Twentieth-Century Inuit Art from the Collection of the Hood Museum of Art
October 22, 2014, through December 06, 2015
The majority of artists in this installation represent a generation of Inuit from the arctic and subarctic regions of Canada who lived fully “on the land.” Several changes occurred during the mid-twentieth century that pressured the Inuit to change their traditional life ways by moving into settlements. Although the Inuit had been trading works they made out of a variety of materials since the time of contact, new visitors encouraged them to use their knowledge and skills to create work—in stone, fabric, drawings, and on paper—that would be oriented for a non-Inuit art market.
The majority of works in this installation were made by the first generation of Inuit artists to exhibit and sell their work to new markets in the south through art dealers and cooperatives. The objects they produced are remarkable works of art, widely sought after by collectors, and now in the collections of major museums all over the world. Most importantly, the production of this work created a vehicle for preserving cultural knowledge and sustaining tradition while innovating and creating new forms of expression.
A Centennial Exhibition
May 11, 2014, through May 10, 2015
Allan Houser (1914–1994) was a noted American sculptor, painter, and draftsman and one of the major figures in Native American art of the twentieth century. He often drew on his Chiricahua Apache heritage when making sculptures that depict the Native American people of the Southwest. A versatile artist, he also created modernist abstract sculptures and worked in a variety of media including bronze, stone, and steel. Dartmouth College and the Hood Museum of Art celebrate the centennial of his birth with an installation of five major sculptural works in the Maffei Arts Plaza and Hood gateway, as well as a fall 2014 exhibition of drawings in the Strauss Gallery, Hopkins Center.
Native American Art from the Hood Museum of Art’s Collection
March 26, 2014, through June 15, 2014
This gallery presents a selection of contemporary and traditional Native American art in conjunction with Vera Palmer’s course Perspectives in Native American Studies. Vera Palmer frequently discusses many of these objects with her students to underscore the multiple forms of expression employed by Native American artists. Many of these works provide an opportunity to explore issues of identity, education, assimilation, and violence.
Highlights from the Hood Museum of Art
October 08, 2011, through March 11, 2012
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.
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.
The Mark Lansburgh Collection
October 02, 2010, through January 16, 2011
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.
Drawing on Tradition
August 14, 2010, through December 19, 2010
Despite being stylistically diverse, the works in this exhibition are all linked both conceptually and formally to the tradition of Plains Indian ledger art of the nineteenth century. Created by artists who employ visual narrative as a means of exploring their cultural heritage and issues of present-day Native experience, these works may be read as expressions of solidarity and survival in the twenty-first century.
Highlights from the Hood Museum of Art
September 26, 2009, through March 14, 2010
The third in a series of comprehensive exhibitions and catalogues showcasing the permanent collection, this exhibition surveys the breadth and depth of the permanent collection and highlights key works from the holdings, only a tiny fraction of which are on view in the museum's galleries at any one time. Modern and Contemporary Art at Dartmouth focuses on post-1945 painting, sculpture, works on paper, new media, and photography, and includes works by Mark Rothko, Ed Ruscha, Alice Neel, Romare Bearden, Alexander Calder, El Anatsui, Juan Munoz, Alison Saar, Amir Nour, Bob Haozous, Richard Serra, and Bill Viola, among others.
Wabanaki Ash Splint Baskets from Maine
December 20, 2008, through June 28, 2009
Spirit of the Basket Tree: Wabanaki Ash Splint Baskets from Maine, guest curated by Jennifer Sapiel Neptune, focuses on the rich visual dialogue between contemporary Wabanaki basket artists of Maine and the legacy of Native American basket making in northern New England and southeastern Canada. Originally created for indigenous use, baskets emerged as valued items of trade with European settlers during the colonial era. They have remained at the center of cultural exchanges between Wabanaki people and Americans of non-native descent up to the present day, serving to solidify cultural identity, perpetuate intergenerational continuity, and symbolize political sovereignty for Wabanaki tribal members through the centuries.
Jennifer Sapiel Neptune, a basket maker herself and a co-manager of the Maine Indian Basket makers Alliance (MIBA), also has written an essay for the gallery brochure that accompanies the exhibition.
Photographic Memoirs of an Aboriginal Savant
February 09, 2008, through May 04, 2008
Contemporary Seminole artist Hulleah J. Tsinhnahjinnie's photographs respond to the perpetuating stereotypes of Native American peoples caused by ubiquitous early Western photography of Native people fixed in a historical past. Looking inward to document moments and thoughts about childhood and family, high school, friends, particular experiences, and dreams, she delivers a deeply moving installation that comprises a strong political statement about Native sovereignty and cultural oppression intermixed with poignant storytelling and personal convictions.