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September 1, 2016

Hood Quarterly, autumn 2016

After twenty-six years at the Hood Museum of Art, Lesley Wellman, Hood Foundation Curator of Education, will be leaving to take a new position as Head of Multigenerational Learning at the Saint Louis Art Museum in September. Lesley has consistently penned the Community of Learners section of the Hood Quarterly, and we are delighted to dedicate this issue’s...

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July 13, 2016
Dartmouth students in the Hood's conference room participating in the 2016 spring session of Museum Collecting 101. Photo by Alison Palizzolo.

by Eva Munday '16, Hood Programming Class of 1954 Intern

Dartmouth students take with them various memories of their college years, whether volunteering at a local organization, a performance at the Hopkins Center, service as a class officer, or participation in a particularly important campus discussion. For the past fifteen years, the Hood Museum of Art has been providing another a memorable experience for students, and also an opportunity to leave their mark on campus. In a special non-curricular course, a group of Dartmouth students get to choose a work of art for the Hood's...

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July 11, 2016
Hood detour map.

by Hannah Silverstein, MALS ’09

The expansion and renovation of the Hood Museum of Art begins this summer—and while planners are doing everything possible to minimize disruptions to the community, a few are inevitable, they say.

“We will do everything we can to mitigate noise and movement and vibrations,” says Lisa Hogarty, vice president of Campus Services. She says faculty, students, and staff should be aware of construction vehicles entering and leaving the worksite, especially along Wheelock Street, Vox Lane, and Crosby Street....

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June 1, 2016
Photo by Robert Gill.

Hood Quarterly, spring/summer 2016
John Stomberg, Virginia Rice Kelsey 1961s Director

It is a special time in the long evolution of the museum at Dartmouth. For nearly 250 years, Dartmouth’s collections have grown and become ever more diverse. We started with a single wooly mammoth tooth, and today we care for examples of almost every conceivable manifestation of creative production, including important holdings of Native American material; Australian Aboriginal paintings; European old master and...

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June 1, 2016
Ellsworth Kelly, Dartmouth Panels, 2012, painted aluminum. Gift of Debra and Leon Black, Class of 1973; 2012.35. Photo by Eli Burakian.

Hood Quarterly, spring/summer 2016
John Stomberg, Virginia Rice Kelsey 1961s Director

The energy of Ellsworth Kelly’s Dartmouth Panels startles me every time I walk by them, which, happily, is quite often. The five color panels looming over the Maffei Arts Plaza shift subtly throughout the day as the light changes, the hues sliding toward the blue end of their range early on and warming to the yellow end as the day proceeds—all...

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June 1, 2016
Alma Woodsey Thomas, Wind Dancing with Spring Flowers, 1969, acrylic on canvas. Purchased through a gift by exchange from Evelyn A. and William B. Jaffe, Class of 1964H; 2016.5. Photo courtesy of Connersmith Gallery, Washington, D.C.

Hood Quarterly, spring/summer 2016

Alma Thomas (American, 1891–1978) based her paintings on nature. In the case of Wind Dancing with Spring Flowers, she was inspired by the circular formal gardens of Washington, D.C. Like the other Color Field painters in her city, including Morris Louis, Kenneth Noland, Sam Gilliam, and Gene Davis, Thomas used the exuberance and power of color to carry the emotional content of her paintings. More...

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June 1, 2016
Lyman, Fenton & Company (1849–52) / United States Pottery Company (1853–58), Bennington, Vermont; Daniel Greatbatch (b. England, active 1838–c. 1861), possible modeler, Pair of Lions, about 1849–58, green and amber “flint enamel” lead glaze on white earth

Hood Quarterly, spring/summer 2016

Like many other trades, pottery production in nineteenth-century America shifted from small shops reliant on hand craftsmanship to larger operations that utilized new techniques to reach expanded, more dispersed markets. By the mid-nineteenth century, Bennington, Vermont—long a center for the production of ceramics—had become one of the foremost pottery producers nationally. In 1848, the succession of Bennington’s Norton and Fenton family...

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June 1, 2016
Ugochukwu-Smooth Nzewi, Curator of African Art at the Hood Museum of Art, with Pamela Joyner and John Stomberg in the winter 2016 exhibition Inventory: New Works and Conversations Around African Art. Photo by Robert Gill.

Hood Quarterly, spring/summer 2016
John Stomberg, Virginia Rice Kelsey 1961s Director, and Pamela Joyner ’79

The inimitable Pamela Joyner ’79 recently spent a day at the Hood discussing our plans for the future of the museum. Joyner, trustee emerita and representative to the combined Hood Museum of Art / Hopkins Center Board of Overseers, currently sits on the boards of the Art Institute of Chicago and the Tate Americas Foundation, the Tate Modern’s International...
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June 1, 2016
final_hood_compass_logo.jpg

Hood Quarterly, spring/summer 2016

We are delighted to introduce the museum’s four-point plan for continued programming during the interval of our construction and reinstallation, ahead of a gala reopening in 2019.

HOOD DOWNTOWN 

Perhaps the most exciting aspect of our upcoming plans will be our storefront exhibition space on Main Street in Hanover. Beginning on September 16...

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June 1, 2016
Images and ArtStart Instructor Neely McNulty explores Ellsworth Kelly’s Dartmouth Panels with a group of fifth graders. Photo by Tom McNeill.

Hood Quarterly, spring/summer 2016

While our building undergoes an expansion and renovation, our outreach to regional schools will remain strong. The Hood will continue to offer Images and ArtStart, two of the museum’s foundational education programs that have provided valuable experiential learning opportunities for thousands of regional schoolchildren since their inception...

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