BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Orange Co. Arts Commission - ECPv6.16.3//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Orange Co. Arts Commission X-ORIGINAL-URL:https://artsorange.org X-WR-CALDESC:Events for Orange Co. Arts Commission REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/New_York BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20220313T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20221106T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20230312T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20231105T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20240310T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20241103T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20250309T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20251102T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20260308T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20261101T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20270314T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20271107T060000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/New_York:20260409T173000 DTEND;TZID=America/New_York:20260409T190000 DTSTAMP:20260610T013823 CREATED:20260403T002700Z LAST-MODIFIED:20260403T002700Z UID:225817-1775755800-1775761200@artsorange.org SUMMARY:Hanes Visiting Artist Lecture Series: Matthew Sontheimer DESCRIPTION:Born in 1969 in New Orleans\, Matthew Sontheimer received a B.F.A. from Stephen F. Austin State University in Nacogdoches\, Texas\, and an M.F.A. from Montana State University\, Bozeman\, Montana. \nHe has had solo gallery exhibitions in New York at DCKT Contemporary and Achim Moeller Fine Art; in Houston at the Hiram Butler Gallery\, the Sally Sprout Gallery\, the  Devin Borden Gallery\, in Dallas at the Talley Dunn Gallery\, in New Orleans at the Arthur Roger Gallery\, at Drake University in Des Moines\, the LUX Center for Arts and Tugboat Gallery in Lincoln\, Nebraska\, and the Union for Contemporary Art in Omaha. His work has been exhibited in group museum exhibitions at UCLA’s Hammer Museum\, Los Angeles; the Contemporary Arts Museum\, Houston; the Museum of Fine Arts Houston; the Old Jail Art Center\, in Albany\, Texas; the Contemporary Arts Center\, New Orleans; the New Orleans Museum of Art; and the Joslyn Art Museum\, in Omaha. Sontheimer has had a solo exhibition and participated in group exhibitions at the Museum of Nebraska Art in Kearny. \nMatthew Sontheimer is represented by the Talley Dunn Gallery\, Dallas\, Texas. His work can be found in the public collections of the Whitney Museum of American Art\, the Museum of Fine Arts\, Houston\, the New Orleans Museum of Art\, and in the corporate collection of American Airlines at the Dallas/Fort Worth International Airport. \nSince 2012\, Sontheimer has taught Painting and Drawing at the University of Nebraska-Lincoln School of Art\, Art History & Design\, where he is currently an Associate Professor. \nAn endowment established in 1983 through the generosity of Nancy and Robin Hanes supports the Art Department’s Visiting Artist Series. This important program brings both established and emerging artists to campus to discuss their work in public lectures and to offer individual critiques to our M.F.A. students.  The Hanes Visiting Artist series greatly enriches both our academic programs and our outreach to the wider community.  All lectures are free and open to the public. \nA weeknight or daytime permit is now required after 5:00 pm on weekdays. No permit is required from 5:00 pm Friday through 7:30 am Monday. A $1.00 one-night pass is available in selected lots. More information can be found at the UNC Weeknight Parking website. \nArtist website: https://talleydunn.com/project/matthew-sontheimer/ \nImage: Matthew Sontheimer\, detail from Name\, Date\, and Number\, 2019\, Inkjet print\, collage\, and Liquid Paper on paper\, 8 x 9 inches \n\n\n Related URL:https://artsorange.org/event/hanes-visiting-artist-lecture-series-matthew-sontheimer/ LOCATION:Hanes Art Center\, 121 East Cameron Avenue\, Chapel Hill\, 27514 ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2026/03/ACW.jpg ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu GEO:35.9123693;-79.0543987 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Hanes Art Center 121 East Cameron Avenue Chapel Hill 27514;X-APPLE-RADIUS=500;X-TITLE=121 East Cameron Avenue:geo:-79.0543987,35.9123693 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20260326T173000 DTEND;TZID=America/New_York:20260326T190000 DTSTAMP:20260610T013823 CREATED:20260307T005941Z LAST-MODIFIED:20260307T005941Z UID:225252-1774546200-1774551600@artsorange.org SUMMARY:Hanes Visiting Artist Lecture Series: Fidencio Fifield-Perez DESCRIPTION:Fidencio Fifield-Perez was born in Oaxaca\, Mexico\, but raised in the U.S. after his family migrated. His current work examines borders\, edges\, and the people who must traverse them. In his work\, Fifield-Perez’s interdisciplinary practice centers the materiality of paper ephemera\, everyday self- documents discarded after having fulfilled their purpose. For Fifield-Perez\, printmaking\, collage\, and painting are ways to visualize and connect mental landscapes of past and present. \nFifield-Perez received his BFA from Memphis College of Art and an MA & MFA from The University of Iowa. He has exhibited at multiple institutions\, including The Cleveland Museum of Art\, the Herbert F. Johnson Museum of Art\, Marianna Kistler Beach Museum of Art\, the Museum of Contemporary Photography\, Chicago\, and International Print Center New York. He has completed artist residencies at The Studios at MASS MoCA\, Ox-Bow\, ACRE\, Crosstown Arts\, and the Galveston Artist Residency\, among others. He has been awarded the Eliza Moore Fellowship at Oak Spring Garden Foundation\, 2024 McKnight Printmaking Fellowship\, the inaugural Dr. Harold R. Adams Artist-in-Residence Fellowship at The University of Minnesota and is currently Assistant Professor of Painting at the University of California-Davis. \nAn endowment established in 1983 through the generosity of Nancy and Robin Hanes supports the Art Department’s Visiting Artist Series. This important program brings both established and emerging artists to campus to discuss their work in public lectures and to offer individual critiques to our M.F.A. students. The Hanes Visiting Artist series greatly enriches both our academic programs and our outreach to the wider community. All lectures are free and open to the public. \nA weeknight or daytime permit is now required after 5:00 pm on weekdays. No permit is required from 5:00 pm Friday through 7:30 am Monday. A $1.00 one-night pass is available in selected lots. More information can be found HERE. \nArtist website: https://www.fidenciofperez.com/ \nImage: Fidencio Fifield-Perez\, The Garden\, acrylic on canvas\, 58×56 in. 2023 \nContact: Martín Wannam\, mwanna@unc.edu \n\n\n Related URL:https://artsorange.org/event/hanes-visiting-artist-lecture-series-fidencio-fifield-perez/ LOCATION:Hanes Art Center\, 121 East Cameron Avenue\, Chapel Hill\, 27514 ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2026/03/3167-.jpg ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu GEO:35.9123693;-79.0543987 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Hanes Art Center 121 East Cameron Avenue Chapel Hill 27514;X-APPLE-RADIUS=500;X-TITLE=121 East Cameron Avenue:geo:-79.0543987,35.9123693 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20260225T173000 DTEND;TZID=America/New_York:20260225T190000 DTSTAMP:20260610T013823 CREATED:20260206T191642Z LAST-MODIFIED:20260206T191642Z UID:224077-1772040600-1772046000@artsorange.org SUMMARY:Creative Art History: Roland Betancourt\, UC Irvine DESCRIPTION:“Like the Dawn of Creation: Byzantine Fragments in the Modern Imagination” \n125 Chapman Hall \nThis talk explores how Byzantium operates as a queer cipher in modern culture\, appearing as an adjectival modifier\, “the Byzantine\,” rather than as a distinct historical referent. Analyzing Gore Vidal’s 1959 adaptation of Tennessee Williams’s Suddenly\, Last Summer\, Betancourt demonstrates how Byzantine references encode queer identity through the film’s absent protagonist\, whose unspeakable sexuality mirrors Byzantium’s own unintelligibility. Drawing on extensive archival research\, he shows how “the Byzantine” articulated coded queerness for these writers and artists. This talk proposes reimagining Byzantine art history through modes of “queer fragmentation\,” recognizing Byzantine elements across temporal boundaries. \nRoland Betancourt is a scholar of Byzantium and modern popular culture with research that lies firmly at the intersection of the history of science and technology\, intellectual history\, and the history of art. Dr. Betancourt is the Andrew W. Mellon Professor at the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington\, DC from 2024-2026. He also holds the honor of Chancellor’s Professor\, Department of Art History\, at the University of California\, Irvine. He is also the author of four monographs\, including The Secrets We Keep: Hidden Histories of the Byzantine Empire (The Getty\, 2024)\, Performing the Gospels in Byzantium: Sight\, Sound\, and Space in the Divine Liturgy (Cambridge University Press\, 2021)\, Byzantine Intersectionality: Sexuality\, Gender\, and Race in the Middle Ages (Princeton University Press\, 2020)\, and Sight\, Touch\, and Imagination in Byzantium (Cambridge University Press\, 2018). Betancourt’s forthcoming book\, Disneyland and the Rise of Automation: How Technology Created the Happiest Place on Earth (Princeton University Press\, 2026)\, traces the origins and evolution of the theme park’s technical innovations during Disneyland’s first three decades in operation\, exploring how engineers reimagined the systems and machines of industrial manufacturing and the military. \nA weeknight or daytime permit is now required after 5:00 pm on weekdays. No permit is required from 5:00 pm Friday through 7:30 am Monday. A $1.00 one-night pass is available in selected lots. More information can be found on UNC’s weeknight parking website. \n\n\n Related URL:https://artsorange.org/event/creative-art-history-roland-betancourt-uc-irvine/ LOCATION:UNC Chapel Hill ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2026/02/Betancourt-Talk-Image.jpg ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20260129T173000 DTEND;TZID=America/New_York:20260129T190000 DTSTAMP:20260610T013823 CREATED:20260204T201439Z LAST-MODIFIED:20260204T201439Z UID:222848-1769707800-1769713200@artsorange.org SUMMARY:Hanes Visiting Artist Lecture Series: Marilyn Boror Bor DESCRIPTION:121 Hanes Art Center \nMarilyn Boror Bor (Guatemala\, 1984) is an artist\, independent curator\, lecturer\, and Maya-Kaqchikel cultural manager. Recognized for her socially engaged practice\, she works on identity\, memory\, colonialism\, and cultural resistance. She has participated in biennials such as the Aichi Triennale (Japan)\, the Leandre Cristòfol Biennial (Barcelona)\, the São Paulo Biennial\, the Bienal Sur\, and the Bienal de Arte Paiz. Her work has been exhibited across Latin America\, Europe\, Asia\, and North America\, and is part of collections like the Reina Sofía Museum\, the Salvador Allende Museum of Solidarity\, and the Museum of Contemporary Art of Panama. She has held residencies at Hangar Barcelona\, FAARA Uruguay\, ARTE-UNAM\, and Espira/Espora\, and has given lectures at institutions such as Cornell University and the ICA Virginia. In 2023\, Phaidon recognized her as one of the world’s most innovative contemporary artists. \nAn endowment established in 1983 through the generosity of Nancy and Robin Hanes supports the Art Department’s Visiting Artist Series. This important program brings both established and emerging artists to campus to discuss their work in public lectures and to offer individual critiques to our M.F.A. students. The Hanes Visiting Artist series greatly enriches both our academic programs and our outreach to the wider community. All lectures are free and open to the public. \nA weeknight or daytime permit is now required after 5:00 pm on weekdays. No permit is required from 5:00 pm Friday through 7:30 am Monday. A $1.00 one-night pass is available in selected lots. More information can be found HERE. \nArtist website: marilynboror.com \nContact: Martín Wannam\, mwanna@unc.edu \n\n\n Related URL:https://artsorange.org/event/hanes-visiting-artist-lecture-series-marilyn-boror-bor/ LOCATION:Hanes Art Center\, 121 East Cameron Avenue\, Chapel Hill\, 27514 ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2026/01/07-Monumento-vivo-Chile.jpg ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu GEO:35.9123693;-79.0543987 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Hanes Art Center 121 East Cameron Avenue Chapel Hill 27514;X-APPLE-RADIUS=500;X-TITLE=121 East Cameron Avenue:geo:-79.0543987,35.9123693 