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  Partner: UNT College of Visual Arts + Design
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That
The drawing consists of a grid drawn in graphite with angled marks at each corner. India ink foils the grid pattern with its loose pattern. digital.library.unt.edu/ark:/67531/metadc102420/
AZ 01-14
This abstract painting is predominately white with green, pink and gray vertical strokes broken by an implied horizontal line. digital.library.unt.edu/ark:/67531/metadc27167/
AQ 01-5
This painting is mostly black with some vertical white scrapes. digital.library.unt.edu/ark:/67531/metadc27161/
AT 01-8
This painting is predominately black with some vertical white and pink scrapes. digital.library.unt.edu/ark:/67531/metadc27162/
AU 01-9
This painting is predominately white with pink and black vertical scrapes. digital.library.unt.edu/ark:/67531/metadc27163/
AV 01-10
This oil painting is predominately pink with vertical scrapes of black and white. digital.library.unt.edu/ark:/67531/metadc27164/
AW 01-11
This oil painting is predominately green with vertical marks and lines of black and white broken by some horizontal implied lines. digital.library.unt.edu/ark:/67531/metadc27165/
AX 01-12
This abstract painting is predominately white with black, gray and green vertical marks interrupted by some horizontal implied lines. digital.library.unt.edu/ark:/67531/metadc27166/
BA 01-15
This abstract painting consists of pink and gray vertical strokes with some green and black smaller vertical strokes. digital.library.unt.edu/ark:/67531/metadc27168/
Cycling Round the Geometric Sky
The horizontal painting is divided into colorful geometric shapes. Across the bottom edge are five large and dark comma shapes and across the top edge are small similar marks. digital.library.unt.edu/ark:/67531/metadc102409/
Different Orders, Number 4
The horizontal painting is divided into two large and one narrow sections. Each are decorated with grid patterns and connecting the two larger vertical sections is a large white X. digital.library.unt.edu/ark:/67531/metadc102410/
Different Orders, Number 6
The horizontal painting is divided into three basic geometric shapes. Each is decorated with a grid pattern and across the yellow section is a large black swath of paint in a vertical comma shape. digital.library.unt.edu/ark:/67531/metadc102411/
Different Orders, Number 8
The horizontal painting consists of several geometric shapes in blues and oranges. Across the surface is a large yellow green swath arcing across the canvas. digital.library.unt.edu/ark:/67531/metadc102412/
Five Purples Running to the West
The horizontal painting is divided vertically into two sections across which run horizontally running amounts of thick paint. Drawn onto the surface of the canvas is a grid. digital.library.unt.edu/ark:/67531/metadc102415/
Grid Junctions or Roller Coaster Ride
The horizontal painting consists of two grid patterns angled toward each other. Across the surface of the canvas is a large lime green area of thick paint that runs toward the bottom edge of the canvas. A pink wedge runs across the lower right. digital.library.unt.edu/ark:/67531/metadc102417/
The Jumping Frog is Dead and Buried or Gray Grid Triple Purple
The horizontal painting is divided vertically into two portions, both of which share a grid pattern texture. Sweeping across both dark and light areas is a large black swath revealing the various textures and grids. A light pinkish color of thick paint appears splattered and squirted in the lower portion on the right hand side of the painting. digital.library.unt.edu/ark:/67531/metadc102422/
Light in a Far Field
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Painting of green, gray, red and peach featuring a grassy landscape with multiple trees and red flowers; light smudge rendering. digital.library.unt.edu/ark:/67531/metadc8439/
Number 68
This abstract painting is predominately black with some wavy vertical strokes of green, pink, and white. digital.library.unt.edu/ark:/67531/metadc27169/
Number 69
The mostly pink painting also includes black, white and green parallel wavy lines. digital.library.unt.edu/ark:/67531/metadc27170/
Stata Center
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The view is of the stainless covered lab in the upper court. digital.library.unt.edu/ark:/67531/metadc31175/
Stata Center
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The upper southeast elevation facade, north end, of the building is shown. digital.library.unt.edu/ark:/67531/metadc31174/
Stata Center
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The interior of hallways, seating and ceiling detail are shown in this view. digital.library.unt.edu/ark:/67531/metadc31176/
Stata Center
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This exterior view includes the amphitheater. digital.library.unt.edu/ark:/67531/metadc31173/
Stata Center
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Two different surface treatments are shown in this exterior view of the facade on the Vassar Street main entry. digital.library.unt.edu/ark:/67531/metadc31171/
Stata Center
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The facade of the building is shown in its setting on the campus and the view is looking southwest. digital.library.unt.edu/ark:/67531/metadc31170/
