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Bywaters Special Collections Artist Profile: Janet Elizabeth Turner

Artist featured in the exhibition Texas Women Artists: Selections from Bywaters Special Collections, on the 2nd floor of Hamon Arts Library.

Janet Turner was born in Kansas City, Missouri in 1914.  Attending nature camps during the 1920s, she developed an early awareness of the outdoors and the beauty nature had to offer.  Turner’s interest in the environment continued into her college years where at Stanford University she first studied botany but switched to the history of the Far East in her junior year.  In 1936 she received her Bachelor of Arts degree in Far Eastern History.  In the same year she traveled to China, Japan, Korea, Manchuria, and the Philippines where she became enthralled with Eastern printmaking.  Upon her return to the states Turner enrolled at the Kansas City Art Institute where she studied painting under Thomas Hart Benton and lithography under John de Martelly.  After completing the course work in 1941, Turner attended classes at Claremont College in California where she studied painting with Millard Sheets and Henry McFee; in 1947 she received her Master of Fine Arts.

Turner’s professional teaching career started in 1948 at Stephen F. Austin State College in Nacogdoches, Texas where she remained until 1956.  During her tenure in Texas, Turner’s art career flourished.  She had solo exhibitions at the Kansas City Art Institute (Missouri), Santa Barbara Museum of Art (California), and the Museum of Fine Arts, Houston (Texas) and was an active member of the Texas Printmakers.  Turner’s work was included in the 1950 exhibition American Painting Today at the Metropolitan Museum in New York.  In 1952 she received a Guggenheim Fellowship to experiment with printmaking techniques for making prints of Gulf Coast flora and fauna.  Turner received national recognition in 1953 when she was elected an Associate of the National Academy of Design. In 1974, she was a full academician.

During the summer of 1954 Turner returned to Japan where she met Japanese artist, Kiyoshi Saito, a well-known Sōsaku-hanga (‘creative prints’) printmaker. He arranged for Turner to have a one-person exhibition of her prints at the Yoseido Gallery, a venue in Tokyo that specialized in contemporary Japanese prints.

In 1956 Turner left Texas to pursue a doctorate in art education at Teachers’ College, Columbia University. In 1959 she accepted a teaching position at Chico State College in Chico, California.  There she founded the school’s printmaking program.  Turner continued to teach there until her retirement in 1981.  Throughout her professional career Turner collected prints from all over the world in order to introduce students to a wide range of printmaking techniques. Late in life, she left her collection to her college.  Her personal collection became the core of the campus museum that bears her name – the Janet Turner Print Museum.

Janet Turner died in California on June 28, 1988.


Image: Iguana I, Relief etching and serigraph, 1976, original dimensions (image):  11 5/8” (H) x 17 5/8” (W) [http://digitalcollections.smu.edu/cdm/singleitem/collection/tar/id/148/rec/3 ]

Courtesy of Janet Turner Collection, Bywaters Special Collections, Hamon Arts Library, Southern Methodist University

Screening and Q & A of The Dying of the Light

Please join the G. William Jones Film & Video Collection’s moving image curator, Jeremy Spracklen, on Sunday, January 14, 2018 at 5:00 p.m. at the Texas Theater for a screening of Peter Flynn’s 2015 documentary, The Dying of the Light. Following the screening, Flynn, the director of this documentary will be available for a Q & A hosted by Spracklen.  The subject of this documentary explores “the history and craft of motion picture presentation through the lives and stories of the last generation of career projectionists. By turns humorous and melancholic, their candid reflections on life in the booth reveal a world that has largely gone unnoticed. The result is a loving tribute to the art and romance of the movies—and to the unseen people who brought the light to our screens.”* 

Tickets and information about the event can be found here: https://thetexastheatre.com/movies/dying-light-filmmaker-q/.

Please follow the Jones Collection on Twitter at @SMUJonesFIlm and on Facebook at www.facebook.com/smujonesfilm/.


* Descriptive quote from http://dyingofthelightfilm.com/#!about/.

Winter Break Hours at Hamon Arts Library

Happy holidays from the Hamon Arts Library!

Please be aware of Hamon’s winter break hours. Our spring semester hours begin on Monday, January 22, 2018.

Winter Break Hours
Sat., Dec. 23rd – Mon., Jan. 1st, 2018

Monday – Friday, 8 am – 5 pm
Closed on weekends

IMG_0097
Snowflake project by staff and student employees of the Hamon Arts Library

Images and initiation of snowflake project, Take a Break: Make a Snowflake, by LaGail Davis, General Operations Manager, Hamon Arts Library.

Bywaters Special Collections Artist Profile: Barbara Lucile Maples

Featured in the exhibition Texas Women Artists: Selections from Bywaters Special Collections, on the 2nd floor of Hamon Arts Library.

Barbara Lucile Maples (1912 – 1999) was born in Temple, Texas to Leslie Buford and Lucile Beatrice Hartrick Maples.  She graduated from Temple High School in 1929 and continued her studies at Mary-Hardin Baylor College in Belton, Texas where she received a Bachelor of Arts degree in 1933.  Six years later she received a Master of Arts degree from Teachers College, Columbia University in New York.  She taught in Temple and Fort Worth before joining the Dallas Independent School District where she taught elementary and secondary art from 1937 – 1964.  In 1940, she began teaching children’s art classes at the Dallas Museum of Fine Arts School, a post she maintained until 1954.  In 1965, Maples was appointed Assistant Professor of Art Education and in 1974, Associate Professor of Crafts Design at Southern Methodist University where she continued teaching until her retirement in 1978.