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20251106T173000 DTEND;TZID=America/New_York:20251106T190000 DTSTAMP:20260610T013823 CREATED:20251029T184104Z LAST-MODIFIED:20251029T184104Z UID:217332-1762450200-1762455600@artsorange.org SUMMARY:Hanes Visiting Artist Lecture Series: Yvette Mayorga DESCRIPTION:100 Hamilton Hall \nYvette Mayorga (b. 1991) is a Chicago-based multidisciplinary artist known for her Rococo-inspired reliefs that merge confectionery labor with found images to explore themes of belonging. Dominated by the color pink\, Mayorga celebrates femme power while questioning the allure of consumer culture and the American Dream as a first-generation Latinx. \nMayorga holds an MFA in Fiber and Material Studies from the School of the Art Institute of Chicago and a BFA from the University of Illinois. Her work has been showcased internationally\, including exhibitions at the Museum of Arts and Design\, NY; Vincent Price Art Museum\, CA; El Museo del Barrio\, NY; The Center for Craft\, Asheville\, NC; Museo Universitario del Chopo\, CDMX; LACMA\, CA; and solo exhibitions at The Aldrich Contemporary Art Museum\, CT (2024)\, The Momentary at Crystal Bridges Museum of American Art\, AR (2022)\, and her first institutional solo museum exhibition\, La Jaula de Oro\, at Museo de Arte de Zapopan\, MX (2024)\, which was reviewed by The New York Times. Her works are in the collections of 21c Museum Hotels\, Cerámica Suro\, Crystal Bridges\, The Davis Museum at Wellesley College\, El Museo del Barrio\, DePaul Art Museum\, MacArthur Foundation\, Museum of Fine Arts Boston\, and the City of Chicago’s permanent public art collection at O’Hare International Airport. She has been featured in Artforum\, Art News\, DAZED\, Galerie Magazine\, Hyperallergic\, Teen Vogue\, The Guardian\, The New York Times\, and W Magazine. She is currently developing her largest public artwork to date\, opening in fall 2025 in New York City’s Times Square with Times Square Arts. \nAn endowment established in 1983 through the generosity of Nancy and Robin Hanes supports the Art Department’s Visiting Artist Series. This important program brings both established and emerging artists to campus to discuss their work in public lectures and to offer individual critiques to our M.F.A. students. The Hanes Visiting Artist series greatly enriches both our academic programs and our outreach to the wider community. All lectures are free and open to the public. \nA weeknight or daytime permit is now required after 5:00 pm on weekdays. No permit is required from 5:00 pm Friday through 7:30 am Monday. A $1.00 one-night pass is available in selected lots. More information can be found at UNC’s Weeknight Parking website. \nArtist website: https://www.yvettemayorga.com/ \nContact: Martín Wannam\, mwanna@unc.edu \nImage: Yvette Mayorga\, La princesa (Ride or Die)\, 2024\, Nissan Datsun 1974\, acrylic paint\, spray paint\, crochet\, stuffed toys\, plastic toys\, acrylic nails\, rosaries\, faux fur\, belt buckles\, stickers\, ceramic figurines\, clock\, found license plate\, trophy\, wood\, 161 acrylic roses\, sound\, and acrylic piping\, 13 x 5 feet \n\n\n Related URL:https://artsorange.org/event/hanes-visiting-artist-lecture-series-yvette-mayorga/ LOCATION:UNC Chapel Hill ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2025/10/DSC09639_sm.jpg ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20251104T173000 DTEND;TZID=America/New_York:20251104T190000 DTSTAMP:20260610T013823 CREATED:20251010T180206Z LAST-MODIFIED:20251010T180206Z UID:208229-1762277400-1762282800@artsorange.org SUMMARY:Bettie Allison Rand Lectures in Art History: Amy Freund\, Southern Methodist University DESCRIPTION:Sit! Dog Portraiture and the Animal Self in Eighteenth-Century France\nUniversity Room\, Hyde Hall \nTo a twenty-first century viewer\, nothing could be more natural than wanting a portrait (or many portraits) of your dog. But in eighteenth-century France\, animal portraiture was a recent invention\, and one that overturned artistic and species hierarchies. Despite\, or maybe because of\, the provocative questions posed by non-human likenesses\, dog portraiture had enormous appeal for the elites who commissioned them\, the artists who executed them\, and the viewers who encountered them in both palaces and public exhibitions. This lecture will consider how dog portraits engaged with Enlightenment ideas about human-animal hierarchies\, and how and why ambitious artists elevated canine sitters to a dignity previously reserved for humans. \nAmy Freund is an associate professor and the Kleinheinz Endowment for the Arts and Education Endowed Chair in art history at Southern Methodist University. Her first book\, Portraiture and Politics in Revolutionary France (Penn State\, 2014)\, examines the uses of portraiture to reformulate personal and political identity during the French Revolution. Her second book\, Noble Beasts: Hunters and Hunted in Eighteenth-Century French Art\, which will appear with Yale University Press in 2026\, analyzes the representation of masculinity\, animality\, and political agency in hunting art. Her work has appeared in The Art Bulletin\, Eighteenth-Century Studies\, Journal18\, Art History\, and French History\, and has been supported by the Center for Advanced Study in the Visual Arts and the Clark Art Institute. \nThrough a generous gift to the UNC Arts and Sciences Foundation\, William G. Rand established this lecture series in memory of his late wife\, Bettie Allison Rand. This funding allows the Department of Art and Art History to bring one or more eminent art historians to UNC-CH every other year for residencies of various lengths. While they are in Chapel Hill\, these scholars present a series of lectures and interact with undergraduate and graduate art history and studio art students. Following the campus visit\, the scholars prepare a manuscript\, which is then published by the UNC Press as part of the Rand Series of art history publications. \nA weeknight or daytime permit is now required after 5:00 pm on weekdays. No permit is required from 5:00 pm Friday through 7:30 am Monday. A $1.00 one-night pass is available in selected lots. More information can be found HERE. \nContact: Tania String\, tcstring@email.unc.edu \nImage: Jean-Baptiste Oudry (French\, 1686-1755)\, The Dachshund Pehr with Dead Game and a Rifle\, 1740\, Nationalmuseum\, Stockholm \n\n\n Related URL:https://artsorange.org/event/bettie-allison-rand-lectures-in-art-history-amy-freund-southern-methodist-university/ LOCATION:UNC Chapel Hill ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2025/10/multimedia-319511.large_.jpg ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250918T173000 DTEND;TZID=America/New_York:20250918T190000 DTSTAMP:20260610T013823 CREATED:20250903T200302Z LAST-MODIFIED:20250903T200302Z UID:191124-1758216600-1758222000@artsorange.org SUMMARY:Hanes Visiting Artist Lecture Series: Karyn Olivier DESCRIPTION:100 Hamilton Hall \nKaryn Olivier\, who was born in Trinidad and Tobago\, creates sculptures\, installations\, and public art. This year\, Olivier will unveil a Philadelphia memorial\, commemorating more than 5\,000 African Americans buried at Bethel Burying Ground. Last year\, she participated in the Whitney Biennial (NY\, NY)\, La Trienal at El Museo del Barrio (NY\, NY)\, the Malta Biennale (Valletta\, Malta)\, and Prospect.6 Triennial (New Orleans\, LA). In 2024\, Olivier also unveiled a memorial honoring a formerly enslaved servant and was selected to create a public installation in Milwaukee\, memorializing Vel R. Phillips\, the late politician\, attorney\, judge\, and civil rights activist. In 2023\, Olivier presented her second solo show at Tanya Bonakdar Gallery. In 2022\, Olivier participated in Documenta 15 and installed a permanent commission for Newark Airport’s Terminal A. \nOlivier has exhibited at the Gwangju and Busan biennials (South Korea)\, the World Festival of Black Arts and Culture (Dakar\, Senegal)\, The Studio Museum in Harlem\, The Whitney Museum of Art\, MoMA P.S.1\, The Museum of Fine Arts Houston\, Contemporary Art Museum Houston\, The Mattress Factory (Pittsburgh)\, SculptureCenter (New York)\, ICA Watershed Boston\, among others. Solo exhibitions include Everything That’s Alive Moves at the Institute of Contemporary Art in Philadelphia (2020)\, and A Closer Look at Laumeier Sculpture Park in St. Louis (2007). \nOlivier has received numerous awards\, including a 2025 USA Fellowship\, a 2020 Anonymous Was a Woman Award\, the 2018–2019 Nancy B. Negley Rome Prize\, a John Simon Guggenheim Memorial Foundation Fellowship\, the Joan Mitchell Foundation Award\, a 2019 PEW Fellowship\, the New York Foundation for the Arts Award\, a Pollock- Krasner Foundation grant\, the William H. Johnson Prize\, the Louis Comfort Tiffany Foundation Biennial Award\, a Creative Capital Foundation grant\, and a Harpo Foundation grant. \nOlivier’s work has been reviewed in ArtForum\, The New York Times\, Time Out New York\, The Village Voice\, Art in America\, Flash Art\, Mousse\, The Washington Post\, Nka: Journal of Contemporary African Art\, Frieze\, the Philadelphia Inquirer\, and Hyperallergic\, among others. She is a sculpture professor at Tyler School of Art and Architecture. \nAn endowment established in 1983 through the generosity of Nancy and Robin Hanes supports the Art Department’s Visiting Artist Series. This important program brings both established and emerging artists to campus to discuss their work in public lectures and to offer individual critiques to our M.F.A. students. The Hanes Visiting Artist series greatly enriches both our academic programs and our outreach to the wider community. All lectures are free and open to the public. \nA weeknight or daytime permit is now required after 5:00 pm on weekdays. No permit is required from 5:00 pm Friday through 7:30 am Monday. A $1.00 one-night pass is available in selected lots. More information can be found at UNC’s Weeknight Parking website. \nArtist website: https://www.karynolivier.com/ \nDepartmental website: art.unc.edu \nContact: Martín Wannam\, mwanna@unc.edu \n\n\n Related URL:https://artsorange.org/event/hanes-visiting-artist-lecture-series-karyn-olivier/ LOCATION:UNC Chapel Hill ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2025/08/the-battle-joined.jpg ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20251002T173000 DTEND;TZID=America/New_York:20251002T190000 DTSTAMP:20260610T013823 CREATED:20250903T200124Z LAST-MODIFIED:20250903T200124Z UID:191487-1759426200-1759431600@artsorange.org SUMMARY:Hanes Visiting Artist Lecture Series: River Claure DESCRIPTION:100 Hamilton Hall \nRiver Claure is a Bolivian photographer and visual artist known for his meticulously crafted portraits and evocative landscapes. His work challenges dominant notions of cultural identity and examines the role of photographic images in shaping our perception of reality. His work has been exhibited in various platforms and institutions worldwide. In 2024\, he presented his latest work at the 60th edition of the Venice Biennale\, curated by Adriano Pedrosa. \nClaure’s most recent project\, MITA (2022-2024)\, was carried out in Llallagua\, Uncia\, and Catavi\, former mining communities in the Bolivian Andes. Since the colonial period\, these territories have been exploited in search of different minerals such as silver\, tin\, and zinc. After more than five hundred years in these places\, the land has been exhausted\, and now there are only the towns that were built around industry and the promises of modernity. \nClaure started this project with his family history; both his grandfathers were miners in a silver mine in this region. They emigrated to the city in the early 70s\, looking for better living conditions and fleeing the political conflicts of the time. He was born and raised in the city\, like any other child influenced by global culture. With this project\, he returned to these sites to think about the inherent relationship between nature and history. What happened in these places can be and is an analogy of the world to come. In that sense\, the work becomes a purely speculative exercise. The images of this intentionally anachronistic project speculate about the end of the world\, the memory family\, and their colonial relationship with the land. \nAn endowment established in 1983 through the generosity of Nancy and Robin Hanes supports the Art Department’s Visiting Artist Series. This important program brings both established and emerging artists to campus to discuss their work in public lectures and to offer individual critiques to our M.F.A. students. The Hanes Visiting Artist series greatly enriches both our academic programs and our outreach to the wider community. All lectures are free and open to the public. \nA weeknight or daytime permit is now required after 5:00 pm on weekdays. No permit is required from 5:00 pm Friday through 7:30 am Monday. A $1.00 one-night pass is available in selected lots. More