Photo by Rob Strong.

Dr Haely Chang is the Hood Museum of Art’s inaugural Jane and Raphael Bernstein associate curator of East Asian art at Dartmouth College. A scholar of modern Korean and Japanese art, Chang holds a PhD from the University of Michigan, an MA from the University of Pennsylvania and a BA from Hongik University in the History of Art. We reached out to Chang to discuss her role at the museum and her curation of the recently opened exhibition, “Attitude of Coexistence: Non-Humans in East Asian Art.”

What does it mean to you to be named the inaugural Jane and Raphael Bernstein associate curator of East Asian art?

Serving as the inaugural East Asian Art curator is a profound opportunity for me to contribute meaningfully to both the Hood Museum and Dartmouth College. Establishing strong stewardship of Asian art is, in my view, a crucial step in advancing the museum’s core commitment to diversity and inclusion. I am also proud that my efforts will benefit future generations at Dartmouth, fostering broader opportunities to engage with Asian art through exhibitions and our academic programming.

Can you tell us a little about the exhibition and where the name “Attitude of Coexistence: Non-Humans in East Asian Art” came from?

“Attitude of Coexistence” features artworks from East Asia that explore a wide range of non-human subjects, including nature, animals and spirits. It highlights how artists from East Asia, both past and present, have expressed respect, awe and collegiality towards non-human entities and how their artworks have served as mediators to reflect an attitude of and aspiration for coexistence with these non-human counterparts. It is my hope that this exhibition inspires us to reconsider our own attitudes toward non-humans in the context of the pressing challenges of our era — such as the escalating environmental crisis, growing concerns about animal rights and the ethical implications of artificial intelligence.

Are all the works in the exhibit from the Hood Museum’s permanent collection? Have they been exhibited before?

Most of the artworks featured in “Attitude of Coexistence” are part of the Hood Museum’s permanent collection and new acquisitions, and many are on view for the first time. The exhibition also includes four contemporary Japanese ceramic works generously lent by Carol and Jeffery Horvitz, passionate collectors with whom the Hood Museum has begun to establish a relationship through this collaboration.

What are some of the most notable pieces in the exhibit? How do they connect to the overarching theme of coexistence?

The centerpiece of this exhibition is “Gold Cakra Lamp,” a kinetic sculpture by Korean contemporary artist Choe U-Ram. As viewers approach the artwork, the Cakra detects their presence through sensors, initiating a circular motion of its wings that open and close while emitting light from its center. Despite the complexity of its structure, the harmonious movements of each mechanical component captivate the audience. This piece aligns with the overarching theme of the exhibition, reflecting Choe’s enduring interest in animating machines as living organisms with their own life cycles, histories and myths.

“Floating Mountain” by Uuriintuya Dagvasambuu (Mongolian, b 1979), 2023, acrylic on canvas. Hood Museum of Art, Dartmouth: Purchased through the Mrs Harvey P. Hood W’18 Fund; 2024.7. © Courtesy of Sapar Contemporary and the Artist.

How does this exhibition connect to your previous work?

As a scholar of Japanese and Korean modern art, I have long been fascinated by the interaction between art from the past and the present. Art does not always follow a linear progression. In many cases, one can observe multifaceted influences across different temporal periods, where art from the past resonates with contemporary aesthetics and traditional techniques and motifs continue to shape modern art practices. When conceptualizing “Attitude of Coexistence,” I aimed to curate an exhibition that would make such transtemporal dialogues visible within a gallery setting.

What was the process of curating the exhibition like?

The curation of “Attitude of Coexistence” began with extensive object-based research on the Hood Museum’s Asian art collection. After identifying key objects, I developed a theme for the exhibition that would both highlight the aesthetic and historical significance of the pieces and resonate with our primary audience groups. Bringing the proposal to life as a full exhibition required collaboration at every stage, as I worked closely with exhibition designers, registrars and the preparation team to shape the final presentation within the gallery space.

In addition to curating on this exhibition, what are some of the other elements of your job?

As a curator at an academic museum, a key aspect of my role involves teaching at the Hood Museum’s Bernstein Center for Object Study, a place where Dartmouth faculty can bring their classes to engage with the museum’s collection. There, I guide students in exploring Asian history and culture through historical artifacts while encouraging critical engagement with contemporary issues. I also collaborate regularly with Dartmouth faculty, offering expertise on relevant collections and acquiring new works that align with their curricular needs.

Do you have any upcoming curatorial projects for us to look out for?

On February 15, the Hood Museum opened “Weaving as Method: Intertwining Postcolonial Narratives in Contemporary Southeast Asian Art,” featuring artists like Ho Tzu Nyen, Yee I-Lann and Tammy Nguyen. In 2026, I plan to curate an exhibition on Asian American art as part of the museum’s project to diversify the understanding of American art, followed by a large-scale Asian art exhibition in 2027, which will explore Dartmouth’s history of collecting and teaching Asian art while setting a vision for its future.

—Carly Timpson