Blog of the Hamon Arts Library



February 2018 Jones Film Archive Update



The Jones Collection received a makeover!  New signage and an updated lobby area which features several pieces of antique film projection equipment from the vault.  

On Sunday, January 14, 2018, Curator Jeremy Spracklen hosted a Q&A at the Texas Theatre with director Peter Flynn, following Flynn’s documentary on film exhibition, The Dying of the Light.  More information about that event can be found here

The Collection has partnered with several other libraries and archives on campus for Black History Month.  Our contribution to this initiative is screening four 35mm prints from the Tyler Black Film Collection every Thursday in February at 4:30 p.m.  Each screening will be introduced by a speaker to discuss both the film and its cultural context.  More information about the screenings can be found here



The Collection received a donation of over 100 35mm prints from a local collector.  These films predominantly range from the 1970s and 1980s and include such classics as Heaven Can Wait, On Golden Pond, and Yellow Submarine, as well as a few not-so-classics, including Chill Factor, Nine Months, and Born to Be Wild.  This eclectic donation is the largest gift of 35mm films the Collection has received in over twenty years. 

In researching materials that were previously thought destroyed, the archive potentially discovered several films that have been deemed “lost.”  More information to come as this story develops!

ruby.jpeg IN THE MEDIA

As a result of the Jones Collection’s social media efforts, a follower on Facebook discovered the Jack Ruby in what was seemingly innocuous parade footage the Collection released in December.  The story of this unseen footage was picked up by Paula Bosse at Flashback Dallas (here) and later by D Magazine (here).

Robert Wilonsky over at Dallas Morning News used Jones Collection footage in his story on the Sex Pistols’ performance in Dallas.  That story can be found here.

On January 12, 2018, local sports radio station KTCK 1310 The Ticket discussed the collection during two different on-air shows, specifically WFAA footage featuring the Dallas Chaparrals.  

The Jones Collection’s social media presence continues to grow, with Twitter followers from several local media outlets, as well as a few national followers, including media personality Keith Olbermann.  The Collection’s recently created YouTube channel has almost 20,000 views and a total of 282 hours of viewing time.  If you’d like to see what we’re working on, please follow us on Twitter @SMUJones Film ( and on Facebook (  Spread the word! 


February 1 – Screening Room – Greer Garson 3531
The Blood of Jesus on 35mm

February 6 – The Texas Theatre
Inframan on 35mm

February 8 – Screening Room – Greer Garson 3531
Tyler Film Collection – Short Film Excerpts on 35mm

February 11 – The South Dallas Cultural Center
The Blood of Jesus on Video

February 15 – Screening Room – Greer Garson 3531
Miracle in Harlem on 35mm

February 22 – Screening Room – Greer Garson 3531
Juke Joint on 35mm


The WFAA Project continued to be the primary focus of the Collection over these winter months. This past month alone we have digitized more than 100 reels which accounts for about 50 hours of runtime.  We now have accumulated over 650 hours worth of film that can be used for research and documentary use.


The Jones Collection relies on outside donations for all of our equipment and supplies.  In order to help our mission of digitizing and preserving films here at SMU, please consider giving here.




Curatorial discussion #1: Clear, Deep, Dark

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.

Continue reading “Curatorial discussion #1: Clear, Deep, Dark”

Bywaters Special Collections Artists Profile: The Lady Blacksmiths – Velma Davis Dozier & Esther Webb Houseman

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

Velma Davis Dozier and Esther Webb Houseman met while taking a metalworking class from Thetis Lemon, a talented artist herself, at the College of Industrial Arts (now Texas Woman’s University) in the early 1930s.  While driving back and forth together from Dallas to Denton the two would talk about having their own studio and gallery space where they could do their own work at their own pace and without the disruption of a class bell. In 1933, they opened the Dallas School of Creative Arts located at 2714 Greenville Avenue in a building owned by Velma’s father. With the help of Lynn Ford, brother of Texas architect O’Neil Ford, they learned to make their own furniture for the reception area. The first year of operation did not show much profit, but Esther and Velma were determined to make their new school a success. Excellent instruction, a well-equipped classroom, and creative advertisement soon gained the attention of the Dallas community. In 1934 the Dallas Times Herald reported: “Miss Velma Davis and Miss Esther Webb are two young Dallas women who have established the Dallas School of Creative Arts on Greenville Avenue, and have equipped it with one of the finest laboratories in the Southwest for the practical making of jewelry, textile designs and all sorts of hand-wrought articles in silver, copper, pewter and other metals.”

Continue reading “Bywaters Special Collections Artists Profile: The Lady Blacksmiths – Velma Davis Dozier & Esther Webb Houseman”

Hawn Gallery presents: Clear, Deep, Dark – Works by Julie Morel

The Hawn Gallery presents

Works by Julie Morel

On view: January 26 – March 11, 2018

 Opening Reception: Friday, January 26th, 5 – 7pm
at the Hawn Gallery, located in the Hamon Arts Library at SMU

Artist Julie Morel will conduct a gallery talk at 5:45 p.m.

Continue reading “Hawn Gallery presents: Clear, Deep, Dark – Works by Julie Morel”

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) [ ]

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:

Please follow the Jones Collection on Twitter at @SMUJonesFIlm and on Facebook at

* Descriptive quote from!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

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”

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