Blog of the Hamon Arts Library

Interview with Lauren King, 2018 recipient of Larrie and Bobbi Weil Undergraduate Research Award

Congratulations go to Meadows art history student, Lauren King, who is the 2018 recipient of the Larrie and Bobbi Weil Undergraduate Research Award for her paper, An Alternative View on the Roll-Brimmed Hat. The Weil Award is given annually for excellence in undergraduate research, and the recipient is an SMU student nominated by their faculty for outstanding research and writing of a term paper. This year, Dr. Stephanie Langin-Hooper, Assistant Professor and Karl Kilinski II Endowed Chair of Hellenic Visual Culture, nominated Lauren for her paper.

Lauren, could you please briefly tell blog readers about the topic of your paper?

The goal of my paper is to re-examine how we think about the roll-brimmed hat worn by Gudea in his diorite statues. If you’ve taken any ancient Near East art history class, or even an introductory survey of western Art History, you’ve probably heard of the diorite statues of Gudea. The hat he wears, called a roll-brimmed hat, is usually taught as a symbol of humility. My paper questions this interpretation, and proposes that the hat is actually a symbol of power and masculinity.

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In Honor of Margaret McDermott

When I read the sad news of Mrs. McDermott’s death I was reminded yet again of the profound debt of gratitude both I and SMU owe her.  Mrs. McDermott’s influence in my professional career began in the spring of 1978 when I saw a flyer for the McDermott Internship at the Dallas Museum of [Fine] Arts in the hallway at the Meadows School of the Arts.  I was just completing my Master of Fine Arts Degree and taking Jerry Bywaters’s popular art history class, “The Arts of North America.”  Bywaters wrote a letter of recommendation, and I was honored to receive the first-ever long-term McDermott Internship for the 1978-1979 year.  It was at the Museum, then located at Fair Park, that I learned how a museum worked from the ground up.  This was to prove a critical formative experience.

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Curatorial Discussion #1 Psychology and Color in Constance Lowe’s Work

Manifold Projection 1

Manifold Projection 1, 2012
archival inkjet print on watercolor paper #1 of 3
24 x 19 inches

This following post is first in a series of blog posts about the Hawn Gallery’s exhibition Chromarray, with works by Constance Lowe. Throughout the exhibition, Emily Rueggeberg, the Hawn Gallery Curatorial Fellow, will post about the artwork and themes present in the exhibition. This post focuses on the significance of abstraction and psychology in Lowe’s series, Fabcom/Chromarray and Garden City (Air to Ground).

Continue reading “Curatorial Discussion #1 Psychology and Color in Constance Lowe’s Work”

Bywaters Special Collections Artist Profile: Evaline Clarke Sellors

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

Evaline Clarke Sellors was born in Fort Worth, Texas on August 30, 1903.  She began taking art classes at age eight with Christina MacLean, artist and former instructor at Fort Worth University, and later enrolled in the prep school for girls at Texas Women’s College Academy (now Texas Wesleyan College) where she studied with Samuel Ziegler, a graduate of the Pennsylvania Academy of Fine Arts.  When she was only 17, her work, Still Life, was accepted into the exhibition The Eleventh Annual Exhibition of Selected Paintings by Texas Artists at the Fort Work Museum of Art (now the Modern Art Museum of Fort Worth).  Sellors continued her studies at the St. Louis School of Fine Arts at Washington University from 1921 to 1923. There she first enrolled in an illustration class but changed to a modeling class taught by Victor Holm. Her work was exhibited at the St. Louis Museum of Fine Arts in 1921 (most likely the exhibition Work by Students of the St. Louis School of Fine Arts, March, 1921).  She later enrolled at the Pennsylvania Academy of Fine Arts where she twice won the William Emlen Cresson scholarship (1929 and 1930) to study sculpture in Europe.  Her professors at the academy included the sculptors Charles Allan Grafly, Jr. and Albert Laessle.  For several years Sellors exhibited her sculpture at the Pennsylvania Academy of Fine Arts – 1928 (Bobby), 1929 (Head), 1931 (Mountain Goat), and 1932 (William).

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April 2018 Jones Collection Update

In the Media


Continue reading “April 2018 Jones Collection Update”


Garden City #1 (Flyover).jpg


Works by Constance Lowe

On view: April 6 – May 27, 2018 

Opening Reception: Friday, April 6th, 5-7pm

at the Hawn Gallery, located in the Hamon Arts Library at SMU

Artist Connie Lowe will conduct a gallery talk at 5:45 p.m.

Softissue 2, 2008 Hand-sewn wool felt 98.5 x 62 x 6 inches


The Hawn Gallery presents Chromarray, works by Constance Lowe, featuring pieces from Lowe’s Garden City (Air to Ground), FabCom and Chromarray series.

Lowe’s work examines the intersection between nature and humans’ built environments, with a special focus on biology, mathematics, psychology and agriculture. The title of the show comes from a term created by Lowe – Chromarray. It stems from telescopic research being conducted by Lowe’s friend at the time of the series’ creation. Lowe describes how, across the United States, there are an array of telescopes picking up satellite imagery and radio waves from space. Lowe combined the word chrome, relating to color, with array, and arrangement of objects, to create chromarray.


