What do a historic log lodge in Wyoming and the Bywaters
Special Collection at the Hamon Arts Library have in common? As it turns out,
both house unique collections related to a Dallas art studio, the Potter Art
The Brinkerhoff Lodge in Wyoming is an exaggerated rustic cabin on the shores of Jackson Lake in Grand Teton National Park. Zachary K. Brinkerhoff, Jr., owner of the Brinkerhoff Drilling Company, constructed the lodge in 1947 with the help of Wyoming architect, Jan Wilkings. The building features magnificent views of the Teton Mountains. It also houses a collection of rustic furniture designed by Thomas Molesworth, and fixtures and other iron works designed by Potter Iron and Ornamental Works. The Potter pieces at the Brinkerhoff include wall sconces, chandeliers, exterior lights, freestanding ashtrays, and fire tools. Each of them use Western-style design.
The final Hawn Gallery exhibition for spring 2019, The Illusion of Being: Photographic Works by Lynné Bowman Cravens, Ross Faircloth, and Ashley Whitt, is a group exhibition of photographic works by DFW-based artists. Each artist utilizes lens-based media to investigate notions of reality as perceived by the self.
The Jones Collection is going international! We had just around 39,000 views of our videos this month, 11% of which came from outside of this country. As of today, our videos have a grand total of 400,424 views. Our most popular clips during the month of February were:
To date, we have digitized 3,321 rolls of WFAA newsfilm and now have over 1,040 hours of video ready to be used in research, documentaries, or for just a look into the past.
On July 23 & 24, Byron Hunter’s documentary, SANTOS VIVE, about the murder of 12-year-old Santos Rodriguez, premiered at the Angelika Theater Dallas. This film was largely comprised of footage from the Jones Archive’s WFAA Collection.
ARK, a cinematic installation featuring a film by Michael A. Morris made from archival 35mm film prints held in the G. William Jones Film and Video Collection, opened in the Hamon Arts Library’s Hawn Gallery. This work was installed on a looping film system devised and built by the Jones Collection and Brad Miller.
Local film producer Stephen Jarchow donated several hundred film posters, as well as the raw 35mm film elements to the Academy Award- winning picture, GODS AND MONSTERS. More info on the donation here.
Archivist Tim Binkley of Bridwell Library hosted a screening of IN GOD’S SERVICE, a recently found film about the construction of the original quadrangle at SMU. This film was discovered in the Jones Collection’s vault and digitized and restored in-house.
Students, faculty, and members of the Department of World Languages and Literature at SMU toured the G. William Jones Collection. Afterwards, curator Jeremy Spracklen spoke at panel hosted by the department, entitled “When ‘Greats’ Works Aren’t ‘Good.’”
The Jones Collection screened prints for SMU classes and continued its monthly series at the historic Texas Theatre, showcasing a wide array of prints from our 35mm collection. These include:
THE BLOOD OF JESUS
FANTASTIC ANIMATION FESTIVAL
NOAH’S ARK and short film ARK from artist, Mike Morris
The spring 2019 Hawn Gallery exhibition, Information/Object: Late 20th – Early 21st Century Artists’ Books, features a selection of artists’ books from the Hamon Arts’ and DeGolyer’s libraries collections as well as some personal loans from collectors. One of the books, The Royal Road to the Unconscious, is a work by the conceptual writer and professor, Simon Morris. This work documents Morris’ project of having each word in Sigmund Freud’s The Interpretation of Dreams cut from its page, collected in over 200,000 slips, and later scattered at 90 mph upon a road in Dorset, England, approximately 122 miles from Freud’s psychoanalytical couch. These instructions mimic that of Royal Road Test by Ed Ruscha with Mason Williams and Patrick Blackwell. The two works are on view and share a space in the first case.
I recently corresponded with Morris to ask for permission to have his work scanned and digitally displayed in its entirety in the exhibition. It is now available for viewing in the gallery until the exhibition’s close on March 8th. Not only did Morris grant permission, he also agreed to an interview for the Hamon blog. This opportunity creates a fuller understanding of this work and his art practice.
Could you please discuss your work, The Royal Road to the Unconscious (2003), and the relationship you see with Royal Road Test (1967) by Ed Ruscha with Mason Williams and Patrick Blackwell?
Surprisingly, the relationship isn’t as close as it may
ostensibly appear. There’s an entire industry making iterations of Ed Ruscha’s
book works, as you can see from exhibitions like Ed
Ruscha: Books & Co. at the Gagosian in New York, LA and Paris and the
Brandhorst Museum in Munich,organized by Gagosian director Bob Monk
with over seventy examples. Or Follow-ed
at Rennes University, curated
by Michalis Pichler and Tom Sowden with over 400 examples. However, my
motivation for The Royal Road to the Unconscious
was in order to conduct an experiment on the writing of Sigmund Freud as I was
working closely with a psychoanalyst at that time on creative projects for a
period of around five years. I utilised Ed Ruscha’s Royal Road Test as a set of Readymade instructions in order to
conduct an experiment on Sigmund Freud’s book, The Interpretation of Dreams (1899). I had observed a contradiction
in Freud’s work that I wished to explore. Freud investigates the realm of the
unconscious, the space of the irrational, but to do so he employs rational
procedures such as syntax, grammar and punctuation.
