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Faculty member Jim Hirschfield public sculpture dedicated in Odessa, TX

November 30, 2021

In collaboration with Odessa Arts, First Basin Credit Union recently presented a new public art sculpture making its home at their headquarters in Odessa.

The formal dedication ceremony for the “Hadley Cell” art sculpture, designed and created by North Carolina artists Jim Hirschfield and Sonya Ishii, will be on display publicly and was lit for the first time on Nov. 18.

The commissioned work which was awarded in 2019 was selected from more than 100 artist submissions across the U.S.

The Hadley Cell sculpture consists of a 35’ vertical-column containing five graceful polyhedrons, or cells, extending 8’ at their widest point. The symbol of five stacked cells emulates a column of wind known as The Hadley Cell named after George Hadley. The Hadley Cell is a global scale tropical atmospheric circulation that features air rising near the equator, flowing poleward at a height of 10 to 15 kilometers above the earth’s surface, descending in the subtropics, and then returning equatorward near the surface. Hadley cells exist on either side of the equator. Each cell encircles the globe latitudinally and acts to transport energy from the equator to about the 30th latitude. At the latitudes of the tropics (30° – 35°) the once heated air cools and subsequently descends. Research revealed that Odessa, Texas is located at 31.8457° N and 102.3676° W in the area otherwise known as the horse latitudes.

The column transitions from green that imitates the shrubbery at ground level to blue meant to match the Odessa sky, it is noticeably see through the columns more ephemeral planer surfaces, embodying the sensation of wind. Observers can hear a relaxing hum of the wind gracefully moving through the stainless-steel wire panels purposefully used to give a transparent quality to the work. The transparent mesh exists to further enhance the calming presence of the always moving West Texas wind.

Hirschfield and Ishii have worked as a team for three decades, and as a team they have created a number of major public works of art.

Hirschfield teaches sculpture at the University of North Carolina at Chapel Hill where he was Department Chair of the Art Department for seven years. He has received a number of major grants and fellowships from both public and private foundations, including awards from the National Endowment for the Arts, the North Carolina Arts Council, the Graham Foundation, the Pollock-Krasner Foundation, Art Matters, and the Rockefeller Foundation. He has also exhibited nationally. Jim has had a long interest and history in public art, and had served as a member of the Public Art Network Advisory Council for six years. He also as authored or co-authored five public art master plans.

Sonya Ishii is as an artist who after studying art and then architecture, began working as an artist on one of the very early collaborative team transit projects in Seattle Washington. She too has received a number of awards, including two North Carolina Artist Fellowships. Together Jim and Sonya have created a variety of public art projects ranging from freestanding sculpture to sculptural environments. Together they have completed over 50 Public Art Commissions across the US and Canada that stretch from Seattle Washington to Fort Lauderdale Florida, and from Orono, Maine to Phoenix, Arizona, including five separate projects in the great state of Texas.

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Faculty member Joy Drury Cox in Group Show in Berlin

November 30, 2021

Inside Outside

19.11.2021 – 08.01.2022Vernissage 19.11.2021, 18:00

The occasion for this exhibition was an envelope that we received from France a few months ago. The sender did not give his name. The envelope contained 10 family photos, each pasted facedown with double-sided tape on white cardboards, and a small note with the following text:

«I have no talent for any artistic activity. Talent precedes the need to create. Without it, there is no satisfaction. Everything I started was abruptly stopped by the mediocrity of the draft and immediately destroyed, like a drawer that can only be opened from the inside. I recently attached the front of some old family photos to white cardboard with double-sided tape. Thus, only the pink paper remnants could be seen on the back of these photos. My mother detached them from two different albums and I inherited them after her death. These upturned photos are the sum of my failure. You will find them in this envelope.»Press text

Galerie aKonzeptNiebuhrstraße 510629 BerlinÖffnungszeiten:Di – Fr 15–18 UhrSa 14–19 

SAMple Gallery Show

November 22, 2021

SAMA is BACK! Starting at SQUARE ONE in SAMple gallery, UNC Studio Art Majors’ Association is hosting our re-inaugural show with a survey of works from our members in our second-floor gallery space. Come to our opening, November 29 from 6-8 pm, and be sure to check it out! 

Follow @samplegallery_unc on Instagram for updates.

Questions? Email

Square One art exhibition, opening November 11, 2021 from 6-8 pm, Sample Gallery, Hanes Art Center Second Floor

New Article in 19th-Century Art Worldwide from Alumnus Stephen Mandravelis

November 9, 2021

PhD Alumnus Stephen Mandravelis (2018) has a new article in the Autumn 2021 issue of Nineteenth-Century Art Worldwide. “The American Agriculturist: Art and Agriculture in the United States’ First Illustrated Farming Journal, 1842–78” chronicles the visual history of the American Agriculturist (1842–51; 1853–present; New York City), the first farming periodical in the United States to widely embrace artistic engravings. Long recognized as one of the most popular and influential periodicals in the mid-nineteenth-century United States, the Agriculturist’s efforts to cultivate rural artistic taste has largely escaped investigation. This article recounts the development of the farming journal’s interest in art—reproductions of paintings, original compositions, and other pictorial images— and explores its careful positioning as a mediator between the spheres of practical agriculture and fine art.

