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Exhibitions Archive

Bob Haozous, American / Chiricahua Apache / Diné, born 1943, Apache Pull-Toy, 1988, painted steel, 54 x 48 x 16 in. (137.16 x 121.92 x 40.64 cm). Hood Museum of Art, Dartmouth: Purchased through the Joseph B. Obering '56 Fund; S.989.17. © Bob Haozous

Recycle, Resist, Protect, Sustain

Native Ecologies
January 26 – December 30, 2019
What do you see and what can you understand when you look at a piece of Native pottery made in the late 19th century? In this gallery, we‘ll ask what we might see and understand of Native and social ecologies when we look in, under, and outside the drawing, carving, tool, ceremonial object, and item of clothing—that is, Native relationships with and responsibilities to place, land, water, plants, and animals, and to family, community, and stranger.

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Manambu people, 20th century, Shield, wood with pigment. Harry A. Franklin Family Collection; 990.54.28128

The Sepik River and Abelam Hill Country

Melanesian Art
January 26 – December 8, 2019
The art of Melanesia is a particular strength of the Hood Museum of Art‘s collection, and the museum‘s primary holdings are from the island of New Guinea in the southwestern Pacific. The objects in this gallery offer a window into the region‘s traditional religions, people‘s ideas about the supernatural world, and the social relationships of people living within the traditional societies located in the Sepik River region and Abelam Hills in the northern part of the island.

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El Anatsui, Ghanaian, born 1944, Hovor, 2003, aluminum bottle tops and copper wire, 240 x 216 in. (609.6 x 548.6 cm). Hood Museum of Art, Dartmouth: Purchased through gifts from the Lathrop Fellows; 2005.42. © El Anatsui

A Focus on Africa

Global Contemporary
January 26 – December 1, 2019
Global contemporary art encapsulates the practices of Western and non-Western artists alike who emobdy the spirit of the time. This installation presents a contemporary story of the continent of Africa through fifteen powerful works in diverse media and in myriad forms by multiple generations of artists. The works explore a range of issues, including the impact of the colonial past on present challenges of nation-building in Africa, feminism, urbanism and infrastructural changes, globalization, forced and voluntary immigration, and environmental challenges.

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Elizabeth Nyumi Nungurrayi, Parwalla, 2000, acrylic on canvas. Gift of Will Owen and Harvey Wagner; 2009.92.81. © Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2019.
A World of Relations
January 26 – December 8, 2019
This selection of works from the Hood‘s Owen and Wagner Collection of Aboriginal Australian Art explores a series of relationships between spouses, siblings, parents, and children, as well as those bonded by shared lands or experiences. Family ties run deep in Indigenous Australian art. And yet, for Indigenous Australians, the concept of kinship is more than simply genetic: it is the basis for a complex cosmology that unites all things in the universe.

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The installation titled The Expanded Universe of Postwar Art in the new northeast gallery of the Hood Museum of Art. Photo by Rob Strong.
The Expanding Universe of Postwar Art
January 26 – November 17, 2019
Exchanging ideas has always motivated artists to evolve new approaches to their work. These exchanges sped up demonstrably in the early 20th century, when ships could make a transatlantic voyage in a matter of weeks, allowing New Yorkers to see the latest ideas coming out of Paris--and vice versa. This gallery is dedicated to the excitement of the postwar period in New York and California, in Paris and Tokyo. It also represents the expanded participation in the art world by previously underrepresented groups, highlighting a time of emerging visual dialogues among an increasingly diverse and international group of artists who shared their work with a growing world audience.

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"The Politics of Pink" installed in the Hood Museum's Gutman Gallery. Photo by Alison Palizzolo.
The Politics of Pink
September 28, 2019, through November 3, 2019

Pink is not just a pretty color. An exhibition exploring all things pink, from its problematic associations with femininity, gender norms, and race to its contemporary reinvention in activism. The use of the color pink, these works make clear, transcends the purely aesthetic.

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