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
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.
PLEASE NOTE: The museum will be closed from December 20, 2014, through January 5, 2015, reopening at 10 a.m. on Tuesday, January 6, with regular hours. Due to exhibition changeover, only the Sack Gallery of American art and the Gutman Gallery of African art remain open through early January.
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.
This exhibition's presentation at the Hood Museum of Art is generously supported by Claire Foerster and Daniel S. Bernstein, Class of 1987, and 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 Hood interns and 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, Martin Gutierrez, Nikki S. Lee, Sarah McEneaney, Nomusa Makhubu, Bruce Nauman, Enrico Riley, Wendy Red Star, Cindy Sherman, Kiki Smith, Christian Thompson, and Jeff Wall.
This exhibition is organized by the Hood Museum of Art and generously supported by the Charles Gilman Family Endowment.
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.
This exhibition is organized by Krannert Art Museum, University of Illinois at Urbana-Champaign, and curated by Allyson Purpura. It is partially supported by a grant from the Illinois Arts Council Agency.
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.
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: 12/17/14