North Carolina's Artworks for State Buildings

Creating Place: North Carolina’s Artworks for State Buildings

1 Creating Place: North Carolina’s Artworks for State Buildings

Michael F. Easley, Governor, State of North Carolina Lisbeth C. Evans, Secretary, Department of Cultural Resources Mary B. Regan, Executive Director, North Carolina Arts Council Nancy K. Trovillion, Assistant Director, North Carolina Arts Council Jeffrey J. York, Public Art & Community Design Program Director Judye D. Jacobs, Public Art & Community Design Program Assistant

North Carolina Arts Council 221 East Lane Street, Raleigh, NC 27601 919.733.2111 www.ncarts.org

Photography Credits

Graphic design by ARCHETYPE, Raleigh, N.C. Printing by Nittany Valley Offset, State College, Penn.

This is a project of the North Carolina Arts Council, an agency funded by the State of North Carolina and the National Endowment for the Arts.

2000 copies of this public document were printed on recycled paper at a cost of $7,248 or $3.62 per copy.

No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the North Carolina Arts Council.

An Online catalog of the Artworks for State Buildings Program is available through the North Carolina Art Council Web site: www.ncarts.org/awsb.cfm

Cover: Horace Farlowe Zoological Egg Rest, 1994 Marble North Carolina Zoological Park, Asheboro, N.C.

2 Contents

6 Foreword Mary B. Regan, Executive Director, North Carolina Arts Council

7 Artworks for North Carolina’s State Buildings Jeffrey J. York, Public Art & Community Design Program Director

33 A Brief History of North Carolina’s Public Art Program Linda Johnson Dougherty, Independent Curator

38 Creating Place: Getting Started With Public Art Jeffrey J. York

40 Public Art Collection Map

41 Collection Checklist

45 Selection Panel Members 1982-1995

3 Acknowledgments

This publication is the result of the efforts and support of many people, espe- cially my colleagues at the North Carolina Arts Council. Enthusiastic support and guidance given by Executive Director Mary B. Regan and Assistant Director Nancy Trovillion was crucial to the catalog’s realization.

Director of Marketing & Cultural Tourism Maryanne Friend and Communica- tions Manager Joe Newberry provided ideas and suggestions about the organiza- tion and tone of the catalog and served as patient editors.

Communications & Public Arts Program Assistant Judye Jacobs deserves special recognition. Through her persistence and diligence, information about the artists and selection panel members was researched, compiled, typed and edited. Moreover, she was instrumental in keeping the publication on track with impending deadlines.

Administrative Assistant Gail Frye used her superb editorial skills on the draft manuscripts and lists. Budgeting & Purchasing Officer Cindy Mixter helped in drafting contracts and purchase orders necessary for securing design and printing vendors. Support Services Director Ardath Weaver and Information Systems Manager Christine Wagner provided support in manipulating data and visual image files needed for the publication.

Tim Buchman, whose talents are evident, produced the majority of photographs in this catalog. Jean McLaughlin, Georgann Eubanks, Amy Brannock, Renee Piechocki, Maya Emsden and David Mitchell provided assistance with research and in securing quotations.

Linda Dougherty, former Project Director for more than 20 of the Artworks For State Buildings Program projects and guest essayist, interviewed individuals who participated in the Program to provide historical continuity of facts.

Finally, to the many legislators who supported the efforts of this program, the hundreds of state government officials and citizens who served on the various project selection panels, and above all, the artists who created the artwork, a special thank you.

4 James (R) and John Biggers (L) in front of their mural, North Carolina Belongs to Children, 1994

5 Foreword By Mary B. Regan, Executive Director

North Carolina’s Public Art Program was born in the Legislature. Its architects were two determined and passionate legislators who wanted North Carolina to take her place beside those other states who had declared it a matter of public policy that art should be included in all state buildings.

First, there was Senator Mary Seymour of Greensboro who, in 1982, got $5,000 in end-of-the-year money set aside to buy a piece of art for a public space in the state government complex. Then, in 1987, Representative Marie Colton of Asheville spearheaded a successful drive to move the program into a larger context by setting aside one half percent of the construction costs of all state buildings for art.

This was a real high point in the partnership between the arts and the Legisla- ture. It cemented a simple but sophisticated concept - that art should be an integral part of government buildings, that it makes a statement about the work that goes on inside and that citizens are welcome in the state’s public places. It is not possible to think of public art in North Carolina without acknowledging the enormous space in that whole process that Jean McLaughlin occupied. From 1982 until 1998 she ran these difficult, challenging and exhilarating programs with energy and style. She held out in front of us a vision of what North Carolina could be. She believed absolutely in the power of the arts to transform the face of our state. She was smart and articulate and made the case for public art with grace and passion.

But, public art, by its nature, invites controversy. It appears there in front of you. It belongs to the taxpayers. It practically demands a response. And in 1995, in the midst of the culture wars in Washington and significant political transition in North Carolina, the program lost its funding.

In those seven years, before funds were eliminated, many North Carolinians had become enthralled with the concept of public art. They saw the wonderful art you will read about in this book and they saw how it enlivened and humanized public spaces and buildings. They became curious about how this art came to be placed in spaces where they had not expected to encounter art. They liked a lot of the art, and they were intrigued by it. They got visions of what else could be done. They wanted to transform the public spaces back in their own hometowns in the same way.

Along those lines our focus shifted and Creating Place came into being. This program adds another level of opportunity for citizens to encounter art in their own communities. It puts together teams of community leaders, planners and artists to develop public art and design projects that will give meaning and identity to their communities. We now work through arts organizations, other community groups, and municipal and county government agencies to promote public art. It is something of a natural progression for us, this time driven by local communities, grassroots efforts, and smart people with big dreams.

6 Artworks for North Carolina’s State Buildings by Jeffrey J. York

Introduction FROM 1982-1995, the state of North Carolina spent $1.8 million on art through its Artworks for State Buildings (AWSB) Program. This included administration costs. A professional appraisal of that same artwork completed in July 2000 showed that the value of the art had nearly doubled to $3.3 million. The Program “In good times and supported the commission of 58 site-specific projects and the purchase of three in bad times, we’ve existing artworks. Sixteen other artworks were donated to the collection. In total, between 1982 when the N.C. General Assembly first appropriated funds for art in recognized the power state buildings and 2000 when the last AWSB contract was fulfilled, 100 separate works of art by 78 different artists were placed at or in state buildings. of art to enrich people’s lives.” Artists, architects and landscape designers, university faculty members, and even public school instructors competed for and received commissions. Individuals –Marie Colton, N.C. Legislator, residing in or with birth ties to North Carolina made up 68 percent of those 1979-1994 artists. The large number of North Carolina artists who received commissions through a very competitive selection process speaks to the talent of the state’s artists and fulfilled one of the goals of the AWSB Program, which was to promote the development of North Carolina artists and craftsmen. Other artists from around the country added different perspectives and helped the Program achieve a national reputation.

