This curatorial discussion on the Hawn Gallery exhibition, Clear, Deep, Dark, focuses on its artist, Julie Morel. Every two weeks during the exhibition’s run, Curatorial Fellow, Emily Rueggeberg, will post a new article highlighting one or more of Morel’s pieces from the exhibition to provide insight into the artist’s creative and theoretical processes.
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”
Courtesy of Mary Doyle Collection, Bywaters Special Collections, Hamon Arts Library, Southern Methodist University
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.
The Hawn Gallery presents
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.
The Hawn Gallery presents
Embodied Algorithm: [Re]embracing the Analog
New works by Ira Greenberg
On view: September 8 – October 8, 2017
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 Hawn Gallery presents:
Piecing It Together
Danielle Kimzey, Mary Laube & Christopher Reno
On view March 31 – May 28, 2017
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
The Hawn Gallery presents:
R3clamation: Routes & Roots, An Installation by Basil Kincaid
[If the map to freedom was etched on the inside of your forehead, would you carve back the skin and follow the route to your roots?]
On view October 28th – December 11th, 2016
Opening Reception: Friday, October 28th from 6-8 p.m. at the Hawn Gallery, Hamon Arts Library Continue reading “Hawn Gallery presents R3clamation: Routes & Roots, An Installation by Basil Kincaid”
The Bywaters Special Collections staff are happy to announce that SMU’s Central University Libraries is now a part of the Google Cultural Institute. BSC staff, Ellen Buie Niewyk, curated the first GCI exhibition with archivist, Emily George Grubbs. Octavio Medellin: Maya-Toltec Temples and Carvings, 1938 is an exhibition curated from the holdings of photographs and documents of the artist from Bywaters Special Collections. Take a look!
Thank you to Emily George Grubbs, Archivist, Bywaters Special Collections, for this post!
Image: Courtesy of Octavio Medellin Art work and Papers, Bywaters Special Collections, Hamon Arts Library, Southern Methodist University