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April 17, 2015
Dartmouth’s introductory French II class works in the exhibition About Face

Hood Quarterly, spring 2015

Organized in collaboration with nine Dartmouth students, About Face: Self-Portraiture in Contemporary Art explores the extraordinary range and global diversity of self-portraiture in contemporary art. Building on the success of recent student-driven Hood exhibitions, such as The Expanding Grid and...

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March 1, 2015
Brian Ulrich, Edinburgh, UK

Hood Quarterly, spring 2015

The Hood Museum of Art recently received a major gift of contemporary photography from Nancy and Thomas F. O’Neil III, a Dartmouth alumnus from the Class of 1979. This outstanding group of thirty-nine photographs by seventeen photographers substantially enhances the museum’s growing collection of recent...

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January 15, 2015
Nomusa Makhubu, Umasifanisane I (Comparison I)

Hood Quarterly, winter 2015

In Self-Portrait, Nomusa Makhubu (born 1984) presents a haunting vision of South Africa’s past by embedding her portrait on several colonial-type photographs. The Cape Town–based South African artist developed the visually compelling and evocative photographic series, comprised of thirteen prints, between 2007 and 2013. It...

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September 1, 2014
Kiki Smith, My Blue Lake, 1995, photogravure, à la poupée inkling, and lithograph in 3 colors on mold made En Tout Cas paper. © 1994 Kiki Smith/Universal Limited Art Editions

Hood Quarterly, autumn 2014

Kiki Smith is among the most admired and significant American artists of her generation. As a feminist artist and activist, she has created a large number of highly memorable sculptures, drawings, collages, and prints in which the human body is imbued with political significance. Smith has often used her own face and body as material for her work, and this practice continues in My Blue Lake, her most important...

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September 1, 2014
selma march

Hood Quarterly, autumn 2014
Amelia Kahl, Coordinator of Academic Programming

I was drawn to that specific image because the Hood’s collection includes many civil rights-era pieces, but few of them actually illustrate what civil rights activism looked like. Karales’s photo, with other Karales photos in the series, provides a context for the rest of the Hood’s civil rights collection. Since our group had the opportunity to visit the galleries from which we were evaluating photographs, I’m happy to say...

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June 1, 2014
Chuck Close, Self-Portrait Screenprint 2012, in About Face: Self-Portraiture in Contemporary Art.

Hood Quarterly, summer 2014


The mammoth heads that have been the exclusive subject of Chuck Close’s paintings and prints since the 1960s have redefined portraiture during the second half of the twentieth century. Close’s subjects are his family, his friends, himself, and fellow artists, whose faces are shown close-up and rendered through his distinct, meticulous marks. The artist begins by taking black-and-white or color Polaroid photographs of his subjects, which are carefully covered with a grid pattern...

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June 1, 2014

Vietnam: The Real War, Photographs from the Associated Press

Hood Quarterly, summer 2014

Last year, the Associated Press in association with Abrams published a book that looks back at the remarkable photographs taken by AP photographers during the Vietnam War. Titled Vietnam: The Real War, this compilation of photographs from the 1950s...

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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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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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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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