Blog of the Hamon Arts Library

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.

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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.


Bywaters Special Collections Artist Profile: Blanche McVeigh

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

Blanche McVeigh was born in St. Charles, Missouri in 1895 and moved to Fort Worth as a child.  She received her art training at the St. Louis School of Fine Arts, the Art Institute of Chicago, the Pennsylvania Academy of Fine Arts, and the Art Students League in New York.  McVeigh spent a year in Europe where she became interested in the medium of aquatint, a printmaking technique related to engraving and etching that allows an artist to create variations of shading within the print image.


McVeigh spent her adult life in Fort Worth where she taught figure drawing and printmaking. In 1932 she joined Evaline Sellors and Wade Jolley, both professional artists, in establishing the Fort Worth School of Fine Arts in the Little Theatre building behind the Women’s Club.  McVeigh and Sellors also helped found the Fort Worth Artists Guild, the first institution to display work by local artists.  McVeigh was also a member of the Printmakers Guild and in 1951 was elected to serve as the organization’s president.

McVeigh received awards for her work from the Dallas Print Club, the Connecticut Academy of Fine Arts, the Texas Fine Arts Association, and the Southern States Art League.  In 1944 her aquatint Decatur Courthouse was awarded the Neiman-Marcus and Dallas Print Society Purchase Prize of $100 in the Fourth Annual Texas Print Exhibition at the Dallas Museum of Fine Arts.  The Library of Congress also purchased Decatur Courthouse for its permanent collection.  Her work is located in other national collections:  Carnegie Institute, Princeton University, Pennsylvania Academy of Fine Arts, and Smithsonian Institution.

Blanche McVeigh died in Fort Worth on June 1, 1970.

[1] Farmer, David.  “The Printmakers Guild and Women Printmakers in Texas 1939 – 1965,” Prints and Printmakers of Texas:  Proceedings of the Twentieth Annual North American Print Conference, (Austin:  Texas State Historical Association, 1997), p. 124.

[1] Handbook of Texas Online, Linda Peterson, “McVeigh, Blanche,” accessed July 27, 2017,

Image: Blanche McVeigh, ca. early 1920s, original dimensions:  8” (H) x 5” (W)
Courtesy of The Jerry Bywaters Collection on Art of the Southwest, Bywaters Special Collections, Hamon Arts Library, Southern Methodist University

Continue reading “Bywaters Special Collections Artist Profile: Blanche McVeigh”

Hawn Gallery Presents: Collective Practice: Community Building through Zines – Works by Puro Chingón Collective

The Hawn Gallery presents

Collective Practice: Community Building Through Zines
Works by Puro Chingón Collective

On view: October 20 – December 15, 2017

 Opening Reception: Friday, October 20th, 5-7pm
at the Hawn Gallery, located in the Hamon Arts Library at SMU

Artists Claudia Zapata, James Huizar, and Claudia Aparicio-Gamundi will conduct a gallery talk at the opening at 5:45 p.m.

Puro Chingón Collective is comprised of James Huizar, Claudia Zapata and Claudia Aparicio-Gamundi. The Collective formed after they began publishing their zine, ChingoZine, a publication dedicated to showing works by Latinx artists. Zines are short for magazines, but rather than ones seen on newsstands, they are noncommercial, homemade, or online publications containing subject matter that reflects the community in which they are created. The Collective’s practice is one rooted in social practice and engages with people in public spaces through murals, film screenings, and parties. The public events are largely hosted in Austin and focus on celebrating Latinx arts and culture through film screenings and interactive events. During the film events, members are given props so they can participate with movies such as Mi Vida Loca, Y Tu Mama Tambien and Selena.

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State Fair of Texas – a look back from the G. Williams Jones Film and Video Collection

In celebration of this year’s State Fair of Texas, the G. William Jones Film and Video Collection put together this compilation of clips.  Taken from several months of the archive’s 16mm WFAA Newsfilm Collection, this twenty-three minute piece largely without sound showcases the evolution of the fair throughout the 1960s, highlighting the attendees and fair grounds, the food and the games, and the attractions and parades as each evolved over the course of a tumultuous decade of cultural and political change, while still remaining fundamentally the same, as it does even to this day.  