information can be found HERE. \nArtist website: https://riverclaure.net/ \nDepartmental website: art.unc.edu \nContact: Martín Wannam\, mwanna@unc.edu \nImage: River Claure\, Pieta 2\, from his series MITA\, 2022-2024 \n\n\n Related URL:https://artsorange.org/event/hanes-visiting-artist-lecture-series-river-claure/ LOCATION:UNC Chapel Hill ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2025/09/Piedad-2-scaled.jpg ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250327T180000 DTEND;TZID=America/New_York:20250327T193000 DTSTAMP:20260610T013823 CREATED:20250325T181821Z LAST-MODIFIED:20250325T181821Z UID:144585-1743098400-1743103800@artsorange.org SUMMARY:Hanes Visiting Artist Lecture Series: hazel batrezchavez DESCRIPTION:“Enacting Radical Futures Beyond Survival Mode\, an artist talk by hazel batrezchavez” \nhazel batrezchavez is a brown queer artist and educator. Their textiles\, performance\, and sculptural works are rooted in the politics of survival and the poetics of movement. \nbatrezchavez’s work has been exhibited at El Paso Museum of Art (TX)\, Santa Fe Art Institute (NM)\, Loom Indigenous Gallery (NM)\, Southern Exposure (CA)\, SOMA (MX)\, Radford Museum of Art (VA)\, ICOSA Collective (TX)\, Higher Art Gallery (MI) among many others. batrezchavez received their BFA in Anthropology and Studio Art from Grinnell College and their MFA in Sculpture from the University of New Mexico. \nhazel batrezchavez (Stolen Land\, b. 1994) descends from the Nauhua\, Lenca\, and Mayan peoples of Kuskatán (El Salvador) and Tamaulipas\, Mexico. Currently\, they live and work as an artist and educator in Tiwa\, Tewa\, and Pueblo Territory (Albuquerque\, NM). They are a founding member of the fronteristxs Collective and Granadina Co-op. \nHanes Visiting Artist Lecture Series 2024-2025: The Rage of Wildness: Radical Futures. This lecture series will highlight artists creating dialogues and radical gestures that envision a future beyond colonial thinking. We will explore practices that operate in a mode of unknowing\, decoloniality\, resistance to dominant ontologies\, disruption of imposed order\, engagement with indigeneity\, queerness\, and ecological perspectives. \nAn endowment established in 1983 through the generosity of Nancy and Robin Hanes supports the Art Department’s Visiting Artist Series. This important program brings both established and emerging artists to campus to discuss their work in public lectures and to offer individual critiques to our M.F.A. students. The Hanes Visiting Artist series greatly enriches both our academic programs and our outreach to the wider community. All lectures are free and open to the public. \nA weeknight or daytime permit is now required after 5:00 pm on weekdays. No permit is required from 5:00 pm Friday through 7:30 am Monday. A $1.00 one-night pass is available in selected lots. More information can be found HERE. \nArtist website: https://hazelbatrezchavez.info/ \nContact: Martín Wannam\, mwanna@unc.edu \nImage: hazel batrezchavez \n\n\n Related URL:https://artsorange.org/event/hanes-visiting-artist-lecture-series-hazel-batrezchavez/ LOCATION:Hanes Art Center\, 121 East Cameron Avenue\, Chapel Hill\, 27514 ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2025/03/2024_ArtistImage.jpg ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu GEO:35.9123693;-79.0543987 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Hanes Art Center 121 East Cameron Avenue Chapel Hill 27514;X-APPLE-RADIUS=500;X-TITLE=121 East Cameron Avenue:geo:-79.0543987,35.9123693 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250305T173000 DTEND;TZID=America/New_York:20250305T190000 DTSTAMP:20260610T013823 CREATED:20250218T191155Z LAST-MODIFIED:20250218T191155Z UID:143337-1741195800-1741201200@artsorange.org SUMMARY:Lectures in Art History: Kency Cornejo\, UCLA DESCRIPTION:“Reimagining Liberation: Visual Disobedience in Central American Art” \nDavie Hall room 112 \nIn this lecture\, Dr. Kency Cornejo traces the emergence of new artistic strategies for Indigenous\, feminist\, and anticarceral resistance in the wake of torture\, disappearance\, killings\, and US-funded civil wars in Central America. Drawing on interviews with Central American artists and curators\, she theorizes a form of “visual disobedience” in which art operates in opposition to nation-states\, colonialism\, and visual coloniality\, offering new imaginaries of liberation in the isthmus. \nDr. Kency Cornejo is Associate Professor of Latinx/Latin American Art and Expressive Culture in the Department of Chicana/o and Central American Studies at UCLA. She is a scholar of contemporary and modern Latin American art history\, with emphasis on Central America and its diaspora. She offers a variety of undergraduate and graduate art history courses. Dr. Cornejo’s teaching and research interests focus on a wide range of topics\, including: art and politics\, decoloniality\, femicide\, immigration\, prisons\, captivity\, transnationalism\, gangs\, and indigenous rights and epistemologies. Cornejo’s book Visual Disobedience: The Geopolitics of Experimental Art in Central America\, 1990-Present (Duke University Press\, 2024) critically analyzes twenty-five years of contemporary art in post-war Central America. \nA weeknight or daytime permit is now required after 5:00 pm on weekdays. No permit is required from 5:00 pm Friday through 7:30 am Monday. A $1.00 one-night pass is available in selected lots. More information can be found at UNC’s Weeknight Parking website. \nContact: Maggie Cao\, mmcao@unc.edu \nImage credit: Elyla (Fredman Barahona)\, Ni Azul Blanco Ni Rojo Negro\, 2019 \n\n\n Related URL:https://artsorange.org/event/lectures-in-art-history-kency-cornejo-ucla/ LOCATION:UNC Chapel Hill ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2025/02/Elyla.jpg ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250130T180000 DTEND;TZID=America/New_York:20250130T193000 DTSTAMP:20260610T013823 CREATED:20250204T184237Z LAST-MODIFIED:20250204T184237Z UID:140233-1738260000-1738265400@artsorange.org SUMMARY:Hanes Visiting Artist Lecture Series: Juan Arango Palacios DESCRIPTION:“Figure\, Narrative\, and Image-Making” \n121 Hanes Art Center \nJuan Arango Palacios was born in Pereira\, Colombia\, and was raised in a traditional Catholic home. His traditional upbringing was cut short by a series of migrations that his family took seeking a better future. Juan’s family moved from Colombia to southern Louisiana where Juan’s sense of identity and belonging began to be skewed by his lack of knowledge of the English language\, his unfamiliarity with American culture\, and his internal struggle with a queer identity. Juan graduated from the School of the Art Institute of Chicago in 2020 and has a painting\, textile-making\, and sculpture practice based in Chicago. Emphasizing color and composition\, Juan’s work aims to create images and narratives glorifying and fantasizing the idea of safety and joy in a queer experience. \nHanes Visiting Artist Lecture Series 2024-2025: The Rage of Wildness: Radical Futures. This lecture series will highlight artists creating dialogues and radical gestures that envision a future beyond colonial thinking. We will explore practices that operate in a mode of unknowing\, decoloniality\, resistance to dominant ontologies\, disruption of imposed order\, engagement with indigeneity\, queerness\, and ecological perspectives. \nAn endowment established in 1983 through the generosity of Nancy and Robin Hanes supports the Art Department’s Visiting Artist Series. This important program brings both established and emerging artists to campus to discuss their work in public lectures and to offer individual critiques to our M.F.A. students. The Hanes Visiting Artist series greatly enriches both our academic programs and our outreach to the wider community. All lectures are free and open to the public. \nA weeknight or daytime permit is now required after 5:00 pm on weekdays. No permit is required from 5:00 pm Friday through 7:30 am Monday. A $1.00 one-night pass is available in selected lots. More information can be found at the UNC Weeknight Parking website. \nArtist website: https://jarangopalacios.com/ \nContact: Martín Wannam\, mwanna@unc.edu \nImage: Juan Arango Palacios\, Beso Frente al Alto\, 2024\, 40 x 48 inches\, oil on canvas \n\n\n Related URL:https://artsorange.org/event/hanes-visiting-artist-lecture-series-juan-arango-palacios/ LOCATION:Hanes Art Center\, 121 East Cameron Avenue\, Chapel Hill\, 27514 ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2025/01/Beso-Frente-al-Alto-scaled.jpg ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu GEO:35.9123693;-79.0543987 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Hanes Art Center 121 East Cameron Avenue Chapel Hill 27514;X-APPLE-RADIUS=500;X-TITLE=121 East Cameron Avenue:geo:-79.0543987,35.9123693 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250123T173000 DTEND;TZID=America/New_York:20250123T190000 DTSTAMP:20260610T013823 CREATED:20250204T184013Z LAST-MODIFIED:20250204T184013Z UID:139883-1737653400-1737658800@artsorange.org SUMMARY:Lectures in Art History: Sylvia Houghteling\, Bryn Mawr College DESCRIPTION:“The Ecology of Ephemeral Dyes: Textile Colorants Beyond Colonial Trade Networks in Early Modern South and Southeast Asia” \n215 Phillips Hall \nThis talk brings together poetry\, dye recipes\, textiles\, and their representations in painting to explore the vivid but quickly fading pink and yellow dyestuffs that were used in early modern South Asia and maritime Southeast Asia. Documents from the period suggest the widespread use and importance of certain labile\, unfixed dyes – safflower\, turmeric\, and saffron – that were treasured materials even if they were fleeting. While the seventeenth and eighteenth centuries coincided with the increasing European mercantile encroachment into the textile trade of the eastern Indian Ocean region\, the objects and dye materials I will discuss evaded European economic control. This project also levels an early environmental critique of the practices of European colonialist commerce that sought to stabilize materials\, monopolize and standardize commodity trades\, and devalued things that were local and specific; things that were fragile in their perishability. In tracing the usages of dye materials that doubled as cooking ingredients\, this study engages taste alongside the tactile\, visual\, and olfactory senses. And in foregrounding the history of a non-European exchange in perishable materials between coastal South Asia and the Indonesian archipelago\, it realigns the prevailing histories of trade that place Europeans at the center to recover what were\, by necessity of their materials and seasonal uses\, regional and local exchanges. In these connections\, we find meanings of celebration and healing\, devotion and mourning that rarely surface otherwise. \nSylvia Houghteling\, Associate Professor of the History of Art at Bryn Mawr College\, specializes in early modern visual and material culture\, focusing on the history of textiles\, South Asian art and architecture\, and the material legacies and ruptures of European colonialism. Houghteling’s first book\, The Art of Cloth in Mughal India (Princeton University Press\, 2022) examined the textiles crafted and collected across the Mughal Empire in the sixteenth and seventeenth centuries\, showing how woven objects helped to shape the social\, political\, religious\, and aesthetic life of early modern South Asia. The book received a College Art Association Millard Meiss Publication Fund Grant and won the 2023 Charles Rufus Morey Book Award from the College Art Association. The Art of Cloth in Mughal India also received the 2022 R.L. Shep Memorial Book Award from the Textile Society of America. Houghteling received her Ph.D. in the history of art from Yale University in 2015\, where she received the Frances Blanshard Fellowship Fund Prize for her doctoral dissertation. She holds an A.B. in history and literature from Harvard University (2006)\, and an M.Phil. in history from the University of Cambridge (2007). Before entering the field of art history\, Houghteling gained experience in weaving\, textile dyeing\, fashion design\, felting\, block-printing\, and silk-painting. As someone who became interested in art through making it\, Houghteling teaches and learns through conversations with contemporary practitioners and hands-on encounters with objects. \nThis lecture is co-sponsored by the Carolina Asia Center. \nA weeknight or daytime permit is now required after 5:00 pm on weekdays. No permit is required from 5:00 pm Friday through 7:30 am Monday. A $1.00 one-night pass is available in selected lots. More information can be found at UNC’s Weeknight Parking website. \nContact: Maggie Cao\, mmcao@unc.edu \nImage: Detail: Hunting coat\, Satin\, embroidered with silk\, South Asia\, ca. 1610-1630\, ©Victoria and Albert Museum\, London\, IS.18-1947 \n\n\n Related