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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
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220830T080000
DTEND;TZID=America/New_York:20220923T170000
DTSTAMP:20220812T165151Z
CREATED:20220812T165151Z
LAST-MODIFIED:20220812T165151Z
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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
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220331T150000
DTEND;TZID=America/New_York:20220331T163000
DTSTAMP:20220303T204753Z
CREATED:20220303T204753Z
LAST-MODIFIED:20220303T204753Z
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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:20220301T173338Z
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:20220111T174440Z
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
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20211105T080000
DTEND;TZID=America/New_York:20211203T170000
DTSTAMP:20211019T171408Z
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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GEO:35.9123693;-79.0543987
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20210923T190000
DTEND;TZID=America/New_York:20210923T203000
DTSTAMP:20210820T160914Z
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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