In writing about the artwork from a historical point of view, I have chosen a thematic arrangement rather than following a chronological or geographic progression of the projects, which is how they are organized in the checklist. Approaching the collection thematically helps to dispel the notion that the program produced art in a vacuum and shifts the focus from who did what, and when, to the connection of the artwork to the site. Such an approach shows, for instance, the breadth and practicality of integrating art with campus architecture. It demonstrates that public art need not be static, but can be participatory and interactive. And it illustrates the variety of creative ideas that can be explored in a single art form.

Thematic divisions are fluid—a wall mural could easily be discussed in the community participation section, or a certain architecturally integrated artwork could be spoken about as art and technology or functional art. It is this variety and creative vacillation between art forms that lends interest to a number of the artworks created through the Program.

Although the AWSB Program no longer exists, the art does. The diversity of form—from prints, paintings, wall murals and sculpture to architecturally integrated artwork and artwork with natural or technological components—is indicative of a well-rounded program that placed artwork throughout the state. I invite you to not only read more about this wonderful collection but to visit state buildings, campuses and other locations where these artworks reside, and enjoy the many creative additions to North Carolina.

7 Vernon Pratt, The Education Wall, 1992

Defining THE ARTWORKS FOR State Buildings Program began in 1982 with a small yearly appropriation to the Department of Cultural Resources to place art on Walls state building walls. In 1983, the state received a donation of three abstract paintings from N.C. National Bank (now BankAmerica). One of these works, a non-objective, color-field painting by George Bireline, done in 1967, currently “We were talking about hangs at the North Carolina Arts Council. Between 1983-1988, an untitled, designing the building abstract painting by Clarence Morgan, a textile wall hanging by Sylvia Heyden, and four pastels of North Carolina landscape scenes by Richard Stenhouse were as a backdrop for art – commissioned for the Legislative Office Building, Caswell Building and Labor Building respectively. In 1988, the Appalachian Environmental Center donated a creating a focus for a portfolio of 12 photographs depicting Southern landscape scenes. While most of major piece of the artworks commissioned prior to the 1988 Artworks for State Buildings legislation were smaller wall pieces, an attractive ceramic tile mural by Tom public art.” Spleth entitled Green was completed in 1986. This large artwork features a lush tangle of tropical foliage and decorates the lobby wall of the Albemarle Building – Larry Robb, in Raleigh. Public Education Building Architect These early projects decorated the interior walls of state office buildings. The first project commissioned after the 1988 legislation went into effect not only defined the exterior of a building as art but defined the potential for public art in North Carolina.

On an otherwise empty government mall in Raleigh, flanked by several multi- storied, imposing buildings, a 96 x 32 foot artwork etched into the exterior red granite wall of the Department of Education building commands attention from all views. The Education Wall, 1992, by Vernon Pratt with the assistance of Georgann Eubanks took four years to complete. Sandblasted into its massive surface are text and other symbols designed to encourage curiosity and celebrate the wisdom of North Carolina’s people. The wall is not just about education; it is also educational. “You are a child. You are suitable to be awed,” a quote taken 8 James and John Biggers, North Carolina Belongs To Children, 1994 (Detail)

from a poem by North Carolina Poet Laureate Fred Chappell, is central to the composition. Fanning out on either side are more quotes and sayings by North Carolina writers, poets, and politicians that speak to education. The wall also includes four bars of a tune by native North Carolinian John Coltrane, Braille text of Chappell’s words, an Arabian proverb about the importance of elemen- tary education, a scientific diagram of how granite is formed, the words “teach” and “learn” written in the Cherokee language, and a colorful drawing of a schoolhouse painted directly on the wall by 7-year old Bethany Dannelly. Eight flat-surfaced benches, hewn from different varieties of granite are located adjacent to the wall. They are also sandblasted with text and provide the context for the wall’s words and imagery. The project’s scope and what, to some, was the graffiti-like quality of its subject matter evoked heated debate at the time of the work’s installation. As with much controversial art, the Education Wall has become an accepted visual addition to the Government Mall complex in Raleigh.

Murals like the Education Wall remain a popular form of public art, not only as decoration for a blank wall but in their ability to convey messages and meaning to large numbers of people passing through a public space. Other state building walls also have been enhanced through the inclusion of painted murals and different forms of wall art as part of the Program.

State legislators and visitors are welcomed into the North Carolina Legislative Building in Raleigh by a spectacular 30-foot painted canvas mural. Created by James Biggers with assistance from his uncle and master muralist John Biggers, North Carolina Belongs To Children, 1994, is an intricate painting of overlapping, translucent colors and imagery enmeshed in a grid of triangles that recall the vitality of African textiles. The mural reads like an unfolded map of North Carolina. Repre- sented within the quilt-like design are the topography, industry and symbols of the state from the mountains to the coast. Scattered throughout the upper register are the state bird (cardinal), tree (dogwood), animal (gray Robert Delgado, The Faces of Science, 1999 squirrel), and 10 other state symbols. The lower register features stylized figures of children, which symbolize the future, playing 9 Robert Johnson, Eight Views of Mt. Pisgah, 1997

with toy models. Each toy has a specific reference to aspects of North Carolina history, its people, culture, and industry. A printed brochure helps visitors understand the layers of imagery.

On a similar scale, though divided over four separate wall surfaces, is a series of paintings completed for the Edward B. Fort Interdisciplinary Research Center at N.C. A&T State University in Greensboro. Located in the atrium area on the fourth floor of the building, The Faces of Science, 1999, by Robert Delgado is a four-part mural composed of layers of images based on past and present scientific research (p. 9). Depicted in the mural are 46 portraits of astronauts, physicists, chemists, engineers and other pioneers in the field of science. Predominantly African American, the portraits include Tuskeegee University’s George Washington Carver, plus astronauts Ronald McNair, Mae C. Jemison, M.D., and heart specialist, Dwight Davis, M.D., all N.C. A&T graduates. The portraits Connie Bostic with A Thorn of Memory are combined with imagery of scientific equipment, a chemical simulation of mural, 1996 hydrogen bubbles, and scientific symbols from a variety of ancient cultures, all reflecting the work being done at the Center.

The Thomas Wolfe Memorial Visitor Center lobby in Asheville boasts 144 individually painted panels that make up two wall murals. Collectively entitled A Thorn of Memory, 1996, by Connie Bostic, the imagery for each panel was inspired by Wolfe’s poetry and prose. Images such as a stone, leaf, door, bed, angel, heart and other visual representations of themes running through Wolfe’s work provide a rich language for metaphorical interpretation.

