Hamon’s newest update to its lobby is a pair of customized computer kiosks that were designed and built by Meadows staff member, Ryan Goolsby. We interviewed Ryan about his position at SMU, his work as an artist, and the process for creating these kiosks.
Composer and conductor Pierre Boulez, one of the most influential musical figures of the second half of the twentieth century, passed away on Tuesday, January 5. Since then, multiple news organizations have published lengthy assessments of Boulez and the manner in which he shaped and challenged notions of established concert repertoire as a stalwart advocate of new music and new compositional techniques. This post cannot improve upon the far more eloquent and precise appraisals of Boulez written in The New York Times, The Guardian, and the Los Angeles Times. I would like, instead, to offer the less celebrated work of Boulez—his work with young, aspiring musicians.
Submissions to the Hamon blog are accepted year round. We welcome submissions from students, faculty, staff, and those from the broader Dallas community. Examples of submissions include: Continue reading “Write for the Blog of the Hamon Arts Library!”
One of the most significant of the Tyler Race Films is The Blood of Jesus, written by and starring Spencer Williams. As with many of Williams’ films, this is a study of the continuing conflict between good and evil, holiness and godlessness, church and juke joint. Williams filmed it with a largely amateur cast and with a minimal budget in 1941 for distribution to the 1200 or so movie houses that catered to all-black audiences at that time. Despite the limitations imposed by its restrictively small budget, “The Blood of Jesus” was a financial success. Continue reading “The travels of The Blood of Jesus”
Even the most incurious visitor to the Hamon Arts Library cannot have helped but notice the six works posted near the entryway. These pieces are part of a series entitled “Paper Dolls,” by Colleen Shull (SMU MFA ’11) and Justin Shull (former SMU Division of Art Adjunct Lecturer). This show, curated by guest curator Shannon Maylath, features pictures from fashion magazines that have been altered, scratched, cut, torn and crumpled…exploded as it were.
The images are recognizable but transformed, altered from their original appearance and context in such a way that the viewer is confronted both with the symbols of fashion and the formal aspects of the images…the colors, the sense of depth, the juxtaposition of the conventions of fashion photography made mysterious by the alterations. These images are reborn, visible and present in a way the original photographs were not. Continue reading “Reflections on Paper Dolls”
Please stop by the second-floor gallery outside of Bywaters Special Collections and view how the portfolio XTOL by Octavio Medellin was researched by the artist in 1938 and later published in 1947 by the Dallas Museum of Fine Arts, which preceded the Dallas Museum of Art. Work began in 1938 when Octavio Medellin spent six months studying the Mayan ruins at Chichén Itzá and Uxmal, located on the Yucatán in Mexico, and documented his travels with 181 black and white photographs that he compiled into a scrapbook entitled Maya – Toltec, Temples and Carvings, 1938 [all photographs in the exhibition are reproductions]. Continue reading “Octavio Medellin: Maya-Toltec Temples and Carvings, 1938 on display”
The Jake and Nancy Hamon Papers contain the personal papers of Jake and Nancy Hamon. Jake Hamon was a legendary Dallas independent wildcatter while his wife Nancy was a celebrated hostess and philanthropist. The collection offers insights into Dallas social and cultural history. The bulk of the materials originates from Dallas, Texas. Continue reading “Collection Spotlight: Jake and Nancy Hamon Papers”
Photographs in the Paper Dolls series confront the viewer with fundamental questions of viewer agency and power central to the critical investigation of visual culture. A feminist critique of visual culture, especially the culture of fashion magazine consumption by young women, is suggested by the selection and treatment of the six images comprising the exhibition. Identifying the precise methodology, intent, and commentary of the artists, and ultimately being able to identify whether or not the work falls within the realm of feminist praxis, is complicated by the works’ collective authorship, generally destructive treatment of the original source magazines, the translation of the collages into digital and analog photographs, and their eventual transmission via social media. Continue reading “The fantasy / comparison model of fashion image processing: A prospective model of viewer engagement”
On Wednesday, November 11, art historian and critic, Michael Fried, and Dallas Museum of Art Hoffman Family Senior Curator of Contemporary Art, Gavin Delahunty, discussed Jackson Pollock’s black paintings, the focus of the exhibition opening at the DMA this coming Friday, November 20. Continue reading “Pollock’s Black Paintings: A Conversation”