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[Latrina Mosely]

Annie Laurie has a masters in College Student Personnel Administration with a curriculum emphasis in sustainability, allowing flexibility in her approach to sustainability and wellness in higher education, behavior change programming and enhancing the overall student and employee experiences through holistic programming. She formerly directed the operations of the Ohio University Office of Sustainability where she was able to practice special skills in marketing, engagement/outreach, change management, staff mentoring, research and reporting. She is currently utilizing those skills to encourage increased engagement with Ohio University's employee well-being program and community wellness center through her role as the Associate Director of Healthy OHIO.

Recently, Annie Laurie has expanded her support of the employee well-being efforts by obtaining credentials as a Certified Well-Being Leader through OWLS and a Behavior Change Specialist through ACE.

Additionally, as a Certified Group Fitness Instructor and a remote employee, Annie Laurie instructs live, virtual fitness classes with WellWorks. WellWorks members can catch her Cardio Tone class live on Zoom each week!

After tests, X-rays, breathing treatments, etc. it was determined that my lungs had been compromised from breathing in fumes, dry powered clay, copper, lead, silica, alumina, chemically enhanced fumes and smoke from firings etc. I came home so weak I could hardly speak or do any other physical activity. I am so indebted to my youngest sister who sent me a 3D pen!!!!

It took a while for me to discover how to manipulate and control the pen. Since that first awkward month, I found my way, and started making pottery-inspired shapes!!!I use non toxic plant based plastic filaments and love it!! I sometimes use a bowel or some such form to support the filaments until they can support themselves.. SOME EXAMPLES:

Please enjoy our 3rd Biennial National Juried Fiber Arts Exhibition below. If you are interested in purchasing one of these works of art, please contact our office at 540-586-4235 or in...@bowercenter.org. Each image includes the artist's name, title of the work of art, dimensions and price.

Elsab J. Dixon is past Executive Director of the Danville Museum of Fine Arts and History, has served as agency grant writer and President for the Washington Sculptors Group, Washington DC, currently teaches art at Averett University, and has done nonprofit management workshops through the Duke University Continuing Studies Program. Dixon has a background in Fine Arts and has done independent curatorial work for Riverviews Art Gallery in Lynchburg; Penn State University, PA; George Mason University, VA; and McLean Project for the Arts in McLean VA. She sits on the Advisory Board of the McLean Project for the Arts, the Washington Sculptors Group, as well as the Hillyer Gallery in Washington DC (jurying 18 solo exhibitions for the Hillyer per year). Dixon holds degrees from Averett University (BA) and a Masters from George Mason University in New Medium Studies. She also studied Art History at the Corcoran in DC, as well as the Manhattan College in NYC and took American Art History courses through VCU. She is dedicated to public service and advancing the role of art, history, and education through community engagement.

The 3rd Biennial National Juried Fiber Arts Exhibition at the Bower Center for the Arts, features a new generation of national artists working within the parameters of fiber. This show includes work by thirty artists who speak to contemporary issues of identity, place, gender, power and environment through the use of such diverse fiber techniques as installation, sculpture, quilts and basketry. These fiber-based media communicate personal, ecological and political issues, through a selection of works that can be read as autobiographical and socially critical.

The 3rd Biennial National Juried Exhibition brings together works that are experiential, realistic, fragmentary, sculptural, but fundamentally tactile, prompting the audience on multiple sensory levels to remember.

Martina Fongyen oversees Diversity, Equity, Inclusion and Accessibility (DEIA) client engagement and program delivery with the workforce transformation practice at Cadmus. She supports clients such as the Department of Labor and General Services Administration (GSA), among others. She has spent the past 20 years driving impactful, mission-driven, and inclusive change in diverse industries around the globe. Her extensive change management, strategic communications, and program management experience spans the public, private and nonprofit sectors in international development, education-technology, and social impact.

Before joining Cadmus, Martina was a senior change management and capacity building lead at the U.S. Agency for International Development. In this role, she sat on the Private Sector Engagement Secretariat, supporting leadership and other stakeholders in partnering with the private sector to co-create innovative solutions to tackle pressing development challenges. In the education technology space, Martina served as the change management and client success lead at AccelerEd/University of Maryland Global Campus, where she devised and executed people-driven strategies to lead academic and enterprise change initiatives university-wide.

