Exhibitions Archive
Nothing Gold Can Stay
Nothing Gold Can Stay explores the universal yet nuanced human experience of grief. The disparate works in this exhibition showcase the range of emotions undergone while grieving, from sadness and confusion to celebration and fondness. They also explore various types of grief, ranging from personal loss to collective trauma. The exhibition underscores how differently we grieve while emphasizing the various ways loss connects us all.
A Space for Dialogue is a student-curated exhibition program that began in 2001. Hood Museum of Art interns create an installation drawn from the museum’s permanent collection by engaging with every aspect of curation, from doing research and selecting objects, to choosing frames and a wall color, to planning a layout and writing labels and a brochure, to giving a public talk. There have been over 100 A Space for Dialogue exhibitions on a wide variety of themes.
Artist as Medium
Embodied
By dressing, posing, and digitally manipulating their bodies in specific ways, the artists in this exhibition comment on issues ranging from objectification and societal expectations to racial violence and the ethnographic gaze. Each work poses its own set of questions, intersections, and possibilities: How can the body be used as a tool and vessel for ideas? How can gender, race, artistic process, and technology converge to generate new meanings?
Femme Queer Gender Performance in Photography
Femme is Fierce
This exhibition celebrates various ways that femme performance is depicted in photography. The subjects of these photos embrace femme as an aspect of their self-representation across genders, queer orientations, races, ethnicities, and time. The exhibition includes photography by Laura Aguilar, Andy Warhol, Darryl DeAngelo Terrell, and others. The joyous approach of Femme Is Fierce affirms that femme is not a display of fragility, but a performance of a person’s right to use gender signifiers deemed feminine to their own ends, and to radically state that strength is not only found in the masculine.
Maḏayin is the result of a seven-year collaboration between the Kluge-Ruhe Aboriginal Art Collection and Indigenous knowledge holders from the Buku-Larrŋgay Mulka Centre in northern Australia. It chronicles the rise of a globally significant art movement as told from the perspective of the Yolŋu. Maḏayin presents more than 90 iconic paintings on eucalyptus bark, inviting audiences across the US to discover this inspiring story of the sacred, the beautiful, and the power of art.
Faces and Forms of Pilgrimage
Journeys BeyondExamining pilgrimage through a cross-cultural lens, Journeys Beyond: Faces and Forms of Pilgrimage is curated by Emily Charland '19. The exhibition explores pilgrimage from both religious and secular traditions, with specific interest in the multitude of influences on and impacts of acts of transformative movement.
A Space for Dialogue is a student-curated exhibition program that began in 2001. Hood Museum of Art interns create an installation drawn from the museum’s permanent collection by engaging with every aspect of curation, from doing research and selecting objects, to choosing frames and a wall color, to planning a layout and writing labels and a brochure, to giving a public talk. There have been over 100 A Space for Dialogue exhibitions on a wide variety of themes.
Culture and Conflict in Central America
Bolas de FuegoBolas de Fuego: Culture and Conflict in Central America draws from the Hood Museum’s limited collections to tell stories of communities from the following countries: Belize, El Salvador, Guatemala, Nicaragua, and Panama. Focused on the conflict-laden twentieth and twenty-first centuries, the installation examines turning points in the region’s political and social history, while attending to the themes of race, ethnicity, and migration.
This exhibition was curated in conjunction with LACS 8: Politics and Culture in Transnational Central America and LACS 50.17: Land, Belonging and Social Change in Latin America.
Bolas de Fuego: Cultura y conflicto en América Central se basa en las reducidas colecciones del Museo Hood para contar historias de comunidades provenientes de los siguientes países: Belice, El Salvador, Guatemala, Nicaragua y Panamá. Centrada en los siglos XX y XXI los cuales fueron cargados por conflictos bélicos, la instalación examina los puntos de inflexión de la historia política y social en la región con enfoque en los temas de raza, etnia y migración.
Esta exposición fue organizada en conjunto con LACS 8: Política y Cultura en América Central Transnacional y LACS 50.17: Tierra, pertenencia y cambio social en América Latina.