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hormone [GH]. The treatments have been successful in many cases, adding to patients’ later height as adults. Until recently GH has been scarce, extracted from the pea-sized pituitary glands of cadavers. Now, however, Genentech, Inc. can manufacture it with recombinant DNA techniques, so there’s “plenty.” The treatments do cost $15,000 a year, of course, and usually they have to be administered for five years to make a difference, but GH is available.“We don’t know what to do,” the physician went on

threatened by other artists. You will always gain more by giving support than if you try to stand on your own. My second biggest challenge has just been finding creative ways to educate myself. Since I don’t have a fine arts degree, when I started I had to teach myself everything from techniques to how to use Photoshop. It was very intimidating. Over the years, I’ve made it a priority to always keep learning something. I read blog posts, watch YouTube videos, buy books and even ask other artists how they

, México, and examined indigenous responses to oppression and the resulting grassroots movements that spurred homegrown solutions to endemic problems. Next she traveled to Northern Ireland to study the Troubles, the peace process, grassroots organizing and dialogue with Feller and Kelleher. She received certification in dialogue techniques from the Junction as part of its Toward Understanding and Healing program. As a junior she worked as a student facilitator on an event that brought together PLU

Warhol’s 1984 screenprint tribute The Scream (after Munch). Munch was a master printmaker, advancing new techniques and mastering all aspects of his craft. TAM has highlighted the Northwest’s passion for printmaking in numerous exhibitions (recall 2014’s positively-received Ink This!), and the Munch exhibition continues the museum’s interest in exploring the artistry of printwork. By his own estimations, the prolific Munch created some 30,000 impressions of his prints. This exhibition reflects the vast

have known PLU for a long time, we don’t need a primer on what it is and what it stands for. But many people do and we must provide it. Positioned for the Future As everyone here knows, PLU doesn’t exist in a vacuum, and the challenges we face as an institution are varied and potentially daunting. The cost of higher education keeps rising, the general economy remains fragile, public support for higher education is declining, and other countries are matching or exceeding us in many measures of

which Andrews has been actively involved. Upon completion of a series of illustrations for this project, Stasinos and Andrews discussed this unique collaboration of art and archeology. Q: Professor Stasinos, tell me a little bit about your art background and how you and Professor Andrews got connected with each other. Stasinos: I graduated from the New York Academy of the Figure of Art. I was interested in the figure and learning about historical and traditional painting techniques. I was there more

just doing that,” Nargesi continues. “We’re not training people to go be successful workers. We are trying to raise a generation of business people that care, who see the big picture and who are able to be problem solvers at an integrated level. Not just workers who repeat quantitative techniques.”That perspective rings true to business and sociology double major Allisa Ouanesisouk ’21. “My classes had the perfect balance of learning about how businesses are run and how to make the most ethical

Tobago for a semester which was life changing. Recently I’ve enjoyed being able to work more at the Elliott Press. Overall, I’ve met great people, taken many fascinating classes, and tried to make the most of my time here. What’s next? I’m wandering off into the great unknown, looking for a career. At this point I’m excited about the prospect of many future adventures, whether they be in Seattle or in a location with more sun and warmer temperatures. I feel confident in my ability to go out in the

how, the why. Through my personal explorations in my work I balance between what can draw on certain emotions, versus what can be used to express them more blatantly, as well as how a piece may interact in its created environment. How can I catch that brief flicker of something that may not be there in another moment? And how can it be shared? Outside of the six universal emotions, what are the techniques I can use to express even more of them? Where do art and emotion meet? Where do they differ