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:20200308T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20201101T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20210314T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20211107T060000 END:STANDARD 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 END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/New_York:20240404T180000 DTEND;TZID=America/New_York:20240404T193000 DTSTAMP:20260610T045342 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:20260610T045342 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:20260610T045342 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:20260610T045342 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:20260610T045342 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:20260610T045342 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:20260610T045342 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:20260610T045342 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:20260610T045342 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:20260610T045342 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 BEGIN:VEVENT DTSTART;TZID=America/New_York:20230907T173000 DTEND;TZID=America/New_York:20230907T193000 DTSTAMP:20260610T045342 CREATED:20230823T145038Z LAST-MODIFIED:20230829T200828Z UID:71616-1694107800-1694115000@artsorange.org SUMMARY:Hanes Visiting Artist Lecture Series: Soni Kum DESCRIPTION:Reception at 5:30 pm | Artist talk and screening of “Morning Dew” 6:00-7:30 pm \nThe Department of Art and Art History and the Carolina Asia Center of UNC-Chapel Hill are proud to welcome Soni Kum as a Hanes Visiting Artist in Fall 2023. Soni Kum is an interdisciplinary artist born and raised in Tokyo\, Japan as a third-generation Korean. Please join us for a talk by the artist and a screening of “Morning Dew.” \nABOUT THE FILM:\nThis video work is based on Kum’s experiences with 15 former “returnees” who have defected and are living in Japan\, whom she met and interviewed between July 2019 and July 2020. “The ex-returnees” refer to Zainichi Koreans who lived in Japan before emigrating to North Korea. \n“The ex-returnees” have no place in the Zainichi community in today’s Japan\, and they are afraid that their remaining family members in North Korea might be taken away to internment camps. In addition\, they fear that they might be discriminated against if their neighbors or acquaintances knew they were North Korean defectors. Kum faced the predicament that she could not film their faces while making this video work. \nDuring this aporia\, Kum decided to create a video work composed of three screens\, using footage from multiple sources\, including the live-action scenes with actors\, archival materials\, footage donated by friends\, and footage downloaded from online sources. \nKum doesn’t directly know the people who appear in archive footage. Many of them have probably already passed away. Through collaboration with people across time and space\, she wove a poetic video piece\, which traces the fragmentary vestiges of violence. \nABOUT THE ARTIST:\nSoni Kum is a multimedia artist who works in film and video\, installation\, performance\, writing\, photography\, and drawing. She received her MFA from the California Institute of the Arts and a Doctor in Fine Arts from the University of Tokyo in 2011. Her work has been featured in art spaces and film festivals around the world— Japan\, Korea\, Brazil\, Germany\, the Philippines\, China\, Cuba\, Myanmar\, Indonesia\, Singapore\, Thailand\, Denmark\, the US\, and the UK. She was an artist in residence with the Pola Foundation in the UK in 2017\, and a recipient of a grant from the Kawamura Arts and Cultural Foundation for Socially Engaged art in 2019. She is currently a senior assistant professor at the School of Global Japanese Studies at Meiji University. \nLearn more about the artist here: http://www.sonikum.com/ \n———- \nCLE credit is available for this event. \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. \nThis event is part of the Carolina Asia Center Fall 2023 Korean Diaspora Films and New Media Series! Join us throughout the semester as we celebrate and learn from/with three critically-acclaimed artists of the Korean Diaspora. Each one employs various mediums to engage with topics such as transnational adoption\, the Korean War and division\, and the global diasporic experience. Learn more about the series on their website. \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. \nDepartmental website: art.unc.edu\nContact: Jim Hirschfield\, jhirschf@email.unc.edu \n\n\n Related URL:https://artsorange.org/event/hanes-visiting-artist-lecture-series-soni-kum/ LOCATION:FedEx Global Education Center\, 301 Pittsboro Street\, Chapel Hill\, NC\, 27516\, United States CATEGORIES:Film ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2023/08/MorningDewBUoy_FIXEDwithoutJ2022_sm.jpg ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu GEO:35.9078672;-79.054046 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=FedEx Global Education Center 301 Pittsboro Street Chapel Hill NC 27516 United States;X-APPLE-RADIUS=500;X-TITLE=301 Pittsboro Street:geo:-79.054046,35.9078672 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20230912T080000 DTEND;TZID=America/New_York:20231013T170000 DTSTAMP:20260610T045342 CREATED:20230817T183656Z LAST-MODIFIED:20230819T200220Z