Exhibitions Archive

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.

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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.

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Medieval maps typically located Jerusalem at the center of the world, reflecting its fundamental importance as the biblical universal city in both Old and New Testaments. According to Jewish, Christian, and Islamic beliefs, prophets and patriarchs from Abraham to Muhammad are said to have trodden its grounds, and all three monotheistic faiths consider it to be a holy city. Jerusalem has also been the site of religious and political conflicts from the Babylonian era onward, imbuing it with additional sacred and secular significance.

As early as the fourth century, Christian pilgrims traveled to Jerusalem to visit the places associated with the final days of the life of Jesus as they were portrayed in the Gospels—beginning with his triumphal entry and culminating in the Crucifixion. After the invention of the printing press in the fifteenth century, a vast market emerged for descriptions and representations recording such devout journeys. These materials contributed to the dissemination of common impressions of the pilgrimage experience.

Because only a few actual European artists traveled to the Holy Land during the Ottoman occupation in the sixteenth and seventeenth centuries, people relied on imaginary depictions of Jerusalem’s legendary monuments and landscape. Some featured ancient buildings in the background, while others presented more familiar settings inspired by local scenery. In nearly every instance, the surroundings were grand in scale and elaborately rendered.

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For anyone who has witnessed its sublimity, above the surface or at its depths, the ocean (from Greek “okeanos”) leaves a powerful, sensuous impression. Contemporary artists Yves Klein, Jennifer Moller, and Hiroshi Sugimoto each reflect upon the experience of ocean via distinct media: Klein with his hyper-saturated, textured canvas; Moller with her darkened, black and white video footage; and Sugimoto with his abstracted photographs of water and air.  Whether captured in paint or film, or concentrating on water’s depth or surface, substance or void, stillness or motion, the monochromatic representations of sea depicted by each of the international contemporary artists in this exhibition demonstrate that the experience of ocean is universal.

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The third in a series of comprehensive exhibitions and catalogues showcasing the permanent collection, this exhibition surveys the breadth and depth of the permanent collection and highlights key works from the holdings, only a tiny fraction of which are on view in the museum's galleries at any one time. Modern and Contemporary Art at Dartmouth focuses on post-1945 painting, sculpture, works on paper, new media, and photography, and includes works by Mark Rothko, Ed Ruscha, Alice Neel, Romare Bearden, Alexander Calder, El Anatsui, Juan Munoz, Alison Saar, Amir Nour, Bob Haozous, Richard Serra, and Bill Viola, among others.

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