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March 1, 2007
Subhankar Banerjee, Caribou Migration I, 2002, UltraChrome print. Purchased through the Charles F. Venrick 1936 Fund; 2006.61

Hood Quarterly, spring 2007
Katherine Hart, Associate Director and Barbara C. and Harvey P. Hood 1918 Curator of Academic Programming

Five years ago, Subhankar Banerjee spent almost two years in the Arctic National Wildlife Refuge, photographing this remote region in northeastern Alaska in all four seasons. His work there coincided with the push by oil companies and the current U.S. administration to open up the oil and gas reserves on the coastal plain to drilling. During his travels over nearly four thousand miles of the 19.5-million-acre...

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February 28, 2007

Hood Quarterly, spring 2007

Nunavut—“our land” in Inuktitut, the Inuit language—is the region of Canada that encompasses the area around Hudson Bay, west of Greenland. It was created in 1999 as part of a land claim settlement with the Canadian government by the region’s native people, who call themselves Inuit, “the people.” This remarkable transfer of land, the first in Canada in over fifty years, separated Nunavut from the Northwest Territories. Our Land includes sculptures, prints, textiles,...

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February 28, 2007

Hood Quarterly, spring 2007
Kristin Monahan Garcia, Curatorial Assistant for Academic and Student Programming

Pilobolus, the dance group that emerged from a Dartmouth classroom in 1971, has toured worldwide in the thirty-five years since its founding, created an institute of educational programming, launched touring companies, and profoundly influenced the world of contemporary dance. Now they have come home again.

The company’s spring visit to the College celebrates the donation of the Pilobolus archives to the Dartmouth College...

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September 1, 2006

Hood Quarterly, autumn 2006
Brian Kennedy, Director, and Katherine Hart, Associate Director

Of what value are photographs when reflecting upon historic events? Many are compelling images that give the look and feel of a time that is past—the way people dressed, their fleeting expressions, the particularity of a place at a certain day and hour. What truths are to be gleaned from them, if any? Why do some photographs become symbolic of an entire era?

The most famous are studied more for their impact...

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September 1, 2006

Hood Quarterly, autumn 2006 

This fall when you visit the Hood, make a point to see the current Space for Dialogue exhibition in the entrance lobby. Five powerful selections from the collection including prints by Francisco Goya and Käthe Kollwitz, photographs by James Nachtwey and Dmitri Baltermants, and a bronze sculpture by Marius Jean Antonin Mercie come together to present a profound and moving picture of war and its victims.

On view through...

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June 1, 2004

Hood Quarterly, summer 2004

This past term, twelve Dartmouth undergraduates gave up their Monday evenings for six consecutive weeks to participate in a non-credit course offered by the Hood. As a group, these individuals studied the museum’s small but distinguished collection of photographs, participated in discussions about the history of that medium, and became acquainted with the ethics of standard curatorial practice. Ultimately, these students helped strengthen the permanent holdings by advising the Hood on the acquisition of a single work of art. The work they...

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June 1, 2004

Hood Quarterly, summer 2004
Kevin Perry ’04, Megan Fontanella ’04, and Jennifer Schreck ’04, Hood Museum of Art interns

This winter, Kevin Perry ’04, public relations intern, interviewed Megan Fontanella ’04, Class of 1954 intern, and Jennifer Schreck ’04, part-time special projects intern, about the exhibition they curated during their senior year. The show features the work of over two dozen photographers, all of them women, from the permanent collection of the Hood.

KEVIN: Why...

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June 1, 2004

Hood Quarterly, summer 2004
Roberto Tejada, Assistant Professor, Art History, Theory, and Criticism, Visual Arts Department, University of California, San Diego, and co-curator of the exhibition

Luis Gispert is an image-maker in the comprehensive sense of the word. Loud Image presents a broad range of his works—photographic, time-based, and sculptural—with the aim of prompting a conversation between them in order to...

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January 1, 2004

An Interview with Hugh Davies, The David C. Copley Director of the Museum of Contemporary Art San Diego

Hood Quarterly, winter 2004
Derrick R. Cartwright, Director, Hood Museum of Art, and Hugh Davies, The David C. Copley Director, Museum of Contemporary Art San Diego

Interview conducted September 17, 2003

Lateral Thinking: Art of the 1990s is a deep survey of vanguard representational practices from the preceding decade, all drawn from the permanent collection of the Museum of Contemporary...

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January 1, 2004

Hood Quarterly, winter 2004
Derrick R. Cartwright, Director

Artists have always struggled to represent their visions of their times, lives, and surroundings. As a result of these struggles, art can connect us with the experiences of others and even bind us as a community. The exhibitions included in New Art Now continue in that spirit as the Hood community spends a year looking at and talking about contemporary art and society worldwide. Not only will you encounter some of the most exciting art-making in the world today, but you will have a stimulating and...

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