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September 1, 2013
Louise Fishman, Green’s Apogee, 2005, oil on canvas. Purchased through gift of Mr. and Mrs. Joseph H. Hazen by exchange; 2013.23.

Hood Quarterly, autumn 2013
Michael R. Taylor, Director

The Hood recently acquired a major painting by Louise Fishman, one of the most admired and influential abstract artists of her generation. Born in Philadelphia on January 14, 1939, Fishman attended the Philadelphia College of Art between 1956 and 1957 before completing her undergraduate education at the Pennsylvania Academy of the Fine Arts in Philadelphia. She later completed a BFA and BS at the Tyler School of Art in...

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September 1, 2013

Hood Quarterly, autumn 2013
Michael Taylor, Director

This exhibition presents the one hundred etchings that Picasso made between 1930 and 1937, which are collectively known today as the “Vollard Suite.” The dominant motif of the series is that of the sculptor in his studio, a theme that had biographical overtones for...

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September 1, 2013

Hood Quarterly, autumn 2013
Sarah Powers, Curator for Special Projects

I n 1907, Pablo Picasso and Georges Braque met through a mutual friend, the avant-garde poet Guillaume Apollinaire. The two artists would become creative and intellectual partners in the creation of a radical art movement known as cubism. From their meeting until the advent of World War I in 1914, Picasso and Braque worked in tandem to develop a new pictorial language that challenged and defied the traditional Renaissance notion that...

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September 1, 2013

Hood Quarterly, autumn 2013
Ugochukwu-Smooth Nzewi, Curator of African Art

In 1989, the Dak’Art Biennial was officially created by the government of Senegal as the first art biennial in sub-Saharan Africa. Its mandate was to promote the latest examples of contemporary African art and facilitate the discourse of artistic contemporaneity from an African perspective. I focus on the Dak’Art Biennial as an important context to explore the shift in contemporary African art since the 1990s. The bases of the...

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September 1, 2013

Hood Quarterly, autumn 2013
Mark Williams, Associate Professor, Film and Media Studies

Phil Solomon is one of the most acclaimed and enduring figures in experimental film and media. An acolyte, friend, and colleague of Stan Brakhage, he has worked in many media and pioneered numerous visionary inter-medial processes of moving-image production. His interest in visual culture was sparked during his childhood, when his father gave him a microscope. His artistic work over the...

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August 20, 2013
Fan Tchunpi, Pine Branches

September 7 through December 8, 2013

Hood Museum of Art Presents the Art of Fan Tchunpi

Fan Tchunpi (1898–1986) was one of the most important and prolific Chinese artists of the modern era, and the Hood Museum of Art at Dartmouth College is delighted to present the first solo exhibition of her work since her 1984 retrospective at the Musée Cernuschi (Asian Art Museum) in Paris. Between Tradition and Modernity: The Art of Fan Tchunpi examines Fan Tchunpi’s search for an artistic language that would...

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June 1, 2013
Fan Tchunpi, White Mountain Landscape

Hood Quarterly, summer 2013
Xinyue Guo ’14

Fan Tchunpi, one of the most important and prolific Chinese women artists of the modern era, painted this atmospheric view of New Hampshire’s White Mountains while living with her eldest son, Meng Chi Tsen, in Brookline, Massachusetts, in the early 1960s. According to her son, Fan Tchunpi liked to drive her Volkswagen minibus, load- ed with art supplies, on long road trips around New England while...

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June 1, 2013
Francesca Woodman, My House, Providence, Rhode Island, 1976, estate gelatin silver print, edition 9 of 40, printed 2008. Purchased through a gift from Marina and Andrew E. Lewin, Class of 1981; 2013.12.1 © George and Betty Woodman

Hood Quarterly, summer 2013

The museum recently acquired its first works by photographer Francesca Woodman (1958–1981). Two of the photographs, Space2 and My House, date from when she was an undergraduate student at the Rhode Island School of Design (RISD) between 1975 and 1978. They were purchased through the generous support of Marina and Andrew E. Lewin, Class of...

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June 1, 2013
Ansel Adams, Aspens, Northern New Mexico, 1958, negative date: 1958; print date: between 1963 and 1973, gelatin silver print. Purchased in memory of Edward A. Hansen, Member of the Board of the Hopkins Center and Hood Museum of Art, with gifts from his wi

Hood Quarterly, summer 2013

Considered the preeminent 20th-century landscape photographer, Ansel Adams demonstrates his mastery in conveying the effects of light in a landscape in this iconic image of an aspen wood. The photograph was acquired in memory of Edward Hansen, a former member of the Board of the Hopkins Center and Hood Museum of Art, with funds donated in his honor by his friends and family, his wife, Julia, and his children, Victoria, Class of 1988, and Christopher, Class of 1985. When Hansen...

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June 1, 2013

Hood Quarterly, summer 2013
Virginia Beahan, Senior Lecturer, and Brian Miller, Senior Lecturer

Two professors who teach photography in the Studio Art Department, Virginia Beahan and Brian Miller, have organized an exhibition that looks at the Hood Museum of Art’s collection through a particular lens: transgressive photography, or works that cross boundaries and perhaps change the way we view the world.

Virginia Beahan

The medium of photography originated in the 1800s as a means of...

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