UID:70838-1694505600-1697216400@artsorange.org SUMMARY:John and June Allcott Gallery: Antoine Williams\, Something in the Way of Things DESCRIPTION:Reception: September 12th\, 5-7 pm with gallery talk at 6 pm \nArtist Statement:\nMy interdisciplinary practice utilizes critical studies and the surreal to explore ways in which Black physical\, mental\, and emotional states of being exist within and subvert the status-quo. \nI work with the notion of society as monstrous to question themes of power and class within their social\, cultural\, and political absurdities. Artworks act as ledgers documenting societal infractions. My work sits at the intersection of speculative fiction\, monster theory\, surrealism\, and critical race theory. The result is a process-based practice involving installation\, painting\, drawing\, collage\, assemblage\, and sound. I use materiality and concept to weave futures\, archives\, radical imagining into speculative economies that investigate the complexities of contemporary Black life. \nBiography:\nAntoine Williams is an interdisciplinary artist who is heavily influenced by speculative fiction\, critical Black studies and his working-class upbringing in Red Springs\, North Carolina. Antoine received his BFA from the University of North Carolina at Charlotte\, and his MFA from UNC at Chapel Hill. He has exhibited in several places\, including at Smack Mellon Brooklyn\, the Nasher Museum of Art\, Columbia Museum of Art\, 21c Museum\, Elsewhere Museum\, Prizm Art Fair\, The McColl Center of Art and Innovation\, the California Museum of Photography as well as many other venues. He has taken part in residencies at The Center for Afrofuturist Studies\, The Hambidge Center\, and the Joan Mitchel Residency in New Orleans. Williams was also a part of the 2021 Drawing Center viewing program. He is a recipient of the 2017 Joan Mitchell Award for Painters and Sculptors\, 2018 Harpo Foundation Grant Award\, and the 2022 National Academy of Art Abbey Mural Prize. His work is in the collection of the Nasher Museum of Art and the North Carolina Museum of Art. Williams is an assistant professor of Drawing in the Expanded Field at the University of Florida. \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://antoinewilliamsart.com/home.html \nFor more information please contact Lien Truong at lien.truong@unc.edu \n\n\n Related URL:https://artsorange.org/event/john-and-june-allcott-gallery-antoine-williams-something-in-the-way-of-things/ LOCATION:Hanes Art Center\, 121 East Cameron Avenue\, Chapel Hill\, 27514 CATEGORIES:Exhibit ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2023/08/moment-of-rest_web.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:20230428T173000 DTEND;TZID=America/New_York:20230429T173000 DTSTAMP:20260610T045342 CREATED:20230328T152419Z LAST-MODIFIED:20230328T170251Z UID:49713-1682703000-1682789400@artsorange.org SUMMARY:Bettie Allison Rand Lectures in Art History: Negotiating Blackness in Early Modern European Art Theory DESCRIPTION:James M. Johnston Center of Undergraduate Excellence\, Graham Memorial Hall\nApril 28-29\, 2023 \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 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. \nSchedule of Events \nApril 28\, 5:30 PM\nLecture: Kresge Foundation Common Room\, GM 039 \nAnne Lafont\, Directrice d’etudes (Professor)\, École des hautes études en sciences sociales (EHESS)\, Paris\n“Chose-Fée or The acculturation of African Objects by the Enlightenment” \nFollowed by a reception in the John Lindsay Morehead II Lounge\, GM 109 \nApril 29\, 9 am\nLectures: Kresge Foundation Common Room\, GM 039 \nZirwat Chowdhury\, Assistant Professor\, Art History\, UCLA\n“Obliquity as Beauty” \nMia Bagneris\, Associate Professor\, Art History\, Tulane University\n“Materialising Black Beauty or Manifesting Misogynoir?: Theorising the Paradox of Black Feminine Beauty in the Sculpture of John Bell” \nHector Reyes\, Associate Professor of Teaching\, Art History\, USC\n“History in the Pluperfect\, The Perfect\, and the Future Perfect: On Claude-Joseph Vernet in 1767” \nApril 29\, 1:30 PM\nRoundtable: Kresge Foundation Common Room\, GM 039 \nAnne Lafont\, Zirwat Chowdhury\, Mia Batneris\, and Hector Rayes\nModerated by Kathryn Desplanque\, Assistant Professor of Art History\, UNC at Chapel Hill \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 Weeknight Parking. \nContact: Lyneise Williams\, williale@email.unc.edu \n\n\n Related URL:https://artsorange.org/event/bettie-allison-rand-lectures-in-art-history-negotiating-blackness-in-early-modern-european-art-theory/ LOCATION:UNC Chapel Hill ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2023/03/FINAL-Rand-Lectures-Poster-2023.jpg ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20230323T190000 DTEND;TZID=America/New_York:20230323T203000 DTSTAMP:20260610T045342 CREATED:20230228T155536Z LAST-MODIFIED:20230328T170342Z UID:47600-1679598000-1679603400@artsorange.org SUMMARY:Hanes Visiting Artist Lecture Series: Abigail DeVille DESCRIPTION:Abigail DeVille’s most recent solo exhibition was Light of Freedom\, organized by Madison Square Park Conservancy (2020-21)\, and traveled to the Momentary at Crystal Bridges Museum of American Art\, Bentonville\, AR (2021) and the Hirshhorn Museum Sculpture Garden\, Washington\, DC (2021-22). Other commissions and solo museum shows include The American Future\, Portland Institute for Contemporary