Spring 2012

H O O D M U S E U M O F A R T

D A R T M O U T H

C O L L E G E quarter y

Jackson Pollock,Naked Man with Knife, about 1938–40, oil on canvas.Tate Gallery, London. © 2012 The Pollock-Krasner Foundation / ArtistsRights Society (ARS), NewYork. Image ©Tate, London 2012

LETTER FROM THE DIRECTOR

Iwrite this letter with the good news that theHood Quarterly is reverting to its traditionalquarterly format. In recent years the magazine has appeared only twice a year, butthis has proved inadequate to convey to you, our visitors, the true range and quality

of our exhibitions and programs. I am therefore delighted to again publish it four times ayear, starting with this issue, which highlights a lively roster of exhibitions, installations,acquisitions, and public programs for you to enjoy this spring.

Opening April 7, the must-see exhibitionMen of Fire: José Clemente Orozco andJackson Pollock celebrates the one hundredth anniversary of Pollock’s birth and the eight-ieth anniversary of Orozco’s arrival at Dartmouth College to begin work on his celebrat-ed mural The Epic of American Civilization, which he completed in 1934. Two yearslater, Pollock traveled from New York to see this monumental fresco, which inspired anumber of his subsequent paintings and drawings. These works will be on display at theHood through June 17, and I hope you will take the opportunity to visit this internationalloan exhibition, featuring two of the greatest artists of the twentieth century. OpeningApril 21, we have Nature Transformed: Edward Burtynsky’s Vermont Quarry Photographsin Context. I strongly urge you to see these huge and impressive photographs of graniteand marble quarries in an exhibition that also explores the history and geology of ourregion. Two other exhibitions opening in April, The Expanding Grid andMarcelDuchamp: The Box in a Valise, showcase the Hood’s important collection of modern andcontemporary art. Together, these exhibitions, and the related public programming,make the Hood a wonderful place for you to visit this spring.

Beyond its exhibitions and programs, the Hood Museum of Art has been heraldedas a model teaching museum since it opened in 1985. The focus of our teaching missionis the direct engagement with original works of art, and we provide this opportunity tothousands of Dartmouth students and local school children each year. It therefore givesme immense pleasure to announce that the Charles H. Hood Foundation has endowedthe curator of education position at the museum. Lesley Wellman, who has served inthis role with great dedication and accomplishment for more than twenty years, hasassumed the new title of Hood Foundation Curator of Education, effective immediately.We are deeply grateful to the Hood Foundation and to Charles and Judy Hood for theirleadership and vision in endowing this position and ensuring that excellence in teachingwill always remain a core value at this museum.

It is above all the museum’s teaching mission that guides our plans for the Hood’supcoming expansion into the adjacent Wilson Hall building on campus, which will pro-vide us with new galleries and classrooms. An important goal of this expansion is to cre-ate an ideal learning environment for all of our visitors, with state-of-the-art galleries con-taining dedicated display spaces for important areas of the collection not currently onview, as well as new classrooms equipped with smart technology. The next few years areset to be an exciting time at the Hood Museum of Art, and I look forward to sharing ourprogress on this important project with you in future issues of the Hood Quarterly. I alsolook forward to meeting you when you next come to the museum and trust that yourvisit will be an enjoyable one.

MICHAEL TAYLOR

Director

2 H O O D Q U A R T E R L Y

Dartmouth CollegeHanover, New Hampshire 03755(603) 646-2808www.hoodmuseum.dartmouth.edu

Hood Quarterly #33 (Spring 2012)

Edited by Nils Nadeau

Designed by Joanna Bodenweber

Printed by Capital Offset Company

© 2012 Trustees of Dartmouth College

HOOD MUSEUM OF ART STAFF

Susan Achenbach, Art Handler

Gary Alafat, Security/Buildings Manager

Jonathan Benoit, TMS Project/Digital Asset Manager

Juliette Bianco, Assistant Director

Lindsey Dewar, Assistant to the Director

Patrick Dunfey, Exhibitions Designer/PreparationsSupervisor

Rebecca Fawcett, Registrarial Assistant

Nicole Gilbert, Exhibitions Coordinator

Stephen Gilchrist, Curator of IndigenousAustralian Art

Cynthia Gilliland, Assistant Registrar

Katherine Hart, Associate Director and Barbara C.and Harvey P. Hood 1918 Curator of AcademicProgramming

Deborah Haynes, Data Manager

Anna Ingraham, Security Guard

Alfredo Jurado, Security Guard

Amelia Kahl, Coordinator of Academic Programming

Rebecca Karp, Assistant Curator of Education

Adrienne Kermond, Tour Coordinator

Vivian Ladd,Museum Educator

Barbara MacAdam, Jonathan L. Cohen Curatorof American Art

Nancy McLain, Business Manager

Neely McNulty, Images and ArtStart Instructor

Nils Nadeau, Communications and PublicationsManager

Allen Newton, Security Guard

Kathleen O’Malley, Associate Registrar

Julie Ann Otis, Development and MembershipCoordinator

Robert Oxman, Security Guard

Alison Palizzolo, Public Relations Assistant

Sarah Powers, Assistant Curator for Special Projects

Sharon Reed, Programs and Events Coordinator

John Reynolds, Lead Preparator

Mary Ellen Rigby, Gift Shop Manager

Essi Rönkkö, Assistant Curator for Special Projects

Margaret Spicer, Adjunct Curator of the Henry B.Williams Costume Collection

Michael Taylor, Director

Sheldon Tefft, Security Guard

T. Barton Thurber, Curator of European Art

LesleyWellman, Assistant Director andHood Foundation Curator of Education

KathrynWhittaker, Security Guard

JanetWhyte, Security Guard

Matthew Zayatz, Preparator

Director Michael Taylor in front of Régis François Gignoux’s New Hampshire (White MountainLandscape), about 1864, in the Hood’s Sack Gallery.

NATURE TRANSFORMED: EDWARD BURTYNSKY’SVERMONT QUARRY PHOTOGRAPHS IN CONTEXTApril 21–August 19, 2012

Quarries constitute one of the important subjects of internationally renowned artistEdward Burtynsky’s photographic oeuvre. His images ofVermont quarries, both active andabandoned, are particularly striking. At the same time they allude to the marble and graniteindustry, a lesser-known aspect of New England’s history and geology.This exhibitionfeatures both Burtynsky’s photographs of the quarries of Vermont, some of which are ondisplay for the first time, and vintage photographs pertaining to the early history of thesesites, especially regarding the Italian stoneworkers in the marble quarries around Rutlandand the granite quarries near Barre.

This exhibition was organized by the Hood Museum of Art and generously supported by Raphael and JaneBernstein / Parnassus Foundation, Laurie JeanWeil D.V.M. in honor of her parents, Jean and BucksWeil, Dart-mouth Class of 1935, the Marie-Louise and Samuel R. Rosenthal Fund, and the RayWinfield Smith 1918 Fund.

