Eric Aho, Ice Cut (1932), 2010, oil on linen. Purchased through the Virginia and Preston T. Kelsey '58 Fund; 2015.24.1. © Eric Aho
Halida Boughriet, Diner des anonymes (Anonymous Diners), from the series Pandora, 2014, chromogenic color print. Purchased through the Stephen and Constance Spahn ’63 Acquisitions Fund, 2015.66.1. © Halida Boughriet
The following exhibitions are planned in upcoming months at the Hood Museum of Art. Please note that dates and descriptions are subject to change.
January 9 through March 13, 2016
Vermont-based artist Eric Aho’s series of Ice Cut paintings is inspired by the hole cut in the ice in front of a Finnish sauna, an aspect of Finnish culture that Aho’s family has maintained to this day. Intended for an icy immersion following the heat of the sauna, the avanto, as it is called in Finnish, underscores and personalizes the inherent contrasts in nature. Aho began the Ice Cuts series nine years ago, making one painting a year of the dark void produced by the act of sawing into the thick ice. This exhibition is the first to concentrate on the Ice Cuts paintings he has created to date. The central abstract form in these compositions provides the structure for experimentation with paint texture, surface, and subtly nuanced color, lending these frozen scenes both an austere beauty and a particular vibrancy. This exhibition brings together the major paintings in the series to date and smaller, related works on paper to offer unique insight into the artistic process.
This exhibition was organized by the Hood Museum of Art and generously supported the Philip Fowler 1927 Memorial Fund and the Ray Winfield Smith 1918 Memorial Fund.
January 16 through March 13, 2016
Successive African art curators at the Hood Museum of Art have assembled an extraordinary and holistic vision of the arts of Africa that encompasses both important historical milestones and the multiple cultural and social vistas of this continent. Acquired over the past two years and on view together for the first time, these thirty-one exceptional objects map the contour of modern and contemporary African art from the 1960s to the present while also shedding critical light on the diversity of African artistic practices by multiple generations of artists. The installation includes an exciting array of paintings, photographs, sculptures, drawings, ceramic, and mixed media, including works by Ibrahim El Salahi, Lamidi Fakeye, Akin Fakeye, Owusu-Ankomah, Victor Ekpuk, Chike Obeagu, Candice Breitz, Nomusa Makhubu, Julien Sinzogan, Aida Muluneh, Halida Boughriet, Mario Macilau, Eric van Hove, Khulumeleni Magwaza, and Nidhal Chamekh.
This exhibition was organized by the Hood Museum of Art and generously supported by the William B. Jaffe and Evelyn A. Hall Fund.
January 5 through March 13, 2016
The works of art in this exhibition, arranged in pairs, offer contrasting positions by artists on a variety of themes: men and women, the family, war and human suffering, landscapes and seascapes, images of others and of the self. Each pair is accompanied by a single question intended to provoke further questions about the artists’ individual approaches to their subjects: From what points of view (literal, emotional, intellectual) does the artist look at his/her subject? Is the artist’s stance celebratory? honorific? critical? a form of protest? In what ways does the artist communicate this to the beholder? Art history professors Joy Kenseth and Mary Coffey curated this exhibition in conjunction with their course Introduction to the History of Art II, a survey of art and architecture from 1500 to the present.
This exhibition was organized by the Hood Museum of Art and generously supported by the Harrington Gallery Fund.
January 5 through March 13, 2016
Concinnitas is a Latin term that connotes an elegant, skillful joining of elements. It was used by Renaissance scholar, artist, and architect Leon Battista Alberti (1404–1472) to describe the beauty found in the confluence of perfect uses of number, position, and outline. The Concinnitas project was a two-year collaborative venture between Parasol Press and Daniel Rockmore, Professor of Mathematics and Computer Science at Dartmouth. In 2012, Parasol commissioned ten mathematicians, physicists, and computer scientists—including two Nobel Laureates and five Fields Medalists—to create etchings of the mathematical expression most meaningful to them. These formulae were then printed by the fine-art print shop Harlan and Weaver as aquatints, evoking the look of equations quickly and elegantly sketched in white chalk on a blackboard.
This exhibition was organized by the Yale University Art Gallery, and its presentation at the Hood Museum of Art was generously supported by the Harrington Gallery Fund.
Last Updated: 11/19/15