UNT College of Visual Arts and Design - 3,514 Matching Results
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- Alligator pumps
- 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"
- Alligator Pumps
- 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"
- The Always Girls and Forever Boys
- 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.
- The Always Girls and Forever Boys
- 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.
- The Always Girls and Forever Boys
- 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.
- The Always Girls and Forever Boys
- 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.
- The Always Girls and Forever Boys
- 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.
- Analysis of the sculpture No Solid Form Can Contain You using Gloria Anzaldúa's Theory of Nepantla
- 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.
- …And Still I Wander South
- 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.
- …and the Light was Blue
- 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.
- Angelfish Prayers
- 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."
- Anne Adams Institution Pattern #4973
- Anne Adams Institution pattern 4973 to make an apron with self tie at waistline; no envelope.
- 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.
- Apron (detail)
- 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.
- Arabesque necktie
- 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
- Arlington National Cemetery
- A wreath is situated in front of the Tomb of the Unknown Soldier.
- Arlington National Cemetery
- This close view of the cemetery shows the gravestone for Robert Francis Kennedy.
- Arlington National Cemetery
- This view is a detail of a reflecting pool and a wall containing inscriptions.
- Arlington National Cemetery
- This view shows a detail of a commemorative inscription dedicated to women in the services.
- "Armadillo" ensemble
- "Armadillo" knit ensemble of sweater and skirt a) Sweater of mercerized cotton intarsia knit with an oversized armadillo motif in blue, yellow, pink, and black across the front and wrapping around the side and back on a field of white and red stripes, round neckline with ribbed knit collar, kimono sleeves of red, red rib knit trim at bottom hem, unlined. b) Skirt of black and blue striped mercerized cotton knit, maxi length, knit waistband, unlined.
- 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.
- Asepo
- My artistic practice centers around personal history, connection, and identity. I reflect on my experience as a Nigerian who has lived on three continents thus far, and how those experiences have led to the deconstruction, reassembly, and hybridization of my identity. My work pays homage to my tribe of origin, Yoruba, whilst redefining and exploring the hybridity that exists as a result of cross-cultural influences that are prominent in our world today. I incorporate varying objects and materials such as jewelry, sculpture, wood, metal, and fiber. This integration speaks to the multicultural existence of the world I live in the interrelationship between Nigeria and the West.
- Asepo Installation View
- Asepo is a simulated domestic space that speaks to being a product of the hybridization of cultures, the sense of displacement and the need for belonging that comes with being a hybrid of sorts. The exhibition includes four sectors. The first is a bed with a floating headboard accompanied by projected imagery and sound. A performance takes place upon the bed. The second is a table with three accompanying wall-mounted pieces that connect to the table through symbolism. The third is a sculptural wooden diptych and the final sector is comprised of accessories.
- 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.
- Asymmetrical jacket
- Jacket of black wool twill. Three button single breasted fastening with tailored buttonholes; notched collar. Long sleeves which are wide at the elbow. Tails in back and asymmetrical front-left is cut shorter than right. Unlined. Designer's label at center back neckline: "Yohji Yamamoto; Fabrique Au Japon/Made in Japan; 100% Laine/100% Wool; Nettoyage A Sec Perchorethylene. Sechage Doux En Machine. Repasser Au Fer Doux.; Dryclean Perclorethylene. Tumble Warm. Warm Iron."
- AT 01-8, AV 01-10, AU 01-9, BI 02-8, BJ 02-9, BS 03-7
- No Description Available.
- Avalokiteshvara with a Thousand Arms
- No Description Available.
- Avalokiteshvara with a Thousand Arms
- No Description Available.
- Baby's gown
- Infant's gown of white cotton batiste with V-shaped ruffled yoke. Long sleeves. Center front of yoke and hemline have faggoting with narrow drawn work to each side. Cuffs and hem of ruffle have matching drawn work. Gown is box pleated at yoke. Center back opening; closure missing.
- Back to Normal
- Works of art (installation view) by artist Aaron Pozos as part of a 2022 MFA exhibition, entitled "Bellows of the Beast" in the the Cora Stafford Gallery South, 1201 W Mulberry St, Denton, TX 76201, from March 30 to April 2, 2022.
- Back to Normal
- Works of art (installation view) by artist Aaron Pozos as part of a 2022 MFA exhibition, entitled "Bellows of the Beast" in the the Cora Stafford Gallery South, 1201 W Mulberry St, Denton, TX 76201, from March 30 to April 2, 2022.
- Ball gown
- Ballgown of beaded light blue silk satin. A) Dress: sleeveless, princess-line, flared, full-length evening gown with moderate square neckline. Overlay bodice detail of matching aqua satin. The overbodice has a slightly empire line with side panels extending over the hips. The overbodice is intricately pieced and embellished with cutwork details and beading. The cutwork treatment extends across the wide shoulder straps, down the bodice front and back and then completely covers the side panels. The beading incorporates clear rhinestones with square pillow-shaped studs in varying shades of aqua and turquoise. The beading was based on the tile work incorporated in the Southland Center, Dallas, Texas. The full, flared skirt is tacked into four wide inverted knife pleats down the front and it is asymmetrically pleated across the back. Center back zipper closure to hipline with a single hook&loop at midback neckline. Placket closure secured with one snap and one hook&eye. The skirt is lined with heavy white pellon and has a horsehair reinforced hem. Label located over inside front bustline. B) Petticoat: full-length, gored, ten panel petticoat of iridescent turquoise/aqua silk satin. Narrow waistband with center back placket opening secured with two hook&eyes. Horsehair reinforced hem.
