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Past Exhibitions

Marcel Duchamp

The Box in a Valise

April 07, 2012, through August 26, 2012

Marcel Duchamp described his Boîte-en-valise (Box in a Valise) as a “portable museum” that would allow him to carry around his life’s work in a traveling box.  The artist spent five years, between 1935 and 1940, recreating his oeuvre in miniature through photographs, hand-colored reproductions, and diminutive models.  These facsimiles of the artist’s major paintings, drawings, and sculpture were then placed in imitation-leather boxes or valises that he would spend the rest of his life assembling. Duchamp’s most significant works are cleverly arranged inside each box like a traveling salesman’s wares; open the lid and you find a treasure trove of art objects all reproduced on a miniature scale. The Hood Museum of Art recently acquired an important example of the Box in a Valise edition. This work, which the artist housed in a red linen-lined box about the size of a large attaché case, will be shown at Dartmouth College for the first time in this installation.

The Expanding Grid

April 07, 2012, through August 26, 2012

This exhibition explores the important legacy of cubism and other forms of grid-based abstraction for contemporary artistic expression. The structural underpinnings of the pioneering works of art that Pablo Picasso and Georges Braque made in the 1910s allowed them to negate the perspectival illusionism of naturalistic representation. Subsequent artists, such as Josef Albers and Mark Rothko, refined and developed the grid-like scaffolding of cubism to produce an austere and rather impersonal form of abstract art, in which flatness and order were of paramount importance. By the 1960s, however, a new generation of artists, including Chuck Close and Eva Hesse, began to negatively associate the rigid geometry of modernist abstraction with male dominance and political authoritarianism. These artists expanded and, in some cases, exploded the modernist grid to create works of art that embraced political content, figuration, narrative, and subjectivity. As this exhibition shows, contemporary artists continue to explore the temporal and spatial possibilities of grid-based art in works of art that challenge and revitalize the invented language of abstraction.

Looking Back at Earth

Environmental Photography from the Hood Museum of Art

July 07, 2012, through August 26, 2012
J Henry Fair, Arsenic and Water

This exhibition showcases photography that goes beyond landscape to engage with issues of the earth and its environment. It features the work of Subhankar Banerjee, Virginia Beahan, Daniel Beltrá, Diane Burko, J. Henry Fair, Emmet Gowin, Patricia MacDonald, David Maisel, and Ian Teh, among others. Its themes include consumption and waste, industrial pollution, urban sprawl, unsustainable farming, and climate change and its effects on the Arctic.

Nature Transformed

Edward Burtynsky's Vermont Quarry Photographs in Context

April 21, 2012, through August 19, 2012
Edward Burtynsky, Abandoned Marble Quarry #18

Burtynsky’s vivid and iconic photographs of the quarries of Vermont are explored within the context of the geological and social history of the area, including in particular the Italian immigrant stoneworkers in the marble quarries around Rutland and the granite quarries near Barre.

Agents of Change

Metamorphosis and the Feminine

71
July, through August, 2012

This installation features seven works of art which touch upon moments of feminine metamorphosis. In them, women are agents of change: they cause change and/or are changed themselves. Through these works, the unique relationship between the feminine and transformation becomes clear, and metamorphosis in turn becomes an act that can emancipate women from the confines of their traditional gender roles, to one degree or another.

Men of Fire

José Clemente Orozco and Jackson Pollock

April 07, 2012, through June 17, 2012
Jackson Pollock, Untitled (Circle)

In 1936, Jackson Pollock traveled to Dartmouth College to view José Clemente Orozco's monumental fresco The Epic of American Civilization (1932-34). The deep impact that Orozco's imagery had on the young Pollock is demonstrated in this revelatory exhibition, which brings together for the first time the drawings and paintings of two of the most famous artists of the twentieth century.

Art in Motion

A Deeper Look at the Animated Figure and Its Presence in Contemporary Works

69
March 31, through May 13, 2012

This installation asks why animation has been excluded from the Western definition of fine art as "art forms developed mainly for aesthetics" through the juxtaposition of seven different pieces from the Walt Disney animated feature film Pinocchio and three contemporary works of art that feature animation.

Native American Art at Dartmouth

Highlights from the Hood Museum of Art

October 08, 2011, through March 11, 2012
Bob Haozous, Apache Pull-Toy

The fourth in a series of exhibitions presenting the Hood’s extensive and varied holdings, Native American Art at Dartmouth surveys the breadth and depth of the permanent collection of indigenous art from North America, from the historic to the contemporary. Guest curators George Horse Capture, Joe Horse Capture, and Joseph Sanchez each contribute unique experience and perspective as well as a discerning eye in the presentation of the Hood’s varied holdings of Native art. This exhibition reveals the transformation of traditional iconography and showcases the use of non-Native media in contemporary artistic expression and visual narrative, including the work of former Dartmouth Artists-in-Residence Allan Houser, Fritz Scholder, T. C. Cannon, and Bob Haozous.

Continuity of the Spiritual

Old and Modern Masters

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January 07, 2012, through February 05, 2012

This installation explores the representation of emotion and spirituality in works of art dating from the Renaissance to today in paintings, prints, and video.

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.

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