Barkley L. Hendricks, Lawdy Mama, 1969, oil and gold leaf on canvas. The Studio Museum in Harlem, Gift of Stuart Liebman, in memory of Joseph B. Liebman, 83.25. © Barkley L. Hendricks. Photo: Courtesy of the artist and Jack Shainman Gallery, New York
Roman, Statue of Poseidon / Neptune alongside dolphin, first century CE (Flavian [CE 69-96]?), marble. Tampa Museum of Art, Joseph Veach Noble Collection; 1986.135
The following exhibitions are planned in upcoming months at the Hood Museum of Art. Please note that dates and descriptions are subject to change.
August 30 through December 14, 2014
Witness: Art and Civil Rights in the Sixties offers a focused look at painting, sculpture, graphics, and photography from a decade defined by social protest and American race relations. In observance of the fiftieth anniversary of the Civil Rights Act of 1964, this exhibition considers how sixty-six of the decade's artists, including African Americans and some of their white, Latino, Asian American, Native American, and Caribbean contemporaries, used wide-ranging aesthetic approaches to address the struggle for racial justice.
This exhibition is curated by Teresa A. Carbone, Andrew W. Mellon Curator of American Art at the Brooklyn Museum, and Kellie Jones, Associate Professor in the Department of Art History and Archaeology at Columbia University.
Witness: Art and Civil Rights in the Sixties is organized by the Brooklyn Museum and made possible by the Ford Foundation.
The exhibition's presentation at the Hood Museum of Art was generously supported by Claire Foerster and Daniel S. Bernstein, Class of 1987, Kate and Yaz Krehbiel, Class of 1991, Thayer 1992, and the Leon C. 1927, Charles L. 1955, and Andrew J. 1984 Greenebaum Fund.
January 17–March 15, 2015
The realm of Poseidon encompassed virtually every aspect of life in the ancient Mediterranean world, from mythology and cult to daily activities. This exhibition explores each of his dominions through more than one hundred works of Greek, Etruscan, and Roman art produced between 800 BCE and 400 CE. Visitors will see striking black-figure and red-figure pottery, alongside sculptures in terracotta, marble, and precious metals, and extraordinary examples of ancient glass, mosaics, carved gems, and coins, all providing a rich picture of life in the ancient world. Poseidon and the Sea offers an intimate look not only at the mysteries of the ancient world, but also at the timeless beauty and wonder of the sea that continues to resonate with us in the present day. This exhibition was organized by the Tampa Museum of Art.
The exhibition's presentation at the Hood Museum of Art was generously supported by the Eleanor Smith Fund, the Evelyn A. J. Hall Fund, and the Marie-Louise and Samuel R. Rosenthal Fund.
January 31–August 30, 2015
Organized in collaboration with Studio Art majors from Dartmouth's Class of 2015, this exhibition explores the continued relevance and global diversity of self-portraiture in contemporary art. While self-portraiture has traditionally engaged with direct observation and autobiography, contemporary artists have begun to question the value and integrity of authorship and a coherent artistic identity through the use of disguise, impersonation, and assumed personae. About Face will explore the various approaches that contemporary artists have used to investigate identity as a culturally constructed phenomenon and will include works by such notable practitioners as Chuck Close, Susanna Coffey, Rineke Dijkstra, Marit Følstad, Nikki S. Lee, Sarah McEneaney, Nomusa Makhubu, Bruce Nauman,
Wendy Red Star, Cindy Sherman, Kiki Smith, Christian Thompson, and Jeff Wall.
This exhibition is organized by the Hood Museum of Art, Dartmouth College.
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. As a student of fine arts at Obafemi Awolowo University in Ife in the mid-1980s, Ekpuk was informed by onaism, a Yoruba aesthetic philosophy that urged students to explore the logics of pattern and design in indigenous African art forms. Ekpuk's early 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.
August 22–December 6, 2015
This exhibition features the collection of Trevor Fairbrother, an independent curator, and John 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 Past and Present, Art and Commerce, Wonder Room, Men, Exacting Marks, Surface, and Radical Geometry and will showcase paintings, drawings, and sculpture alongside early American furniture and include works by Marsden Hartley, John Singer Sargent, Andy Warhol, Glenn Ligon, Carl Andre, Mike Kelley, Robert Wilson, Bernd and Hilla Becher, Richard Artschwager, Tom Wesselmann, Joseph Beuys, Catherine Opie, Elizabeth Perkins, Sol Lewitt, Robert Wilson, and many others.
This exhibition was organized by The Hood Museum of Art, Dartmouth College, and was 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 Adolf 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 was 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: 7/31/14