- Ball gown
- Ball gown of delicate machine-made netting lace. Round neckline accented with floral lace, 3/4 length set-in sleeves fitted bodice, natural waist, full skirt with tiers of netting with black floral lace applique, v-neckline at the center back, center back closure, belt of wide back satin ribbon at waistline, lined in light brown with bustier-style bodice. Label: Oscar de la Renta, 12, R14, Made in USA
- Bamboo motif necktie
- Man's kipper necktie of navy blue silk patterned in a gray bamboo lattice motif. Four-in-hand style. Lined in navy silk jacquard in circumscribed "V" motif. Designer label: Valentino / Roma Maker's label: H. Neuber / Firenze Content label: All Silk / Made in Italy
- [Bath, England]
- Photograph of a flower bed commemorating the coronation in Bath, England. The flower bed is located in a park along the River Avon. In the foreground, three women stand around a large flower bed containing a crown made of flowers. A low wire fence surrounds the flower bed. Trees and buildings are visible in the background.
- Bathing suit ensemble
- Two bathing suits with a cover-up of pastel striped glazed cotton. a) Cover up. Dolman sleeves are 3/4 length with cuffs. Collar with button and loop closure. Extended tie closure on 2.5" waistband. Size M. b) One-piece bathing suit. Front panel gathers along left side seam and forms short skirt over crotch. Boned cups; should straps tie at back of neck. Back of elasticized shirring. Size 12/34 c) Sheath style bathing suit. Princess seams to turn down, V-shaped neckline. Boned cups; shoulder straps. Faux welt pockets at sides. Elasticized shirring at top back sides. Center back zipper closure. Size 10.
- Beach hat
- Beach hat of blue/green straw hat. 6" cylindrical crown. 6 1/2" brim. A light blue sheer nylon scarf at crown ties at neck. Headband of aqua blue grosgrain; unlined. Label in hat: Made in Italy
- Beaded belt
- Belt/necklace of woven black seed beads with silver diamond-shaped accents spaced by single silver seed beads. Ends taper to a point with string tie ends. Approximately 52" long and 1/4" wide.
- Beaded choker
- Choker of jet beads with black velvet ribbon ends. Constructed with eight strands of beads spaced with rectangular sections of matching beading. Closure of two snaps. 13" long.
- Beaded evening dress
- Dress of color blocked blue, pink, and orange silk chiffon gently patterned from the bust to hem with multicolored butterflies, exotic flowers, and blue and green blades of grass. The full-length dress is embellished with horizontal stripes of bugle beads that are spaced farther apart as they reach the bottom of the dress; butterflies, flowers, and grass blades are embellished with seed and bugle beads. Band collar; straight, unstructured silhouette. Top of dress is blue, middle is pink, and bottom is orange. Center-back zip closure with two hook and eyes at collar; 15" slit at right side. Built-in shoulder pads. Long sleeves are unlined; balance of dress is lined in light mauve rayon. Fabric/care label inside back at upper neckline: "Out Cloth 100% Silk / Lining 100% Rayon / Size / Made In Japan / Dry Cleaning Only"
- Beaded necklace
- Necklace of black silk covered beads alternating with faceted, rhinestone studded black beads. Closure of two silver metal rings with chain and toggle; hanging charm with "YSL" logo.
- Beaded necklace
- Necklace of black silk covered round and oval tubular beads alternated with pearls. Ends in black silk tassel with large twisted simulated onyx beads. Closure of two silver metal rings with chain and toggle; hanging charm with "YSL" logo.
- 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.
- Beauty Remains, Object Portraiture
- Artist Statement from the MFA Exhibition: "This body of work contains digital photographs, sculptures and wallpapers to highlight a personal journey through motherhood. Traditionally, the roles of a new mother have been handed down from generation to generation. A mother teaches her daughter how to soothe her fussy infant, her domestic responsibilities, to maintain her feminine mystique. Though many of these traditions of mouth to ear to mouth familial heritage continue, today’s society inundated women with visual language to remind them that although they can challenge the traditions and their choice to participate, those same discarded ideals of how to act or perform will continue to tug at the shoulder. "
- Bed robe
- Robe of light blue or aqua quilted fabric with swirling floral motif stitched in, with bermuda collar, long sleeves, matching buttons of knotted bias, trapeze silhouette, lined in matching silk. Labels: "Made in Hong Kong Expressly for Neiman Marcus" and fabric content and care labels.
- Bedouin ensemble
- A) Abaya (robe) of black polyester. Large, rectangular, almost square garment with center-front opening. Undefined neckline, straight across back, and straight down on either side of neck. Armholes at upper edges of sides. Unlined. Label at inside center back below neckline with Arabic script. B) Tarha (shawl/head cover) of black polyester net/mesh. Large rectangular panel, one edge of which has applied band of black with gold edging and foliate form along the length. That edge is to from the "front" of the tarha, with the band forming the edging to frame the face, and is sewn together below chin. No labels or tags in garment. C) Niqab (face veil) of black polyester with beadwork. Black velvet head-band/ribbon at top, from which hangs the niqab from three black braided cords at nose and either side of face. The face-covering veil is formed of a roughly rectangular piece of fine black polyester mesh, folded over at top to create a "flap"/2nd layer of cloth over the face. Along the lower edge of the "flap" is beaded fringe band composed of circular silver beads and dark blue tubular beads forming a "zig-zag" line along the edge. The under layer of the veil is roughly cut along the lower and right edges. No fastener, to be pinned closed. No labels or tags in garment. The gold trim on the tarha (head scarf) and the bead work on the niqab (veil) would not be seen on the streets in a city - strictly a Bedouin style.
- Beige leather sandals
- Sandals of light brown leather constructed of narrow straps creating a circle at the top of the foot, slingback style, insole trimmed in white leather, very low heel. Markings: "Romanza's"