Mount Pisgah is the subject of Robert Johnson’s 1997 mural, which hangs above the reference desk at the Ramsey Library on the campus of UNC-Asheville. Not content Chandra Cox and Charles Joyner, just to render Mount Pisgah as seen in the distance from the library steps, The Fabric of Life, 1997 Johnson’s eight-panel mural, entitled Eight Views of Mt. Pisgah, offers different visions of the landmark. The four seasons are depicted, but corresponding to each season are imaginative scenes of the future. The summer panels show the future of the mountain if the land is managed properly and become symbols for

10 good government. The fall panels represent free enterprise and a ruling aristoc- racy. The winter panels depict visions of the apocalypse, while the spring panels illustrate the artist’s own preservationist view of an ecologically sound future. Johnson’s imaginative interpretation of the landscape has its historical precedents in Medieval and Renaissance painting. The arch-shaped panels are mounted on a silhouette of Mount Pisgah that is 23 feet long.

The Fabric of Life, 1997 is a series of three abutted canvases above and on either side of a receptionist window in the lobby of John Biggers, Family Arc, 1992 the Jones building at N.C. Central University in Durham. The mural, conceived and painted by the team of Chandra Cox and Charles Joyner, links the African American experience with the university’s mission of truth and service by employing imagery based on the Adinkra language of the Ashanti people of West Africa. Adinkra is a visual code of conduct that guides one’s personal and communal behavior. The symbols were chosen because the building houses the community service program of the university. The images represent the values that are espoused by the university and taught to its students. A visual guide mounted on a nearby wall provides an interpretive key. Also at N.C. Central University, limited edition color lithographs were purchased for the Student Services Building. Family Arc, 1992 by John Biggers, is an inspirational depiction of an African American family surrounded by images of traditional African culture. Michael Harris’ eight-color print, Mothers and the Presence of Myth, 1994, is semi-abstract and juxtaposes elements and symbols from Yoruba shrine paintings with vintage family photographs, signs and words from the Yoruba and other African languages. The two prints adorn the walls of a second floor reception area.

The Tools We Use, 1996 is a two-part, low relief, ceramic tile mural consisting of 63 pieces that hang on two walls across from each other in the second floor walkway/gallery of the Belk Building at Western Carolina University in Cullowhee (p. 43). The building is home to several departments including art, design, textiles, and industrial and engineering technology. The two wall pieces Cary Esser and Al Frega, Rosettes, 1999. incorporate images inspired by the tools and machinery used by the various departments. The tiles in each mural begin as very low-relief squares with enigmatic shapes. As they arc across the wall surface, the tools morph into literal yet whimsical objects.

As part of the artwork produced for the Old Revenue Building in Raleigh, Cary Esser created a series of five carved, ceramic plaques entitled Rosettes, 1999. Each plaque beautifully depicts a flower native to North Carolina. The plaques are set into sculptured steel frames fashioned by Al Frega, Esser’s collaborator on the project. The plaques grace the wall behind a security desk.

George Handy’s ceramic tile mural created for the lobby of the Justice Fitness Center at UNC-Asheville added a new dimension to the usually static mural form. Passing the Baton, 1997, illustrates a number of figures in a variety of athletic poses and movements. The dynamic composition is enhanced by the artist’s use of ceramic stereographic holography. This technique, perfected by Handy, uses two contrasting colors sprayed on the adjacent facets of a vertically corrugated surface. As the viewer moves past the mural, some of the figures change color. The effect is visual, but also helps the artist convey a message of George Handy, one’s perception about racial and cultural differences. The mural is made up of Passing the Baton, 1997 246 separate tiles.

11 Mary Ann Mears, Sky Dancing, 1994

Sculpture – FROM MARBLE AND BRONZE statuary to abstract steel forms, freestanding sculpture has endured as one of the most common types of art to be placed in Not Cast In Stone public spaces. Sculptural artworks in a variety of materials and styles form a sizable core of the art commissioned through the Program.

“The concept for the In 1979, Jim Gallucci produced a minimalist interpretation of a mountain valley sculpture emerged from in a sculpture entitled Vale (p. 32). Purchased through the newly formed Pro- gram, then called the Art-in-State Buildings Program, in 1984 and sited on the the use of the facility. grounds of the Archives and History–State Library Building in Raleigh, Vale became the first outdoor sculpture to be located at a state building through the The shapes literally Program. Since that time, rather than just purchasing and dropping in pieces of express the energy of sculpture, AWSB project directors and selection committees sought artistic expression that would interpret or give meaning to the site. A second Gallucci physical activity.” sculpture, Mountain Gate, 1997, placed at an entrance to Camp Laboratory at Western Carolina University in Cullowhee, deals with a mountain as subject in a – Mary Ann Mears, artist different fashion. Mountain Gate is in the shape of an arch and was fabricated out of black iron and steel tubing. The movable “door” section of the sculpture contains the contours of the very mountain range one sees in the distance upon exiting the building. The placement of the sculpture near this computer facility connects the natural with the technological and symbolizes a gateway to learning.

Ken Matsumoto first visited UNC-Pembroke after being selected to create an artwork for the foyer of the Administration Building there. That visit included a solitary walk along the banks of the nearby Lumber (Lumbee) River. The tranquil setting and unusual blackness of the water left a strong impression on him. Font (Lumbee River), 1995, is an abstract representation of the river and its ties to the history of the region. The truncated, cone-like sculpture with a partially flat face is constructed of black terracotta. The dark color alludes to the river water. Embedded into the terrazzo are bronze leaves, rendered as to be identifiable as indigenous plant material. The artist had seen leaves floating on the river’s surface and learned that it was their decomposi- tion that contributed to the water’s inkiness. A circular bronze basin is cut into the flat surface of the cone. The font is kept filled with water from the Lumber River, literally connecting the sculpture to its source.

Jim Gallucci, Mountain Gate, 1997 12 Also linked to geography and history is the artwork produced by Thomas Sayre for the courtyard of the Old Education Building in Raleigh. Encryption, 1997, consists of 24 vertical, cast-concrete pillars of varying heights. Each represents the larger cities and towns in North Carolina. Like pins in a map, their placement on the lawn coincides with their geographical location within the state. Each marker’s height corresponds to the represented city’s popula- tion according to the 1990 census. The surface of each column contains a cast impression of those populations expressed in binary code. Both the code and the work’s title perhaps indicate how people tend to be quantified rather than individualized. Each pillar tapers and flares out at different points expressing a human silhouette. Taken as a whole, the sculpture also recalls a grove of petrified sapling trees, and thus becomes a metaphor for growth captured at a certain period in time.

The human figure is more fully referenced in Be Gardiner’s Vessel, 1994, at the entrance to Meadowview Cottage at the Murdoch Ken Matsumoto, Font (Lumbee River), 1995 Center in Butner (p. 42). A tall, cloaked figure, carved from a single block of marble, combines an abstract treatment of the draped body with a sensitive modeling of the face and exposed left leg. The figure that emerges from the stone is dynamic yet peaceful. Suspended above the stairwell inside the Student Recreation Center at UNC-Chapel Hill is a colorful, aluminum sculpture of abstracted human figures. The mobile, entitled Sky Dancing, 1994, created by Mary Ann Mears, suggests a range of athletic activities associated with the facility. Because the figures hang from cables, the shapes gently rotate, animating the composition.