Bywaters Special Collections Artist Profile: Ann Cushing Gantz

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

Born in Dallas on August 27, 1933, Ann Cushing moved with her parents, Maurice and Margaret Cushing, to Memphis, Tennessee in 1940 due to her father’s work with the Missouri Pacific Railroad.  Interested in art as a young girl, Ann studied at the Memphis Academy of Art during the summers beginning in 1947 through 1952.  In 1953 and 1954, she took summer classes at Southwestern at Memphis, now Rhodes College, and continued her art studies at Sophie Newcomb College, Tulane University, in New Orleans, where in 1955 she received a Bachelor of Fine Arts Degree.  While at Newcomb College, Ann Cushing studied oil painting with Patrick [Pat] Trivigno, professor of drawing and painting from 1947 – 1987.  After she graduated from college, Ann moved back to Dallas with her parents, where she immersed herself in the city’s art scene as artist, art juror and judge, gallery owner, and teacher.

In 1955, Ann Cushing was asked to have her first solo exhibition at the popular Black Tulip Gallery, located at Inwood Village in Dallas, by the gallery owner Everett Rassiga.  There she met her future husband, Everett Ellis Gantz, Jr., an aeronautical engineer and also a silent partner in the gallery.  On September 20, 1958, Ann and Everett married in Dallas.  They had two daughters – Elaine [born 1961] and Melissa [born 1963].

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Curatorial Discussion #2: Julie Morel’s Reloaded (2017)

The following is the final curatorial discussion in a series of blog posts on the Hawn Gallery exhibition, Clear, Deep, Dark. This week’s piece explores Julie Morel’s print Reloaded (2017).

In the exhibition, Clear, Deep, Dark, when one enters the gallery your eyes meet illuminated pieces mounted onto each of the four walls. The pinpoints of light appear randomly scattered across the paper’s surface. The lights embedded in the matte black paper of the IP and GPS series appear to be coming from a distance, such as the light we see from stars, reaching us only years later. The pieces on the back wall referencing Darknet acronyms are also lit. They differ in that the LEDs surrounding the letters overwhelm and consume their host with blinding white light, making them difficult to look at directly. Once you approach the works in each series, subtler symbols, numbers, and letters become clear. The IP series contains silk-screened IP addresses using conductive ink, referencing places where Julie Morel has placed files of artwork on private computers, printed in blocky letters reminiscent of computer circuits. The GPS series is also composed of silk screen printed numbers and letters using conductive ink. These figures refer to GPS coordinates where Morel has placed physical objects of her own, locatable through satellite imagery, but inaccessible due to their remote or private locations.[1]

Installation view of Clear, Deep, Dark with Morel’s Reloaded (2017) and IP series

Continue reading “Curatorial Discussion #2: Julie Morel’s Reloaded (2017)”

Jones Collection March Update

In The Media:


On February 6, 2018, WFAA aired a piece on the Jones Collection, highlighting not only our recent work restoring and digitizing their news footage, but also focusing on the overall historical and cultural importance the Collection offers to SMU and the city of Dallas.  (Here)

KERA wrote this piece on the Jones Collection, highlighting recently discovered footage of their first day of operations.

The Fort Worth Star Telegram supplemented their story of the infamous Lake Worth Monster with footage from the Collection.  (Here.)

Ed Bark over at Uncle Barky wrote this piece about Texas Stadium’s groundbreaking ceremony, using footage unearthed by the Collection.

Martin Luther King, Jr. in Dallas

Not seen since it aired on WFAA in 1963, the Jones Collection discovered a rare interview with Dr. Martin Luther King, Jr. in Dallas, Texas. In this short piece of newsfilm, Dr. King gives his views on everything from the integration efforts in Dallas, to the governor of Mississippi, and even his thoughts on President Kennedy.  That footage can be found here.

Off Campus:

Ed Asner At The Sedona International Film Festival

Curator Jeremy Spracklen represented the Jones Collection as a projectionist for the
Sedona International Film Festival this year.  Guests for the festival included Ed Asner, Richard Dreyfuss, Cybill Shepherd, James Brolin and Elliott Gould.

Jeremy also worked with the University de Guadalajara, Permanencia Voluntaria and The Cinema Preservation Alliance on the digitization of a 16mm print of the film Carita De Cielo.  This restoration had its world premiere this week at the Festival Internacional de Cine en Gaudalajara.

Upcoming Public Screenings of Jones Collection Material:

Catskill Honeymoon Excerpt – March 11th at the National Yiddish Theatre Folksbiene in New York City.

beyond the fog aka tower of evil ad mat9a.jpgTower of Evil (AKA: Beyond the Fog) on 35mm – March 18th time TBA at the Texas Theatre.

Remixing The News – March 24th at 5:00 PM at the Deep in The Heart Festival in Waco.

Remixing The News – April 12th time TBA  at the Experiments in Cinema Festival in Alberqueque, NM.



Social Media Stats for February:

We had 14,401 views totalling 314 hours of viewing time throughout February.  Our most watched videos were:

  1.  A story on the Lake Worth Monster from July 1969.

    2.  The opening of the Big Bend rollercoaster in June of 1971.

    3.  A report from Verne Lundquist about the opening day of the first Rangers season…that didn’t happen.

WFAA Project Update:

The multi-year WFAA digitization project keeps coming along and we just completed digitizing our 2,500th roll!  We have also started to make more of these available online via our YouTube page and our Reel-To-Web series.  The Reel-To-Web series takes the roll from that day 50 years ago that day and presents it completely unedited for viewing.


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