Brief Artist Statement by Jihye Han as part of a 2021 MFA Exhibition, entitled "11,009km” at the Goldmark Cultural Center in Dallas, TX on April 9-May 7, 2021.

Non-medical face mask of peach cotton in pink "Access Bitch" print. Adjustable ear straps; lined in white cotton.

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?

Work of art sample video by artist Sean Lopez as part of a 2021 MFA Exhibition, entitled "The Always Girls and Forever Boys” at Sweet Pass Sculpture Park in Dallas, TX on April 17-18, 2021.

Work of art in Acrylic and Marker on Fabric by artist Sean Lopez as part of a 2021 MFA Exhibition, entitled "The Always Girls and Forever Boys” at Sweet Pass Sculpture Park in Dallas, TX on April 17-18, 2021.

Work of art, Video Still Image of superposition elements in the video artworks, combining drawing, performance, video, and projection, by artist Sean Lopez as part of a 2021 MFA Exhibition, entitled "The Always Girls and Forever Boys” at Sweet Pass Sculpture Park in Dallas, TX on April 17-18, 2021.

Brief Artist Statement by Sean Lopez as part of a 2021 MFA Exhibition, entitled "The Always Girls and Forever Boys” at Sweet Pass Sculpture Park in Dallas, TX on April 17-18, 2021.

Work of art in Screen Based Installation (video Projection) by artist Sean Lopez as part of a 2021 MFA Exhibition, entitled "The Always Girls and Forever Boys” at Sweet Pass Sculpture Park in Dallas, TX on April 17-18, 2021.

Work of art sample of Live Stream Recording of event, by artist Sean Lopez as part of a 2021 MFA Exhibition, entitled "The Always Girls and Forever Boys” at Sweet Pass Sculpture Park in Dallas, TX on April 17-18, 2021.

Work of art sample of Live Stream Recording of event, by artist Sean Lopez as part of a 2021 MFA Exhibition, entitled "The Always Girls and Forever Boys” at Sweet Pass Sculpture Park in Dallas, TX on April 17-18, 2021.

Work of art sample of Live Stream Recording of event, by artist Sean Lopez as part of a 2021 MFA Exhibition, entitled "The Always Girls and Forever Boys” at Sweet Pass Sculpture Park in Dallas, TX on April 17-18, 2021.

This research project studies ways that space shapes identity by examining a contemporary sculpture using a multicultural theory. The author focuses on analyzing the role of physical space in the construction of cultural identity across time by studying Mariana Castillo-Deball’s No Solid Form Can Contain You (2010) through Gloria Anzaldua’s Nepantilism theory.

In my work, I explore the ancient occult concept of the egregore or collective thought-form and its continued relevance in contemporary life. One might not think of the systems that we operate in today as ritual in nature, especially those that utilize new technology. We may imagine cyberspace as the ultimate rational and objective realm where all things can be categorized, quantified, and monetized. However, it is a place saturated with ceremonial situations upon close inspection. I seek out these ceremonies of niche digital communities and reconstruct them in new forms operating adjacent to their original stream.

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.

Video recording featuring guest panelists, Stephanie A. Johnson-Cunningham, and Kelli Morgan, Ph.D., this third installment of the 2044 series frames Afrofuturism and futurist thinking in museum practice to examine the roles museums play in maintaining and recreating anti-blackness and white supremacy. Panelists discuss how museum educators and curators can practice anti-racist pedagogy and thinking. Racist and colonial practices of museums need greater racial equity and recognition. Through the use of visual imagery, Afrofuturism as a framework may be a viable strategy for community building, imagination, and expression. Recognizing that museums are rooted in white colonial narratives that have been and continue to be oppressive to Black and people of color, museums can amplify Black experiences and narratives while pointing out the need for systemic change in the sector. From the periphery of colonial violence and commodification to the centrality of visibility and recognition, museum education can provide opportunities to “analyze how racism shapes how we view, discuss, create, and engage multiple audiences within the museums.”

Video recording featuring co-hosts Lauren Cross, Ph.D., and Kathy Brown, Ph.D., engage in ongoing conversations about anti-racist pedagogy in the arts and design. Joined by distinguished guest panelists, Joni Boyd Acuff, Ph.D., and James Haywood Rolling Jr., Ed.D., this first installment of the 2044 series introduces Afrofuturism and the ways that it can help reimagine art discourses, laying the groundwork for establishing Afrofuturism as a framework for conceptualizing and enacting anti-racist art education practice. In addition to sharing their work and how it relates to Afrofuturism and futurist thinking, the panelists discuss how recognizing Black and Brown artists and advocating for racial literacy is essential to creating and maintaining a racial consciousness practice in K-12 education.

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.

Works of art on ceramic and mixed media by artist Amy Henson as part of a 2022 MFA exhibition, entitled "Maternalia" in the Cora Stafford Gallery South, 1201 W Mulberry St, Denton, TX 76201, from March 30 to April 2, 2022.

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.

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.

Asepo is a simulated domestic space that speaks to being a product of the hybridization of cultures, the sense of displacement and the need for belonging that comes with being a hybrid of sorts. The exhibition includes four sectors. The first is a bed with a floating headboard accompanied by projected imagery and sound. A performance takes place upon the bed. The second is a table with three accompanying wall-mounted pieces that connect to the table through symbolism. The third is a sculptural wooden diptych and the final sector is comprised of accessories.

Works of art (installation view) by artist Aaron Pozos as part of a 2022 MFA exhibition, entitled "Bellows of the Beast" in the the Cora Stafford Gallery South, 1201 W Mulberry St, Denton, TX 76201, from March 30 to April 2, 2022.

Works of art (installation view) by artist Aaron Pozos as part of a 2022 MFA exhibition, entitled "Bellows of the Beast" in the the Cora Stafford Gallery South, 1201 W Mulberry St, Denton, TX 76201, from March 30 to April 2, 2022.

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.