This exhibition of 42 works traces the distinguished career of photographer Burk Uzzle and his observation of American society, from the turbulent politics and countercultural revolution of the 1960s to the present.
A series of three small-scale exhibitions using works from the Ackland’s permanent collection, Politics As Usual examines ways in which artists engage with the power structures of their times.
The artists in Depth Perception, all 2016 MFA candidates in UNC-Chapel Hill’s Department of Art, attempt to understand how we perceive the world around us, how we are affected by it, and how we identify ourselves within it. Each artist works through ideas of perception through such lenses as neurosis and power, social norms, and the ephemeral nature of time.
Time Travels considers how artists visualized time and its passage—such as the idealized “long ago”—in nineteenth-century drawings, paintings, and photographs of landscapes.
Walls of Color is the first exhibition to focus on the varied and underappreciated mural projects of Hans Hofmann, a towering figure among postwar New York School painters.
The mural studies presented in Beyond Walls offer a glimpse into the logic and concerns of artists such as Charles Alston, James Henry Daugherty, and Ben Shahn.
This special installation in the Ackland’s second floor Study Gallery presents 20 prints, paintings, drawings, photographs, and sculptures from the Ackland’s extensive and growing collection of art by African American artists. The selection addresses pressing debates that have reverberated across campus and the nation this year, focusing on three interrelated themes: representations of racial violence, resilience, and the role of religious faith as both a justification for violence and a source of resistance. Curated by John Bowles.
The Ackland Art Museum is pleased to present Study for Portrait VI (1953) by Francis Bacon, one of the most important British artists of the twentieth century, on loan from the Minneapolis Institute of Art.
The largest presentation of the Ackland’s relatively unknown collection of modern painting and sculpture to date, “Testing Testing” highlights ways in which art made since 1960 tests traditional boundaries of art-making through the use of experimentation, innovation, and skill.
The eleven artists in the UNC-Chapel Hill’s MFA Class of 2015 share a conflicted position about the production of things. They are deeply aware of their role as cultural producers in an era of hyper-production and seemingly infinite commercial availability. If they could make no things, they would. But if they are going to add an object to this world, it will express its own justification for being.
A portable museum of sorts, this so-called “boîte” (box) contains 80 miniature and small-scale reproductions of Marcel Duchamp’s works, ranging from his avant-garde paintings to his provocative “ready-mades.”
Genius and Grace offers a rare opportunity to engage with 80 master drawings by an extraordinary group of eighteenth-century French artists. The brilliant career of François Boucher, the most well-known artist of his generation, is well represented, as are drawings by twenty-eight other accomplished artists of the period.
Resonating with works on view in Genius and Grace, nine drawings from the Ackland’s distinguished and growing collection of eighteenth-century European art have been chosen for this exhibition.
This focused installation presents half a dozen varied works of recently acquired Japanese art, ranging from a thirteenth-century ritual bell to a late 1960s Op-art poster.
The Ackland is delighted to host this special presentation of three powerful paintings by Pablo Picasso (1881-1973) from the distinguished collection of Julian H. Robertson Jr. (B.A. ’55).