2014–15 Hood Museum of Art Interns, left to right: Alexandra H. Johnson, Programming, Class of 1954 Intern; Adria R. Brown, IMLS Special Project Intern; Bay Lauris ByrneSim, Curatorial, Mellon Special Project Intern; Laura M. Dorn, Curatorial, Homma Family Intern; Olivia S. Field, Public Relations, Kathryn Conroy Intern; Elissa Watters, Curatorial, Levinson Intern; Taylor R. Payer, Programming, Kathryn Conroy Intern. Not pictured: Singer Horse Capture, IMLS Special Project Intern. Photo by Lesley Wellman.
A Space for Dialogue 77, "What's in a Flag? Artists' Intentions and the Meaning of the Stars and Stripes," by Caroline Liegey '13.
Now in its twelfth year, A Space for Dialogue: Fresh Perspectives on the Permanent Collection from Dartmouth’s Students affords Hood interns the opportunity to curate a small exhibition centered on a theme with objects from the permanent collection. The Hood staff is very excited about the highly diverse and accomplished group of individuals who will be contributing a fresh perspective on the museum’s activities this year. The internship program provides opportunities for Dartmouth seniors from all disciplines to engage with museum work in various professional capacities. Senior internships are offered in three main fields: curatorial, programming, and public relations.
Curatorial interns research objects, write labels and brochures, and assist with all other aspects of exhibition development. Programming interns work with staff to create engaging museum events and programs for Dartmouth students, including tours, gallery/studio activities, discussion groups, and parties. The public relations intern works with communications staff to promote museum events and activities, particularly with its campus audiences.
In addition to working within their respective departments, most Hood interns curate their own art installation. Working with Hood staff, interns determine a theme and identify objects to display, help design the installation, write labels and a brochure, and deliver a public gallery talk. A Space for Dialogue, founded with support from the Class of 1948, is made possible with generous endowments from the Class of 1967, Bonnie and Richard Reiss Jr. ’66, and Pamela J. Joyner ’79. Below is a summary of current and recent installations.
A Space for Dialogue 87
The Tortured Soul: Exploring the Excesses of Human Emotion
Laura Dorn '15, Homma Family Intern
When encountering the tortured soul, one is forced to confront aspects of the human experience that are often easier to ignore. The tragedies of human folly frequently appear in literature and have captured the attention of a variety of people, including artists. Often the aberrant behavior of a troubled individual comes as the result of excess, whether it is lust for power, greed, love, or some emotion that is felt so intensely that the pull is irresistible, regardless of consequences. As artists depict these struggles, the relationship between the rational and irrational comes into play. Questions arise about the role of imagination and creativity in the face of fact and logic. Both imagination and reason have much to offer; yet both can be dangerous. The works of art featured in The Tortured Soul represent the darker aspects of humanity described in literature in order to reveal continuities with contemporary life. To learn more about Laura, her Space for Dialogue, and her experience at the Hood, click here.
A Space for Dialogue 86
Emblem: Figuring the Abstract in Social Commentary
Bay Lauris ByrneSim ’15, Mellon Special Project Intern
Emblem, type, symbol, token, trope, image, sign—all of these words describe specific visual forms that represent abstract ideas through recognized shapes, colors, and figures. Many emblems contain culturally specific messages, often taken from sacred or ancient texts, the meanings of which evolve over time. Since these images are quickly legible to members of a shared culture, artists mobilize emblems to provoke certain reactions in an audience. This exhibition draws together various types of emblematic prints—primarily woodcuts—that address social problems and issues. To learn more about Bay Lauris, her Space for Dialogue, and her experience at the Hood, click here.
A Space for Dialogue 85
Creating the Feminine: Representations of Biblical Women from Sixteenth-Century Germany
Sara E. Trautz '15, Mellon Special Project Intern
Many artists in sixteenth-century Germany created images of biblical women and female saints. The ultimate woman, Eve, brought life and, through her sin, death to the entire world. Biblical accounts also describe an alternative female trope, the virgin martyr or saint. These two ends of the spectrum did not constitute the only ways women could be depicted, and images varied depending on what an artist chose to emphasize.
A Space for Dialogue 84
Colorful Squares: Vehicles of Artistic Ideas
Xinyue Guo '14, Kathryn Conroy Intern
While the use of squares as decorative elements can be traced back to the geometric patterns on Greek pottery in 700 B.C.E., the square did not become a dominant compositional element in paintings until the twentieth century. The simplicity and regularity of the square, as both surface and compositional element, might be seen to restrict freedom of representation; however, some artists found that through nuanced coloring, shading, and positioning of squares they were able to convey ideas without distracting the viewer with complicated forms. This installation explores the use of the square in paintings during the 1960s and 1970s to illustrate the range of effects produced through this simple geometric form.
