Student Spotlight: Artist and actor Emma Mouzon '18
Emma Mouzon ’18 has always been artistically curious, but has taken her innovativeness to the next level in her most recent sculptures.
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Emma Mouzon ’18 has always been artistically curious, but has taken her innovativeness to the next level in her most recent sculptures.
The Hood Museum of Art’s final exhibitions before its March close for renovation reflect the Hood’s future vision.The museum’s most recent exhibitions include the series “Ice Cuts” by Vermont-based artist Eric Aho, the mixed-media African exhibit “Inventory: New Works and Conversations Around African Art” and “Points of View,” which is curated by two Dartmouth professors, senior curator of collections Katherine Hart said.The Hood will also present an installation on last year’s Nepal earthquake, featuring photographs by Jim Nachtwey and Kevin Brubriski, as part of the three-day summit on Nepal sponsored by the Dickey Center for international understanding, Hart said.“The Hood’s goal is to engage with contemporary art as a leader rather than a follower,” Hood Museum director John Stomberg said.As innovative contemporary shows, “Ice Cuts” and “Inventory”, particularly promote the museum’s ultimate vision, Stomberg said.“Ice Cuts”, inspired by a hole cut in the ice in front of a sauna, largely focuses on contrast, Hart said. Aho reiterates the series’ central motif — the ice cut — in an effort to explore other aspects of composition such as color, texture and positioning. As a result, each painting remains distinctive yet continuous, Hart said.“[Aho’s show] is unusual in that it is so abstract and has become increasingly abstract in many ways,” Hart said.Aho’s collection signifies a “push and pull between abstraction and representation,” which highlights the Hood’s curatorial practice as a whole, Stomberg said.“[Ice Cuts] is an incredibly outward-looking show,” Stomberg said. “It is a show that any major museum could and should be doing right now.”“Inventory,” which contains 31 works ranging from paintings to ceramics to photographs, showcases modern and contemporary African art from the 1960s to the present, Hart said. “Inventory” displays works acquired within the last two-and-a-half years, and seeks to present a more “holistic” view of the arts of Africa, curator of African art Ugochukwu-Smooth Nzewi said.This show indicates the progressive direction in which the Hood’s African art collection will go after the museum’s expansion, Nzewi said. Nzewi wants to obtain more contemporary and modern African works so that the Hood can more actively “engage in current discourses in academia.” At the same time he intends to remain faithful to traditional African art and objects, Nzewi said.“This exhibition, in its more contemporary focus, dovetails the museum’s goals of expansion and thinking towards the future,” Hood curatorial intern Sarah Lund ’16 said.“Inventory” features the notable piece “V12 Laraki” (2013) by artist Eric Van Hove: a replica of a Mercedes Benz engine reassembled with unconventional materials, including leather and precious metals. Nzewi said that this work combines the custom of craftsmanship in North Africa with the industrialization of the West.“This exemplifies the hybridity and cultural dialogue that is central to [Inventory],” Nzewi said.Very few American institutions have access to art from all of the regions in Africa, and it is “distinctive and unusual” that the Hood has such an expansive African collection, Stomberg said. “Inventory” provides a forum to finally “show it off,” Stomberg said.The Hood’s expansion, which will begin this March, will create five new gallery spaces to display the museum’s rich repertoire of both traditional and contemporary art, Stomberg said. It will also create auxiliary object-study rooms so that students can more intimately interact with the works they are studying.The renovations will construct a large vestibule entryway featuring prominent glass doors — one of which will lead into the museum, and the other of which will lead into three additional fully-digitized classroom spaces, exhibitions designer Patrick Dunfey said.“Learning is the biggest part of our daily lives here at Dartmouth,” Dunfey said. “These centers will help to bring teaching [through] interacting with art more to the forefront.”Philosophy professor John Kulvicki said that he regularly brings his students to the Hood as a way to supplement their in-class curriculum. This term, his course “Philosophy and the Arts” considers more conceptually the role that arts and aesthetics play in society, Kulvicki said.“I want my students to become comfortable visiting museums and engaging with physical art so that they can connect it with the more abstract theories and discussions in the classroom,” Kulvicki said.Samantha Abreu ’16, an art history major, said she finds this type of engagement with the Hood’s pieces to be a uniquely valuable experience.“Actually seeing [the art] gives you something tangible,” Abreu said. “It provides you with real-life references to works that you otherwise just see on screen.”Dunfey said that he hopes that the renovations will ultimately allow the museum to become a more accessible and interactive space for everyone on campus.Art history professor Joy Kenseth, who is teaching “Introduction to the History of Art II,” said she almost always curates an exhibition at the Hood in conjunction with the course. She said she appreciates physical interaction with art as a way to present the works in their most “unmediated” form, Kenseth said.“It makes all the difference in the world,” Kenseth said. “Nothing can replace firsthand experience with art. Teaching in the museum is like teaching in Florence and Rome.”Kenseth, along with art history professor Mary Coffey, curated “Points of View” which pairs together seemingly disparate works and portrays them side-by-side. These pairs consist of an early modern piece and a pre-1900 piece such as pop art by Andy Warhol juxtaposed with an engraving by Dutch artist Hendrik Golzius, Kenseth said. For their final assignment, students in their co-taught art history course must analyze the relationships between the pairs, Kenseth said.Stomberg said that he aims to make the Hood a place for both “casual and formal” encounters with art.“If I could I wouldn’t even call it a museum anymore,” Stomberg said. “We need a word that translates into ‘locus of activity and engagement.’”The Hood will officially close for renovations on March 13.
