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Past Exhibitions

Taking a Look Around

The Design Process and Details of the Hood Museum of Art

46
August 06, 2008, through December 01, 2008

Black Womanhood

Images, Icons, and Ideologies of the African Body

April 01, 2008, through August 10, 2008

Organized by the Hood Museum of Art, this major traveling exhibition examines the historical roots of a charged icon in contemporary art: the black female body. Only through an exploration of the origins of black womanhood's prevalent stereotypes can we begin to shed new light on the powerful revisionism occupying contemporary artists working with these themes today. The exhibition features over one hundred sculptures, prints, postcards, photographs, paintings, textiles, and video installations presenting three separate but intersecting perspectives: the traditional African, the colonial, and the contemporary global. Together they reveal a common preoccupation with themes of ideal beauty, fertility and sexuality, maternity and motherhood, and identities and social roles and enable us to peel back the layers of social, cultural, and political realities that have influenced stereotypes of black womanhood from the nineteenth century to the present. This approach promotes a deeper understanding of the ideologies of race, gender, and sexuality that inform contemporary responses—both the viewers' and the artists'—to images of the black female body. A fully illustrated catalogue... read more

Ruscha and Pop

Icons of the 1960's

April 12, 2008, through June 15, 2008

Highlights from the Hood's pop art collection reveal the intersection between life and art through the appropriation of media, commercial, and popular culture imagery. Focused around Ed Ruscha's Standard Station, Amarillo, Texas (1963), Ruscha and Pop explores aspects of pop art including the transformation of the everyday object into art, the popular interest in consumerism and commercial architecture, and the collapsing of boundaries between high and low art and culture. The charged cultural environment of the 1960's fills the work of first-generation pop icons including Ed Ruscha, Andy Warhol, and Roy Lichtenstein, as well as artists immediately following them, including Mel Ramos and Stephen Shore.

Hulleah J. Tsinhnahjinnie

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.

"Bringing the Thing Home"

The Aftermath of the War Between the States in Consumer-Driven Art

43
February 18, 2008, through April 13, 2008

The Art of Spectatorship

A History of Viewing from the Renaissance to the Present Day

January 19, 2008, through April 06, 2008

This companion to the course Introduction to Art History II focused on five topics- devotional images, artistic presence in a work of art, voyeurism and the female nude, portrayals of social class and conflict, and artistic quotation and appropriation-surrounding the changing experience of viewing art from the Renaissance to the present day. Images such as Saint Veronica's Sudarium (about sixteenth century), which presents the miraculous transference of Christ's image to Veronica's handkerchief upon route to the crucifixion, appeared alongside Dana Salvo's Mendoza Household Shrine (about 1995), a photograph of a homemade altar with plastic fruits and artificial lights. Other groupings included images of nude classical goddesses and Reginald Marsh's mid-twentieth-century tempera paintings of a New Jersey striptease. Depictions of class convergence in city streets by artists ranging from Honore Daumier to John Sloan further explored the exhibition's themes.

The Art of Drinking

Four Thousand Years of Celebration and Condemnation of Alcohol Use in the Western World

42
December 17, 2007, through February 17, 2008

No Laughing Matter

Visual Humor in Ideas of Race, Nationality, and Ethnicity

October 06, 2007, through January 08, 2008

This fall term, Dartmouth College Humanities Institute participants, including visiting residential fellows and several Dartmouth faculty members, are meeting weekly on campus to investigate the impact of visual humor on history, psychology, culture, and everyday life from multiple perspectives. No Laughing Matter is led by David Bindman (Morton Distinguished Fellow) and Angela Rosenthal (Dartmouth Institute Director), under the auspices of the Leslie Center for the Humanities, Dartmouth College, with the participation of the Yale Center for British Art and the Du Bois Institute of African and African-American Studies at Harvard. The Humanities Institute will host an international conference, November 8-11, 2007. The Hood exhibition has also been organized in conjunction with the Northeast American Society for Eighteenth-Century Studies Annual Meeting and conference, October 25-28, 2007, which will host a special panel titled Visual Humor in the Global... read more

American Works on Paper to 1950

Highlights from the Hood Museum of Art

September 22, 2007, through December 09, 2007

Discover more than fifty American drawings, watercolors, prints, and photographs from the Hood's collections in an in this companion exhibition to American Art at Dartmouth. American Works on Paper showcases the museum's rich holdings of drawings, watercolors, prints, and photographs by such diverse artists as John James Audubon, Southworth and Hawes,William Trost Richards, James McNeill Whistler, Mary Cassatt, Lewis Hine, Childe Hassam, Stuart Davis, Edward Hopper, James Van Der Zee, Dorothea Lange, Grant Wood, and Jackson Pollock. Together, these exhibitions offer the largest survey of Dartmouth's American holdings to date while considering how and why these objects found their way to Hanover and how the American collections have developed further since the opening of the Hood in 1985.

American Art at Dartmouth

Highlights from the Hood Museum of Art

June 09, 2007, through December 09, 2007

American art has long been a mainstay of Dartmouth College's collections, beginning with a gift in 1773 of a Boston-made silver bowl from Royal Governor John Wentworth to Dartmouth's founder, Eleazar Wheelock, in honor of the College's first commencement. The largest selection of the American collections ever presented at the Hood, this exhibition showcases over 150 paintings, sculptures, pieces of silver, and other decorative arts to 1950. Artists represented include Paul Revere, John Singleton Copley, Gilbert Stuart, Thomas Doughty, Winslow Homer, Thomas Eakins, Frederic Remington, Willard Metcalf, Maria Oakey Dewing, John Sloan, Augusta Savage, Paul Sample, Maxfield Parrish, and Georgia O'Keeffe. An illustrated catalogue copublished with the University Press of New England accompanies the exhibition.

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