Art\, Portland (2018-19); Lift Every Voice and Sing (amerikanskie gorki) at Institute of Contemporary Art\, Miami (2017-2018); Empire State Works in Progress (2017) at the Whitney Museum of American Art\, New York; No Space Hidden (Shelter) at Institute of Contemporary Art\, Los Angeles (2017-2018)\, and Only When It’s Dark Enough Can You See The Stars at The Contemporary\, Baltimore (2016). \nRecent group shows have been held at the Swiss Institute\, New York (2022); Pioneer Works\, Brooklyn (2021); Wave Hill\, Bronx (2019); National Museum of Women in Arts\, Washington\, DC (2018); Socrates Sculpture Park\, Queens (2016)\, Sculpture Center\, Queens (2014)\, El Museo del Barrio\, New York (2011\, 2014)\, CAMH\, Houston (2014); the Bronx Museum of the Arts; (2013)\, The 55th Venice Biennale (2013)\, The Studio Museum in Harlem (2012\, 2014); ICA\, Philadelphia (2012); New Museum (2012); and the Stedelijk Museum (2011). DeVille was a 2018 United States Artists Fellow\, 2017-2018 Rome Prize fellow at the American Academy in Rome\, 2015 Creative Capital grantee\, 2014-15 fellow at The Radcliffe Institute for Advanced Study at Harvard\, and 2012 Joan Mitchell Foundation grant recipient. DeVille teaches in the Interdisciplinary Sculpture Department at the Maryland Institute College of Art in Baltimore and Yale School of Art. \nDeVille’s work is in prominent collections\, including The Bronx Museum of the Arts\, Bronx; Centre National des Arts Plastiques (Cnap)\, Paris; Kadist Art Foundation\, San Francisco; Kaviar Factory\, Henningsvaer; Memphis Brooks Museum of Art (MBMA)\, Memphis; Pinault Collection; and The Studio Museum in Harlem (New York). DeVille received her MFA from Yale University and BFA from the Fashion Institute of Technology. DeVille was born in New York and works in the Bronx. \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. \nContact: Jim Hirschfield\, jhirschf@email.unc.edu \nImage: Abigail DeVille\, The Light of Freedom\, 2020-2021\, Madison Square Park Conservancy\, New York City \n\n\n Related URL:https://artsorange.org/event/hanes-visiting-artist-lecture-series-abigail-deville/ LOCATION:Hanes Art Center\, 121 East Cameron Avenue\, Chapel Hill\, 27514 ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2023/02/Light-of-Freedom_2020_03_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 BEGIN:VEVENT DTSTART;TZID=America/New_York:20230302T170000 DTEND;TZID=America/New_York:20230302T183000 DTSTAMP:20260610T045342 CREATED:20230209T152931Z LAST-MODIFIED:20230221T181809Z UID:46251-1677776400-1677781800@artsorange.org SUMMARY:Lectures in Art History: Andrew McClellan\, Tufts University DESCRIPTION:“Rivals on the Fenway: Isabella Stewart Gardner\, the Museum of Fine Arts\, Boston\, and the Destiny of the American Art Museum” \nPhillips Hall\, room 215 \nAndrew McClellan is currently a Carl and Lily Pforzheimer Foundation Fellow at the National Humanities Center and on leave from the Department of the History of Art and Architecture at Tufts University. Trained at the Courtauld Institute of Art (University of London)\, McClellan has written on painting\, sculpture and architecture\, but especially on the history of museums and art collecting. An overriding interest in contexts\, institutional frameworks\, the display and reception of art informs five of his books: Inventing the Louvre: Art\, Politics\, and the Origins of the Modern Museum in Eighteenth-Century Paris (1999)\, Art and Its Publics: Museum Studies at the Millennium (2003)\, The Art Museum from Boullée to Bilbao (2008)\, The Art of Curating: Paul J. Sachs and the Museum Course at Harvard (2018)\, and Revisiting History in Museums and at Historic Sites (2022). His current project\, ‘Rivals on the Fenway\,’\, supported by his residential fellowship at the National Humanities Center\, is a book-length exploration of the simultaneous formation and complementary design of Boston’s Isabella Stewart Gardner Museum and Museum of Fine Arts\, Boston. Drawing on archival sources\, this study will offer a new vision of the overlapping trajectories of public and private art museums in the United States. \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. \nContact: Lyneise Williams\, williale@email.unc.edu \n\n\n Related URL:https://artsorange.org/event/lectures-in-art-history-andrew-mcclellan-tufts-university/ LOCATION:UNC Chapel Hill ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2023/02/McClellan-IMAGE-MFA_ISGM-scaled.jpeg ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20230216T190000 DTEND;TZID=America/New_York:20230216T203000 DTSTAMP:20260610T045342 CREATED:20230113T200826Z LAST-MODIFIED:20230113T200826Z UID:44584-1676574000-1676579400@artsorange.org SUMMARY:Hanes Visiting Artist Lecture Series: Alex Da Corte DESCRIPTION:121 Hanes Art Center \nAlex Da Corte explores the nuances of contemporary life in his videos\, installations\, paintings\, and sculptures\, which are often united together in richly-hued\, dreamlike environments. With a keen attention to color and form\, Da Corte draws from a wide range of sources\, including popular and consumer culture\, art history\, and modern design. Throughout his artistic practice\, figures such as Eminem\, Allan Kaprow\, and the Wicked Witch of the West stand on equal footing alongside objects both commonplace and fantastic. Touching upon notions of identity\, intimacy\, and taste\, Da Corte’s work reimagines the familiar