Christine Lilyquist, Egyptian scholar and curator at The Metropolitan Museum of Art, teaches a Dartmouth class in the Bernstein Study-Storage Center.
A family explores the exhibition GAWU: El Anatsui in front of Hovor, 2003, a work by the artist in the Hood’s collection.
July 1, 2006-June 30, 2007
Acquisitions 1 (2005.75.1 to 2006.48.2)
Acquisitions 2 (2006.49 to 2006.60)
Acquisitions 3 (2006.61 to 2006.65.18.1-3)
Acquisitions 4 (2006.66.1 to 2006.81)
Acquisitions 5 (2006.82.1 to 2006.89.6)
Acquisitions 6 (2006.90.1 to 2006.90.31)
Acquisitions 7 (2006.91 to 2006.98)
Acquisitions 8 (2006.99 to 2007.4)
Acquisitions 9 (2007.6.1 to 2007.10)
Acquisitions 10 (2007.11.1 to 2007.18.5)
Acquisitions 11 (2007.19.1 to 2007.25.32)
Acquisitions 12 (2007.26.1 to 2007.39.11)
The Hood Museum of Art's collections are rich, diverse, and available for the use of both College and the broader community. Numbering some 70,000 objects, the collections present art from ancient cultures, the Americas, Europe, Africa, Papua New Guinea, the Arctic, and many other regions of the world. This year, the Hood’s collections grew by 370 objects through gifts and purchases.
"At the Hood Museum of Art, there's a marvelous art piece. It's called Hovor. I liked it because Hovor looked like a mountain fort. It impressed me because Hovor was made of of trash!"--ArtStart student
Through the generosity of the museum's many donors and the perspicacity of the curators and the museum's director, Brian Kennedy, many fine works joined the collection in 2006-7. The museum's collections are encyclopedic in nature, and the acquisitions listed in this report reflect the wide range and global nature of its holdings, from work by contemporary Tlingit artists Norman Jackson and Preston Singletary to the Japanese prints donated by Anne Thomas in honor of her husband. Several exhibitions, past and future, have spurred donations and purchases, including the stunning collection of American watercolors from the collection of Phillip Greene given in memory of his wife and co-collector, Marjorie, wonderful photographs by Serge Hambourg taken of the May 1968 protests in Paris, important Native American ledger drawings by Howling Wolf and Frederick Douglas purchased from the preeminent collection of Mark Lansburgh, Class of 1949, African contemporary works by Malick Sidibe and Lalla Essaydi, which will be seen in an upcoming spring 2008 exhibition, and photographs of Dartmouth's homegrown dance company Pilobolus that were featured in an exhibition that complemented their residency as Montgomery Fellows and the gift of their archives to the College. Dartmouth art history professor Allen Hockley has been working over several years with funds provided by E. Rhodes and Leona B. Carpenter Foundation to enhance the museum's Japanese print collection.This past year, he has been able to add to the museum's eighteenth-century holdings in this area through the generosity of the foundation.
A gift of a work from Australia (prompted by the museum's showing of the exhibition Dreaming Their Way: Australian Aboriginal Women Painters), purchases of work by unknown Northern Cree artists, and acquisitions of contemporary work by such Native American artists as Nicholas Galanin and Zig Jackson and Ugandan artist Jak Katarikawe have widened the museum's holdings in areas not well represented. The museum has few works that document the important performance art movement of the sixties and seventies and this has been amended by gifts of work by Vito Acconci and Carolee Schneemann by Monroe Denton, Class of 1968.
In the realm of European art, a preparatory drawing and related oil by the Pre-Raphaelite artist Charles Fairfax Murray entered the collection through the generosity of Dartmouth alumni couple, Margaret and Hank Erbe, and two Ensor etchings through a gift from print collector and alumnus David Stahl. In addition, the museum purchased its first Edgar Degas print and also acquired at auction a rare and important portrait of William Legge, Lord Dartmouth, by the Italian artist Pompeo Batoni, funded through the generously of Jane Dance and David Dance D'40, T'41, Jonathan L. Cohen D'60, T'61, Frederick Whittemore D'53, T'54, Barbara Dau Southwell '78 and David Southwell T'88, Parnassus Foundation/Jane and Raphael Bernstein, and an anonymous donor.
Noteworthy in the area of American art, the museum has acquired a fine Canterbury sampler, a large collection of Depression-era photographs by Mike Disfarmer through donation by the Osman family, several works by George Tooker, who resides part of the year in Vermont, and three portfolios of the German born photographer Lotte Jacobi, who spent the latter part of her life living and working in New Hampshire. Lastly, the museum unveiled a major commission of a work by sculptor Howard Ben Tre, Kira's Benches, under the auspices of a recently established endowment by Hood Board of Overseers member Benjamin Schore and his late wife, artist Kira Fournier.All of these gifts and purchases and others listed in the following summation, reflect the richness of the museum's collection, the college’s curriculum to which these acquisitions relate, and the interests of donors and patrons. The director, curators, and staff would like to thank the museum's many donors, both those who give works of art directly and those who have established acquisitions endowments, for their contribution to the museum’s greatest asset, its collections.
This year, the Hood lent 49 objects to exhibitions throughout the United States and in Europe, including sixteen of its own objects to the Metropolitan Museum of Art with the Hood-organized exhibition Coaxing the Spirits to Dance: Art of the Papuan Gulf. Hood objects were seen by more than 743,738 visitors to those museums worldwide (visitation numbers were not available for the Gwangju Biennale). Finally, the Hood conserved ten art objects this year.
The Hood and the Dartmouth College Library introduced new interpretive tools to enhance visitors' experiences with José Clemente Orozco's The Epic of American Civilization (1932-34), arguably the most important mural cycle in the United States. Located in the Reserve Corridor of the College's Baker Library and maintained by the Hood, the murals provide students with the extraordinary opportunity to live with a monumental work of art, designed for and located in a prominent study area in the heart of campus. In addition, the work is visited by thousands of tourists, school children, and scholars from around the world each year. In summer 2007, the Hood published a brochure with a walking guide to the murals and essays by former Hood director Jacquelynn Baas and Assistant Professor of Art History Mary Coffey, with support from Monroe Denton '68. We also produced three audio tours--one each by Baas and Coffey, and another by Anthropology Professor John Watanabe--available for download from the Hood's or the library's Web sites and preloaded on iPods at the reserve reading desk for use free of charge.
Last Updated: 10/16/07