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Art review: Folk artist Sam Ezell’s idealistic visions of Hillsborough

Picture Hillsborough: Folk Art by Sam Ezell The Orange County Historical Museum 201 N. Churton St., Hillsborough Through September 25 Self-taught painter Sam Ezell portrays the buildings of Hillsborough with optimism and idealism. He paints some of the historic 18th-century buildings the town is known for, but he also paints local businesses including Latta Brothers […]

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Visual Art Exchange gathers dozens of regional views in SCOPE: The Southern Landscape

SCOPE: THE SOUTHERN LANDSCAPE Visual Art Exchange 309 W. Martin St., Raleigh 919-828-7834 www.visualartexchange.org Through June 25 As the great landscape scholar J.B. Jackson wrote, “Each age sees the world in its own manner and has its own notion of beauty; each of them rediscovers the landscape.” In this year’s SCOPE: The Southern Landscapean annual […]

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Director’s Cut and Allison Hunter’s Zoosphere survey developments in image-making at the North Carolina Museum of Art

DIRECTOR’S CUT | ZOOSPHERE North Carolina Museum of Art 2110 Blue Ridge Road, Raleigh 919-839-6262 www.ncartmuseum.org Both through Sept. 13 In DIRECTOR’S CUT: RECENT PHOTOGRAPHY GIFTS TO THE NCMA, 23 photographs and two series by 20 artists offer a chance to reflect on recent developments in photographyand how they affect our engagement with scenes and […]

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The ordinary becomes exceptional in The Spectacular of Vernacular at the Ackland

The Spectacular of Vernacular Ackland Art Museum Through March 18 Critic and theorist Maurice Blanchot wrote the following about the everyday in 1969, saying that it is “what is most difficult to discover.” This elusive quality about the things and places that we see and experience every day extends to the vernacular. Definitions of vernacular […]

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Two new shows at Visual Art Exchange

The White Show Through Oct. 27 christian.ryan: pleasureware + speculative bodies Through Oct. 22 Visual Art Exchange White is a place where many artists begin: a white piece of paper, a white gessoed canvas. It can also be used as a radical gesture, as demonstrated by Kazimir Malevich with his 1918 painting “White on White.” […]

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