in wholly unexpected ways. \nAlex Da Corte (b. 1980) was born in Camden\, New Jersey\, and lives and works in Philadelphia. His work was included in the 2019 Venice Biennale and the 2018 Carnegie International in Pittsburgh. Past one-person exhibitions include the Museum Boijmans Van Beuningen in Rotterdam\, the Secession in Vienna\, MASS MoCA in North Adams\, Massachusetts\, and the Kölnischer Kunstverein in Cologne. Da Corte was selected for the 2021 Roof Garden Commission at the Metropolitan Museum of Art in New York. “Mr. Remember\,” a solo survey exhibition spanning 20 years of work\, opened in 2022 at the Louisiana Museum of Modern Art in Humlebæk\, Denmark. \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: http://alexdacorte.com \nContact: Jim Hirschfield\, jhirschf@email.unc.edu \n\n\n Related URL:https://artsorange.org/event/hanes-visiting-artist-lecture-series-alex-da-corte/ LOCATION:Hanes Art Center\, 121 East Cameron Avenue\, Chapel Hill\, 27514 ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2023/01/1-AsLongAsTheSunLasts-Met-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:20221108T080000 DTEND;TZID=America/New_York:20221201T170000 DTSTAMP:20260610T045342 CREATED:20221109T232839Z LAST-MODIFIED:20221109T232839Z UID:39716-1667894400-1669914000@artsorange.org SUMMARY:John and June Allcott Gallery: Stephen Hayes\, 5lbs DESCRIPTION:Reception and gallery talk: November 8\, 5:30-7:30 pm \nStephen L. Hayes\, Jr. makes art—woodcuts\, sculptures\, installations small and large—from found materials that draw on social and economic themes ingrained in the history of America and African-Americans. His approach is simple: “If I can’t find it\, I’ll make it. If I can’t make it\, I’ll find it.” \nHayes grew up in Durham with his older brother\, Spence\, and his mother\, Lender\, who were pivotal in shaping and sparking his creative approach. When Hayes was in the first grade\, he broke a remote-control car. His brother took it apart and attached the motor to a battery\, bringing it back to life. Amazed\, Hayes began breaking all kinds of things to see how they worked and what he could create with the pieces. By second grade\, his mother had given him a real workbench; she and Hayes’ brother would also bring home abandoned equipment for tinkering. By high school\, he learned to crochet. \nHe went to North Carolina Central University\, aiming to transfer to North Carolina State University to study mechanical engineering. Instead\, through a friend\, he discovered graphic design. His new major led to a ceramics course\, where his enthusiasm and skill led to being allowed as much time as he wanted on the wheel. He threw enough pots to develop a strong portfolio\, leading to a residency at the acclaimed New York State College of Ceramics at Alfred University. Hayes earned an M.F.A. in sculpture at Savannah College of Art and Design in Atlanta. His thesis exhibition\, “Cash Crop\,” has been traveling and exhibiting for nearly a decade. \nFrequently in his work\, Hayes uses three symbols: a pawn\, a corn\, and a horse to explore America’s use (or misuse) of black bodies\, black minds\, and black labor. Artists\, he believes\, are as much translators as they are creators. \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 https://move.unc.edu/parking/weeknight-parking/ \nArtist website: https://www.stephenhayescreations.com/ \nFor more information please contact Roxana Perez-Mendez\, rpm@email.unc.edu \nImage credit: 5lbs\, detail\, 2021\, brass\, wood\, hydro-stone\, resin\, various sizes\, courtesy of the artist \n\n\n Related URL:https://artsorange.org/event/john-and-june-allcott-gallery-stephen-hayes-5lbs/ LOCATION:Hanes Art Center\, 121 East Cameron Avenue\, Chapel Hill\, 27514 ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2022/10/SH_Omar_Richardson4-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:20220825T180000 DTEND;TZID=America/New_York:20220825T193000 DTSTAMP:20260610T045342 CREATED:20220812T183649Z LAST-MODIFIED:20220812T183649Z UID:35353-1661450400-1661455800@artsorange.org SUMMARY:Hanes Visiting Artist Lecture Series: Alexis Rockman DESCRIPTION:121 Hanes Art Center \nThis lecture is co-sponsored by the Ackland Art Museum in connection with their current exhibition Alexis Rockman: Shipwrecks\, on view through September 4\, 2022. From the Ackland exhibition website: \n“Shipwreck stories have long held broad fascination for many of us – artists included. \n“Alexis Rockman (American\, born 1962) created this dramatic series depicting historic sea disasters to explore the impact of transportation and migration – from goods and people to plants and animals – on our planet and its waterways. \n“While many of the catastrophes to which Rockman alludes have receded into history\, his works point to how our interconnected world has generated – and is on track to continue to create – significant global changes. Some experts now refer to our age as the Anthropocene\, a term coined by biologists for the time period in which human activity has dominated and fundamentally altered Earth’s natural systems. However\, Rockman’s works in this gallery often prioritize omitting actual humans from the scenes\, focusing instead on the representation of other flora\, fauna\, and material culture that bear witness to humankind’s impact. \n“Ultimately\, Rockman employs the repeated visual metaphor of a shipwreck to offer a stage for questions of