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April 1, 2013
Elizabeth Catlett, Sharecropper, 1952, printed 1968, color linoleum cut on medium weight, cream, Japanese laid paper. Purchased through the Mrs. Harvey P. Hood W ’18 Fund; 2012.62.

Hood Quarterly, spring 2013

Sharecropper is arguably the best-known image by sculptor and printmaker Elizabeth Catlett (1915–2012), who was one of the most admired African American artists of the twentieth century. She devoted her career to creating works that addressed issues of social justice—especially the struggles of African American women—and aimed to reach a broad, multiracial audience.

Catlett’s social convictions...

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March 1, 2013

Hood Quarterly, spring 2013
Michael Taylor, Director

This spring, twenty-four studio art majors from the Class of 2013 worked with me on a special exhibition examining the use and significance of words and language in contemporary art. Building on the success of last year’s student-centered exhibition The Expanding Grid, this project offered these seniors a unique opportunity to learn more about...

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March 1, 2013

Hood Quarterly, spring 2013
Allen Hockley Associate Professor, Department of Art History, Dartmouth College, and curator of the exhibition

Initial encounters with the prints in this exhibition might suggest to first-time viewers that they are little more than beautifully rendered pictures of fashionable women. Such an assessment accurately but only partially characterizes the viewing experience the artists intended for them. In early-twentieth-century...

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January 1, 2013

Hood Quarterly, winter 2013
Tricia Y. Paik ’91, Assistant Curator of Modern and Contemporary Art, Saint Louis Art Museum

This fall, Dartmouth College unveiled a monumental wall sculpture by leading American artist Ellsworth Kelly. Commissioned by Leon Black ’73 and his wife, Debra Black, Dartmouth Panels, a multicolored, site-specific work, was conceived in conjunction with the new Black Family Visual Arts Center, also dedicated this fall and made possible by a $48...

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January 1, 2013

Hood Quarterly, winter 2013

As part of the Year of the Arts initiative at Dartmouth during the 2012–13 academic year, Crouching Spider by French-born American artist Louise Bourgeois (1911–2010) has been installed on campus in the Maffei Arts Plaza, in front of the new Black Family Visual Arts Center.

For more than seven decades, Bourgeois pursued conflicting psychological and emotional impulses to create intensely autobiographical sculptures that also addressed universal themes, such as...

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January 1, 2013

Hood Quarterly, winter 2013
An interview with collector Will Owen, conducted during the recently opened Crossing Cultures exhibition, by Stephen Gilchrist, Curator of Indigenous Australian Art at the Hood Museum of Art and curator of the exhibition

Stephen Gilchrist (SG): Will, it was only two years after you and Harvey saw the significant 1988 exhibition Dreamings: The Art of Aboriginal Australia in New York that you...

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January 1, 2013
Faith Ringgold, People’s Flag Show, 1970, offset lithograph. Purchased through the Mrs. Harvey P. Hood W’18 Fund; 2012.16. © Faith Ringgold 1970.

Hood Quarterly, winter 2013

The Hood Museum of Art is delighted to add to its collection two important works on paper by the celebrated African American artist Faith Ringgold (Amercian, born 1930). Ringgold is best known for her decades-long series of narrative quilts, in which she fuses her training in the fine arts with the quilt-making and storytelling traditions of her family and heritage. This important body of work was preceded by a series of posters and paintings Ringgold made in the 1960s and early...

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January 1, 2013
April Gornik, Untitled (Desert Vista), 1980

Hood Quarterly, winter 2013

April Gornik (American, born 1953) is widely recognized as one of the most important and influential painters working today. She is best known for her monumental landscape paintings, which are fictional evocations of nature rather than imitations of the natural world. In a recent interview with Michael Taylor, director of the Hood Museum of Art, Gornik described Untitled (Desert Vista) as “a seminal painting for...

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September 1, 2012
Will Owen and Harvey Wagner at the opening of Crossing Cultures

Hood Quarterly, autumn 2012
Stephen Gilchrist, Curator of Indigenous Australian Art

For Aboriginal people from Australia, the land has always been the symbolic bedrock of cultural knowledge. The shapeshifting Ancestors who created the land, named it, and passed down the laws of social behavior on epic journeys eventually metamorphosed into the earth and vested it with their power. These narratives are reconstituted through ceremonial performances and cultural art production to ensure the wellbeing of the...

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September 1, 2012

Hood Quarterly, autumn 2012
Juliette Bianco, Assistant Director

Denver-based multimedia artist Stacey Steers conceived her Night Hunter House around her sixteen-minute handmade film, shot in 35mm color, titled Night Hunter (2011). The film, incorporated into the house itself, is composed of more than four thousand collages, an intensely laborious process that Steers completed over a four-year period. The music and sound from...

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