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Blog of the Hamon Arts Library

Bywaters Special Collections Artist Profile: Janet Elizabeth Turner

Artist featured in the exhibition Texas Women Artists: Selections from Bywaters Special Collections, on the 2nd floor of Hamon Arts Library.

Janet Turner was born in Kansas City, Missouri in 1914.  Attending nature camps during the 1920s, she developed an early awareness of the outdoors and the beauty nature had to offer.  Turner’s interest in the environment continued into her college years where at Stanford University she first studied botany but switched to the history of the Far East in her junior year.  In 1936 she received her Bachelor of Arts degree in Far Eastern History.  In the same year she traveled to China, Japan, Korea, Manchuria, and the Philippines where she became enthralled with Eastern printmaking.  Upon her return to the states Turner enrolled at the Kansas City Art Institute where she studied painting under Thomas Hart Benton and lithography under John de Martelly.  After completing the course work in 1941, Turner attended classes at Claremont College in California where she studied painting with Millard Sheets and Henry McFee; in 1947 she received her Master of Fine Arts.

Turner’s professional teaching career started in 1948 at Stephen F. Austin State College in Nacogdoches, Texas where she remained until 1956.  During her tenure in Texas, Turner’s art career flourished.  She had solo exhibitions at the Kansas City Art Institute (Missouri), Santa Barbara Museum of Art (California), and the Museum of Fine Arts, Houston (Texas) and was an active member of the Texas Printmakers.  Turner’s work was included in the 1950 exhibition American Painting Today at the Metropolitan Museum in New York.  In 1952 she received a Guggenheim Fellowship to experiment with printmaking techniques for making prints of Gulf Coast flora and fauna.  Turner received national recognition in 1953 when she was elected an Associate of the National Academy of Design. In 1974, she was a full academician.

During the summer of 1954 Turner returned to Japan where she met Japanese artist, Kiyoshi Saito, a well-known Sōsaku-hanga (‘creative prints’) printmaker. He arranged for Turner to have a one-person exhibition of her prints at the Yoseido Gallery, a venue in Tokyo that specialized in contemporary Japanese prints.

In 1956 Turner left Texas to pursue a doctorate in art education at Teachers’ College, Columbia University. In 1959 she accepted a teaching position at Chico State College in Chico, California.  There she founded the school’s printmaking program.  Turner continued to teach there until her retirement in 1981.  Throughout her professional career Turner collected prints from all over the world in order to introduce students to a wide range of printmaking techniques. Late in life, she left her collection to her college.  Her personal collection became the core of the campus museum that bears her name – the Janet Turner Print Museum.

Janet Turner died in California on June 28, 1988.


Image: Iguana I, Relief etching and serigraph, 1976, original dimensions (image):  11 5/8” (H) x 17 5/8” (W) [http://digitalcollections.smu.edu/cdm/singleitem/collection/tar/id/148/rec/3 ]

Courtesy of Janet Turner Collection, Bywaters Special Collections, Hamon Arts Library, Southern Methodist University

Screening and Q & A of The Dying of the Light

Please join the G. William Jones Film & Video Collection’s moving image curator, Jeremy Spracklen, on Sunday, January 14, 2018 at 5:00 p.m. at the Texas Theater for a screening of Peter Flynn’s 2015 documentary, The Dying of the Light. Following the screening, Flynn, the director of this documentary will be available for a Q & A hosted by Spracklen.  The subject of this documentary explores “the history and craft of motion picture presentation through the lives and stories of the last generation of career projectionists. By turns humorous and melancholic, their candid reflections on life in the booth reveal a world that has largely gone unnoticed. The result is a loving tribute to the art and romance of the movies—and to the unseen people who brought the light to our screens.”* 

Tickets and information about the event can be found here: https://thetexastheatre.com/movies/dying-light-filmmaker-q/.

Please follow the Jones Collection on Twitter at @SMUJonesFIlm and on Facebook at www.facebook.com/smujonesfilm/.


* Descriptive quote from http://dyingofthelightfilm.com/#!about/.

Winter Break Hours at Hamon Arts Library

Happy holidays from the Hamon Arts Library!

Please be aware of Hamon’s winter break hours. Our spring semester hours begin on Monday, January 22, 2018.

Winter Break Hours
Sat., Dec. 23rd – Mon., Jan. 1st, 2018

Monday – Friday, 8 am – 5 pm
Closed on weekends

IMG_0097
Snowflake project by staff and student employees of the Hamon Arts Library

Images and initiation of snowflake project, Take a Break: Make a Snowflake, by LaGail Davis, General Operations Manager, Hamon Arts Library.

