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                    <text>A three-quarter view shows a painted utility box mounted on a rectangular concrete base. The mural uses bright blues, greens, pinks, and purples to depict several Black musicians playing instruments, including a guitar, saxophone, and drums, within overlapping curved shapes.</text>
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                    <text>A 3D model shows the painted utility box rising from a rectangular concrete base, with brightly colored scenes of Black musicians playing guitar, saxophone, and drums. Rotating the model reveals how the mural continues around the box, along with the structure’s depth, concrete platform, and surrounding ground surface.</text>
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              <text>Original artwork: Aubri Sparkman.&#13;
3D capture: Mira Sleasman.&#13;
Processing and documentation: Mira Sleasman, Madaleine Ponthieux, Daniel Fratini.&#13;
Project Supervisor: Dr. Courtney Luckhardt&#13;
Metadata Lead: Madaleine Ponthieux&#13;
Narrative: Courtney Luckhardt</text>
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              <text>The utility boxes painted by local artists are an ideal candidate for viewing in 3D, as their nature as art installations rather than flat canvases means that artists take advantage of the form of the box, connecting the work across the panels of the functional object, using recessed or projecting components of a utilitarian object to create depth and shadow that is hard to convey in an ordinary photograph. In this work, All That Jazz, Sparkman uses bold, saturated colors to draw the eyes’ attention, and the curling motif of the jazz piano across all four sides to link the box together and encourage the viewer to move around the box to follow the line.</text>
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                <text>All That Jazz - Utility Box</text>
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                <text>The Hattiesburg Alliance for Public Art sponsored the production of 44 painted utility boxes around the city of Hattiesburg between 2020-2022. Their mission was to purchase and place art in the parks, neighborhoods, public buildings, and businesses of the city. They believe in the power of art to vitalize the community for both residents and visitors. While aesthetics is part of that, they also see public art as enriching imaginations, beautifying spaces for work, contemplation, and play; and inspiring self-discovery, community engagement, and dialogue. One of the utility boxes created is All That Jazz, painted by artist Aubri Sparkman and located at the corner of Mobile St and East 2nd St. in downtown Hattiesburg. The utility box was the first public art installation that Sparkman created when she was just 15 years old, making her the youngest artist in the project. Since then, she has created several other large-scale murals around the state. She said of her All That Jazz, her first work: “I applied for the utility box trail project, uncertain if I would ever be considered. But I was, and that opened many doors for me. I believe it’s important to always try.” In this work she celebrates the musical heritage of Mississippi as the birthplace of jazz, with Black and white artists both depicted as contributing their talents.</text>
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                <text>Hattiesburg Public Art Trail, Hattiesburg Alliance for Public Art</text>
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                <text>A painted outdoor utility box featuring acrylic mural artwork applied to a metal utility cabinet mounted on a concrete base.</text>
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                <text>Cecil Fielder III</text>
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                <text>Nathan Mullins</text>
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                    <text>A small painting depicts a baseball player running across a baseball field, wearing a light-colored uniform and blue cap. The background features green and blue stadium seating and a blurred advertisement, with yellow and green tones dominating the scene.</text>
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                    <text>A textured 3D model of a small rectangular painting showing a baseball player running across a field. The player wears a light-colored uniform with blue accents and a blue cap, while the background features green, blue, and yellow sections resembling a baseball stadium. The model captures the raised, uneven surface of the artwork and visible edges, giving the painting a three-dimensional appearance.</text>
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                  <text>Decorative Art</text>
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              <text>Original artwork: Nathan Mullins&#13;
3D capture: Ethan Ruff&#13;
Processing and documentation: Ethan Ruff, Ramsey Ruff&#13;
Project supervisor: Dr. Courtney Luckhardt&#13;
Metadata lead: Ethan Ruff&#13;
Narrative: Ethan Ruff</text>
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              <text>A simple photograph of this artwork does not do it justice. The 3D scan and overhead lighting provide for immense detail down to the brushstroke. The shape and depth of the scan make it seem as if you are experiencing the painting rather than simply looking at it. A single photograph would miss the shading at different lights, the small amounts of paint that spills over to the sides of the canvas, or the ability to zoom in and see the incredible attention to detail in the shading of the artwork. Surface details like the light reflecting off of the brushstrokes and the subtle-but-human spillover of paint contributes to the ability to relate to and experience this artwork. While the model is amazing in experiencing more of the artwork, the painting is truly  unique in person. The model is unable to fully capture the compounded layering of the oil paint or the shine of the colors at different angles that only continue to add to the experience.  </text>
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              <text>This item and its digital surrogates are provided for educational and public humanities use; reuse or redistribution requires permission from the holding institution and the Center for Digital Humanities at the University of Southern Mississippi.</text>
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                <text>Bo Knows III</text>
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                <text>Nathan Mullins’ “Play Ball” exhibit preserves a form of cultural heritage centered on baseball, sports fandom, and personal memory. Mullins, a painting professor at the University of Southern Mississippi, created the series using oil paint on panels, drawing inspiration from baseball cards, televised games, and highlight reels that he remembered from childhood. This specific painting depicts the baseball star Bo Jackson. Mullins first created small oil paintings based on these memories and broadcast images and then used those works to create larger paintings, allowing the images to become more and more abstract. His emphasis on the colors and lighting of baseball uniforms, along with the isolated figures taken from television broadcasts, gives the work meaning while also highlighting the interesting contrast between the individual athlete and baseball as a team sport.</text>