Edward Burtynsky, Rock of Ages #1,Active Section, E. L. Smith Quarry, Barre,Vermont, 1991. Photographcourtesy Howard Greenberg & BryceWolkowitz, NewYork / Nicholas Metivier,Toronto.

EGYPTIAN ANTIQUITIES AT DARTMOUTH: HIGHLIGHTS FROM THE HOOD MUSEUM OF ARTOngoing

This exhibition was organized by the Hood Museum of Art and generously supported by Kate andYaz Krehbiel, Class of 1991,Thayer 1992, and theWilliam B. Jaffe and Evelyn A. Hall Fund.

3

MEN OF FIRE:JOSÉ CLEMENTE OROZCO AND JACKSON POLLOCKApril 7–June 17, 2012

During the summer of 1936, Pollock traveled to Dartmouth College to view Orozco’s recentlycompleted mural The Epic of American Civilization (1932–34).The deep impact that its imagery hadon the young artist is demonstrated by the drawings and oil paintings that Pollock made after hisvisit, in which he explored Orozco-inspired themes such as myth, ritual, and the creative anddestructive power of fire. Rarely seen preparatory studies that the Mexican muralist made as anartist-in-residence at Dartmouth are shown alongside Pollock’s paintings and drawings in thisrevelatory juxtaposition of two of the most famous artists of the twentieth century.

The exhibition and catalogue were organized by the Hood Museum of Art in partnership with the Pollock-Krasner Houseand Study Center.The catalogue was supported by Judith and Richard Steinberg, Class of 1954, and the exhibition at theHood was made possible by Jan Seidler Ramirez, Class of 1973, Kate andYaz Krehbiel, Class of 1991,Thayer 1992, andtheWilliam B. Jaffe and Evelyn A. Hall Fund.

José Clemente Orozco, study for “The Departure of Quetzalcoatl” (panel 7) from The Epic of AmericanCivilization, about 1932–34, gouache on paper. Purchased through gifts from Kirsten and Peter Bedford, Class of1989P; Jane and Raphael Bernstein;Walter Burke, Class of 1944; Mr. and Mrs. Richard D. Lombard, Class of 1953;Nathan Pearson, Class of 1932; David V. Picker, Class of 1953; Rodman C. Rockefeller, Class of 1954; KennethRoman Jr., Class of 1952; and AdolphWeil Jr., Class of 1935;W.988.52.82.

S P E C I A L

exhibitions

MODERN AND CONTEMPORARY ART:TWO INSTALLATIONSApril 7–August 26, 2012

These installations were made possible by the Cissy Patterson Fund and the Hansen Family Fund.

Marcel Duchamp:The Box in aValiseDuchamp described his Boîte-en-valise as a “portable museum” that would allow him to carryaround his life’s work in a traveling box. He assembled facsimiles of his major paintings, drawings,and sculpture in imitation-leather boxes, and the Hood’s example is shown at Dartmouth Collegefor the first time in this exhibition.

The Expanding GridThis exhibition explores the legacy of cubism and other forms of grid-based abstraction.Artistssuch as Mark Rothko, Chuck Close, Eva Hesse, and Lee Bontecou expanded the modernist grid inprofound ways to create works of art that embrace political content, figuration, narrative, andsubjectivity.

Eva Hesse, Untitled, 1964, opaque and transparent watercolor, pen and black ink, felt-tip marker, and crayon onwove paper. Purchased through gifts from the Lathrop Fellows;W.2004.1 © Estate of Eva Hesse / Hauser &Worth, London and Zurich

4 H O O D Q U A R T E R L Y

In the summer of 1936, twenty-four-year-old Jackson Pollock made the tripfrom New York City to Dartmouth

College to see Orozco’s recently com-pleted mural cycle. The mural was a rev-elation to the American artist, and in theyears following this trip, Pollock engagedwith themes found in Orozco’s master-piece, including myth, ritual, sacrifice,and the creative and destructive powerof fire. Men of Fire assembles the paint-ings, drawings, and prints that Pollockcreated following his trip to Dartmouth.Most were made between 1938 and1941, at a time when Pollock’s engage-ment with Orozco’s art was most pro-nounced. The exhibition provides aunique opportunity not only to see manyof these works together for the first timebut also to compare them with theOrozco mural that inspired them, just ashort walk away across the DartmouthGreen. The mural will be representedin the exhibition by several rarely seen-preparatory studies—drawings in pencil,charcoal, and gouache (fig. 1; see alsop. 3)—that will present the work of thesetwo great modern artists side-by-side.

Pollock’s painting Untitled (BaldWoman with Skeleton), about 1938–41(fig. 2), is perhaps the best example ofPollock’s fascination with the Dartmouthmural and displays many of the elementsof Orozco’s work that most appealed tohim. The painting depicts a skeletal fig-ure with an ambiguous, hybrid anatomylying across a white, stage-like ledge, asa female figure crouches above. Skull-like faces fill the background, an audi-ence to the work’s macabre drama. Theskeletal figure allowed Pollock to rein-vent the sacrificial ritual scenes that areabundant in the Dartmouth mural,

JOSÉ CLEMENTE OROZCO ANDJACKSON POLLOCK

particularly the skeleton giving birth todead knowledge in the section known as“Gods of the Modern World” (fig. 3).The white ledge in the Pollock painting,which also calls to mind an altar, evenseems to refer to the architecture ofBaker Library, where “Gods of theModern World” hovers partially abovethe white lintel of a door. This paintingcontains many of the preoccupationsthat would consume Pollock during thisera—myth and ritual, violence andrebirth, trauma and renewal—and headdressed them through the imageryand themes that he drew directly from

Orozco. His use of snakes in Untitled(Bald Woman with Skeleton) and otherworks from this era, such as Circle, about1938–41 (fig. 4), evokes the serpents thatappear in several panels of Orozco’smural, including “The Departure ofQuetzalcoatl” (see p. 3). Other Pollockworks from this period, such as NakedMan with Knife, about 1938–40 (seecover), also depict violent scenes ofritual sacrifice likely inspired by Orozco’spanels “Gods of the Modern World” or“Ancient Sacrifice.”

Pollock had long sought out opportu-nities to study Orozco’s work. Pollock’solder brother Charles had guided him tocurrent art periodicals, such as CreativeArt, where he saw and studied reproduc-tions of work by Orozco. Even beforePollock traveled to see the Dartmouthmural, he went in 1930 to PomonaCollege in California to view Prometheus,Orozco’s first mural commission in theUnited States, and he would have seenOrozco’s mural for the New School forSocial Research in New York, wherePollock’s mentor Thomas Hart Bentonwas simultaneously working on a muralin 1931. In addition, there were severalexhibitions of contemporary Mexican artin New York museums and commercialgalleries throughout the 1930s and1940s. During a period when Pollockwas struggling with both his artisticvision and his personal demons, heemployed Orozco’s themes and imageryin his own work as a way to find his own

1. José Clemente Orozco, study for “Gods of the Modern World” (panel 17) from The Epic of AmericanCivilization, about 1932–34, gouache on paper. Hood Museum of Art, Dartmouth College: Purchased throughgifts from Kirsten and Peter Bedford, Class of 1989P; Jane and Raphael Bernstein; Walter Burke, Class of 1944;Mr. and Mrs. Richard D. Lombard, Class of 1953; Nathan Pearson, Class of 1932; David V. Picker, Class of1953; Rodman C. Rockefeller, Class of 1954; Kenneth Roman Jr., Class of 1952; and Adolph Weil Jr., Class of1935; D.988.52.171.

