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Joel Shapiro, untitled (Hood Museum of Art), 1989–90, bronze. Purchased through gifts from Kirsten and Peter Bedford, Class of 1989P; Sondra and Celso Gonzalez-Falla; Daryl and Steven Roth, Class of 1962; and an anonymous donor; The Lathrop Fellows, including Kirsten and Peter Bedford, Class of 1989P; Mr. and Mrs. Walter Burke, Class of 1944; Mr. and Mrs. Mark Gates, Class of 1959; Jerome Goldstein, Class of 1954; Mr. and Mrs. W. Patrick Gramm, Class of 1952; Mrs. Frank L. Harrington, Class of 1924W; Melville Straus, Class of 1960; Frederick Henry, Class of 1967; Mrs. Preston T. Kelsey, Class of 1958W; Mrs. Richard Lombard, Class of 1953W; and an anonymous friend; purchased through the Miriam and Sidney Stoneman Acquisition Fund and the Claire and Richard P. Morse 1953 Fund; Evelyn A. and William B. Jaffe, Class of 1964H, by exchange; S.990.40 © Joel Shapiro/Artists Rights Society (ARS), New York. On view in the Hood courtyard.
John Dixon, after George Stubbs, A Tigress, 1773, mezzotint on laid paper. Purchased through the Julia L. Whittier Fund and proceeds from "One Night in November," 2008; 2008.33. On view in the exhibition "The Artful Disposition of Shades."
Unknown Kongo artist and ritual expert, Democratic Republic of the Congo or Angola, Nkisi nkondi power figure, about 1890, wood and mixed media. Purchased through the Mrs. Harvey P. Hood W’18 Fund, the William B. Jaffe and Evelyn A. Jaffe Hall Fund, the William B. Jaffe Memorial Fund, the William S. Rubin Fund, the Julia L. Whittier Fund and through gifts by exchange; 996.22.30233. On view in the exhibition Art That Lives?
The exhibitions program of the Hood Museum of Art represents one of the most important means by which the museum fulfills its primary mission: to foster a greater appreciation of the visual arts as a medium for the expression of ideas and cultural values. The exhibitions presented by the museum are intended to contribute to scholarship in art history and related disciplines and to offer insight into the artistic production of many different historical periods and cultures. In addition to ongoing displays from its permanent collection, the museum also presents approximately eight special exhibitions each year, covering a broad range of topics, and two teaching exhibitions each academic term. Organized in conjunction with Dartmouth College courses, these exhibitions are intended to facilitate the curricular use of the museum's collections.
September 26, 2009, through March 14, 2010
The third in a series of comprehensive exhibitions and catalogues showcasing the permanent collection, this exhibition surveys the breadth and depth of the permanent collection and highlights key works from the holdings, only a tiny fraction of which are on view in the museum's galleries at any one time. Modern and Contemporary Art at Dartmouth focuses on post-1945 painting, sculpture, works on paper, new media, and photography, and includes works by Mark Rothko, Ed Ruscha, Alice Neel, Romare Bearden, Alexander Calder, El Anatsui, Juan Munoz, Alison Saar, Amir Nour, Bob Haozous, Richard Serra, and Bill Viola among others.
Generously supported by Hugh Freund '67, Margaret Fellner Hunt '78, Richard Reiss Jr. '66 and Bonnie F. Reiss P'83, Stephen A. Lister '63, Anne A. and Russell K. Mayerfeld P'08, the Homma Educational Access Fund, and the Leon C. 1927, Charles L. 1955, and Andrew J. 1984 Greenebaum Fund.
January 19 through March 14, 2010
In the century and a half before the advent of photomechanical reproductions in the mid-1800s, mezzotints were the favored medium for publicizing English paintings. Compared to traditional printmaking techniques, such as engraving and etching, the new tonal method was praised by contemporaries for its ability to represent the painterly qualities of light and shadow. Although generations of artist had used prints to heighten awareness of their designs, the establishment of regular public exhibitions in London in the second half of the eighteenth century significantly increased the demand for inexpensive and widely available editions of fashionable pictures. Many painters embraced the picturesque appearance of mezzotints, including Reynolds, Turner, and Constable.
Generously supported by the Bernard R. Siskind 1955 Fund and the Cissy Patterson Fund.
Ongoing
Gutman Gallery
People around the world have at times responded to works of art as more than mere inanimate objects, seeing them instead as living things. This exhibition examines the complex ways that African peoples view images, especially depictions of the human form, as forces that impact personal experience. Sculptures from across the African continent reveal how art has mediated disputes, exerted political authority, and given presence to the dead.
Generously supported by the Frank L. Harrington 1924 Exhibition Fund.
Ongoing
At the entrance to the museum
A Space for Dialogue is a unique opportunity within Dartmouth's senior internship program, which includes museum positions in curatorial, public relations, and educational work. Interns choose objects from the Hood's permanent collection, write descriptions of the objects, design a space, create a brochure, and conduct a public gallery presentation. The program also allows students to develop art projects and displays within the Hood Museum of Art and on the Dartmouth College campus, creating "spaces for dialogue" between works of art and their viewers.
A Space for Dialogue, founded with support from the Class of 1948, is made possible with generous endowments from the Class of 1967 and the Bonnie and Richard Reiss Jr. '66 Education Access Fund.
Ongoing
Baker Library, Reserve Corridor
The Epic of American Civilization is an extensive mural painting created by Mexican artist José Clemente Orozco between 1932 and 1934. The mural is composed of twenty-four distinct panels depicting the history of the Americas from the Aztec migration into Mexico to the industrialization of modern society. Located in the reserve corridor of Baker Library, these scenes cover nearly 3,200 square feet of wall space. The Epic of American Civilization is not only one of Orozco's finest creations as well as one of Dartmouth's most treasured collections, but is, additionally, considered among the most exemplary works of mural painting in the nation.