Thomas Sayre, Encryption, 1997 Artwork for another athletic facility also alludes to the human form. Kathy Triplett’s three ceramic sculptures, collectively entitled Working Out, 1996, lend an air of whimsy to the front steps of Reid Gym on the campus of Western Carolina University in Cullowhee. Looking like huge pots from an ancient civilization, their rounded urn-like bodies with upraised appendages humorously comment on the exaggerated physiques of body builders. Xavier Toubes’ ceramic sculpture Nomads, 1990, commissioned for the Center for Public Television in Research Triangle Park also is representative of the human form. The sculpture consists of seven polychromed, abstracted heads set into a table. Even if unintentional, they recall the PBS logo associated with the Center’s programming.

Juan Logan’s stainless steel sculpture, Seed, 1998, is a highly abstracted form derived from mother and child effigy figures found in African art (p. 14). The artwork is sited on the grounds adjacent to the Biology/Biomedical/Biotechnology Center at N.C. Central University in Durham. The sculpture’s dual form metaphorically addresses the human side of biotechnology while expressing the nurturing aspect of the university’s relationship to its students.

A verse by South African poet Arthur Nortje was the catalyst for Dennis Peacock’s (Other) Voices, 1996, created for the plaza walkway between the O’Kelly Library and the Thompson Student Kathy Triplett, Working Out, 1996 Services Building at Winston-Salem State University. Peacock’s

13 Juan Logan, Seed, 1998

14 Robert Roesch, Orion, 1999

large-scale, steel sculpture is non-objective (p. 44). In its boat hull and arcing rib- like forms, it is a symbolic visualization of the poem’s themes of crossroads and choices, obstacles, and commitment. Such a minimalist sculptural form was selected as it complemented other large-outdoor abstract sculptures on campus.

Two similar multi-form sculptural pieces by different artists are also connected to their sites. Near student dorms on the campus of the N.C. School for the Arts in Winston-Salem, is Jim Hirschfield’s and Sonja Ishii’s Monument to an Arts Education, 2000 (p. 35). The artwork consists of three painted steel obelisks in a triangular configuration. Each pylon rests upon a concrete slab. Steps ascend part way up each pylon on one side. Laser cut into each side of the obelisks are images borrowed from the photographic studies of Eadweard Muybridge, a 19th century photographer. Muybridge’s experimental photographs of figures in motion combined theater, rhythm and art, and led to the development of cinematography. The reference to Muybridge’s photographs relates to the study of all the arts at the school, which includes film. The cutout images represent ideals inherent in training to be an artist - striving for a goal, taking risks and hard work. Atop the pylons are a sculpted set of steps, a ring and a rock, objects that symbolically reinforce those ideals. Robert Roesch’s Orion, 1999, also utilizes pyramidal forms. Situated in a plaza in front of the Science Complex at Appalachian State University in Boone, Roesch’s sculpture replicates, in placement, the position of the seven brightest stars in the constellation Alvin Frega, Chalice, 1996 Orion. The four-sided pyramids range in size from 8 to 16 feet and are constructed of faceted, stainless steel. Each pyramid is lit from within and topped with a blue landing light, so at night the constellation in the sky is reflected on the ground.

Chalice, 1996, by Alvin Frega takes the form of a seven-foot tall drinking vessel fabricated from discarded pieces of stainless steel. The chalice is a symbol of receptivity and healing and is appropriately placed at the entrance to the Moore Hall Healthcare facility at Western Carolina University in Cullowhee.

15 Art By Community

“After talking with the artist, the students understood that through life we have decisions we have to make. Life can be easy like a calm sea or difficult like a moun- tainous terrain. The Decisions mural has both.”

–Stanley Smith, Program Manager, Group Home, New Bern, N.C.

Mary Ann Mears, Oasis Diffraction, 1999

PUBLIC ART IS MORE THAN just painting and sculpture placed in a public space. Inherent is the notion of citizen involvement and a result that reflects a collective expression. Every project created through the AWSB Program involved public input. Project selection committees were made up of representatives of the site, including faculty and students if the artwork was to be placed on a campus, the building architect/engineer, other artists, and community representatives. In many instances, involving community members in the creative aspects of the project itself further emphasized the “public” in public art.

The first, large-scale artwork commissioned by the state, Gnomon, 1985, at the N.C. School of Science and Math- ematics in Durham was conceived as a community art project (p. 31). Thomas Sayre drew his concept and design from student investigations into astronomy and astrophysics. Sayre then worked in conjunction with the Morehead Planetarium at UNC-Chapel Charlie Newton, New Bridge, 1993 Hill and NCSSM students to translate this research into a 16 work of art. The 28-foot high concrete slab sculpture was devised to function, like its ancient mystical counterparts, as a compass, sextant, calendar, and clock. The work continues to play an important role in the students’ lives and teaching at the school. This project set the standard for a public art program that continued to invite community interaction.

Student participation is also evident in Mary Ann Mears’ brightly colored, dynamic, suspended, ceiling sculpture created in 1999 for the atrium of the Educational Technology building at NCSSM. Conver- sations the artist had with students, faculty and staff inspired the theme and form of the sculpture. The abstract sculpture is rich in meaning. The shapes reflect a Mobius Strip (a non Euclidian geometric form possessing the curious property of having only one side and one edge), a willow oak leaf, a deer’s ribcage from the science lab, and wave patterns that relate to broadcasting. A student competition was held to name the sculpture. The title, Oasis Diffrac- tion, combines scientific terminology that describes the sculpture’s displacement of the empty space with the idea that school is an oasis of knowledge, as well as how such knowledge is diffused throughout the state via the long-distance learning center housed in the facility. Involving students, faculty, and staff in the process went a long way toward making the artwork part of the school’s identity.

Residents painting Mural projects completed in 1993 for state Multipurpose Juvenile Homes Decisions mural, 1993 exemplify how community participation factored into the finished artwork. These projects also demonstrated the power of public art to foster self-esteem as well as its usefulness as an educational tool.

Charlie Newton served as an artist-in residence at juvenile facilities in Franklin, New Bern and Lumberton. During his weeklong residencies, students learned about the history of mural painting, kept a journal and sketchbook, and discussed issues in their lives one-on-one with the artist. Through the course of the week, students developed a common theme and suggested imagery for the murals. Newton then worked alongside the students to paint each mural. The murals, New Bridge in Franklin, Decisions in New Bern and Education in Lumberton, show creativity and a hopeful outlook for the future (p. 34). Painted directly on the walls of each facility’s dining hall, the murals are reminders Lisa Kaslow, Folkway Arcade, 1999 of successful team efforts and also illustrate that productive and creative outlets exist to express young thoughts and opinions. Sadly, a broken water pipe destroyed the Decisions mural in January 2000. However, the remaining murals stand as testimonials to the power of positive self-expression.