MEN

OFFIRE

This spring, the Hood Museum of Art will join in a

worldwide celebration of the centenary of Jackson

Pollock’s birth in 1912. In partnership with the Pollock-

Krasner House and Study Center, the museum

presents Men of Fire: José Clemente Orozco and Jackson

Pollock, an exhibition that explores the deep impact

that Orozco’s murals had on this emerging artist. The

exhibition also marks the eightieth anniversary of

Dartmouth’s famous mural The Epic of American

Civilization, which Orozco began painting for Baker

Library’s reserve reading room in 1932.

H O O D Q U A R T E R L Y 5

voice. Orozco’s imagery, divorced fromany social or political meaning, enabledPollock to develop a vocabulary withwhich to express his experience of psy-chic trauma in visual terms.

The title of the exhibition and cata-logue references Orozco’s famous frescoMan of Fire, painted for the HospicioCabañas in Guadalajara from 1937 to1939. The theme of fire—a powerfulinstrument of destruction and creation,and a symbol of renewal and rebirth—was frequently used by both Pollock andOrozco. Many of Pollock’s works fromthis period were derived from an under-standing of the symbolic use of flamethat he drew, in some part, from hisstudy of Orozco’s murals. Pollock’s TheFlame, about 1934–38 (fig. 5), for

3. José Clemente Orozco, “Gods of the Modern World,” panel 17 from The Epic of American Civilization,1932–34, fresco, reserve reading room, Baker Library, Dartmouth College. Commissioned by the Trustees ofDartmouth College.

4. Jackson Pollock, Circle, about 1938–41, oil oncomposition board. The Museum of Modern Art,New York: Gift of Lee Krasner in memory of JacksonPollock. © 2012 The Pollock-Krasner Foundation /Artists Rights Society (ARS), New York

2. Jackson Pollock, Untitled (Bald Woman with Skeleton), about 1938–41, oil on smooth side of Masoniteattached to stretcher. Purchased through the Miriam and Sidney Stoneman Acquisitions Fund; 2006.93.© 2012 The Pollock-Krasner Foundation / Artists Rights Society (ARS), New York

5. Jackson Pollock, The Flame, about 1934–38, oilon canvas, mounted on fiberboard. The Museum ofModern Art, New York: Enid A. Haupt Fund. © 2012The Pollock-Krasner Foundation / Artists RightsSociety (ARS), New York

example, shows a white skeletal figureengulfed in vibrant orange, yellow, andred licks of fire, recalling in turn thefiery background of “Gods of theModern World.” In Circle, Pollock paint-ed a flame-colored spiral surroundingabstracted serpent-like and reptilianbeings. These examples demonstrate thepredominance of this theme in Pollock’swork from this period, but flames andfire, either referenced in some abstract-ed form through color or brushstroke,or more directly stated in the subjectmatter of the work, exist in many of theworks assembled in this exhibition.Ultimately, both Orozco and Pollock, asPromethean artists, turned their criticaleyes to the traumas of the modern worldto conjure imagery that would endure asa marker of a period of global economicdepression and war.

Men of Fire also presents the muse-um with the opportunity to inauguratenew lighting for the Orozco mural inBaker Library, devised by lightingdesigner Anita Jorgenson, which will givefuture generations of Dartmouth stu-dents the chance to experience themural under state-of-the-art conditions.The Manton Foundation provided thefunds for the lighting project, and asalways, we owe them a huge debt ofgratitude for their ongoing support ofthe preservation and maintenance of theOrozco mural as well as scholarlyendeavors involving it.

SARAH G. POWERS

Assistant Curator for Special Projectsand guest curator of the exhibition

The exhibition and catalogue were organizedby the Hood Museum of Art in partnershipwith the Pollock-Krasner House and StudyCenter. The catalogue was supported byJudith and Richard Steinberg, Class of 1954,and the exhibition at the Hood was madepossible by Jan Seidler Ramirez, Class of1973, Kate and Yaz Krehbiel, Class of 1991,Thayer 1992, and the William B. Jaffe andEvelyn A. Hall Fund.

6 H O O D Q U A R T E R L Y

NATURE TRANSFORMEDEdward Burtynsky’s Vermont Quarry Photographsin Context

Nature Transformed takes as itsstarting point a remarkableseries of photographs by

internationally celebrated artist EdwardBurtynsky (fig. 1). His now signaturepursuit of conceptual subjects—fromoil extraction in the United States andin Azerbaijan to shipbreaking inBangladesh, electronics factories andimmense wire recycling yards in China,and nickel and uranium mine tailings inCanada—started just fifty miles northof the Hood Museum of Art in thegranite quarries of Barre,Vermont.Hope Cemetery in Barre (fig. 2) is anextraordinary place to discover thelittle-known history of one ofVermont’smost extensive and profitable indus-tries—stone quarrying.The monu-ments therein attest to the creativityand skill of many generations of localcarvers: a couple holding hands in bed,a propeller plane ready for takeoff, an

armchair, a replica of Michelangelo’siconic Pietà. Many of these stone-workers emigrated to Barre in thelate nineteenth and early twentiethcenturies primarily from the ancientquarrying town of Carrara, Italy, asartists and artisans to contribute theirexpertise to an industry in the throesof expansion.They brought along withthem a love for opera (fig. 3), politicalactivism, and strong values that madetheir assimilation into American societyrelatively easy. In fact, their impact onlife and culture in parts of Vermont isstill acutely felt today.

The exhibition reconsiders a selec-tion of Burtynsky’s monumental photo-graphs—seven of which Burtynsky isshowing here for the first time, includ-ing two he took in the little-knownbut extensive underground quarries inDanby,Vermont—within the contextof Vermont’s social and cultural history

as well as the much longer history ofthe geological formation of northernNew England and its marble and gran-ite deposits. Interestingly, Burtynskymade the reverse journey of thoseItalian immigrants with his Quarriesproject—first he discovered the quar-ries in Vermont and then he waspointed toward Carrara by a quarryowner.This was in turn the artist’s firstinternational trip for his work andrepresents the genesis of the globalexploration of nature and industry forwhich he is renowned today.NatureTransformed showcases several of hisphotographs from Carrara as well, sig-naling the geographical aspect of thisstory of human migration (fig. 4).

