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2012-13 Hood Museum of Art Interns, left to right: Gewndolyn Tetirick, Programming, The Kathryn Conroy Intern; Caroline Liegey, Programming, Levinson Intern; Jane Cavalier, Curatorial, Class of 1954 Intern; Katelyn Burgess, Curatorial, Homma Family Intern; Jason Curley, Mellon Special Project Curatorial Intern.
Now in its eleventh 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 76
Modern Melancholy
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.
A Space for Dialogue 63
OKEANOS: International and Contemporary Reflections on the Sea
Maria Fillas '11, Levinson Intern
Above the surface or below, the ocean leaves a powerful, sensuous impression on anyone who has witnessed its sublimity. This installation explores the works of Yves Klein, Jennifer Moller, and Hiroshi Sugimoto, and their faith in the shared human experience of the ocean.
A Space for Dialogue 62
AERIAL PERSPECTIVES: Grounded in an Infinite Landscape
Natalia Wrobel '11, Class of 1954 Intern
This installation explores abstracted depictions of landscapes from an aerial perspective by artists from around the world and different time periods, including modern-day Aboriginal Australia, post-World War II France, and mid-twentieth-century United States.