17 Al Frega, Altar, Pulpit and Lectern, 1994

18 In a similar vein, Al Frega fashioned his functional Altar, Pulpit and Lectern, 1994, for the chapel at the C.A. Dillon School in Butner from discarded guns, knives and other found-metal objects. Based on ideas suggested by staff and students, the artist took things potentially harmful and turned them into something useful and beneficial to society, symbolizing the aim of the school. Residents of Parkview Cottage at the Murdoch Center use drawing as an emotional outlet. Paul Sires drew on workshop experiences with the residents to create an abstract, carved granite wall panel Silas Kopf, Untitled, 1992 for the reception area. Source, 1993, reflects icons of a spiral, leaf and lines intersecting at a central point (p. 41).

At N.C. Central University in Durham, Kathy Tripplet conducted workshops with students about how abstraction conveys meaning. The sessions resulted in concepts and images for two ceramic tile murals for the interior walls of the Childley Hall dormitory. Entitled Growth, Freedom and Obstacles and Eyes Wide Open, 1998, the sculpted murals reflect college life (p. 41).

Lisa Kaslow turned to students at Elizabeth City State University to assist her in the selection of the diversity theme and final cultural emblems for her Folkway arcade installed at ECSU’s Fine Arts and Mass Communication Building in 1999 (p. 17). When one of the fence panel designs was questioned due to a possible misinterpretation of the symbol’s meaning, Kaslow brainstormed with students, faculty and administrators for a different symbolic pattern that met with everyone’s approval. The fence panels continue to be the focus of classroom activities and lesson plans designed by ECSU art education students. Likewise, Silas Knopf would not have been so successful with his artwork for the National Guard Military Center in Raleigh if it had not been for the involvement of the National Guard community at every step of the process. Kopf’s untitled work, completed in 1992, is a wall piece in wood marquetry. The artist used 30 types of wood to depict a citizen shifting from civilian life to active duty. In the artwork, a civilian peers into a mirror and the image reflected back is that of a soldier. Kopf consulted National Guard commanders for the accuracy of the uniform and other objects indicative of the National Guard.

In a series of hand-colored woodcut portraits, created for the hallways of the Tate-Turner-Kuralt School of Social Work at UNC-Chapel Hill, Judy Byron expanded the idea of community interaction. As part of Judy Byron, Who We Are, 1997 the project, Byron traveled the state taking photographs of people she met and getting to know each of her subjects. Her 12 larger-than-life portraits, collectively entitled Who We Are, 1997, reflect North Caro- lina society as a whole while expressing the unique character of each person depicted. Each portrait is accompanied by the questions “Who are these people?” “Who are they to each other?” and “Who are they to you?” The questions invite viewers to consider themselves in relation to others. These visual statements about humanity are so well expressed that this artwork has been featured in several publications including the National Urban Institute’s 2000 Annual Report.

19 David Wilson, Untitled, 1997

Architectural MORE THAN HALF of the artworks commissioned through the AWSB Program were created for the state’s universities including University of North Carolina Embellishment campuses in Asheville, Chapel Hill, Charlotte, Greensboro, Pembroke and Wilmington; N.C. State University, East Carolina University; Fayetteville State 101 University; Elizabeth City State University; N.C. Central University, N.C. A&T State University, Winston-Salem State University, Appalachian State University and Western Carolina University. While several of these university projects “We express our values resulted in more traditional forms of sculpture and painting being placed in or by what we build. And around buildings, others were architecturally daring.

in building for future A campus construction boom in the 1990s afforded an opportunity for selected artists to work in collaboration with the architects, engineers, contractors and generations of students, even construction crews to incorporate site-specific artwork into the building we must find a way to projects themselves. Such projects required close interaction between artist and architects, often to the advantage of both. These joint efforts found new solutions include public art – to aesthetic as well as functional issues that arose during the building design phase. Integration at an early stage enabled the artist to design and modify their to lift their spirits and art to best suit the architecture. Depending on the building’s construction feed their souls.” budget, the artworks ranged from integrated architectural features to plazas and entranceways. – James Moeser, Chancellor, UNC-Chapel Hill One of the grander architectural embellishment projects was the brick plaza designed by Jun Kaneko in conjunction with the construction of the Engineering Graduate Research Center on N.C. State University’s Centennial Campus. The design master plan described the new Centennial campus as a collection of 20 academic neighborhoods with each having at its center a unique and identifiable shared space. Planners conceived the Centennial Plaza as a common space for the first of 12 planned building clusters. The plaza was envisioned as a hard- surfaced, formal space to accommodate not only movement between the stark, geometrically ordered buildings, but as a location for organized gatherings. The plaza would need to remain open and not be blocked by permanent seating and other natural or man-made objects. Kaneko’s Liquid Order, 1996, responded to the dictates of the plan in every way. Working with faculty, staff, and students, as well as the project architects, Kaneko created a 24,000 square foot plaza using 108,000 low cost brick pavers. The dynamic paving pattern is visually complex as rows of parallel lines shift at unexpected Jun Kaneko, Liquid Order, 1996 intervals. Kaneko’s design reflects the essential qualities of order and unpredict- ability found in nature and science, and symbolizes the importance of improvisa- tion, accident, and the deceptively obvious in research and invention.

At UNC-Chapel Hill’s Tarrson Hall School of Dentistry, Wopo Holup inlaid more than 100 bronze fish-like forms into the concrete steps and paving stones that surround a small pedestrian plaza and seating area near the building. The fish cascade down the steps and circle the plaza. At one end of the plaza is a bronze medallion depicting Hygeia, the Greek goddess of health. At the other end of the plaza, a sandblasted silhouette portrays the goddess offering a saucer of water to a bronze snake. Entitled Hygeia Stream, 1997, the work evokes healing waters. The idea of using inlays was, not surprisingly, appealing to the dentists on the selection committee, and the work whimsically resolved the issues and cost involved in incorporating an actual water feature into the plaza design.

David Wilson’s Untitled, 1997, architectural glass window commissioned for the McColl Building at the Kenan-Flagler Business School at UNC-Chapel Hill is impressive. Spanning more than three stories, the artwork is an elegant combination of geometric and organic designs etched into clear, beveled, and dichroic glass, which changes color depending on the angle of the light and the viewer’s vantage point. Patterned shadows play across the Wopo Holup, Hygeia Stream, 1997 building’s interior walls animating the open and spare interior space. The window is beautifully integrated with the building’s stair railings and marble floors. The choice of clear glass enables an unobstructed view of the nearby woods.

Floors also offered a palette onto which public art could be incorporated into the architecture. A 3,000 square foot terrazzo floor in the atrium of the Lineberger Com- prehensive Cancer Center on the campus of UNC-Chapel Hill was likewise a successful site-specific, collaborative project. Richard Fleischer created a colorful overlapping floor pattern inspired by North Carolina’s history of quilt making. The Center is a place that brings together different people (research scientists, doctors, students and patients) in the common pursuit of finding a cure for cancer. Fleischer’s Untitled, 1997, floor design, with its patterns leading to and from the building’s corridors and ramps, serves to Connie Floyd and Charles Joyner, Damedame, 1998 define the functions of the atrium space as a passage as well as a destination (p. 34).

