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Past Exhibitions

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

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.

Traditional Connections / Contemporary Practice

October 26, 2013, through January 19, 2014

A dichotomy between craft and art has long been present in critical Western art history, founded largely on a deep-rooted system of aesthetic values. These definitions and values have often ignored the contribution of women artists. The most obvious example of this is women's capacity within the world of craft—a term typically associated with a form of "low art" largely created by women in the domestic sphere to which they have been relegated. Some contemporary women artists have chosen to use traditional techniques associated with craft and utilitarian objects to produce unique and innovative works of art, in the process challenging the largely male-dominated art world to overtly acknowledge their talent as artists.

Cubism and Its Legacy

August 17, 2013, through December 22, 2013

In the first few decades of the twentieth century, avant-garde artists sought to challenge traditional notions about pictorial representation by creating art that responded to the rapidly changing modern world that surrounded them. The most far-reaching and radical of these artistic movements was cubism, developed between 1907 and 1914 by Pablo Picasso and Georges Braque. Their artistic collaboration produced works that defied the Renaissance convention that painting should represent an illusionistic window into the world. Instead, cubism shattered preconceived notions about vision, asserted the flatness of the picture plane and the materiality of paint, and presented subjects from various perspectives and planes at the same time. Cubism and Its Legacy, drawn from the Hood Museum of Art's extensive collection of modern and contemporary art, presents the vast range of work made possible by these developments.


The Vollard Suite

August 17, 2013, through December 20, 2013

Pablo Picasso created the one hundred etchings in his ferociously inventive Vollard Suite between 1930 and 1937. This suite—on view at the museum in its entirety—reveals his mastery of the printmaking process as well as his dialogue with surrealism and the art of the past.

Between Tradition and Modernity

The Art of Fan Tchunpi

September 07, 2013, through December 08, 2013
Fan Tchunpi, Pine Branches

This exhibition explores the extraordinary life and work of Fan Tchunpi (1898–1986), one of the most important and prolific Chinese artists of the modern era. As the first solo exhibition of the artist's work since her 1984 retrospective at the Musée Cernuschi (Asian Art Museum) in Paris, Between Tradition and Modernity examines Fan Tchunpi's search for an artistic language that would speak for the self and the nation in an age of crisis, war, and revolution. The oil paintings, works on paper, and ceramics on display in this exhibition demonstrate her efforts to create a dynamic synthesis of Chinese and Western artistic traditions and techniques, while also reflecting the turbulent age in which she lived.


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.

Abstracting Emotion

The Intersections between Black and White

August 10, through October 20, 2013

In Western culture, the color black is a code or symbol sometimes associated with depression, darkness, and despair. Some twentieth-century artists have gone beyond these preconceptions to imbue the color with very personal associations by manipulating the cultural significance of black using the principles of abstraction. The artists harness a range of tones, forms, lines, and edges to create a unique style and form of expression centered upon black. 

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.


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