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.

Recording of a lecture presented by Dr. David Darts titled "The Makers of Things: Art Education and Freedom in the Digital Age of Digital DIY" at UNT on the Square in Denton, Texas as the 4th annual D. Jack Davis Endowed Lecture in Arts Education.

Works of art from artist's Google Chrome Search History from June-July 2021, digital print and machine embroidery on cotton, mannequin, vinyl, monitor, video of abstracted Google Chrome History, found text By artist Christine Drake-Thomas as part of a 2022 MFA exhibition, entitled "The Third-Party Pop-Up Shop" in the Cora Stafford Gallery South, 1201 W Mulberry St, Denton, TX 76201, from April 13th to 16th, 2022.

Works of art from artist's Google Chrome Search History from June-July 2021, digital print on cotton, resin-coated digital print on Masonite, resin hanger, printed tags, by artist Christine Drake-Thomas as part of a 2022 MFA exhibition, entitled "The Third-Party Pop-Up Shop" in the Cora Stafford Gallery South, 1201 W Mulberry St, Denton, TX 76201, from April 13th to 16th, 2022.

Video of 5 members of the RAG Ladies (Retired Apparel Group) visiting the Texas Fashion Collection on November 21, 2013 at the new facility at 405 S. Welch St., Denton, Texas, on the campus of the University of North Texas. The ladies were interviewed by Myra Walker, Curator of the TFC, about their lives in the world of fashion and the apparel industry, and their roles in bring the Dallas Museum of Fashion to UNT. The ladies interviewed were: Jacque Prager, Frances Maloney, Nan Alexander, Naomie Rudelson, and Mary Beth Hoeffner.

Artist Statement from the MFA Exhibition: "My work expresses personal experiences dealing with race, identity, and social critique. As an African American woman born and raised in Texas, it is common for me to be the only black face in white spaces. Being framed as the "other" has been ingrained in my existence, affecting the way I navigate through life. Throughout my time in graduate school, I have constructed my own framework of identity. Referencing history and its permanent effects on the present, my work explores the internal and external complexities of being a black woman in America today."

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.

Through painting, I use materiality to describe the material world. By rooting my practice in visual culture and art history, I seek to extend the meaning of images beyond their initial form. The coalescing of opposing and complimentary formal elements accentuate the visual and contextual friction. This allows the work to exist in an ambiguous state. Seen together, my works appear disparate, but they suggest alternative meanings through association with one another. The works can exist on their own, but engage in dialogue when juxtaposed against each other. Although about specific occurrences, the works afford the viewer their own interpretations.

This transcript is the record of an interview with Paula Sibilia about how technology affects her work as part of a lecture series, "Women Art Technology." During the interview, Sibilia discusses her research into how technological body modifications affect the cultural, social, and philosophical aspects of the human body. The transcript includes a brief introduction with a biography of Sibilia and general information about the lecture series and the specific interview. A list of 'Suggested reading' materials is also listed at the end of the transcript.

This transcript is the record of an interview with photographer Elda Harrington about how technology affects her work as part of a lecture series, "Women Art Technology." During the interview, Harrington discusses her own work in photography as well as the schools and the photography festival that she has established in Argentina. The transcript includes a brief introduction with a biography of Harrington and general information about the lecture series and the specific interview. A list of 'Suggested reading' materials is also listed at the end of the transcript.

This transcript is the record of an interview with photographer Adelma Benavente Garcia about how technology affects her work as part of a lecture series, "Women Art Technology." During the interview, Garcia discusses the projects she has worked on to preserve photographs in the Andes mountains and other parts of Peru. The transcript includes a brief introduction with a biography of Garcia and general information about the lecture series and the specific interview. A list of 'Suggested reading' materials is also listed at the end of the transcript.

Artist Statement from the MFA exhibition: In my recent work, I explore my identity as a first-generation American, using my painting practice to think about early memories of living in-between two cultures. These remembered moments allow a space for me to consider how both cultures merge. Portraying vivid memories through colorful recognizable objects and body parts, memories take on a new context, showing the passage of time, and reflecting on how memories take on new meaning. My desire to save these moments relates to my wish to name what makes me belong, and what marks me as unique, within the two cultures in which I exist.

My artwork uses the traditions of printmaking, photography, and fiber arts to dissect the myths, history, and current moment of American culture. My methodology includes photographing sites where governmental and capital power is most present. Photography is my tool for documenting the present, while quilting and printmaking are my way of reflecting on and digesting ideological concepts that are present in our culture. The quilt is a symbol of comfort in our personal ideologies. My work aims to destigmatize direct action and encourages the viewer to reevaluate how meaningful change can be made today.

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.

Artist Statement for the Bachelor's of Fine Arts degree Fibers Senior Exhibition

This paper was awarded a Nicholas and Anna Ricco Award for 2013. This paper discusses Nazi-era art restitution. The author examines the unique history of the World War II art plunder and the dilemma and issues that heirs and museums face.

I have impulses to make things, sometimes the idea happens prior to its construction, sometimes it happens after. I doubt the presumption of art's ability to save or better people, which creates for me, a conflicted relationship with art-making. I think in most cases, the best it can do is attract people's interest for a moment or so, to the extent that they feel compelled to see it again. Upon those sentiments I make things that provoke a thought or pleasure in myself that I hope other people can relate to. That seems to me to be the bitch of subjective activities. You do what you feel but are never quite sure how it's felt.

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.

Photography, as a way of recording, is often high-definition and highly descriptive. Therefore, photography has a close relationship with visual perception. In my soft and abstract photographic images, the particularity of time and place is deliberately diluted, and the traditional objects in the photographic images are eliminated to challenge the viewer to locate themselves in relation to the photographs. The ambiguity of the photograph stimulates the viewer's self-consciousness to the greatest extent, while also spurring profound examination of the particular ways one expects photographs to affect them.

Belief is our acceptance of an optimal truth. We embed a belief into the things in our life that give us comfort or strength. Whether they are recognizable in popular culture or are our own private object, their value shifts to what we need them to be. My current work is inspired by multi-cultural historic luck or from my own practice of object collection. They are physical objects that are representative of ritual or ones that “bring” luck. The objects are primarily wearable jewelry, although I have included the pocket as a location of wearability. Regardless of how or where they are worn, they are meant to be valued by the wearer in some capacity.

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.

Brachaid is a collection of photographs that explore the blindness of our perspective that is informed by images. By photographing peripheral landscapes like wastewater processing facilities, the edges of temporary streams, and stormwater basins, the project uses the landscape and its perceived neutrality to foreground how the production of images constructs our perception. The work in Brachaid emphasizes the production of images, from subject and framing choices to the use of imaging software, to demonstrate that such production is regularly and radically obscured in most of the images we consume, and that this same structure exists in our lived reality.

As we travel through life, we lose pieces of ourselves. It’s inevitable. Yet we are more than the sum of our parts. These pieces can be cast aside, lost to the wind or imply left behind. They can also be stitched back together, forming a patchwork quilt of sorts. The world is constantly changing, and now more than ever we live in a time of uncertainty. So, I feel the need to stitch together my reality. I am a Maker, and I choose to make a reflection of the world I want to inhabit; a world of my own making.

This presentation is part of the faculty lecture series UNT Speaks Out on Coming Home. The author discusses methods and findings from a project she participated in related to how veterans narrated their experiences through art. Her component of the study evaluated participants and described what they gained through creating arts and crafts.