#In the main room there’s a cork board with all our theories on it

[inkandpaintsnowleopard]

SM Tumblr but we all live in a mansion together

[dashielldeveron]

just finished reading the izuku chapter for the second time and im so fucking blown away. your izuku makes me crazy hes so deranged i love it, it makes me feel like my freak is being matched with hoe insane i was trying to figure out who the secret character was lmao.

your izuku has ruined all others for me permanently because where else am i supposed to find a guy who’s as insane and determined and sexy as he is?? where am i going to read about a guy wanting me so much he died because rejected him? and he’s sososo caring + insane. the ask where you replied about him mumbling about all of the erogenous zones. so true and it killled meeee. i love that crazy man so much. not only do i his characterization just in general i also think it’s incredibly accurate interpretation of what izuku would be like in that situation and that’s what kills me the most. i love how (and this is not only talking about current route but all previous ones as well) in character and sexy he is. like he’s doing something in character sexy. like yes he would do all that weird shit and i love him for it. it’s infinitely important to me lmao. i don’t think i really articulated that well but i’m hoping my neurons are reaching your neurons and you know what i mean.

(also very much liked katsuki in this fic because he was also exhibiting 10/10 freak behavior, kissing opened mouth when my soulmate is in the room and the glimpse of our life with him was him having mc sit on his face like a chair? it’s very fun to revisit him in this route considering he was first written if you ever do vignettes [want to make it super clear that I don’t want it to come off like I’m pressuring you to write them, it’s just something I like to think about because this ff has a hold on my soul lmaooooo but that goes for anything you’d want to write ever] it’ll be so exciting to see him again as i love freaks)

world building 10/10, plot line 10/10, my favourite deranged guy 10/10. literally such a perfect last route in so many ways. you are so infinitely talented and your fan fiction has killed me. i am fatally excited for your next fic the way you write resonates with me that anything and everything ive ever read pales in comparison. i hope you enjoy the irreversible damage you’ve done to my psyche forever lmao wear it like a gold star + if you ever publish my old original crack shit theory post in your asks I’d laugh so hard. i was so crazy i asked one of my friends who reads your work their thoughts on my theory and to try point out out if there was anything I misremembered or missed LMAOO

-cork board anon

"my freak was matched with hoe insane" i want this embroidered on a pillow (even though i think it may have been a typo??? bc i think izuku is acting hoe insane). and trust your neurons are reaching mine; i get what you mean, and you're being very sweet about it!!! yeah since i haven't had to attach thoughts of izuku to a plot anymore, thinking about his levels of sexy determination just make my brain pitter out. i Need him.

and i'm soooooo pleased you think he's in character, and all, because i Worry, of course. he's hard to write!!! we don't get a lot of detail about his personality in canon, really, even though he's the main character!!!! i spruced up one of his most attractive canonical traits, which is that he Pays Attention........and apparently, i am REALLY into men who pay attention, bc i also made shinsou and aizawa very much Attention Payers when it comes to reader.......i think it may have helped to have defined their paying attention skills in different ways, and they're all sexy for it: 1) aizawa pays attention to reader so that he can keep her safe by controlling the overall situation they're in. so that she feels safe enough to come to him. 2) shinsou pays attention to reader so that she's so, so comfortable and so that he can take care of her in the ways she likes. so that he can give her what she's always wanted but never voiced. so that she's never nervous when he's around. 3) izuku pays attention to reader so he knows how to fuckin' drive her insane. so that he can infuriate her sexually enough that she cracks. god i love fictional men

KATSUKI KLADS;FJ;JSDFJKL; he was put in an opportunity, and he indulged lolololol. yeah it's so gutsy of him to open-mouth kiss reader while izuku is RIGHT THERE, freshly interrupted from talking about reader and soulmate stuff when she barged in. MEN. and don't worry; i don't feel pressured!!! i'm slowly working on the vignette ideas, and in the meantime, i'm almost done with the first chapter of my next project!!! but just because the art moves on does not mean we have to move on emotionally!!!! i think i have unfortunately written a version of bnha's end game that i like very much--particularly bc tenko/touya/toga get happy endings--so i'll always be down to discuss this fic!!!!

also lololol i'm about to publish your older asks; they deserve to be Seen and Perceived--they're pretty clever about the whole thing!!!! and thaaaaaaaaaaank you so much for being so kind about all of this!!!!! your asks really do make me smile so hard :) xx.

