Collective Practice: Community Building Through Zines Works by Puro Chingón Collective
On view: October 20 – December 15, 2017
Opening Reception: Friday, October 20th, 5-7pm
at the Hawn Gallery, located in the Hamon Arts Library at SMU
Artists Claudia Zapata, James Huizar, and Claudia Aparicio-Gamundi will conduct a gallery talk at the opening at 5:45 p.m.
Puro Chingón Collective is comprised of James Huizar, Claudia Zapata and Claudia Aparicio-Gamundi. The Collective formed after they began publishing their zine, ChingoZine, a publication dedicated to showing works by Latinx artists. Zines are short for magazines, but rather than ones seen on newsstands, they are noncommercial, homemade, or online publications containing subject matter that reflects the community in which they are created. The Collective’s practice is one rooted in social practice and engages with people in public spaces through murals, film screenings, and parties. The public events are largely hosted in Austin and focus on celebrating Latinx arts and culture through film screenings and interactive events. During the film events, members are given props so they can participate with movies such as Mi Vida Loca, Y Tu Mama Tambien and Selena.
In celebration of this year’s State Fair of Texas, the G. William Jones Film and Video Collection put together this compilation of clips. Taken from several months of the archive’s 16mm WFAA Newsfilm Collection, this twenty-three minute piece largely without sound showcases the evolution of the fair throughout the 1960s, highlighting the attendees and fair grounds, the food and the games, and the attractions and parades as each evolved over the course of a tumultuous decade of cultural and political change, while still remaining fundamentally the same, as it does even to this day.
Featured in the exhibition Texas Women Artists: Selections from Bywaters Special Collections, on the 2nd floor of Hamon Arts Library.
Florence McClung (1894 – 1992) was born in St. Louis, Missouri to Charles W. and Minerva White. In 1899 she moved with her parents to Dallas where in 1912 she graduated from Bryan High School. In 1917, she married Rufus A. McClung and together they made their home in Dallas. In the early 1920s McClung started her art training with prominent Dallas artists Frank Reaugh, Frank Klepper, Olin Travis, Alexandre Hogue, and Tom Stell. During the 1920s and 1930s McClung traveled to Taos, New Mexico where she painted scenes around the area, studied the pueblo Indians and their crafts, and became friends with well-known Taos luminaries Mabel Dodge and Tony Luhan. Around 1930, McClung was hired by Trinity University, then located in Waxahachie, Texas to form and head the art department, a post she maintained until 1943 when the school moved to San Antonio. On class days, McClung would drive from Dallas to Waxahachie and return each day.
McClung was a well-established artist by the late 1930s. Her painting Lancaster Valley (1936) was purchased from the New York World’s Fair by the Metropolitan Museum of Art in New York – the first work by a Texas artist represented at the museum up to that time. McClung’s education continued in Dallas where in 1939 she received a Bachelor of Arts degree in Art and English and a Bachelor of Science degree in Education at Southern Methodist University. In 1941 she studied lithography at the Colorado Springs Fine Arts Center with Adolph Dehn, a well-established American lithographer based in New York.
During World War II McClung’s print Home Front, was selected for inclusion in the exhibition America in the War (August 1943) at the Metropolitan Museum of Art. In 1944 her print My Son, My Son was selected from a Library of Congress exhibition for the cover of a Red Cross magazine. McClung also served as the daytime air raid warden for her street in Dallas and completed courses in Air Raids, First Aid, Nutrition, and Home Nursing.
Today McClung’s work is represented in permanent collections: Dallas Museum of Art, Metropolitan Museum (New York), Library of Congress (Washington, D. C.), Panhandle-Plains Historical Museum (Canyon, Texas), and High Museum (Atlanta, Georgia).
Florence McClung died at age 97 on March 15, 1992 in Dallas.
Image: Devil’s Gulch, Block print (linocut), 1976, original dimensions (image): 17” H x
Courtesy of Florence McClung Collection, Gift of Bill and Tony McClung, Bywaters Special Collections, Hamon Arts Library, Southern Methodist University
This week, the Bywaters Special Collections artist profile highlights Vivian Louise Aunspaugh, who is featured in the exhibition Texas Women Artists: Selections from Bywaters Special Collections, on the 2nd floor of Hamon Arts Library.
Vivian Louise Aunspaugh was born August 14, 1869 in Liberty [now Bedford City], Virginia to John Henry and Virginia Fields (Yancy) Aunspaugh. Her father, a cotton buyer, moved the family from Virginia to Alabama, South Carolina, and Georgia while Vivian was a child. At sixteen she graduated from Shorter College in Rome, Georgia, where she demonstrated early artistic aptitude and was awarded the Excelsior Art Medal by the school. For the next few years, Vivian taught art and took instruction from several notable art schools and instructors, including the Art Students’ League in New York, where she studied with John Henry Twachtman, and in Paris, France with Alphonse Mucha. In 1890, Vivian returned from Europe and in the following year moved to Texas where she first taught art, French, and penmanship at McKinney College in McKinney, Texas. During the next few years she took on different assignments, including teaching at the Masonic Female College in Bonham, heading the art department at Patton Female Seminary in Dallas, and later, teaching decorative arts at St. Mary’s College, also in Dallas. In 1900, she exhibited her work at the Expo Universelle in Paris, France, where she received a gold medal.