To see similar footage (and other archive highlights), please follow us on Twitter @smujonesfilm and at the G. William Jones Film & Video Collection Group page on Facebook.

Image: Film still of the entrance to the rides at the Midway, State Fair of Texas, G. William Jones Film & Video Collection, SMU, 1960s

Blog post: Courtesy of Jeremy Spracklen, Moving Image Curator, Hamon Arts Library

Bywaters Special Collections Artist Profile: Florence Elliott McClung

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

Florence McClung (1894 – 1992) was born in St. Louis, Missouri to Charles W. and Minerva White.  In 1899 she moved with her parents to Dallas where in 1912 she graduated from Bryan High School.  In 1917, she married Rufus A. McClung and together they made their home in Dallas.   In the early 1920s McClung started her art training with prominent Dallas artists Frank Reaugh, Frank Klepper, Olin Travis, Alexandre Hogue, and Tom Stell.  During the 1920s and 1930s McClung traveled to Taos, New Mexico where she painted scenes around the area, studied the pueblo Indians and their crafts, and became friends with well-known Taos luminaries Mabel Dodge and Tony Luhan.  Around 1930, McClung was hired by Trinity University, then located in Waxahachie, Texas to form and head the art department, a post she maintained until 1943 when the school moved to San Antonio.  On class days, McClung would drive from Dallas to Waxahachie and return each day.

McClung was a well-established artist by the late 1930s.  Her painting Lancaster Valley (1936) was purchased from the New York World’s Fair by the Metropolitan Museum of Art in New York – the first work by a Texas artist represented at the museum up to that time.  McClung’s education continued in Dallas where in 1939 she received a Bachelor of Arts degree in Art and English and a Bachelor of Science degree in Education at Southern Methodist University. In 1941 she studied lithography at the Colorado Springs Fine Arts Center with Adolph Dehn, a well-established American lithographer based in New York.

During World War II McClung’s print Home Front, was selected for inclusion in the exhibition America in the War (August 1943) at the Metropolitan Museum of Art.  In 1944 her print My Son, My Son was selected from a Library of Congress exhibition for the cover of a Red Cross magazine. McClung also served as the daytime air raid warden for her street in Dallas and completed courses in Air Raids, First Aid, Nutrition, and Home Nursing.

Today McClung’s work is represented in permanent collections:  Dallas Museum of Art, Metropolitan Museum (New York), Library of Congress (Washington, D. C.), Panhandle-Plains Historical Museum (Canyon, Texas), and High Museum (Atlanta, Georgia).

Florence McClung died at age 97 on March 15, 1992 in Dallas.

Image: Devil’s Gulch, Block print (linocut), 1976, original dimensions (image): 17” H x
14” W

Courtesy of Florence McClung Collection, Gift of Bill and Tony McClung, Bywaters Special Collections, Hamon Arts Library, Southern Methodist University

Bywaters Special Collections Artist Profile: Vivian Louise Aunspaugh

This week, the Bywaters Special Collections artist profile highlights Vivian Louise Aunspaugh, who is featured in the exhibition Texas Women Artists: Selections from Bywaters Special Collections, on the 2nd floor of Hamon Arts Library.

Vivian Louise Aunspaugh was born August 14, 1869 in Liberty [now Bedford City], Virginia to John Henry and Virginia Fields (Yancy) Aunspaugh. Her father, a cotton buyer, moved the family from Virginia to Alabama, South Carolina, and Georgia while Vivian was a child. At sixteen she graduated from Shorter College in Rome, Georgia, where she demonstrated early artistic aptitude and was awarded the Excelsior Art Medal by the school. For the next few years, Vivian taught art and took instruction from several notable art schools and instructors, including the Art Students’ League in New York, where she studied with John Henry Twachtman, and in Paris, France with Alphonse Mucha. In 1890, Vivian returned from Europe and in the following year moved to Texas where she first taught art, French, and penmanship at McKinney College in McKinney, Texas. During the next few years she took on different assignments, including teaching at the Masonic Female College in Bonham, heading the art department at Patton Female Seminary in Dallas, and later, teaching decorative arts at St. Mary’s College, also in Dallas. In 1900, she exhibited her work at the Expo Universelle in Paris, France, where she received a gold medal.

