Cosmic Eye Of The Little Bird
McClain Gallery presents Cosmic Eye of the Little Bird: a group exhibition of sculpture and works on paper that set up a call and response with a selection of Dorothy Hood's ink drawings from the second half of the twentieth century. Set in context with artists whose practices and visual language complement the late artist's interests and explorations, this expansive look at Hood's drawings highlights the multivalent nature of her work. The exhibition includes artists who inspired her, like Max Ernst and Odilon Redon, and her contemporaries Leonora Carrington, Remedios Varo, Louise Bourgeois, and Dorothea Tanning. It also looks at the resonance of Hood鈥檚 expressive artistic impulse with a younger generation of sculptors from Alma Allen, Ficus Interfaith, and Katarzyna Przezwa艅ska to Helen Evans Ramsaran.
Hood's formative years as an artist, following graduation from Rhode Island School of Design and a brief time in New York City, were spent in Mexico City. From 1940 to the early 1960s, she would absorb the influence of the culture and spirit of Mexico and its people and participate in the dynamic intellectual and artistic community. In 1943, Hood鈥檚 first solo exhibition took place at Galer铆a de Arte Mar铆a As煤nsolo (GAMA) in Mexico City. Drawings created during Hood鈥檚 early period in Mexico evoke empathy, loneliness, and the atrocities of World War II. A figurative work in ink and pencil, The Seeming Beginning, 1943, is in the permanent collection of the Museum of Modern Art, New York.
In 1961, Dorothy Hood moved to Houston and began teaching at the School of Art at the Museum of Fine Arts, Houston. Hood continued drawing and painting in her large, light-filled studio garnering national attention and resulting in solo exhibitions in Texas and New York, with placements in the permanent collections of numerous American museums. In 1974, James Harithas curated a solo exhibition of Hood's drawings at the Everson Museum, Syracuse, NY, and noted her drawings "reflect the profound intimacy of the artist's spiritual, emotional growth鈥� and contain organic symbols and a multi-dimensional spatial framework which functions psychically and plastically as the unifying entity.鈥� Through line and gesture, Hood was constantly interested in "probing outer space in search of realities of being." For Hood, the drawings seem to operate to unite inner and outer worlds.
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McClain Gallery presents Cosmic Eye of the Little Bird: a group exhibition of sculpture and works on paper that set up a call and response with a selection of Dorothy Hood's ink drawings from the second half of the twentieth century. Set in context with artists whose practices and visual language complement the late artist's interests and explorations, this expansive look at Hood's drawings highlights the multivalent nature of her work. The exhibition includes artists who inspired her, like Max Ernst and Odilon Redon, and her contemporaries Leonora Carrington, Remedios Varo, Louise Bourgeois, and Dorothea Tanning. It also looks at the resonance of Hood鈥檚 expressive artistic impulse with a younger generation of sculptors from Alma Allen, Ficus Interfaith, and Katarzyna Przezwa艅ska to Helen Evans Ramsaran.
Hood's formative years as an artist, following graduation from Rhode Island School of Design and a brief time in New York City, were spent in Mexico City. From 1940 to the early 1960s, she would absorb the influence of the culture and spirit of Mexico and its people and participate in the dynamic intellectual and artistic community. In 1943, Hood鈥檚 first solo exhibition took place at Galer铆a de Arte Mar铆a As煤nsolo (GAMA) in Mexico City. Drawings created during Hood鈥檚 early period in Mexico evoke empathy, loneliness, and the atrocities of World War II. A figurative work in ink and pencil, The Seeming Beginning, 1943, is in the permanent collection of the Museum of Modern Art, New York.
In 1961, Dorothy Hood moved to Houston and began teaching at the School of Art at the Museum of Fine Arts, Houston. Hood continued drawing and painting in her large, light-filled studio garnering national attention and resulting in solo exhibitions in Texas and New York, with placements in the permanent collections of numerous American museums. In 1974, James Harithas curated a solo exhibition of Hood's drawings at the Everson Museum, Syracuse, NY, and noted her drawings "reflect the profound intimacy of the artist's spiritual, emotional growth鈥� and contain organic symbols and a multi-dimensional spatial framework which functions psychically and plastically as the unifying entity.鈥� Through line and gesture, Hood was constantly interested in "probing outer space in search of realities of being." For Hood, the drawings seem to operate to unite inner and outer worlds.
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