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  Partner: UNT College of Visual Arts + Design
 Decade: 1990-1999
95-3
This vertical painting consists of a highly detailed patterned background across which are scattered various sized circles. digital.library.unt.edu/ark:/67531/metadc27131/
95-6
Vertical painting consists of horizontal bands of black and reddish brown and floating on surface are red circles and half-circles. digital.library.unt.edu/ark:/67531/metadc27132/
95-7
Dark painting with horizontal and vertical stripes create a plaid pattern of red, blue, and black. Multi-hued circles float on the surface and linear, thin, dark lines create another pattern of zigzag. digital.library.unt.edu/ark:/67531/metadc27133/
A 97-1
Large black brushstrokes fill background with small, multi-colored circles floating on surface. digital.library.unt.edu/ark:/67531/metadc27137/
E 97-5
Vertical painting with horizonal brown brushstrokes with four gradation motifs on the top half of the painting. digital.library.unt.edu/ark:/67531/metadc27139/
L 97-12
Vertical painting with vertical yellow and brown brushstrokes. Floating in the center of the painting a black to white gradation motif consists of horizontal brushstrokes. digital.library.unt.edu/ark:/67531/metadc27143/
S 98-7
Loose brown, white and black brushstrokes scraped and smeared with a gradation from white to black motif floating in the center of the canvas. digital.library.unt.edu/ark:/67531/metadc27147/
311 South Wacker
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The aerial view shows the building in its setting as well as the cylindrical elements atop the skyscraper. digital.library.unt.edu/ark:/67531/metadc40629/
311 South Wacker
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The upper half of the skyscraper is shown in this view. The building is light in color and composed of several vertical elements. digital.library.unt.edu/ark:/67531/metadc40628/
311 South Wacker
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The view of the skyscraper at 311 South Wacker street in Chicago is shown near the Sears Tower. All 65 stories of the building are visible. digital.library.unt.edu/ark:/67531/metadc40627/
AA 99-6
Painting consists of white, black, and tan brushstrokes, smeared and scraped. Two gradation motifs float vertically in the center of the canvas. digital.library.unt.edu/ark:/67531/metadc27148/
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. digital.library.unt.edu/ark:/67531/metadc27149/
Acoustic / Electric Guitar (Chrysalis Model)
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The main front view of the guitar is visible with its red body. digital.library.unt.edu/ark:/67531/metadc41415/
Action Pattern, Number 2
The drawing consists of a grid pattern drawn in graphite and India ink splattered across the surface. digital.library.unt.edu/ark:/67531/metadc102405/
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. digital.library.unt.edu/ark:/67531/metadc27150/
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. digital.library.unt.edu/ark:/67531/metadc27151/
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. digital.library.unt.edu/ark:/67531/metadc27152/
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. digital.library.unt.edu/ark:/67531/metadc27153/
Alameda Bridge
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The view shows the pedestrian and automobile bridge at a raking angle with a person emerging from the metro station included in the architect's design. digital.library.unt.edu/ark:/67531/metadc40997/
Alameda Bridge
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The view is of the underneath side of the bridge and shows the Turia riverbed. digital.library.unt.edu/ark:/67531/metadc40998/
Alameda Bridge
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The view is of the bridge looking east across the old riverbed of the Turia river. digital.library.unt.edu/ark:/67531/metadc40999/
Alameda Bridge
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The view is from underneath the bridge and looks eastward. digital.library.unt.edu/ark:/67531/metadc41001/
Alameda Bridge
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The view shows both the automobile and the pedestrian paths. The view is looking south. digital.library.unt.edu/ark:/67531/metadc41000/
APR.24,1990
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No Description digital.library.unt.edu/ark:/67531/metadc8473/
Architect's Handkerchief
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The white handkerchief detail shows the smooth texture of the sculpture. digital.library.unt.edu/ark:/67531/metadc40921/
Architect's Handkerchief
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The sculpture depicts a white handkerchief on a black pedestal and is situated outdoors. The handkerchief is extremely over-sized. digital.library.unt.edu/ark:/67531/metadc40920/
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. digital.library.unt.edu/ark:/67531/metadc102325/
Atlantic City