Stata Center
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No Description digital.library.unt.edu/ark:/67531/metadc31172/
Woman Brushing Her Hair III
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This painting depicts a woman brushing her long hair and looking into a silver hand-held mirror. digital.library.unt.edu/ark:/67531/metadc31236/
The World is Geometric, Number 1
The rectangular painting consists of two portions divided diagonally and across both divisions marches a series of orange vertical strokes. The dark green and pinkish portions are further delineated with grid patterns. digital.library.unt.edu/ark:/67531/metadc102423/
Yellow Runs on Grid and Blue or Last One In
The rectangular painting is divided into three vertical portions which are further demarcated with grid patterns. Running vertically are three long drips of thick yellow paint. digital.library.unt.edu/ark:/67531/metadc102425/
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. digital.library.unt.edu/ark:/67531/metadc102404/
BE 02-4
Predominately orange painting includes many parallel vertical wavy black lines with horizontal texture. digital.library.unt.edu/ark:/67531/metadc27171/
BH 02-7
The bright orange painting also contains many vertical parallel wavy black lines with horizontal lined texture. digital.library.unt.edu/ark:/67531/metadc27172/
BI 02-8
This predominately yellow painting includes vertical curved and wavy orange lines with horizontal lined texture. digital.library.unt.edu/ark:/67531/metadc27173/
BJ 02-9
This predominately orange/red painting contains lined texture at various horizontal angles and contains curved vertical yellow parallel lines. digital.library.unt.edu/ark:/67531/metadc27174/
Chelsea Tower
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The view is of the interior of the sky bridge as it links with the hotel swimming pool entrance. digital.library.unt.edu/ark:/67531/metadc51934/
Chelsea Tower
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The interior view shows the kitchen with some appliances. The window over the sink looks onto another skyscraper. digital.library.unt.edu/ark:/67531/metadc51939/
Chelsea Tower
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The view is a close one of the support legs of the pedestrian sky bridge. digital.library.unt.edu/ark:/67531/metadc51932/
Chelsea Tower
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The view is of the elevated walkway connecting the garage to the ninth story of the hotel. The view is skyward from the ground. digital.library.unt.edu/ark:/67531/metadc51931/
Chelsea Tower
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The view is of the canopy over the main entrance and a bit of raking facade as viewed skyward. digital.library.unt.edu/ark:/67531/metadc51935/
Chelsea Tower
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The view shows the Chelsea Tower in its urban setting amongst other tall buildings. It stands out as the tallest with its square pierced pinnacle. digital.library.unt.edu/ark:/67531/metadc51925/
Chelsea Tower
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The view is of the structural detail of the canopy over the front entrance. digital.library.unt.edu/ark:/67531/metadc51936/
Chelsea Tower
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The view is of a residential suite with its seating furniture and dining area. digital.library.unt.edu/ark:/67531/metadc51938/
Chelsea Tower
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Alternating stripes of the white cladding detail move halfway across the facade giving the appearance of piano keys. The view is raking skyward. digital.library.unt.edu/ark:/67531/metadc51927/
Chelsea Tower
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The view is of the northwest edge and two sides in a raking skyward direction. digital.library.unt.edu/ark:/67531/metadc51929/
Chelsea Tower
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The raking skyward view shows two sides of the facade and the northwest edge of the building. digital.library.unt.edu/ark:/67531/metadc51928/
Chelsea Tower
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The view is of the tower apex. The diagonally placed spines connect to form a square aperture with a needle shape suspended from the meeting point. digital.library.unt.edu/ark:/67531/metadc51930/
Chelsea Tower
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The view is of the interior of the pedestrian sky bridge in the direction towards the hotel. digital.library.unt.edu/ark:/67531/metadc51933/
Chelsea Tower
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The view is of an interior elevator hallway. The shape of the hall space is elliptical and the floor is covered in a patterned design. The space is well-lit and covered with wood, lights, and glass. digital.library.unt.edu/ark:/67531/metadc51937/
Chelsea Tower
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A raking upward view of the tower is shown here along with the pedestrian sky bridge. digital.library.unt.edu/ark:/67531/metadc51926/
Crying Giant
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The close view of the sculpture shows the seated figure holding his head in his hands. The shapes of the figure's body are extremely stylized and geometric. The patina is green. digital.library.unt.edu/ark:/67531/metadc40953/