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Thin Ice: Inuit Traditions within a Changing Environment

Climate and Weather within the Context of Inuit Life and Traditions

Hood Quarterly, winter 2007
Nicole S. Tuckenberger, Stefansson Postdoctoral Fellow, Curator of Thin Ice: Inuit Traditions within a Changing Environment

Thin Ice: Inuit Traditions within a Changing Environment

Dartmouth Arctic Collections and the International Polar Year, 2007–8

Hood Quarterly, winter 2007
Ross A. Virginia, Director, Dickey Center Institute of Arctic Studies, Professor of Environmental Studies, Dartmouth College; Kenneth S. Yalowitz, Ambassador (Ret.) Director, Dickey Center for International Understanding, Adjunct Professor of Government, Dartmouth College; Gor Krupnik, Curator, Circumpolar Ethnology, Arctic Studies Center, National Museum of Natural History, Smithsonian Institution

Communal Creations: The Art of El Anatsui

Letter from the Director: Winter 2007

Hood Quarterly, winter 2007
Brian Kennedy, Director

A Space for Dialogue: Images of War

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.

Marguerite Collier Named 2006 Volunteer of the Year

Staff News: Autumn 2006

Recent Acquisitions: Henry W. Bannarn, Midwife (Breath of Life), about 1940

Hood Quarterly, autumn 2006
Barbara J. MacAdam, Jonathan L. Cohen Curator of American Art

Recent Acquisitions: Alison Saar, Caché, 2006

Hood Quarterly, autumn 2006
Barbara Thompson, Curator of African, Oceanic, and Native American Collections

Caché is a powerful life-sized sculpture by Alison Saar, who was artist-in-residence in Dartmouth College’s Department of Studio Art in 2002. This work presents an autobiographical narrative layered with African and African American artistic and cultural references.

Protest in Paris 1968: Photographs by Serge Hambourg

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?

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