UNT Scholarly Works - 473 Matching Results

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AC 99-8
The majority of the abstract painting consists of black and white brushstrokes, smeared and scraped. Across the uppermost center edge of the canvas is a color strip of nine different colors.
Action Pattern, Number 2
The drawing consists of a grid pattern drawn in graphite and India ink splattered across the surface.
Activities A-G
The work consists of a series of six books. They were included in the exhibition From Here to There: Practice, Form, and Meaning, May 22 - August 4, 2012.
AE 99-10
Large white, black, and tan brushstrokes run vertically while a small red and blue/brown horizontal brushstrokes highlight the center of the canvas.
AG 99-12
Predominately black brushstrokes with some white and beige streaks vertically placed on the canvas with a color strip of red, beige, and white runs horizontally along the uppermost edge of the canvas.
AH 99-13
Vertical black brushstrokes are predominate with some streaks of white. Flanking the right and left edges of the canvas are gradations of blue and red strips of color painted in short horizontal strokes.
AI 99-14
Painting consists of mostly black vertical brushstrokes with some white streaks. Bits of red and orange are blended in some small spots. There are three narrow, vertical, color strips, strokes painted horizontally, scattered around the center of the canvas.
AI, Arts & Design: Questioning Learning Machines
Article is an introduction to Artnodes issue No. 26, “AI, Arts & Design: Questioning Learning Machines" which addresses the question: Does generative and machine creativity in the arts and design represent an evolution of “artistic intelligence,” or is it a metamorphosis of creative practice yielding fundamentally distinct forms and modes of authorship?
AJ 00-1
This oil painting on canvas is predominately black and includes some white vertical scrapes starting and stopping horizontally in the center.
The Alchemist's Wedding Band
The small scale sculpture, according to the artist, represents an alchemical allegory of marriage. It is symmetrical with two bulbous shapes emerging from a third round piece which is balanced on a crescent shape. The work is topped with a funnel shape holding some shapes made of lead.
Allaying Terror: Domesticating Vietnamese Refugee Artisans as Subjects of American Diplomacy
This article explores how the photographs of a basketmaker, as well as photographs of other refugee artisans published in the August 1956 issue of Interior magazine, served the American State Department agenda by characterizing its subject in terms of pathos and need.
Anti-racist Pedagogy in Art and Museums
Video recording featuring guest panelists, Stephanie A. Johnson-Cunningham, and Kelli Morgan, Ph.D., this third installment of the 2044 series frames Afrofuturism and futurist thinking in museum practice to examine the roles museums play in maintaining and recreating anti-blackness and white supremacy. Panelists discuss how museum educators and curators can practice anti-racist pedagogy and thinking. Racist and colonial practices of museums need greater racial equity and recognition. Through the use of visual imagery, Afrofuturism as a framework may be a viable strategy for community building, imagination, and expression. Recognizing that museums are rooted in white colonial narratives that have been and continue to be oppressive to Black and people of color, museums can amplify Black experiences and narratives while pointing out the need for systemic change in the sector. From the periphery of colonial violence and commodification to the centrality of visibility and recognition, museum education can provide opportunities to “analyze how racism shapes how we view, discuss, create, and engage multiple audiences within the museums.”
Anti-racist Pedagogy in Art Education: K-12/Higher Education
Video recording featuring co-hosts Lauren Cross, Ph.D., and Kathy Brown, Ph.D., engage in ongoing conversations about anti-racist pedagogy in the arts and design. Joined by distinguished guest panelists, Joni Boyd Acuff, Ph.D., and James Haywood Rolling Jr., Ed.D., this first installment of the 2044 series introduces Afrofuturism and the ways that it can help reimagine art discourses, laying the groundwork for establishing Afrofuturism as a framework for conceptualizing and enacting anti-racist art education practice. In addition to sharing their work and how it relates to Afrofuturism and futurist thinking, the panelists discuss how recognizing Black and Brown artists and advocating for racial literacy is essential to creating and maintaining a racial consciousness practice in K-12 education.
Anti-racist Praxis at Futurist Art and Design Pedagogy
Video recording featuring esteemed guest panelists, Tameka Ellington, Ph.D., Cheryl D. Holmes Miller, and Terresa Moses, M.F.A., this second installment of the 2044 series highlights the ways that working against anti-Blackness through the lens of Afrofuturism and Critical Race Theory allows for the examination and enactment of decolonizing design bias and white default. This session brings questions of Black agency, stereotyping, bias, representation, appropriation, commodification, and the dangers of pathologizing Blackness in design. Panelists discuss anti-racist practice in design education through forms of resistance and resilience.
AQ 01-5
This painting is mostly black with some vertical white scrapes.
Arjuna's Bell
Half of the bowl is decorated in yellow while the other half consists of many closely spaced dark blue rectangular hash marks. On the yellow half of the bowl are many hieroglyphic type marks.
Artist interviews and revisionist art history: women of African descent, critical practice and methods of rewriting dominant narratives
Article reflecting on over ten years of conducting and collecting interviews with and by women artists of African descent in a variety of formats (e.g. narrative arts writing, academic research and documentary film/video) to note the specific ways that artists’ interviews help to rewrite art-historical narratives.
[an artwork from the from Bridges Into Space series]
The strongly geometrically designed artwork consists of vertical strips that create circles and angled stripes. The bold colors range from dark browns and deep yellows to both light and dark purples and blues.
[artwork made of handmade paper and screen printed cotton velveteen]
The horizontally arranged artwork depicts a silhouette of a city skyline. In the foreground appears soft pink texture in arch design and a grid ladder pattern appears at the left edge.