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A boardwalk with a ferris wheel and other rides juts from the right side of the canvas, a small boat grounded on the shore, a young woman building a sand castle, and scattered children play and wade at the water's edge are depicted in this oil painting. digital.library.unt.edu/ark:/67531/metadc31233/
B 97-2
Vertical painting with large gray brushstrokes. Several gradation motifs float on the surface. digital.library.unt.edu/ark:/67531/metadc27136/
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. digital.library.unt.edu/ark:/67531/metadc102407/
[blue and green waves layered amongst gray and brown frames]
Waves depicted in greens and blues within and without several framing devices of shades of gray and edged in brown. digital.library.unt.edu/ark:/67531/metadc27031/
Bobby Short
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Bobby Short and two other musicians play to a small audience. A mural behind the musicians is reminiscent of Picasso. digital.library.unt.edu/ark:/67531/metadc31232/
Burj al Arab Hotel
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The view across the lobby ends with the reception desk in front of a large shell shape clad in gold leaf. The fountain with its optic lit water jets is also visible. digital.library.unt.edu/ark:/67531/metadc51879/
Burj al Arab Hotel
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The interior of the lobby is shown with its escalator and water cascade and is seen from the south side of the lobby. digital.library.unt.edu/ark:/67531/metadc51876/
Burj al Arab Hotel
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A detail view of the ceiling and a three-dimensional open ellipse with a border of bright gold is shown. digital.library.unt.edu/ark:/67531/metadc51873/
Burj al Arab Hotel
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The view is of the bridge connecting the Burj al Arab island to the shore. The railings and balusters are shown. digital.library.unt.edu/ark:/67531/metadc51895/
Burj al Arab Hotel
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An opulent lounge with large arabesques decorating the floor and high backed seating are the feature of this lounge area. digital.library.unt.edu/ark:/67531/metadc51892/
Burj al Arab Hotel
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This interior view is skyward and shows the many floors with scalloped balconies and the massive gold leafed columns. digital.library.unt.edu/ark:/67531/metadc51885/
Burj al Arab Hotel
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A close view of the top of the hotel and the structural details are shown. The helipad and the sky view restaurant are also visible. digital.library.unt.edu/ark:/67531/metadc51863/
Burj al Arab Hotel
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The interior of the lobby sports a large silhouette of a shell and is lined with gold leaf for the reception desk. digital.library.unt.edu/ark:/67531/metadc51875/
Burj al Arab Hotel
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Two sets of black towers situated at entrance of bridge periodically emit flames. digital.library.unt.edu/ark:/67531/metadc51894/
Burj al Arab Hotel
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The view shows a close detail of the concrete armor units that are for mitigating the effects of the waves on the island. digital.library.unt.edu/ark:/67531/metadc51899/
Burj al Arab Hotel
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The view is across the width of the lobby and includes a portion of the elliptical opening in the ceiling and the large shell shaped reception desk as well as the highly colorful and patterned carpeting. digital.library.unt.edu/ark:/67531/metadc51872/
Burj al Arab Hotel
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The view is of a set of elevator doors to the Al Muntaha restaurant. Glass doors and highly patterned carpet are included with the geometric patterned elevator doors. digital.library.unt.edu/ark:/67531/metadc51893/
Burj al Arab Hotel
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The view is straight up from the lobby across the water cascade and into enormous swollen columns on the next level. digital.library.unt.edu/ark:/67531/metadc51877/
Burj al Arab Hotel
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The interior of the lobby is seen from the top of the water fountain. digital.library.unt.edu/ark:/67531/metadc51871/
Burj al Arab Hotel
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The view is of the bridge connecting the hotel to the shore. digital.library.unt.edu/ark:/67531/metadc51896/
Burj al Arab Hotel
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The exterior of the southeast facade is shown with its upright trusses. digital.library.unt.edu/ark:/67531/metadc51866/
Burj al Arab Hotel
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The view is of the man-made pilings to absorb wave action impact on the island. digital.library.unt.edu/ark:/67531/metadc51898/
Burj al Arab Hotel
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The view is of the boutiques in the northeast wing of the hotel. A glass railing and the large gold leafed columns are also visible. The view includes some of the floor beneath. digital.library.unt.edu/ark:/67531/metadc51883/