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The Sou'wester, November 21, 2024, Vol. 102, No. 1
No full textThis image was digitized and uploaded to DLynx in the Visual Resources Center in April 2025, by Wyatt Bigner '27. This issue of The Sou'Wester is from the Rhodes College Archives.This issue of the Sou'wester dates from November 21, 2024. It is the first issue of the school newspaper's reboot, with an all new student staff
"Troubling the Line" Exhibition Image
No full textThis digital image was photographed by Chip Pankey and uploaded by Echo O'Connor to DLynx in the Visual Resources Center during fall 2024.This is a digital image documenting the installation of the "Troubling the Line" exhibition featuring various Memphis artists. This work was shown in Clough-Hanson Gallery in the Fall of 2024
"Troubling the Line" Exhibition Brochure
No full textThis pdf brouchure was uploaded by Echo O'Connor to DLynx in the Visual Resources Center during fall 2024.This is a brochure for the exhibition "Troubling the Line", which featured various Memphis artists. This work was shown in Clough-Hanson Gallery in the Fall of 2024
TSR: The Southwestern Review 2024 Art Card, 2024
No full textThis image was digitized and uploaded to DLynx in the Visual Resources Center in April 2025, by Wyatt Bigner '27. This sticker is from the Rhodes College Archives.This card dates from 2024. It was given out for free at the launch of the 2024 volume of the publication
"School of Ool: Whose Views Ooze Muse" Exhibition Image
No full textThis digital image was photographed by Chip Pankey and uploaded by Echo O'Connor to DLynx in the Visual Resources Center during fall 2024.This is a digital image documenting the installation of Coe Lapossy's "School of Ool: Whose Views Ooze Muse" exhibition. This work was featured in Clough-Hanson Gallery in the Spring of 2024
"Troubling the Line" Exhibition Image
No full textThis digital image was photographed by Chip Pankey and uploaded by Echo O'Connor to DLynx in the Visual Resources Center during fall 2024.This is a digital image documenting the installation of the "Troubling the Line" exhibition featuring various Memphis artists. This work was shown in Clough-Hanson Gallery in the Fall of 2024
"School of Ool: Whose Views Ooze Muse" Exhibition Image
No full textThis digital image was photographed by Chip Pankey and uploaded by Echo O'Connor to DLynx in the Visual Resources Center during fall 2024.This is a digital image documenting the installation of Coe Lapossy's "School of Ool: Whose Views Ooze Muse" exhibition. This work was featured in Clough-Hanson Gallery in the Spring of 2024
The Rat's Ass, October 27, 2024, Volume 09, Issue 03
No full textThis image was digitized and uploaded to DLynx in the Visual Resources Center in November 2024, by Wyatt Bigner '27. This issue of the Rat's Ass is from the Wyatt Bigner collection.This issue of the Rat's Ass dates from October 27, 2024. On the cover is "Haunted House Fire" by 'Ectoplasmaniac.' The inside of the zine has the pieces "IF FOUND: DELIVER TO TOWNSEND 207" by an anonymous author, "The Bat" by 'an anonymous student,' and "Episode in my Room" by 'The Medium.' The back cover features a piece titled "Lynx 2061" by an unknown author
Give Her Her Flowers
No full textThis artwork was photographed and cataloged by Echo O'Connor (class of 2025) during the fall of 2024.This is a painting by Charley Robinson, class of 2026, as an assignment for advanced painting. Her artist statement reads: "Throughout my career, the majority of my work has highlighted both the ancestral and societal isolation surrounding the African American subject. Despite this isolation, my work yearns to find comfort, connectivity, and themes of legacy within my lineage and the Black community. My work highlights the identity and mysticality of Black people, and it encompasses the experiences and overt feelings felt by Black individuals. The mediums that I have used so far in my artistic process include: collage on paper, acrylic on canvas, graphite on paper, colored pencil, and animation/video; throughout these processes, acrylic is most prominent.
Painting is very important to my process as an artist because it allows me to have a thorough process of obscure marks that eventually transcribe into complex form in the latter stages of development. The utilities of color mixing, layering, blocking, and composing all allow me to be fully in control of how distinct imagery and meaning in my work is physically portrayed to my audience. For the remainder of my career, I hope to further develop my central goal to illustrate Black life through further experimenting with mediums and allowing myself to get out of my comfort zone, because then I can envision my work reaching heights that I never thought possible. The innate impulse to create has resided in my heart ever since I was little, so being an artist not only allows me to pay respect and homage to my past self, but to my ancestors whose stories deserve to be told. "
She further describes this painting: "So, the piece is titled 'Give Her Her Flowers', and the artwork primarily highlights the misogyny and dominion concerning male members of The Black Panther Party in the 1960s. Pertaining to composition, the painting is mostly comprised of feminine aspects despite the two prominent faces in the piece being Black male figures: Eldridge Cleaver and Huey P. Newton. Symbols of femininity include fertility, female biology, corporeal diversity, etc. The further the viewer dissects the painting, the further the viewer realizes that this is a painting that highlights female subjugation in the Black Panther party. This painting ultimately challenges traditional societal paradigms of gender and serves as an homage to the Black women who contributed to the fight for equal rights. Lastly, it serves as a visual affirmation that their voice, strength, and presence is equally as valuable as their male counterparts.
Assignment #5: Obstructions
No full textThis artwork was photographed and cataloged by Echo O'Connor (class of 2025) during the fall of 2024.Assignment #5: Obstructions was painted by Olivia Knauss, who graduated from Rhodes College with a BA in Art and Art History in 2015. Her artist statement reads: "I explore the physicality of paint through pours, brushed on patterns and other additive materials. Each painting provides an uninhibited opportunity to play with mark making and color with no start or outcome in mind. It grows outwards from the first compositional mark, always being cognizant of the edges and the overall balance of forms. Through the work, I investigate the development of tension both in the formal making and the product.