(above) 1. Edward Burtynsky, Rock of Ages #7,Active Section,Wells-Lamson Quarry, Barre,Vermont, 1991. Photograph courtesy HowardGreenberg & BryceWolkowitz, NewYork /Nicholas Metivier,Toronto

H O O D Q U A R T E R L Y 7

The interdisciplinary approach ofthis exhibition is consistent with thepurpose of the Hood Museum of Artas a teaching museum, and Burtynsky’spowerful artistic vision of the interac-tion between humans and the environ-ment is the force behind its conception.In the exhibition catalogue, co-curatorPieter Broucke writes,“Burtynsky sub-tly combines his instinctive apprecia-tion for the powerful formal aspects ofthe quarries with his growing subjec-tive awareness of the devastation thatlarge-scale industrial quarrying haswrought on the landscape.The detritusof abandoned equipment, derricks,sheds, stairs, cables, tanks, discardedblocks and stones, and other litterbecomes increasingly prominent inthe photographs.The artist’s initialimpression of the monumental voids asformal presences inserted within thelandscape gradually includes recogni-tion of the quarries as ecologicalwounds inflicted upon the landscape.”

Searching out these monumentalvoids was indeed the idea that droveBurtynsky toVermont in the first place,after he had spent time photographingore mines. In an interview for the exhi-bition catalogue, he recalls, “I thoughtof our cities, which are made fromstone that is kept intact . . .The type ofexcavation that resulted from dimen-sional stone seemed to indicate thatthere had to be a more orderlyremoval of the materials than at an oremine. The idea I had was that I mightbe able to find the reverse of a sky-scraper somewhere, an inverted pyra-mid where the blocks were beingremoved. So I pursued that.”

The resulting images on display inNature Transformed are often breathtak-ing in their scale and visual power. Weinvite you to visit Nature Transformedthis spring and to participate in theprograms offered, including a lecture byartist Edward Burtynsky on May 11.

JULIETTE BIANCO

Assistant Director and co-curatorof the exhibition

This exhibition was organized by the HoodMuseum of Art and generously supported byRaphael and Jane Bernstein / ParnassusFoundation, Laurie JeanWeil D.V.M. in honor ofher parents, Jean and BucksWeil, DartmouthClass of 1935, the Marie-Louise and Samuel R.Rosenthal Fund, and the RayWinfield Smith1918 Fund.

2. Hope Cemetery, Barre,Vermont.

3. Photographer unknown, Il Fornaretto di Venezia (The Baker of Venice) cast from the production byLaVecchia Filodramatica Society at the Barre Opera House, 1902, photographic copy from nega-tive. Courtesy of the Aldrich Public Library, Barre,Vermont.

4. Edward Burtynsky, Carrara Marble Quarries #25, Carrara, Italy, 1993, chromogenic color print.Lent by Daniel Bernstein and Claire Foerster. Photograph courtesy Howard Greenberg & BryceWolkowitz, NewYork / Nicholas Metivier,Toronto

8 H O O D Q U A R T E R L Y

14April, Saturday, 1:30–3:00 P.M.CHILDREN’S WORKSHOPDrawing on the GridEver copy a picture using a grid? Many artists have drawn inspirationfrom this simple framework for drawing and painting. Come andexplore the work of several great artists and then compose yourown work of art using a grid in the studio. For children ages 9–12.Space is limited. Call (603) 646-1469 by April 10 to register.

18April,Wednesday, 6:30–8:30 P.M.Second-floor galleriesADULT WORKSHOPArt in a Box: Marcel Duchamp and the Expanding GridIn this discussion-based workshop, we’ll explore two exhibitions ofcontemporary art. One focuses on Marcel Duchamp’s Boîte-en-valise,a “portable museum” that allowed him to carry around his life’swork in a traveling box.The other explores the legacy of cubism andother forms of grid-based abstraction. In the studio, we’ll experimentwith grids and boxes as a compositional structure for art making.No previous art experience necessary. Space is limited. Please call(603) 646-1469 by April 16 to register.

21April, Saturday, 2:00 P.M.Second-floor galleriesTOURMen of Fire: José Clemente Orozco and Jackson Pollock

24April,Tuesday, 12:30 P.M.Second-floor galleriesLUNCHTIME GALLERY TALK“Below the Surface: A Conversation aboutEdward Burtynsky’s Quarry Photographs”Juliette Bianco,Assistant Director, Hood Museum of Art,andVirginia Beahan, Senior Lecturer in Studio Art,Dartmouth College

25April,Wednesday, 7:00 P.M.Arthur M. LoewAuditoriumFILM SCREENING AND DISCUSSIONQuetzalcoatlMary Coffey,Associate Professor of Art HistoryIn 2010, Dartmouth College Library was awarded a grant from theNational Film Preservation Foundation to preserve the twenty-two-minute film Quetzalcoatl (1961). The film interprets Orozco’smural The Epic of American Civilization with commentary and acommissioned music score. It was written, produced, and directedby Robert Canton, Dartmouth Class of 1958.This will be the film’sfirst public debut since its restoration. Co-sponsored by HoodMuseum of Art and Dartmouth College Library in conjunction withPreservationWeek.

28April, Saturday, 2:00 P.M.Second-floor galleriesSPECIAL TOURMarcel Duchamp:The Box in a ValiseMichaelTaylor, Director

MAY

2 and 9 May,Wednesdays, 6:30–8:00 P.M.Second-floor galleriesADULT WORKSHOPJosé Clemente Orozco and Jackson PollockIn this two-part adult workshop, we’ll spend one evening getting toknow Orozco’s mural The Epic of American Civilization.The followingweek, we’ll examine its impact on the young Jackson Pollock in theexhibition Men of Fire.These workshops will be informal, discussionbased, and participatory. Space is limited. Call (603) 646-1469 byApril 30 to register.

eventscalendar ofMARCH

28 March,Wednesday, 5:30 P.M.Arthur M. LoewAuditoriumLECTURE“CausingTheir Names to Live: Collectors, Scholars,Dealers, and the Hood’s Egyptian Objects”Christine Lilyquist,The Metropolitan Museum of Art’sformer head of the Department of Egyptian Art and LilaAchesonWallace Research Curator in Egyptology, andrecent advisor and AndrewW.Mellon FoundationVisitingScholar at the HoodFollowing upon her lecture last September on the Egyptian objectsnow on display in the Hood, curator Christine Lilyquist speaksabout modern people who have helped bring life to those objectsand the Egyptians who made them.

APRIL

3 April,Tuesday, 6:00 P.M.Arthur M. LoewAuditoriumSPECIAL PRESENTATION“Have a Beer with the Pharaohs: A Special Presentationand BeerTasting”Horst Dornbusch, international brew industry consultantand award-winning author/brewer, andTod Mott, HeadBrewer, Portsmouth Brewery, and winner of several GreatAmerican Beer Fest gold medalsEnjoy a lively presentation on the production and social importanceof beer in ancient Egypt, followed by a tasting of Osiris Ale, anauthentic Pharaonic beer replica from the Egyptian dynastic periodcreated and brewed exclusively for this event. Members $30;nonmembers $40. Space is limited.To register, please call(603) 646-9660 or email sharon.reed@dartmouth.edu.

