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United States & Canada

American Art at Dartmouth: Highlights from the Hood Museum of Art

Hood Quarterly, summer 2007
Barbara J. MacAdam, Jonathan L.Cohen Curator of American Art

Wenda Gu: Retranslating and Rewriting Tang Dynasty Poetry

Hood Quarterly, summer 2007
Juliette Bianco, Assistant Director

In addition to presenting the green house, the Hood Museum of Art premieres another new Wenda Gu work this summer, the first in a series of large books. Wenda Gu: Retranslation and Rewriting Tang Dynasty Poetry will elucidate the themes explored in the hair monument by demonstrating, in book form, what happens when poetry is translated from one language to another and back again.

Subhankar Banerjee: Resource Wars in the Arctic

Hood Quarterly, spring 2007
Katherine Hart, Associate Director and Barbara C. and Harvey P. Hood 1918 Curator of Academic Programming

Pollock and Dartmouth: A Visual Encounter

Hood Quarterly, spring 2007
Brian Kennedy, Director

Recent Acquisitions: Apphia Amanda Young, Sampler, 1838

Hood Quarterly, spring 2007

In the eighteenth and nineteenth centuries, the making of samplers gave girls and young women the opportunity to practice a variety of embroidery stitches and to reinforce rudimentary lessons in spelling and penmanship.

Recent Acquisitions: Augusta Savage, Gamin, modeled 1929, plaster by 1940

Hood Quarterly, spring 2007

Gamin is the best-known work by Augusta Savage, the most admired and influential woman artist associated with the Harlem Renaissance. The life-size bronze version of this work (Schomburg Center, New York Public Library) won Savage the opportunity to study in Paris from 1929 to 1931.

Pilobolus Comes Home: Three Decades of Dance Photographs

Hood Quarterly, spring 2007
Kristin Monahan Garcia, Curatorial Assistant for Academic and Student Programming

Pilobolus, the dance group that emerged from a Dartmouth classroom in 1971, has toured worldwide in the thirty-five years since its founding, created an institute of educational programming, launched touring companies, and profoundly influenced the world of contemporary dance. Now they have come home again.

Our Land: Contemporary Art from the Arctic

Unknown artist, Kiowa, Southern Plains, North America, lattice cradle baby carrier, about 1910

Hood Quarterly, winter 2007

This cradleboard reveals the exquisite beadwork that epitomizes the Kiowa style of decoration in Native American art. The Kiowa developed what is possibly the most prominently known baby carrier in Plains art, the lattice cradle or cradleboard (popularly known as the “papoose”), which spread to the Comanche, Cheyenne, and Dakota tribes of the Central Plains.

Recent Acquisitions: Norman G. Jackson, Sharkman mask, 2004

Hood Quarterly, winter 2007

This beautifully carved and painted wooden mask by the Tongass Tlingit artist Norman G. Jackson brings to light a contemporary reinterpretation of traditional Northwest Coast themes and mythical stories. In much Northwest Coast art, painted, carved, or woven imagery is used during special occasions to proclaim and validate the status of ancestral clan crests representing mythical beings.

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