Man versus Nature to play out in its many forms\, exposing the potential for both strength and fragility on each side.” \nNotable solo museum exhibitions include “Alexis Rockman: Manifest Destiny” at the Brooklyn Museum (2004)\, which traveled to several institutions including the Wexner Center for the Arts (2004) and the Rhode Island School of Design (2005). In 2010\, the Smithsonian American Art Museum organized “Alexis Rockman: A Fable for Tomorrow\,” a major touring survey of his paintings and works on paper. His series of 76 New Mexico Field Drawings was included in “Future Shock” at SITE Santa Fe (2017-18). “Alexis Rockman: The Great Lakes Cycle\,” a major exhibition of large-scale paintings\, watercolors and field drawings\, toured the Midwest in 2018-20\, opening at the Grand Rapids Art Museum and traveling to five institutions in the Great Lakes region. Rockman’s work is represented in many museum collections\, including the Baltimore Museum of Art; Brooklyn Museum; Crystal Bridges Museum of American Art; Grand Rapids Art Museum; Los Angeles County Museum of Art; Museum of Fine Arts\, Boston; New Orleans Museum of Art; San Francisco Museum of Modern Art; Smithsonian American Art Museum; Solomon R. Guggenheim Museum; and Whitney Museum of American Art. \nExhibition organized by Guild Hall of East Hampton and presented by the Ackland Art Museum\, Chapel Hill\, NC. \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. \nArtist website: https://alexisrockman.net/\nExhibition website: https://ackland.org/exhibition/alexis-rockman-shipwrecks/ \nContact: Sabine Gruffat\, gruffat@email.unc.edu \n\n\n Related URL:https://artsorange.org/event/hanes-visiting-artist-lecture-series-alexis-rockman/ LOCATION:Hanes Art Center\, 121 East Cameron Avenue\, Chapel Hill\, 27514 ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2022/08/Rockman-Composite.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:20220830T080000 DTEND;TZID=America/New_York:20220923T170000 DTSTAMP:20260610T045342 CREATED:20220812T165151Z LAST-MODIFIED:20220812T165151Z UID:35365-1661846400-1663952400@artsorange.org SUMMARY:John and June Allcott Gallery: Eva Wylie\, Obstructed View DESCRIPTION:Opening and Gallery Talk: August 30\, 5:30-6:30 pm\nRefreshments will be provided. Masks are recommended. \nArtist Statement: My current body of work aims to capture the movement\, flow\, light\, and materiality of our ever shifting environment. These works are produced by printing on translucent silk that is then stretched over painted frames to create delicate yet densely stratified pieces that float on the wall. In some instances\, I also print directly on the wall\, covering one end of the gallery with a large piece designed to be painted over and hence entombed in the space upon the show’s closure. These paradoxically compressed yet airy surfaces–translucent silks and a temporary wall installation–engage and question the viewer’s sense of gravity and known parameters. \nExtracted from remnants\, screenshots\, and memories linked to a combination of disparate times\, places\, and viewpoints\, the imagery featured in this series frames our everyday lives as an experience to be understood in perpetual flux. The imagery is based on photographs I took of South Kensington\, my rapidly changing neighborhood in Philadelphia\, PA\, in addition to personal notations from my sketchbook. I have been attracted to moments of abstraction that read as distortion and speak to our clunky\, surreal\, and sometimes overly programmed and digitally rendered lives. Pictorial signs recede\, stain\, and are reconfigured through processes ranging from the improvisational to technical\, shifting in meaning as their mode of production changes. The medium of screen-printing itself allows for repetitive mark making\, layering\, and straining images into fine photographic halftones\, tonal blends\, or gestural stencils. \nBy layering and trapping these images within frames and across a large wall space\, I create conversations between nature and artifice\, the organic and the synthetic\, and the present and the past. Celebrating transience and perishability\, I make ephemeral work that self-reflexively underscores its own temporary nature; put otherwise- it too will recede into oblivion as soon as it is replaced by the gallery’s next show\, only after first shape-shifting with the sun or being distorted by the afterimage of a really hot day. \nArtist bio: Eva Wylie holds an MFA in Printmaking from Tyler School of Art and is the recipient of a Pennsylvania Council on the Arts grant. She has exhibited at Gallery Joe\, Philadelphia\, PA; Indiana University\, Bloomington\, IN; Moore College of Art and Design\, Philadelphia\, PA; Fleisher Art Memorial\, Philadelphia\, PA; Spacecamp\, Baltimore\, MD and\, recently at Locust Projects\, Miami\, FL. Wylie has held residencies at Atlantic Center for the Arts\, New Smyrna Beach\, FL; University of Tennessee\, Knoxville\, TN; Graff Ateliers\, Montreal\, Canada; and Skowhegan School of Painting and Sculpture\, Skowhegan\, Maine. Wylie currently teaches Printmaking at the Maryland Institute College of Art in Baltimore\, MD\, and is a founding board member of Second State Press in Philadelphia\, PA. A unique graphic dance that juxtaposes organic and synthetic imagery\, her work features a signature iconography that intimates how humanity and its detritus merge in both familiar and unexpected