4April,Wednesday, 5:30 P.M.Arthur M. LoewAuditoriumLECTURE“Marcel Duchamp:The Box in aValise”MichaelTaylor, DirectorIn celebration of the museum’s recent acquisition of MarcelDuchamp’s Box in a Valise, one of the most influential works of art ofthe twentieth century, the Hood’s director will explore the complexideas behind this portable museum, in which miniature reproductionsof the artist’s most significant works are cleverly arranged inside ared valise. A reception will follow in Kim Gallery.

10April,Tuesday, 7:00 P.M.Arthur M. LoewAuditoriumFILM SCREENING AND DISCUSSIONGreenModerator: James Igoe, Associate Professor ofAnthropologyGreen, a female orangutan, is a victim of deforestation and resourceexploitation in Indonesia.This hard-hitting portrayal of environmen-tal disruption contains no narrative or dialogue yet helps the viewerto understand complex commodity chains.Winner of the mostprestigious prizes in environmental filmmaking. Professor Igoe wasamong the university professors involved in responding to the film.Offered in conjunction with the upcoming exhibition Looking Back atEarth. Running time: 48 min.

13April, Friday, 5:00 P.M.Kim GalleryOPENING RECEPTIONMen of Fire: José Clemente Orozco and Jackson PollockJoin us for a reception in Kim Gallery and be among the first to visitthe exhibition. Enjoy live jazz standards by the trio Green Room.

H O O D Q U A R T E R L Y 9

23 May,Wednesday, 6:30–8:30 P.M.ADULT WORKSHOPArt and CreativeWritingGet inspired at the museum as you try your hand at creativewriting in this workshop! Museum staff will lead participants in anumber of simple, evocative writing activities with works of art.Writing forms will include poetry and prose. No previous art orwriting experience is necessary. Space is limited. Call (603) 646-1469 by May 21 to register.

23 May,Wednesday, 5:30–7:00 P.M.Arthur M. LoewAuditoriumCONFERENCE PANELIcons, Charts, andTalismanic Scripts: DaoistVisual CulturePanelists: Mark Meulenbeld, University ofWisconsin-Madison,“Dancing with the Gods:Village Daoists in China”; MaggieWan,Department of Fine Arts,The Chinese University of Hong Kong,“Images and Power:Visual Representations of Gods in DaoistScriptures”; David Molina, University of North Carolina, Charlotte,“The Life of a Ritual Artisan in Today’s China”Moderator: Gil Raz,Associate Professor of Religion, DartmouthCollege, and conference organizerReception to follow in Kim Gallery. Co-sponsored by the LeslieCenter for the Humanities, the Dickey Center for InternationalUnderstanding, the Department of Religion, the Asian and MiddleEastern Studies Program, and the Hood Museum of Art.

JUNE

1 June, Friday, 9:00 A.M.DAY TRIPHope Cemetery and Rock of Ages Quarry, Barre,VermontJoin us for a day trip to Barre,Vermont, and explore the quarriesthat inspired Edward Burtynsky’s photographs.This trip—led by Dr.Robert McGrath, Professor Emeritus of Art History, DartmouthCollege—includes a tour of the world-famous Hope Cemetery. Feesare $50 members/$60 non-members, lunch not included. Brown-baglunch is available at an extra charge. Space is limited. Please call(603) 646-9660 or email sharon.reed@dartmouth.edu to register.

9 June, Saturday, 2:00 P.M.Front entryway, Baker Library (beneath the clock tower)SPECIAL TOURThe Epic of American Civilization and Men of Fire:José Clemente Orozco and Jackson PollockSarah Powers, Guest Curator of Men of FireThis tour will explore the Orozco mural and make connectionsbetween Orozco’s themes and imagery and the work of JacksonPollock.The group will then cross the Green to visit the Men of Fireexhibition.

All museum exhibitions and events are free and open to the publicunless otherwise noted. For the safety of all of our visitors, theHood Museum of Art will enforce legal seating capacity limits atevery event in accordance with RSA 153:5 and Life Safety Code101.

Assistive listening devices are available for all events.Themuseum, including the Arthur M. Loew Auditorium, iswheelchair accessible. For accessibility requests, please call603-646-2808 or e-mail access.hood@dartmouth.edu.

4 May, Friday, 7:00 P.M. (6:30Tour)Athur M. LoewAuditoriumFILM SCREENING AND SPOTLIGHT TOURPollockDirected by Ed Harris, 2000In conjunction with the Dartmouth Film Society and Men of Fire:José Clemente Orozco and Jackson Pollock, the museum will offer afree, fifteen-minute spotlight tour by Sarah Powers, Guest Curator,at 6:30 P.M. The film begins at 7:00 P.M.

5 May, Saturday, 2:00 P.M.TOURNatureTransformed: Edward Burtynsky’s Vermont QuarryPhotographs in Context

8 May,Tuesday, 12:30 P.M.Second-floor galleriesLUNCHTIME GALLERY TALK“Jackson Pollock’s Encounter with theWork ofJosé Clemente Orozco at Dartmouth College”Sarah Powers, Guest Curator of Men of Fire

11 May, Friday, 5:30 P.M.Arthur M. LoewAuditoriumARTIST LECTUREEdward BurtynskyThe world-renowned photographer will talk about his work thatexplores the impact of human consumption on the earth.A reception will follow in Kim Gallery.

12 May, Saturday, 2:00 P.M.Front entryway, Baker Library (beneath the clock tower)TOURThe Epic of American Civilization

16 May,Wednesday, 4:30 P.M.Kim GalleryPANEL DISCUSSION“Investigations into the Ancient Mediterranean:Spotlight onTeaching with Objects”Dartmouth professors teaching courses on ancient Greek andRoman culture will discuss their work with objects on loan fromYale University Art Gallery over the past year. Roberta Stewart, PaulChristesen, Kathleen Corrigan, Jeremy Rutter, and Roger Ulrich willtalk about introducing students to the issues that stem from theclose investigation of objects.The session will include a preview ofa documentary film about the project.A reception will follow.

18 May, Friday, 5:30 P.M.Arthur M. LoewAuditoriumLECTURE“Pollock after Orozco/Orozco after Pollock”Michael Leja, Professor of American Art, University ofPennsylvaniaDr. Leja will consider how Orozco influenced Pollock and how wesee Orozco differently as a result of Pollock’s work. Leja wrote theintroductory essay for the recently published volume of JacksonPollock’s correspondence, titled American Letters: 1927–1947 (2011).This event is made possible through the generous support of theMembers of the Hood Museum of Art.

