For the February collection spotlight from the McCord/Renshaw Collection, this collection contains motion picture lobby cards primarily from the early 1930s. The majority of the films in this collection are represented by a complete set (eight 11 x 14″ lobby cards) and include the original envelope in excellent condition. The earliest films in the collection are from the early 1920s and include Camille of Barbary Coast (1925), A Doll’s House (1922), Geared to Go (1924) and The White Sheep (1924). The collection includes lobby cards from several noteworthy films such as The Invisible Man, The Mask of Fu Manchu (1932) and Scarface (1932).
Please take a look at the detailed finding aid available through Texas Archival Resources Online here:
Opening Reception: Friday, April 7th from 6-8 p.m.
at the Hawn Gallery, Hamon Arts Library
Piecing It Together features works by Danielle Kimzey, Mary Laube, and Christopher Reno. These three painters share an interest in exploring the private world of the ‘home’ and seek to demystify, through their abstract works, this often insular, domestic space. This collected body of work draws upon the artists’ experiences of parenthood and memories of home, and brings to the forefront that which is often considered banal or overly sentimental. All three artists employ a wide range of mediums in their painting practices and rigorously examine diverse modernist and contemporary techniques and ideologies.
Piecing It Together is curated by Georgia Erger, the Curatorial Fellow for the Hawn Gallery. An Opening Reception will be held in the gallery on Friday, April 7th from 6-8 p.m. wherein artists, Danielle Kimzey and Christopher Reno will conduct a gallery talk.
Danielle Kimzey is based in Dallas and studied Painting and Drawing at the University of Iowa and Southern Methodist University. Her work has been exhibited nationally in Dallas, Memphis, and Irvine and internationally in Berlin. Mary Laube is based in Cleveland and studied Painting, Drawing, and Sculpture at the University of Iowa and Illinois State University. Her work has been exhibited nationally in Dallas, New York, and Philadelphia and internationally in Gimpo, South Korea. Christopher Reno is based in Galesburg, IL and studied Painting, Drawing, and Printmaking at the University of Iowa, Knox College, and the New York Studio School. His work has been exhibited nationally in New York, Austin, and St. Louis.
Piecing It Together will be on view March 31st through May 28th and open during regular Hamon library hours: M-Th 8 – 12 a.m., F 8 a.m. – 6 p.m., Sat 12 – 5 p.m., Sun 2 p.m. – 12 a.m. For more information, please call 214-768-3813 or visit www.smu.edu/cul/hamon.
Feature image: Mary Laube, Willow, watercolor on paper, 7 x 7 inches
Blog post: Courtesy of Georgia Erger
Images: Courtesy of Mary Laube, Christopher Reno, and Galleri Urbane
Dylan Glynn: After Order, After Disorder, now on view at the Hawn Gallery through March 12th, features animated shorts, digital prints, paintings, and works on paper by Toronto-based artist, Dylan Glynn. In the following interview, Dylan discusses the melding of his animation and painting practices, his vision for this body of work and exhibition, and his diverse artistic influences.
On view until March 12th, 2017 in the Hawn Gallery
After Order, After Disorder presents a selection of Dylan Glynn’s paintings, works on paper, digital prints, and animated shorts. Glynn, whose practice is rooted in formal life drawing, has developed an ethereal style that captures a fantastical naiveté. Expansive landscapes are sparsely populated by serene, yet impassioned figures struggling to assert their selfhood. Boundaries between bodies and nature are blurred – the rib cage of a figure seamlessly mirrors the veins of a leaf. Lyrical movement, as well as the deft manipulation and layering of color, characterize the diverse array of works on view.
Presented alongside Glynn’s works are historical 19th-century photographs from DeGolyer Library’s special collections that evoke similar themes of nostalgia and yearning for a paradise lost. The swirling forms, flowers, and greenery of Glynn’s Utopia are reminiscent of the lush, perhaps tropical, landscape depicted in the 1898 colored photochrome. The 1860/70s stereographs demonstrate a fascination with dimension and movement beautifully paralleled in the crumpling, decaying plants and thrashing water of Glynn’s animated short, Sister Narcissa.
Both the early, experimental photographs and Glynn’s works emphasize nuanced relationships between new and traditional media. Distinct brushstrokes and watercolor washes in his digital works exemplify Glynn’s reverence for traditional mediums. These practices distance his work from the conventions of commercial animation and distinguish his fine art practice.
Emotive and rich in narration, this body of work expresses the artist’s quietly optimistic projections for the future, in which he envisions humanity’s return to a harmonious relationship with nature. Glynn posits the question: after fighting for rights through the rise and fall of technology, what will we remember? Will we remember the invisible, yet perceivable peace that was there all along?
Dylan Glynn was born in Toronto, where he currently resides. He studied animation at Sheridan College in Toronto and La Poudrière in Valence, France. Glynn’s work has appeared in Vice Magazine, BOOOOOOOM, The Huffington Post, The Globe and Mail, and the Canadian Broadcasting Company, and has been recognized by the Society of Illustrators, American Illustration and the World Illustration Awards.
