Cutout dress of burgundy synthetic knit. Sleeveless with cutouts at sides of waist; rounded neckline. Knee length flounce skirt with inserted side panels. Center back zipper closure. Lined in burgundy satin. Designer's label: "Cushnie et Ochs"
This presentation is part of the faculty lecture series UNT Speaks Out on No Child Left Behind. This presentation discusses the No Child Left Behind (NCLB) Act and its impact on arts education.
Dress ensemble of black and white cotton-silk blend faille with oversized rose or floral pattern created through ikat or warp-dyed thread technique. A) Dress of black cotton-silk blend with white floral or rose ikat pattern, sleeveless, round neckline, natural waist, a-line skirt, center back zipper and hook-and-eye closure, fully lined in black silk. Label: Oscar de la Renta, P14, 10, Made in Italy B) Jacket of white cotton-silk blend with black rose or floral ikat pattern, jewel neckline, center front opening with oversize black round flower buttons over hidden snaps covered in black silk, three-quarter length sleeves, fully lined in black silk. Label: Oscar de la Renta, P14, 10, Made in Italy
Jacket of brown leather with brown silk lining, inspired by bomber-style or workwear aesthetic. Shallow yoke and revers collar and cuff and hem trim of dark brown suede, long set in sleeves with slight volume at armscye, center front opening with oversized lace-up detail with silver-tone metal grommets and dark brown ribbon reinforced in center front plackets, rounded square patch pockets at chest and hips with suede flaps and box pleat detail at centers, vertical dart at waist, fully lined. Label: Oscar de la Renta, R 11, 8, Made in USA
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. "
Work of art in photographic fabric on dining chairs by artist Megan A. DeSoto as part of a 2019 MFA Exhibition, entitled "Beauty Remains, Object Portraiture"
Artist Statement from the MFA Exhibition: "I did everything right. I counted my carbs, meal prepped, and joined the high school volleyball team (For exercise of course. Heaven forbid it be for fun). All growing up, I always assumed that things would get so much easier when I stepped into adulthood. I would be comfortable in my body. Spoiler Alert, that didn’t happen. Before this starts to sound like a Judy Blume novel, let me explain. A shot of apple cider vinegar, 13 vitamins, gluten free diet, and portion control. These are all aspects of my routine that I dread but they keep me going. The concept of routine as composition really resonated with me when I first made these dietary changes. Much like repeated elements in a composition, repeated elements in my routine are what keep me going, help me function, and make me a successful composition (or human, whatever you want to call it). So why do I get bogged down by the objects that are supposed to be helping me? As a woman who has been on some sort of diet since age 12, it was difficult to come to terms with the fact that your body is dependent on another object (or twenty) to fully function. By creating functional pieces specifically made to accompany these un enjoyable aspects, I intend to make the elements of my routine that I dread, something to look forward to."
This article uses fieldwork and the concept of relative aging to argue that the system of canals within the Vendee region of western France were begun in the tenth and eleventh centuries in conjunction with the Maillezais Abbey relocation and rebuilding.
The untitled set of photographs depict, in one, a man dressed in a suit and tie seated next to computer equipment and, in the second photograph, a man wearing a western style hat stands in front of a counter piled with many papers and objects as well as on the shelving behind him.
Work of art in Purpleheart Wood, Mild Steel, Acrylic (CNC Plasma Cut Steel Laser Etch Arcylic) by artist Keela Dooley part of a 2019 MFA Exhibition, entitled "Trappings"
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