19 May, Saturday, 2:00 P.M.TOURNatureTransformed: Edward Burtynsky’s Vermont QuarryPhotographs in Context

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ACQUISITION IN FOCUS:MARCEL DUCHAMP’S BOX IN A VALISE

The Hood Museum of Art is delighted to announce the acquisition of MarcelDuchamp’s Boîte-en-valise (Box in a Valise), one of the most important and influ-ential works of art of the twentieth century. Arguably modern art’s greatest icono-clast, Marcel Duchamp (American, born France, 1887–1968) devoted his entirecareer to debunking pre-existing ideas about art, which he believed shouldappeal to the intellect rather than the senses. This can be seen in the Box in aValise, which the artist described as a “portable museum” that would allow himto carry around his life’s work in a traveling box. The artist spent five years,between 1935 and 1940, recreating his oeuvre in miniature through photographs,hand-colored reproductions, and diminutive models. These facsimiles of hismajor paintings, drawings, and sculptures provided the source material for anedition of 320 boxes, which he would spend the rest of his life assembling. Thefirst edition of the work, which was issued in 1941 in a series of twenty deluxevalises, consisted of a wooden box fitted inside a leather-covered suitcase with acarrying handle. Each valise contained an original work of art, usually mountedon the inside of the lid, in addition to the sixty-eight standard reproductions ofDuchamp’s most significant works.

Duchamp produced six further editions, each slightly different from the other,which make up the standard edition of three hundred boxes that the artist peri-odically distributed in small batches during the last three decades of his life.Eventually Duchamp grew tired of the repetitive and time-consuming nature ofthe project and hired assistants to help him complete the set. Among them wasthe young American artist Joseph Cornell, who would later become famous forhis own dreamlike box constructions. For the Hood version, which was complet-ed in 1966, Duchamp added twelve new items to what would be the final editionof the Box in a Valise. These additional reproductions were printed in Parisbetween 1963 and 1965 and mounted on loose black folders. Housed in a redlinen–lined box the size of an attaché case, this edition is the most sought afterby museums because it represents Duchamp’s final statement on the theme ofthe portable museum.

the collections

Marcel Duchamp, Box ina Valise (Boîte-en-valise,Series F), 1966, mixed-media assemblage: redleather box containingminiature replicas, photo-graphs, and color repro-ductions of eighty worksby Marcel Duchamp.Purchased through theMrs. Harvey P. Hood W’18Fund, the Florence andLansing Porter Moore1937 Fund, the Miriamand Sidney StonemanAcquisitions Fund, andthe William S. RubinFund; 2011.49.© 2012 Artists RightsSociety (ARS), New York /ADAGP, Paris / SuccessionMarcel Duchamp

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In a television interview with James Johnson Sweeney that aired on NBC in1956, Duchamp explained his reasons for making a comprehensive anthology ofhis own works: “It was a new form of expression for me. Instead of paintingsomething the idea was to reproduce the paintings that I loved so much inminiature. I didn’t know how to do it. I thought of a book, but I didn’t like thatidea. Then I thought of the idea of the box in which all my works would bemounted like in a small museum . . . and here it is in this valise.” At a timewhen no museum would honor Duchamp with a retrospective, the artist decidedin effect to be his own curator, organizing a self-contained traveling exhibition ofhis life’s work that could be changed at will, simply by rearranging the contentsof the box. The obsessive attention to detail that one finds in the production ofthe boxes also suggests a concern to preserve the past, while simultaneouslykeeping his ideas alive for new generations of artists.

In the Box in a Valise, Duchamp’s works are cleverly arranged inside the box likea traveling salesman’s wares. Open the lid and you find a treasure trove of artobjects all reproduced on a Lilliputian scale. The centerpiece of the display,once the lid is opened, is the artist’s magnum opus The Bride Stripped Bare byHer Bachelors, Even, otherwise known as The Large Glass. Duchamp used trans-parent celluloid to re-create this huge painting on glass, which is flanked to theleft by three tiny replicas of his readymades, which hang one above the other ina narrow vertical space. These items—the notorious urinal he christenedFountain, an Underwood typewriter cover, and a chemist’s glass ampoule filledwith Air de Paris—were selected by Duchamp as “readymade” works of art in agesture that would redefine art making in his era. Below them, mounted on thelid, is an early painting entitled Sonata, which depicted his three sisters playingmusic under the attentive gaze of their mother, who was tone deaf yet claimed tohear the vibrations of the music.

Why the artist should want to faithfully reproduce the highlights of his artisticcareer in miniature and pack them into a small suitcase has been the subject ofgreat discussion since the first valise appeared in 1941. One hypothesis is thatDuchamp was humorously commenting on his meager artistic output. Unlikemany of his contemporaries, including Pablo Picasso, Fernand Léger, and HenriMatisse, who by this time had all created a prodigious number of paintings,Duchamp had deliberately limited his artistic production to a handful of keyworks, believing that he could thus avoid repeating himself, which he arguedhad been the sad fate of many successful painters in the modern era. The Box ina Valise can thus be seen as a self-deprecating joke, with an undertone of criti-cism for the excesses of his fellow artists, which allowed Duchamp to proudlyclaim that his own oeuvre was so modest that he could fit all of his art objects ina small suitcase. Duchamp’s willingness to reproduce his works in miniature mayalso have stemmed from his belief that there was nothing inherently sacredabout a work of art and that the idea behind an art object was more importantthan the object itself. Duchamp’s use of replication and appropriation to under-cut accepted notions of originality and authenticity was hugely important to sub-sequent generations of artists, including the Fluxus group, which respondedenthusiastically to the ideas behind the Box in a Valise in their Fluxkits, many ofwhich are in the collection of the Hood Museum of Art as well.

MICHAEL TAYLORDirector

RECENT ACQUISITIONS

Frank Weston Benson, Wooster Farm, North Haven, Maine, 1924

Frank Weston Benson (1862–1951) was midway through his artistic career when he tookup watercolor in 1921, but he adapted to the medium quickly and went on to create alarge body of work that won him critical favor and swift sales. In this virtuosic examplehe captures the shimmering effects of dappled sunlight on his beloved summer home,Wooster Farm, on the island of North Haven in Penobscot Bay, Maine. Benson pur-chased the property and its large, late-eighteenth-century house in 1901. He had by thenestablished himself as an influential instructor at Boston’s Museum School and as aleading figure in the so-called Boston school—an informal circle of painters known fortheir images of genteel women set in elegantly appointed rooms. Summer holidays inMaine offered him a welcome opportunity to paint outdoors—in both watercolor andoil—in a freer, more spontaneous manner than he typically adopted for his interiors.

In this work Benson first lightly indicated essential outlines in graphite, then appliedboth thin swaths and thick dabs of watercolor to further convey form, color, and theflickering effects of light and shadow. Reserves of the bright white paper provide thecomposition’s brilliant highlights. Using a low vantage point, he cropped the top portionof the house, thereby accentuating the broadly handled foreground and giving theimage a greater sense of immediacy. Passed down through the artist’s family, this water-color is imbued with rich personal associations. Benson frequently painted family mem-bers seated on the garden bench visible near the doorway and, according to his grand-children, he dubbed the tree in the left foreground the “banana tree.” He would attachnewly purchased, green bananas to its branches, to be “picked” when ripe.