[scotianostra]

November 18th 1870 saw what has become known as the Surgeons' Hall Riot.

This is a follow on from last weeks post regarding Sophia Jex-Blake and her friend Edith Pechey, the first to female students to be admitted to study at The University of Edinburgh.

I'd just like to get another wee story out of the way before I get on to the main one, strictly speaking these were not the first women to study medicine, the first was called Margaret Ann Bulkley- but she has a remarkable story, the University and the medical fraternity knew Miss Bulkley as a man called James Barry. Born in Cork, Ireland Barry's entire adult life was lived as a man, Barry was named Margaret Ann Bulkley at birth and was known as female in childhood. Barry lived as a man in both public and private life, at least in part in order to be accepted as a university student and pursue a career as a surgeon, with Barry's birth sex only becoming known to the public and to military colleagues after death through autopsy.

Barry had risen to the rank of Inspector General in the British army the second highest medical office, she not only improved conditions for wounded soldiers, but also the conditions of the native inhabitants, and performed the first recorded cesarean section in Africa. Her birth sex only become known to the public and to military colleagues after death through autopsy, she lived as a man for over 6 decades. I will post a link afterwards about her/hm.

Back to Jex-Blake and Pechey.  After these two made history by being accepted their numbers were added to over the year, Isabel Thorne, Matilda Chaplin, Helen Evans, Mary Anderson, and Emily Bovell joined them, they are now known as The Edinburgh Seven.

From the time the first two women matriculated they had been facing consistent opposition. They had people shouting at them in the streets, had to arrange to attend different lectures at the extra-mural medical college and in October 1870 they were denied permission to ‘walk the wards’ of the Infirmary. This was a decision apparently made to protect them, because the sights and illnesses in the hospital made it a place that would be too much for a faint-hearted woman to bear. The Edinburgh Seven had faced opposition every step of the way but it all culminated in the Surgeons’ Hall Riot, which would later be remembered as a turning point not just for their case but for women’s education as a whole. It all started when they were making their way to Surgeons Hall for their anatomy exam.

When the women were approaching Surgeon’s Hall they were met with a crowd of several hundred people – the majority of which were onlookers – that was big enough to stop traffic for an hour. Their male peers, several of whom were drunk and holding whisky bottles, were gathered outside shouting verbal abuse at them, throwing rubbish at them and blocking their entrance. When they were eventually ushered in by janitors and sympathetic peers they were able to get to the exam hall. However the exam was once again disrupted by the students releasing the Royal College’s pet sheep at the time ‘Poor’ Mallie into the room. After the exam the women were escorted home by a group of sympathetic Irish students who were given the name the ‘Irish Brigade’. By this point they were already covered in mud but they were also hostilely met by more screaming and mud throwing as they left the building. Not only did the women have to endure the riot itself but in January 1871 Sophia Jex-Blake had to go to court to defend herself in a defamation case filed by Mr Craig – the student she identified as being the leader of the riot. A student who interestingly was Professor Robert Christison’s classroom assistant, who was a known opponent of the Edinburgh Seven and this supported the theory that some members of faculty were in support of the riot. Mr Craig won the trial, but he was only awarded one farthing of the thousand he initially requested. This resulted in the trial being considered a silent victory for the women, the kind of covert support which was still so rare at the time. The Surgeons’ Hall Riot was an appalling event but its shocking nature was exactly what made it such an instrumental point in the women’s fight for change. The riot gained a lot of media coverage, and a particularly notable article was that written in The Scotsman which urged “all…men…to come forward and express… their detestation of the proceedings which have characterised and dishonoured the opposition to ladies pursuing the study of medicine in Edinburgh.” Although the event was a mere culmination of the abuse and opposition they had been facing for over a year, it was able to showcase the magnitude of injustice these women were facing.In 2015 a plaque to commemorate the Edinburgh Seven as part of the Historic Scotland Scheme – and under the recommendation of one of our tutors, Jo Spiller – was put up outside Surgeons’ Hall on Nicholson Street. The plaque hangs where the Edinburgh Seven where once thrown with mud and prevented from entering an anatomy exam, and where now hundreds of female medical students walk on their way to their classes. Even though the women made it through their three year course the law disallowed them from graduating or becoming doctors. 

Some of you are no doubt interested in what became of The Edinburgh Seven:

Sophia Jex-Blake had a bitter struggle, which divided the faculty and ended with her suing the University unsuccessfully in the Court of Session, she moved to Berne to qualify.