URL:https://artsorange.org/event/lectures-in-art-history-sylvia-houghteling-bryn-mawr-college/ LOCATION:UNC Chapel Hill ATTACH;FMTTYPE=image/png:https://artsorange.org/wp-content/uploads/2025/01/Houghteling_Image-3.png ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250121T080000 DTEND;TZID=America/New_York:20250228T170000 DTSTAMP:20260610T013823 CREATED:20250108T212650Z LAST-MODIFIED:20250108T212650Z UID:139478-1737446400-1740762000@artsorange.org SUMMARY:John and June Allcott Gallery: Wanda Raimundi-Ortiz DESCRIPTION:Llevame Pa’l Monte (The Mountains Are Calling and I Must Go)\nReception and gallery talk: January 21\, 5:00-7:00 pm \nWanda Raimundi-Ortiz is an interdisciplinary visual artist whose work pulls from 17th and 18th-century European portraiture\, comic books\, sketch comedy\, folkloric dance\, and installation to address race\, bias\, trauma\, and healing. Her work has been featured in venues such as The Momentary\, the Smithsonian National Portrait Gallery\, National Museum of Women in the Arts\, Museum of Arts and Design\, Garage Museum Moscow\, Orlando Museum of Art\, Corcoran Gallery of Art\, Gyeongnam Art Museum\, Museo de Arte de Puerto Rico; and at the Manifesta and Performa biennials. Numerous media outlets\, including Art in America ArtNews\, PBS\, NPR\, The New York Times\, and The Washington Post have covered her work. She earned her MFA from Rutgers University Mason Gross School of Art and attended the Skowhegan School of Painting and Sculpture. Presently\, she’s a full professor at George Mason University and serves as a board member of several national arts organizations including the College Art Association. \nAdmission: Free\nGallery Hours: Monday-Friday\, 8 am-5 pm \nA weeknight or daytime permit is now required after 5:00 pm on weekdays. No permit is needed from 5:00 pm Friday through 7:30 am Monday. A $1.00 one-night pass is available in selected lots. More information can be found at the UNC Weeknight Parking website. \nartist website: https://www.raimundiart.com/ \nFor more information\, please contact Roxana Perez-Mendez at rpm@email.unc.edu \nImage credit: Wanda Raimundi-Ortiz\, drawing from the Sanctuary series \n\n\n Related URL:https://artsorange.org/event/john-and-june-allcott-gallery-wanda-raimundi-ortiz/ LOCATION:Hanes Art Center\, 121 East Cameron Avenue\, Chapel Hill\, 27514 CATEGORIES:Exhibit ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2025/01/Wanda-7_vsm.jpg ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu GEO:35.9123693;-79.0543987 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Hanes Art Center 121 East Cameron Avenue Chapel Hill 27514;X-APPLE-RADIUS=500;X-TITLE=121 East Cameron Avenue:geo:-79.0543987,35.9123693 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20241121T180000 DTEND;TZID=America/New_York:20241121T193000 DTSTAMP:20260610T013824 CREATED:20241009T191600Z LAST-MODIFIED:20241009T191600Z UID:133114-1732212000-1732217400@artsorange.org SUMMARY:Hanes Visiting Artist Lecture Series: rafa esparza DESCRIPTION:121 Hanes Art Center \nrafa esparza (b. 1981\, Los Angeles; lives and works in Los Angeles) received a BA from University of California\, Los Angeles (2011). Solo exhibitions have been held at Artists Space\, New York (2023); Commonwealth and Council\, Los Angeles (2021); MASS MoCA\, North Adams (2019); ArtPace\, San Antonio (2018); and Ballroom Marfa (2017). Selected group exhibitions have been held at Museum of Contemporary Art Denver (2023); San Francisco Museum of Modern Art (2023); Commonwealth and Council\, Mexico City (2022); Museum of Contemporary Art Tucson (2022); Moody Center for the Arts\, Rice University\, Houston (2020); San Diego Art Institute (2019); Whitney Museum of American Art\, New York (2017); and Hammer Museum\, Los Angeles (2016). esparza is a recipient of Pérez Prize (2022)\, Latinx Arts Fellowship\, Mellon Foundation (2021)\, Lucas Artist Fellowship (2020)\, Louis Comfort Tiffany Foundation Award (2017)\, Art Matters Foundation Grant (2014)\, and California Community Foundation Fellowship for Visual Artists (2014). esparza has participated in residencies at Artpace San Antonio (2018) and Wanlass Artist in Residence\, OXY ARTS\, Los Angeles (2016). \nesparza’s work is in the collections of Aïshti Foundation\, Beirut; Dallas Museum of Art; Kadist Art Foundation; Los Angeles County Museum of Art; Minneapolis Institute of Art; Museum of Contemporary Art\, Los Angeles; San Francisco Museum of Modern Art; San Jose Museum of Art; Solomon R. Guggenheim Museum\, New York; Vincent Price Art Museum\, Monterey Park; and Whitney Museum of American Art\, New York. \nHanes Visiting Artist Lecture Series 2024-2025: The Rage of Wildness: Radical Futures. This lecture series will highlight artists creating dialogues and radical gestures that envision a future beyond colonial thinking. We will explore practices that operate in a mode of unknowing\, decoloniality\, resistance to dominant ontologies\, disruption of imposed order\, engagement with indigeneity\, queerness\, and ecological perspectives. \nAn endowment established in 1983 through the generosity of Nancy and Robin Hanes supports the Art Department’s Visiting Artist Series. This important program brings both established and emerging artists to campus to discuss their work in public lectures and to offer individual critiques to our M.F.A. students. The Hanes Visiting Artist series greatly enriches both our academic programs and our outreach to the wider community. All lectures are free and open to the public. \nA weeknight or daytime permit is now required after 5:00 pm on weekdays. No permit is required from 5:00 pm Friday through 7:30 am Monday. A $1.00 one-night pass is available in selected lots. More information can be found HERE. \nArtist website: https://www.instagram.com/elrafaesparza/?hl=en \nContact: Martín Wannam\, mwanna@unc.edu \nImage: rafa esparza\, Corpo RanfLA: Terra Cruiser 4everz\, performance\, SFMoMa\, October 5\, 2023 \n\n\n Related URL:https://artsorange.org/event/hanes-visiting-artist-lecture-series-rafa-esparza/ LOCATION:Hanes Art Center\, 121 East Cameron Avenue\, Chapel Hill\, 27514 ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2024/10/Corpo-RanfLA-Terra-Cruiser-4-everz_performed-at-SFMoMa.jpeg ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu GEO:35.9123693;-79.0543987 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Hanes Art Center 121 East Cameron Avenue Chapel Hill 27514;X-APPLE-RADIUS=500;X-TITLE=121 East Cameron Avenue:geo:-79.0543987,35.9123693 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20241104T173000 DTEND;TZID=America/New_York:20241104T190000 DTSTAMP:20260610T013824 CREATED:20241003T181617Z LAST-MODIFIED:20241003T181617Z UID:132734-1730741400-1730746800@artsorange.org SUMMARY:Lectures in Art History: Emmanuel Ortega\, University of Illinois at Chicago DESCRIPTION:“Beyond European Palettes: The Overlooked Contributions of Indigenized Artists in the Historiography of Painting in Mexico” \n115 Howell Hall \nIn this talk\, Emmanuel Ortega analyzes the genealogy of the nomenclature involved in art history’s considerations of indigenized forms of art and the erasure of over five hundred years of influence to better articulate the processes that minoritized Native peoples suffered throughout the colonial period. Understanding the history of Spanish colonial art and its byproducts in Mexican culture requires reconsideration of almost two centuries of scholarly questions that have exacerbated art’s role as an agent of Mexican social stratification. The entanglement between empire and art history\, he proposes\, exhorts us to implicate the cultural interlocutors that exemplify such divisions. \nEmmanuel Ortega is a Curator\, the Marilynn Thoma Scholar and Assistant Professor in Art of the Spanish Americas at the University of Illinois at Chicago (UIC)\, and a Scholar in Residence at the Newberry Library (2023–2024). Ortega has lectured nationally and internationally on nineteenth-century Mexican landscape painting\, ex-votos\, and visual representations of the New Mexico Pueblo peoples in Novohispanic Franciscan martyr paintings. His recently curated art show titled “Contemporary Ex-Votos Devotion Beyond Medium” produced an accompanying catalog published by the New Mexico State University Art Museum this spring. An essay titled “Beyond European Palettes: The Overlooked Contributions of Indigenized Artists in the Historiography of Painting in Mexico.” will appear this fall as part of the Routledge Companion to Art and Empire: Aesthetics and Imperialism\, 1800-1950. His book Visualizing Franciscan Anxiety and the Distortion of Native Resistance: The Domesticating Mission is under contract with Routledge. \nThis lecture is co-sponsored by the Institute for the Study of the Americas and the Department of Romance Studies. \nA weeknight or daytime permit is now required after 5:00 pm on weekdays. No permit is needed from 5:00 pm Friday through 7:30 am Monday. A $1.00 one-night pass is available in selected lots. More information can be found at UNC Weeknight Parking. \nContact: Maggie Cao\, mmcao@unc.edu \nImage: Frida Kahlo\, The Frame\, 1938\, oil on aluminum\, under glass and painted wood\, 28.5 x 20.7 cm\, Musée National d’Art Moderne/Centre Georges Pompidou\, JP929P\, photo by Jean-Claude Planchet \n\n\n Related URL:https://artsorange.org/event/lectures-in-art-history-emmanuel-ortega-university-of-illinois-at-chicago/ LOCATION:UNC Chapel Hill ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2024/10/ART541695_sm-scaled.jpg ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20241025T143000 DTEND;TZID=America/New_York:20241026T123000 DTSTAMP:20260610T013824 CREATED:20241002T194540Z LAST-MODIFIED:20241002T194540Z UID:132039-1729866600-1729945800@artsorange.org SUMMARY:Bettie Allison Rand Lecture Series: Renewing Impressionism\, 1874-2024 DESCRIPTION:James M. Johnston Center for Undergraduate Excellence\nGraham Memorial 039\nFriday: 2:00-5:30 pm\nSaturday: 9:30 am-12:15 pm \nOver two days\, invited scholars will celebrate the 150th anniversary of the first Impressionist exhibition\, which opened on the fashionable Boulevard des Capucines in Paris in April of 1874. Originally known by the corporate name Société anonyme des artistes peintres\, sculpteurs\, graveurs\, etc.\, within two years the group of artists including Monet\, Degas\, Morisot\, Pissarro\, and Renoir became known as the Impressionists\, a term widespread in criticism of the time to describe the rapid application of paint to convey an artist’s sensory grasp of a place or a moment. \nSpeakers: André Dombrowski\, Nikki Georgopulos\, Laura Anne Kalba\, Denise Murrell\, Todd Porterfield\, Harmon Siegel \nSee our website at https://go.unc.edu/rand2024 for the full schedule of events. \nThis year’s lecture series is co-sponsored by the Ackland Art Museum and the UNC Center for European Studies. \nThrough a generous gift to the UNC Arts and Sciences Foundation\, William G. Rand established this lecture series in memory of his late wife\, Bettie Allison Rand. This funding allows the Department of Art and Art History to bring one or more eminent art historians to UNC-CH every other year for residencies of various lengths. While they are in Chapel Hill\, these scholars present a series of lectures and interact with undergraduate and graduate art history and studio art students. Following the campus visit\, the scholars prepare a manuscript\, which is then published by the UNC Press as part of the Rand Series of art history publications. \nAll lectures are free and open to the public. This event is eligible for CLE credit. \nA weeknight or daytime permit is now required after 5:00 pm on weekdays. There is no permit needed from 5:00 pm Friday through 7:30 am Monday. A $1.00 one-night pass is available in selected lots. More information can be found at UNC Weeknight Parking. \nContact: Dylan Seal\, djseal@unc.edu \nImage: Camille Pissarro\, The Banks of the Oise\, Pontoise\, 1876\, oil on canvas\, 14 15/16 x 21 7/8 in. (38 x 55.5 cm)\, Ackland Museum of Art\, Ackland Fund \n\n\n Related URL:https://artsorange.org/event/bettie-allison-rand-lecture-series-renewing-impressionism-1874-2024/ LOCATION:UNC Chapel Hill CATEGORIES:Free Events ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2024/09/AcklandPissarro_noframe.jpg ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240925T173000 DTEND;TZID=America/New_York:20240925T190000 DTSTAMP:20260610T013824 CREATED:20240925T184338Z LAST-MODIFIED:20240925T184338Z UID:127068-1727285400-1727290800@artsorange.org SUMMARY:Lectures in Art History: Amy Lonetree\, University of California at Santa Cruz DESCRIPTION:“’Indigenous Storywork’ and Native American Photography: Writing a Visual History of the Ho-Chunk Nation” \nHowell Hall room 115 \nAmy Lonetree is an enrolled citizen of the Ho-Chunk Nation and a Professor of History at the University of California\, Santa Cruz. She received her Ph.D. in Ethnic Studies from the University of