Continue reading “Bywaters Special Collections Artist Profile: Vivian Louise Aunspaugh”

New Jones Film and Video acquisition: Paul Adair Collection

In August, the Jones Film and Video Collection received the Paul Adair Collection, a donation of business records and log books from the Texas-based Interstate Theatre Circuit.  The collection includes 180 books that contain the box office records for most of these movie theaters from the 1930s to the 1970s.  In addition to being a record of the films showed at these theaters, they also reveal how much each film took in at the box office, cartoons that ran with the movies, and often the negotiated percentage due to the distributor.
This sample page shows three different theaters from Dallas – The Esquire, The Village, and The Inwood during December 1966.  It includes the final weeks of the The Inwood’s record setting run of The Sound of Music, which ran for over a year and a half. Over the course of its showing, the theater took in $751,357 in box office receipts.
View of the business records and log books in the Paul Adair Collection

Blog post: Courtesy of Jeremy Spracklen, Moving Image Curator, Hamon Arts Library

Bywaters Special Collections Artist Profile: Louise Heuser Wueste (Wüste)

This artist profile is the first on several artists whose works are featured in the exhibition, Texas Women Artists: Selections from Bywaters Special Collections, on the 2nd floor of Hamon Arts Library.

The earliest Texas drawing in Bywaters Special Collections is a pencil sketch of Elize Bunzen Wueste by Louise Heuser Wueste  (1805 – 1874).  Considered “…the first important woman artist to appear on the Texas scene,”  Wueste was born in Gummersbach, Germany in 1805.  In her youth she was surrounded by people who were interested in the arts.  Her father, Heinrich Daniel Theodor, was known as a shrewd merchant and chemist dealing in paints and indigo whereas her mother, Louise Heuser, had social ties to German royal families.  Louise studied portraiture at the Düsseldorf Academy during a time when the school was highly regarded as a center of study for detailed and realistic historical narrative painting.  Two of her instructors at the school were Friedrich Boser and Karl Ferdinand Sohn – both distinguished artists of the Academy.  In 1824 she married Dr. Peter Wilhelm Leopold Wueste and together they had three children – Emma, Adeline, and Daniel.  Family life interrupted her art interests for a time.  After her husband’s early death at age 37, Louise returned to her artwork and began teaching portraiture.  During the 1840s, her children had left Germany due to political turmoil and moved to Texas.  In 1857 [or 1859], Louise decided to make the arduous journey to Texas; she joined her daughter, Adeline, who was living in San Antonio with her husband. Not wanting to be a burden on her family, Louise returned to her art training and in 1860, opened a studio at No. 18 in the French Building in San Antonio.  Her advertisement for instruction in the San Antonio Herald (May 8, 1860) offered “the services of her art training in taking likenesses in oil or drawing, as well as to give lessons in every branch of art.”   While in San Antonio, Louise continued to paint formal portraits and sketch landscapes.

By 1863 Civil War hardships had caused Louise to join her son in Piedras Negras, Mexico, where he worked as a merchant.  She continued to paint and draw what she saw in her new surroundings, including the people and landscapes along the Rio Grande River.  Daniel eventually relocated to Eagle Pass, Texas and Louise returned to San Antonio to resume her art career.  During a trip to visit her son, Louise became ill and died on September 25, 1874. She left behind hundreds of paintings and drawings; the largest public collection of her work is located at the Witte Museum in San Antonio.

[1] Cecilia Neuheisel Steinfeldt, Art for History’s Sake:  The Texas Collection of the Witte Museum (Introduction by William H. Goetzmann), (San Antonio:  The Texas State Historical Association for the Witte Museum of the San Antonio Museum Association, 1993), p. 269.

[1] Pauline A.Pinckney, Painting in Texas:  The Nineteenth Century (Austin:  University of Texas Press, 1967), p. 118.

Image: Elize Bunzen Wueste, Pencil on Paper, original dimensions (paper):  10” H x 8 13/16” W, ca. 1860s, [ ]

Courtesy of The Jerry Bywaters Collection on Art of the Southwest, Bywaters Special Collections, Hamon Arts Library, Southern Methodist University

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