This poster was created by an art student for the annual 1984 Voertman Award Competition and Exhibition. The imagery depicted at the top of the poster is a large pencil turned into a race car. The colors are red, yellow and black.

This poster was created by an art student for the annual Voertman Award Competition and Exhibition. The juror for the competition was Linda Cathcart. Depicted are soldiers and their weapons are a pencil, paintbrush and a crayon.

This poster was created by an art student for the annual Voertman Award Competition and Exhibition.

This poster was created by an art student for the annual Voertman Award Competition and Exhibition held in 1982. The juror is listed as Ric Collier, the Director of the Corpus Christi Art Museum.

This poster was created by an art student for the 1983 Voertman Award Competition and Exhibition. Depicted near the bottom of the poster is a palette and paintbrush displayed as though a fine dish of food. The stylized design is in blue and pink.

This poster created by an art student for the annual Voertman Award Competition and Exhibition depicts a tractor harvesting the year's crop. The colors are red, yellow, gray and black. The juror is listed on the poster as Ron Gleason, Director of the Tyler Museum of Art.

This article discusses the expansion of Maillezais Abbey and the creation of its hydraulic infrastructure.

Video recording featuring esteemed guest panelists, Tameka Ellington, Ph.D., Cheryl D. Holmes Miller, and Terresa Moses, M.F.A., this second installment of the 2044 series highlights the ways that working against anti-Blackness through the lens of Afrofuturism and Critical Race Theory allows for the examination and enactment of decolonizing design bias and white default. This session brings questions of Black agency, stereotyping, bias, representation, appropriation, commodification, and the dangers of pathologizing Blackness in design. Panelists discuss anti-racist practice in design education through forms of resistance and resilience.

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.

This article uses a grounded theory approach to identify three major themes--business, soft power, and whitewashing--in the US media coverage of "The Great Wall" film.

This article centers two fabric assemblage pieces the author created in response to the Black Lives Matter protests of the summer 2020.

Article is an introduction to Artnodes issue No. 26, “AI, Arts & Design: Questioning Learning Machines" which addresses the question: Does generative and machine creativity in the arts and design represent an evolution of “artistic intelligence,” or is it a metamorphosis of creative practice yielding fundamentally distinct forms and modes of authorship?

With this work, I investigate the mental and physical toll of the past and the dissonance that often occurs as we age through the use of experimental cameraless techniques. By placing photographic materials directly against my skin during performative acts of self-care, I document my body as I reflect on the damage it suffered as a result of my childhood as a competitive gymnast, which is being exacerbated by the effects of age and time. The resulting photographs are a poetic self-reflection on my physical form that embodies my struggle to understand and accept my deteriorating body.

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.