If you look at a lot of artist bios on Wikipedia, then you have gone off on a never ending adventure of discovery, because artist make many connections with other artists, and writers, in furthering their careers. It is a given not to be hostile to a fellow artists – or betray each other! Tom Snyder is not aware of this, and I doubt Sydney Morris. Both are unteachable. There is no course on how to handle creative legacies at the Buck Foundation. I would like to start one. Here is what I found on page 56 of Snyder’s bio, that drove me even more crazy. It refutes what Julie Lynch said.
“Scott returns with two pieces. One is about eighteen by twenty-four inches and portrays several children in a toy wagon. The wheels are crude stick drawings of poor perspective, and the children’s faces have a computer-bubble look to them with no clear features.”
I believe Christine used one of our famous family photos of us in a red wagon. This horror story was inspired by Mommy Dearest. I found a flyer when I stopped by the gallery at the time that tell-all movie came out, written by the Christine Crawford, the daughter, and not by a strange man, a hired ghost writer who never met my family. This really freaked Rosamond Fans out. Many of them got their own place to live for the first time, and bought a Rosamond for $50 dollars as a wallpaper. Many of them were abused as children and wanted a magical Barbie image. Instead they got Rosamond down at the Warf chugging on a bottle of wine and practicing UNSAFE sex, what their mothers warned them about. They wanted Safe Art. I’m sure thousands of women took their Rosamond’s off the wall after reading Snyder’s Book of Doom that was supposed to increase sales. The truth is, the fans fanned the fame.
As you scroll down to read and see more, smut, ignore the two giant oil spills by tankers owned by Frank Buck. Buck oil money seeded the Buck Foundation. Who cleaned this oil up? Do you suspect my articles on Frank Buck kept me from getting a grant? I will try to get one to clean up the environment.
“THE BEGINNING: Oakland, California If Christine’s parents had embraced her talent, there might be existing works from her childhood, but this was not to be. Fearing that Christine would steal her brother’s spotlight as the family artist, Christine’s mother, Rosemary, forbade Christine to draw at home. The only time she could express herself was at school or in her closet, by flashlight, when everyone else was asleep. Though we don’t have images to prove it, Christine’s kindergarten teacher has said that, by age five, Christine was already drawing with adult skill. She can remember Christine’s pictures of animals having near perfect detail and perspective. In addition to oppressing Christine artistically, Rosemary also dominated Christine with physical violence. Trying to support four children with only a high school education and little help from her alcoholic husband, Rosemary was often enraged. She took this rage out on Christine and Christine’s earliest known works reflect it. In Teenage Drawing II, her subject is reticent and withdrawn. In Teenage Drawing III, the woman looks shocked and angry.”
When the idealistic artist known as Rosamond defiantly emerges from a dark childhood, suppressed by abuse and alcoholism, and rockets to worldwide fame, becoming the world’s most published painter, she discovers that her road into the light is twisted, wrought with sabotage, and at the tips of her reach.
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By increasing the resilience of both Marin’s ecosystems and communities, we can enhance the ability to withstand—and thrive—in the face of change, including the impacts of a warming climate.
Our goal? To ensure that all of Marin’s residents—particularly its most vulnerable—enjoy a healthy environment, now and in the future.
I talked with Linda of the Concord School District, and she said the Elementary School we Presco Children attended would be Williams located on 2895 East St. She said it closed in 1976. Four days ago I got a e-mail from Lind, who operated the Concord Historic Society. Our teacher could have been Charlotte Ballenger who was already a ancient legend. She died in 1989, and thus there was no real way for Julie Lynch to have talked to her. She does not say Vicki or Mark Presco told her about Charlotte’s artistic critique. She lied! This is more Art Fraud! Julie did make a film about an alcoholic artist. Christine Rosamond Presco, drowned on her first sober birthday in AA. I’m sure the good folks of Empty Chair don’t want to see crazy drunken artist sucking on a bottle of wine under the freeway.
EDITOR’S NOTE: Keep in mind there exist a 276 page autobiography that Christine Rosamond wrote, that has been closeted – disappeared. Any movie based upon Christine’s words would belong to my two nieces, and the outsiders would not get any money. Outsiders did not want my nieces, or myself, to author a biography for the same reason. They were not in Christine’s Will. Consider what Walter Keane did to Margaret Keane in the movie ‘Big Eyes’. This is IDENTITY THEFT!
Julie Lynch is the third ghost writer, my late sister’s, Evil Double, hired. Stacey Pierrot is “desperate” to make the Rosamond Movie come true. It is “the dream” she spoke of outside the Rosamond gallery, while down on one knee, grasping my mother’s hand;
“Don’t let the dream die!”