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Past Exhibitions

The Power of (Re)Construction

Changing Perceptions of Black-American Identity

10
January 18, 2003, through February 16, 2003

José Clemente Orozco in the United States, 1927–1934

June 01, 2002, through December 15, 2002

This exhibition of more than 120 paintings, prints, drawings, watercolors, and preparatory studies for murals explores the extensive body of work produced by José Clemente Orozco, one of the leading Mexican artists of the twentieth century, during an extended stay in the United States. Scheduled for presentation at the San Diego Museum of Art, San Diego, the Hood Museum of Art, Hanover, New Hampshire, and the Museo de Arte Carrillo Gil, Mexico City, the exhibition showcases Orozco's revolutionary artistic vision. During this time, the artist created important murals at Pomona College, Claremont, California, the New School for Social Research, New York, and Dartmouth College, Hanover, New Hampshire. Viewed as a whole, his work from this period sheds light on the artist's complex creative and political development and provides an illuminating case study on the influence of Mexican visual artists in the United States.

Untitled (Bill Viola and Carrie Mae Weems)

7
July 23, 2002, through October 18, 2002

Joe Novak

Paintings, 1993–1999

May 18, 2002, through July 14, 2002

This exhibition explores the work of artist Joe Novak, Dartmouth Class of 1952 during a period of time when he focused primarily on painting. His paintings on canvas, abstract excursions into color and light, are infused with a meditative quality.

High Society

Psychedelic Rock Posters of Haight-Asbury

March 26, 2002, through May 19, 2002

The largest survey of psychedelic rock posters in more than twenty years, this exhibition presents selections from the extensive collection of Paul Prince and includes important examples by each of the "Big Five" artists of psychedelic poster design: Wes Wilson, Rick Griffin, Victor Moscoso, Stanley Mouse, and Alton Kelley. These works, intended to serve as ephemeral street advertisements, present a unique opportunity to observe the evolution of a psychedelic art form during a turning point in American consciousness.

James Nachtwey

Witness

March 26, 2002, through May 12, 2002

The Hood Museum of Art presents this exhibition of approximately twenty photographs by world-renowned photojournalist James Nachtwey, who will be on campus as a Montgomery Fellow during the spring term in conjunction with the thirteenth annual Humanities Institute, sponsored by the Andrew W. Mellon Foundation and the National Endowment for the Humanities. The institute, entitled The Near in Blood, the Nearer Bloody: Interethnic Civil War / Cultural Genocide / Cultural Resistance, will take place from March 25 through May 31 at Dartmouth College. Nachtwey, a Dartmouth graduate, is a member of the institute. His photographs document the aftermath of the Rwandan genocide, famine in the Sudan, and the recent conflict in the Balkans, Chechnya, and Afghanistan.

Reflections in Black

Smithsonian African American Photography: Art and Activism

January 12, 2002, through March 10, 2002

This exhibition explores the rich legacy of African American photographers who captured the struggles, achievements, and tragedies of a tumultuous time: the civil rights and black power movements of the late 1950s and early 1960s. Assuming the role of social activist, these photographers documented leading figures such as Malcolm X, Martin Luther King Jr., and Muhammad Ali, as well as innovators in the music world such as Billie Holiday, Lester Young, and John Coltrane. A continuing desire to raise social consciousness motivates contemporary photographers to chronicle the realities of life for African Americans today. Photographs of the 1980s and 1990s, many the results of the artists' personal engagement with their own communities, form the second major focus of the exhibition.

Mel Kendrick

Core Samples

January 12, 2002, through March 10, 2002

Ten recent sculptures by New York artist Mel Kendrick will make their public debut at the Hood Museum of Art this winter. Kendrick's work reveals his longstanding preoccupation with process as well as his unerring sense of sculptural form. With systematic logic and a keen sense of his materials, Kendrick has created this new series he calls "core samples"—wood sculptures that respond to the form, exterior textures, and growth patterns of the trees from which they originate. With this body of work, Kendrick comes closer to a dialogue with the original form of the medium in which he works than at any other point in his thirty-year career as an artist.

Reservation X

The Power of Place

October 06, 2001, through December 16, 2001

Reservation X investigates the complex relationship between community and identity through seven large-scale art installations that make innovative use of photography, film, audio recordings, CD-ROM, sculpture, and painting. The featured artists are Mary Longman (Saulteaux), Nora Naranjo-Morse (Tewa), Marianne Nicolson (Kwakwaka'wakw), Shelley Niro (Mohawk), Jolene Rickard (Tuscarora), Mateo Romero (Tewa), and C. Maxx Stevens (Seminole). Through their individual creations, these artists generate a collective commentary on the power of place and the realities of everyday life for religious and racial minorities. Although their ideas of and experiences with community reflect very different perspectives, all of these artists recognize their affinities with a Native American identity and rely upon the power of art to express them.

Untitled (Elihu Vedder and Fumio Yoshimura)

1
October 11, 2001, through December 08, 2001

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