21 An attractive ceramic tile floor designed by artists Connie Floyd and Charles Joyner for the lobby of Dudley Hall at N.C. A&T actually cost less than the plain marble floor the architects had originally proposed. The floor tiles incorporate African symbols into an abstract symmetrical design that also shares an affinity with the classical architecture of the historic building. The title of the work, Damedame, 1998, refers to the Adinkra symbol for intelli- gence in Ghanaian culture, a fitting reference for a university setting (p. 21). A project completed for the Health, Physical Education and Recreation Complex at Fayetteville State University in 1994 also reflects the African Herb Cohen and Jose Fumero, American history of that school. Ceramicist Herb Cohen and painter and fiber Untitled, 1994 artist Jose Fumero created patterned design elements to incorporate into the building including floors, interior columns, ceiling beams and sound baffles. They collaborated with the architects on devising the color scheme for the paint, vinyl and ceramic tile, as well as, carpeting and furniture to complement the building’s architecture. The linear patterns throughout are derived from the textile designs found on Kente cloth of the Ashanti people of West Africa. The rhythmic nature of the patterns also facilitates movement through the building.

The artwork produced as part of the Academic Support Building project at Appalachian State University is not incorporated into the building, and yet it is very much a part of the overall architectural statement. Colloquy, 1997, by Tom Stancliffe consists of two 17-foot high bronze and stainless steel columns that open at the top into flame-like shapes. The columns flank a stairway leading to the entrance of the building. Besides functioning architecturally as a portal as one passes between them, they mirror in solid form the two convex glass facade elements on either side of the building’s entrance. It would be difficult to imagine the stairs up to the building without them. The prominent location of the Tom Stancliffe, Colloquy, 1997 artwork creates a highly visible marker for pedestrian and vehicular traffic entering campus. The columns also reflect the building’s function, as colloquy means dialogue.

An 18-foot high, freestanding bronze column situated in the main lobby of the School of Music at UNC-Greensboro visually connects the lobby level with the classrooms on the floor above. Tom Otterness’ Music Lesson, 1999, may be viewed from both levels with a different appearance at each. Atop the column are four of the artist’s signature cartoon figures holding a globe aloft. Standing on top of the globe is a fifth figure playing a trumpet heralding the school’s prominence as a world-class institution. The sixth and final figure appears at the floor level near the entrance to the recital hall and adjacent to a donor plaque, reinforcing the correlation between enlightened minds and philanthropic tendencies. All the figures are female, which refers to the school’s history as a women’s college before becoming co-ed.

Tom Otterness, Music Lesson, 1999

22 Enrique Vega, Healing Suns, 1995

Form, And ART INTEGRATED WITH familiar urban features like benches, lighting fixtures or bus shelters, or infused within infrastructure in the form of sidewalks, drain Function covers, bridge abutments or sound wall designs is a way of creating a more attractive environment. Several AWSB projects prove that utilitarian does not “Art interrupts have to mean plain. Something as standard as a security gate can serve its intended function and still provide visual appeal and identity. the mundane.” A courtyard security fence at the B. Gene Barrett Building on the campus of John – John Outterbridge, artist Umstead Hospital in Butner could have been a forbidding addition to the hospital environment. However, in his artwork Healing Suns, 1995, Enrique Vega incorporated 54 etched glass panels into a prefabricated steel fence. The design visually symbolizes the process of recovery through its storm cloud-like forms that soften as they move toward a central, radiating sun. Two iron and steel gates on each end of the fence, also with etched glass panels, echo the theme of healing in their stylized “swords into plowshares” design derived from the hospital’s logo.

A pair of sculpted steel and bronze gates greets visitors to the Spring and Stream gardens at the N.C. Arboretum in Asheville. Drawing their inspiration from the region’s flora and fauna, area blacksmiths David Brewin and Joseph Miller forged two lattice-style gates to complement the gardens that lie beyond. Completed in 1996, the Spring Garden Gate features a meander- ing mountain spring surrounded by rhododendron leaves and pitcher plants. A variety of identifiable animal tracks suggest the many woodland creatures that drink from the spring. The design of the Stream Garden Gate repeats the stream motif while sycamore trees are represented on either side of the flowing water (p. 35). Metal trout jump in and out of the David Brewin and Joseph Miller stream. A bird, lizard, turtle, snake and a pair of raccoons also in their studio, 1996 inhabit this charming scene fashioned by Brewin and Miller.

23 Children and adults alike gravitate to Horace Farlowe’s multi-piece sculpture Zoological Egg Rest, 1994, (cover) which also doubles as seating. Located in the North American habitat at the N.C. Zoological Park in Asheboro, Farlowe’s massive marble sculpture melds architectural forms with elements of nature. Resting on the horizontal elements and the pavement are enlarged marble eggs from different marshland bird, animal and reptile species. A nearby sign identifies each egg. The success of this early AWSB project led the Zoo to develop its own public art program. To date, the Zoo has commis- Hanna Jubran, Unity, 1996 sioned and installed 39 artworks on the Park grounds. Another sculpture that doubles as seating is Hanna Jubran’s Unity, 1996. The form-pored concrete sculpture, placed in the courtyard of the Honors Residence Hall on the campus of Fayetteville State University, has become a popular gathering place for students.

The outdoor plaza and eating area at the N.C. Museum of History in Raleigh features a large granite bench designed by artist Paul Sires. Sire’s Leaf, Spiral, Wave bench, created in 1992, is hewn from natural and polished Salisbury Granite that complements the stone facing of the adjacent museum building (not illustrated). Carved into the bench seat are patterns found in nature. Equally utilitarian, but wholly unique is Alvin Frega’s sculpted table in the lobby of the Old Revenue Building in Raleigh. Entitled Relic/Altar, 1999, the table base, which resembles a large dollar sign, is constructed of metal objects the artist discovered in the building’s basement during renovation. This delightful detail pays homage to the building’s former function as the state’s revenue office. A permanently attached sculpted ceramic urn by Carrie Esser sits on the marble table top, adding a decorative air to the sculpture. The table height and its proximity to the counters, where clerks dispense licensing information and forms, make it a fully functional writing surface.

For one of her commissions at the Childley Hall Dormi- tory at N.C. Central University in Durham, Kathy Triplett used ceramic tiles depicting the university’s eagle mascot to rendered basic exterior flowerbed retaining walls into enjoyable works of art. Eagle and Open Mind, 1998, demonstrate that with minor decorative touches the common can be made uncommonly interesting.

