SMU Libraries congratulates Dr. Jacqueline Stewart, film curator, archivist and scholar, on her recent 2021 MacArthur Fellowship. Dr. Stewart has published extensively on black film and filmmaking in the United States. In her video post for the MacArthur Foundation, Dr. Stewart describes her interest in the genre of black films from the early 1920s – 1930s.
Dr. Stewart has visited SMU for at least two events. In 2011, she spoke as a guest lecturer for the Comini series, sponsored by the art history department. In her talk, “Discovering’ Black Film History: Tracing the Tyler, Texas Black Film Collection,” she warned of the easy appeal to label these, or any, films as rediscovered along with the danger of neglecting them in an archive.
Dr. Jacqueline Stewart’s MacArthur “Genius grant” is a tribute to her important scholarship on the Black-audience movies of the 1920s-1940s, her archival work, and dedication to teaching a broadening and inclusive history of American cinema. No one else in the history of academic cinema and media studies has achieved the positions of influence she has attained in the past two years: Regular host of TCM’s Silent Sunday Nights, Chief artistic and programming officer for the new Hollywood Academy Museum of Motion Picture History, and MacArthur research grant fellow. In each capacity, she is, and will be, a powerful and influential teacher.
– Professor Rick Worland, Division of Film & Media Arts
More recently, she has written about the Tyler Film Collection in the G. William Jones Film and Video Collection. With Yale scholar, Charles Musser, Dr. Stewart curated the films and wrote accompanying materials for the Pioneers of African American Cinema box DVD set, of which the Tyler Film Collection is included. This collection is available for viewing through the Hamon Arts Library.
Image of Dr. Stewart: © MacArthur Foundation.
After a thorough bout of negotiations, the previously lost film footage of the Velvet Underground performing at a Vietnam War protest at Dallas’ White Rock Lake in 1969 has made it into The Velvet Underground, a documentary directed by Todd Haynes. The documentary, mirroring the name of the band itself, contains this special footage that was initially discovered and digitized by the G. William Jones Film and Video Archive Team right here at SMU.
The Velvet Underground premiered at the Cannes Film Festival in the South of France this past July at the Grand Théâtre Lumière, the festival’s largest and most prestigious theatre. The event was attended by many, including director Todd Haynes, singer/model Jane Birkin, actress Helen Mirren, and me, a recently graduated SMU film student. The documentary was well received by audiences and ended up being the favorite of many out of the entire festival’s lineup of films. The clips from White Rock Lake appear towards the middle of the film and are very “blink and you might miss it.” As I was a student intern at the G. William Jones Archive, I was delighted when I recognized the clips from White Rock Lake. It was amazing to see a special piece of SMU abroad, especially in such a personal way.
For all of those in the SMU community who want to see our contribution to this incredible documentary, The Velvet Underground will make its American debut October 15, 2021 on Apple TV+.
Blog post: Emily Cook (standing on right), SMU film student graduate (2021) and G. William Jones Film & Video intern
Curatorial Minds Lab: Virtual Lecture with Guest Curator Lilia Kudelia
Wednesday, October 6, 2021
Lilia Kudelia is a curator and art historian. Her research focuses on the artistic movements and infrastructures in the post-communist states, cultural heritage and restitution, television and art from the 1960s onwards. As a guest curator at Residency Unlimited in New York, she develops residencies for the laureates of the Young Visual Artists Awards, a network of 12 awards in countries of Eastern, Central and Southern Europe. She has previously held curatorial and research positions at Dallas Contemporary in Dallas, Texas, the Corcoran Gallery of Art in Washington, D.C. and the Art Arsenal in Kyiv, Ukraine. In 2017, Kudelia co-curated the Ukrainian National Pavilion at the 57th Venice Biennale, which featured work by photographer Boris Mikhailov. She holds an M.A. in art history from the Institute of Fine Arts at New York University and a B.A. in cultural studies from the National University of Kyiv-Mohyla Academy in Ukraine, and was a visiting scholar at the University of Toronto, Canada. The talk, moderated by Sophia Salinas, is presented as part of the Curatorial Minds Lab, a new initiative of the Hamon Arts Library’s Hawn Gallery and the Pollock Gallery at SMU that gives five Fellows – made up of alumni and current students – an opportunity to deepen their understanding of the historical development of curatorial practices and study contemporary art display theory and practice.
To attend the virtual lecture, visit https://smu.zoom.us/j/95072889069. For more information, visit https://pollockgallery.art/Curatorial-Minds-Lab or email Sofia Bastidas-Vivar, director of the Pollock Gallery, at email@example.com.
