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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
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20221003T180000
DTEND;TZID=America/New_York:20221003T193000
DTSTAMP:20220913T175153Z
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SUMMARY:Hanes Visiting Artist Lecture Series: Samuel Fosso
DESCRIPTION:121 Hanes Art Center \nSamuel Fosso will also be speaking at 21c Museum Hotel in Durham as part of the Click! Photography Festival. You can find more information about that event at https://www.eventbrite.com/e/click-photography-festival-presents-a-conversation-with-samuel-fosso-tickets-360510716257 \nWorking between photography\, self-portraiture\, and performance\, the work of Franco-Cameroonian photographer Samuel Fosso occupies a central position in the international contemporary art world. \nFrom his early works in the 70s\, creation of alternate identities that challenged representational conventions\, Samuel Fosso has given autofiction and self-portraiture a new dimension\, one that is all at once political and historical\, fictional and intimate. Embodying key historical figures and social archetypes has become for him not only a way of existing in the world\, but also a clear demonstration of the power of photography to construct myths\, and a way to question what is at stake in accepted codes of representation and identity. \nSamuel Fosso lives and works in Bangui\, Central African Republic and Paris\, France. He has had solo exhibitions at the Menil Collection in Houston\, the Walther Collection in Neu-Ulm and New York\, the Maison européeenne de la photographie in Paris\, the National Portrait Gallery in London\, LagosPhoto Festival in Lagos\, and the Institute Francais in Dakar. His work is in the collections of the MNAM in Paris\, Tate in London\, Moderna Museet in Stockholm\, Musée des Beaux-Arts in Montreal\, MoMA\, the Guggenheim\, Studio Museum Harlem and the Met in New York\, LACMA in Los Angeles\, and the NCMA and Ackland Museum. \nThis event is part of the Click! Photography Festival and is also co-sponsored by the North Carolina Museum of Art. \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 the UNC Parking website. \nArtist website: https://samuelfosso.com/\nDepartmental website: art.unc.edu\nContact: Sabine Gruffat\, gruffat@email.unc.edu \nImage: Samuel Fosso\, Cameroonian\, born 1962\, Untitled\, from the series 70s Life Styles\, 1973-78\, printed 2010\, gelatin silver print on Archival paper\, 19 11/16 × 19 11/16 in. (50 × 50 cm). Ackland Art Museum\, University of North Carolina at Chapel Hill \n\n\n	Related
URL:https://artsorange.org/event/hanes-visiting-artist-lecture-series-samuel-fosso/
LOCATION:Hanes Art Center\, 121 East Cameron Avenue\, Chapel Hill\, 27514
CATEGORIES:Photography Film & Digital Arts
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DTSTART;TZID=America/New_York:20220920T180000
DTEND;TZID=America/New_York:20220920T193000
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SUMMARY:Hanes Visiting Artist Lecture Series: Ezra Wube
DESCRIPTION:121 Hanes Art Center \nEzra Wube (b.\, Ethiopia) is a mixed media artist who lives and works in New York. His work references the notion of past and present\, the constant changing of place\, and the dialogical tensions between “here” and “there”. His exhibitions include the 21st Contemporary Art Biennial Sesc_Videobrasil\, Brazil; The 2nd edition of the Biennale d’Architecture d’Orléans\, France; “Gwangju Biennale”\, Gwangju\, South Korea; Chrysler Museum of Art\, Norfolk\, VA\, Art in General\, kim? Contemporary Art Centre\, Riga\, Latvia; The Studio Museum in Harlem\, NY; “Dak’Art Biennale”\, Dakar\, Senegal and Time Square Arts Midnight Moment\, NY. His residencies\, commissions\, and awards include Michael Richards Visual Arts Award\, Lower Manhattan Cultural Council\, NY\, NY\, Smack Mellon Studio Program\, Brooklyn\, NY; Pioneer Works\, Brooklyn\, NY; Work Space\, LMCC Residency Program\, New York\, NY; Open Sessions Program\, The Drawing Center\, New York\, NY; The Africa Center\, NY; The Metropolitan Transportation Authority\, NY; Museum of the Moving Images\, Queens\, NY; Rema Hort Mann Foundation; the Triangle Arts Association Residency\, Brooklyn\, NY and The Substation Artist Residency Program\, University of Witwatersrand\, Johannesburg\, South Africa. Ezra received his BFA (2004) from Massachusetts College of Art\, Boston\, MA\, and an MFA (2009) from Hunter College\, New York\, NY. Since 2015 he has organized the Addis Video Art Festival\, a platform for innovative international video art in Addis Ababa\, Ethiopia. Ezra Wube is represented by Microscope Gallery\, NY\, 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: http://ezrawube.net/ \nContact: Sabine Gruffat\, gruffat@email.unc.edu \nImage: Shgigir (Crossings): Stop action animation\, using paint\, 2021 \n\n\n	Related
URL:https://artsorange.org/event/hanes-visiting-artist-lecture-series-ezra-wube/
LOCATION:Hanes Art Center\, 121 East Cameron Avenue\, Chapel Hill\, 27514
CATEGORIES:Photography Film & Digital Arts
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DTSTART;TZID=America/New_York:20220825T180000
DTEND;TZID=America/New_York:20220825T193000
DTSTAMP: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
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END:VEVENT
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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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220118T080000
DTEND;TZID=America/New_York:20220218T170000
DTSTAMP:20220111T174440Z
CREATED:20220111T174440Z
LAST-MODIFIED:20220111T174440Z
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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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END:VEVENT
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DTSTART;TZID=America/New_York:20211105T080000
DTEND;TZID=America/New_York:20211203T170000
DTSTAMP:20211019T171408Z
CREATED:20211019T171408Z
LAST-MODIFIED:20211019T171408Z
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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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END:VEVENT
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DTSTART;TZID=America/New_York:20180517T170000
DTEND;TZID=America/New_York:20180517T190000
DTSTAMP:20180514T164745Z
CREATED:20180514T164745Z
LAST-MODIFIED:20180514T164745Z
UID:3822-1526576400-1526583600@artsorange.org
SUMMARY:One Week MFA Thesis Exhibition: Jeanine Tatlock\, Not in My Backyard
DESCRIPTION:Reception: May 17\, 5-7 pm Why do we have so many inequalities in America. Who or what is responsible? How can we fix them? There may be no clear solutions\, but there can be progress. Action is necessary to invoke change. As an interdisciplinary artist\, much of my work is guerrilla or public intervention. I create objects\, drawings\, and installations that intend to start either dialogue around themes of gender\, class\, and race. My work is primarily about white supremacy\, especially the ways that white women are complicit in perpetuating it. I take quotes from Confederate monuments and embroider them onto fabric with pearl beads\, putting the racists’ words into a contemporary and critical context. I selected materials that would evoke femininity\, as well as whiteness and the upper class\, which characterized the Daughters of the Confederacy\, the group that sponsored most Confederate monuments\, and the “Southern Belle” culture. \n\n\n	Related
URL:https://artsorange.org/event/one-week-mfa-thesis-exhibition-jeanine-tatlock-not-in-my-backyard/
LOCATION:Hanes Art Center\, 121 East Cameron Avenue\, Chapel Hill\, 27514
GEO:35.9123693;-79.0543987
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