New artwork by Lashayla Stephens in the Alumni Sculpture Garden

November 2, 2021

We have another new artwork in the Alumni Sculpture Garden to celebrate! Come by the Hanes Art Center to see Lashayla Stephens’ Liquid Sunshine (2021). Lashayla says the inspiration for the piece comes from her childhood curiousity, and the iridescent and fluid ranbow spots she would find on the ground after it rained. Nicknamed “liquid sunshine,” the spots are a result of rain mixing with vehicle oil. Her sculpture garden work explores the mix of the beautiful and the disruptive, imagining a larger-scale oil spill in a sensitive environment.

Lashayla Stephens, Liquid Sunshine, 2021
Lashayla Stephens, Liquid Sunshine, 2021, polyurethane foam on concrete with clay butterflies

PhD Candidate Andrea Snow contributor to new textbook from Thames and Hudson

November 1, 2021

PhD Candidate Andrea C. Snow has been invited to contribute teaching materials to the innovative new survey textbook, The History of Art: A Global View: Prehistory to the Present (Thames & Hudson, forthcoming). 

A brief window into what this textbook will provide:
The History of Art: A Global View is the first major art history survey textbook — written by a team of expert authors — with a global narrative in mind. A chronological organization and “Seeing Connections” features help readers make cross-cultural comparisons, while brief, modular chapters (with on-page definitions) offer instructors unparalleled flexibility.

Andrea is excited to be supplementing the textbook with overview slides that feature the key concepts and works of art from two of its chapters. 

Faculty Member Mario Marzan part of group show at Block Gallery

October 25, 2021

Block Gallery presents Abstracto/Latino: Latin American with an Abstract Fusion. The exhibition highlights Latinx artists living in North Carolina who are working in abstraction. The artists explore diverse art movements such as North American Abstract Expressionism, French Cubism, Russian Constructivism, and Japanese Shibui, without ever losing their Latin American roots.

Featured Artists: Fabrizio Bianchi, Lope Max Diaz, Georges Le Chevallier, Peter Marin, Mario Marzan, Nora Phillips, Natacha Sochat. 

The exhibit will be on view November 3, 2021- January 21, 2022- online and at Block Gallery.

Block Gallery is located inside the Raleigh Municipal Building 222 W. Hargett St. Raleigh, NC.  

Faculty member Lyneise Williams giving IAAR Faculty Fellow Presentation

October 25, 2021

Associate Professor Lyneise Williams will be speaking this Thursday, October 28, at 3 pm for a Faculty Fellow Presentation at the Institute for African American Research. The presentation will be via Zoom. Williams will explore the ways notions of glamour, celebrity, and masculinity intersect with race, technology, and sports in “Model Athlete: Alfonso Teofilo Brown and the Construction of the Glamourous Black Athlete in 1920s Paris.” 

Faculty Member Sabine Gruffat in exhibition at Motorenhalle-Dresden

October 13, 2021


Act 1: Dismantling Individuality October 14, 2021 – March 6, 2022 MOTORENHALLE Centre for Contemporary Art Wachsbleichstraße 4a Dresden – Germany Video evening: October 15 | 20:00 – 22:00 Participating artists: Mehraneh Atashi (Iran) | Evangelia Basdekis (Greece/UK) | Sabine Gruffat (USA) | Shon Kim (South Korea) | Marie-Claire Messouma Manlanbien (Ivory Coast) | Muriel Paraboni (Brazil) | Jhafis Quintero (Panama) & Johanna Barilier (Switzerland) | Ali Tnani (Tunisia) Curated by Kisito Assangni

THE UPSHOT OF TRANS-AFFECTIVE SOLIDARITY proposes to explore a new image of humanity capable of valorising solidarity and critical knowlegde coming from different contexts and cultures. The programme takes its title from what scholar Anne Garland Mahler calls “trans-affective solidarity” that relies on a metonymic color politics. An imagined transnational, transethnic, transracial, and translinguistic affective encounter in order to envision a more economically equitable, racially just, and human-centered world. The project presents work by 8 artists of diverse nationalities who provide an opportunity to reconsider how one can imagine another collective experience that would be capable of renewing our intersubjective ties in these uncertain times. THE UPSHOT OF TRANS-AFFECTIVE SOLIDARITY approaches its subject from a variety of perspectives, one of which involves the irresistible pull of intercultural meeting points and dreams around which people converge. Most of the works embrace a sense of reinvention and agency with the aim to shape various interpretative environments. They offer an expanded frame of reference that contributes to this heterogeneous engagement with video, film and the culture of solidarity these artists encapsulate. The programme is part of the exhibition Approximationen Derivate Surrogate curated by Denise Ackermann and Frank Eckhardt. About the curator: Kisito Assangni is a Togolese-French curator and consultant who studied museology at Ecole du Louvre in Paris. Currently living between UK, France and Togo, his research interests gravitate towards the cultural impact of globalisation, psychogeography and critical education. He investigates the modes of cultural production that combine theory and practice. He inherently aims at going beyond the usual relations between artist, curator, institution, audience, and artwork, in order to engage audiences in encounters with art that are unexpected, transformative, and fun. Assangni is heavily involved in video, performance, and experimental sound. His discursive exhibitions have been shown internationally, including at the Venice Biennale, ZKM Museum, Karlsruhe; Whitechapel Gallery, London; Centre of Contemporary Art, Glasgow; Museum of Contemporary Art, Sydney; Malmo Konsthall, Sweden; Torrance Art Museum, Los Angeles; Es Baluard Museum of Art, Palma, Spain; National Centre for Contemporary Arts, Moscow; Marrakech Biennale among others. Image: Eventide, Muriel Paraboni, 2016