In 1889, however, largely as a result of her struggles, an Act of Parliament sanctioned degrees for women. She was one of the first female doctors in the UK. A leading campaigner for medical education for women, she was later involved in founding two medical schools for women: one in London (at a time when no other medical schools were training women) and one in Edinburgh, where she also started a women's hospital.

Edith Pechey proved her academic ability by achieving the top grade in the Chemistry exam in her first year of study, the women's abilities meant nothing, In 1873 the women had to give up the struggle to graduate at Edinburgh. One of Edith's next steps was writing to the College of Physicians in Ireland to ask them to let her take exams leading to a license in midwifery. Edith worked for a time at the Birmingham and Midland Hospital for Women then she went to the University of Bern, passed her medical exams in German at the end of January 1877 and was awarded an MD with a thesis 'Upon the constitutional causes of uterine catarrh'. Just at that time the Irish college decided to licence women doctors, and Edith passed their exams in Dublin in May

.During the next six years Edith practised medicine in Leeds, involving herself in women's health education and lecturing on a number of medical topics, including nursing. Partly in reaction to the exclusion of women by the International Medical Congress she set up the Medical Women's Federation of England and in 1882 was elected president.

Edith then spent more than 20 years in India as a senior doctor at a women's hospital and was involved in a range of social causes, following which she and her husband returned to England in 1905 and she was soon involved in the suffrage movement.

Isobel Thorne won first prize in an anatomy examination and was one of the women who re-grouped at the London School of Medicine for Women. Her diplomatic temperament meant she was a more acceptable honorary secretary on the executive (although she never actually qualified in medicine) than Sophia Jex-Blake whose nomination had threatened to stir up controversy. Thorne gave up her own ambition to be a doctor in order to commit herself to helping the school run smoothly; to become more solidly established.

An exemplary Victorian Thorne's dedication to duty and service was a precursor for the more violent campaigns of the suffragettes to achieve full enfranchisement for women.

Isabel travelled through China during the Talping Rebellion.  She became convinced of the need for women to have female doctors for themselves and their children, especially women ln China and India.   When the family returned to England in 1868 she started midwifery training at the Ladies Medical College, London, later describing the teaching there as inadequate.

Matilda Chaplin gained high honours in anatomy and surgery at the extramural examinations held in 1870 and 1871 at Surgeon's Hall, before a judgment in 1872 finally prohibited women students.

She also studied medicine in London and Paris and during her studies Matilda maintained connection with Edinburgh, attending some of the classes open to her there.

In 1873 Matilda obtained a certificate in midwifery from the London Obstetrics Society, the only medical qualification then obtainable by women in England, and shortly afterwards She then travelled to Japan with her husband, where she opened a school for midwives and was an author of anthropological studies. In 1879 Matilda gained the degree of M.D. at Paris, and presented as her thesis the result of her Japanese studies. She then became a licentiate of the King and Queen's College of Physicians in Ireland, and, although the only female candidate, came out first in the examination. In 1880 she lived in London, chiefly studying diseases of the eye at the Royal Free Hospital.

Helen Evan got married and did not complete her studies but her link with Edinburgh continued and she remained friends with Sophia Jex-Blake. Helen was active in promoting the care of women by women doctors. She also took a keen interest in education being "one of the first lady members of St. Andrews School Board, a position she held for 15 years". In addition to this she was a member of the council for St Leonards School for girls (now co-ed).

in 1876 her husband Alexander died suddenly from a heart attack leaving her with three children and she was unable to return to study.

When Sophia Jex-Blake began the process of founding another medical school for women in Edinburgh, Helen, with others, formed an executive committee to find suitable premises.

In 1900 and 1901 along with Miss Du Pre, Helen was a vice president of the committee of the Edinburgh Hospital and Dispensary for Women and Children, the hospital in Whitehouse Loan and the dispensary in Torphichen Place.

Mary Anderson in 1879 she received her medical doctorate from the Faculté de médecine de Paris, where she wrote her thesis on mitral stenosis and its higher frequency in women than in men. She became a senior physician at the New Hospital for Women, Marylebone. That's about all I could find on her.

Emily Bovell moved to Paris to continue her studies, when it was no longer possible to continue at Edinburgh, and eventually qualified as a doctor in Paris in 1877. The subject of her medical thesis was "Congestive Phenomena following Epileptic and Hystero-epilectic Fits"

She and her husband (physician William Allen Sturge) set up practice together in Wimpole Street, London,  and Emily renewed her relationship with Queen's College, lecturing on physiology and hygiene, and running ambulance classes for ladies.