California\, Berkeley. Her scholarly research focuses on Indigenous history\, visual culture studies\, and museum studies\, and she has received fellowships in support of this work from the School for Advanced Research\, the Newberry Library\, the Bard Graduate Center\, the Georgia O’Keeffe Museum Research Center\, the Institute of American Cultures at UCLA\, and the University of California\, Berkeley Chancellor’s Postdoctoral Fellowship Program. Her publications include Decolonizing Museums: Representing Native America in National and Tribal Museums (University of North Carolina Press\, 2012); a co-edited book with Amanda J. Cobb\, The National Museum of the American Indian: Critical Conversations (University of Nebraska Press\, 2008); and a co-authored volume\, People of the Big Voice: Photographs of Ho-Chunk Families by Charles Van Schaick\, 1879-1942 (Wisconsin Historical Society Press\, 2011). Amy is currently working on two projects. The first is a visual history of the Ho-Chunk Nation. This research explores family history\, tourism\, settler colonialism\, and Ho-Chunk survivance through an examination of two exceptional collections of studio portraits and tourist images of Ho-Chunk people taken between 1879-1960. The second research project is a historical study documenting the adoption of Indigenous children throughout the twentieth century. \nA weeknight or daytime permit is now required after 5:00 pm on weekdays. No permit is required from 5:00 pm Friday through 7:30 am Monday. A $1.00 one-night pass is available in selected lots. More information can be found at UNC Weeknight Parking. \nContact: Maggie Cao\, mmcao@unc.edu \n\n\n Related URL:https://artsorange.org/event/lectures-in-art-history-amy-lonetree-university-of-california-at-santa-cruz/ LOCATION:UNC Chapel Hill ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2024/09/g-01-57-60816.jpg ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20241003T180000 DTEND;TZID=America/New_York:20241003T193000 DTSTAMP:20260610T013824 CREATED:20240830T205520Z LAST-MODIFIED:20240830T205520Z UID:120667-1727978400-1727983800@artsorange.org SUMMARY:Hanes Visiting Artist Lecture Series: Lorena Molina DESCRIPTION:“Balancing Act on Home\, Art\, and Academia: A Reckoning From the Margins” \nLorena Molina is a Salvadoran multidisciplinary artist\, educator and curator. She is an Assistant Professor of Photography and Digital Media in the School of Art at the University of Houston. She was also the founder and the director of Third Space Gallery\, a community space and gallery that supports and highlights BIPOC artists. \nShe received her Master of Fine Art degree from the University of Minnesota in 2015 and her Bachelor of Fine Art from California State University\, Fullerton\, in 2012. Molina has been a recipient of the Diversity of Views and Experiences fellowship\, The Christopher Cardozo Fellowship\, (Two) Truth and Reconciliation grant from Artswave\, The Idea Fund\, and The Kala Art Institute fellowship. She has exhibited and performed both nationally and internationally\, such as the Contemporary Art Center\, Cincinnati\, The Kemper Museum\, Southeast Museum of Photography\, 621 Gallery\, The Carnegie\, Covington\, KY\, Vox Populi\, FSU Museum of Fine Arts\, EXPO Chicago\, The Armory\, The Delaplaine Art Center\, The Beijing Film Academy and all over the piazzas of Florence\, Italy. \nHanes Visiting Artist Lecture Series 2024-2025: The Rage of Wildness: Radical Futures. This lecture series will highlight artists creating dialogues and radical gestures that envision a future beyond colonial thinking. We will explore practices that operate in a mode of unknowing\, decoloniality\, resistance to dominant ontologies\, disruption of imposed order\, engagement with indigeneity\, queerness\, and ecological perspectives. \nAn endowment established in 1983 through the generosity of Nancy and Robin Hanes supports the Art Department’s Visiting Artist Series. This important program brings both established and emerging artists to campus to discuss their work in public lectures and to offer individual critiques to our M.F.A. students.  The Hanes Visiting Artist series greatly enriches both our academic programs and our outreach to the wider community.  All lectures are free and open to the public. \nA weeknight or daytime permit is now required after 5:00pm on weekdays. There is no permit required from 5:00pm Friday through 7:30am Monday. A $1.00 one-night pass is available in selected lots. More information can be found on the UNC Parking website \nImage: Installation view of “This must be the place\,” 2020. \n\n\n Related URL:https://artsorange.org/event/hanes-visiting-artist-lecture-series-lorena-molina/ LOCATION:Hanes Art Center\, 121 East Cameron Avenue\, Chapel Hill\, 27514 ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2024/08/This-must-be-the-place_Installation-shot_-202070.jpg ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu GEO:35.9123693;-79.0543987 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Hanes Art Center 121 East Cameron Avenue Chapel Hill 27514;X-APPLE-RADIUS=500;X-TITLE=121 East Cameron Avenue:geo:-79.0543987,35.9123693 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240919T180000 DTEND;TZID=America/New_York:20240919T193000 DTSTAMP:20260610T013824 CREATED:20240604T180234Z LAST-MODIFIED:20240604T180234Z UID:108383-1726768800-1726774200@artsorange.org SUMMARY:Hanes Visiting Artist Lecture Series: Beatriz Cortez DESCRIPTION:121 Hanes Art Center \n“Of Ice\, Volcanoes\, and Whales: Notes on a Summer Expedition to the Arctic” \nBeatriz Cortez is a multidisciplinary artist born in El Salvador and based in Los Angeles and Davis\, California. Her work explores simultaneity\, multiple temporalities\, the untimely\, and speculative imaginaries of the future. Her recent solo exhibitions include Storm King Art Center (2023); Williams College Museum of Art (2023); Commonwealth and Council (2022); and Pitzer College Art Galleries (2022). Her work was included in the 60th International Exhibition at the Venice Biennale\, Foreigners Everywhere (2024)\, and the 14th Shanghai Biennial\, Cosmos Cinema (2023-24). Cortez has received the Latinx Artist Fellowship (2023); Borderlands Fellowship at the Vera List Center for Art and Politics (2022-2024); Atelier Calder artist residence in Saché\, France (2022); California Studio artist residence at UC Davis (2022); Longenecker-Roth artist residence at UC San Diego (2021); Artadia Los Angeles Award (2020)\, the inaugural Frieze LIFEWTR Sculpture Prize (2019)\, among others. She teaches sculpture and critical theory in the Studio Art Program at the University of California\, Davis. \nAn endowment established in 1983 through the generosity of Nancy and Robin Hanes supports the Art Department’s Visiting Artist Series. This important program brings both established and emerging artists to campus to discuss their work in public lectures and to offer individual critiques to our M.F.A. students. The Hanes Visiting Artist series greatly enriches both our academic programs and our outreach to the wider community. All lectures are free and open to the public. \nA weeknight or daytime permit is now required after 5:00pm on weekdays. There is no permit required from 5:00pm Friday through 7:30am Monday. A $1.00 one-night pass is available in selected lots. More information can be found at the UNC parking website. \nArtist website: https://beatrizcortez.com/ \nContact: Martín Wannam\, mwanna@unc.edu \nImage: Ilopango\, the Volcano that Left\, photograph of the steel sculpture navigating the Hudson River on the J. J. Harvey fireboat\, October 27-29\, 2023\, courtesy of the artist \n\n\n Related URL:https://artsorange.org/event/hanes-visiting-artist-lecture-series-beatriz-cortez/ LOCATION:Hanes Art Center\, 121 East Cameron Avenue\, Chapel Hill\, 27514 ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2024/06/Ilopango-The-Volcano-that-Left-Hudson-sunset_sm-scaled.jpg ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu GEO:35.9123693;-79.0543987 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Hanes Art Center 121 East Cameron Avenue Chapel Hill 27514;X-APPLE-RADIUS=500;X-TITLE=121 East Cameron Avenue:geo:-79.0543987,35.9123693 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240411T173000 DTEND;TZID=America/New_York:20240411T190000 DTSTAMP:20260610T013824 CREATED:20240326T215451Z LAST-MODIFIED:20240326T215451Z UID:98437-1712856600-1712862000@artsorange.org SUMMARY:Lectures in Art History: Rebecca VanDiver\, Vanderbilt University DESCRIPTION:“States of Emergency: Ephemera and Ephemerality in African American Art\, 1965-2000” \nZoom (Virtual)\nRegister to attend here: https://unc.zoom.us/meeting/register/tJArdemsqzMoH91sPljGvCI9Nin1L82-x_ZY \n“Seize the Time!” urged Black Panther Party co-founder Bobby Searle\, compelling Black activists to capture the politically and racially charged late 1960s and capitalize on its potential for radical revolution. The slogan insinuated that the moment could be seized—grasped\, appropriated\, and manipulated—in service of Black activism. How African American artists “seize[d] the time” via form and content\, both then and now\, remains a vital question for art historians. In this lecture\, Prof. VanDiver queries what role ephemerality\, the transient or fugitive\, plays in African American fine art during periods of intense racial unrest. \nDr. Rebecca VanDiver is an associate professor of African American art and a current Chancellor’s Faculty Fellow at Vanderbilt University. She received an A.B. in the History of Art and Architecture from Harvard University before obtaining an M.A. and Ph.D. in Art History from Duke University. VanDiver’s research and teaching centers on modern and contemporary African American art. She is particularly committed to writing the art histories of Black women and more recently considering African American artistic engagements with ephemeral print. She is the author of Designing a New Tradition: Loïs Mailou Jones and the Aesthetics of Blackness (Penn State University Press\, 2020)\, a winner of the 2023 James A. Porter Book Award in African American Art History. Her scholarship has appeared in Art Journal\, American Art\, Archives of American Art Journal\, Callaloo\, and numerous exhibition catalogs. \nContact: Lyneise Williams\, williale@email.unc.edu \nImage: Charles White\, Wanted Poster #14a\, 1970\, Lithograph\, printed by Harry Westlund and the Tamarind Lithography Workshop \n\n\n Related URL:https://artsorange.org/event/lectures-in-art-history-rebecca-vandiver-vanderbilt-university/ LOCATION:Zoom\, United States ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2024/03/CharlesWhite_WantedPoster14a.jpg ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu GEO:37.09024;-95.712891 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240404T180000 DTEND;TZID=America/New_York:20240404T193000 DTSTAMP:20260610T013824 CREATED:20240319T195156Z LAST-MODIFIED:20240319T195156Z UID:95530-1712253600-1712259000@artsorange.org SUMMARY:Hanes Visiting Artist Lecture Series: Stan Douglas DESCRIPTION:121 Hanes Art Center \nStan Douglas is an artist whose work explores social histories played out through complex cinematic and televisual language. His interest in the social implementation of Western ideas of progress\, particularly utopian philosophies\, is located in their often divisive political and economic effects. His interrogation of the structural possibilities of film and video\, in concert with intricately developed narratives\, has resulted in several groundbreaking contemporary artworks. \nDouglas lives and works in Vancouver and Los Angeles. His films and photographs have been included in exhibitions internationally since the early 1980s\, including at documenta IX\, X\, and XI (1992\, 1997\, 2002) and in four Venice Biennales (1990\, 2001\, 2005\, 2019\, and representing Canada in 2022). A survey of his work\, Stan Douglas: Mise en scène\, toured Europe from 2013 until the end of 2015. From 2014 until 2017 his multimedia theatre production Helen Lawrence was presented in Vancouver\, Toronto\, Munich\, Antwerp\, Edinburgh\, Brooklyn\, and Los Angeles. Douglas received the International Centre for Photography’s Infinity Prize in 2012\, the Scotiabank Photography Award in 2013\, the Hasselblad Award in 2016\, the Audain Prize for Lifetime Achievement in 2019\, and the Chevalier of the Ordre des Arts et des Lettres by the French Minister of Culture in 2021. Between 2004 and 2006 he was a professor at Universität der Künste Berlin and is currently Chair of the Graduate Art Program of ArtCenter College of Design in Pasadena\, California. \nAn endowment established in 1983 through the generosity of Nancy and Robin Hanes supports the Art Department’s Visiting Artist Series. This important program brings both established and emerging artists to campus to discuss their work in public lectures and to offer individual critiques to our M.F.A. students. The Hanes Visiting