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Past Exhibitions

Witness

Art and Civil Rights in the Sixties

August 30, 2014, through December 14, 2014
Benny Andrews, Witness

Witness: Art and Civil Rights in the Sixties offers a focused look at painting, sculpture, graphics, and photography from a decade defined by social protest and American race relations. In observance of the fiftieth anniversary of the Civil Rights Act of 1964, this exhibition considers how sixty-six of the decade's artists, including African Americans and some of their white, Latino, Asian American, Native American, and Caribbean contemporaries, used wide-ranging aesthetic approaches to address the struggle for racial justice.

This exhibition is curated by Teresa A. Carbone, Andrew W. Mellon Curator of American Art, Brooklyn Museum, and Kellie Jones, Associate Professor in the Department of Art History and Archaeology at Columbia University.

Emmet Gowin Dreams of Stars

October 04, 2014, through November 09, 2014

Emmet Gowin photographs subjects at the core of life, from intimate family relationships to the man-marked landscape. He records the textures, tones, and patterns that surround us, forcing us to look closely at the seemingly familiar. In the fall of 2014 Gowin was a Montgomery Fellow at Dartmouth, and while on campus he met with students, faculty, and community members. This exhibition displayed work spanning Gowin’s career—pictures of his wife, Edith, and her family from the 1970s, aerial environmental images from the 1980s and 90s, and more recent work exploring the beauty and diversity of insects, especially moths. Each body of work reflects the rich nuances of life and the complexity of humans’ relationship to nature.

Colorful Squares

Vehicles of Artistic Ideas

84
September 13, 2014, through November 02, 2014

While the use of squares as decorative elements can be traced back to the geometric patterns on Greek pottery in 700 B.C.E., the square did not become a dominant compositional element in paintings until the twentieth century. The simplicity and regularity of the square, as both surface and compositional element, might be seen to restrict freedom of representation; however, some artists found that through nuanced coloring, shading, and positioning of squares they were able to convey ideas without distracting the viewer with complicated forms. This installation explores the use of the square in paintings during the 1960s and 1970s to illustrate the range of effects produced through this simple geometric form.

The Art of Public Placemaking

83
July 26, 2014, through September 07, 2014

Placemaking is the process of making spaces meaningful to those who experience them. This can be done in small or large ways, by groups or by individuals. Take a moment to think of your favorite place. Maybe it is your childhood backyard, the coffee shop down the street, or a neighbor's front porch. What makes this place meaningful to you? Perhaps it is the social interactions, fond memories, or simply that feel-good sensation you associate with this place. When people attach meaningful ideas and emotions to places, these places take on unique identities. They become a part of our lives and of us.

Enrique Martínez Celaya

Burning as It Were a Lamp

July 12, 2014, through August 10, 2014
Enrique Martínez Celaya working on Burning as It Were a Lamp

On view for just five weeks this summer, the Hood's installation of Burning as It Were a Lamp (2013) introduces Miami-based artist Enrique Martínez Celaya to the community. This immersive installation consists of two paintings, a weeping bronze boy, and mirrors. The work only fully reveals itself when the viewer enters—and is reflected in—the mirrored space. Martínez Celaya is in residence at Dartmouth for the month of July and will present both a public lecture and a gallery talk in conjunction with his visit.

In Residence

Contemporary Artists at Dartmouth

January 18, 2014, through July 06, 2014
Laylah Ali, Untitled, from the Typology series

Organized in collaboration with the Studio Art Department, this exhibition celebrates the important history and legacy of the Artist-in-Residence Program at Dartmouth College, which began in 1931 when the Guatemalan painter Carlos Sánchez, Class of 1923, was invited back to campus on a year-long fellowship. The exhibition showcases the work of more than eighty artists who have participated in this acclaimed international program since that time, including Charles Burwell, Walker Evans, Louise Fishman, Allan Houser, Donald Judd, Magdalene Odundo, José Clemente Orozco, Robert Rauschenberg, Alison Saar, Paul Sample, and Frank Stella, whose presence on campus has undoubtedly enhanced the vitality of the arts at Dartmouth.

Hand Alone

Articulating the Hand in Art

81
March 29, 2014, through May 18, 2014

In Chauvet, France, red ochre handprints and stencils are found in chambers throughout the Pont-d'Arc Cave. These are the oldest known representations of the human impulse to make marks, to bring pigment to surface. A common hypothesis: these hands are a form of early signature. And so on through history, with the hand being created into a distinct visual trope again and again. Think of Egyptian hieroglyphs and how they look so distinctly Egyptian. Look at the Assyrian hands on their carved reliefs, and notice how clearly Assyrian. Or even Michelangelo, Da Vinci, Raphael—all are of the same style, yet each produces a distinguishable hand. The hand, for all of its biological constancy of form, is vulnerable to flourishes of expression like few other body parts.

The Beauty of Bronze

Selections from the Hood Museum of Art

October 13, 2012, through March 18, 2014

Bronze—a combination of copper, tin, and small amounts of other metals—has long been prized for its preciousness, endurance, and ability to register fine details and reflect light.   It is strong and durable, making it ideal for modeling expressive gestures, yet—in molten form—it is malleable enough to be suitable for creating intricate shapes. The term “bronze” is often used for other metals as well, including brass, which is an alloy of copper and zinc.

There are two basic methods of casting a bronze in order to make multiple versions of the same design. Sand casting—developed in the early nineteenth century in Europe—is a relatively simple and less expensive technique that relies upon disparate molds made of compacted fine-grained sand that allow for easy production and assembly. Traditional lost-wax casting uses wax models in two manners, or methods, both of which date from antiquity. In the “direct” method, the original wax model itself is used (and thereby destroyed); in the “indirect” method, reusable plaster molds are taken from the original wax model.

The medium’s intrinsic tensile strength and ability to render precise features and various surfaces have... read more

Visions of the Virgin

Manifestations of Mary and Personal Devotion

80
January 25, 2014, through March 09, 2014

This installation investigates the Virgin as a trope and looks at some of the ways in which artists manipulate her to evoke personal piety in both religious and secular contexts that transcend particular cultures. It includes four works--a painting on steel, a photograph, a terracotta jar, and a color lithograph--all created in the twentieth century by artists from the Americas. Produced in different cultures and at different times, these objects present distinctive iterations and interpretations of the Virgin Mary as an object of art and devotion.

Shadowplay

Transgressive Photography from the Hood Museum of Art

August 10, 2013, through December 08, 2013
Francesca Woodman, My House, Providence, Rhode Island

Photographs that startle, disturb, and cause one to question are the subjects of this exhibition, which was organized by Virginia Beahan and Brian Miller, two professors who teach in Dartmouth College's Studio Art Department. Surveying the museum's collection, they selected both black-and-white and color photographs that push boundaries of medium and subject. Works in the exhibition span the second half of the twentieth century to the present day and include photographs by such artists as Fiona Foley, Tierney Gearon, Luis Gispert, Susan Meiselas, Gary Schneider, and Francesca Woodman.

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