In recognition of her contribution to the medical profession, in 1880 Emily was nominated by the French Government for the "Officier d'Academie", an award very rarely conferred upon women.

The University of Edinburgh tried to right the wrongs of the past by awarding a posthumous MBChB on Saturday 6th July last year (2019). Seven present day women students accepted the degrees in their honour, as seen in the publicity pic. More on that here https://www.ed.ac.uk/edit-magazine/supplements/representing-the-edinburgh-seven

And you can read about James Barry/Margaret Ann Bulkley below. https://hekint.org/2020/04/03/a-surgeon-and-a-gentleman-the-life-of-james-barry/

[sarah-h-mcdermott-syllabi]

INTRO TO BOOK ARTS: COURSE SYLLABUS

The University of North Florida Department of Art and Design Art 3930 CRN: 12660 Location: Building 45, Room 1603 Spring 2017 Tues/Thurs, 6:00pm-8:45pm

Instructor: Sarah McDermott Office Hours: Mondays 3-5:30, Fridays 2:00-4:30pm Office: Building 45, 2707 Email: s.mcdermott@unf.edu

Course Description: In this course you will be introduced to the materials, concepts and processes of making artist's books by hand. While you will be learning a great many new techniques and approaches, you will also be integrating printmaking techniques that you already have experience with (namely: screenprint, litho, transfers, relief), combining structure and content.

For the first part of the course you will be working primarily on book structures, with the main emphasis on craft, while we simultaneously read about and look at artist's books. In the second part of the class you will be working to integrate printmaking with book structure to make original artist's books, primarily in one mid semester project and one final project. The focus for content in this course will be on image making, however we will also touch on integrating text.

We will start by reaching into the history of the book and of the artist's book, and will discuss throughout the course some of the emerging theory related to this relatively new art form. Two visiting artists and a field trip to the University of Florida Special Collections will widen our knowledge of artist's books and provide inspiration.

Course Requirements:

You are expected to fully participate in the life of this class as a group endeavor. That means: regular attendance, completion of projects and assignments on time, participation in class discussions and critiques, full attention to demos and a sense of studio etiquette.

Showing up and trying hard are a big part of this class. Your grade will be determined by: 1) Participation 2) Assignments

You will receive a participation grade for every class, out of 5 points, which includes: Preparation for class, focus during class, and promptness. Being late to class will drop your participation grade for the day by 2 points. Use of cell phones during class, anytime other than individual work time, will cause your participation grade to drop.

You are expected to work at least 6 hours a week outside of class time. You will be required to make more than one copy of each structure- repetition is an important part of building skill.

Please be prepared to avail yourself of open studio hours. Working on your book arts structures and projects outside of class time is essential to success in this course! Open studio hours this semester are: Monday         3pm-midnight Tuesday        9pm-midnight Wednesday   3pm-midnight Thursday       9pm-midnight Friday 2pm-6pm Saturday check Print Guild Facebook page Sunday check Print Guild Facebook page

Leading up to midterm and final projects we will have pre-scheduled one-on-one meetings during class to discuss your ideas and progress in the course.

Attendance Policy: Due to the complex, technical nature of book arts and printmaking, attendance is essential for this class and will affect your grade. Your overall grade will drop one letter for every three classes you miss. I do not distinguish between excused and unexcused absences, except in rare, documented emergency situations. Being absent also means a zero participation grade for the day. You are expected to stay for the duration of class, including work days, as working in proximity to your peers, seeing what they are working on, and being able to bounce ideas off of others are all useful things. Arriving more than 30 minutes late or leaving more than 30 minutes early will result in you being counted as absent for the day. Please note that I do not redo demos. If you miss a demo it is your responsibility to ask your fellow students for assistance in catching you up.  

Assignments: The class assignments will be divided between book structures (building your craft skills primarily) two long term projects (your art work in the class), and a few other assignments (see below):

Point values:

Book structures: Pamphlet variations: 50 points Long-stitch: 50 points Accordions: 50 points Ethiopian coptic: 50 points and/or Case binding: 50 points Project 1: 70 points Project 2: 70 points Reading assignments: 50 points UF Book analysis: 30 points

Total assignment points: 470 Studio Etiquette: 20 points Participation: 145 (5 points per class) Total: 635

At the end of the semester I will add up all your points and divide by the total possible. This will give a percentage that will then be converted into a letter grade (factoring in any absences).

