Past Exhibitions
Highlights from the Hood Museum of Art
American Works on Paper to 1950
Discover more than fifty American drawings, watercolors, prints, and photographs from the Hood's collections in an in this companion exhibition to American Art at Dartmouth. American Works on Paper showcases the museum's rich holdings of drawings, watercolors, prints, and photographs by such diverse artists as John James Audubon, Southworth and Hawes,William Trost Richards, James McNeill Whistler, Mary Cassatt, Lewis Hine, Childe Hassam, Stuart Davis, Edward Hopper, James Van Der Zee, Dorothea Lange, Grant Wood, and Jackson Pollock. Together, these exhibitions offer the largest survey of Dartmouth's American holdings to date while considering how and why these objects found their way to Hanover and how the American collections have developed further since the opening of the Hood in 1985.
The Experience of Gestural Abstraction
Open to InterpretationThree Decades of Dance Photographs
Pilobolus Comes Home
Pilobolus Dance Theatre, founded by Dartmouth students in 1971, has changed the course of contemporary dance through its signature style of closely combined bodies and its radically innovative approach to collaborative artistic creation. Dartmouth celebrated Pilobolus's donation of its remarkable archives with a residence, performances, educational programs, and this exhibition at the Hood of stunning photographs chronicling thirty-five years of the company's work.
Resource Wars in the American Arctic
Subhankar Banerjee
This exhibition features four monumental habitat photographs taken by Subhankar Banerjee during his recent sojourns into the Arctic National Wildlife Refuge to photograph this remote region in northeastern Alaska in all four seasons. His work there coincided with the push by oil companies and the current U.S. administration to open up the oil and gas reserves on the coastal plain to drilling. During his travels over nearly four thousand miles of the 19.5-million-acre refuge by foot, raft, kayak, and snowmobile, he stayed in interior and coastal villages with both Gwich’in Athabascan and Inupiat families, absorbing their close and intricate relationships to the northern environment and the birds and animals that thrive there.
Art and/as Violence