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  Partner: UNT College of Visual Arts + Design
Personal Response to Digital Frontiers Roundtable: Allison Jarek
This response paper is for Dr. Jennifer Way's graduate art history seminar on 20th-21st century art. Students in Way's seminar attended 'Social Media and Digital Communities: A Roundtable Discussion,' a session featured at the Digital Frontiers 2012 conference. Way charged her students with writing a short paper to explore connections between the roundtable and their seminar studies. What follows is a short paper by graduate student, Allison Jarek. digital.library.unt.edu/ark:/67531/metadc109707/
Personal Response to Digital Frontiers Roundtable: Ann Howington
This response paper is for Dr. Jennifer Way's graduate art history seminar on 20th-21st century art. Students in Way's seminar attended 'Social Media and Digital Communities: A Roundtable Discussion,' a session featured at the Digital Frontiers 2012 conference. Way charged her students with writing a short paper to explore connections between the roundtable and their seminar studies. What follows is a short paper by graduate student, Ann Howington. digital.library.unt.edu/ark:/67531/metadc109706/
Personal Response to Digital Frontiers Roundtable: Caleb Zouhary
This response paper is for Dr. Jennifer Way's graduate art history seminar on 20th-21st century art. Students in Way's seminar attended 'Social Media and Digital Communities: A Roundtable Discussion,' a session featured at the Digital Frontiers 2012 conference. Way charged her students with writing a short paper to explore connections between the roundtable and their seminar studies. What follows is a short paper by graduate student, Caleb Zouhary. digital.library.unt.edu/ark:/67531/metadc109721/
Personal Response to Digital Frontiers Roundtable: Cassie Phan
This response paper is for Dr. Jennifer Way's graduate art history seminar on 20th-21st century art. Students in Way's seminar attended 'Social Media and Digital Communities: A Roundtable Discussion,' a session featured at the Digital Frontiers 2012 conference. Way charged her students with writing a short paper to explore connections between the roundtable and their seminar studies. What follows is a short paper by graduate student, Cassie Phan. digital.library.unt.edu/ark:/67531/metadc109718/
Personal Response to Digital Frontiers Roundtable: Chance Dunlap
This response paper is for Dr. Jennifer Way's graduate art history seminar on 20th-21st century art. Students in Way's seminar attended 'Social Media and Digital Communities: A Roundtable Discussion,' a session featured at the Digital Frontiers 2012 conference. Way charged her students with writing a short paper to explore connections between the roundtable and their seminar studies. What follows is a short paper by graduate student, Chance Dunlap. digital.library.unt.edu/ark:/67531/metadc109702/
Personal Response to Digital Frontiers Roundtable: Justin Strickland Hoff
This response paper is for Dr. Jennifer Way's graduate art history seminar on 20th-21st century art. Students in Way's seminar attended 'Social Media and Digital Communities: A Roundtable Discussion,' a session featured at the Digital Frontiers 2012 conference. Way charged her students with writing a short paper to explore connections between the roundtable and their seminar studies. What follows is a short paper by graduate student, Justin Strickland Hoff. digital.library.unt.edu/ark:/67531/metadc109705/
Personal Response to Digital Frontiers Roundtable: Madeleine Fitzgerald
This response paper is for Dr. Jennifer Way's graduate art history seminar on 20th-21st century art. Students in Way's seminar attended 'Social Media and Digital Communities: A Roundtable Discussion,' a session featured at the Digital Frontiers 2012 conference. Way charged her students with writing a short paper to explore connections between the roundtable and their seminar studies. What follows is a short paper by graduate student, Madeleine Fitzgerald. digital.library.unt.edu/ark:/67531/metadc109703/
Personal Response to Digital Frontiers Roundtable: Marseille Moon
This response paper is for Dr. Jennifer Way's graduate art history seminar on 20th-21st century art. Students in Way's seminar attended 'Social Media and Digital Communities: A Roundtable Discussion,' a session featured at the Digital Frontiers 2012 conference. Way charged her students with writing a short paper to explore connections between the roundtable and their seminar studies. What follows is a short paper by graduate student, Marseille Moon. digital.library.unt.edu/ark:/67531/metadc109709/
