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June 1, 2015
Mateo Romero, Bloom

Hood Quarterly, summer 2015

In 2013, the Hood Museum of Art was awarded a grant from the Institute of Museum and Library Services (IMLS) to digitize the museum’s entire collection of Native American art and make images and information about the objects available on a dedicated Web forum. As part of this three-year project, more than 3,500 Native American objects in the collection are being photographed, and experts on Native...

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June 1, 2015

Hood Quarterly, summer 2015
Juliette Bianco, Interim Director

Human nature sometimes seems most puzzling when we attempt to reconcile the mounting interconnectedness of the planet’s social, political, economic, environmental, and technological systems with daily news of acts of violence, prejudice, and misunderstanding. The visual arts can help us in this effort: images such as Therese Ritchie’s Andrew Galitju Burarrwanga and Mulung Yunupingu, for example, focus...

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June 1, 2015
Conversation with Victor Ekpuk

Hood Quarterly, summer 2015

Victor Ekpuk’s ephemeral wall drawings demonstrate the artist’s site-specific adaptation of his drawing approach to architectural working surfaces. Created without preliminary sketches or pre-formed ideas, the murals emerge out of the physical spaces they ultimately occupy, functioning much like the symbolic forms that mark sacred spaces and shrine walls in traditional societies in Africa. In this interview conducted in advance of his visit to Dartmouth, Ekpuk discusses his wall...

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June 1, 2015
Members of the Engineering 2 class in the Bernstein Study-Storage Center

Hood Quarterly, summer 2015

Sometimes, a moment of experiential learning represents such a profound confluence of art, technology, and critical inquiry that it deserves a retelling outside of the classroom (or, in this case, the Hood’s Bernstein Study-Storage Center), and this was exactly what happened for a winter-term engineering class called “Integrated Design: Engineering, Architecture, and Building...

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June 1, 2015
Benny Andrews, Witness

Hood Quarterly, summer 2015
Juliette Bianco, Interim Director

Both depicting black life in America from a well of personal emotion and experience and advocating publicly for black artists, Benny Andrews (1930–2006) never distinguished art from education from activism. One of ten children in a Madison, Georgia, sharecropper family of African, Scottish, and Cherokee lineage, Andrews always identified as African American. After serving in the U.S. Air Force, he attended the School of the Art...

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June 1, 2015
Chike Obeagu, City Scape and City Dwellers II

Hood Quarterly, summer 2015

Chike Obeagu is known for his expressive mixed-media paintings that explore social experiences of the everyday. City Scape and City Dwellers II represents his most successful attempt to date to push the formal and conceptual boundaries of his subject matter, the materiality of his medium, and photo-collage technique. Obeagu presents a condensed yet an all-encompassing view of Abuja, Nigeria’s capital city, where...

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May 1, 2015
Allan Houser, Morning Solitude

Dartmouth College Celebrates Sculpture of Allan Houser

Allan Houser (1914–1994), one of the best-known Native American artists of the twentieth century, continues to be an influential figure in the field of Southwestern sculpture in the United States. This May, the Hood Museum of Art installs five sculptures by Houser in the Maffei Arts Plaza, adjacent to the museum and the Black Family Visual Arts Center. These works represent a cross-section of his large three-dimensional work from the years 1986 to 1992. There will also be two...

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April 17, 2015
Our Senior Interns - Community of Learners

Hood Quarterly, spring 2015

Our Senior Interns
Olivia Field, Class of 2015, Public Relations, Katherine Conroy Intern

The 2014–15 senior interns for the Hood Museum of Art have embarked on a journey through the behind-the-scenes world of museums.

Our curatorial interns, Elissa Watters,...

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April 17, 2015
Henry Ossawa Tanner, Étaples and the Canche River at Dusk, about 1918

Hood Quarterly, spring 2015

Born in Pittsburgh to a former slave and a pastor in the African Methodist Episcopal Church, Henry Ossawa Tanner (1859–1937) developed into a painter of international renown. He spent most of his youth in Philadelphia, where he honed his early naturalistic style at the Pennsylvania Academy of the Fine Arts under the mentorship of...

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April 17, 2015
Red and Red, 2014, oil on canvas

Hood Quarterly, spring 2015

In the paintings that she has made in the past year in her New York studio, including Red and Red, American artist Pat Steir (born 1938) has poured, splashed, and dripped pigment thinned with turpentine onto vertically hung canvases to create luscious washes and...

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