The news seemed so odd – what relevance does Bob Dylan have now? Is his work literature? Which work, or works, merit this prize? If the prize is in recognition of a body of work, where is the corpus? The collection?
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
Greetings. My name is Jeremy Spracklen, and I am the moving image curator of the G. William Jones Film and Video Archive inside the Hamon Arts Library. One of my current projects is the digitization of the Library’s WFAA Newsfilm footage spanning from 1960 to 1977. Every other week I’m going to share a set of clips that I’ve found while working on the collection. They may not all be significant about the history of Dallas, but I still find them each fascinating for what they reveal about life in Dallas-Fort Worth 40-50 years ago. Continue reading “WFAA Newsfilm Collection: Look what I found this week!”→
Film historian and collector, Jeff Gordon, has collaborated with Hamon staff on a fall 2016 installation of seven movie posters from his collection. These stunning and brightly-hued posters join an earlier loan of Dorothy Lamour’s Beyond the Blue Horizonposter also on view on the first floor of the Library. In addition to this installation, Mr. Gordon also agreed to the Blog’s invitation to write comments about his early and sustained interest in movies and memorabilia, and the unique context of each poster in the history of mid-20th century American film. Continue reading “Jeff Gordon on his collection of film posters at Hamon”→
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”→
The Hamon blog team invited Christina Donaldson, an interior designer and researcher, who participated in the panel discussion at Hamon on PTSD, The Social Costs of War: Trauma and the Trials of Homecoming, on April 5th, to contribute a posting on her research. This panel discussion was organized in conjunction with the Hawn Gallery exhibition, Travels in Ithaca, on view at Hamon until May 16th. Donaldson’s research examines the intersection of interior design and psychology, and how this interdisciplinary approach may yield a better understanding of combat-related PTSD.
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.