Personal Response to Digital Frontiers Roundtable: Michael Blair
This response paper is for Dr. Jennifer Way's graduate art history seminar on 20th-21st century art. Students in Way's seminar attended 'Social Media and Digital Communities: A Roundtable Discussion,' a session featured at the Digital Frontiers 2012 conference. Way charged her students with writing a short paper to explore connections between the roundtable and their seminar studies. What follows is a short paper by graduate student, Michael Blair. digital.library.unt.edu/ark:/67531/metadc109699/
Personal Response to Digital Frontiers Roundtable: Rachel Christensen
This response paper is for Dr. Jennifer Way's graduate art history seminar on 20th-21st century art. Students in Way's seminar attended 'Social Media and Digital Communities: A Roundtable Discussion,' a session featured at the Digital Frontiers 2012 conference. Way charged her students with writing a short paper to explore connections between the roundtable and their seminar studies. What follows is a short paper by graduate student, Rachel Christensen. digital.library.unt.edu/ark:/67531/metadc109701/
Personal Response to Digital Frontiers Roundtable: Sean Miller
This response paper is for Dr. Jennifer Way's graduate art history seminar on 20th-21st century art. Students in Way's seminar attended 'Social Media and Digital Communities: A Roundtable Discussion,' a session featured at the Digital Frontiers 2012 conference. Way charged her students with writing a short paper to explore connections between the roundtable and their seminar studies. What follows is a short paper by graduate student, Sean Miller. digital.library.unt.edu/ark:/67531/metadc109708/
Personal Response to Digital Frontiers Roundtable: XuHao Yang
This response paper is for Dr. Jennifer Way's graduate art history seminar on 20th-21st century art. Students in Way's seminar attended 'Social Media and Digital Communities: A Roundtable Discussion,' a session featured at the Digital Frontiers 2012 conference. Way charged her students with writing a short paper to explore connections between the roundtable and their seminar studies. What follows is a short paper by graduate student, XuHao Yang. digital.library.unt.edu/ark:/67531/metadc109720/
Petti-Hoop
Petti-hoop of steel hoops within a white cotton petticoat. A modified form of cage crinoline consisting of three graduated steel hoops that open with snaps that fit within horizontal pockets of the full-length petticoat. Petticoat has gathered waist and eyelet lace at hem. Maker's label sewn in: "Petti-hoop / Created by / Ru-Nell / Pat Pend #494517" Size label, "10". The Ru-Nell Manufacturing Co. was founded by Fred Poole in 1935 in Yorkville, Georgia, USA. The company was named after his wife Ruby, and his oldest daughter Nell. Originally producing chenille bedspreads, they began to manufacturing "Petti-hoops" after their daughter Dorothy was unable to find a petticoat/hoop set to wear for a Southern Bell Ball in the 1950's. Ruby Poole designed the first one, and it became so popular that they went into production. Later they were produced as wedding gown underpinnings. digital.library.unt.edu/ark:/67531/metadc87029/
[Piazza]
Photograph of the side of a piazza in Siena, Italy. In the foreground, multiple people and a small child are visible . Behind the people, and series of arches are visible on one wall and a row of flags is visible on the other. digital.library.unt.edu/ark:/67531/metadc10567/
[Piazza Capranica]
Photograph of the Piazza Capranica in Rome, Italy. In the foreground, parked cars are visible in front of a church. The church has a dark green door with a red curtain. digital.library.unt.edu/ark:/67531/metadc10690/
[Piazza del Campo]
Photograph of the Piazza del Campo during Palio in Siena, Italy. In the foreground, a crowd is visible in the middle of the piazza. On the right side of the crowd, the horse track sits next to the Palazzo Pubblico and the Torre del Mangia. Four riders and more buildings are visible in the background. digital.library.unt.edu/ark:/67531/metadc10558/
[Piazza del Campo]
Photograph of the Piazza del Campo in Siena, Italy. In the foreground, a car and a parking sign are visible. The piazza fills the middle ground. A row of buildings spans the background. digital.library.unt.edu/ark:/67531/metadc10575/
