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March 1, 2014
“Perdido,” a 1978 sculpture by Clement Meadmore

Hood Quarterly, spring 2014

The Australian-born artist Clement Meadmore (1929–2005) is best known for large-scale outdoor sculptures that transform hulking lengths of COR-TEN steel into abstract artworks of arresting fluidity and lightness. In the 1940s, Meadmore studied aeronautical engineering and industrial design at the Royal Melbourne Institute of Technology in Australia and initially pursued a career as a furniture designer. In 1953, he decided to become a sculptor and moved to Sydney to pursue his...

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March 1, 2014

Hood Quarterly, spring 2014
Katharine Hart, Senior Curator of Collections and Barbara C. and Harvey P. Hood Curator of Academic Programming

I could never turn away from my history . . . That’s the part of me that made me what I am now. That strength that I have is my pride in who I am. My heritage.
—Allan Houser

This May, the Hood Museum of Art installs five sculptures by Native American artist Allan Houser (1914–1994) in the Maffei Arts Plaza, adjacent to the museum and the Black...

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March 1, 2014

An Interview with Artist-in-Residence Daniel Heyman, Dartmouth Class of 1985

Hood Quarterly, spring 2014
Juliette Bianco, Deputy Director, and Daniel Heyman, Artist-in-Residence 

In fall 2013, Daniel Heyman, Dartmouth Class of 1985, was artist-in-residence at the College. A print from the Hood Museum of Art’s 2007 purchase of his powerful Amman series from the...

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February 28, 2014

Hood Quarterly, spring 2014

The tension between visual punch and global industrial “documentation” is a signature of photographer Edward Burtynsky’s work, and the Hood’s recent acquisition is a stunning example of this. In this photograph, Burtynsky explores the interconnectedness between industrial progress, geological history, and social human history through images of the marks we leave upon the Earth as a result of all three.

The Panna Meena stepwell was possibly built...

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February 28, 2014

Hood Quarterly, spring 2014

The influential and visionary painter Jennifer Bartlett first entered onto the contemporary art scene in the early 1970s with installations of small steel plates coated with white baked enamel, painted with fastidious configurations of dots, and then arranged in grids. Such plate compositions as Rhapsody, first shown in 1976, launched her career but certainly have not come to define it. Throughout the 1970s and 1980s, Bartlett’s work evolved away from the obsessive control...

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January 9, 2014
“Perdido,” a 1978 sculpture by Clement Meadmore

January 9, 2014

Australian- born artist Clement Meadmore (1929–2005) is best known for the large-scale outdoor sculptures that he made after moving to New York in 1963. The Hood Museum of Art at Dartmouth College is delighted to announce the installation of Meadmore’s Perdido, a large, complex, abstract composition made from COR-TEN steel. The sculpture was gifted to the museum by Jay R. Schochet, Dartmouth Class of 1952, and his wife, Suzette D. Schochet, and is permanently installed near the corner of Wheelock...

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January 1, 2014

Co-curators Michael Taylor and Gerald Auten Discuss In Residence: Contemporary Artists at Dartmouth

Hood Quarterly, winter 2014

Michael Taylor (MT): What excites you the most about this exhibition?

Gerald Auten (GA): What excites me the most is that it has never been done before, and ever since I came here I’ve wanted this exhibition to happen. You know, eighteen years ago, I thought, Wouldn’t it be amazing if we could do a retrospective of the...

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January 1, 2014

Hood Quarterly, winter 2014

The lasting impact of Dartmouth’s Artist-in-Residence Program is keenly felt in the works of public art that visiting artists have made to embellish the campus itself, beginning with the completion of José Clemente Orozco’s mural cycle The Epic of American Civilization in the lower-level reserve reading room of Baker Library in 1934...

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January 1, 2014

Hood Quarterly, winter 2014
Barbara J. Macadam, Jonathan L. Cohen Curator of American Art 

Paul Sample (1896–1974), Dartmouth Class of 1920, was Dartmouth’s artist-in-residence from September 1938 until 1962. During that unmatched period of time, he maintained a studio on campus and conducted informal art classes for both students and community members. He also pursued his own art and...

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October 18, 2013
Shadowplay: Transgressive Photography from the Hood Museum of Art, August 10-December 8, 2013, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire. Photo by Jeff Nintzel.

Shadowplay Exhibition Showcases Works of Transgressive Photography

An exhibition of transgressive photography is on view at the Hood Museum of Art at Dartmouth College August 10 through December 8, 2013. Shadowplay: Transgressive Photography from the Hood Museum of Art includes photographs from the mid-twentieth century onward that startle, disturb, and cause one to question. Two professors who teach photography in the Studio Art Department at Dartmouth College, Virginia Beahan and Brian Miller, have organized this...

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