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Roman, statue of Poseidon / Neptune alongside dolphin, first century CE (Flavian [CE 96–69]?), marble. Tampa Museum of Art, Joseph Veach Noble Collection 1986.135
Nikki S. Lee, Ohio Project (8), 1999, Fujiflex print. Hood Museum of Art, Dartmouth College: Purchased through the Elizabeth and David C. Lowenstein ’67 Fund; 2007.59. © Nikki S. Lee
The Art of Weapons: Selections from the African Collection, on view in the Hood's Gutman Gallery. Photo by Alison Palizzolo.
Allan Houser, This Was Our Home, 1993, bronze, edition of 6. © Chiinde LLC, exhibition loan courtesy of Allan Houser, Inc. Photo by Alison Palizzolo.
The exhibitions presented by the museum are intended to contribute to scholarship in art history and related disciplines and to offer insight into the artistic production of many different historical periods and cultures. In addition to ongoing displays from its permanent collection, the museum also presents a number of special exhibitions each year, covering a broad range of topics, as well as teaching exhibitions. Organized in conjunction with Dartmouth College courses, these exhibitions are intended to facilitate the curricular use of the museum's collections.
Through March 15, 2015
The realm of Poseidon encompassed virtually every aspect of life in the ancient Mediterranean world, from mythology and cult to daily activities. This exhibition explores each of his dominions through more than one hundred works of Greek, Etruscan, and Roman art produced between 800 BCE and 400 CE. Visitors will see striking black-figure and red-figure pottery, alongside sculptures in terracotta, marble, and precious metals, and extraordinary examples of ancient glass, mosaics, carved gems, and coins, all providing a rich picture of life in the ancient world. Poseidon and the Sea offers an intimate look not only at the mysteries of the ancient world, but also at the timeless beauty and wonder of the sea that continues to resonate with us in the present day. This exhibition was organized by the Tampa Museum of Art.
This exhibition's presentation at the Hood Museum of Art is generously supported by Claire Foerster and Daniel S. Bernstein, Class of 1987, and the Eleanor Smith Fund, the Evelyn A. J. Hall Fund, and the Marie-Louise and Samuel R. Rosenthal Fund.
Through August 30, 2015
Organized in collaboration with Hood interns and Studio Art majors from Dartmouth's Class of 2015, this exhibition explores the continued relevance and global diversity of self-portraiture in contemporary art. While self-portraiture has traditionally engaged with direct observation and autobiography, contemporary artists have begun to question the value and integrity of authorship and a coherent artistic identity through the use of disguise, impersonation, and assumed personae. About Face will explore the various approaches that contemporary artists have used to investigate identity as a culturally constructed phenomenon and will include works by such notable practitioners as Chuck Close, Susanna Coffey, Rineke Dijkstra, Marit Følstad, Martin Gutierrez, Nikki S. Lee, Sarah McEneaney, Nomusa Makhubu, Bruce Nauman, Enrico Riley, Wendy Red Star, Cindy Sherman, Kiki Smith, Christian Thompson, and Jeff Wall.
This exhibition is organized by the Hood Museum of Art and generously supported by the Charles Gilman Family Endowment.
Ongoing
This exhibition explores the Hood Museum of Art's extraordinary collection of African weapons for the first time. It focuses on the aesthetic quality of the objects, and on the ways in which they reflect notions of masculinity, warriorhood, and ideal male beauty in traditional African societies. Because the weapons are in a Western museum's collection, the exhibition also considers Western notions of masculinity, as represented in the collecting practices of those Christian missionaries, colonial administrators, military officers, big game hunters, and explorers who acquired most of these weapons in the late nineteenth and first half of the twentieth centuries. Although the exhibition draws from several cultures in the five sub-regions of Africa, it is not a broad survey of African weapons. Instead, it presents exemplary highlights from the Hood's extensive collection, categorized as "offensive" and "defensive" weapons.
This exhibition is organized by the Hood Museum of Art and generously supported by the William B. Jaffe and Evelyn A. Hall Fund.
Through May 10, 2015
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 in making sculptures that depicted 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 celebrates the centennial of his birth with an installation of five major sculptural works in the Maffei Arts Plaza and Hood Museum of Art gateway.
This exhibition is organized by the Hood Museum of Art and generously supported by Mary Alice Kean Raynolds and David R.W. Raynolds, Class of 1949, and the William B. Jaffe and Evelyn A. Hall Fund.
Ongoing
At the entrance to the museum
A Space for Dialogue is a unique opportunity within Dartmouth's senior internship program, which includes museum positions in curatorial, public relations, and educational work. Interns choose objects from the Hood's permanent collection, write descriptions of the objects, design a space, create a brochure, and conduct a public gallery presentation. The program also allows students to develop art projects and displays within the Hood Museum of Art and on the Dartmouth College campus, creating "spaces for dialogue" between works of art and their viewers.
A Space for Dialogue, founded with support from the Class of 1948, is made possible with generous endowments from the Class of 1967, Bonnie and Richard Reiss Jr. '66, and Pamela J. Joyner '79.
Ongoing
Orozco Room, Baker Library, Dartmouth College
The Epic of American Civilization is an extensive mural cycle created by Mexican artist José Clemente Orozco between 1932 and 1934. The mural is composed of twenty-four distinct panels depicting the history of the Americas from the Aztec migration into Mexico to the industrialization of modern society. Located in the reserve corridor of Baker Library, now the Orozco Room, these scenes cover nearly 3,200 square feet of wall space. The Epic of American Civilization is not only one of Orozco's finest creations and one of Dartmouth's most treasured works of art but also rightfully placed among the most exemplary works of mural painting in the nation.
Last Updated: 1/25/15