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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.
Sonia Landy Sheridan, The Magic Finger, 1970, 3M Color-In-Color on paper. Gift of the artist; MIS.2004.84.565. On view in the exhibition The Art of Sonia Landy Sheridan.
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 15, 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.
October 10, 2009, through January 3, 2010
This exhibition presents over sixty works by Sonia Landy Sheridan, who through her art has investigated the inner landscape of her own intensely creative, and often playful, intelligence. Sheridan is known for her work with the new forms of technology that sparked the late-twentieth-century communications revolution as well as her experience as both an inspiring teacher and artist-in-residence at the 3M Company. This exhibition, a retrospective view of Sheridan's artistic production from the 1950s to the present, is organized in thematic sections and culminates with her important work with various early imaging machines, such as the first color copier by 3M and early computer graphic systems.
Generously supported by the Ray Winfield Smith 1918 Memorial Fund and the Leon C. 1927, Charles L. 1955, and Andrew J. 1984 Greenebaum 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.
September 24 through November 30, 2009
At the entrance to the museum
This installation presents eight prints by Robert Rauschenberg, one of the earliest artists-in-residence at Dartmouth College in 1963. Rauschenberg regarded his methods as comprising a collaboration with materials rather than a conscious manipulation of them. This open-minded attitude toward art led him to experiment with a greater range of media than perhaps any other contemporary artist. The high level of cooperation inherent in printmaking made it especially suited to Rauschenberg. His print collages incorporate both his original aesthetic vision and his preoccupation with the historical, cultural, and personal layers of meaning embedded in language and images.
The installation is presented in conjunction with performances by Rauschenberg's longtime collaborator Trisha Brown and her dance company at the Hopkins Center for the Art on September 25 and 26, 2009.
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.
