Exhibitions Archive
Metamorphosis and the Feminine
Agents of Change
This installation features seven works of art which touch upon moments of feminine metamorphosis. In them, women are agents of change: they cause change and/or are changed themselves. Through these works, the unique relationship between the feminine and transformation becomes clear, and metamorphosis in turn becomes an act that can emancipate women from the confines of their traditional gender roles, to one degree or another.
Views of the Temple of Sibyl at Tivoli across Time
The Allure of Ruins
This installation explores views of ancient Roman ruins and the Italian countryside that have inspired artists for centuries, particularly the Temple of Sibyl at Tivoli. For both American and European artists, ruins such as those at Tivoli have always possessed a seemingly universal and timeless quality.
Old and Modern Masters
Continuity of the Spiritual
This installation explores the representation of emotion and spirituality in works of art dating from the Renaissance to today in paintings, prints, and video.
The Illusions of Eighteenth-Century European Portraiture
From ancient times to the present day, portraiture has been a medium in which individuals could create an illusion of themselves in a very selective and proscribed manner. This installation features four portraits, by Sir Joshua Reynolds, George Romney, Elizabeth Louise Vigée Le Brun, and Pompeo Batoni, which suggest that portraits are always a construction of some sort, though the attentive viewer can uncover their secrets.
Early Caricature and Self-Parody in France and England
Aggressive Art
This installation explores the culture of caricature and features five late-eighteenth- and early-nineteenth-century prints, including works by James Gillray and Honoré Daumier.
Fluxus and the Essential Questions of Life
This traveling exhibition and publication are drawn from the Hood Museum of Art’s George Maciunas Memorial Collection of works by Fluxus artists, enriched with loans from the Museum of Modern Art, Harvard University, and the Walker Art Center. Intended to provide a fresh assessment of Fluxus, the installation is designed to encourage experiential encounters for the visitor. The 1960s–70s phenomenon that was Fluxus resists characterization as an art movement, collective, or group, and it further defies traditional geographical, chronological, and medium-based approaches. The fundamental question—“What’s Fluxus good for?”—in fact has important implications for the role of art today. The function of Fluxus artworks is to help us practice life; what we “learn” from Fluxus is how to be ourselves.