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Past Exhibitions

Mateo Romero

The Dartmouth Pow-wow Suite

August 27, 2011, through January 22, 2012

In spring 2009, the Hood Museum of Art commissioned Mateo Romero, Class of 1989, to paint a series of ten portraits of current Native American Dartmouth students as they danced at the college’s annual Pow-Wow. He photographed his subjects in May of that year and completed the almost life-sized portraits in 2010, using his signature technique of overpainting the photographic prints.

Embracing Elegance, 1885–1920

American Art from the Huber Family Collection

June 11, 2011, through September 04, 2011
Cecilia Beaux, Maud DuPuy Darwin

This exhibition features over thirty examples of American impressionist and realist pastels, drawings, and paintings by some of the leading artists active at the turn of the twentieth century, including Cecilia Beaux,Thomas Wilmer Dewing, Robert Henri, John Singer Sargent, Everett Shinn, John Sloan, John Henry Twachtman, and J. Alden Weir. Collected by Jack Huber, Dartmouth Class of 1963, and his wife, Russell, these works reveal a range of responses to the dramatic cultural and artistic developments of the era—from the brilliant colors and broad handling of the impressionists to the grit and verve of the urban realists.The predominant aesthetic in this collection, however, is the period taste for refinement and tranquility as seen in serene landscapes, poetic still lifes, and, especially, images of elegant women in repose.

Fluxus and the Essential Questions of Life

April 16, 2011, through August 07, 2011
George Maciunas, Burglary Fluxkit

This traveling exhibition and publication are drawn from the Hood Museum of Art’s George Maciunas Memorial Collection of works by Fluxus artists, enriched with loans from the Museum of Modern Art, Harvard University, and the Walker Art Center. Intended to provide a fresh assessment of Fluxus, the installation is designed to encourage experiential encounters for the visitor. The 1960s–70s phenomenon that was Fluxus resists characterization as an art movement, collective, or group, and it further defies traditional geographical, chronological, and medium-based approaches. The fundamental question—“What’s Fluxus good for?”—in fact has important implications for the role of art today. The function of Fluxus artworks is to help us practice life; what we “learn” from Fluxus is how to be ourselves.

Esmé Thompson

April 09, 2011, through May 29, 2011
Esmé Thompson, Blue Divide

Esmé Thompson envelops her creative enterprise in the colors and complexities to be found in the visual “surfaces” of textiles, illuminated manuscripts, and the botanical world. Her art also embraces the work of other painters whom she admires, particularly Renaissance masters and the remarkably unique paintings French artist Edouard Vuillard (1868–1940). This exhibition of twenty-eight paintings and collages, plus a recent work in glazed ceramic, focuses on the last five to six years of her creative practice and demonstrates the full flowering of her interest in design and pattern. It is also a tribute to the artist’s career as a professor in Dartmouth College’s Studio Art Department, where she has worked for the last three decades.

Okeanos, International + Contemporary Relflections on the Sea

March 12, 2011, through May 08, 2011

For anyone who has witnessed its sublimity, above the surface or at its depths, the ocean (from Greek “okeanos”) leaves a powerful, sensuous impression. Contemporary artists Yves Klein, Jennifer Moller, and Hiroshi Sugimoto each reflect upon the experience of ocean via distinct media: Klein with his hyper-saturated, textured canvas; Moller with her darkened, black and white video footage; and Sugimoto with his abstracted photographs of water and air.  Whether captured in paint or film, or concentrating on water’s depth or surface, substance or void, stillness or motion, the monochromatic representations of sea depicted by each of the international contemporary artists in this exhibition demonstrate that the experience of ocean is universal.

Tradition Transformed

Tibetan Artists Respond

January 15, 2011, through March 13, 2011
Dedron, We Are the Nearest to the Sun

Contemporary Tibetan artists are in a precarious position. While their work is informed by Tibetan artistic traditions, the majority of these artists do not live in Tibet, and some never have. Their challenge is twofold: as they forge a name for themselves in the competitive art world, they must also try to find their own place within Tibet’s rich and formalized artistic legacy. This exhibition features artists who grapple with issues of cultural and artistic negotiation and who work with traditional forms in innovative ways. The artists submitted new and recent works to the exhibition that highlight their styles and range.

Frank Stella

Irregular Polygons

October 09, 2010, through March 13, 2011
Frank Stella, Chocorua IV

Although based on simple geometries, the Irregular Polygons (1965-66) comprise one of the most complex artistic statements of Frank Stella’s career. Each of the eleven compositions combines varying numbers of shapes to create daringly irregular outlines. Stella made four versions of each composition, varying the color combinations. They mark a radical shift from Stella’s earlier striped works in their use of large fields of color. The asymmetric canvases play with illusion, confronting Stella’s previous emphasis on flatness while anticipating his career-long exploration of space and volume in both painting and sculpture.

Aerial Perspectives

Grounded in an Infinite Landscape

January 29, 2011, through February 27, 2011

The works of art in this exhibition are all abstracted depictions of landscapes from an aerial perspective, a point of view that draws us into the work through an intensified experience of the entire composition. They all share the same basic focus, evoking some geographical construct or another, and a sense of place. While they have a visually abstract quality, this does not mean that we become lost. Rather, the means through which the artists masterfully render their subjects (including line, color, light, shadow, volume, and depth) encourage us to take an active role in these works’ realization. They ground us, ironically, as we examine them from every angle, following the symphony of marks along the surface and subconsciously constructing the imagined landscape both within and beyond the edges of the frame.

A Man-Made Icon

The Gibson Girl

November 04, 2010, through January 23, 2011

Native American Ledger Drawings from the Hood Museum of Art

The Mark Lansburgh Collection

October 02, 2010, through January 16, 2011
Short Bull (Tatanka Ptecela), untitled

This collection, brought together by Mark Lansburgh, Dartmouth Class of 1949, is considered to have been the largest and most diverse of its type in private hands; it was acquired by Dartmouth College in 2007. Curated by Joe Horse Capture, this exhibition features drawings depicting both the struggle for cultural survival and the Native adaptation to an imposed non-Native lifestyle during a period of profound upheaval among the Plains peoples during the second half of the nineteenth century. It is presented in conjunction with a Leslie Center for the Humanities Institute entitled Multiple Narratives in Plains Ledger Art: The Mark Lansburgh Collection.


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