In August, the Jones Film and Video Collection received the Paul Adair Collection, a donation of business records and log books from the Texas-based Interstate Theatre Circuit. The collection includes 180 books that contain the box office records for most of these movie theaters from the 1930s to the 1970s. In addition to being a record of the films showed at these theaters, they also reveal how much each film took in at the box office, cartoons that ran with the movies, and often the negotiated percentage due to the distributor.
This sample page shows three different theaters from Dallas – The Esquire, The Village, and The Inwood during December 1966. It includes the final weeks of the The Inwood’s record setting run of The Sound of Music, which ran for over a year and a half. Over the course of its showing, the theater took in $751,357 in box office receipts.
Blog post: Courtesy of Jeremy Spracklen, Moving Image Curator, Hamon Arts Library
This artist profile is the first on several artists whose works are featured in the exhibition, Texas Women Artists: Selections from Bywaters Special Collections, on the 2nd floor of Hamon Arts Library.
The earliest Texas drawing in Bywaters Special Collections is a pencil sketch of Elize Bunzen Wueste by Louise Heuser Wueste (1805 – 1874). Considered “…the first important woman artist to appear on the Texas scene,” Wueste was born in Gummersbach, Germany in 1805. In her youth she was surrounded by people who were interested in the arts. Her father, Heinrich Daniel Theodor, was known as a shrewd merchant and chemist dealing in paints and indigo whereas her mother, Louise Heuser, had social ties to German royal families. Louise studied portraiture at the Düsseldorf Academy during a time when the school was highly regarded as a center of study for detailed and realistic historical narrative painting. Two of her instructors at the school were Friedrich Boser and Karl Ferdinand Sohn – both distinguished artists of the Academy. In 1824 she married Dr. Peter Wilhelm Leopold Wueste and together they had three children – Emma, Adeline, and Daniel. Family life interrupted her art interests for a time. After her husband’s early death at age 37, Louise returned to her artwork and began teaching portraiture. During the 1840s, her children had left Germany due to political turmoil and moved to Texas. In 1857 [or 1859], Louise decided to make the arduous journey to Texas; she joined her daughter, Adeline, who was living in San Antonio with her husband. Not wanting to be a burden on her family, Louise returned to her art training and in 1860, opened a studio at No. 18 in the French Building in San Antonio. Her advertisement for instruction in the San Antonio Herald (May 8, 1860) offered “the services of her art training in taking likenesses in oil or drawing, as well as to give lessons in every branch of art.” While in San Antonio, Louise continued to paint formal portraits and sketch landscapes.
By 1863 Civil War hardships had caused Louise to join her son in Piedras Negras, Mexico, where he worked as a merchant. She continued to paint and draw what she saw in her new surroundings, including the people and landscapes along the Rio Grande River. Daniel eventually relocated to Eagle Pass, Texas and Louise returned to San Antonio to resume her art career. During a trip to visit her son, Louise became ill and died on September 25, 1874. She left behind hundreds of paintings and drawings; the largest public collection of her work is located at the Witte Museum in San Antonio.
 Cecilia Neuheisel Steinfeldt, Art for History’s Sake: The Texas Collection of the Witte Museum (Introduction by William H. Goetzmann), (San Antonio: The Texas State Historical Association for the Witte Museum of the San Antonio Museum Association, 1993), p. 269.
 Pauline A.Pinckney, Painting in Texas: The Nineteenth Century (Austin: University of Texas Press, 1967), p. 118.
Opening Reception: Friday, September 8th, 5-7 pm
at the Hawn Gallery, located in the Hamon Arts Library at SMU
Artist Ira Greenberg will conduct a gallery talk at 5:45 p.m.
An exhibition of new works by Dallas-based artist Ira Greenberg features drawings completed over a two-year period exploring the continuum between computational (digital) and human- (analog) implemented algorithms. The ultimate pieces confront viewers with large-scale snapshots of intimate moments between Greenberg’s subjects.
Below Greenberg discusses his shift to drawing and describes how the analog process helps create deep connections between the artist and viewer, bridging time and space.
