Exhibitions Archive
The Art of Ben Frank Moss
Immanence and Revelation
This exhibition of more than seventy paintings, drawings, and prints by Ben Frank Moss honors the artist’s twenty years at Dartmouth College, where he has served as chairman of the Studio Art Department and, since 1993, as the George Frederick Jewett Professor of Studio Art. Ranging from expansive, luminous landscapes inspired by Northwest summers to intimate, nearly abstract still lifes, these works reveal the artist’s fascination with lush color, essential forms, and an ineffable, enveloping presence beyond the subject at hand. The accompanying catalogue, which is the most comprehensive examination of Moss’s career to date, includes an extensive interview with the artist and an overview of his career written by former Moss student Joshua Chuang, Class of 1998, now an assistant curator at the Yale University Art Gallery.
The Philip H. Greene Gift of California Watercolors, 1930-1960
Coastline to Skyline
This exhibition celebrates the recent gift from Hanover resident Philip H. Greene of thirteen works by the California-style watercolorists. The mostly southern California artists who made up this informal but close-knit group were most active from the late 1920s through the 1950s. They achieved national recognition for their generally large-scale watercolors painted with broad, saturated washes in a manner that was bold and expressive, yet representational. Among the best known of the group were Millard Sheets, Phil Dike, Rex Brandt, Barse Miller, Emil Kosa Jr., and, from northern California, Dong Kingman. Just as their regionalist contemporaries Grant Wood and Thomas Hart Benton portrayed traditions associated with everyday life in the rural midwest, these artists celebrated their West Coast environs through images of the state's dramatic coastline, agricultural and fishing traditions, public amusements, and bustling cities. While many of the artists seem to pay homage in their work to a way of life that was disappearing in the face of urban development, others convey in their watercolors an appreciation for the modern Southland cityscape. In keeping with the populist, nationalistic mood of the era, these artists captured unpretentious, recognizably American subjects that transcended their regional content and appealed to audiences from coast to coast.
The Design Process and Details of the Hood Museum of Art
Taking a Look AroundIcons of the 1960's
Ruscha and Pop
Highlights from the Hood's pop art collection reveal the intersection between life and art through the appropriation of media, commercial, and popular culture imagery. Focused around Ed Ruscha's Standard Station, Amarillo, Texas (1963), Ruscha and Pop explores aspects of pop art including the transformation of the everyday object into art, the popular interest in consumerism and commercial architecture, and the collapsing of boundaries between high and low art and culture. The charged cultural environment of the 1960's fills the work of first-generation pop icons including Ed Ruscha, Andy Warhol, and Roy Lichtenstein, as well as artists immediately following them, including Mel Ramos and Stephen Shore.
Photographic Memoirs of an Aboriginal Savant
Hulleah J. Tsinhnahjinnie
Contemporary Seminole artist Hulleah J. Tsinhnahjinnie's photographs respond to the perpetuating stereotypes of Native American peoples caused by ubiquitous early Western photography of Native people fixed in a historical past. Looking inward to document moments and thoughts about childhood and family, high school, friends, particular experiences, and dreams, she delivers a deeply moving installation that comprises a strong political statement about Native sovereignty and cultural oppression intermixed with poignant storytelling and personal convictions.