If you have been to the Museum in the past two weeks, you will have noticed that some of the galleries are closed. That is because, for the first time since 2011, we are reinstalling our permanent collection galleries. Ackland staff have already begun reconfiguring the galleries by tearing down and building walls and researching and writing new interpretive materials for the reopening of the galleries on Saturday, December 1, 2018.
While reinstallations like the one we are undertaking are not uncommon for a museum, our curatorial staff has identified three areas of focus:
Focus One – Art After 1950
While many of our special exhibitions include artworks after 1950, the Museum feels strongly that there should be a dedicated space for these works in the permanent collection galleries. Two works included in the new installation are George Segal’s The Legend of Lot and Nam June Paik’s Eagle Eye. Segal’s piece was shown in the Ackland’s 2008 exhibition Circa 1958, which celebrated the Ackland’s fiftieth anniversary. Featured in the Ackland’s 2015 exhibition Testing, Testing, Paik’s Eagle Eye was inspired by an eye chart in an antique store.
Focus Two – African Art
African art is becoming a major programmatic emphasis at the Museum. This is due in no small part to the strength of the Art History Department and the increasing number of graduate students at UNC-Chapel Hill in this field, as well as some special acquisition opportunities. The reinstallation will offer much more space and prominence to our African art collection. It will also have a special wall for temporary installations with loans from private collections. The first special installation will display a group of Nigerian Ikenga figures from the distinguished collection of Rhonda Wilkerson, a former UNC professor.
Focus Three – Works on Paper
Of the Museum’s 18,000 works of art, the majority are works on paper. The reinstallation will offer a more flexible space for works on paper. Currently, the Museum features a rotating series of installations titled Focus on the Peck Collection, which highlights works from the 2017-Peck gift along with other works in the permanent collection. The reinstallation will also allow the Museum to include rotating installations of prints, drawings, and photographs for European and American art from about 1900 to the present. Not only is this an opportunity to display work of art that have not been on view frequently; it is also an opportunity to highlight our conservation efforts. An example of this can be seen in Charles-François Daubigny’s Pond at Corbigny (L’Etang de Corbigny). Look closely at the differences in the colors and richness of details in the below images.
Our hope in reinstalling the permanent collection galleries is that you will reexamine old gems in new contexts, reimagine our collection strengths, and discover new favorites that encourage you to look close and think far.
Art after 1950
George Segal, American, 1924 – 2000: The Legend of Lot, 1958; plaster, wood, burlap, chicken wire and oil on canvas. Other (figure): (182.9 cm). Other (canvas): 182.9 x 243.8 cm, installation: 188 x 243.8 x 167.6 cm. The William A. Whitaker Foundation Art Fund and Gift of The George and Helen Segal Foundation, Inc. 2009.1
Nam June Paik, South Korean, active in the United States, 1932-20: Eagle Eye, 1996; antique slide projector, aluminum, computer keyboards, eye chart, neon, 9 five-inch televisions, 2 nine-inch televisions, dvd player, dvd, 169.4 x 219.4 x 62.2 cm. Ackland Fund, 99.8
Unidentified artist, South Africa, Zulu culture: Purse, 19th century; beads and reeds. Ackland Fund and Gift of Norma Canelas Roth and William Roth, 2017.19.62017.19.14
Works on paper
Jean Restout, French, 1692-1768: Christ at the Pool of Bethesda, c. 1725; oil on canvas, 99.7 x 122.2 cm. Ackland Fund, 87.31.36
Charles-François Daubigny, French, 1817-1878: Pond at Corbigny (L’Etang de Corbigny), n.d.; Oil on canvas, Canvas: 31.1 X 74.6 cm, Frame: 47 x 90.2 cm. Bequest of Charles and Isabel Eaton, 2009.31.36