The view is of the apartment building in the distance with some parked cars. The facade is comprised of square shapes for windows and the laminate siding. Some yellow siding detail is also visible.
The view is of the facade of one of the four apartment modules. The facade is a rich reddish brown and bright yellow with many square windows and balconies.
Man's necktie of silk in red, blue and tan abstract triangular designs on a black background. Four-in-hand style. Tipped in dark purple; interlined. Maker's label: J. T. Beckett Content label: All Silk / Made in U.S.A. of / Imported / Fabric / RN 20485
Coat of print and white oversize snakeskin print, likely polyester-silk gazaar. Round neckline, three-quarter length sleeves, center front opening without closures, oversize barrel line silhouette, lined in light pink silk. Label:
Afternoon ensemble of heavy black silk faille and lace. A) Bodice. Fitted; 3/4 length sleeves are split to show ice blue faille insets covered in black lace and are piped and scalloped with black embroidery and braid medallions. The lace on the sleeve insets extends from the elbow to the wrist with gathers in the lace at the back of the wrist. High standing collars with the front of the collar covered in matching blue faille covered in black lace; collar has hook & eye closure. Center front opening of 16 self-covered buttons and barred buttonholes. Center front opening is scalloped and piped to match sleeves and is trimmed with matching embroidered medallions. Boned with white moire silk grosgrain petersham which secures with two hook & eyes. Center back of petersham has three irregular pentagonal shaped tabs of black faille with barred buttonholes for securing bodice to skirt. B) Skirt. Full skirt is asymmetrical with blue faille panels inserted at front right side of skirt and two narrow inserts on left side. Left side inserts are partly covered by black faille pleating which forms folds at the left side waist. Front inserted panel is covered in black lace in floral motifs with diagonal striping. Hemline of front inserted panel is scalloped and piped in black faille with matching black embroidered medallions. Right side of skirt has an inserted panel of matching black faille that is piped and scalloped to match the bodice and is trimmed with matching embroidered medallions. Underskirt of black faille has a box pleated ruffle of self around the hemline. Center back hook & eye closure with three mother-of-pearl button on black grosgrain waistband for securing skirt to bodice. All blue insert faille panels have faded to white.
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?
"Alarm Clock ensemble" of coat, skirt, and bracelet (a-c) a&b stored together, c stored separately a) "Alarm Clock" coat shirt of duchess silk satin, hand painted with oversized alarm clock on back in black, white, and blue on a black and white striped surface coming from back to front with a red mottled backdrop, round low scoop neckline with center front pin closure with hand painted clock pin, very high front hemline with low scoop back hem. Painting designed by Rodolfo Contreras, coat designed and made by Nicola Contreras b) Skirt of deep blue silk grosgrain, very narrow profile, with deep box pleat at center back, pockets, lined in silk. Designed and made by Nicola Contreras c) Bracelet with hand painted alarm clock motif coordinated with coat, made of wood, round oversized profile. Designed and painted by Rodolfo Contreras
Work of art sample video by artist Sean Lopez as part of a 2021 MFA Exhibition, entitled "The Always Girls and Forever Boys” at Sweet Pass Sculpture Park in Dallas, TX on April 17-18, 2021.
Work of art in Acrylic and Marker on Fabric by artist Sean Lopez as part of a 2021 MFA Exhibition, entitled "The Always Girls and Forever Boys” at Sweet Pass Sculpture Park in Dallas, TX on April 17-18, 2021.
Work of art, Video Still Image of superposition elements in the video artworks, combining drawing, performance, video, and projection, by artist Sean Lopez as part of a 2021 MFA Exhibition, entitled "The Always Girls and Forever Boys” at Sweet Pass Sculpture Park in Dallas, TX on April 17-18, 2021.
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.
Green-brown or olive alligator pump with button at side. Spike heel, pointed toe. Measurements: L: 25 cm W: 7.4 cm H: 14 cm Heel: 8 cm, (3 in.) Markings: Right- "Balmain / Paris Mexico"
Light brown alligator pump with button at side, spike heel, pointed toe. Measurements: L: 25 cm W: 7.2 cm H: 14 cm Heel: 8 cm, (3 in.) markings: Right- "Balmain / Paris Mexico"
Brief Artist Statement by Sean Lopez as part of a 2021 MFA Exhibition, entitled "The Always Girls and Forever Boys” at Sweet Pass Sculpture Park in Dallas, TX on April 17-18, 2021.
Work of art in Screen Based Installation (video Projection) by artist Sean Lopez as part of a 2021 MFA Exhibition, entitled "The Always Girls and Forever Boys” at Sweet Pass Sculpture Park in Dallas, TX on April 17-18, 2021.
Work of art sample of Live Stream Recording of event, by artist Sean Lopez as part of a 2021 MFA Exhibition, entitled "The Always Girls and Forever Boys” at Sweet Pass Sculpture Park in Dallas, TX on April 17-18, 2021.
Work of art sample of Live Stream Recording of event, by artist Sean Lopez as part of a 2021 MFA Exhibition, entitled "The Always Girls and Forever Boys” at Sweet Pass Sculpture Park in Dallas, TX on April 17-18, 2021.
Work of art sample of Live Stream Recording of event, by artist Sean Lopez as part of a 2021 MFA Exhibition, entitled "The Always Girls and Forever Boys” at Sweet Pass Sculpture Park in Dallas, TX on April 17-18, 2021.
This research project studies ways that space shapes identity by examining a contemporary sculpture using a multicultural theory. The author focuses on analyzing the role of physical space in the construction of cultural identity across time by studying Mariana Castillo-Deball’s No Solid Form Can Contain You (2010) through Gloria Anzaldua’s Nepantilism theory.
In my work, I explore the ancient occult concept of the egregore or collective thought-form and its continued relevance in contemporary life. One might not think of the systems that we operate in today as ritual in nature, especially those that utilize new technology. We may imagine cyberspace as the ultimate rational and objective realm where all things can be categorized, quantified, and monetized. However, it is a place saturated with ceremonial situations upon close inspection. I seek out these ceremonies of niche digital communities and reconstruct them in new forms operating adjacent to their original stream.
My background in fashion relied on the use of sewing machines as tools to create garments made of new materials. My current artmaking has evolved away from the body and functionality to become relief sculptures in cloth. This work is the embodiment of moments in time and space that have stopped me mid-stride, compelling me to closely examine the details. As a fine artist, I translate these observations of nature into my art by using a needle and thread to hand stitch on reclaimed cloth. I invite the viewers to pause, wonder, and think about their place in the world.
Artist Statement from the MFA Exhibition: "Through my art I strive to raise awareness towards the protection of the ocean. Plastic pollution, over-fishing, species extinction, and nuclear waste are some of the problems I symbolize in order to create conversations around the issues and do my part in starting a wave of change. The ocean is one interconnected circulatory system for our plane,t so anywhere that humans are abusing the oceans, it affects us all. I hope to remind people of the sacredness of the sea in order to help renew our reverence and respect for it."
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.”
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.
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.
Works of art on ceramic and mixed media by artist Amy Henson as part of a 2022 MFA exhibition, entitled "Maternalia" in the Cora Stafford Gallery South, 1201 W Mulberry St, Denton, TX 76201, from March 30 to April 2, 2022.
Man's kipper necktie of dark green silk in arabesque fleur de lis pattern accented with brown and rust stripes. Four-in-hand style. Lined in white silk jacquard in circumscribed "V" motif. Designer label: Valentino / Roma Retailer label: 100% Silk / Neiman-Marcus / Made in Italy
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