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DTSTART;TZID=America/New_York:20230907T173000
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DTSTAMP:20260610T055132
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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
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GEO:35.9078672;-79.054046
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230912T080000
DTEND;TZID=America/New_York:20231013T170000
DTSTAMP:20260610T055132
CREATED:20230817T183656Z
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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
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230428T173000
DTEND;TZID=America/New_York:20230429T173000
DTSTAMP:20260610T055132
CREATED:20230328T152419Z
LAST-MODIFIED:20230328T170251Z
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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:20260610T055132
CREATED:20230228T155536Z
LAST-MODIFIED:20230328T170342Z
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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
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GEO:35.9123693;-79.0543987
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230302T170000
DTEND;TZID=America/New_York:20230302T183000
DTSTAMP:20260610T055132
CREATED:20230209T152931Z
LAST-MODIFIED:20230221T181809Z
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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:20260610T055132
CREATED:20230113T200826Z
LAST-MODIFIED:20230113T200826Z
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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
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ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu
GEO:35.9123693;-79.0543987
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20221108T080000
DTEND;TZID=America/New_York:20221201T170000
DTSTAMP:20260610T055132
CREATED:20221109T232839Z
LAST-MODIFIED:20221109T232839Z
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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
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220825T180000
DTEND;TZID=America/New_York:20220825T193000
DTSTAMP:20260610T055132
CREATED:20220812T183649Z
LAST-MODIFIED:20220812T183649Z
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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
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220830T080000
DTEND;TZID=America/New_York:20220923T170000
DTSTAMP:20260610T055132
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
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ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu
GEO:35.9123693;-79.0543987
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220331T150000
DTEND;TZID=America/New_York:20220331T163000
DTSTAMP:20260610T055132
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
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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:20260610T055132
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:20260610T055132
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
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ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu
GEO:35.9123693;-79.0543987
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20211105T080000
DTEND;TZID=America/New_York:20211203T170000
DTSTAMP:20260610T055132
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
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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:20260610T055132
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
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ORGANIZER;CN="UNC-CH Art and Art History":MAILTO:unc_aah@unc.edu
GEO:37.09024;-95.712891
END:VEVENT
END:VCALENDAR