Closing Friday, Nigerian-born artist Victor Ekpuk will spend four days creating an original work on the wall of the Hood Museum’s Lathrop Gallery as part of his exhibition “Auto-Graphics.”
The Culley Concerto Competition, which will take place this Saturday afternoon in Spaulding Auditorium, features live solo performances by 19 Dartmouth student performers, Hopkins Center director of bands Matthew Marsit said. Ranging in instrument types from brass to strings, the soloists — competing in the annual competition established in 1988 by Grant and Suzanne Culley, parents of Maryly Culley ’86 — will aimto take home prizes for high achievement in orchestral performance.
The stage was dimly lit, bare except for Hermann Hudde, in all black, and his guitar. The intimate, minimalist setting shone a spotlight on Hudde’s talent, inviting the audience to fully immerse themselves in his music.
As part of its rotating exhibition program, Dartmouth-Hitchcock Medical Center introduced a host of new works by regional artists this January, including paintings, photographs and woodblock prints.
Canta Chorale, a student-run choral-orchestral group that specializes in classical music, will perform its first concert on Sunday in Rollins Chapel. The repertoire will include 12 pieces from the 17th through 20th centuries.
In Museum Collecting 101, Dartmouth students speak with artists and collectors behind-the-scenes and even curate a show of their own.
A secret hides in Baker Library’s basement, and you have probably never noticed it.
Nelson Rockefeller ’30, a prominent benefactor to the College who went on to pursue an extensive career in diplomacy, was also an avid art collector. On Oct. 4, a year-long exhibition titled “The Nelson A. Rockefeller Vision: In Pursuit of the Best in the Arts of Africa, Oceania and the Americas” opened at the Metropolitan Museum of Art to commemorate Rockefeller’s passion for non-Western art.
The lab, which first opened December 2012 with funding from the Dean's Office and the studio art and film and media studies departments, is located in the large glass-walled room on the first floor of the Black Family Visual Arts Center.
On a Wednesday night that term, Ohene-Adu and his band, which included three other members of the Class of 2014, set up a show with the Soul Scribes in One Wheelock.
"I like film so much because [it] enables us to travel to new lands, inhabit new personalities, discover new cultures, escape, learn," Pence said. "It is a medium of communication and learning that is available to everyone across all cultural and socioeconomic lines."
Contrary to popular belief, the Most Interesting Man in the World is not the Dos Equis guy. That title rightfully belongs to Werner Herzog, a man that French director Francois Truffaut once called "the most important film director alive." During a career that has spanned over 50 years, Herzog has made countless documentaries, features and shorts and has occasionally acted.
"Picasso: The Vollard Suite," which will be on display from Aug. 17 through Dec. 20, displays 100 etchings created by famed Spanish painter Pablo Picasso between 1930 and 1937 that were commissioned by Parisian art dealer Ambroise Vollard.
This fall's visiting performers at the Hopkins Center were selected for their ability to attract students and "keep the energy going," programming director Margaret Lawrence said.
Though older, traditional New England buildings such as Dartmouth Hall, erected in 1784, typically come to mind when thinking about campus architecture, the College has recently made a concerted effort to broaden its structural aesthetic.
Melinda Agron '14, a studio art major concentrating in architecture, long knew she would most likely pursue a career in architecture upon arriving at the College. Agron said she enjoys the flexibility that a liberal arts education offers as compared to a structured bachelor of architecture program, because it has helped develop other skills and interests that can be applied to her architectural studies.
Dartmouth's expanding arts community will soon have increased access to practice and performance spaces as the Hopkins Center undergoes interior renovations.
"No Kill Shelter' pops," art history professor Adrian Randolph said. "I think it is terrific to have such a visually dynamic and retina-zapping installation at the heart of the Hop."