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Past Exhibitions

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.

Center and Periphery

Cultural Hybridity in the Funerary Arts of the Roman Provinces

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February 11, through March 11, 2012

This installation presents examples of the kind of hybrid visual culture materialized in funeral art from certain key provinces—Syria, Africa Proconsularis (modern Tunisia), and Egypt—created during the era when the Roman Empire was at its greatest extent.

Continuity of the Spiritual

Old and Modern Masters

67
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.

The Illusions of Eighteenth-Century European Portraiture

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October 22, 2011, through January 01, 2012

From ancient times to the present day, portraiture has been a medium in which individuals could create an illusion of themselves in a very selective and proscribed manner. This installation features four portraits, by Sir Joshua Reynolds, George Romney, Elizabeth Louise Vigée Le Brun, and Pompeo Batoni, which suggest that portraits are always a construction of some sort, though the attentive viewer can uncover their secrets.

Aggressive Art

Early Caricature and Self-Parody in France and England

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September 03, 2011, through October 16, 2011

This installation explores the culture of caricature and features five late-eighteenth- and early-nineteenth-century prints, including works by James Gillray and Honoré Daumier.

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.

Faces of Antiquity

Portraiture of the Roman Empire

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May 14, 2011, through August 28, 2011

This installation presents some of the most widespread varieties of ancient portraiture, including funerary painting, sculptural busts, and coinage from ancient Rome.

Fluxus and the Essential Questions of Life

April 16, 2011, through August 07, 2011
George Maciunas, Burglary Fluxkit

This traveling exhibition and publication are drawn from the Hood Museum of Art’s George Maciunas Memorial Collection of works by Fluxus artists, enriched with loans from the Museum of Modern Art, Harvard University, and the Walker Art Center. Intended to provide a fresh assessment of Fluxus, the installation is designed to encourage experiential encounters for the visitor. The 1960s–70s phenomenon that was Fluxus resists characterization as an art movement, collective, or group, and it further defies traditional geographical, chronological, and medium-based approaches. The fundamental question—“What’s Fluxus good for?”—in fact has important implications for the role of art today. The function of Fluxus artworks is to help us practice life; what we “learn” from Fluxus is how to be ourselves.

Envisioning Jerusalem

Prints from Dürer to Rembrandt

April 09, 2011, through June 19, 2011

Medieval maps typically located Jerusalem at the center of the world, reflecting its fundamental importance as the biblical universal city in both Old and New Testaments. According to Jewish, Christian, and Islamic beliefs, prophets and patriarchs from Abraham to Muhammad are said to have trodden its grounds, and all three monotheistic faiths consider it to be a holy city. Jerusalem has also been the site of religious and political conflicts from the Babylonian era onward, imbuing it with additional sacred and secular significance.

As early as the fourth century, Christian pilgrims traveled to Jerusalem to visit the places associated with the final days of the life of Jesus as they were portrayed in the Gospels—beginning with his triumphal entry and culminating in the Crucifixion. After the invention of the printing press in the fifteenth century, a vast market emerged for descriptions and representations recording such devout journeys. These materials contributed to the dissemination of common impressions of the pilgrimage experience.

Because only a few actual European artists traveled to the Holy Land during the Ottoman occupation in the sixteenth and... read more

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