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Quarterly

Recent Acquisitions: Oshogbo School Works

Hood Quarterly, summer 2003

Recent gifts by Edward B. Marks ’32 of a painting by Twins Seven Seven (born 1944, Nigeria) and a tapestry by Adebisi Fabunmi (born 1945, Ghana) mark a new expansion of the Hood’s collections into modern and contemporary African art.

On Exhibit: Loans from the St. Johnsbury Athenaeum

Hood Quarterly, summer 2003
Mark Mitchell, Luce Curatorial Assistant for American Art

Scholarly Inquiry: Who Uses the Hood Collections?

Hood Quarterly, summer 2003

Fresh Perspectives: A Space for Dialogue Round Table

Hood Quarterly, summer 2003

Letter from the Director: Summer 2003

Hood Quarterly, summer 2003
Derrick R. Cartwright, Director

A Community of Learners: The Hood Docents

Hood Quarterly, spring 2003

Docents, or volunteer educators, introduce thousands of visitors to the Hood’s exhibitions and collections each year. After learning about the art on view, docents share their knowledge and enthusiasm by leading tours for school and community groups, teaching Saturday morning ArtVentures for children, and helping to staff Family Days.

Hood Symposium in Word & Image

Hood Quarterly, spring 2003

Five papers presented at a symposium held at the Hood Museum of Art in November 2000 form the core of the latest double issue of the journal Word & Image (January–June 2003).The papers explore the topic “Likeness in an Age of Mechanical Reproduction: Printed and Medallic Portraits in Renaissance and Baroque Europe.”

A Native American Repatriation

Hood Quarterly, spring 2003

The Hood Museum of Art sent Kellen G. Haak, Collections Manager/Registrar and Repatriation Coordinator, to Southeast Alaska last November to deliver a Chilkat tunic from the collection to the Deisheetaan clan of the Kootznoowoo tribe of Tlingit Indians.

A Space for Dialogue 2003

Hood Quarterly, spring 2003

Recent Acquisitions: Sebastião Salgado, Brasil (Hand, Serra Pelada), 1986

Hood Quarterly, spring 2003

In 1973, Sebastião Salgado (born 1944) abandoned a promising career as an economist to pursue photography. Like his colleague James Nachtwey, Salgado has dedicated his career to documenting the lives of suffering and survival led by the world’s refugee and migrant populations.

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