Alvin Frega, sculpted table, Relic/Altar, 1999 Ceramic urn by Carrie Esser 24 Christine Hilt, Page Laughlin, and James Davis, Nature/Nurture, Nurture/Nature, 1994

Public Art - ARTISTS HAVE BEEN interpreting the natural world or commenting on humankind’s relationship to nature for centuries. A few Program projects blur Naturally the distinction between art and nature by incorporating nature’s elements into artistic expressions that heighten our experience with the world in which we live.

“I was very concerned There could not have been a more appropriate location to experiment with in the beginning. I was landscape design as public art than at the 10-acre grounds at the Donald W. Eaddy Agronomics Laboratory in Raleigh. The function of the Agronomics not sure we would come Division of the Department of Agriculture as a mediator between the needs of nature and those of society and between natural processes and interventionist out with something that procedures gave rise to an environmental artwork that takes into account the would be acceptable to physical requirements of the grounds as well as the Division’s mission. Visual artist Page Laughlin and landscape architects Christine Hilt and James Davis the agricultural worked as a team to create Nature/Nurture, Nurture/Nature, 1994. Gentle slopes and rural plantings enhance the western portion of the site, representing nature. community. But the The eastern side is landscaped with formal beds and represents nurture. Large (artwork) really letters forming the words “Nature” and “Nurture,” fashioned with metal edgings, are sunk into their respective embankments and planted with lariope. As people describes our travel back and forth in front of the Agronomics Laboratory, the reading of the site switches between Nature/Nurture and Nurture/Nature. Initially skeptical that mission here.” such an artwork would be acceptable to the agricultural community, long time Director of Agronomic Services Donald Eaddy was happy with the results. -Donald Eaddy, Director of Agronomic Services 1969-1999 Relaxed Space, 1998, the artwork developed for the Piedmont Triad Farmers Market in Colfax, employs landscape and sculptural elements to transform an unused grassy area between two retail market buildings into a place for people to gather and enjoy (p. 27). Artists and landscape designers Roger Halligan and Jan Chenoweth erected, at the center of the space, a four-sided wooden ramp surmounted by a four-sided trellis. The platform allows visitors access to the planted trellis while cleverly hiding a large storm pipe access portal that had previously rendered the space unusable. Placed around the perimeter of the open area are three hand-troweled concrete benches decorated with different vine motifs. The vines are sculpted in low relief and colored with pigment soaked directly into the concrete. The space now supports all manner of commercial and recreational outdoor activities. 25 Mike Cindric, Frank Harmon, Judy Harmon, and Susan Topikar, From Here to There, 1999

26 Roger Halligan and Jan Chenoweth, Relaxed Space, 1998

A collaborative project for Dorothea Dix Hospital in Raleigh further illustrates the practical design potential of public art. From Here to There, 1999, by Mike Cindric, Frank Harmon, Judy Harmon, and Susan Topikar, was conceived as a multi-disciplinary work. The sculptor/painter, architect, and landscape architects worked together to create a permanent outdoor installation consisting of natural, architectural and sculptural elements. The artwork addresses the issue of finding the way to the somewhat hidden entrance of McBryde dormitory. A row of planted cedar trees directs visitors from a distant parking area toward the dorm. A red wooden pavilion, flanked by sculptural benches, marks the juncture of the two sidewalks where visitors change directions to head toward the dorm entrance. A tiered circular mound with flowers and shrubs provides a second focal point. The planted bed can be enjoyed both from the ground and from inside the dormitory rooms. The mound is planted year-round with seasonal plants propagated through the hospital’s Horticultural Therapy Program and cared for by patients and staff, making the work participatory as well.

Thomas Sayre’s outdoor garden room in front of the Physical Science Building at UNC-Wilmington also incorporates sculpture, landscape design and natural materials into a single artwork that embellishes the walkway to the front of the building. Kahn’s Garden, 1997, was inspired by a poem by the 19th century English Romantic poet Samuel Taylor Coleridge. The artist saw the poem as a metaphor for the creative process. Elements of the garden room are symbolic. The walkway represents a river. The sculptural forms (a shell and wooden moorings) and plant materials (sea oats and saw grass) allude to the poem but also reference coastal ecology. Faculty and staff suggested scientific symbols that the artist cast in the surface of the round dome-like sculpture/bench, also inside the garden room. The low-walled Thomas Sayre, Kahn’s Garden, 1997 room provides a gathering and seating area for students on their way to and from classes in the building.

27 Betty Miller, American Sign Language: Past, Present and Future, 1996

LIGHTS, SEVERAL AWSB ARTISTS incorporated mechanical and technological components into their artwork as a means of creating a more dynamic and/or participa- SOUNDS, tory artistic expression. Projects ranged from light and sound application to enliven a space to manipulating the artwork and the viewers experience through ACTION! computer controlled video and robotics.

“The interactive A shining example of how light can be employed both as a medium and for meaning is Betty Miller’s American Sign Language: Past, Present and Future, 1996. elements of The huge neon wall relief hangs in the entrance lobby of the James F. Massey Student Activity Center at the Eastern North Carolina School for the Deaf in “Sonic Plaza” allow Wilson. Seen from the second story window by students and by visitors as they individuals drive onto campus, the neon artwork symbolically tells the history of American Sign Language (ASL). Miller, herself deaf, uses shape, color, light, and direction to play with the to convey the story. The work reads from bottom to top and from the sides to the center. Hands and eyes, a deaf person’s means of communication, dominate the architecture.” composition. The bottom register shows hands at rest and the dark blue and purple hues convey the oppression and the inferiority that deaf people were –Christopher Janney, artist made to feel when they first began to use ASL. The second tier represents the and architect awakening pride in ASL as symbolized in the eyes and open hands. Finally the brightly hued eyes and hands in the top central portion allude to an acceptance of ASL as the first language of deaf people.

Light from a different source plays an important role in two engaging artworks created for UNC-Charlotte. Sited between the E. K. Fretwell Building, which houses the College of Arts and Sciences, and the Ida and William Friday Build- ing, home of the College of Business Administration, the artworks speak to the two schools’ curricula. Cyrillic Projector, 1997, by Jim Sandborn, is a perforated bronze cylinder lit from within. Encoded text in Cyrillic is cut out of the bottom portion of the cylinder. The top portion of the cylinder includes a decoding chart. The puzzling text, once decoded, warns of the dangers of suppressing intellectual and artistic freedom. The sense of intrigue is heightened at night when the text is dramatically projected onto the brick pavement, an adjacent wall and the buildings themselves. Sanborn’s second sculpture, Adam’s Spinning Top,

28 1997, takes the form of a solid, inverted bronze cone supported by a perforated wall of text unfolding scroll-like from the cone. Here, the words are taken from the writings of three well- known economists from the 18th (Adam Smith), 19th (David Ricardo) and 20th (John Keynes) centuries about the benefits of a free market economy. Both works are well suited for the academic environment as they pose elements of inquiry.

