showcasing Northeastern Art to the World The display is part of the Government Art Collection’s ‘Number 10 Museum in Residence’ project, a yearly collaboration with a UK museum or gallery. This initiative has seen partnerships with renowned institutions such as the Glynn Vivian in Swansea and The Whitworth Art Gallery in Manchester. The Laing Art Gallery, nestled in the heart of Newcastle, offers a unique perspective on the city and its surrounding region through these carefully chosen artworks.   Artworks That Tell a Story Capturing the Essence of Northeastern England The selection includes paintings that vividly depict Newcastle’s cityscape and others reflecting the diverse art scene of the North East. These works, by influential artists linked to the area, showcase the city’s landmarks and landscapes. Highlights include Edward Dickey’s painting of the Tyne Bridge mid-construction and Byron Dawson’s portrayal of the famous traveling fair, The Hoppings.   The Artists Behind the Canvas A Tribute to Local Talent and History These artworks are not just visual treats but also narratives of the artist's connections to the region. The collection features mid-20th-century works by graduates of King’s College (now Newcastle University) and others inspired by the region's natural beauty and urban dynamism.   Ministerial and Curatorial Voices Celebrating Northeastern Heritage at Downing Street Arts and Heritage Minister Lord Parkinson of Whitley Bay conveyed a deep sense of pride in the opportunity to highlight Tyneside's rich cultural and historical tapestry through this unique partnership. His enthusiasm was mirrored by Julie Milne, Chief Curator of Art Galleries at Tyne & Wear Archives & Museums, who also recognized the significance of this collaboration. Milne emphasized the invaluable chance to introduce these captivating works from the Laing Art Gallery to an international audience, thus extending their reach and impact far beyond their usual gallery confines and into the global sphere.   A Diverse Array of Artworks Full List of Featured Pieces The artworks include Norman Cornish's 'Pit Road', capturing a miner's return home, and Louis Grimshaw's 'St Nicholas Street', depicting vibrant Newcastle shops. Arthur Grimshaw's 'The Quayside' and Victor Pasmore's 'Girl with Mirror' are also part of the exhibit, along with other notable pieces.   The Significance of the Exhibition Beyond Aesthetic Appeal This exhibition is more than a display of artistic talent; it’s a testament to the Government Art Collection's commitment to promoting British art and culture. For the Laing Art Gallery, this opportunity allows the gallery to share its treasures with a broader audience, enhancing Newcastle’s presence on the national stage.   The Artworks’ Journey to Downing Street Careful Selection for a Prestigious Display This thoughtful curation process, prioritizing artworks not currently active in the lending gallery's program, opens the door for these pieces to captivate and inspire new audiences within the esteemed corridors of Downing Street. This innovative initiative transforms the traditional gallery setting of the Laing Art Gallery, propelling these artworks onto a national and international stage. It's a unique opportunity for art to gain wider recognition, allowing a broader audience to appreciate the cultural richness and artistic talent that the North East of England has to offer.   A Broader Perspective The Government Art Collection and the Laing Art Gallery In its role as a vital instrument for cultural diplomacy since 1899, the Government Art Collection has been instrumental in showcasing British art globally, within government buildings, and beyond. This effort serves not only as a display of artistic prowess but also as a bridge between cultures and nations. Similarly, the Laing Art Gallery, under the stewardship of Tyne & Wear Archives & Museums, stands out as a beacon of artistic excellence. It proudly holds an internationally recognized collection, hosting an array of historic and contemporary art exhibitions that reflect the rich tapestry of British art and culture.   Wrapping Up A Cultural Bridge Between Newcastle and Downing Street This exhibition not only beautifies a historical corridor but also bridges the gap between the bustling artistic scene of Newcastle and the political epicenter of the UK. It’s a celebration of regional talent and a reminder of the unifying power of art in diverse settings.   Sources: THX News, Department for Culture, Media and Sport & Lord Parkinson of Whitley Bay. Read the full article

Welcome to Seattle, Presley Shepherd!! Please send your blog in or contact the main within 48hrs!

** Please do not start interactions until your account is sent in and your follow is posted!! Once your follow is posted your characters’ info will be added to the main, and after that point you are free to interact!

OOC Information -

Name: Nic

Age: 28

Preferred Pronouns: She/Her

Timezone: EST

IC Information -

Character Name: Presley Madison Shepherd

Age: 23

Pronouns: She/Her

Occupation: College Student/Waitress

Parents: Amelia Shepherd

FaceClaim: Victoria Pedretti

Birthday: January 1st

Required for all child applications -

Presley was not a planned pregnancy. Given her mother’s past, it’s understandable that the woman wouldn’t have wanted to tempt fate. However, when Amelia had found out that she was pregnant, something within her had whispered that she should keep the baby. That not everything would turn out horribly wrong. And that voice was mostly right. The pregnancy had gone smoothly and there had been nothing in any prenatal appointments that had pointed to any sort of issue or reason to be concerned. And then had come the labor and delivery when things had gone a little sideways. The umbilical cord had become wrapped around Presley’s neck leading to an emergency c-section and a lot of lost blood for her mother. But by the end of that, a healthy mom and a healthy baby had made their way home. Presley was a bright, excitable, easily entertained child. One who experienced none of the trauma and horrors that her mother had when she was younger. She grew up loved and cherished, with her interests being respected and acknowledged. She was always given opportunities to flourish and when she ended up falling short, she wasn’t berated but was rather given new chances to grow. She found a place in the dramatic arts, beginning in a kindergarten play when she had the role of a lamb all the way through to her college years when she was cast as the female lead in the musical productions taking place. It was through the stage that she felt as though she found her calling; even if she didn’t have the state of mind to aim for Broadway. Currently attending the Cornish College of the Arts, Presley hopes to eventually teach Drama to instill a love of performing in others the way it had grown for her.

Betsy Best tells about learning printmaking.

"Before my printmaking studies at Cornish College of the Arts in Seattle, Washington, I earned a degree in Graphic Arts from Ferris State University in Big Rapids, Michigan. In subsequent years I attended a printmaking residency in Japan, studying woodblock printmaking with master craftsmen, with further printmaking studies in Florence, Italy. These opportunities are significant to my art practice. While in Italy I studied under the American printmaker, Karen Kunc, learning an innovative reduction method using two woodblocks."

JONAS PLOSKY (1940-2011)

THE YELLOW YOYO signed l.l.: PLOSKY,

oil on board

Whether in the streets of his own north London, or the industrial-coloured blacks and greys of the Cornish landscape and the English coast, Jonas Plosky's highly appealing and original paintings have a style and subject that are unmistakably his own. Plosky studied at Hornsey College of Art before leaving to become a designer and illustrator.

Olympia Auctions