Rania Matar, *Alae, Khyiam, Lebanon,* from the SHE Series, 2019, archival pigment print. Hood Museum of Art, Dartmouth: Purchased through the Edward, Julia, Victoria, and Christopher Hansen Fund for Photographic Acquisitions and the Olivia H. Parker and John O Parker ‘58 Acquisition Fund; 2022.45.3 © Rania Matar

Written by Lauren Levesque

The Hood Museum of Art is delighted to present ‘An Instant out of Time, ' a collection of photographs that explore social documentary, contemporary, portraiture, and landscape photography, all of which are at the heart of Dartmouth's teaching focus. These evocative images are a testament to the variety of mediums and techniques that thrive in a creative environment. The exhibit, a not-to-be-missed event, will be on display for a significant period, from April 20 to July 21, 2024.

‘Alae, Khyiam, Lebanon’ by Rania Matar is moody and peaceful in color. The green and yellows promote a sense of calmness to the viewer, even though as an individual set their eyes upon the piece, it carries a deep understanding of melancholy. The woman who seems floating in the algae does not appear to be struggling; she looks at peace with her current circumstances. This allows the viewer to trust the intention that the artist has laid out while creating an ethereal and slumber-like design.

Jess T. Dugan, *Self Portrait (Reaching),* from the portfolio, *every breath we drew,* color photograph printed on Hahnemuhle Photo Rag Pearl Paper. Hood Museum of Art: Dartmouth: purchased through the Miriam H. and S. Sidney Stoneman Acquisition Fund; 2022.20.10 © Jess T. Dugan

‘Self Portrait (Reaching)’ by Jess T. Dugan confronts the viewer with self-acceptance and love for oneself. The portrait, which highlights the artist, is set in what can be deduced as a universal peaceful area, and the grayness of the clouds emulates a sense of neutrality within the piece. Everything about this photograph is done precisely how the artist envisioned it, and the acceptance that can be felt through the picture is moving, captivating, and intrigues the viewer into wanting to see more of the series.

Omar Iman, *Untitled (testicles are in danger)* 2015, pigment print of paper; Hood Museum of Art, Dartmouth: Purchased through the Fund for Contemporary Photography and the Elizabeth and David C Lowenstein ‘67 Fund; 2022.44.4 © Omar Iman

‘Untitled (testicles are in danger)’ by Omar Iman is filled with humor and the impact of the reversal of gender roles. The photograph captures a woman carrying some type of supplies. The type is unknown to the viewer; however, what is being captured is profound. The title alone hints that a man's ‘manliness’ is in danger, and what makes him a man is that he has shrunk because his woman can equally or provide better than him. The cold environment adds to the possible hostile environment in which both individuals surround themselves. This photograph is a pleasure, as the nuances are compact and versatile.