encounters. \n\n\n Related URL:https://artsorange.org/event/john-and-june-allcott-gallery-eva-wylie-obstructed-view/ LOCATION:Hanes Art Center\, 121 East Cameron Avenue\, Chapel Hill\, 27514 CATEGORIES:Exhibit ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2022/08/BreakintheClouds_highres_EvaWylie-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:20220331T150000 DTEND;TZID=America/New_York:20220331T163000 DTSTAMP:20260610T045342 CREATED:20220303T204753Z LAST-MODIFIED:20220303T204753Z UID:31780-1648738800-1648744200@artsorange.org SUMMARY:Lectures in Art History: Ashley West\, Temple University DESCRIPTION:“Local Innovation and Intermedial Thinking in Pre-Modern Augsburg” \nZoom\nRegistration Link at website (available until start of event) \nIn such an internationally-connected—even globally-connected—cultural and financial center as Augsburg in the early sixteenth century\, what is the importance of the sense of place and locality generated by its citizens and artists\, and what might we learn by drilling down to the street-level of activity and interaction taking place there? Central to this story is the painter and print designer\, Hans Burgkmair\, whose name appears in the Augsburg guild records in 1498 as master in the Painter\, Glazier\, and Sculptors’ Guild. Soon after becoming a master Burgkmair began to keep a steady workshop of apprentices – introducing the first into the guild records in 1499\, with three more listed in 1501. In 1508 Wolfgang Resch\, one of Augsburg’s most skilled woodblock-cutters\, lived in Burgkmair’s house. Tax records also indicate that the sculptor Sebastian Loscher resided with Burgkmair from 1510-14. The esteemed imperial armorers\, the Helmschmieds\, were particularly close to the Burgkmair household. In this talk I shall explore the living-working shared spaces of some of Augsburg’s key artist workshops\, arguing that the close proximity of various named craftsmen working in different materials brought about not only collaborations and creative energy in multi-media works\, but foremost artistic and technical innovations by Burgkmair during these years\, especially in the sphere of printmaking. What’s at stake ultimately here is the illumination of a localized topographic view of key artistic sites and networks—personal and professional —and an expansive idea of what the technical\, manual\, and cognitive processes were for a master like Burgkmair. \nAshley West is an art historian of the early modern period\, 1400-1700\, with a particular expertise in the history\, practice and theory of printmaking and with interests in imagery produced around different kinds of cross-cultural encounters between Europe and the Ottoman Empire\, the “New World\,” Africa and the East Indies. She studies processes of cultural transmission and the dissemination of knowledge in the early modern period\, as well as opportunities for artistic exchange through travel and portable objects\, pilgrimages\, diplomacy\, warfare\, global trade and exploration and early collecting practices. \nWest has been a fellow with the international research project on “BildEvidenz. History and Aesthetics” at the Kunsthistorisches Institut at the Freie Universität in Berlin and her work has been supported also by the Center for Advanced Study in the Visual Arts (CASVA) and the Andrew Mellon Foundation\, among others. She is currently working on the visual culture and technologies of sixteenth-century Augsburg as a site for negotiating the global and the local in everyday experience; and is co-editing a volume on the Cultural History of Collecting in Early Modern Europe for Bloomsbury Academic Press. \nWest has published on early etchings; woodcuts of late medieval relic collections; notions of visual history and the German sense of the past; early modern antiquarianism and early representations of peoples from the coast of Africa and India. Her forthcoming book\, Hans Burgkmair and the Visual Translation of Knowledge in the German Renaissance\, reevaluates notions of the German Renaissance through the prints\, drawings and paintings of Hans Burgkmair the Elder\, a contemporary of Albrecht Dürer. \nContact: Christoph Brachmann\, cbrachma@email.unc.edu\nImage credit: attrib. Hans Burgkmair\, Preliminary design for horse armor (bard) for Kolman Helmschmied\, c. 1517 \n\n\n Related URL:https://artsorange.org/event/lectures-in-art-history-ashley-west-temple-university/ LOCATION:Zoom\, United States ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2022/03/HB_attrib.horse_bard.KHelmschmied.Thun_Album.fols111v-112r_det.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:20220324T190000 DTEND;TZID=America/New_York:20220324T203000 DTSTAMP:20260610T045342 CREATED:20220301T173338Z LAST-MODIFIED:20220301T173338Z UID:31585-1648148400-1648153800@artsorange.org SUMMARY:Hanes Visiting Artist Lecture Series: Paul Mpagi Sepuya DESCRIPTION:Registration Link on our website (available until start of event) \nPaul Mpagi Sepuya is a Los Angeles-based artist working in photography and an Associate Professor in Media Arts at UC San Diego. His work is in the collections of the Baltimore Museum of Art\, the Getty and Guggenheim Museums\, LACMA\, MoMA\, The Studio Museum in Harlem\, and the Whitney Museum\, among others. Recent exhibitions include solos at Document in Chicago and the Bemis in Omaha\, a survey of work at CAM St. Louis\, and a project for the 2019 Whitney Biennial. \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. \nArtist website: https://www.paulsepuya.com/ \nContact: Sabine Gruffat\, gruffat@email.unc.edu \nImage credit: Paul Mpagi Sepuya\, “Studio (0X5A2260)\,” 2020\, 50 x 75 inches. Image courtesy of the artist\, DOCUMENT\, Chicago\, and Vielmetter Los Angeles. \n\n\n Related URL:https://artsorange.org/event/hanes-visiting-artist-lecture-series-paul-mpagi-sepuya/ LOCATION:Zoom\, United States CATEGORIES:Photography Film & Digital Arts ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2022/03/Studio-0X5A2260-2020-50-x-75-inches.