Continue reading “Bywaters Special Collections Artist Profile: Barbara Lucile Maples”

Collective Practice: Community Building Through Zines – Curatorial discussion of Selected Works, Part II

This blog post is a continuation of the Hawn Gallery’s series on the exhibition Collective Practice: Community Building Through Zines by Puro Chingón Collective. Below is a discussion of pieces in the exhibition, chosen by Curatorial fellow Emily Rueggeberg.

In addition to zines, Puro Chingón Collective also creates designer toys. Unlike toys found in commercial stores, designer toys are collectible objects made for display rather than play. The first resin cast series of designer toys created by the Collective, State of Tejas is from the Fiesta Series. While each of the member’s works are the same size and referencing their novelty aspect, the subject matter varies. Each member draws upon their own backgrounds and experiences, creating pieces that are uniquely their own, but still come together as a cohesive body of work.

Continue reading “Collective Practice: Community Building Through Zines – Curatorial discussion of Selected Works, Part II”

Food for Library Fines – Nov. 27th – Dec. 15th

During this holiday season, Hamon Arts and Fondren Libraries are again participating in the donation program, Food for Library Fines. Students, faculty and staff at SMU may bring food donations and receive $2 credit for existing library fines for each can or package of non-perishable food item.

This program only applies to Hamon and Fondren materials, and this waiver cannot be applied to lost book replacement or processing fees.

Remixing the News – KERA’s Frame of Mind & the Jones Film & Video Collection event

Join the G. William Jones Film & Video Collection for an advanced screening of an upcoming episode of KERA’s Frame of Mind – Remixing the News on Tuesday, November 14th at 7:30 pm in the O’Donnell Hall, Owen Arts Center, SMU. This long-running, local series features a collection of independent documentaries and shorts highlighting Texas-based artists and filmmakers working just outside of the mainstream. The program, now in its 25th year, is produced, curated, and hosted by artistic director for the Video Association of Dallas, Bart Weiss, and it offers a platform to creators whose work and vision might never be seen.

This particular episode of Frame of Mind features work by local artists, including Moving Image Curator for the Jones Collection, Jeremy Spracklen, and former adjunct instructor at SMU, Michael Morris. Culled from over 100 hours of 16mm footage from the Jones Collection’s WFAA Newsfilm archive, these shorts reappropriate, recontextualize, and deconstruct media images of the 1960s and 1970s as a way to not only understand the radical cultural and historical shifts of this tumultuous era, but also to spotlight how the media processes and presents these changes.  

Following the screening, Weiss will host a Q & A with several of the contributing artists to discuss their work.

Films and filmmakers include:

2,000 Hours in Dallas by Jeremy Spracklen

The Story of Jane X by Christian Vasquez

Dallas Circle by Justin Wilson

Lawmen & Cowpokes by Gordon K. Smith

History Lessons by Steve Baker

Beyond 10 by Carmen Menza

Glass by Madison McMakin 

Poofs are New by Blaine Dunlap

Divided by Michael Thomas & Dakota Ford

The Night in the Last Branches by Michael Alexander Morris

Echoes of the Past by Jeremy Spracklen


Blog post: Courtesy of Jeremy Spracklen, Moving Image Curator, G. William Jones Film & Video Collection, Hamon Arts Library, SMU
Image: film still of Spracklen’s Echoes of the Past, courtesy of Jeremy Spracklen

Collective Practice: Community Building Through Zines – Curatorial discussion of Selected Works

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.

Continue reading “Collective Practice: Community Building Through Zines – Curatorial discussion of Selected Works”

New publication available in SMU Scholar: Eastside Landmark

John Chávez, the SMU History Department and the Central University Libraries are especially gratified to announce that Professor Chávez’ book, Eastside Landmark: A History of the East Los Angeles Community Union, 1968-1993, is now available entirely open access in SMU Scholar. This is now the second selection in SMU Scholar’s eBooks section, including Ellen Buie Niewyk’s Jerry Bywaters: Lone Star Print Maker.

The effort taken to bring Professor Chávez’ book to a wider audience, and to grant it open access, is a long and winding story that includes multiple librarians, multiple publisher responses and many emails. In the end, though, we successfully negotiated a contract with Stanford University Press to publish the Professor’s book.

An excerpt from Professor Chávez’s comments on the book echo the New cities/Future Ruins initiative launched at SMU in 2016.

In this new open-access format the book should reach a new audience interested in a precursor to the new urbanism. Despite its subtitle, A History of the East Los Angeles Community Union, the book should be read as the history of an innovative business, rather than a labor union. As a community development corporation, this institution combined the insights of liberals and conservatives to help revive Mexican-American and other working-class neighborhoods through the dynamic efforts of both trade unionists and business people. The work thus carries a pragmatic message for cooperative progress in twenty-first-century America.


Blog post courtesy of the late Dillon Wackerman, former Digital Scholarship Librarian, SMU and Professor John Chávez, Clements Department of History, SMU.

 

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