Harriet Bacon MacDonald organized the performances of
notable musical acts from around the world including Sousa and Rachmaninoff
among many others in Dallas, Texas. MacDonald was also a teacher of classes in
the Dunning Music System. The bulk of the material in this collection was
gathered during her time as an impresaria in Dallas, Texas and a teacher of
Dunning classes across the United States. The collection includes
correspondence, documents, ephemera, programs, published works, photographs,
and a scrapbook. Most of the material originates from Dallas, Texas, but there
is also material from other states and cities.
Harriet Bacon MacDonald (1865-1935) was a notable impresaria
in Dallas, Texas and teacher of the Dunning system. MacDonald received musical
training in her hometown near Boston, Massachusetts where she first studied
piano under the tutelage of James M. Tracy. MacDonald became a professional
accompanist. She continued her training in Europe and worked with prominent
artists. After her studies were completed, she returned to the United States
and toured with the Norma Trio and the Constance Balfour Concert Company as an
accompanist and impresaria. She came to Dallas, Texas through the Constance
Balfour Concert Company and opened a studio in 1910. Soon afterward, she became
director of the Schubert-Choral Club and used her connections from Europe to
arrange musical acts in Dallas. MacDonald partnered with Mrs. Wesley Porter
Mason to manage the performances of influential and well-known artists in
Dallas, TX. MacDonald took the Dunning System course in 1915 and became a
teacher soon after. Through this position, she traveled all over the United
States teaching the Dunning System. In 1928, Macdonald’s husband, James R.
Saville, became the new lessee of The Circle and renamed it the Showhouse. The
theater hosted musical acts managed by MacDonald. In 1931, after being unable
to pay for an opera troupe’s performance, along with some other scandals,
MacDonald began having financial problems, which in turn caused her to go
bankrupt and end her career as a manager. MacDonald passed away in 1935 at the
age of 70. Her husband, James R. Saville, donated her papers to Southern
Methodist University a week after her passing.
Hamon Arts Library and the Arts Management and Arts Entrepreneurship Division
Arts, Humanities, and the Study of Governance: A conversation about arts and politics with Anthony Bertelli and Alex Turrini
Venue and Time: Hamon Arts Library, Conference Room 2250 (2nd floor) February 12th, 12 – 1:30 pm (lunch provided) Registration via email: firstname.lastname@example.org
The relationship between arts and politics is widely studied in cultural studies, but scholars in the field have always underestimated the role of arts institutions in cultural policies. These agencies might work as gatekeepers and influencers in either speaking truth to power or in strengthening the narrative of power. The conversation will focus above all on the how today’s political instability shapes the behavior of intermediaries (i.e. independent funding agencies, bureaucracies deciding on funds, nonprofit arts institutions and its constituencies) in the arts world and, vice versa, how these actors shape the political discourse.
Anthony M. Bertelli (PhD, University of Chicago) is Full Professor at the Department of Political and Sciences at Bocconi University, Milan (Italy). He has been Professor of the Politics of Public Policy and Director of Undergraduate Studies at the Robert F. Wagner Graduate School of Public Service. His research is focused on issues of governance, centering on the role of political institutions in shaping public policy outcomes and organizational structure. He is the author of four books, including: Madison’s Managers with Laurence E. Lynn, Jr. (Johns Hopkins University Press); The Political Economy of Public Sector Governance (Cambridge University Press); and Public Policy Investment with Peter John (Oxford University Press). His work has appeared in a variety of scholarly journals, including: American Journal of Political Science, Journal of Politics, British Journal of Political Science, Journal of Public Administration Research and Theory, and Public Administration Review.
Alex Turrini (Ph.D., Bocconi Universit) is chair of the SMU Meadows Division of Arts Management and Arts Entrepreneurship as well as visiting professor of arts management and cultural policy at SMU Meadows and Cox School of Business. Turrini is the author of numerous books and papers on these topics. His works have been published in International Journal of Arts Management,Journal of Arts Management, Law, and Society,International Journal of Cultural Policy; Public Administration Review, and American Behavioral Scientist, among others. He serves as reviewer of some national and international journals and is associate editor in management for the International Journal of Arts Management.
The G. William Jones Film & Video Collection in the Jake and Nancy Hamon Arts Library is pleased to announce a gift from executive producer, Stephen P. Jarchow, of elements from the award-winning 35mm film “Gods and Monsters.” Additionally, this gift includes a significant collection of original film posters and advertising materials. This generous donation will further the Jones Collection’s mission of supporting and fostering student understanding in the creation, presentation, and preservation of film as an art form.
Information/Object: Late 20th – Early 21st Century Artists’ Books
On view: February 1 – March 8, 2019
at the Hawn Gallery, located in the Hamon Arts Library, SMU
Public opening reception Friday, February 1st, 5 – 7 pm
Gallery Talk at 5:45 pm
The contemporary artist’s book is a cultural phenomenon that has changed the landscape of artistic production. It has now replaced the livre d’artiste – a luxury item combining images with poetry or fiction – with works that are inexpensive, formally innovative, modest in scale, and frequently self-made by artists.
Contemporary artists who explore the book format have challenged the form of the book as an information package, extended the idea of the book as object, and introduced a new medium of artistic expression. The tremendous explosion of titles of artist book works and zines has made the artist’s book-work an accessible and affordable work of art, introducing key contemporary artists to an alternate audience. The resulting dialog between the artist, the page, and the reader is consistently up for grabs, expanded and transformed through unexpected formats and novel, timely, and often controversial content.
Drawing upon SMU Libraries’ collections, publishers, and collectors of artist’s books, this exhibition surveys the recent history of one of the most important cultural trends in contemporary art.
Featured image: Courtesy of LaGail Davis, General Operations Manager, Hamon, and curatorial assistant