Artist series greatly enriches both our academic programs and our outreach to the wider community. All lectures are free and open to the public. \nA weeknight or daytime permit is now required after 5:00pm on weekdays. There is no permit required from 5:00pm Friday through 7:30am Monday. A $1.00 one-night pass is available in selected lots. More information can be found HERE. \nArtist website: https://www.davidzwirner.com/artists/stan-douglas \nDepartmental website: art.unc.edu \nContact: Martín Wannam\, mwanna@unc.edu \nImage: Portrait of Stan Douglas by Evaan Kheraj \n\n\n Related URL:https://artsorange.org/event/hanes-visiting-artist-lecture-series-stan-douglas/ LOCATION:Hanes Art Center\, 121 East Cameron Avenue\, Chapel Hill\, 27514 ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2024/03/StanDouglas©EvaanKheraj.jpg ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu GEO:35.9123693;-79.0543987 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Hanes Art Center 121 East Cameron Avenue Chapel Hill 27514;X-APPLE-RADIUS=500;X-TITLE=121 East Cameron Avenue:geo:-79.0543987,35.9123693 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240307T173000 DTEND;TZID=America/New_York:20240307T190000 DTSTAMP:20260610T013824 CREATED:20240221T190736Z LAST-MODIFIED:20240221T190736Z UID:91722-1709832600-1709838000@artsorange.org SUMMARY:Lectures in Art History: Shanna Ketchum-Heap of Birds DESCRIPTION:“Indigenous Performance Politics: An Analysis of Works by Kent Monkman\, Spiderwoman Theater Company\, Rebecca Belmore and James Luna” \nART&\, Ackland Art Museum \nBecause of space limitations\, we request that attendees register in advance here: https://events.ackland.org/event/guest-lecture-dr-shanna-ketchum-heap-of-birds/ \nBy internationalizing the debate concerning Indigeneity and decolonial thought\, as well as examining the basis of North American multiculturalism in the art world\, Shanna Ketchum-Heap of Birds’ research foregrounds a complex understanding of gender\, sexualities\, and race in line with moving away from a heteropatriarchal understanding imposed by colonialist and anthropological thinking.  In this talk\, she focuses on four artists/artists groups to offer new interpretations that question how we understand the colonial past by using images\, artworks\, and performances in strategic and interventionist ways that constitute acts of decolonization.  Following Linda Tuhiwai Smith’s Decolonizing Methodologies (1999)\, she contends that decolonial theories and processes are inherent to the struggles of Indigenous Peoples worldwide and intersect with one another on local\, national\, and global levels.  Therefore\, going beyond previous frameworks\, such as postmodern and postcolonial theories\, implies a renegotiation of the readings and analyses of Native American/First Nations artists/artists’ groups\, and their works\, in ways that problematize Indigenous erasure in favor of Indigenous presence and futurity. \nShanna Ketchum-Heap of Birds is a citizen of the Diné/Navajo Nation.  In 2022\, she completed her PhD at Middlesex University\, London\, focused on contemporary Native American/Indigenous visual artists and theater and performance studies.  Recent essays were published in Artforum International\, Wired Italia\, and Art Review magazine and in Tony Fisher and Eve Katsouraki (eds.)\, Beyond Failure: New Essays on the Cultural History of Failure in Theatre and Performance\, Routledge\, 2018.  See her website https://dinehwriter.art.  Ketchum-Heap of Birds has lectured at Artists Space in NYC\, the Walker Art Center in Minneapolis\, Nanyang University in Singapore\, and Skype/Zoom lectures for the Barcelona Facultat De Geografia; Història Universitat De Barcelona; Museu D’art Contemporani De Barcelona (MACBA) and Shape: A Virtual Artist Residency sponsored by Vinegar Projects: An Artists-Run Space.  Ketchum-Heap of Birds also curated Suffer\, Dance\, Stand: Native Survival with Edgar Heap of Birds\, Douglas Miles\, and Warren Realrider in 2022 at OK #1 in Tulsa\, Oklahoma.  Dr. Ketchum-Heap of Birds currently teaches at the University of Central Oklahoma and is board president of Spiderwoman Theater Company (the longest-running Native American feminist theater group in the USA). \nThis lecture is co-sponsored by the Ackland Art Museum as part of their current exhibition\, Past Forward: Native American Art from Gilcrease Museum. The exhibition is open from February 16 to April 28\, 2024. \nA weeknight or daytime permit is now required after 5:00pm on weekdays. There is no permit required from 5:00pm Friday through 7:30am Monday. A $1.00 one-night pass is available in selected lots. More information can be found at UNC’s Weeknight Parking website. \nContact: Lyneise Williams\, williale@email.unc.edu \nImage: Kent Monkman\, Dance to Miss Chief\, 2010\, video \n\n\n Related URL:https://artsorange.org/event/lectures-in-art-history-shanna-ketchum-heap-of-birds/ LOCATION:Ackland Art Museum\, 101 South Columbia Street\, Chapel Hill\, NC\, 27599\, United States ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2024/02/SKHoB-miss-chief.jpg ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu GEO:35.9129222;-79.0543146 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Ackland Art Museum 101 South Columbia Street Chapel Hill NC 27599 United States;X-APPLE-RADIUS=500;X-TITLE=101 South Columbia Street:geo:-79.0543146,35.9129222 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240229T180000 DTEND;TZID=America/New_York:20240229T193000 DTSTAMP:20260610T013824 CREATED:20240213T213137Z LAST-MODIFIED:20240213T213137Z UID:89886-1709229600-1709235000@artsorange.org SUMMARY:Hanes Visiting Artist Lecture Series: Marianne Vitale DESCRIPTION:121 Hanes Art Center \nMarianne Vitale (b. 1973) is an artist living and working in New York City. She graduated with a BFA from the School of Visual Arts\, NY (1996). Her practice combines mediums with a focus on sculpture. She has been described as a surveyor\, under-taker\, and soothsayer of hard truths\, conveyed poetically. Vitale’s work was recently celebrated as part of the 59th International Art Exhibition of La Biennale di Venezia\, 2022\, with a large-scale outdoor installation Bottles and Bridges: Advances in Collective Obliteration. \nVitale creates monuments from the spectres of American industrial expansion: bridges\, railroad tracks\, freight train engines\, dams\, factories\, outhouses – in an excoriating critique of the contemporary collapse of Western society. She burns\, breaks\, bruises\, and builds anew\, forcing us to interrogate our histories through the objects we abandon in the name of progress. \nVitale’s artworks are immense\, brutal\, and unapologetic. For fifteen years\, she has been burning bridges\, first constructing scale models of bridges found across North America in her studio\, then taking them outdoors to burn them\, eventually exhibiting their charred skeletons. In a 2019 performance\, she torched a bridge atop a snow-covered mountain in Gstaad\, Switzerland. Thought Field (2016) comprised 90 factory-length railroad tracks\, weighing over 60 tons\, creating an imposing landscape with a nod to the codes of Minimalism. During a residency in Savenay\, France\, which similarly redeployed the detritus of transport into a constellation of sculptures\, resulting in a permanent outdoor installation set at the site of a WWI American-made dam\, entitled The World\, the Flesh and the Devil (2019). \nFor the 2010 Whitney Biennale\, Vitale exhibited the video Patron. In 2013\, The Contemporary Austin’s inaugural exhibition featured two solo installations\, including Burned Bridge Junction and Common Crossings. Vitale’s ongoing sculptural series of Burned Bridges has been part of several solo gallery and museum exhibitions including What I Need To Do Is Lighten The Fuck Up About A Lot Of Shit at Zach Feuer Gallery\, New York; Bright Dark Future at Le Confort Moderne\, France; If You Expect To Rate As A Gentleman Do Not Expectorate On the Floor at Unge Kunstneres Samfund\, Norway; Lost Marbles at Le Marbrerie\, Montreuil; and Huey\, Dewey and Louie at Kunstraum Innsbruck\, Austria. For the Performa ’13 Biennial\, Vitale was commissioned to produce The Missing Book of Spurs\, a performance set in a saloon/brothel/weather station. From April 2014 through March 2015\, Vitale’s outdoor public exhibition Common Crossings was presented on the High Line in New York City. \nVitale’s work has been exhibited throughout New York including with The Whitney Museum of American Art; The High Line; The Brooklyn Museum; The Journal Gallery; White Columns; Karma; Zach Feuer Gallery; The Sculpture Center; Invisible-Exports; The Elaine de Kooning House\, East Hampton; and Performa. Across the United States at The Contemporary Austin\, Texas; Venus Over Los Angeles; Various Small Fires; San Francisco Art Institute\, California; and the Rubell Family Collection\, Miami; Overseas presentations include Contemporary Fine Arts\, Berlin; Le Confort Moderne and Mosquito Coast\, France; UKS\, Oslo; Tensta Konsthall\, Stockholm; Kunstraum Innsbruck\, Austria; Kling & Bang\, Iceland; Saatchi Gallery\, London. Contemporary Art Center of Vilnius\, Lithuania. Recent publications include The World\, The Flesh and the Devil\, American Art Catalogues\, NY; From Here to Nowhere\, Karma\, NY; and Train Wreck\, Kitto San\, NY. \nAn endowment established in 1983 through the generosity of Nancy and Robin Hanes supports the Art Department’s Visiting Artist Series. This important program brings both established and emerging artists to campus to discuss their work in public lectures and to offer individual critiques to our M.F.A. students. The Hanes Visiting Artist series greatly enriches both our academic programs and our outreach to the wider community. All lectures are free and open to the public. \nA weeknight or daytime permit is now required after 5:00pm on weekdays. There is no permit required from 5:00pm Friday through 7:30am Monday. A $1.00 one-night pass is available in selected lots. More information can be found HERE. \nArtist website: https://www.mariannevitale.com/\nDepartmental website: art.unc.edu \nContact: Martín Wannam\, mwanna@unc.edu \nImage: Marianne Vitale\, How’m I Doin’?\, 2016\, wood\, paint\, fishing line\, dimensions variable \n\n\n Related URL:https://artsorange.org/event/hanes-visiting-artist-lecture-series-marianne-vitale/ LOCATION:Hanes Art Center\, 121 East Cameron Avenue\, Chapel Hill\, 27514 ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2024/02/Vitale.jpg ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu GEO:35.9123693;-79.0543987 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Hanes Art Center 121 East Cameron Avenue Chapel Hill 27514;X-APPLE-RADIUS=500;X-TITLE=121 East Cameron Avenue:geo:-79.0543987,35.9123693 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240222T180000 DTEND;TZID=America/New_York:20240222T193000 DTSTAMP:20260610T013824 CREATED:20240203T204715Z LAST-MODIFIED:20240203T204715Z UID:87873-1708624800-1708630200@artsorange.org SUMMARY:Artist Lecture: Taro Takizawa DESCRIPTION:Taro Takizawa is an artist who focuses on printmaking\, wall vinyl installations\, drawings and 2D designs. He is fascinated with blending the boundaries of contemporary studio practice and traditional processes\, printmaking and installations\, influenced by traditional Japanese patterns from textile designs\, architecture and crafts. Taro is currently visiting faculty in the Department of Art and Art History. \nArtist Statement \nMy work is an intuitive process of making patterns by drawing\, painting\, carving\, cutting\, and printing. I am constantly mentally engaged with how I want to move. I look for formal reactions\, ideas between the contemporary and personal history\, perspective\, thought\, Japanese heritage\, and permanent memory. \nMy work is about my fascination with water\, its ripples\, and its reflections. I am recreating my emotional reactions to how water seems to flow freely and continuously\, by using recursive printmaking processes and mark-making techniques to imitate that movement. \nThe patterns on the installation works and prints are forever repeating patterns in my head. And the process of creating these images is also a forever-repeating process of drawing\, cutting\, carving\, and printing. \nThe work is a tool to rediscover my Japanese history and culture. I realized that I didn’t pay great attention to my surroundings and\, after moving to the United States\, everyone asked me questions about where I came from\, which I didn’t have a straight answer for. I had to research my own country\, its culture\, and its history to answer common questions from both historical and cultural viewpoints. What I became fascinated by studying history is patterns from architecture\, metal works\, prints\, and fabric designs. The patterns used in my work show the ripple\, steam\, and flow of water\, which is important because of the Japanese relationship