DeForrest H. Judd, a native of Hartsgrove, Ohio, lived most of his life in Dallas working as an artist and teaching at Southern Methodist University. Judd’s keen observation of everyday life and nature influenced him to paint, draw, and print his interpretations onto canvas, paper, and copper enamels. As a professional artist and teacher, Judd taught numerous students at SMU and summer workshops in Arkansas, New Mexico, and Texas. Continue reading “DeForrest Judd, Sketches of Texas Regions – Big Bend, Caddo Lake, Gulf Coast”
Georgia Erger is Hamon’s first Curatorial Fellow for the Hawn Gallery. She joined the staff last month at the beginning of July 2016. As Curatorial Fellow, she is responsible for much of the work in the Hawn Gallery, including development and installation of three exhibitions for the fall and spring semesters, publicity, and archival management of the gallery’s exhibition history. Previous to coming to Hamon, Georgia was Program Assistant, John B. Aird Gallery, and the Windgate Postgraduate Intern in Museum Studies at the Baum Gallery of Fine Art, University of Central Arkansas. Georgia completed her BA in art history at the University of Toronto, University College, and her MA at the Courtauld Institute of Art, London. We are thrilled to have her. Let’s get to know her better… Continue reading “Meet Georgia Erger, Curatorial Fellow for the Hawn Gallery at Hamon”
Artist and educator, Carlotta Corpron (1901-1988) is the subject of one of the current exhibitions at the Meadows Museum. Process and Innovation: Carlotta Corpron and Janet Turner, on view through June 5, 2016, presents the art of two women who worked as both artists and professors at separate Texan universities during the twentieth century. Highly experimental, both artists would come into their maturity of style in their respective media of photography and printmaking while teaching in Texas. Continue reading “Carlotta Corpron: Photography and Light”
The art exhibition Scott Gleeson: Travels in Ithaca charts an uncertain and perilous itinerary through the spaces of the Hamon Arts Library Foyer, Lobby, and the Mildred Hawn Gallery, calling viewers’ attention to the social costs of warfare as seen through the lens of Homeric myth. Each of the twelve graphic works in this site-specific installation reference significant events in the life of Odysseus leading up to his return to Ithaca and eventual murder at the hands of his illegitimate son Telegonus. Together, the twelve works constitute a theoretical proposition about one possible role abstract image making or architectural ornament might play if creative professionals chose to address veterans’ issues in their practices. The overarching question proposed by the exhibit is, “What is the social role or responsibility of the artist in responding to the social costs of war, promoting cultural memory of historical events, and facilitating the healing process for veterans and communities?” To address this question Travels in Ithaca imagines a very specific problem with psychotraumatology literature on the Eye Movement Desensitization and Reprocessing therapy method: “How shall patients benefit from therapy in the absence of the therapist given the problems with long treatment delays in the VA healthcare system?” Travels in Ithaca posits deploying cheap, modular architectural ornamentation and graphic imagery designed to facilitate the self-administration of the EMDR method within domestic or institutional interiors.
The current exhibition at Meadows Museum at SMU, Process and Innovation: Carlotta Corpron and Janet Turner, is a welcome reminder of earlier showings of Janet Turner’s prints in Dallas and elsewhere in Texas. Don’t miss Turner’s remarkable prints now on loan from Hamon’s Bywaters Special Collections, along with other private lenders, including Jack and Beverly Wilgus -donors who have generously pledged their historic photographic collection to DeGolyer Library. Images by Beverly Wilgus, a former student of Corpron, will also be on view.
In conjunction with Hamon’s spring 2016 exhibition, Scott Gleeson: Travels in Ithaca, a site-specific art installation in the Library’s Mildred Hawn Gallery and Hamon lobby, the panel discussion, Social Costs of War: Trauma and the Trials of Homecoming, raises awareness of the sociological implications of war since the terror attacks of September 11, 2001. Experts in veteran advocacy, brain trauma studies, and combat veterans will deliver 10-minute talks followed by a discussion. Local panel participants include: Donna Cranston, Executive Director of Defenders of Freedom (DoF); a US Combat Veteran and DoF client; Christina (Tina) Bass, M.S., LPC, Psychotherapist and PTSD research assistant, UTDallas Center for Brain Health; The panel moderators are Dr. Alicia Meuret, Associate Professor of Psychology and Director of the Anxiety and Depression Research Center, Dedman College, SMU; and Scott Gleeson ’09, visual artist.
The panel, organized in conjunction with Scott Gleeson: Travels In Ithaca, is held as part of the Library’s 25th anniversary celebration.
On Wednesday, February 9th, Scott Gleeson gave a gallery talk on his exhibition Travels in Ithaca. He spoke broadly about the therapy of Eye Movement Desensitization and Reprocessing (EMDR) and how it informs the works in the exhibition, and artists and groups that shaped his concepts and aesthetics. Following, Gleeson provides his gallery notes from this talk.
In a memorable scene set in a hotel room in the film, Apocalypse Now, Captain Benjamin Willard, experiencing a fit of delirium, smashes a mirror with his fist and then smears the blood from his wounded hand on his face. The interrelated themes of transformation and recognition introduced in this scene, through the symbol of the mirror and the blood-obscured visage, appear in ancient art as they do throughout western popular culture, underscoring the significance of the transformative effects of war on the body and the psyche of the individual.