[Piazza della Repubblica]
Photograph of the Piazza della Repubblica in Rome, Italy. The piazza is visible in the foreground with cars and bikes scattered throughout. The Fountain of the Naiads sits in the center of the piazza. Buildings and greenery are visible in the background. digital.library.unt.edu/ark:/67531/metadc10582/
[Piazza della Rotonda]
Photograph of a fountain in the Piazza della Rotonda in Rome, Italy. In the foreground, a stone head spurting water out of its mouth is visible with two serpents on either side of the head. A building in the piazza is visible in the background. digital.library.unt.edu/ark:/67531/metadc10640/
[Piazza della Rotonda Fountain]
Photograph of a fountain in the Piazza della Rotonda in Rome, Italy. In the foreground, various stone heads spurting water are visible. A shaded building is visible in the background. digital.library.unt.edu/ark:/67531/metadc10628/
[Piazza della Signoria]
Photograph of the Piazza della Signoria in front of the Palazzo Vecchio in Florence, Italy. In the foreground, the side of the building is visible on the right side of the frame; three statues are visible on pedestals in the piazza as well as numerous people. Sunlit buildings are visible in the background. digital.library.unt.edu/ark:/67531/metadc10725/
[Piazza di Popolo]
Photograph of the Piazza del Popolo in Rome, Italy. In the foreground, a lioness fountain is visible. The twin churches of Santa Maria dei Miracoli and Santa Maria in Montesanto are visible in the background. digital.library.unt.edu/ark:/67531/metadc10664/
[Piazza di Santa Croce]
Photograph of the Piazza di Santa Croce in Florence, Italy. In the foreground, people and cars are visible; the Basilica di Santa Croce is visible in the background with a large statue in front; a row of buildings is visible in the left background of the frame. digital.library.unt.edu/ark:/67531/metadc10703/
[Piazza di Spagna]
Photograph of the Piazza di Spagna in Rome, Italy. In the foreground, two men drink from the Fontana della Barcaccia; people, buildings, and automobiles are visible in the background. digital.library.unt.edu/ark:/67531/metadc10672/
[Piazza di Trevi]
Photograph of the Piazza di Trevi in Rome, Italy. The piazza is visible in the foreground filled with people and cars. The fountain fills the background surrounded by buildings. digital.library.unt.edu/ark:/67531/metadc10577/
[Piazza San Bernardo]
Photograph of a lion fountain in the Piazza San Bernardo in Rome, Italy. The lion sits in the foreground with water pouring from his mouth into a pool to the left. More of the fountain is visible behind the lion. digital.library.unt.edu/ark:/67531/metadc10657/
[Piazza San Marco]
Photograph of the Piazza San Marco in Venice, Italy. Three men sitting around red cafe tables are visible in the foreground. Beyond the men, the side of St. Mark's Basilica is visible. digital.library.unt.edu/ark:/67531/metadc10533/
[Piazza San Marco]
Photograph of the Piazza San Marco in Venice, Italy. In the foreground, a red and black pole rises out of the frame. Men, women, and pigeons are scattered throughout the piazza. Buildings line all three visible sides of the piazza in the background. digital.library.unt.edu/ark:/67531/metadc10525/
[Piazza San Marco]
Photograph of the Piazza San Marco in Venice, Italy. A long row of connected buildings lines the foreground. The piazza in front of the buildings is filled with people and rows of cafe tables. digital.library.unt.edu/ark:/67531/metadc10523/
[Piazza San Pietro]
Photograph of the Piazza San Pietro in Rome, Italy. A man faces the camera in the foreground in front of three white cars. The piazza is visible in the background behind the cars. digital.library.unt.edu/ark:/67531/metadc10848/
[Piazza Santa Maria Novella]
Photograph of the Piazza Santa Maria Novella in Florence, Italy. A horse-drawn carriage and a woman are visible in the foreground; Two obelisks, the Basilica of Santa Maria Novella, and surrounding buildings are visible in the background. digital.library.unt.edu/ark:/67531/metadc10780/
[Piazzetta]
Photograph of the Piazzetta in Venice, Italy. The piazza is filled with people and pigeons throughout. In the background, two statues are visible by the waterfront. digital.library.unt.edu/ark:/67531/metadc10547/
[Piazzetta San Marco]