Bywaters Special Collections Artist Profile: Barbara Lucile Maples

Featured in the exhibition Texas Women Artists: Selections from Bywaters Special Collections, on the 2nd floor of Hamon Arts Library.

Barbara Lucile Maples (1912 – 1999) was born in Temple, Texas to Leslie Buford and Lucile Beatrice Hartrick Maples.  She graduated from Temple High School in 1929 and continued her studies at Mary-Hardin Baylor College in Belton, Texas where she received a Bachelor of Arts degree in 1933.  Six years later she received a Master of Arts degree from Teachers College, Columbia University in New York.  She taught in Temple and Fort Worth before joining the Dallas Independent School District where she taught elementary and secondary art from 1937 – 1964.  In 1940, she began teaching children’s art classes at the Dallas Museum of Fine Arts School, a post she maintained until 1954.  In 1965, Maples was appointed Assistant Professor of Art Education and in 1974, Associate Professor of Crafts Design at Southern Methodist University where she continued teaching until her retirement in 1978.

Continue reading “Bywaters Special Collections Artist Profile: Barbara Lucile Maples”

Collective Practice: Community Building Through Zines – Curatorial discussion of Selected Works, Part II

This blog post is a continuation of the Hawn Gallery’s series on the exhibition Collective Practice: Community Building Through Zines by Puro Chingón Collective. Below is a discussion of pieces in the exhibition, chosen by Curatorial fellow Emily Rueggeberg.

In addition to zines, Puro Chingón Collective also creates designer toys. Unlike toys found in commercial stores, designer toys are collectible objects made for display rather than play. The first resin cast series of designer toys created by the Collective, State of Tejas is from the Fiesta Series. While each of the member’s works are the same size and referencing their novelty aspect, the subject matter varies. Each member draws upon their own backgrounds and experiences, creating pieces that are uniquely their own, but still come together as a cohesive body of work.

Continue reading “Collective Practice: Community Building Through Zines – Curatorial discussion of Selected Works, Part II”

Food for Library Fines – Nov. 27th – Dec. 15th

During this holiday season, Hamon Arts and Fondren Libraries are again participating in the donation program, Food for Library Fines. Students, faculty and staff at SMU may bring food donations and receive $2 credit for existing library fines for each can or package of non-perishable food item.

This program only applies to Hamon and Fondren materials, and this waiver cannot be applied to lost book replacement or processing fees.

Bywaters Special Collections Artist Profile: Mary Frances Doyle

Featured in the exhibition Texas Women Artists: Selections from Bywaters Special Collections, on the 2nd floor of Hamon Arts Library.

Mary Frances Doyle (1904 – 2000) was known as both a dedicated art teacher and an outstanding printmaker, particularly with the silk-screen, or serigraph, technique. Doyle was born in Stephenville, Texas to Davis K. Doyle, a Texas newspaperman, and his wife. Doyle lived most of her adult life with her parents in Arlington, Texas. In 1930 she earned her Bachelors of Art degree from Southwest Texas State Teachers’ College in San Marcos, Texas. She liked to recall one of her fellow classmates, Lyndon Baines Johnson, also working his way through school, sweeping out the classroom where she taught a demonstration kindergarten group. The future US president would ask her opinion on particular political issues and then listen to her views while continuing to swing his broom. In 1939 Doyle moved to Teachers College, Columbia University, in New York, where she studied with Charles J. Martin, and in 1948 earned a Master of Arts degree from Texas Woman’s University in Denton, Texas. She also studied with distinguished Texas artists including Otis Dozier and Octavio Medellin at the Dallas Museum of Fine Arts school, and Xavier Gonzales at Sul Ross State University in Alpine, Texas.

In 1935 Doyle began a 37-year long teaching career in the Dallas Independent School District teaching art at the Alamo, Thomas Edison, and City Park schools. Dedicated to her career and to her students, Doyle’s strove to develop the artistic ability of each child regardless of financial background. In addition, she was active in the Dallas Art Education Club, serving as its president during the late 1940s and early 1950s. Doyle was instrumental in helping to organize children’s exhibitions at the Dallas Museum of Fine Arts where she worked as an instructor at various times during the 1940s through the early 1970s. When not teaching or working on her art, Doyle enjoyed collecting Latin American crafts.