[artwork made of handmade paper and screen printed cotton velveteen]
The horizontally arranged artwork consists of textured paper in a blue-green that gradates to a pink color and moves from the foreground to the background in a curving motion. Angular brown lines are in the background and the middle ground consists of pink colors. Some white cloud like forms float through the picture plane and a gray stacked shape fills the left side of the picture.
[artwork made of handmade paper and screen printed cotton velveteen]
The horizontally arranged artwork consists of silhouettes of mountains in the distance in various pale shades of gray. In the foreground are two curved shapes consisting of parallel lines of textured pink paper. Three lines geometric in shape move through the picture plane flattening while also creating more space.
[artwork made of handmade paper and screen printed silk]
The artwork depicts a horizontally situated composition and is reinforced on the left and top sides by a wide gray gradated border. Emerging from the bottom edge is a wide, green curve that recedes into the distance. At the right is an open grid shape and behind that a large pink textured circle. Two small cloud like shapes float in the background.
[artwork made of handmade paper on silk]
The horizontally arranged work consists of perspective lines receding into the distance. Halfway into the distance the receding lines are covered in blue soft textured handmade paper fibers. The floor of the space is checkerboard pattern and also recedes into distance. A brown ribbon type images also slither into the distance.
[artwork of handmade paper on silk satin]
The long horizontal artwork depicts geometric shaped borders floating through the structured space. Loose ribbon shapes float among and between the geometric shapes. The colors are muted in blue, brown, green and pink tones.
[artwork of screen printed silk and handmade paper]
The horizontally arranged artwork depicts various grids floating and moving in space to create depth. In the background is a large semi-circular shape in a textured blue green color. There is also a wide strip of brown that begins in the far lower right corner and moves at four different angles until it reaches the left side of the picture.
Assessing the Media Visibility of China's President Xi Jinping's First 3-Year Governance in the New York Times
This article assesses the media visibility, a composite measure of attention and prominence, of China's President Xi Jinping's first 3-year governance in The New York Times.
Asteroids and Asterisks Warped and Trapped by Red Yellow and Gray Gestures
The horizontal painting consists of two red backgrounds that have been decorated with a scratched into the surface grid pattern. Dancing across the surface are seven vertical gray swaths and two thick yellow paint drips running from the top edge of the painting.
AT 01-8
This painting is predominately black with some vertical white and pink scrapes.
AT 01-8, AV 01-10, AU 01-9, BI 02-8, BJ 02-9, BS 03-7
No Description Available.
Attic Turbine Vent
The brooch is to be worn on the shoulder and is in the form of an attic vent. The piece spins.
AU 01-9
This painting is predominately white with pink and black vertical scrapes.
AV 01-10
This oil painting is predominately pink with vertical scrapes of black and white.
AW 01-11
This oil painting is predominately green with vertical marks and lines of black and white broken by some horizontal implied lines.
AX 01-12
This abstract painting is predominately white with black, gray and green vertical marks interrupted by some horizontal implied lines.
B 97-2
Vertical painting with large gray brushstrokes. Several gradation motifs float on the surface.
BA 01-15
This abstract painting consists of pink and gray vertical strokes with some green and black smaller vertical strokes.
Backward N Come Together Edges
The square blue painting's surface is covered with a scratched into the surface grid pattern and across the uppermost surface is a backward N shape in a bright orange color.
Bandana
The ceramic sculptural piece consists of several geometric tubular shapes decorated with various colors and textures. The piece is vertical and almost appears to be walking.
Battlefield
The two paper pieces consists of many layers, hang on the wall and protrude into the space. These pieces were included in the exhibition From Here to There: Practice, Form, and Meaning, May 22 - August 4, 2012.
BE 02-4
Predominately orange painting includes many parallel vertical wavy black lines with horizontal texture.
Bean Tree Pod Rockets Measured and Marked
The drawing consists of a grid drawn in graphite with each corner marked by cross marks. Foiling this pattern is a series of marks created from bean pods that had been dipped in ink and slapped across the surface of the paper.
Bear
Image of part of an art installation at Trinity College in Hartford, Connecticut...
Bear
Image of part of an art installation at Trinity College in Hartford, Connecticut.
Between Spaces 05
The digital photograph depicts, in the lower portion of the frame, an unmade bed with striped sheets and a white blanket. In the background, on the headboard, hangs a black and white image of architecture. The wooden frame from the bed continues up onto the wall and holds the black and white image. Along the right hand edge of the work is a set of shelves.
Between Spaces 07
Image of the digital photograph which depicts the pyramids of Egypt on the wall behind a sofa and coffee table. A clock is on the wall amid the Egyptian landscape and a lamp sits in front of the landscape. Various household items sit on the table in front of the sofa.
BH 02-7
The bright orange painting also contains many vertical parallel wavy black lines with horizontal lined texture.
BI 02-8
This predominately yellow painting includes vertical curved and wavy orange lines with horizontal lined texture.
The Big Heat
The black and white painting depicts a version of a famous scene in the movie The Big Heat from 1953 directed by Fritz Lang and starring Glenn Ford. The brushstrokes are loose. One man holds a gun on a second wounded man. The man in the right foreground reaches out to the man in the center who leans against the wall.
BJ 02-9
This predominately orange/red painting contains lined texture at various horizontal angles and contains curved vertical yellow parallel lines.
Black Growth
This head piece was created using mylar removed from floppy disks that were individually machine stitched into form, then hand sewn to create the overall look.
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