with water. I am influenced by Japanese art\, especially the Japanese block prints (Ukiyo-e) from the 17th century through the 19th century; waves and rivers\, how these waters are rendered\, fascinates me. These flow patterns show up in my work constantly. \nI create my work by transmitting energy and emotion on to the surface– whether on a paper or a wall– by reacting and responding to the previous marks I’ve made on the surface\, which usually consists of cuts or carvings. I relate to the Zen priests’ practices to enhance their concentration by raking the gravel of Zen gardens\, and there are similarities between my work and our mindsets. Thus\, I focus on the present by making work\, with the therapeutic process of repeating. \nA weeknight or daytime permit is now required after 5:00pm on weekdays. There is no permit required from 5:00pm Friday through 7:30am Monday. A $1.00 one-night pass is available in selected lots. More information can be found HERE. \nArtist website: https://cargocollective.com/tarotakizawa/ \nContact: Martin Wannam\, mwanna@unc.edu \n\n\n Related URL:https://artsorange.org/event/artist-lecture-taro-takizawa/ LOCATION:Hanes Art Center\, 121 East Cameron Avenue\, Chapel Hill\, 27514 ATTACH;FMTTYPE=image/png:https://artsorange.org/wp-content/uploads/2024/02/TaroPrint.png ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu GEO:35.9123693;-79.0543987 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Hanes Art Center 121 East Cameron Avenue Chapel Hill 27514;X-APPLE-RADIUS=500;X-TITLE=121 East Cameron Avenue:geo:-79.0543987,35.9123693 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240208T180000 DTEND;TZID=America/New_York:20240208T193000 DTSTAMP:20260610T013824 CREATED:20240130T220231Z LAST-MODIFIED:20240130T220231Z UID:87389-1707415200-1707420600@artsorange.org SUMMARY:Hanes Visiting Artist Lecture Series: John Hitchcock DESCRIPTION:John Hitchcock is a contemporary artist and musician based out of Madison\, Wisconsin\, and originally from Medicine Park\, Oklahoma. He currently works in multimedia including neon\, textiles\, printmaking\, sound\, and video to reclaim narratives of resilience and survival. He uses visual storytelling to understand his relationships to community\, land\, and culture. Hitchcock’s artwork consists of abstract representations\, language\, and intense color referencing his Kaku’s (Comanche grandmothers) beadwork and regalia. His artworks are based on his childhood memories and stories of growing up in the Wichita Mountains of Oklahoma on Comanche Tribal lands next to the US field artillery military base Ft Sill.  Many of the images are interpretations of stories told by his Kiowa/Comanche grandparents and abstract representations influenced by beadwork and intercultural identities. \nHitchcock earned his MFA in printmaking and photography at Texas Tech University\, Lubbock\, Texas\, and received his BFA from Cameron University\, Lawton\, Oklahoma. He has been the recipient of The Robert Rauschenberg Foundation Artistic Innovation and Collaboration grant\, New York; the Jerome Foundation Grant\, Minnesota; the Creative Arts Award and the Emily Mead Baldwin Award in the Creative Arts at the University of Wisconsin. He is currently an Artist and the Vilas Distinguished Achievement Professor at the University of Wisconsin-Madison where he teaches screenprinting\, relief cut\, and installation art. \nHis artwork has been exhibited at numerous venues including the National Gallery\, Washington\, D.C.; Portland Art Museum\, Portland\, Oregon; Missoula Art Museum\, Missoula\, Montana; North Dakota Museum of Art\, Grand Fork\, North Dakota; International Print Center New York; New York; Museum of Contemporary Native Arts\, Santa Fe\, New Mexico; American Culture Center in Shanghai\, China\, The Rauschenberg Project Space\, New York\, New York; and Air\, Land\, Seed” at the Venice Biennale 54th International of Art at the University of Ca’ Foscari\, Venice\, Italy. \nAn endowment established in 1983 through the generosity of Nancy and Robin Hanes supports the Art Department’s Visiting Artist Series. This important program brings both established and emerging artists to campus to discuss their work in public lectures and to offer individual critiques to our M.F.A. students.  The Hanes Visiting Artist series greatly enriches both our academic programs and our outreach to the wider community.  All lectures are free and open to the public. \nA weeknight or daytime permit is now required after 5:00pm on weekdays. There is no permit required from 5:00pm Friday through 7:30am Monday. A $1.00 one-night pass is available in selected lots. More information can be found HERE. \nArtist website: https://www.hybridpress.net/ \nImage: Blanket Songs\, 2023\, multimedia installation consisting of printmaking\, neon\, video\, and sound at the Stream Building in Madison\, WI. \n\n\n Related URL:https://artsorange.org/event/hanes-visiting-artist-lecture-series-john-hitchcock/ LOCATION:Hanes Art Center\, 121 East Cameron Avenue\, Chapel Hill\, 27514 ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2024/01/John-Hitchcock-Blanket-Songs.jpg ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu GEO:35.9123693;-79.0543987 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Hanes Art Center 121 East Cameron Avenue Chapel Hill 27514;X-APPLE-RADIUS=500;X-TITLE=121 East Cameron Avenue:geo:-79.0543987,35.9123693 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240123T080000 DTEND;TZID=America/New_York:20240223T170000 DTSTAMP:20260610T013824 CREATED:20240109T172610Z LAST-MODIFIED:20240109T172610Z UID:82959-1705996800-1708707600@artsorange.org SUMMARY:John and June Allcott Gallery: Wendy DesChene\, Kawii Otinum DESCRIPTION:Reception and gallery talk: January 23\, 5-7 pm \nArtist Statement \n“Kawii Otinum” translates to “Reclaim” in Michif\, the distinctive language of the native Métis in North America. Although only recently officially acknowledged by the Canadian government following years of suppression\, the Métis Nation is fervently reclaiming its rich cultural heritage. The recent acknowledgment of my family as members marks the culmination of a lifelong struggle to regain our birthright\, which was eroded through generations of systematic cultural suppression. For example\, my grandmother was forced to attend a distant and notorious boarding school for re-education\, severing generational cultural and familial ties. Since the antidote to the erasure of identity is the uniquely indigenous experience of reclamation\, this artwork is essential in that process. \nThese paintings merge iconic depictions of North American lands by 19th-century colonial plein-air painters like ‘The Group of Seven’ with narrative paintings of the original peoples of North America. Employing digital algorithms\, native motifs\, like the buffalo that embodies spiritual beliefs\, intertwine with Eurocentric environmental depictions\, breaking them down and methodically reconstructing the scenes. The consequent paintings cause the land to quaver as the potency of the autochthonous imagery reshapes the Eurocentric vision\, capturing celebratory moments where the land reconnects with its first partnerships. \nAnalogous to beading or quill work\, intricate details echo a slow\, meditative process that strengthens indigenous healing through creation. The new visual language seeks to encapsulate the multilayered identities of the land\, previously oversimplified by foreign dominance. \nComplementing the paintings\, sound sculptures further the repossession of the first people’s traditions\, often appropriated for European products. These artworks subtly whisper sounds and stories of generations whose simple existence is an act of resilience and rebellion. Each artwork extends the chronicles of cultural reclamation as layered elements that work to disintegrate the devastating lens of colonization. This multifaceted approach makes suppressed stories easier to identify\, acknowledge\, and understand. \nArtist Bio \nCanadian Indigenous artist Wendy DesChene graduated with an MFA in Painting from Tyler School of Art and immediately incorporated materials that would support activism. Weary of the limitations placed on art by institutions\, she fostered audience participation in her large installations. The outcome\, a large collaborative community exhibition titled WYSIWYG\, was unleashed onto a dozen different locations\, including the Art League of Houston\, Minnesota State University\, the Art Academy of Cincinnati\, and The Henry Street Settlement of New York. Her explorations have been honored with several Canada Council Travel Grants and a recent Verdant Fund Grant. \nIn addition\, variations of collaborative-based projects were showcased at the Soap Factory and Tomio Koyama Gallery of Japan. Her longstanding collaborative work as PlantBot Genetics with artist Jeff Schmuki has been awarded NEA and Pulitzer Foundation Grants for exhibitions and programming at the Carnegie Museum of Art in Pittsburgh\, The Goethe Institute in Egypt\, the Bach Modern in Austria\, the New Gallery of Canada\, and Marfa Dialogues in St. Louis. \nWendy continues to critique art world structures\, systems\, and protocols through interventionist strategies\, including placing works on the street or within institutions without permission. She has commandeered the world’s most prestigious art institutions as her studio and target using projectors\, stickers\, art liberation tactics\, and videos. Documented work from her “Unauthorized Series” has been exhibited in numerous international exhibitions\, including the Sanlun Yishu Project in Beijing\, China\, The Ice Box Project Space in Philadelphia\, PA\, and the International Center for Art and Design in Albuquerque\, New Mexico. \nDue to racist and outdated laws in Canada\, her family has only recently been able to reclaim their indigenous status as part of the Métis Nation. As a large part of belonging to a modern First Nation is finding paths back\, new artworks will focus on reclamation and investigating what it means to be indigenous. Painting and drawings from past bodies of work have traveled to the Drawing Center in New York\, the McColl Center for Art and Innovation in Charlotte\, and other well-regarded venues. In addition\, she has completed many international residency programs\, including The American Academy in Rome\, Jentel\, I-Park\, Pouch Cove Canada\, the Hafnarborg Art Museum Iceland\, The Atlantic Center for the Arts\, KulttuuriKauppila Art Center Finland\, Buitenwerkplats Netherlands\, Airgentum Spain\, and Mauser Eco House Costa Rica. Currently\, she is an Endowed Professor at Auburn University. \nAdmission: Free\nGallery Hours: Monday-Friday\, 8 am-5 pm \nA weeknight or daytime permit is now required after 5:00 pm on weekdays. There is no permit needed from 5:00 pm Friday through 7:30 am Monday. A $1.00 one-night pass is available in selected lots. More information can be found at Weeknight Parking. \nArtist website: https://www.wendydeschene.ca/ \nFor more information\, please contact Roxana Perez-Mendez at rpm@email.unc.edu \nImage: Lii Zway (Geese)\, oil on polyacrylic mounted on wood panels\, 4′ x 3′ \n\n\n Related URL:https://artsorange.org/event/john-and-june-allcott-gallery-wendy-deschene-kawii-otinum/ LOCATION:Hanes Art Center\, 121 East Cameron Avenue\, Chapel Hill\, 27514 CATEGORIES:Exhibit ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2024/01/LiiZwayGeese-scaled.jpg ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu GEO:35.9123693;-79.0543987 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Hanes Art Center 121 East Cameron Avenue Chapel Hill 27514;X-APPLE-RADIUS=500;X-TITLE=121 East Cameron Avenue:geo:-79.0543987,35.9123693 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20231116T180000 DTEND;TZID=America/New_York:20231116T193000 DTSTAMP:20260610T013824 CREATED:20231101T172230Z LAST-MODIFIED:20231101T210204Z UID:76901-1700157600-1700163000@artsorange.org SUMMARY:Hanes Visiting Artist Lecture Series: Sandra Monterroso DESCRIPTION:“Decolonial Threads”\n121 Hanes Art Center \n“For the woman of my race\, my spirit will speak”\nGloria Anzaldua \nSandra Moterroso considers herself a multimedia artist because she works in different media\, however something is always present in all her artistic practice “performance”; the action of placing the “body” in a conscious state in relation to other media in such a way that her concerns and negotiations about the body-political-body-identity-racialized woman body\, a woman who recognizes her ancestral history and takes it to the contemporary space through art. \nMonterroso began her artistic career in performance art in 1999. She earned a B.A. in Graphic Design in 2001 followed by an M.A. in Design from Universidad Popular Autónoma del Estado de Puebla (UPAEP) in Puebla\, Mexico. In 2020\, Monterroso earned a PhD in Art Practice from the Akademie der bildenden Künste Wien in Vienna\, Austria. She has represented