Photograph of the Piazzetta San Marco in Venice, Italy. Men and women fill the piazzetta throughout the frame. A lamp post is visible in the foreground. The basilica is visible in the back corner of the piazzetta. Other buildings surround the piazzetta. digital.library.unt.edu/ark:/67531/metadc10524/
Picture Hat
Picture hat of black felt. The crown is formed as a bun, with puffed top, resembling a muffin, cinched in at the base by a visible satin string/stitch with trailing edge/tassel at back. The wide brim of matching felt curves downwards and undulates slightly, and has a decorative stitch near outer edge very slightly gathering the edge. Label sewn inside crown: "Made in America"; "John Frederics Inc. / New York" digital.library.unt.edu/ark:/67531/metadc39126/
Picture Hat
Large picture hat of navy blue straw. The high, domed crown is encircled at the base by a wide band of navy blue grosgrain ribbon, and has an oversized dark blue silk flower with artificial stems and leaves set at front. The wide brim is plain, turned back on itself at the edge to form a wide band of double-thickness. When worn, the brim hangs down forming conical shape, but when laid down, brim flattens. Hat is unlined, with an inner hatband of dark blue grosgrain ribbon around inside lower edge of crown. Designer's label sewn to inner band: "Adolfo / New York". digital.library.unt.edu/ark:/67531/metadc39236/
Picture Hat
Picture hat. The hat is of natural woven Milan straw, forming a wide shaped brim that curves downwards to the edges. Brim is rounded in front, flaring out slightly to back and forming two projecting lobes at back. Around brim is a band of woven straw for strength. Very low cylindrical crown, slightly domed. Around crown is twisted gold velvet band forming bow with trailing ribbons at back. Inside base of crown is off-white grosgrain ribbon band. Sewn into inner ribbon band is label: "John Frederics Inc. / New York", "Made In America". Label has three rhinestones sewn to it, and has two small green ribbon bows at opposing corners. digital.library.unt.edu/ark:/67531/metadc30124/
Picture Hat
Small picture hat of straw. The fine, natural color straw crown is domed, and encircled by a band of beige grosgrain ribbon at its base. The ribbon has a bow at the front. The wide, oval brim is set off-center to the crown, and is edged with the same beige grosgrain ribbon. The brim has two "V" cuts into it at front, forming projecting "saw teeth". At the base of each "V" cut, on top and underneath brim, is a bow of the same grosgrain ribbon. The hat is unlined, and there is an inner hatband of beige grosgrain ribbon. Label sewn to inner hatband: "Henrys / Dallas". Henrys has been identified alternately as maker or retailer. digital.library.unt.edu/ark:/67531/metadc38121/
Picture Hat
Picture hat of straw. The domed crown is of natural-colored straw, ringed at the base with a line of artificial daisies with white petals and yellow centers, affixed to a band of off-white grosgrain ribbon. The broad oval straw brim is set off-center, and edged underneath with a double line of daisies around most of the brim, and a single line of daisies at back. The crown is edged inside with an inner hatband of white grosgrain ribbon. Label sewn to inner hatband: "Henrys / Dallas". Henrys has been identified alternately as maker or retailer. digital.library.unt.edu/ark:/67531/metadc38128/
Picture Hat
Small straw picture hat. Low domed crown of a dark/purple woven straw. Wide, down-turned brim of same material starts high on the crown, and is edged in black velvet. At the back of the hat, starting at top of brim, is an applied spray of artificial daisies and leaves in green fabric, with black velvet bow. Unlined. Inside, at base of crown, is brown/purple grosgrain ribbon headband. Label sewn to inner hatband: "Henrys / Dallas" Henrys has been identified alternately as maker or retailer. Gift of Mr. Ian Dellar. digital.library.unt.edu/ark:/67531/metadc38124/
Picture Hat
Small picture hat of black straw. The domed black straw crown is edged in black velvet ribbon and is surmounted by a "starburst" of pleated black grosgrain fabric with a vertically projecting "tab" of grosgrain ribbon backed with black velvet. The matching straw brim is circular along the front 2/3 of the hat, and then "cut back" along the back 1/2, forming two slight corners at sides. The brim is edged in black velvet ribbon. The crown has an inner black grosgrain ribbon hatband. Label sewn to inner hatband: "Henrys / Dallas". Henrys has been identified alternately as maker or retailer. Accompanied by a single short hatpin with simulated black pearl head. digital.library.unt.edu/ark:/67531/metadc38123/
