Exhibitions Archive

The Eyes of Gutete Emerita by filmmaker and photographer Alfredo Jaar grew out of his visit to Rwanda a few months after the 1994 genocide. This photo-based work, which combines images and text, focuses on the suffering of one individual, Gutete Emerita, who lost her husband and two sons in the mass killing of Tutsis at a church forty miles south of the capital of Kigali. Jaar chose not to photograph the remains of bodies still lying on the ground at the massacre site and instead directs our attention to the survivors who must live with the memory of what they saw. An illustrated brochure accompanies this exhibition.

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To collect up to a final limit is not simply to own or to control the items one finds; it is to exercise control over existence itself through possessing every sample, every specimen, every instance of an unrepeatable and nowhere duplicated series.

—Roger Cardinal and John Elsner, The Cultures of Collecting

col·lec·ta·ne·a 1.) Passages, remarks, etc., collected from various sources; (as collect. sing.) a collection of passages, a miscellany. 2.) A selection of passages from one or more authors; an anthology.

This exhibition illuminates the broader social history of the Hood by exploring the diverse "authors" of its collection history and will look at how the museum's collection has been developed and (re)defined over time. Uniting traditional with contemporary and Western with non-Western art via pottery, sculpture, utilitarian objects, textiles, photographs, and prints, col·lec·ta·ne·a explores different collecting practices and ideologies that reflect the museum's unique identity as a hunter and gatherer of material culture. Topics addressed in the exhibition include the role of private collectors in developing museum collections; the continuation of older cultural traditions in newer forms; the relation between museum collections and teaching at Dartmouth; changing perspectives of "art" versus "artifact"; the value of "hybridized" art versus "authentic" art; and the continued development of the Hood's collections in new and interesting ways.

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The Hood begins the year with Critical Faculties: Teaching with the Hood's Collections. This unique exhibition has been organized by faculty members of four of the museum's main academic constituents at the college. Art History, Studio Art, Classics, and Anthropology have installed objects from the Hood's collections that represent each discipline's approach to teaching with art, offering visitors the opportunity to experience works of art that represent a wide range of media and periods through various perspectives.

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This extraordinary exhibition features forty contemporary artists from North, South, and Central America, Cuba, Africa, China, and Europe, including Matthew Barney, Vanessa Beecroft, Roman de Salvo, Zhang Huan, William Kentridge, Byron Kim, Jean Lowe, Vik Muniz, and Cindy Sherman, many of whose works have not appeared in the Upper Valley before. The exhibition defies categorization by style, school, or medium, but a number of key ideas recur throughout, such as the body; the construction of identity (gender, personal, social, or ethnic); the role of the artist; and one's relationship to everyday occurrences and objects.

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This exhibition of more than 120 paintings, prints, drawings, watercolors, and preparatory studies for murals explores the extensive body of work produced by José Clemente Orozco, one of the leading Mexican artists of the twentieth century, during an extended stay in the United States. Scheduled for presentation at the San Diego Museum of Art, San Diego, the Hood Museum of Art, Hanover, New Hampshire, and the Museo de Arte Carrillo Gil, Mexico City, the exhibition showcases Orozco's revolutionary artistic vision. During this time, the artist created important murals at Pomona College, Claremont, California, the New School for Social Research, New York, and Dartmouth College, Hanover, New Hampshire. Viewed as a whole, his work from this period sheds light on the artist's complex creative and political development and provides an illuminating case study on the influence of Mexican visual artists in the United States.

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