A prolific artist, mainly as a printmaker, Doyle was active in exhibiting her work in galleries, museums, and with the Texas Printmakers organization (formerly the Printmakers Guild). In 1940 her oil painting Water Front was included in the Eleventh Annual Allied Arts Exhibition at the Dallas Museum of Fine Arts, now the Dallas Museum of Art. During the 1950s Doyle’s prints were accepted into major exhibitions. In 1955 her print Texas Oranges was exhibited in the Audubon Artists 13th Annual Exhibition at the National Academy Galleries in New York. Two of her serigraphs were accepted in the Southwestern Exhibition of Prints and Drawings exhibitions sponsored by the Dallas Print Society at the Dallas Museum of Fine Arts: Honeydew Melon (6th Southwestern Exhibition of Prints and Drawings, 1956) and Cactus in Bloom (9th Southwestern Exhibition of Prints and Drawings, 1959). In 1958 Cactus in Bloom won “Best Serigraph in Show” at the Print Fair conducted by Creative Graphics at Burr Galleries in New York City and was accepted into the Boston Printmakers 11th Annual Print Exhibition at the Museum of Fine Arts in Boston. In the same year she had a solo exhibition sponsored by the Texas Fine Arts Association at the Laguna Gloria Art Museum in Austin, Texas, and a year later was included in the show Postwar Prints: 1946 – 1959 at the Dallas Museum for Contemporary Arts. In 1960 Doyle was again accepted into the Boston Printmakers’ 13th Annual Print Exhibition with her serigraph Twin Mountains. Doyle’s work was represented from the 1950s through the 1970s in distinguished Dallas galleries including the Black Tulip Gallery, Downtown Galleries, and Cushing Galleries. In February, 1960, her work was accepted into the Philadelphia Second Annual Print Fair. Thirty years later Mary Doyle and her contemporaries were honored in the exhibition The Texas Printmakers, at the Meadows Museum, Southern Methodist University. Mary Doyle died on Sept. 5, 2000 in Denton, Texas.


Image: Century Plant, Serigraph, 1961, original dimensions (image):  29 ¾” (H) x 11” (W)

Courtesy of Mary Doyle Collection, Bywaters Special Collections, Hamon Arts Library, Southern Methodist University

 

 

 

 

 

 

Remixing the News – KERA’s Frame of Mind & the Jones Film & Video Collection event

Join the G. William Jones Film & Video Collection for an advanced screening of an upcoming episode of KERA’s Frame of Mind – Remixing the News on Tuesday, November 14th at 7:30 pm in the O’Donnell Hall, Owen Arts Center, SMU. This long-running, local series features a collection of independent documentaries and shorts highlighting Texas-based artists and filmmakers working just outside of the mainstream. The program, now in its 25th year, is produced, curated, and hosted by artistic director for the Video Association of Dallas, Bart Weiss, and it offers a platform to creators whose work and vision might never be seen.

This particular episode of Frame of Mind features work by local artists, including Moving Image Curator for the Jones Collection, Jeremy Spracklen, and former adjunct instructor at SMU, Michael Morris. Culled from over 100 hours of 16mm footage from the Jones Collection’s WFAA Newsfilm archive, these shorts reappropriate, recontextualize, and deconstruct media images of the 1960s and 1970s as a way to not only understand the radical cultural and historical shifts of this tumultuous era, but also to spotlight how the media processes and presents these changes.  

Following the screening, Weiss will host a Q & A with several of the contributing artists to discuss their work.

Films and filmmakers include:

2,000 Hours in Dallas by Jeremy Spracklen

The Story of Jane X by Christian Vasquez

Dallas Circle by Justin Wilson

Lawmen & Cowpokes by Gordon K. Smith

History Lessons by Steve Baker

Beyond 10 by Carmen Menza

Glass by Madison McMakin 

Poofs are New by Blaine Dunlap

Divided by Michael Thomas & Dakota Ford

The Night in the Last Branches by Michael Alexander Morris

Echoes of the Past by Jeremy Spracklen


Blog post: Courtesy of Jeremy Spracklen, Moving Image Curator, G. William Jones Film & Video Collection, Hamon Arts Library, SMU
Image: film still of Spracklen’s Echoes of the Past, courtesy of Jeremy Spracklen

Collective Practice: Community Building Through Zines – Curatorial discussion of Selected Works

The Hawn Gallery’s current exhibition, Collective Practice: Community Building Through Zines, had a brisk turnout at its opening reception on October 20th and continues to draw many visitors to its installation. At the opening, members of Puro Chingón Collective – Claudia Zapata, James Huizar, and Claudia Aparicio-Gamundi – discussed the origin of their zine, Chingozine, and provided some context for their work. Curatorial Fellow for the Hawn Gallery, Emily Rueggeberg, selected pieces from the exhibition for a more in-depth discussion of these works.

Continue reading “Collective Practice: Community Building Through Zines – Curatorial discussion of Selected Works”

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