Man Ray, Mathematical Object, 1934–36

Man Ray (1890–1976), a pioneering American modernist associated with dada and surre-alism, captured this image as part of a photographic series he made beginning in 1934 of“mathematical objects”—old plaster models of algebraic formulae that he encounteredon display in dusty cases in Paris’s Institut Henri Poincaré, named for the highly influen-tial mathematician who popularized principles of relativity and non-Euclidian geometry(the geometry of curved planes). Man Ray appropriated these seemingly sterile objectsbased on logic and, through aesthetic choices, animated them and made them his own.

Here he enlivens the sculptural form and gives it a monumental presence throughdramatic lighting and close cropping. The deep shadows and brilliant highlightsreflected on its spiraling planes and arcing projections heighten the model’s evocationof a sensual, androgynous figure, capable of movement. Man Ray asserted that “theformulas accompanying [these models] meant nothing to me, but the forms themselveswere as varied and authentic as any in nature.” He was no doubt drawn to their conical,ovoid, and spiraling shapes, which echoed the geometric underpinnings of cubism andthe biomorphic forms favored by Man Ray and other surrealists. The unadorned plasterconstruction of these models likely also appealed to him and his artistic cohorts, whofavored that inexpensive, white medium for their sculptures and surrealist objects. Inthis example we see Man Ray recognizing the aesthetic, intellectual, and mysteriousqualities of a non-art object born of logic and, through appropriation and aestheticchoices, presenting it as his own, sensuous work, rich with visual and intellectualassociations.

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Frank Weston Benson,Wooster Farm, NorthHaven, Maine, 1924,watercolor over graphiteon wove paper. Gift of theartist’s granddaughter,Corinne Benson Johnson;2011.58.

Man Ray,MathematicalObject, 1934–36, vintagegelatin silver print.Purchased through theKatharine T. and MerrillG. Beede 1929 Fund;2012.4

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A New Addition to the Hood’s Fluxus Collection

The Hood Museum of Art is home to the George Maciunas Memorial Collection, estab-lished upon Maciunas’s death in 1978 to honor the Lithuanian-born founder of theinternational movement Fluxus. This radical and influential cultural phenomenonemerged in the early 1960s as part of a global cultural impulse to blur the boundariesbetween art and life. The George Maciunas Memorial Collection, which grew to justover five hundred objects over the span of a decade, remained more or less shelved fortwenty years, until founding Hood director Jacquelynn Baas suggested that the museumorganize a traveling exhibition and publication focused upon it. Fluxus and the EssentialQuestions of Life was on view at the Hood Museum of Art from April 16 to August 7,2011, then traveled to the Grey Art Gallery at New York University from September 9through December 3. It is currently on view at the University of Michigan Museum ofArt through May 20.

The renewed interest in and scholarship on the collection has revitalized its pedagogi-cal use at Dartmouth College and has led to the first significant purchase in recentyears, Black and White Piece. This series of ten photographs by Hollis Melton (born1944) commemorates a performance presented as part of a cabaret in celebration ofGeorge and Billie Maciunas’s FluxWedding on February 25, 1978. In it, they exchangedclothing, and the photographs follow the transformation of groom to bride and bride togroom, unveiling the intimacy and symbolism of their relationship. This, Maciunas’slast public performance before his death from inoperable cancer just months later, car-ries the poignancy of his final days, and Melton’s one-of-a-kind accordion-style album issigned by the artist and was acquired by the museum from Billie Maciunas. The muse-um will make the work available for study to faculty and students in the disciplines of,among others, art history, studio art, women’s and gender studies, philosophy, history,film and media studies, and theater.

In an email to Juliette Bianco, the Hood’s Assistant Director, Billie Maciunas reflectedon this first Flux event she had ever participated in: “It was black and white for symbol-ic reasons for George, not least of which is that he was colorblind. The clothes werebasically cheap things we picked up at the Salvation Army. Since George was a trans-vestite, he collected a lot of shabby elegant women’s clothing this way. The dress Iwore, and which at the end of the piece George wore, was just such an item that camefrom the Salvation Army, along with the cheap fake pearls.”

Black and White Piece is a rare document of a Fluxus event and example of the inter-action between performance and photography. It also records one of Maciunas’smost autobiographical works and is an important addition to the museum’s Fluxuscollection.

Hollis Melton, Black andWhite Piece (Photographsdepicting “Black andWhite” performance byGeorge and Billie Maciunasat the Flux Wedding andCabaret, February 25, 1978),12 gelatin silver prints in anaccordion fold. Purchasedthrough the Olivia H.Parker and John O. Parker’58 Acquisition Fund andthe Hood Museum of ArtAcquisitions Fund; 2011.52.Reproduced with permis-sion of the artist.

This spring term the Hood Museumof Art is presenting a special teaching

exhibition in Harrington Gallery featur-ing long-term loan objects from the YaleUniversity Art Gallery. This installation,titled Investigations into the AncientMediterranean, is part of an innovativecollection-sharing program created tohighlight the importance of teachingwith original works of art as part of thecollege curriculum. Funded by a gener-ous grant from the Andrew W. MellonFoundation, this program enabled YaleUniversity Art Gallery to lend forty-sevenancient Mediterranean objects to theHood for a two-year period beginning inDecember 2010. The materials range

14 H O O D Q U A R T E R L Y

BEHIND THE SCENESSpotlight on Teaching with Objects:Investigations into the Ancient Mediterranean

May 5 through June 24

(top left) Professor Ada Cohen teaching a seniorseminar on art historical theory and method inthe Hood’s Bernstein Study-Storage Center.

(bottom left) Professor Roger Ulrich teachingClassical Studies 11: Greek and Roman Engi-neering and Technology in the Bernstein Study-Storage Center. Photo by Kasia Vincunas ’11.

(above) Portrait of a youth, 2nd century CE,encaustic on wood. Yale University Art Gallery:Gift of the Associates in Fine Arts 1939; 1939.263.

from Greek terracotta to Roman marblesand span a time period of three millennia,from the Neolithic period to late anti-quity. Highlights include a magnificentAthenian red-figure column krater fromthe classical period and a Roman marblestatuette of the Greek god Dionysos fromthe second to third century CE, as wellas a striking mummy portrait of a youthfrom Roman Egypt from the secondcentury CE.

