TSU Hannah Hall Murals

Items

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  [unknown]

  McCowan’s mural portrays the brutality of war in the mid-twentieth century. Cold War-era themes of scientific and technological competition and atomic weapon fears appear. Inspired by Dr. Biggers’ philosophy of mural painting, McCowan integrates the wall’s architectural elements (a fire hose and extinguisher) to highlight the tension of the scene.
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  Hatter’s mural shows a full church choir of men, women, and children singing passionately. Hatter chose this location for his mural to make use of the arching shape of the doorway, similar to the arrangement of a choir standing on risers. The white panel in the middle is where the exit sign once was located; Hatter used it as a lamp in the design.
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  McNeil’s mural depicts Christian themes. Christian iconography of the cross, lamb, wine, and dove appear in the composition. The design subverts classical Christian art by inserting everyday Black people in stained-glass style, instead of highly stylized, white saints. McNeil took pride in painting the first cross in Hannah Hall.
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  children on a bridge - damaged (above the stairs on entrance to 3rd floor)
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  greyscale, pile of skulls, white flag, several faces/mask, outstretched hand (separated by door) - no damage
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  [unknown]

  painted on column, looks like bedrock or fossils
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  greyscale, morbid, includes guns firing, injured people, sword and people crying out - no damage
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  [unknown]

  uses greyscale, facial figure, some angular structures, skull in corner - damaged
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  Cleinmann's mural reflects the past, present, and future, with an emphasis on the importance of Black women. This is a manifestation of Dr. Biggers’ teachings. This mural is one of few unfinished murals left standing in Hannah Hall; typically, unfinished murals would be painted over to allow another student to decorate the wall.
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  Across two panels, separated by a mural, Oliver’s mural uses crosshatched, dark green hues to depict a woman and child (together) and a man (separate). Almost all art students painted only one mural; Oliver was an exception. Because of his enthusiasm and talent, he painted several murals, often using small spaces between other students’ works.
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  Ross' mural captures a snapshot of Black rural life in the twentieth century. Outside, two men are ranching, while others play checkers on the porch. Inside, one woman is cooking in the kitchen while another cares for a child in bed. The composition also highlights the gendered division of labor, and how women’s work is often pushed to the margins.
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  [unknown]

  Across two panels, separated by a mural, Oliver’s mural uses crosshatched, dark green hues to depict a woman and child (together) and a man (separate). Almost all art students painted only one mural; Oliver was an exception. Because of his enthusiasm and talent, he painted several murals, often using small spaces between other students’ works.
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  Evolution

  many figures, some are faceless, use of cross hatching - damaged (left when ascending stairs)
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  romance, trees/roots, blue and dark hues - damaged paint chipping (right when ascending stairs)
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  creation, planets, Adam and Eve - damaged (interior above staircase doors)
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  Gaston Micheaux, was a war veteran who was given the opportunity in his first year of study to paint a mural. Reflecting on the devastation of the most recent world war, three panels depict terror, hunger, and human compassion. A scared, Black woman with children evokes the mid-20th century atmosphere of threat to Black life in America.
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  [unknown]

  Egyptian theme - unfinished
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  Taylor's mural captures a snapshot of Houston’s Third Ward in the mid-20th century. An ad for Big Mama Thornton’s Harlem Stars’ performance at City Auditorium indicates that Houston is the setting. The scene is a busy and varied one; people in various sorts of dress walk around, while children play in the streets and a derelict man sits by a tree.
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  [unknown]

  includes music, theater, nightlife, a washing line, church stained glass, dancing, farm/slavery - no damage
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  abstract, includes cigarette, cocktail glass, eyeballs, an amorphous form (possibly uterus), syringes inscribed MVCII and Zafina B, blue green - no damage