Curatorial Minds Lab: Virtual Lecture with Guest Curator Taylor Renee Aldridge
Wednesday, September 22, 2021
Taylor Renee Aldridge is the visual arts curator and program manager at the California African American Museum (CAAM). Prior, she worked as a writer and independent curator in Detroit, Michigan. She has organized exhibitions with the Detroit Institute of Arts, Detroit Artist Market, Cranbrook Art Museum, and The Luminary (St. Louis). In 2015, along with art critic Jessica Lynne, she co-founded ARTS.BLACK, a journal of art criticism for Black perspectives. Her writing has appeared in Artforum, The Art Newspaper, Art21, ARTNews, Frieze, Harper’s Bazaar, Canadian Art, Detroit Metro Times, and SFMoMA’s Open Space. The lecture is presented as part of the Curatorial Minds Lab, a new initiative of the Hamon Arts Library’s Hawn Gallery and the Pollock Gallery at SMU that gives five Fellows – made up of alumni and current students – an opportunity to deepen their understanding of the historical development of curatorial practices and study contemporary art display theory and practice.
To attend the virtual lecture, visit https://smu.zoom.us/j/91045080064.For more information, visit https://pollockgallery.art/Curatorial-Minds-Lab or email Pollock Gallery Director Sofia Bastidas at firstname.lastname@example.org.
Two rare volumes of a Spanish modernist journal, Pèl & Ploma, are on display at the Meadows Museum until August 8. After this date, the works will return to Hamon’s unique collections housed in the library’s Limited Access. Published in Barcelona, the art and literary journal dates from 1899 – 1903. The poems, stories, and essays are written in Catalan with illustrations by the artist Ramón Casas, and much of the prose by Miguel Utrillo. Casas also contributed drawings for the covers and advertisements. Utrillo and Casas developed the concept and execution of this journal along with two other journals, Quatre Gats and Forma, both of which had shorter runs than Pèl & Ploma.
According to Eliseu Trenc, essay contributor to the Cleveland Museum of Art’s 2006 exhibition catalogue, Barcelona and Modernity: Picasso, Gaudí, Miró, Dalí, in which these volumes from Hamon were on display, Pèl & Ploma and Quatre Gats were inflected by the Parisian style. The journals “represent the French realist and synthetic school of the art of Toulouse-Lautrec and Steinlen.” 1 A few of the other artists represented in the journal were Santiago Rusiñol, Joaquin Mir, Joaquin Torres-Garcia, and others. 2
Blog post: Beverly Mitchell, Assistant Director, Hamon Arts Library
Two museums, the Meadows Museum and the Centre Pompidou, are featuring the work of Barbara Maples, a well-known printmaker. On loan from Bywaters Special Collections to the Meadows Museum’s Fossils to Film: The Best of SMU’s Collections, is Maples’ Taos Fiesta. In addition, she is one of several female artists featured in the Centre Pompidou’s exhibition, Elles font l’abstraction (Women in Abstraction), which opened May 5, 2021. This exhibition also has a second venue at Guggenheim Bilbao.
Born in Temple, Texas, Barbara Lucile Maples (1912 – 1999) graduated from Mary-Hardin Baylor College in Belton, with a BA degree in 1933. Six years later she received a MA degree from Teachers College, Columbia University in New York. She began her teaching career in Temple and Fort Worth before joining the Dallas Independent School District in elementary and secondary art from 1937 – 1964. In 1965, Maples became the Assistant Professor of Art Education, and in 1974, Associate Professor of Crafts Design at SMU. She taught at the University until retiring in 1978.
In the mid-1980s, when interest in Texas Regionalism re-emerged, Maples encouraged the exhibition, The Texas Printmakers, at the Meadows Museum at SMU. The 1990 exhibition again highlighted the group. The exhibition catalogue, written by Dr. David Farmer, former director of DeGolyer Library at SMU, and guest curator, Paul Rogers Harris, is available in both the Hamon Arts Library and Bywaters Special Collections.
Maples practiced painting, photography, and metalsmithing, but was known as a printmaker. She joined the Printmakers Guild (renamed Texas Printmakers in 1952) in Dallas and served as its president from 1945 – 1946. Her color block print, Taos Fiesta, presents an image of the historic carousel, Tío Vivo (Uncle Lively), a main feature at the Taos Fiesta. The carousel is turned by hand-operation of a cog wheel to the accompaniment of Spanish music from fiddle and guitar. It was built in Germany, and originally owned and operated by a traveling circus. In the late 1800s, it was discovered abandoned and broken in the mountainous community of Peñasco in Taos County. In 1938 the Taos Lions Club purchased and restored the carousel with the help of the Taos Society of Artists. Members Oscar Berninghaus and Ernest Blumenschein repainted several of the horses. Other artists and photographers used the carousel as a subject in their work. A mystery writer in Santa Fe, Dorothy Hughes, wrote Ride the Pink Horse, basing the theme on Tío Vivo. In 1947, Robert Montgomery directed and starred in a movie based upon the novel.
Tío Vivo continues to be a highlight of the Taos Fiesta.