A Space for Dialogue 83
The Art of Public Placemaking
Julia McElhinney '14, Class of 1954 Intern
Placemaking is the process of making spaces meaningful to those who experience them. This can be done in small or large ways, by groups or by individuals. Take a moment to think of your favorite place. Maybe it is your childhood backyard, the coffee shop down the street, or a neighbor's front porch. What makes this place meaningful to you? Perhaps it is the social interactions, fond memories, or simply that feel-good sensation you associate with this place. When people attach meaningful ideas and emotions to places, these places take on unique identities. They become a part of our lives and of us.
A Space for Dialogue 82
Rejecting the Diminutive: Small-Scale Art, the Viewer, and the Art World
Winnie Yoe '14, Homma Family Intern
Small-scale contemporary art has often been ignored or trivialized by scholars and critics. This exhibition looks at seven works that reveal different strategies for rejecting conventional artistic standards. Some of these artists appropriate "insignificant" materials—either everyday or ephemeral in nature—while others employ a hybridized practice to break down traditional institutional boundaries between "high" and "low" art.
A Space for Dialogue 81
Hand Alone: Articulating the Hand in Art
Margaret Tierney '14, Kathryn Conroy Intern
In Chauvet, France, red ochre handprints and stencils are found in chambers throughout the Pont-d'Arc Cave. These are the oldest known representations of the human impulse to make marks, to bring pigment to surface. A common hypothesis: these hands are a form of early signature. And so on through history, with the hand being created into a distinct visual trope again and again. Think of Egyptian hieroglyphs and how they look so distinctly Egyptian. Look at the Assyrian hands on their carved reliefs, and notice how clearly Assyrian. Or even Michelangelo, Da Vinci, Raphael—all are of the same style, yet each produces a distinguishable hand. The hand, for all of its biological constancy of form, is vulnerable to flourishes of expression like few other body parts.
A Space for Dialogue 80
Visions of the Virgin: Manifestations of Mary and Personal Devotion
Jessica Womack '14, Levinson Intern
This installation investigates the Virgin as a trope and looks at some of the ways in which artists manipulate her to evoke personal piety in both religious and secular contexts that transcend particular cultures. It includes four works--a painting on steel, a photograph, a terracotta jar, and a color lithograph--all created in the twentieth century by artists from the Americas. Produced in different cultures and at different times, these objects present distinctive iterations and interpretations of the Virgin Mary as an object of art and devotion.
A Space for Dialogue 79
Traditional Connections / Contemporary Practice
Nicole Gilbert, MALS '15, Exhibitions Coordinator, Hood Museum of Art
A dichotomy between craft and art has long been present in critical Western art history, founded largely on a deep-rooted system of aesthetic values. These definitions and values have often ignored the contribution of women artists. The most obvious example of this is women's capacity within the world of craft—a term typically associated with a form of "low art" largely created by women in the domestic sphere to which they have been relegated. Some contemporary women artists have chosen to use traditional techniques associated with craft and utilitarian objects to produce unique and innovative works of art, in the process challenging the largely male-dominated art world to overtly acknowledge their talent as artists.
A Space for Dialogue 78
Abstracting Emotion: The Intersections between Black and White
Gwendolyn Tetirick '13, The Kathryn Conroy Intern
In Western culture, the color black is a code or symbol sometimes associated with depression, darkness, and despair. Some twentieth-century artists have gone beyond these preconceptions to imbue the color with very personal associations by manipulating the cultural significance of black using the principles of abstraction. The artists harness a range of tones, forms, lines, and edges to create a unique style and form of expression centered upon black.
A Space for Dialogue 77
What's in a Flag? Artists' Intentions and the Meaning of the Stars and Stripes
Caroline Liegey '13, Levinson Intern
The six artists featured in this installation use the flag to make a wide range of points, from a scathing indictment of American foreign policy to a commentary on the paranoia and insecurity of the American middle class. Some of them, intentionally or not, challenge viewers' presumptions about such a recognizable symbol. With introspection and additional information, the viewer can come closer to understanding the artists' intention and the flags' meanings. The more aware we are of the possibilities, the richer our experience of these works will be.
A Space for Dialogue 76
Jane Cavalier '14, Class of 1954 Intern
The artists selected for this exhibition express the melancholic condition within a contemporary context and raise questions about what distinguishes melancholy today. In a society of constant sensory stimulation, instant gratification, and hedonistic saturation, have happiness and satisfaction become an obligation? Have we attained the object of our desire but lost the reason for its desirability? Through their deliberate interpretations of melancholic subjects and settings, the artists in this exhibition realize the vitality that emerges as the melancholic sees opportunities everywhere to mourn this lost desire. In fact, melancholy's redemption lies precisely within those infinitely unfolding creative and intellectual possibilities that it reveals.
A Space for Dialogue 75
Beyond Aphrodite: Interpreting Portrayals of "Real" Women in Ancient Greece
Katelyn Burgess '13, Mellon Special Project Intern, Yale University Art Gallery Collection-Sharing Initiative
Many aspects of the lives of ancient Greek women remain a mystery to us today. While surviving literary sources and artifacts often feature powerful female goddesses, images and texts describing the lives of everyday, or "real," Greek women are more difficult to identify and understand. This exhibition presents three objects that depict those women.
