Infrared imaging is a non-destructive technique used by art conservators to examine paintings and artworks and detect hidden details under the upper layers such as added paint, underdrawings, and hidden signatures or watermarks. The technique has been used to discover details of artists' creative processes, alterations and reworking. Infrared examination also can be used as a tool to differentiate between certain groups of pigments and inks.

This exhibition looks to engage patrons in a short history of art in the Cameroonian culture, while also looking at the symbolism of the female form across all ancient civilizations. With a twist of science, we'll take an in-depth look, utilizing computed tomography (CT) scans, to discover how our Cameroonian beaded Fertility Goddesses were constructed and gain a better understanding of their conservation needs. Come by and see What Lies Beneath the Beads…

Keynote talks:Katie Antypas, Director of the National Science Foundation's (NSF) Office of Advanced Cyberinfrastructure (OAC) Richard Gerber, Senior Science Advisor at the National Energy Research Scientific Computing Center (NERSC) Sandra Gesing, Executive Director of the US Research Software Engineer Association (US-RSE) Seminar Speakers Include:Lars Koesterke, Texas Advanced Computing Center Arianna Martin, HPC Platform Engineer, bp Center for HPC, NAG HPC Services Banquet and Poster Session on Wednesday, May 22 with a prize for best poster.   Workshops on AI/ML, CUDA, R, Containers, MATLAB, and more. Please Register (https://u.tamu.edu/rcs-registration)    

  A big idea can change everything, but the journey from concept to marketplace can be challenging. Without the necessary resources to gain traction even the most promising idea can wither on the vine.   Texas A&M Innovation along with a growing number of sponsors are working with the entrepreneurial ecosystem throughout the state to ensure today's innovative ideas become a reality through the Texas A&M New Ventures Competition (TNVC). Aimed at promoting the commercialization of emerging technology, the competition recognizes companies with high-growth potential and provides seed funding to help them effectively execute their ideas and advance product development. For more information about TNVC, including it's impact, past participants, sponsorship opportunities, and how to apply visit www.texasnvc.org (http://www.texasnvc.org).   TNVC is an invitation only event, but we do encourage researchers, entrepreneurial leaders, investors and others that want to be part of this ecosystem to email us at info@texasnvc.org (mailto:info@texasnvc.org) with your interest so that we can get you engaged appropriately.

From the rugged mesas of the Panhandle and the steep-sided mountains of Big Bend Country to the waterways of the Gulf Coast and rolling grasslands of the prairies, visitors will journey through the diverse ecological regions of Texas as interpreted by individual artists. In celebration of 100 years, the Texas Parks and Wildlife Department commissioned 30 Texas artists to depict scenes from parks, natural areas and historic sites in the state park system. The selections on view are as varied as the parks themselves and offer a snapshot of Texas' rich history and ecosystems. This exhibition represents the seventh installation in the Texas Art Project (https://uart.tamu.edu/texasartproject/) series.Organized by The Meadows Center for Water and the Environment at Texas State University, Texas Parks and Wildlife Department, and Stark Galleries. Additional support provided by Texas Parks and Wildlife Foundation and H-E-B.This exhibition includes work from artists such as Randy Bacon, Mary Baxter, David Caton, Charles Criner, Margie Crisp, Ric Dentinger, Fidencio Duran, Janet Eager Krueger, Joel R. Edwards, Malou Flato, Gordon Fowler, Pat Gabriel, David R. Griffin, Brian Grimm, Clemente F. Guzman III, Karl E. Hall, John Austin Hanna, Billy Hassell, Hailey E. Herrera, Lee Jamison, Denise LaRue Mahlke, Jim Malone, Talmage Minter, William B. Montgomery, Kermit Oliver, Noe Perez, Jeri Salter, Jim Stoker, Bob Stuth-Wade, and Terri M. Wells.  

Majolica was introduced at the Great Exhibition of 1851 and quickly became ubiquitous in Victorian England and America, with works appearing in museum displays and royal palaces as well as in the homes of average citizens. As majolica retailed at a cheaper price than porcelain, it was available to a fairly broad range of society and, in Victorian homes, was commonly found in the conservatory or dining room, in the form of tureens and servers, jardinières, teapots, garden seats, plates, and decorative statues. Initially popular in England and the Continent, many British potters and craftspeople immigrating to North America contributed their knowledge and skill to the growing American pottery industry, leading to the large-scale production of majolica. When the lead glazes needed to achieve majolica's shine and vibrancy were outlawed as poisonous to workers, its production all but ceased. This exhibition helps tell the story of majolica and helps to restore its legacy to the history of design.