Over the course of this past year and ahalf, Dartmouth faculty and studentsfrom a range of disciplines including arthistory, classics, religion, and history haveused both the Yale loans and works fromthe Hood collection to explore current

discourses on such topics as gendersystems, representation and identity, andcenter and periphery in the RomanEmpire. By working closely with facultyand students to document these projects,the Hood wishes to highlight this majorpart of its daily activities as a teachingmuseum and make visible its work withundergraduate students, most of whichhappens “behind the scenes” in BernsteinStudy-Storage Center. In addition to theexhibition, the project will entail arelated website and a documentary filmhighlighting student and faculty researchrelated to the loans. These projects willalso be prominently featured in theinstallation.

The faculty and student work featuredin the show will offer insights into thestudy of ancient cultures and introducethe various methodologies used by schol-ars in different fields who are interestedin visual and material culture. The inten-tion of the installation is to explore howthe close observation of works of art canreveal connections to wider cultural,religious, political, and social themes inthe ancient Mediterranean world.

ESSI RÖNKKÖAssistant Curator for Special Projects

H O O D Q U A R T E R L Y 15

newsM U S E U M

VITAL SUPPORT: MEMBERSHIP

Become a member of the Hood at anyjoining level and help us to provide:

• Free entrance to the museum toeveryone, every day

• Free education and outreach programsfor adults, schoolchildren, and families

• Acquisition of works of art

The Hood Museum of Art plays a vitalrole in the cultural life of New Hamp-shire andVermont.As a member, you joina community that is active, interested,and engaged in the museum. In gratitude,we offer the following at all levels ofmembership:

• Subscription to the Hood Quarterly• 15% discount at the Museum Shop• Invitation to exclusive member-only

events and advance/discounted noticeto special events

• Free admission or discounts atmuseums nationwide through theNorth American ReciprocalMuseums (NARM) program.

Higher levels of membership include invi-tations to national or international trips,art postcards and Hood publications,sneak previews of exhibitions, and more!

Please join or renewTODAY!

To sign up, please emailhoodmembership@dartmouth.edu orcall Julie Ann Otis at (603) 646-0414.For more information, visitwww.hoodmuseum.dartmouth.edu.

COMMUNITY OF LEARNERS

SybilWilliamson Named Presidentof National Docent Association

SybilWilliamson, who has been a docentat the Hood since 1992, is playing anational leadership role in the museumeducation community. In October shebecame president of the National DocentSymposium Council (NDSC) for a two-year term beginning in 2011. Sybil’sengagement with the NDSC began in2001, when she agreed to serve as aregional representative. Because of hergreat strengths as a leader and spokes-person, she was continually asked toassume additional responsibilities and sub-sequently served as secretary and thenvice-president. Her appointment to thehighest position in the organization is agreat tribute to Sybil’s talents as well asan honor for the Hood, and we are proudto claim her as one of our own. Followingher term, she will serve as past-presidentuntil 2015.The NDSC provides docenteducation and the exchange of ideasthrough a National Docent Symposium,held every two years, and by publishing adocent handbook and website.

2011-12 Hood Museum of Art Interns, left to right: Claire Hunter, Emma Routhier, Hannah Jeton,Frances Middleton, Chanon (Kenji) Praepipatmongkol, Karysa Norris, Kayla Gilbert,Amanda Manker.

Our 2011–2012 Senior Interns!

The Hood staff is very excited about thediverse and accomplished group of indi-viduals who have been contributing tothe museum’s efforts this year.The intern-ship program provides opportunities forDartmouth seniors from all majors toengage with museum work in variousprofessional capacities.

Senior internships are offered in threemain fields: curatorial, programming, andpublic relations. Curatorial internsresearch objects, write labels and bro-chures, and assist with all other aspectsof exhibition development.The five cura-torial interns are Claire Hunter (MellonSpecial Project Intern), Frances Middleton(Homma Family Intern), Chanon (Kenji)Praepipatmongkol (Mellon Special ProjectIntern), Karysa Norris (Class of 1954Intern), and Amanda Manker (MellonSpecial Project Intern,Yale University ArtGallery Collection-Sharing Initiative).

Programming interns work with staff tocreate engaging museum events and pro-grams for Dartmouth students, includingtours, gallery/studio activities, discussiongroups, and parties.The programminginterns are Emma Routhier (LevinsonIntern) and Kayla Gilbert (Homma FamilyIntern).

The public relations intern works withcommunications staff to promote muse-um events and activities, particularlywith its campus audiences.The publicrelations intern is Hannah Jeton (KathrynConroy Intern).

In addition to working within theirrespective departments, most Hoodinterns create their own art installation;now in its tenth year, A Space for Dialogue:Fresh Perspectives on the PermanentCollection from Dartmouth’s Students affordsthem the opportunity to curate a smallexhibition from the museum’s permanentcollection.Working with Hood staff,interns determine a theme and identifyobjects to display, help design the installa-tion, write labels and a brochure, anddeliver a public gallery talk.This year’s

intern exhibitions have incorporatedobjects as disparate as Bill Viola’s videowork and a Kandinsky color woodcutto an ancient Egyptian sepulchral stele,with other interesting forays into thecollection on the way. A Space forDialogue, founded with support from theClass of 1948, is made possible withgenerous endowments from the Class of1967, Bonnie and Richard Reiss Jr. ’66,and Pamela J. Joyner ’79.

GENERAL INFORMATION

Museum and Shop HoursTuesday–Saturday: 10 A.M.–5 P.M.Sunday: 12 noon–5 P.M.Wednesday evening to 9 P.M.

Guided GroupToursAvailable by appointment: call (603) 646-1469for information.

Assistive listening devices are available for allevents. The museum, including the Arthur M.Loew Auditorium, is wheelchair accessible.

Admission and ParkingThere is no admission charge for entrance tothe museum. Metered public parking is avail-able in front of the museum on WheelockStreet and behind the museum on LebanonStreet. All-day public parking is available atthe Parking Garage on Lebanon Street.

For more information, please call(603) 646-2808 or visit our Web site atwww.hoodmuseum.dartmouth.edu.

Advertising for the Hood Museum of Art’s exhibitions and pro-grams has been generously underwritten by the Point and theJunction Frame Shop.

The Hood Museum of Art is committed to environmentalmindfulness and stewardship. This publication is certified tothe Forest Stewardship Council Standard.

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Edward Burtynsky,Marble Quarries #001, Rutland,Vermont, 1991, chromogenic colorprint. Lent by Dennis Sughrue. Photograph courtesy Howard Greenberg & BryceWolkowitz, NewYork / Nicholas Metivier,Toronto

This spring at the Hood:

MEN OF FIRE: JOSÉ CLEMENTE OROZCO ANDJACKSON POLLOCKApril 7–June 17, 2012

NATURE TRANSFORMED:EDWARD BURTYNSKY’S VERMONT QUARRYPHOTOGRAPHS IN CONTEXTApril 21–August 19, 2012

MODERN AND CONTEMPORARY ART:TWO INSTALLATIONSApril 7–August 26, 2012

EGYPTIAN ANTIQUITIES AT DARTMOUTH:HIGHLIGHTS FROM THE HOOD MUSEUM OF ARTOngoing