Victor Ekpuk, Composition No. 13 (Sante Fe Suite), 2013, graphic and pastel on paper. Courtesy of the artist. © Victor Ekpuk
Mazi Okereke Agbam of Arochukwu's personalized ukara cloth (detail). Collection of Eli Bentor.
The following exhibitions are planned in upcoming months at the Hood Museum of Art. Please note that dates and descriptions are subject to change.
April 18–August 2, 2015
Nigerian-born artist Victor Ekpuk is best known for his improvisational use of nsibidi, a form of writing with symbols associated with the powerful Ekpe men’s association of southeastern Nigeria. Ekpuk’s aesthetic engagement with nsibidi emerged during his fine art studies at Obafemi Awolowo University in Ife, Nigeria, where students were encouraged to explore the logics of pattern and design in indigenous African art forms. His fascination with nsibidi during these years—its economy of line and encoded meanings—led to his broader explorations of drawing as writing, and to the invention of his own fluid letterforms. As a mature artist, Ekpuk has so internalized the rhythm and contours of his “script” that it flows from his hand like the outpouring of a personal archive.
This exhibition was organized by Krannert Art Museum, University of Illinois at Urbana-Champaign, and curated by Allyson Purpura. It was partially supported by a grant from the Illinois Arts Council Agency. The exhibition’s presentation at the Hood Museum of Art, Dartmouth College, was generously supported by the Leon C. 1927, Charles L. 1955, and Andrew J. 1984 Greenebaum Fund and the Cissy Patterson Fund.
April 18-August 2, 2015
This exhibition examines the ukara cloth of the Ekpe secret society, a multiethnic all-male association in southeastern Nigeria and western Cameroon. It explores the longstanding cultural practice the cloth represents and the artistic process involved in its creation. The material cloth is made of plain cotton but transformed into a ritual object when nsibidi is inscribed onto it through indigo dyeing. Nsibidi is a body of ideographic, abstract, and gestural signs deployed by the Ekpe Society as a form of coded communication. Worn as personal wrappers during initiations, and at social events, many of which are public spectacles, ukara functions as a physical metaphor for the ideological secrecy that the Ekpe Society carefully constructs and guards.
This exhibition is organized by the Hood Museum of Art, Dartmouth College, and was generously supported by the William B. Jaffe and Evelyn A. Hall Fund. Objects and images in the exhibition are courtesy of Dr. Eli Bentor.
April 4–August 23, 2015
Water is essential to human life, shaping the geography of human settlement, modes of travel, and ease of trade. Too much water (flooding) or too little (drought) has wrought havoc in communities for millennia. This exhibition considers humans’ relationship to water, from the architecture of socialization pictured in Edward Burtynsky’s photograph of a stepwell in India to the dramatic effects of flooding shown in images of people in front of their homes from Gideon Mendel’s series Drowning World. From quiet still lifes (David Goldes) to panoramic landscapes (Ian Teh), these photographs showcase the beauty and power of this miraculous, yet quotidian, substance.
This exhibition was organized by the Hood Museum of Art, Dartmouth College, and generously supported by the Harrington Gallery Fund.
August 22–December 6, 2015
This exhibition features the collection of Trevor Fairbrother, an independent curator, and John T. Kirk, a scholar of early American decorative arts, who have donated important works in their collection to the museum. Emphasizing the Hood's teaching mission, this exhibition is thematically organized and each section displays one work from the museum's collection alongside those of the donors. These themes include Histories, Wonders, Goods, Marks, Males, Geometries, and Surfaces, and the exhibition will showcase paintings, drawings, photographs, and sculpture alongside early American furniture and include works by Andy Warhol, Marsden Hartley, Glenn Ligon, Carl Andre, Mike Kelley, Robert Wilson, Bernd and Hilla Becher, Richard Artschwager, Tom Wesselmann, Joseph Beuys, Catherine Opie, Elizabeth Peyton, Sol LeWitt, John O'Reilly, John Singer Sargent, and many others.
This exhibition is organized by the Hood Museum of Art and generously supported by the Hansen Family Fund and the Bernard R. Siskind Fund.
September 19–December 6, 2015
Although the Italian eighteenth-century artist Antonio Canaletto is best known for his luminous, sweeping views of the Grand Canal and Piazza San Marco, the Vedute, a portfolio of prints made in the early 1740s, reveal another side of Venice. These scenes are intimate in scale and contain an extraordinary variety of subject matter, encompassing both real and imaginary views, from urban portraits to bucolic landscapes. This exhibition presents the full range of Canaletto's Vedute project and celebrates the legacy of Adolph J. "Bucks" Weil, Class of 1935, an astute and generous collector, who over his lifetime amassed one of the most impressive collections of Old Master prints in the country.
This exhibition is organized by the Hood Museum of Art and the Montgomery Museum of Fine Arts, Montgomery, Alabama, and generously supported by the William Chase Grant 1919 Memorial Fund.
Last Updated: 2/26/15