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Elephant
No full textThis object was photographed and inventoried during summer 2019 by Julia Conway ('20) and Bailey Cook ('20) as part of a digital curation fellowship.�Please note that the date issued field refers to the date of the digital object's creation. The temporal coverage field contains date information for the actual physical object, when known.General Description: This is a small brown stone elephant. It has details on its face, back, legs and trunk. The trunk is very curled.Condition Description: One of the back feet has been broken off
Tile
No full textThis object was photographed and inventoried during summer 2019 by Julia Conway ('20) and Bailey Cook ('20) as part of a digital curation fellowship.�Please note that the date issued field refers to the date of the digital object's creation. The temporal coverage field contains date information for the actual physical object, when known.General Description: This is a blue and white tile that depicts a white ship on a blue background. The backside of the tile in unglazed. On the back there is an oval sticker that reads "marblehead pottery." There is also a seal on the backside that says MP.Condition Description: The edges of the tile have a few cracks. There are a couple of stains on the front side of the tile as well
"Aggregate Optics of Make-A-Do" Opening Image
No full textThis item was uploaded to DLynx in the Visual Resources Center during the spring of 2019.Erin Harmon’s work dwells in the twilight zone between painting and sculpture. Filled with longing for places that do not actually exist, contradictions flourish with invocations of both the animated and the arrested, the joyful and the staid, the high and the low. Material and processes become sites for fantasy, illusion, and the interplay between flat and not-flat. The vibrant work in "Aggregate Optics of Make-A-Do" tinkers with scale to produce environments that we can project ourselves into as landscapes, even while confronting their qualities of un-nature.
Borne from Harmon’s previous body of painted paper collages, her new work is influenced by techniques common to theatrical painters, a lineage of shapes and images become a trail of breadcrumbs from one idea to another. These materials are scoured, drawn, painted, cut, and recycled over time, one idea begetting another, endlessly self-generating. Whether it be through ceramic, painted muslin, or projection animation (a collaborative video in which Harmon’s gouache-on-paper cut-outs have been animated by artist and musician Kyle Statham), the finished works encapsulate a romance with materials and processes
Fabric
No full textThis object was photographed and inventoried during summer 2019 by Julia Conway ('20) and Bailey Cook ('20) as part of a digital curation fellowship.�Please note that the date issued field refers to the date of the digital object's creation. The temporal coverage field contains date information for the actual physical object, when known.General Description: This is a rectangular piece of linen with green, yellow, and tan stripes. The inventory from 1978 describes it as a shawl.Condition Description: The shorter sides are fraying
Lock
No full textThis object was photographed and inventoried during summer 2019 by Julia Conway ('20) and Bailey Cook ('20) as part of a digital curation fellowship.�Please note that the date issued field refers to the date of the digital object's creation. The temporal coverage field contains date information for the actual physical object, when known.General Description: This is a silver heart shaped lock. It has a design of two birds on the front side. The backside has no design. There is a key that is not attached. It says Hansen on the key.Condition Description: Good condition, The lock will not ope
Fabric
No full textThis object was photographed and inventoried during summer 2019 by Julia Conway ('20) and Bailey Cook ('20) as part of a digital curation fellowship.�Please note that the date issued field refers to the date of the digital object's creation. The temporal coverage field contains date information for the actual physical object, when known.General Description: This is a small blue maniple with floral designs. It has red on the inside. It has a small note that says it is an "italian maniple."Condition Description: It has a few places where there are some white pieces of fuzz attached
Queens and Monsters Installation Images
No full textThis digital image was photographed by Chip Pankey and uploaded to DLynx by the Visual Resources Center in Fall 2019.This is an Installation Image taken by Chip Pankey of Melissa Wilkinson's "Queens and Monsters" exhibition in the Clough-Hanson Gallery. Comprised of two recent series of paintings, "Queens and Monsters" deconstructs and remixes pop and personal iconography, from Golden Era Hollywood to 70's and 80's tomboys, from the glamour of disco to the digital distance of private Tumblr accounts. Focusing on the interaction of parts, Wilkinson manipulates and mediates these images in an exploration of gender play, micro expressions, and her own coming of age as a queer person. She says, "Influenced heavily by glitch art and data moshing I create meticulous watercolor and ink wash paintings in order to investigate the line that is straddled by abstraction and representation. I work in water media on paper to create a vulnerable object and a tender presence through my touch...I am interested in creating a kind of alternate identity of highly mediated likenesses, one that corrupts and disturbs our understanding of these identities as public performers, gender stereotypes and gay icons."
There was an Artist's Lecture on October 24 in Blount Auditorium in Buckman Hall. Opening reception was October 25, 5:00 - 7:00pm, in the Clough-Hanson Gallery. The Exhibition was on view through December 4
Machera Floors Opening Reception
No full textThis digital image was photographed by Grayson Burke and uploaded to DLynx by the Visual Resources Center in Fall 2019.This is an image of the Opening Reception of Johana Moscoso's "Machera Floors" exhibition in the Clough-Hanson Gallery. Johana Moscoso’s "Machera Floors" are a series of large scale floor sculptures accompanied by process videos in which the artist and her peers dance Colombian cumbia and salsa over unfired porcelain tiles. The wet tiles, imprinted with impressions of the dancers’ heeled shoes, were fired, glazed, and re-assembled into large sculptural dance floors that archive dynamic expressions of the dancers' movements. The indelible impressions in "Machera Floors" embody the history of migration, which needs to be remembered and constantly retold in an America that tends to overlook the cultural assets and values created by immigrated populations.
There was an Artist's talk held on September 5 at 6:00 in Blount Auditorium. The Opening reception was on September 6 from 5:00 - 7:00. The Exhibition was on view through October 12
Memphis Bicentennial Sign
No full textThis digital image was taken by a member of the Memphis Art Project team. It was uploaded to DLynx during summer 2019.The colorful Memphis sign resides at the tip of Mud Island with a view of the Memphis skyline. Each large letter has a differnt bright color on its side, while each face is white. Officials with the Memphis River Parks Partnership, who oversaw the new sign, said their goal was to get more people to visit the area
Brownsville Klan Documents: Omeka Exhibit
No full textPresentation by Calum Wright ('19) delivered at the Digital Preservation and Scholarship Summer symposium.For my Digital Humanities project, I created an online Omeka exhibit of images from the collection of Klan documents from Brownsville, Tennessee. The goal in creating this project was to create an exhibit where viewers could digest the images, ideas, and propaganda in a way similar to how they would have originally been taken in. The striking images that the Klan published would draw people in to reading about their organization, goals, and ideals, so I have decided to make this possible with this exhibit. Another goal of the exhibit was to display these ideas and methods so that they could be learned from. This, and indeed all displays of history, are important in making sure that it does not repeat itself