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Past Exhibitions

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

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

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

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.

Embracing Elegance, 1885–1920

American Art from the Huber Family Collection

June 11, 2011, through September 04, 2011
Cecilia Beaux, Maud DuPuy Darwin

This exhibition features over thirty examples of American impressionist and realist pastels, drawings, and paintings by some of the leading artists active at the turn of the twentieth century, including Cecilia Beaux,Thomas Wilmer Dewing, Robert Henri, John Singer Sargent, Everett Shinn, John Sloan, John Henry Twachtman, and J. Alden Weir. Collected by Jack Huber, Dartmouth Class of 1963, and his wife, Russell, these works reveal a range of responses to the dramatic cultural and artistic developments of the era—from the brilliant colors and broad handling of the impressionists to the grit and verve of the urban realists.The predominant aesthetic in this collection, however, is the period taste for refinement and tranquility as seen in serene landscapes, poetic still lifes, and, especially, images of elegant women in repose.

Esmé Thompson

April 09, 2011, through May 29, 2011
Esmé Thompson, Blue Divide

Esmé Thompson envelops her creative enterprise in the colors and complexities to be found in the visual “surfaces” of textiles, illuminated manuscripts, and the botanical world. Her art also embraces the work of other painters whom she admires, particularly Renaissance masters and the remarkably unique paintings French artist Edouard Vuillard (1868–1940). This exhibition of twenty-eight paintings and collages, plus a recent work in glazed ceramic, focuses on the last five to six years of her creative practice and demonstrates the full flowering of her interest in design and pattern. It is also a tribute to the artist’s career as a professor in Dartmouth College’s Studio Art Department, where she has worked for the last three decades.

Frank Stella

Irregular Polygons

October 09, 2010, through March 13, 2011
Frank Stella, Chocorua IV

Although based on simple geometries, the Irregular Polygons (1965-66) comprise one of the most complex artistic statements of Frank Stella’s career. Each of the eleven compositions combines varying numbers of shapes to create daringly irregular outlines. Stella made four versions of each composition, varying the color combinations. They mark a radical shift from Stella’s earlier striped works in their use of large fields of color. The asymmetric canvases play with illusion, confronting Stella’s previous emphasis on flatness while anticipating his career-long exploration of space and volume in both painting and sculpture.


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