Guatemala in more than twelve biennials\, including the 56th La Biennale di Venezia\, the 12 Bienal de La Habana\, and the Frestas – Trienal de Artes in São Paulo. Monterroso lives and works in Guatemala City. \nShe has shown her work in selected exhibitions around the world\, including the Museo de Arte de El Salvador (Museo MARTE)\, San Salvador\, El Salvador (2006); Art-Action Feministe: Panorama de la vidéo-performance féministe contemporaine latino-américaine\, Centre Pompidou\, Paris\, France (2009); Cosmópolis II\, Centre Pompidou\, Paris\, France (2019); To Weave in Blue\, Poema al Tejido\, The Martha and Robert Fogelman Galleries of Contemporary Art\, University of Memphis\, Tennessee\, USA (2020); and Visionarios\, Museo Nacional Centro de Arte Reina Sofía (MNCARS)\, Madrid\, Spain (2009). \nHer work is included in the permanent collections of Centro de Arte Fundación Ortiz-Gurdián\, Managua\, Nicaragua; Essex Collection of Art from Latin America (ESCALA)\, Colchester\, England\, UK; Fundación Paiz\, Guatemala City\, Guatemala; Museo de Arte y Diseño Contemporáneo (MADC)\, San José\, Costa Rica; Museo Nacional Centro de Arte Reina Sofía (MNCARS)\, Madrid\, Spain; YES Contemporary\, Miami\, Florida\, USA; and many private collections. \nAn endowment established in 1983 through the generosity of Nancy and Robin Hanes supports the Art Department’s Visiting Artist Series. This important program brings both established and emerging artists to campus to discuss their work in public lectures and to offer individual critiques to our M.F.A. students. The Hanes Visiting Artist series greatly enriches both our academic programs and our outreach to the wider community. All lectures are free and open to the public. \nA weeknight or daytime permit is now required after 5:00pm on weekdays. There is no permit required from 5:00pm Friday through 7:30am Monday. A $1.00 one-night pass is available in selected lots. More information can be found at Weeknight Parking. \nContact: Martín Wannam\, mwanna@unc.edu \n\n\n Related URL:https://artsorange.org/event/hanes-visiting-artist-lecture-series-sandra-monterroso/ LOCATION:Hanes Art Center\, 121 East Cameron Avenue\, Chapel Hill\, 27514 ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2023/11/el-agua-se-volvio-oro-alta-definicion-3.jpg ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu GEO:35.9123693;-79.0543987 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Hanes Art Center 121 East Cameron Avenue Chapel Hill 27514;X-APPLE-RADIUS=500;X-TITLE=121 East Cameron Avenue:geo:-79.0543987,35.9123693 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20231024T170000 DTEND;TZID=America/New_York:20231130T170000 DTSTAMP:20260610T013824 CREATED:20231004T180108Z LAST-MODIFIED:20231010T195911Z UID:74729-1698166800-1701363600@artsorange.org SUMMARY:John and June Allcott Gallery: Xuewu Zheng\, One's Religion DESCRIPTION:Reception and gallery talk: October 24\, 5:00-7:00 pm\, with the talk starting at 6:00 pm–on that evening\, there will be a one-night-only installation of his work Century Text \nXeuwu Zheng examines history and contemporary experiences in a very personal way and thinks about the cultural relationships between the East and the West. He integrates philosophy\, religion\, and everyday reflections into his art\, opening the language gap between Eastern and Western cultures and paying attention to the relationship between humans\, nature\, and modern civilization. He also thinks that the process of artistic practice is ordinary labor\, a simple and natural creation\, and a consciousness of action. \nWhen he creates artwork\, it is also a process of his own meditation and self-development. This creative process is more important than the final works. Art is his profession and way of life; his understanding and knowledge of art come from history\, eastern philosophy\, and religion. The road of art is full of hardships. From the perspective of art history\, his process reveals whether his creation has meaning. He considers his process as something different from the masters\, as something different from anyone else\, and for himself.  This may require denying everything that has become a textbook. His work becomes a cultural\, political\, religious\, and especially a rebellious act of traditional ideas. \nXuewu Zheng was born in Heilongjiang Province\, China\, and received his BFA at Harbin Normal University in China\, an MFA at SUNY New Paltz in Printmaking (2020)\, and an MFA at SUNY New Paltz in Painting and Drawing (2022). \nHis work has been included in numerous group exhibitions throughout Asia\, Europe\, Australia\, and the United States. He has been a Visiting Professor at Harbin Normal University\, China; Appalachian State University; The University of North Carolina at Chapel Hill; Columbia University; Vassar College; University College Cork\, Ireland. He has attended the following international residencies: Vermont Studio Center; Frans Masereel Centrum\, Belgium; Gwangju Art Museum\, Korea; Jingdezhen Sanbao International Center\, China; and Nebraska Art Farm. \nXuewu’s work is part of the collections of the National Art Museum of China; Kaethe Kollwitz-Museum-Berlin\, Germany; Australian Embassy\, China; Woo Jae-Gil Art Museum\, Korea; Ackland Art Museum\, Guilford College\, and The Turchin Center for Visual Arts\, United States; and Gwangju Art Museum\, Korea. \nAdmission: Free\nGallery Hours: Monday-Friday\, 8 am-5 pm \nA weeknight or daytime permit is now required after 5:00 pm on weekdays. There is no permit needed from 5:00 pm Friday through 7:30 am Monday. A $1.00 one-night pass is available in selected lots. More information can be found at Weeknight Parking. \nContact: Lien Truong\, lien.truong@unc.edu \nImage: A Fragment of Time \n\n\n Related URL:https://artsorange.org/event/john-and-june-allcott-gallery-xuewu-zheng-ones-religion/ LOCATION:Hanes Art Center\, 121 East Cameron Avenue\, Chapel Hill\, 27514 CATEGORIES:Exhibit ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2023/10/Zhengpic.jpg ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu GEO:35.9123693;-79.0543987 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Hanes Art Center 121 East Cameron Avenue Chapel Hill 27514;X-APPLE-RADIUS=500;X-TITLE=121 East Cameron Avenue:geo:-79.0543987,35.9123693 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20231026T173000 DTEND;TZID=America/New_York:20231026T190000 DTSTAMP:20260610T013824 CREATED:20231004T140142Z LAST-MODIFIED:20231010T195919Z UID:74720-1698341400-1698346800@artsorange.org SUMMARY:Lectures in Art History: Julia Lum\, Scripps College DESCRIPTION:“Landfalls: Visual Politics of Place and Space in Aotearoa New Zealand” \nZoom\nRegister to attend here: https://unc.zoom.us/meeting/register/tJwof-iurzMiH9O6LAVItUCY5s-gFuJQ-d0x \nWhile art-historical accounts of imperial landscapes have typically focused attention on the myriad ways that European traveler-artists projected domination\, the first British landscape artists in Aotearoa New Zealand exhibited a precarious presence in Māori-shaped environments. Early nineteenth-century artists like Augustus Earle embedded in their compositions vertical impediments to the “prospect” view: formidable hilltop fortresses\, carvings signaling sacred terrain\, muskets\, and flagstaffs—symbols that foreshadow escalating cross-cultural tensions of the 1840s. While Māori signposts stood as pictorial devices in landscape views\, they were also resistant to a total absorption into picturesque formulae. \nMāori landscapes were then\, as now\, structured according to the spatial logics of voyaging and ancestral relations across time and space. The collision—and ultimate untranslatability—of British and Māori spatio-temporal understandings have resulted in a peculiar set of “false cognates” across visual and material forms. These dynamics are inflected in the work of present-day artists like Shane Cotton (Ngāti Rangi\, Ngāti Hine\, Te Uri Taniwha)\, whose paintings and installations point to the unresolved conflict between British and Indigenous epistemologies. This paper will highlight select meetings\, in the past and present\, of agents and artists who have shaped landscape politics on grounds both physical and aesthetic. \nJulia Lum is an Assistant Professor of Art History at Scripps College. She received her Ph.D. from Yale University and her M.A. from Carleton University. Lum is currently a 2023 Getty/ACLS Postdoctoral Fellow in the History of Art. Lum’s fellowship project\, Landfalls: Art Between Britain and Polynesia\, reexamines and re-centers art history in the Pacific region from the 18th century onward\, with a particular focus on the role landscape painting played in British colonization in the aftermath of James Cook’s voyages from 1768¬–79. Landfalls “tracks a shifting set of artistic and material collisions between European and Indigenous spatial frameworks\, cultures of environmental management\, and distinct attitudes toward land and ocean resources\,” Lum’s abstract explains. “Through a series of historic case studies\, interwoven with analyses of contemporary Indigenous interventions in the visual archive\, this project repositions ‘landscape’ at the intersection of culturally-shaped environments and the aesthetic claims of an imperial imaginary.” \nContact: Lyneise Williams\, williale@email.unc.edu \n\n\n Related URL:https://artsorange.org/event/lectures-in-art-history-julia-lum-scripps-college/ LOCATION:Zoom\, United States ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2023/10/Lum-Lecture-high-res.jpg ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu GEO:37.09024;-95.712891 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20231005T180000 DTEND;TZID=America/New_York:20231005T193000 DTSTAMP:20260610T013824 CREATED:20230907T201022Z LAST-MODIFIED:20230915T172843Z UID:72835-1696528800-1696534200@artsorange.org SUMMARY:Hanes Visiting Artist Lecture Series: Devan Shimoyama DESCRIPTION:Central themes in Shimoyama’s practice stem from his personal perspective on and experience with the Black queer male body. By asserting vibrant queer bodies in his works\, he acknowledges the political aspects of being queer in this society. In some works\, including his Barbershop series\, he goes further to address the position of being queer within Black culture as well. Shimoyama’s canvases are brightly colored assemblages of paint\, cut-out magazine images\, costume jewelry\, artificial flowers\, textiles\, and other materials. Although lavishly adorned\, many of the figures’ eyes are actually rhinestones\, which suggest tears and inner struggles navigating queer identity. In his sculptural practice\, he creates large-scale hoodies\, swing sets\, and utility poles all covered in materials referencing the spontaneous memorial. These works have spawned from the Black Lives Matter movement and pay homage to lives lost due to police brutality\, but also to the erasure of Black neighborhoods and communities because of gentrification. \nPhiladelphia-born Devan Shimoyama graduated from Pennsylvania State University with a BFA in 2011 and Yale University School of Art with an MFA in 2014. While at Yale\, Shimoyama was awarded the Al Held Fellowship in 2013. He followed that up with a Fire Island Artist Residency in 2015. His work has appeared in exhibitions at the Andy Warhol Museum\, Kunstpalais Erlangen\, CAC Malaga\, the California African American Museum\, the Museum of Art and Design\, and other venues. He was an Associate Professor of Art at Carnegie Mellon School of Art in Pittsburgh from 2014-2023. \nAn endowment established in 1983 through the generosity of Nancy and Robin Hanes supports the Art Department’s Visiting Artist Series. This important program brings both established and emerging artists to campus to discuss their work in public lectures and to offer individual critiques to our M.F.A. students. The Hanes Visiting Artist series greatly enriches both our academic programs and our outreach to the wider community. All lectures are free and open to the public. \nA weeknight or daytime permit is now required after 5:00 pm on weekdays. There is no permit required from 5:00 pm Friday through 7:30 am Monday. A $1.00 one-night pass is available in selected lots. More information can be found at Weeknight Parking on the UNC website. \nArtist website: https://kavigupta.com/artists/30-devan-shimoyama/ \nContact: Jim Hirschfield\, jhirschf@email.unc.edu \n\n\n Related URL:https://artsorange.org/event/hanes-visiting-artist-lecture-series-devan-shimoyama/ LOCATION:Hanes Art Center\, 121 East Cameron Avenue\, Chapel Hill\, 27514 ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2023/09/Lamoureux_sm.jpg ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu GEO:35.9123693;-79.0543987 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Hanes Art Center 121 East Cameron Avenue Chapel Hill 27514;X-APPLE-RADIUS=500;X-TITLE=121 East Cameron Avenue:geo:-79.0543987,35.9123693 END:VEVENT END:VCALENDAR