Blog post: Ellen Buie Niewyk, Curator, Bywaters Special Collections.
Images credit: Elles font l’abstraction, entrance to Centre Pompidou exhibition with view of portraits of female artists, and wall of portraits. © Centre Pompidou, Audrey Laurans
Image credit: Barbara Maples, Taos Fiesta, ca, 1947, color block print on paper, 14.25 x 13.25 in. (36.20 x 33.66 cm). Bywaters Special Collections, Hamon Arts Library, Gift of Susan Kennon Carruth in memory of Barbara Maples.
Is a spectre haunting the archive? Do the films collected there proclaim a history that is no longer or a future that is not yet here? Is there something to reclaim in the bits of visual history that have been rescued in the archive? Have you felt the horizon closing before your eyes, the promise of the future you’ve been waiting for becoming a perpetual, timeless present? Cultural theorist Mark Fisher describes a tendency in contemporary culture he refers to as “hauntological” that refuses to give up on a lost future that no longer seems possible. “This refusal gives the melancholia a political dimension, because it amounts to a failure to accommodate to the closed horizons of capitalist realism.”
In partnership with the Dallas Museum of Art, the G. William Jones Film and Video Collection and the SMU Libraries will present Ghosts of Lost Futures, a screening of new, commissioned videos from 10 artists using footage held in the WFAA News Film archive. The screening will be held in person at the DMA’s Horchow Auditorium on Saturday May 22nd at 3pm. This screening is Free, but for safety, it will have limited capacity and requires RSVP via the DMA’s website here: https://dma.org/programs/event/film-screening-ghosts-lost-futures
This program, Ghosts of Lost Futures, features new video works by 10 artists commissioned by the G. William Jones Film and Video Collection. Each artist was given access to the same cache of footage from the WFAA Newsfilm Collection shot in Dallas in 1970, the year of the archive’s founding. The program was intended to celebrate the 50th anniversary of the archive, but due to the COVID-19 pandemic and the resulting lockdowns, the program was not completed until the spring of 2021. The artists were given complete freedom in how they reinterpreted the footage and its historical context. The resulting works are profound meditations on mourning, melancholy, disaster, and various reinterpretations of the events of 2020 and 2021 through images of Dallas’s past.
Artists in this program:
Amber Bemak (Dallas, TX)
Marwa Benhalim (Cairo, Egypt)
Melanie Clemmons (Dallas, TX)
Curt Heiner (Denver, CO)
Zak Loyd (Dallas, TX)
Lisa Mccarty (Dallas, TX)
Sean Miller (Dallas, TX)
Angelo Madsen Minax (Brooklyn, NY / Burlington, VT)
Liz Rodda (Austin, TX)
Tramaine Townsend (Dallas, TX)
Program curated by Michael A. Morris
Commissioned by the SMU Libraries and the G. William Jones Film and Video Collection
SMU Libraries Staff Advisors: Jeremy Spracklen, Scott Martin, Jolene De Verges, Beverly Mitchell
In 1970 the G. William Jones Film and Video Collection was founded at Southern Methodist University and was then known as the Southwest Film/Video Archives. Currently part of the SMU Libraries, it is home to many important collections of films and videos from the region, including the WFAA Newsfilm Collection.
Get Zen and Tame Your Brain with meditation! During the week of May 3 – 7, the Hamon Arts Library offers a guided meditation series. Practicing just 10 minutes a day may enable a greater sense of well-being, alleviate mental stress, and promote sustained focus.
Blog post: LaGail Davis, General Operations Manager and zen master, Hamon.
Curatorial Minds Lab: Virtual Lecture with Guest Curator May Makki
Wednesday, April 28, 2021
Virtual lecture; advance registration required.
May Makki is an independent curator interested in developing new networks of exhibition and distribution. Her current research focuses on practices that build out autonomous and collective approaches to cultural production in the Arab region. Most recently, she co-founded RISO BAR, a publishing initiative and cooperative space that facilitates collaboration and experimentation using risograph printing. A RISO BAR exhibition is currently on display at SMU’s Pollock Gallery. Makki holds a B.A. in art history from the University of Chicago and is an M.A. candidate at the Center for Curatorial Studies, Bard College. The lecture is presented as part of the Curatorial Minds Lab, a new initiative of the Hamon Arts Library’s Hawn Gallery and the Pollock Gallery at SMU that gives five Fellows – made up of alumni and current students – an opportunity to deepen their understanding of the historical development of curatorial practices and study contemporary art display theory and practice. To register to attend the virtual lecture, visit https://smu.zoom.us/meeting/register/tJAtcO6hqzkvG91qUMzx_B2T6i9jrCrWcxaX. For more information, visit https://pollockgallery.art/Curatorial-Minds-Lab or email Pollock Gallery Assistant Curator Everton Melo at email@example.com.
Moderated by Elise Huff, CML fellow and SMU alumnae.