Dylan Glynn: After Order, After Disorder is curated by Georgia Erger, Curatorial Fellow for the Hawn Gallery.
In 1991, UNT Press published a book, Black Cinema Treasures: Lost and Found, by G. William Jones, Professor of Cinema and Video in the Meadows School of the Arts. The book, which includes a forward by actor and director Ossie Davis, focuses on a rich trove of films created by pioneer African American filmmakers for Black audiences in the 1920s up through the 1950s. SMU Libraries obtained permission from UNT Press, which owns the copyright, to post a digital copy of the book in the University’s open access repository, SMU Scholar, for the month of February in conjunction with Black History Month.
Professor Rick Worland in the Film & Media Arts Division at SMU knew Professor Jones, who died in 1995. Dr. Worland has also researched and written about films in the G. William Jones Film & Video Collection, and he agreed to an interview with Hamon’s Moving Image Curator, Jeremy Spracklen.
The staff of the Hamon Arts Library are proud to announce the opening of a personal video recording studio for the SMU community. Utilizing the innovative One Button Studio software, developed by Penn State University, this new service offers an automated and simplified method for the immediate recording of presentations, auditions, or speeches on a USB drive. Any project or topic for an SMU community member can quickly and easily be transformed into a video disseminated through personal websites, social media, and web platforms, such as Twitter, Facebook, blogs, YouTube, and Vimeo.
Here’s how easy it is!
Insert the USB drive, and the studio lights and camera automatically turn on with instructions to prompt you to press the one button.
A 5-second countdown allows you to step into place before the camera begins recording.
When you finish your presentation or practice, press the button to stop the recording. Prompts let you know the recording has been saved to the drive.
The studio is equipped for using a Powerpoint presentation or background slide as an option. A wireless clicker is also available.
The day before the opening of Dylan Glynn’s exhibition, After Order, After Disorder at the Hawn Gallery, the artist visited Arthur Peña’s Intermediate Painting class to speak with Meadows School of the Arts students. Dylan showed works from his wide-ranging practice – drawings, paintings, digital prints, and animated films – and discussed the trajectory of his career thus far.
The subject of this week’s “Look what I found in the WFAA Newsfilm Collection” is very appropriate given this last week of the inauguration and presidential politics in the media. The clips from the film collection are a series of interviews with former President George H. W. Bush.
In 1970, after serving two terms in the U.S. House of representatives, Bush was asked by then-president Richard Nixon to run for the Senate against Democrat Ralph Yarborough. Yarborough, who had been a strong critic of the sitting president, did not end up with the nomination and the Democrats ran former Congressman Lloyd Bentsen instead. Bentsen went on to win the election by a margin of 53 to 47, and Bush was later appointed as the Ambassador to the United Nations and confirmed unanimously by the Senate.
The clips demonstrate different policy positions that were part of his platform and are typical of someone running for office, but the style of interview is what makes these interviews unique. In one clip, WFAA reporter Jerry Taff conducts the interview while driving after picking up the future president from the airport without any staffers around. It was a true one-on-one between the press and a candidate that you just don’t see today.
Featured image: clip from WFAA Collection, George H. W. Bush, 1970.
Thank you to Jeremy Spracklen, Moving Image Curator, Hamon, for this post.
Opening Reception: Friday, January 27th from 6-8 p.m.
at the Hawn Gallery, Hamon Arts Library
After Order, After Disorder features animated shorts, digital prints, paintings, and works on paper by Toronto-based artist, Dylan Glynn. Glynn, whose practice is rooted in formal life drawing, has developed an ethereal style that captures a fantastical naiveté. Emotive and rich in narration, this body of work explores Glynn’s optimistic projections for the future, in which he envisions humanity’s return to a harmonious relationship with nature. In this exhibition, Glynn’s works are presented alongside historical photographs from DeGolyer Library’s special collections that echo the nuanced relationship between new and traditional media in the artist’s work.
Dylan Glynn: After Order, After Disorder is curated by Georgia Erger, the Curatorial Fellow for the Hawn Gallery. An Opening Reception will be held on Friday, January 27th from 6-8 p.m. wherein the artist, Dylan Glynn will conduct a gallery talk.
Dylan Glynn is based in Toronto and studied animation at Sheridan College in Toronto and La Poudrière in Valence, France. Glynn’s work has appeared in Vice Magazine, BOOOOOOOM, The Huffington Post, The Globe and Mail, and the Canadian Broadcasting Company and has been recognized by the Society of Illustrators, American Illustration and the World Illustration Awards.
Dylan Glynn: After Order, After Disorder will be on view January 27th through March 12th and open during regular Hamon library hours: M-Th 8 a.m. – 12 a.m., F 8 a.m. – 6 p.m., Sat 12 – 5 p.m., Sun 2 p.m. – 12 a.m. For more information, please call 214-768-3813 or visit www.smu.edu/cul/hamon.
Featured image: Web Bodies, 7″ x 10″, watercolor on paper
Blog post: Georgia Erger
Images: Courtesy of Dylan Glynn