A Space for Dialogue 74
Text as Image/Image as Text: Narratives of African American History and Identity
Emma Routhier '12, Levinson Intern
The written narrative is the most valued form of knowledge production throughout modern Western history. This has significant implications for, among others, African American slaves, who were systematically denied participation in written discourse. It is not only a question of who has written history, but more importantly, who can? And how? With this background as a rich framework for critique, text as image has in turn become a powerful tool for artists interested in illuminating the dominant ways of manufacturing narratives and claiming knowledge.
A Space for Dialogue 73
Watercolor Washes and the Lure of the Sun: The Climate and Demographics Informing the California Watercolor Movement
Hannah Jeton '12, The Kathryn Conroy Intern
From the 1930s to the 1960s, a group of watercolorists based in Southern California responded to the region's distinctive environment by creating primarily large, colorful watercolors of the local scene, painted on the spot outdoors. These generally upbeat, optimistic images celebrated the Edenic California landscape, despite the dramatic demographic and economic forces that were already altering both the physical characteristics and social mosaic there.
A Space for Dialogue 72
Escaping the Moment: Seeing Time in Photography
Chanon (Kenji) Praepipatmongkol '13, Mellon Special Project Curatorial Intern
The weakness of human sight—its flickering hesitation and intermittent inattentiveness—gives way to the verity of the apparatus's machinic capture. Photo-graphia: one writes the light of reality, burning it into film. With these qualities, photography is still often said to be about holding on to lost moments.
A Space for Dialogue 71
Agents of Change: Metamorphosis and the Feminine
Claire Hunter '12, Mellon Special Project Intern
This installation features seven works of art which touch upon moments of feminine metamorphosis. In them, women are agents of change: they cause change and/or are changed themselves. Through these works, the unique relationship between the feminine and transformation becomes clear, and metamorphosis in turn becomes an act that can emancipate women from the confines of their traditional gender roles, to one degree or another. To learn more about Claire, her Space for Dialogue, and her experience at the Hood, click here.
A Space for Dialogue 70
The Allure of Ruins: Views of the Temple of Sibyl at Tivoli across Time
Francie Middleton '12, Homma Family Intern
This installation explores views of ancient Roman ruins and the Italian countryside that have inspired artists for centuries, particularly the Temple of Sibyl at Tivoli. For both American and European artists, ruins such as those at Tivoli have always possessed a seemingly universal and timeless quality. To learn more about Francie, her Space for Dialogue, and her experience at the Hood, click here.
A Space for Dialogue 69
Art in Motion: A Deeper Look at the Animated Figure and Its Presence in Contemporary Works
Kayla Gilbert '12, Homma Family Intern
This installation asks why animation has been excluded from the Western definition of fine art as "art forms developed mainly for aesthetics" through the juxtaposition of seven different pieces from the Walt Disney animated feature film Pinocchio and three contemporary works of art that feature animation. To learn more about Kayla, her Space for Dialogue, and her experience at the Hood, click here.
A Space for Dialogue 68
Center and Periphery: Cultural Hybridity in the Funerary Arts of the Roman Provinces
Amanda Manker ’12, Mellon Special Projects Intern, Yale University Art Gallery Collection-Sharing Initiative
This installation presents examples of the kind of hybrid visual culture materialized in funeral art from certain key provinces—Syria, Africa Proconsularis (modern Tunisia), and Egypt—created during the era when the Roman Empire was at its greatest extent. To learn more about Amanda, her Space for Dialogue, and her experience at the Hood, click here.
A Space for Dialogue 67
Continuity of the Spiritual: Old and Modern Masters
Karysa Norris, Class of 1954 Intern
This installation explores the representation of emotion and spirituality in works of art dating from the Renaissance to today in paintings, prints, and video. To learn more about Karysa, her Space for Dialogue, and her experience at the Hood, click here.
A Space for Dialogue 66
The Illusions of Eighteenth-Century European Portraiture
Courtney Chapel '11, Homma Family Intern
From ancient times to the present day, portraiture has been a medium in which individuals could create an illusion of themselves in a very selective and proscribed manner. This installation features four portraits, by Sir Joshua Reynolds, George Romney, Elizabeth Louise Vigée Le Brun, and Pompeo Batoni, which suggest that portraits are always a construction of some sort, though the attentive viewer can uncover their secrets.
A Space for Dialogue 65
An Aggressive Art: Early Caricature and Self-Parody in France and England
Dylan Hayley Leavitt '11, Kathryn Conroy Intern
This installation explores the culture of caricature and features five late-eighteenth- and early-nineteenth-century prints, including works by James Gillray and Honoré Daumier.
A Space for Dialogue 64
Faces of Antiquity: Portraiture of the Roman Empire
Kasia Vincunas '11, Mellon Special Project Curatorial Intern
This installation presents some of the most widespread varieties of ancient portraiture, including funerary painting, sculptural busts, and coinage from ancient Rome.
Click here to watch Kasia discuss her project.
Last Updated: 10/21/15