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                <text>SVPA Art Gallery</text>
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                <text>circa 2026</text>
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                <text>Oil on panel depicting a baseball player running the bases.</text>
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                <text>Decorative Artwork</text>
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                <text>The Big Unit III</text>
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                <text>Nathan Mullins</text>
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              <description>A name given to the resource</description>
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                <text>Marmaduke III: World Series 91'</text>
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            <description>An account of the resource</description>
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                <text>John Smoltz, also known as “Marmaduke”, is a legendary MLB pitcher who played for the Atlanta Braves. This painting is a recreation of a shot from the game. In the gallery show, it was hung on a wall, displayed with other baseball players, all titled with their nicknames and the number representing which iteration it was of the painting. Before the series against the Minnesota Twins, Marmaduke was 2-11. However, out of nowhere, he turned it all around in the set, winning 3 games out of the 7 games, and in game 7, pitching 7 scoreless innings. Although the Atlanta Braves lost this series, John Smoltz still went down in history, and this particular performance was remembered because of his grit and determination.</text>
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            <description>An entity responsible for making contributions to the resource</description>
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                <text>Lead Capture: Keith Gates&#13;
Assistant Capture: Matthew Scott&#13;
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            <description>A related resource</description>
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            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>Oil painting rectangular artwork.  Dimensions (L x W x H): 5” × 7’’ × 1.5</text>
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                <text>USM Campus</text>
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              <description>A name given to the resource</description>
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Assistant Capture: Anjan Poudel</text>
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              <text>This 3D model enables viewers to zoom in on careful details that demonstrated the item being fired to become a successful ceramic. Within the gallery, visitors are unable to physically handle most items, so providing a model also those to inspect all sides as well as the inside. Aspects such as weight and material feel are left to prioritize visual detail and depth created by the artist. Functional items such as cups are manmade for everyday use; however, ceramics such as these are meant to demonstrate careful preparation and tradition. This model assists in the preservation of the ceramic while promoting viewers to handle it virtually.</text>
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              <text>This item and its digital surrogates are provided for educational and public humanities use; reuse or redistribution requires permission from the holding institution and the Center for Digital Humanities at the University of Southern Mississippi.</text>
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                <text>Mark Rigsby’s Two’s Company (2026) consists of two fired ceramic cups displayed on white pillars within USM’s Gallery (only one has been captured in this collection). Initiated in prehistoric years, clay-ceramic making requires patience, attention to detail, and careful handwork because of the following steps: shaping, drying, wood-firing, and glazing. This two-to-four-week process allows visitors to appreciate the effort put into this creation. Rigsby demonstrates major appreciation for functional pots because “it’s an ongoing journey of exploration and discovery”, referring to the progressive tradition ceramic making has taken over civilization as well as his personal experience with creating functional pots. This ceramic cup serves as an item that represents ancientmethods of craftwork.</text>
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            <description>An entity primarily responsible for making the resource</description>
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            <description>A related resource from which the described resource is derived</description>
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            <name>Date</name>
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            <description>An entity responsible for making contributions to the resource</description>
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                <text>Lead Capture: Bianca Ingraham&#13;
Assistant Capture: Anjan Poudel</text>
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              <text>This item and its digital surrogates are provided for educational and public humanities use; reuse or redistribution requires permission from the holding institution and the Center for Digital Humanities at the University of Southern Mississippi.</text>
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            <description>An entity primarily responsible for making the resource</description>
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                <text>Martina Sciolino</text>
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                <text>Hattiesburg</text>
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            <description>An entity responsible for making the resource available</description>
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                <text>Hattiesburg Alliance for Public Work</text>
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            <description>A related resource</description>
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                <text>2000 – present</text>
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                <text>Painted Utility Box</text>
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            <name>Language</name>
            <description>A language of the resource</description>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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            <name>Identifier</name>
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                <text>Cauldron</text>
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                <text>Mark Rigsby</text>
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                <text>Lead Capture: Bianca Ingraham&#13;
Assisstant Capture: Anjan Poudel</text>
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