Wall of Light Summer, a Hood permanent collection highlight from the exhibition Sean Scully: The Art of the Stripe.
A work by contemporary Seminole artist Hulleah J. Tsinhnahjinnie.
Edward Ruscha's Standard Station, Amarillo, Texas (1963)
Black Womanhood: Images, Icons, and Ideologies of the African Body
The Sculpture Gallery by Sir Lawrence Alma-Tadema.
January 12-March 9, 2008
Sean Scully has moved steadily over the past three decades to his current position in the highest rank of painters working in the abstract tradition. Scully began painting in the late 1960s and early 1970s amid the dominance of Op Art in Britain. He then moved to America, where, after five years of struggle, he found his painterly voice in the stripe. Scully has relentlessly pursued the possibilities offered by his exploration of colored stripes, always remaining true to his assertion that "the stripe is a signifier of modernism." The Hood's exhibition explored Scully's work since the early 1970s and culminated with the first showing in America of the artist's beautiful series Holly, made in memory of his mother. Along with twenty-four large oil paintings, a small selection of photographs demonstrated Scully's fascination with the architectural structures of our built environment, a primary inspiration for his abstract paintings.
Organized by the Hood Museum of Art, the exhibition and catalogue were generously funded by Yoko Otani Homma and Shunichi Homma M.D., Class of 1977; Judson and Carol Bemis, Class of 1976; and Judy and Thomas E. Oxman M.D., Class of 1971, the Marie-Louise and Samuel R. Rosenthal Fund; the Hansen Family Fund; the Ray Winfield Smith 1918 Fund; and the Leon C. 1927, Charles L. 1955, and Andrew J. 1984 Greenebaum Fund.
January 19-April 6, 2008
This companion to the course Introduction to Art History II focused on five topics- devotional images, artistic presence in a work of art, voyeurism and the female nude, portrayals of social class and conflict, and artistic quotation and appropriation-surrounding the changing experience of viewing art from the Renaissance to the present day. Images such as Saint Veronica's Sudarium (about sixteenth century), which presents the miraculous transference of Christ's image to Veronica's handkerchief upon route to the crucifixion, appeared alongside Dana Salvo's Mendoza Household Shrine (about 1995), a photograph of a homemade altar with plastic fruits and artificial lights. Other groupings included images of nude classical goddesses and Reginald Marsh's mid-twentieth-century tempera paintings of a New Jersey striptease. Depictions of class convergence in city streets by artists ranging from Honore Daumier to John Sloan further explored the exhibition's themes.
Generously funded by the Harrington Gallery Fund.
February 9-May 4, 2008
Contemporary Seminole artist Hulleah J. Tsinhnahjinnie's photographs respond to the perpetuating stereotypes of Native American peoples caused by ubiquitous early Western photography of Native people fixed in a historical past. Looking inward to document moments and thoughts about childhood and family, high school, friends, particular experiences, and dreams, she delivers a deeply moving installation that comprises a strong political statement about Native sovereignty and cultural oppression intermixed with poignant storytelling and personal convictions.
April 1-August 10, 2008
Organized by the Hood Museum of Art, this major traveling exhibition examined the historical roots of a charged icon in contemporary art: the black female body. Only through an exploration of the origins of black womanhood's prevalent stereotypes can we begin to shed new light on the powerful revisionism occupying contemporary artists working with these themes today. The exhibition featured over one hundred sculptures, prints, postcards, photographs, paintings, textiles, and video installations presenting three separate but intersecting perspectives: the traditional African, the colonial, and the contemporary global. Together they reveal a common preoccupation with themes of ideal beauty, fertility and sexuality, maternity and motherhood, and identities and social roles, enabling us to look beneath the stereotypes of black womanhood form the nineteenth century to the present. This approach offers a deeper understanding of the ideologies of race, gender, and sexuality that inform contemporary responses-both the viewers' and the artists'-to images of the black female body. A fully illustrated catalogue published by the Hood Museum of Art and the University of Washington Press accompanied the exhibition.
This exhibition and publication were generously funded by a grant from the Andy Warhol Foundation for the Visual Arts, Hugh J. Freund '67, P'08, and the William B. Jaffe and Evelyn A. Hall Fund, the Leon C. 1927, Charles L. 1955, and Andrew J. 1984 Greenebaum Fund, the Hanson Family Fund, and the William Chase Grant 1919 Memorial Fund.
April 12-June 15, 2008
Highlights from the Hood's pop art collection reveal the intersection between life and art through the appropriation of media, commercial, and popular culture imagery. Focused around Ed Ruscha's Standard Station, Amarillo, Texas (1963), Ruscha and Pop explored aspects of pop art including the transformation of the everyday object into art, the popular interest in consumerism and commercial architecture, and the collapsing of boundaries between high and low art and culture. The charged cultural environment of the 1960s fills the work of first-generation pop icons including Ed Ruscha, Andy Warhol, and Roy Lichtenstein, as well as artists immediately following them, including Mel Ramos and Stephen Shore.
Generously funded by the Harrington Gallery Fund.
Opened May 24, 2008
Colorful, playful, and visually enticing, the appliquéd molas that Kuna women sew onto their blouses yield an astounding array of traditional and contemporary themes. These stitched cloth panels feature abstract and figurative motifs derived from Kuna legends and culture, cartoons, and everyday life. Having initially developed from pre-Hispanic body arts, mola making in Kuna Yala, an archipelago that runs along the Caribbean coast of Panama, has become an important women's economic enterprise that also preserves Kuna cultural and ethnic identity.
Organized by the Hood Museum of Art and generously funded by the William B. Jaffe and Evelyn A. Hall Fund.
June 28-September 28, 2008
In conjunction with exhibitions in Naples, Italy, Washington, D.C., and Los Angeles, the Hood Museum of Art has developed a display focused on its most important nineteenth-century European painting-Sir Lawrence Alma-Tadema's (1836-1912) The Sculpture Gallery of 1874. While other venues emphasized the importance of the painting in the context of the artist's nostalgia for the past (the Museo Archeologico Nazionale in Naples) and the legacy of Pompeii and the Roman Villa (the National Gallery of Art and the Los Angeles County Museum of Art), the Hood's "dossier exhibition" highlighted the subject's originality and complex construction.
Organized by the Hood Museum of Art and generously supported by a grant form the Kress Foundation and by the George O. Southwick 1957 Memorial Fund.
Last Updated: 10/22/08