During this stressful time, Hamon Arts Library wants to help you maintain your Zen!
A good way to relax is to listen to soothing sounds like that of nature or classical music, which can be found in the Naxos Music Library.
Access the Naxos Music Library with your SMU ID by completing a title search of the databases through the Hamon home page. As an authorized SMU library user, you may even create your own relaxing playlist.
It is almost like those other streaming music apps but without the commercials, and it’s free to students, faculty and staff at SMU!
Did you know the Hamon Arts Library provides access to millions of music recording tracks? The Library carries multiple formats, but this post will highlight several of its recordings by African-American musicians, singers, and composers available in compact disc. But first, why is Hamon continuing to collect CDs when streaming is the preferred format for most music listeners?
The Hamon Library subscribes to multiple different streaming databases, which provide access to millions of tracks of music. However, the library also retains a collection of over 17,200 compact discs. Contrary to perceived opinion, compact discs are not dead! In 2002, CDs accounted for ninety-five percent of the market share. Now they account for less than seven percent of music recording revenues. Yet, producers continue to make them, and Hamon continues to buy and add them to the music collection for a few good reasons.
In addition to the Curbside Pick Up service begun by SMU Libraries this summer, the Hamon Arts Library now offers a second way for contactless delivery of materials – Locker Pick Up. Once you request materials in Hamon’s collection through the SMU Libraries catalog, the notification you receive gives you instructions for either pick-up option.
Michael Corris Incidents on a Page, Dallas-Venice Dreamscapes, 1976-2020
September 21 – December 11, 2020
Hawn Gallery, Hamon Arts Library
The Hawn Gallery is pleased to announce Incidents on a Page: Dallas-Venice Dreamscapes, 1976-2020. Michael Corris, SMU Professor Emeritus of Art, has been active as an artist since the early 1970s, first as a member of the collective Art & Language in New York, and later, as a founding editor of the publications The Fox and Red Herring. Subsequently, he began teaching art criticism and art history in England, and eventually came to Dallas as Chair of the Division of Art at SMU in 2009. His expansive practice is not easily distilled into distinct categories or media, but rather maintains a sustained engagement with and critical analysis of the conditions of production and dissemination of art. Over the course of his career Corris’s work has taken many forms, including but not limited to essayistic writing, graphic design, curation, public intervention, community activism and organization, and education, responding to the needs of a given circumstance or lived situation. Continue reading “Hawn Gallery presents Michael Corris: Incidents on a Page, Dallas-Venice Dreamscapes, 1976-2020”
As the Hamon Arts Library opens up for the fall 2020 semester, the Hawn Gallery is very pleased to announce that the spring exhibition, Allyson Packer: Sounding, is also open for viewing until September 13. This exhibition, about which more can be read below, opened on February 7. Due to the campus closing in March, this exhibition did not continue its full run to March 29. Members of the SMU community holding an active ID to come into any of the SMU Libraries are now welcome to experience this exhibition. As throughout the University, staff at Hamon have also taken measures to create a safe and healthy environment in the building. All SMU visitors must wear a mask, remain six feet apart, and hand sanitizer is on site as well. Gallery occupancy is limited to three people at a time.
Fall 2020 exhibition hours: Monday, Aug. 24 – Friday, Aug. 28 – 8 am – 6 pm; closed Saturday, Aug. 29. Beginning Sunday, Aug. 30 – 2 – 9 pm on Sundays; Monday – Thursday, 8 am – 9 pm; Friday, 8 am – 6 pm; and Saturday, 12 – 5 pm until September 13.
Since it opened in 1961, the Amon Carter Museum of American Art has always had a commitment to exploring the breadth and complexity of American creativity through its collections and exhibitions. Evaluating Texas art’s importance in relation to the museum’s collection and the larger canon of American art has been one of my focuses since 2013. Though I started to work on a potential exhibition on Texas artist Everett Spruce (1908–2002) that year, the museum world’s ever-changing nature redirected my attention to other urgent and pressing projects. Although it may not seem the case, scheduling exhibitions is like solving a Rubik’s cube—there are millions of combinations and only one solution. Changes to the permanent collection, timing and availability of an exhibition according to a lending museum’s guidelines, and the complexity of each installation (are there videos or special cabinetry needed? etc.) are only some of the factors affecting an exhibition’s timing. In 2019, all the colors aligned on each side of a Rubik’s cube for a summer 2020 exhibition of Spruce’s work. I had a shorter period than usual to curate the exhibition and write the catalogue for Texas Made Modern: The Art of Everett Spruce (August 18–November 1, 2020). Because many of Spruce’s works were available to see regionally in private collections, I thought my task would be much easier than I imagined. After meeting with the artist’s daughter, Alice Spruce Meriwether, who graciously shared the inventory she compiled of her father’s artwork, I discovered that Spruce had painted over 800 artworks during his lifetime, many of which are either lost or in unknown locations. Continue reading “Research in the archives: Texas Made Modern”
Footage Found was a collaborative project between students in the Video Art course (ASPH 3315) in the Meadows Division of Art and the G. William Jones Film and Video Collection at SMU. The students were provided footage from the WFAA TV News Film archive, part of the Jones Collection’s holdings, to create new works from and which resulted in a screening at Top Ten Records hosted by the D/FW Experimental Film Society (DEx). This project was a fascinating opportunity for students to gain experience of working directly with an archive while also learning what it can mean to make a new artwork from existing materials. The results were provocative and enlightening on a number of levels.