Creating a drawing is a multi-layered, integrative problem, very difficult for a computer. Algorithms are quite good at mimicking parts of a drawing process, such as creating a contour line, shading, or even utilizing advanced AI techniques to generate a composition. However, drawings are profoundly idiosyncratic creations, each mark a near (or far) miss, determined by complex overlapping dynamics. An artist’s intellectual, physical and emotional states factor into every mark and decision made. In this sense a drawing is like a time machine, capturing the temporal experience of the artist’s process. Though algorithms can simulate these dynamics with layers of clever randomization, the decisions are ultimately not connected to a human life (though in theory they could be connected to one in silico.)
For me, one of the most captivating features of a work of art is the artist’s hand/intention and the communication felt between artist and viewer, across time and space. Though at first glance this communication might seem unidirectional–from artist to viewer–complex, highly layered works of art–a Cezanne landscape, a highly glazed Titian, a built-up impasto-ed Rembrandt self-portrait–have so many layers of captured meaning that upon multiple viewings the work/artist continues a conversation with the viewer.
The drawings in this show grew out of an analog process considering the translation of computational algorithms, based on some of my earlier code structures. The early pieces began as automatic drawings, with found form and structures emerging over time. This process led eventually to head-like, abstract forms emerging, which then slowly evolved to highly representational heads, based on source material. I never intended to draw portraits. However, once the representational heads emerged, I began to consider the internal algorithms imbued in the process of creating the drawing. Though I am interested in the pictorial narrative vis-à-vis the imagery, I am equally interested in other formal properties, including composition, scale and activation of the surface, through orchestration of marks and tonality. Overall, as with the original algorithmic work, I am still searching for form and structures through my process; though the outcome is now far more layered and deeply personal.
Greenberg’s art practice spans painting, 2D and 3D animation, print design, and web and interactive design. He is the Director of the Center of Creative Computation and Professor at SMU, with a joint appointment in the Meadows School of the Arts and the Lyle School of Engineering.
Embodied Algorithm: [Re]embracing the Analog will be on view until October 8th. The gallery is open daily, M-TH 8AM-9PM, F 8AM-6PM, Sat 12PM-5PM, Sun 2PM-9PM and free to the public. The artwork will extend out of the Hawn Gallery and into the Hamon Arts Library’s lobby to include works from the artist’s algorithmic drawing series. For more information, please call 214-768-3813 or visit http://www.smu.edu/cul/hamon.
Featured image: Robin & Sophie, charcoal on paper, 72″ x 48″ 2017
Images: courtesy of Ira Greenberg
The staff of Central University Libraries are deeply saddened to share the news about the death of our wonderful and brilliant colleague, Dillon Wackerman. After a nationwide search, Dillon joined SMU’s Central University Libraries on August 1, 2016, as the Digital Repository Librarian. He quickly rebranded SMU’s digital repository as SMU Scholar and transformed it into a vibrant showcase of the University’s scholarly research.
It is hard to capture in words Dillon’s relentless drive to expand support for scholarly communication at SMU. He was a proactive advocate for Open Access and an emerging leader on our campus in developing strategies for strengthening relationships between the libraries and the campus community. He enabled faculty and students to exercise their publishing options in SMU Scholar and worked tirelessly with all contributors – faculty, students, and staff at every level. He continuously served as a dedicated advocate of Open Access, author’s rights, and the preservation of SMU’s academic output, and scheduled many meetings and training sessions in his professional endeavor.
His creativity in and exuberance for Scholarly Communications stood above the crowd. He developed and hosted conferences that captured the latest trends and thinking in this field. Librarians and faculty from around the region attended these effervescent events, which led to lively, professional debates and critical discussions on the future of library publishing and the free flow of scholarly information.
Dillon was a true professional with the highest standards of excellence. In a short amount of time, he rebuilt SMU’s digital repository at a breathtaking speed. Dillon was also a beautiful and caring person whom we will never forget. Central University Libraries is fortunate for having known and worked with such a professional and kind colleague. Our heartfelt condolences go out to his family in Texas and California.
For those of you who wish to donate funds for Dillon’s family to support them in the following months ahead, please go to: www.gofundme.com/dwackerman.
The metalwork, photographs, prints, and sculpture selected for the new exhibition, Texas Women Artists: Selections from Bywaters Special Collections, are from the holdings of Bywaters Special Collections, located in the Jake and Nancy Hamon Arts Library. Each artist represented in the exhibition had early art training, most of it professional, yet career paths diverged as they became curators, educators, gallery directors, metalsmiths, printmakers, and sculptors. The first artist represented is Louise Heuser Wueste (Wüste), a “pioneer” since she is the first known professionally-trained woman artist to arrive in Texas in the mid-nineteenth century. Many other women artists followed in her footsteps, and their legacy is still felt today in works of art they created and organizations they established.
In view of the fragile nature of the works of art shown in this exhibition, reproductions of the originals are exhibited. Texas Women Artists: Selections from Bywaters Special Collections is on view August 21, 2017 – August 5, 2018.
Image: Courtesy of Mary Nye Collection, Bywaters Special Collections, Hamon Arts Library, Southern Methodist University