Grading criteria: Book structures will be graded for structural soundness as well as design sensibility (choice of materials, use of materials, etc) Your two individual artist's books projects will be graded based on technical (craftsmanship), formal (composition, design, impact) and conceptual (the ideas behind your work and how you communicate them) components. You may also get extra points based on adventurousness, boundary pushing, dramatic improvement from your previous work, overall aesthetic excellence.  

Late work will be marked down 5 points per class period (about one letter grade down).

Cell phone policy: Cellphones may be used in the classroom in a courteous and non-disruptive manner. During class work time you may use your cell phone and the internet to assist with your work. During announcements, demos, critiques and discussions – you may not use your cell phone. If you use your cell phone during these times you will get a zero participation grade for the day. Continued disrespectful cell phone use may result in me asking you to leave class and you will be marked absent for the day.  

Extra credit: I have a list of recommended articles about artist's books, beyond the ones you will be reading in class. You can borrow a book from me, xerox the article and write a response (TBD) for a possible 15 points if you would like to bring your grade up.

Shop Safety and Cleanliness: You will be working in a shared studio. It is important that you respect the equipment and others working in the studio. Always allow enough time for thorough clean up. This includes: no tiny scraps of paper anywhere, no ink anywhere, all tools put away, all trash/recycling disposed of, and your work safely in your drawer. Failure to clean up after yourself can result in a loss of shop privileges and will affect the "Studio Etiquette" portion of your grade. If you ever have a question about proper usage of studio equipment, do not hesitate to ask me, a monitor or other instructor before using.

A Note on Collaboration: Printmaking and the book arts are inherently collaborative media. Having your peers assist you as you pull a print through the press, getting their opinions on aesthetic choices (mixing colors, etc.) and/or getting technical advice is all acceptable collaboration. Unless you have proposed a collaborative project and received approval from the instructor, all projects in this class are individual student projects. This means each individual student does their own binding, pulls their own prints, draws their own sketches, makes their own matrices, etc.

Supplies: The UNF printmaking program provides paper for use in book structure assignments, as well as consumables used in binding (glue, paste, thread, etc).

You will need to plan on buying materials for your individual projects in consultation with me.

You will need to buy the following tools/supplies right away, before the second week of class: (all should be available at both Ponta Vedra Arts and Crafts and Reddi-Arts). Reddi- Arts also has a kit if you would like to buy everything at once: http://www.reddiarts.com/art-kits/mcdermott-book-arts

Bone folder Olfa knife (with snap-off blades) Small cutting mat (recommended) Awl Needles Glue brush Newsprint pad 50 sheets 18 x 24 (for common stock) A good metal ruler if you don't have one already (flat to the table, not cork backed) Folder or 3 ring binder to keep your handouts. Glue brush

You will also need to plan on buying Canson Mi-Teintes paper, binder's board and book cloth (we will discuss this further in class) by around the second month of class.

Readings:

Some or all of the following short readings will be required in the course (I will get the readings to you either xeroxed or on Canvas):

Johanna Drucker: The Artist's Book as Idea and Form Clive Phillpot: Some Contemporary Artists and Their Books Drucker: Artist's Books and the Early 20th Century Avant-garde Mary Tasillo: Context is King: The Democratic Multiple in a Digital Age Keith Smith: Picture Relationships and Movement Ellen Lupton handouts / Simon Morley

Further recommended reading: Joan Lyons ed.- Artist's Books: A Visual Anthology and Sourcebook Keith Smith- Structure of the Visual Book Betty Bright- No Longer Innocent: Book Art in America 1960-1980 Lark Books- 500 Handmade Books, vols 1 and 2 Johanna Drucker- The Century of Artist's Books Ellen Lupton- Thinking With Type

Journals: JAB (Journal of Artist's Books) The Blue Notebook The Bonefolder (archives) The Guild of Bookworkers Journal

Schedule:

WEEK ONE: 1/10: Go over syllabus, A brief history of the book and artist's books. 1/12: Visiting Artist: Allison Milham- Great Basin Press assignment: read Johanna Drucker: The Artist's Book as Idea and Form, buy supplies

WEEK TWO: Paste paper and pamphlet variations 1/17: Paste paper and demo. The basics. 1/19: Demo and work time

WEEK THREE: Long stitch 1/24: Pamphlets due. Long stitch demo. 1/26: Demo and work time. Assignment: read Clive Phillpot: Some Contemporary Artists and Their Books

WEEK FOUR: 1/31: Discuss reading, workday. 2/2:  Long stitch due. Demo accordions- folding.

