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Tarter-Miller Gallery | Jim Measell, Guest Curator Initially called "Iridescent Ware" by the Fenton Art Glass Company in late 1907, this innovative glassware typically featured a vivid metallic sheen of changing hues on pressed glass articles made in highly-patterned molds. The secret behind Fenton s Iridescent Ware was a special spray of metallic salts on the glass while it was very hot.

Palmer and Mull Galleries | Fred Smith & Jordan Fenton, Guest Curators Establishing authenticity for African art objects has been a concern of academics, museum curators, collectors and gallery dealers for more than fifty years. The continuing scholarly fascination was reflected in the 1976 special issue of African Arts on "Fakes, Fakers and Fakery". However, the question of what defines authenticity for the visual culture of Africa is complex and only some aspects of the issue have been investigated.

Decorative Arts Center of Ohio, in Lancaster, Ohio | Dr. Anne Bissonnette, Curator Split between nature, culture and sculpture, hair is a multifaceted topic and a medium of expression that is often overlooked. It can speak loudly and it did when, at the end of the 18th century, democratic ideals caused major social and political schisms that literally changed the face of fashion. By the 1790s, wigs and towering hairdos were going out of favor and new styles rooted in classicism ushered in an era of increased individuality.

Alumni Gallery | Jean L. Druesedow, Director On February 25, 1978, Shannon Rodgers purchased a "blue silk robe and petticoat brocaded in silver, English, 1750," from Cora Ginsburg Antique Textiles in New York City. At the time, the dress was configured in a style approximating the 1770s, although the textile was probably created around 1750. It was included in the original Silverman/Rodgers gift that established the ÂÌñÉç Museum.

Stager Gallery | Jean L. Druesedow, Director Perhaps nothing symbolizes the artistry, industry and affectionate nature of women as much as the quilts and comforters they make for their families and friends. Over centuries, through effort and fine needlework, women have given expression to their aesthetic sensibilities.

Stager Gallery | Jean L. Druesedow, Director Directions for making crazy quilts first appeared in ladies' magazines in 1882. They were the first style of quilt for which commercial patterns were widely available. Kits cold be purchased containing a variety of silk fabrics and embroidery threads, as well as embroidery transfer patterns responsible for many of the charming designs found in the quilts.

East Gallery | Jean L. Druesedow, Director By the second quarter of the nineteenth century, handwoven wool and cotton coverlets kept many Americans warm at night and brightened the beds of the young nation with bold, colorful designs. Often in shades of red, white and blue, utilizing patriotic symbols interspersed with floral and geometric motifs, these coverlets demonstrated pride in country and special events as well as love of color and pattern.

Broadbent Gallery | Jean L. Druesedow, Director From the moment he discovered his passion and talent for fashion design, Oscar de la Renta created elegant day and evening wear for discerning women. He has never lost sight of the woman who will ultimately wear his creations or her lifestyle, for he maintains active engagement with the fashion industry and with the social milieu in which his clients move. Oscar de la Renta's insight and appreciation of the needs of his clients are rewarded by their loyalty.

Higbee Gallery | Dr. Anne Bissonnette, Curator We live in an era where less is more and informality is the norm. Although we might think that very little can shock us, fashion has a way of continually make us reassess our standards of propriety. The clothes we wear are part of an infinitely complex cultural system that can change with time and space.