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:20220118T080000 DTEND;TZID=America/New_York:20220218T170000 DTSTAMP:20260610T045342 CREATED:20220111T174440Z LAST-MODIFIED:20220111T174440Z UID:30088-1642492800-1645203600@artsorange.org SUMMARY:John and June Allcott Gallery: Migiwa Orimo\, Strangers' Bundles: Hours of Woods DESCRIPTION:Gallery Talk: January 25\, 6-7 pm\, Zoom\nRegistration Link (available until the start of the event): https://go.unc.edu/orimo \nGallery Hours: 9-5 M-F \n“Slippage” (or the points of disjunctions): interrupted continuity of land and time; the fragility of connection; mistakes and failures. \nIn whatever form “slippage” takes–physical\, political\, or cultural–we become sensors and experience the slippage as shifted sense of equilibrium. \nIn trying to regain balance\, we notice\, remember\, observe\, measure\, witness\, suspect\, and probe. Some look at nature with inquisitive eyes; some pay attention to a subtle shift in use of language; some become activists; some bring themselves together as a community of learners. \n— The artist’s note following the 2011 Great Tohoku Earthquake and the Fukushima Nuclear Plant Disaster \nTen years later\, at another point of disjunction (Global Pandemic)\, Migiwa Orimo revisits this notion of “slippage” and creates a six-piece installation\, Strangers’ Bundles: Hours of Woods. Drawing upon her daily walks during the shutdown\, Orimo set her sights on our relationship to nature from a slightly diagonal direction. The result is a rumination on nature\, language\, voice-over\, temporary alignment of disparate thoughts\, and a reflection on struggles\, protests\, memories\, and “safe distance” –both in nature and society \nAn interdisciplinary artist\, Migiwa Orimo primarily works in installation consisting of text\, drawing\, objects\, video\, and sound that explores the notions of gap\, slippage\, and “a realm of disjunction.” Using the concept of storage/archive as her framework\, Orimo explores the relationship between public memory and private space by examining: how memories are shared and internalized; how they are stored and become stories; and\, how memories and history collide. \nA five-time recipient (’96/’04/’08/’13/’21) of the Ohio Arts Council Individual Artists Fellowship/Individual Creativity Excellence Award for her interdisciplinary art projects\, she was awarded residencies at the Headlands Art Center in 2012 and SPACES Gallery’s SPACES World Artist Project in 2014. Her work has been shown extensively\, including at the National Museum of Women in the Arts\, Washington DC; San Bernardino Art Museum\, CA; and in Ohio\, the Springfield Art Museum\, Dayton Art Institute\, OSU’s Urban Arts Space\, Riffe Gallery (Columbus)\, Oberlin College’s Baron Gallery\, and Weston Art Gallery (Cincinnati)\, apexart (NYC). \nAs a social justice activist\, Orimo facilitates the People’s Banner Workshop and provides free banners to activist groups. \nOrimo was born and raised in Tokyo\, Japan. After receiving her degree in literature and studying graphic design in Japan\, she immigrated to the US in the 1980s. Orimo lives and works in Yellow Springs\, Ohio. \nArtist website: https://migiwaorimo.com/home.html \nFor more information please contact Roxana Perez-Mendez\, rpm@email.unc.edu \nImage credit: Nationality of Nature\, courtesy of the artist \n\n\n Related URL:https://artsorange.org/event/john-and-june-allcott-gallery-migiwa-orimo-strangers-bundles-hours-of-woods/ LOCATION:Hanes Art Center\, 121 East Cameron Avenue\, Chapel Hill\, 27514 CATEGORIES:Exhibit,Free Events ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2022/01/Nationality-of-Nature-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:20211105T080000 DTEND;TZID=America/New_York:20211203T170000 DTSTAMP:20260610T045342 CREATED:20211019T171408Z LAST-MODIFIED:20211019T171408Z UID:28201-1636099200-1638550800@artsorange.org SUMMARY:John and June Allcott Gallery: Betsy Kenyon\, Grey Matter DESCRIPTION:Virtual Opening/Gallery Talk: November 9\, 6-7 pm\nRegistration at our website (available until the start of the event): https://go.unc.edu/greymatter \nGallery Hours: Per our semester Covid policies\, the exhibition can be viewed through the gallery’s glass front wall\, 9-5 M-F \nAuthor Maxwell Neely-Cohen on Betsy Kenyon: \n“The hardest thing one can do on a flat surface is represent light with any authenticity. Not just light that is ambient\, that is merely a medium for other objects\, but true light\, emanating outward\, radiating with a brightness that can pulse\, rebound\, and fade.” \n“Betsy Kenyon can make paper scream with photons. She can put a fusion reaction onto a millimeter plane. She does this by using light itself as a medium. A source. No lens needed\, just alternating the gift and denial of illumination at the right