Southern Methodist University alum and Arizona Cardinals offensive tackle, Kelvin Beachum continues to give back to his alma mater in inspiring ways. The former SMU Mustang is a member of the executive boards for the Simmons School of Education and Human Development and Lyle School of Engineering—he graduated from SMU in 2010 with a B.A. in Economics and earned a Master of Liberal Studies in Organizational Dynamics in 2012. Proclaimed an SMU Emerging Leader in 2018, Kelvin honored his mentor, the late political science professor Dennis Simon, by endowing SMU’s annual Civil Rights Pilgrimage in Simon’s name.
Opening February 18, Beachum, and his wife Jessica, a Baylor grad with a sociology degree, will share paintings within their art collection on campus at the Hamons Arts Library. Narrative as Reality: A World Reimagined/ Selections From the Jessica and Kelvin Beachum Family Collection assembles a rich offering of 10 works by Black artists.
“A glimpse into the Jessica and Kelvin Beachum Family Collection reveals an artistic world of hope, Black joy, reality and aspiration,” says exhibit curator Valerie Gillespie. To that end, seeking to understand life through the eyes of visual artists, The Beachums began acquiring art in 2013. Since then, they have thoughtfully assembled a significant collection of works by both established and emerging artists.
We caught up with Kelvin Beachum in advance of the opening here:
47 ⅛ x 53 in.
Patron (P): What prompted you to begin collecting the work of Black artists and when did you begin collecting?
Kelvin Beachum (KB): My wife, Jessica, and I started to build a family and merge our passions for travel and creativity. Jessica had more exposure to museums at an earlier age and has such a great eye, that our first works by Black artists (Delita Martin and Robert Pruitt) were actually purchased online without seeing them in person. They were works we knew we wanted in our collection, and we trusted our instincts in making the decision. We were in Houston together when we first saw The Revolution Will Not Be Televised. That was the first time we got to see work by a Black artist in person. That purchase set in motion our commitment to continue buying, and from there our collection grew quickly and exponentially. We started to view work in museums and galleries that we wanted to see on our walls at home. It was important for our children to see figures that looked like them.
From there, it turned into relationship building. We wanted to build real relationships with artists. As we started this journey, we learned about stories and backgrounds. When you look at the art historical cannon, there aren’t that many people of color who are mainstays in museums. We felt that as a young, Black family, it was important to support young, Black artists.
P: Did you have specific artists on your wish list?
At first, we were new to the art ecosystem, so we focused on collecting as many catalogs and reading as many books as possible to learn about artists. There are several artists that we’ve purchased pieces from and still hope to buy more. And as we’ve started to learn more, our wish list has begun to take shape:
Kevin Beasley
Vaughn Spann
Julie Mehretu
Jadé Fadojutimi
Rachel Jones
Salman Toor
Anselm Kiefer
Titus Kaphar
Anna Park
Brittney Leeanne Williams
Torkwase Dyson
Hiba Schahbaz
P: Dominic Chambers has enjoyed a rapid trajectory in his young career. Were you aware of the artist prior to acquiring his work or did you discover the work at a gallery or art fair and acquire the work? What drew you to the work?
KB: I actually messaged with Dominic Chambers on Instagram before I bought his work. I went to New Haven last year and spent time with him in his studio, learned about his background, his journey, his process, and the relationship has grown from there. Whether he’s teaching me about art, history or technique in painting or cooking, it has become a genuinely, supportive friendship. We are similar in age and very ambitious individuals. I am drawn to the substance he brings to his pieces. I’ve enjoyed watching his growth and success as an artist, but even more than that, I’ve enjoyed the journey of getting to know Dominic the person.
P: We love the through line in your collection of “Black joy, reality, and aspiration,” as defined by curator Valerie Gillispie. Was this something you imagined when you began collecting these works?
KB: There is certainly an intentionality in the artists we seek out or choose to learn about, but in all honesty, we select our art based on what we are drawn to–whether it be composition or story. Art can serve as a powerful teaching vessel for history, or culture, or emotional expression. When we were curating this exhibition, it was both surprising and wonderful to see how many pieces depicted themes of Black joy, reality, and aspiration. This art shares stories of the Black experience, which can be beautiful, jubilant, and vibrant.
P: The narration in many instances is certainly uplifting. While Ryan Cosbert’s ode to George Floyd mines abstraction. The first three in this series are red, white, and blue recognizing the violence in America. In Mayhem #2, the bullet casings and white palette are spiritual and perhaps represent the whiteness that led to his demise. What are your thoughts on this work in particular and the artist’s observance of this tragedy?
KB: Firstly, you have to look at how Ryan builds out her practice. Everything in her work points to something. There is so much intentionality, research, emotion, and symbolism in what she creates. There is a purpose behind every choice. I recall that around the time of this purchase, Jessica and I wanted more work in our home that depicted the time and what was happening. That piece fit so well. The title actually drew me to that work. In creating the catalog, our curator, Valerie, spoke to each artist individually so we could ensure it was their voice and explanation at the forefront. Ryan shared that Mayhem No.2 was in direct response to George Floyd and the ensuing protests and we feel that response in the piece.
The brilliance of an abstract work like this is that we can remember what has happened, but don’t have the raw depiction of traumatizing the Black body. The abstraction provides a layer of protection. For us and for our children. Joy and Pain (by Mario Moore) and Mayhem No. 2 exist in great dialogue with one another. In one, you have the figurative image of joy with the lingering pain of reality and trauma in the distance while Mayhem depicts the chaos of the aftermath.
P: What do you hope will emerge from the artist discussions during the exhibition?
KB: I hope that there is a desire to build out the provenance and scholarship of their work to help bolster their careers and be stewards of their work. I hope the artists see someone who is invested in them and focused on making this exhibition about the art and the artists. It was important to us to speak to each artist when creating the catalog so that their voices were present and heard. It was important to invite them to share the meaning behind their work, their expertise, and their journeys with a greater audience.
We want this exhibition to be more than beautiful pieces hanging on walls. Artists like Dominic and Mario are not only exceptional artists, but they are also tremendous art historians. They are so skilled at pointing back at technique and history and research and are committed to a deeply layered composition.
All of these artists discuss their inspirations and what has guided their work, while bringing cultural, relevant conversations about the now and their personal experiences as well as the overall Black experience. And while the themes of this exhibition focus on the narratives within Black identity, representation, and shared experience, I think it’s also important to have the discussion that these pieces belong here and everywhere. Because they are for everyone.
This show yields an important opportunity to ignite conversations about what outreach and effort can look like moving forward. This might be the first time that these artists are featured on campus, but it shouldn’t be the last. There is so much depth and storytelling in each one of these works that is relatable, teachable, and inspiring. My hope is that they elicit conversations everywhere.
EXHIBIT: Narrative as Reality: A World Reimagined/ Selections From the Jessica and Kelvin Beachum Family Collection
HOURS AND DATES: 8 a.m. to 10 p.m., Monday-Friday; noon to 5 p.m., Saturday; 2 p.m. to 10 p.m., Sunday. Exhibit runs February 18 through May 22.
LOCATION AND PARKING: Mildred Hawn Gallery, Hamon Arts Library, Owen Arts Center, 6101 Bishop Blvd. Visitor parking.
FOR MORE INFORMATION: Hamon Arts Library, 214-768-3813.
RENOVATION ENTRANCE: Enter Owen Arts Center from the south entrance due to building renovation.