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Past Exhibitions

Perspectives

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.

Objects and Power

Manifestations of Inequality

April 10, 2013, through August 25, 2013

The world today is an unequal place where individuals face stark differences in their access to resources, information, and power. The archaeological record suggests that such inequities have existed in various cultures throughout human history. This student-curated installation considers some of the challenges of interpreting and presenting material objects as they relate to inequality. Just as professional archaeologists have built their theories using both ancient artifacts and cultural materials from contemporary populations, the student curators have assembled a diverse collection to consider four domains in which archaeologists can see inequality created, reproduced, and challenged in ancient societies. The central themes—craft goods, daily life, public performance, and mortuary practice—offer interwoven views on the intersecting lives of people and the material objects that they use to communicate status among their families and to other members of society. The objects on display serve as metaphors for understanding the dynamics underlying how different cultures have invented and shaped inequality in its many forms.

While... read more

Word and Image

March 26, 2013, through August 04, 2013
An oil on canvas showing a Standard gas station

Organized in collaboration with twenty-two Studio Art Majors from the Class of 2013, this exhibition celebrates the dynamic dialogue and complex interactions between art and language in contemporary art. Adopting a historical perspective to understand current innovations, Word and Image presents key examples of paintings, sculpture, video, photography and other works on paper by a wide range of artists, including Gerald Auten, Marcel Duchamp, Daniel Heyman, Faith Ringgold, Ed Ruscha, Nancy Spero, and Fred Wilson. The word-imbued artworks on display reveal the strange, unsettling, and often humorous and subversive results when words escape from their traditional confines and begin to infiltrate the visual arts.

Japanese Prints in the Hood Museum of Art

Recent Acquisitions

April 06, 2013, through July 28, 2013

The fifteen prints in this gallery represent the Hood Museum of Art’s ongoing efforts to develop its collection of Japanese woodblock prints as a teaching resource. With publication dates ranging from the 1750s through the 1930s, these prints document several aspects of Japan’s woodblock print culture. This selection features prints in a wide variety of formats representing major print genres including kabuki actor prints (yakusha-e), pictures of fashionable women (bijinga), perspective prints (uki-e), landscape prints (fūkeiga), warrior prints (musha-e), pictures of foreigners residing in Yokohama (Yokohama-e), prints depicting Japan’s late-nineteenth-century modernization (kaika-e), and early-twentieth-century prints (shin hanga).

 

In keeping with the museum’s pedagogical mission, this exhibition was curated by students enrolled in the winter 2012 course Art History 65: Japanese Prints, taught by Associate Professor Allen Hockley. Over the course of the term students wrote labels for each of these fifteen prints. Labels appearing in the exhibition are edited compilations featuring the contributions of all... read more

The Expanding Grid

April 07, 2012, through August 26, 2012

This exhibition explores the important legacy of cubism and other forms of grid-based abstraction for contemporary artistic expression. The structural underpinnings of the pioneering works of art that Pablo Picasso and Georges Braque made in the 1910s allowed them to negate the perspectival illusionism of naturalistic representation. Subsequent artists, such as Josef Albers and Mark Rothko, refined and developed the grid-like scaffolding of cubism to produce an austere and rather impersonal form of abstract art, in which flatness and order were of paramount importance. By the 1960s, however, a new generation of artists, including Chuck Close and Eva Hesse, began to negatively associate the rigid geometry of modernist abstraction with male dominance and political authoritarianism. These artists expanded and, in some cases, exploded the modernist grid to create works of art that embraced political content, figuration, narrative, and subjectivity. As this exhibition shows, contemporary artists continue to explore the temporal and spatial possibilities of grid-based art in works of art that challenge and revitalize the invented language of abstraction.

Investigations into the Ancient Mediterranean

May 05, 2012, through June 24, 2012

This exhibition explores how the close observation of works of art can reveal connections to wider cultural, religious, political, and social themes. It is part of an innovative collection-sharing initiative created to highlight the importance of teaching with original works of art as part of the college curriculum. Funded by a generous grant from the Andrew W. Mellon Foundation, this program enabled Yale University Art Gallery to lend forty-seven ancient Mediterranean objects to the Hood for a two-year period. Over the course of this past year and a half, Dartmouth faculty and students from a range of disciplines including art history, classical archaeology, and history have used both the Yale loans and works from the Hood's collection to explore current discourses on such topics as gender systems, representation and identity, and center and periphery in the Roman Empire.

By working closely with faculty and students to document these projects, the Hood wishes to highlight this major part of its daily activities as a teaching museum and make visible its work with undergraduate students, most of which happens "behind the scenes" in the Bernstein Study-Storage Center.

France in Transformation

The Caricature of Honoré Daumier

April 25, 2009, through August 24, 2009

One of the most witty and adept caricaturists of all time, Honoré Daumier created a body of social and political cartoons that continues to resonate today. The Hood Museum of Art’s collection offers a rich overview of Daumier’s career as a graphic artist, presenting a picture of France at a time in the mid-nineteenth century when cultural and societal changes were ushering in a new era of modernity.

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.

Pilobolus Comes Home

Three Decades of Dance Photographs

March 27, 2007, through July 08, 2007

Pilobolus Dance Theatre, founded by Dartmouth students in 1971, has changed the course of contemporary dance through its signature style of closely combined bodies and its radically innovative approach to collaborative artistic creation. Dartmouth celebrated Pilobolus's donation of its remarkable archives with a residence, performances, educational programs, and this exhibition at the Hood of stunning photographs chronicling thirty-five years of the company's work.

Art and/as Violence

December 02, 2006, through March 11, 2007

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