At age 15, Cadmus left school to attend the National Academy of Design for 6 years.[8] In 1925, at age 20, Cadmus became a member of The Brooklyn Society of Etchers (now known as the Society of American Graphic Artists or SAGA). In their 10th Annual Exhibition held at the Brooklyn Museum he showed three etchings, "Fidelma", "Calogero Scibetta" and "Kramer". He enrolled at the Art Students League of New York in 1928 taking life-drawing lessons while working as a commercial illustrator at a New York advertising agency.[9] He furthered his education while traveling through Europe from 1931 to 1933 with fellow artist Jared French,[8] who became his lover for a time.[10]

After traveling through France and Spain, Cadmus and French settled in a fishing village on the island Majorca. In 1933, they headed back to the United States after running out of money, where Cadmus was one of the first artists to be employed by The New Deal art programs, painting murals at post offices.[9] He maintained a studio at 54 Morton Street.[11]

Cadmus worked in commercial illustration as well, but French, also a tempera artist, convinced him to devote himself completely to fine art.[10][12] In 1979, he was elected into the National Academy of Design as an associate member and became a full member in 1980.

In 1938, his painting Pocahantas Saving the Life of John Smith, a mural painted for the Parcel Post Building in Richmond, Virginia, had to be retouched when some observers noticed a fox pelt suggestively hanging between the legs of an Indian depicted in the painting.[6] Cadmus used his then lover, Jared French, as the model for John Smith in the mural.[3][19]

In 1940, two paintings, Sailors and Floozies (1938) and Seeing the New Year In, were removed from public view because the Navy "didn't like it" and there was "too much smell about it."[20] The paintings were being exhibited at the Golden Gate International Exposition and were removed, while a third, Venus and Adonis, remained. The office of Commissioner George Creel was told by the Navy that the painting, Sailors and Floozies, was "unnecessarily dirty."[20]

Cadmus, considered to be a master draftsman, was interested in the Italian Renaissance artists, particularly Signorelli and Mantegna, the so-called "masters of muscle." He was also influenced by Reginald Marsh, an American scene painter. Cadmus combined the elements of Signorelli and Mantegna along with Marsh to depict the street life of New York City.[6]

He was transfixed by the human body, both the ideal and the repulsive. His ideal was a stylized erotic version of the male body. He found the grotesque everywhere from Greenwich Village cafes, subway stations, the beach at Coney Island to American tourists in an Italian piazza. His art is a form of satire and caricature of his subjects that has been compared to fellow artists George Grosz and Otto Dix.[6] Art critics have been divided on Cadmus' art, with Dore Ashton stating that "he's not a historical figure at all, he's an also-ran." Ashton described his paintings as "skewed Saturday Evening Post." In 1990, Michael Kimmelman wrote that Cadmus' art served "as a reminder that, contrary to the standard view, realism was still a vital tradition in American art during the middle of this century, one that drew from many of the same sources that inspired the Abstract Expressionists who were widely thought to have rendered realism obsolete."[21]

From 1937 until the early 1950s, Cadmus, his lover, Jared French, and French's wife, Margaret French, formed a photographic collective called PaJaMa ("Paul, Jared, and Margaret").[22] During vacations in Saltaire, New York, Fire Island and later Provincetown, Massachusetts and Nantucket, the trio photographed each other on the beach and indoors, donning makeshift costumes and using found objects as props to create scenes of Magic Realism. They passed around Margaret's Leica camera, becoming subjects and makers in turn.[23][24]

From 1944-1949, Cadmus was involved with artist George Tooker, forming a complicated relationship with French and his wife.[28] When the Frenches bought a home in Hartland, Vermont, they gave Cadmus a house of his own on the property, which French later took back and gave to his Italian lover.[4]

In 1965, Cadmus met and began a relationship with Jon (Farquhar) Anderson (July 30, 1937, New Haven, Connecticut - October 21, 2018, Weston, Connecticut).[29][30] The relationship with Anderson, a former Nantucket cabaret singer 32 years younger than Cadmus, lasted until Cadmus' death in 1999.[31] During their 35-year relationship,[31] Anderson was Cadmus' model and muse in many of his works.[14] Cadmus was also close friends with many illustrious artists, authors, and dancers including Christopher Isherwood, W. H. Auden, George Balanchine, George Platt Lynes, Lincoln Kirstein (his brother-in-law), and E. M. Forster,[2] who was said to have read his novel Maurice aloud while Cadmus painted his portrait,[18] which was printed in 1200 copies of a pamphlet The New Disorder[32] in 1949.[33]

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