Picture Hat
Picture hat of black straw. The hat has a broad brim of woven black straw with an upturned outer edge which is trimmed in black velvet. The low, domed crown is also of woven black straw, with a band of black ostrich feathers around the base of the crown. One large ostrich feather plume attached to base of crown and extends out and over the back of the brim. Inside crown is black cloth lining. Sewn inside crown is black cloth label: "Mme Georgette / 11 Rue Scribe / Paris" digital.library.unt.edu/ark:/67531/metadc30190/
Picture Hat
Picture hat of reddish brown straw. Low, cylindrical, slightly tilted crown is flattened at top and encircled at base by wide gray grosgrain ribbon which divides into three tiers of streamers cascading at back. Wide floppy brim. Reddish brown inner grosgrain ribbon hatband and black elastic cord to secure to wearer's head. Designer's label at inner hatband: "Hattie Carnegie / INC." Retailer's label at inner hatband: "Neiman Marcus Co. / New York Dallas Paris" digital.library.unt.edu/ark:/67531/metadc277133/
Picture Hat
Picture hat of fine, black straw. Black silk cording as hatband with two tassels. Brim rolled under. Black elastic band for securing hat to wearer's head. Unlined. Designer's label on inside hatband: "Jan Leslie / Custom Design" Size tag to left on designer's label: "22" digital.library.unt.edu/ark:/67531/metadc277002/
Picture Hat
Picture hat of natural straw. The low, domed crown is encircled at base by a wide band of lime green grosgrain ribbon with large bow with trailing ends at back right and two trailing ends at left. The wide, circular brim is turned up at left edge. Unlined. Inner hatband of black grosgrain ribbon. Maker's (retailer's?) label sewn to inner hatband: "Henry's / Originals / Dallas". Henrys has been identified alternately as maker or retailer. digital.library.unt.edu/ark:/67531/metadc277122/
Picture Hat
Picture hat of natural straw. The domed crown is encircled at base by a wide band of cream grosgrain ribbon with bow at right side. Around the crown, but not on the bow, the ribbon is edged at top with black. The wide circular brim curves upwards from base of crown, then curves down to edge. Unlined. Inner cream grosgrain ribbon hatband. Label sewn to inner hatband: "Florence ... / Dallas" digital.library.unt.edu/ark:/67531/metadc277083/
Picture Hat
Picture hat of black straw with horsehair brim extension. Top trimmed with white lily of the valley silk flowers with green leaves. Unlined crown with black grosgrain ribbon inner headband. digital.library.unt.edu/ark:/67531/metadc305356/
Picture Hat
Picture hat of black felt. Low, domed crown of black felt, encircled at base by band of black felt with large white rose of white fabric at front left. The wide brim has a shallow curve downwards, and is edged with a wide band of off-white twill. The crown of the hat is unlined; the underside of the brim has concentric bands of off-white twill. The inner hatband is of black grosgrain ribbon. Designer's label: "Mae Kelley / Exclusive Hand Made Hats / Whittier, Calif." digital.library.unt.edu/ark:/67531/metadc305362/
Picture Hat
Picture hat of muted orange/red straw. The low crown is sunken at edges and domed at center, and is encircled by a wide, gathered band of matching chiffon. The wide, somewhat floppy brim curves downwards and rolls under at edge. The hat is unlined, with a matching grosgrain ribbon inner hatband. It is accompanied by a single hatpin with a matching bead head. Retailer's label: "Neiman-Marcus / Salon" digital.library.unt.edu/ark:/67531/metadc286864/
Picture Hat
Picture hat of black velvet with domed crown and wide brim edged in black satin. Hatband of pleated black satin. Bright green ostrich feathers on left side of crown. Lined in pink fabric. Designer's label: "Mae Kelley / Exclusive Hand Made Hats / Whittier, Calif." Retailer's label: "Yvonne / Hats / California" digital.library.unt.edu/ark:/67531/metadc305388/
Picture Hat
Picture hat of dark navy blue fine straw. The low, slightly domed crown is of the type referred to as a "pancake", somewhat flattened and very low. The wide, circular brim is of same fine woven dark navy blue straw, curving slightly downwards. Inner stiffened ring structure of the same straw, forming hatband of hat, extending below brim. Retailer's label inside: "Neiman-Marcus" digital.library.unt.edu/ark:/67531/metadc283735/