WEEK FIVE: Accordions 2/7: Trip to University of Florida Special Collections, Ellen Knudson (Crooked Letter Press), 6-10pm.       Assignment: book analysis. 2/9: Demo- Covering boards, Non-adhesive covers. Assignment: read Mary Tasillo: Context is King.

WEEK SIX: 2/14: Work day. Discuss book analysis. 2/15: Mike Taylor visiting artist in screenprint, relevant to this class, zine and book maker in addition to printmaker. 2/16: Accordions due. Intro Project 1: Intermediate Object: Cards, Folded forms, Chapbooks, Zines Assignment: Reading: Keith Smith  

WEEK SEVEN: 2/21: Look at books, talk about sequence. Project planning. 2/23: Workday, mockups, individual meetings

WEEK EIGHT: 2/28: Work day, production 3/2: Work day, production

WEEK NINE: 3/7: Project 1 due 3/9: Demo: Coptic/Case

WEEK TEN: Coptic or Case binding (depending on interest) 3/14: Demo cont'd 3/16: Work day coptic/case, Intro Project 2 Assignment: Reading: Ellen Lupton

Spring Break

WEEK ELEVEN: 3/28: Work day coptic/case, workday Project 2 visions 3/30: Workday, coptic/case and project mock-ups

WEEK TWELVE: 4/4: Coptic/case due, workday 4/6: Workday- troubleshooting, production

WEEK THIRTEEN: 4/11: Workday- production 4/13: Workday- production

WEEK FOURTEEN: 4/18: Workday- production 4/20: Workday- production

WEEK FIFTEEN 4/25 Final Critique 6-7:50pm

Student Handbook: The online Student Handbook provides all enrolled students with information regarding students' rights and responsibilities as members of the University community.

It is the student's responsibility to become familiar with and adhere to all academic and University policies, procedures, and deadlines that are included in the Student Handbook and other sources including, but not limited to, the University catalog.

UNF Academic Policies: Americans with Disabilities Act: https://www.unf.edu/president/policies_regulations/04-HumanResources/4_0070R.aspx

Academic Misconduct Policy: https://www.unf.edu/president/policies_regulations/02-AcademicAffairs/EnrollmentServices/2_0640P.aspx

Non-Discrimination, Equal Opportunity and Diversity Regulation https://www.unf.edu/president/policies_regulations/01-General/I_0040R.aspx

VISITING ARTISTS at UNF this semester:

Alisson Leialoha Milham Thursday January 12 from 6:00 -80pm 45/1603 Print Studio Book Arts presentation on processes and techniques

Mike Taylor Artist Talk: Screen Printing Wednesday, February 15 45/1603 Print Studio 12:00 – 2:50pm Screen techniques and Processes 3:00- 4:00pm Potluck Sweets and Snacks! 4:00 – 6:00 pm Lecture Prints, Zines and Books

Don Martin March 14, 2017 – 45/1603 Print Studio Demo: Relief – 12:15-2:55pm Demo Mokulitho– 3:05-4:50pm

Lorrie Fredette MOCA Gallery Talk Thursday April 6 -10am-5pm

Exhibitions at UNF and MOCA: Testimony: Louise Freshman Brown, Thursday, January 12th, 5-8pm, Lufrano Intercultural Gallery, UNF Student Union, 58E, Suite 2401 (http://www.unf.edu/icp/lufrano/Upcoming_Exhibition.aspx)

Precision, Thursday, January 19, 5-7 pm, UNF Gallery of Art (on campus, 2/1032); this feature paintings and drawing by four UNF graduates: Claudia Dresser, Suzanne McGee, Susan Ober and Anna Reynolds (http://www.unf.edu/gallery/)

Frank Rampolla: The DNA of the Mark, Thursday, February 2, UNF Gallery at MOCA, 6-8pm (http://mocajacksonville.unf.edu/Exhibitions/UNF-Gallery/Frank-Rampolla-The-DNA-of-the-Mark/). Please not that Don Martin's beautiful exhibition, Leaves: Recent Prints and Sculpture, is up through January 22nd at MOCA (http://mocajacksonville.unf.edu/Exhibitions/UNF-Gallery/Leaves-Recent-Prints-and-Sculpture-by-Donald-Martin/).