moments. Every burn can be controlled. We can paint with light it turns out. Wield it at a target.” \n“Planets and doors\, logos and swarms\, the frozen chaos of particle collision at the smallest possible level. Shapes in mathematical transformations so perfect they belong in geometry textbooks. Film backdrops in stasis.” \n“Betsy once told me that she wanted her images to be verbs. As much as I want to assign nouns to them—gravity\, cosmos\, shadows—she is right\, they are verbs\, best verbalized as actions. They push. Pull. Rotate. Cycle. Drop. Blur. Filter. Contract. Expand. Crush. Some of them run. Some of them crawl. Some of them even disappear. A magic trick. Frozen.” \n“When rendered in digital space these forms reveal their tricks and secrets. How a simple shape set into motion can blossom into a complex lattice\, a structure worthy of a sigil or temple. How long it takes our eyes to notice a blurring edge\, the slight shift of a gradient. How that can become layers of a staircase\, an invitation to plunge or accept an outstretched hand.” \n“It almost doesn’t matter if the images are moving or not. The animations can be read as still\, the photograms rendered as moving. Don’t fall in.” \nBetsy Kenyon lives and works in New York City with her husband\, cinematographer Richard Rutkowski\, and their daughter Daisy. Her education includes Sarah Lawrence College and an MFA from The School of the Art Institute of Chicago. She is currently working on Slumber\, a year-long project made during the pandemic. \nBetsy’s work is included in the following collections: Centre George Pompidou\, The Art Institute of Chicago\, Photography Collection; Museum of Modern Art/Franklin Furnace Book Collection; Whitney Museum of American Art\, Library; Metropolitan Museum of Art\, Thomas J. Watson Library; Groninger Museum\, Special Collections; New York Public Library\, Print Collection; and Yale University\, Art and Architecture Library. \nImage: Pass Through\, courtesy of Betsy Kenyon \n\n\n Related URL:https://artsorange.org/event/john-and-june-allcott-gallery-betsy-kenyon-grey-matter/ LOCATION:Hanes Art Center\, 121 East Cameron Avenue\, Chapel Hill\, 27514 CATEGORIES:Exhibit,Free Events,Photography Film & Digital Arts ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2021/10/PASS-THROUGH-10x8-copy-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:20210923T190000 DTEND;TZID=America/New_York:20210923T203000 DTSTAMP:20260610T045342 CREATED:20210820T160914Z LAST-MODIFIED:20210820T160914Z UID:26187-1632423600-1632429000@artsorange.org SUMMARY:Hanes Visiting Artist Lecture Series: Jiha Moon DESCRIPTION:Zoom: Pre-register at the link on our website (available until start of event) \nJiha Moon’s gestural paintings\, mixed media\, ceramic sculpture\, and installations explore fluid identities and the global movement of people and their cultures. She says\, “I am a cartographer of cultures and an icon maker in my lucid worlds.” She is taking cues from wide ranges of history of Eastern and Western art\, colors and designs from popular culture\, Korean temple paintings and folk art\, internet emoticons and icons\, fruit stickers and labels of products from all over the place. She often teases and changes these lexicons so that they are hard to identify yet stay in a familiar zone. \nMoon (b. 1973) is from DaeGu\, Korea and lives and works in Atlanta\, GA. She received her MFA from the University of Iowa\, Iowa City. Her works have been acquired by Asia Society\, New York\, NY\, High Museum of Art\, Atlanta\, GA\, The Mint Museum of Art\, Charlotte\, NC\, Smithsonian Institute\, Hirshhorn Museum and Sculpture Garden\, Washington\, DC\, Weatherspoon Museum of Art\, Greensboro\, NC and The Virginia Museum of Fine Arts\, Richmond\, VA. She has had solo exhibitions at Museum of Contemporary Art of Georgia\, GA\, Taubman Museum\, Roanoke\, VA\, the Mint Museum of Art\, Charlotte\, NC\, The Cheekwood Museum of Art\, Nashville\, TN and Rhodes College\, Clough-Hanson Gallery\, Memphis\, TN and James Gallery of CUNY Graduate Center\, New York\, NY. She has been included in group shows at Kemper Museum\, Kansas City\, MI\, the Fabric Workshop and Museum\, Philadelphia\, PA\, the Atlanta Contemporary Art Center\, Atlanta\, GA\, Asia Society\, New York\, NY\, The Drawing Center\, New York\, NY\, White Columns\, New York\, NY\, Smith College Museum of Art\, Northampton\, MA\, and the Weatherspoon Museum of Art\, Greensboro\, NC. She is recipient of Joan Mitchell foundation’s painter and sculptor’s award for 2011\, MOCA GA Working Artist project fellow 2012-13\, Artadia award 2016. Her mid-career survey exhibition\, “Double Welcome: Most everyone’s mad here” organized by Halsey Institute of Contemporary Art and Taubman Museum has toured more than 10 museum venues around the country until 2018. \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. \nArtist website: http://jihamoon.com \nContact: Sabine Gruffat\, gruffat@email.unc.edu \nImage: Jiha Moon\, Yellowave (with Pink)\, 2020\, Ink\, acrylic on Hanji mounted on canvas\, 30 × 40 in \n\n\n Related URL:https://artsorange.org/event/hanes-visiting-artist-lecture-series-jiha-moon/ LOCATION:Zoom\, United States CATEGORIES:Free Events,Online ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2021/08/02.Yellowave-pink-scaled.jpg ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu GEO:37.09024;-95.712891 END:VEVENT END:VCALENDAR