Exhibitions Archive
Class of 1965 Photographers
Picturing the World
The Class of 1965 produced Dick Durrance, Dewitt Jones, Christopher Knight, Heinz Kluetmeier, and Joel Sternfeld, a remarkable group of photographers. With subjects from the Olympics to the Vietnam War, the photographs in this exhibition depict a variety of subjects from around the world, capturing the unique viewpoint of each photographer. This exhibition honors the fiftieth reunion of the Class of 1965.
A Centennial Exhibition
Allan Houser
Allan Houser (1914–1994) was a noted American sculptor, painter, and draftsman and one of the major figures in Native American art of the twentieth century. He often drew on his Chiricahua Apache heritage when making sculptures that depict the Native American people of the Southwest. A versatile artist, he also created modernist abstract sculptures and worked in a variety of media including bronze, stone, and steel. Dartmouth College and the Hood Museum of Art celebrate the centennial of his birth with an installation of five major sculptural works in the Maffei Arts Plaza and Hood gateway, as well as a fall 2014 exhibition of drawings in the Strauss Gallery, Hopkins Center.
Emblem, type, symbol, token, trope, image, sign—all of these words describe specific visual forms that represent abstract ideas through recognized shapes, colors, and figures. Many emblems contain culturally specific messages, often taken from sacred or ancient texts, the meanings of which evolve over time. Since these images are quickly legible to members of a shared culture, artists mobilize emblems to provoke certain reactions in an audience. This exhibition draws together various types of emblematic prints—primarily woodcuts—that address social problems and issues.
Constructing Black Identities across the African Diaspora
Made in the MiddleCultural anthropology began as the study of people—primarily in Africa—whom Europeans had defined as exotic, primitive, and uncivilized, but many later ethnographic studies debunked this colonial mindset. Today’s anthropologists aim to reveal the social, historical, and political construction of racial identities. The works of art in this small exhibition further this effort. They represent a host of colonial binaries—culture and civilization, traditional and modern, savage and civilized, rest and west, black and white—that often serve to perpetuate systems of inequality rather than understanding of our shared humanity. Taken together, the artists here reveal the difficult positions in which people of color find themselves when trying to simultaneously conform to standards upheld by white western society and recuperate a relationship to Africa or blackness. Yet the images expose not only the potential hurt but also the excitement of crafting hybrid identities from various cultures.
Chelsey Kivland, Robert A. and Catherine L. McKennan Postdoctoral Fellow of Anthropology, and Amelia Kahl, Hood Museum of Art Coordinator of Academic Programming, selected these works for Professor Kivland’s Introduction to Cultural Anthropology class. Students in the class wrote descriptive labels for these works and used them for a visual anthropology assignment.
The Object World
The world is comprised of objects. These discrete items acquire meaning through relationships and context, yet are defined by their own autonomy. To give order to the things that surround us, we create categories, which, in turn, rely upon cultural connotations that impart meaning, value, and significance. The common language of things can convey a multiplicity of ideas such as concerns, class, or interests. The audience interprets the subjects by and through the objects that surround them.
Works of art present a special category as they occupy several object worlds simultaneously. Artworks epitomize Graham Harman’s definition of a “real object” as one that has not an outer effect, but an inner one. The tactility of the object is, of course, present, but the value lies not purely in its physical qualities, but in what it evokes.
This exhibition was curated by Katie Hornstein, assistant professor of Art History, and Jane Carroll, senior lecturer of Art History, in conjunction with their class Introduction to Art History II. Students used these works of art for a writing assignment. This exhibition has been made possible by the Harrington Gallery Fund.
Witness: Art and Civil Rights in the Sixties offers a focused look at painting, sculpture, graphics, and photography from a decade defined by social protest and American race relations. In observance of the fiftieth anniversary of the Civil Rights Act of 1964, this exhibition considers how sixty-six of the decade's artists, including African Americans and some of their white, Latino, Asian American, Native American, and Caribbean contemporaries, used wide-ranging aesthetic approaches to address the struggle for racial justice.
This exhibition is curated by Teresa A. Carbone, Andrew W. Mellon Curator of American Art, Brooklyn Museum, and Kellie Jones, Associate Professor in the Department of Art History and Archaeology at Columbia University.