A “sound tapestry” was how Bill Fontana described his sculpture for the atrium of the State Revenue building in Raleigh. Spiraling Sound Axis, 1993, an artwork consisting only of sounds, was conceived to create a Jim Sandborn, less imposing building space and to meet architectural dictates that nothing Cyrillic Projector, 1997 should impede on the openness of the rotunda. From 1991 to 1993 the artist traveled around North Carolina recording sound samples that represented the state’s history, industry, people, culture, and environment. A thunderstorm in Wilmington, a tobacco auction in Wilson, Cherokee storytellers, a fiddler’s convention in Mount Airy, morning preparations at Old Salem, waves crashing at the coast, birds, frogs, and geese are just a few of the hundreds of sounds Fontana recorded and wove into his piece. The work itself is made up of three CD players, amplifiers and 36 speakers hidden throughout the rotunda and entranceways of the building. The taped sounds are heard randomly throughout the space. The sounds were meant to be a welcoming, yet unexpected experience. To employees and visitors the random sounds were disconcerting. Controversy ensued that went well beyond the issue of the sounds, raised the age-old debate as to “what is art” and called into question the Program’s purpose. Unlike the issues concerning the Education Wall, which eventually subsided, Spiraling Sound Axis continued to draw complaints and was shut off for an extended period of time. Eventually, a compromise was reached with the artist and the building’s occupants. The artwork was re-engineered to limit the sounds to only the entrance vestibules and to be heard for only two hours a day.

Physical activation of a space is the intent of the artwork installed by David Judelson in the atrium of Samuel and Angeline Smith Hall, which houses the School of Technology at N.C. A&T State University. Judelson responded to the school’s technological mission by installing a kinetic sculpture 30 feet off the lobby floor. In his aptly titled artwork, Cubic Mambo and Partner, 1998, two motorized aluminum mesh cubes with embedded colored light tubes are suspended from a 110-foot long steel track. The cubes move toward and away from each other in an irregular rhythmical pattern across the track. The two objects meet at random intervals. As if discovering each other for the first time, the moment is celebrated by a show of colored lights. Although the sculpture itself is mechanical, movement is activated only when people enter the lobby area. Several programmable control boards feed and receive information to and from a central computer, which controls the sequence of movements.

David Judelson, Cubic Mambo and Partner, 1998

29 Christopher Janney, Sonic Plaza (Ground Cloud, foreground, Media Glockenspiel, Percussion Water Wall, and Sonic Gates), 1998

Sonic Plaza, 1998, created by Christopher Janney for the Joyner Library Plaza at East Carolina University in Greenville, was without a doubt the most ambitious and interactive project of the Program. The plaza received international recognition and is a wonderful example of incorporating art with architecture to create a sense of place. Sonic Plaza consists of four distinct elements—Sonic Gates, Percussion Water Wall, Media Glockenspiel, and Ground Cloud. The playful, interactive character of these works belies the complexity of the various computer systems that activate them. At the entrance to the plaza, Sonic Gates enhances the original classical columns of the library plaza. As people pass through the columns, they trigger photoelectric cells that activate a variety of melodic sounds from speakers hidden from view. The more people the more sounds. The Percussion Wall is equipped with 64 water jets arranged in a grid. Water spews out in continuously changing patterns, synchronized to a composed percussive score. Within an 85-foot high clock tower, Janney installed Media Glockenspiel. Like the glockenspiels of old, Janney’s clock has a large, central trap door from which sculptures emerge four times a day. Instead of a clock face, a dozen video monitors surround the glockenspiel door. Finally, a misting foun- tain in an open area of the plaza emits a cloud of hovering water vapor. Even the slightest changes in wind speed and direction alters the cloud’s shape. Janney, himself an architect and musician, conceived of Sonic Plaza not only as a fun, interactive space but also as a laboratory for student learning. Students in the media arts, music, dance and even computer sciences work with faculty to arrange compositions for the gates and wall and to create new video works for the glockenspiel.

30 Conservator Ted Monnich examines Gnomon for stress fractures

Preserving WHEN THE STATE designated funds to commission works of art, a commitment was made to preserve this public art collection for the enjoyment of future The Art generations. Responsibility for the collection is assigned to the North Carolina Arts Council, which also administered the Artwork for State Buildings Program. For The The value of the commissioned artwork has nearly doubled to $3.3 million, indicating that prudent management of these assets results in economic as well Future as aesthetic benefit to North Carolinians.

“You can’t leave Many art forms and a variety of materials make up North Carolina’s Public Art anything out in the rain Collection Materials like bronze, steel, and concrete are assumed to be perma- without maintenance, nent, yet the varied environments in which the artworks have been placed pose challenges to the long-term health and integrity of the art. Exposure to moisture, not even your car.” heat, cold, wind, and light; insects, mold, airborne pollutants, accident, vandal- ism, and well-intentioned but misguided maintenance procedures all may – Raymond Kaskey, artist shorten the life expectancy of the art. Those artworks with electronic, mechanical or natural components require a whole other level of care. Artworks installed within buildings are protected from the elements, yet still require care and protection if they are to last. While steps can be taken to mitigate these agents of deterioration, the nature of public artwork is such that, over time, maintenance and repair are required to keep the artwork as the artist conceived it and to preserve its value.

Understanding the ever-changing context of public art, the Program administrators wisely set aside a percentage of the appropriations to create a pool of funds for maintenance and conservation. In 1995, Vale, a sculpture, created in 1979 and located on the grounds behind the Archives and History-State Library Building was the first work to require and receive conservation treatment (p.32). The sculpture was sanded and repainted by the artist - activities that will probably need to be repeated every seven to 10 years with this artwork and others.

31 Program administrators have approached each conservation situation with an adherence to professional standards. Carefully kept records documenting all materials and techniques used in the creation of the works aid conservation decisions. When a problem is identified, qualified conservators and the artists are consulted and recommendations for treatment are made. Any treatment is well documented. A collection management handbook produced in 2000 provides written guidelines for assessing the artworks’ condition, cleaning and general maintenance, as well as contracting with conservation professionals when treatment is warranted. Artworks are examined every three years, or more often if problems are noted. Forms indicating any damage or changes in the environment are completed and become the basis for further professional examination. A committee of North Carolina Arts Council board members and outside art and conservation experts review conservation needs and set priorities as money allows.

Jim Galucci, Vale, 1979

Maintenance and conservation of artworks is complex, labor intensive, and requires a thorough knowledge of the chemical properties of the artwork’s materials. A trained professional must undertake such treatment. On-going care and maintenance of the collection requires an investment of financial resources. The collection is fairly young and thus far the art has required only minor maintenance. In recent years, conservation funds have been allocated to sand, repaint and seal the beautiful steel gates at the N.C. Arboretum in Asheville; repair a damaged concrete bench at the Piedmont Triad Farmers Market in Colfax, and repaint faded sections of the Education Wall and the surrounding benches at the Department of Public Instruction Building in Raleigh. A conservator professionally cleaned and sealed cracks in the large concrete Gnomon on the campus of the N.C. School of Science and Mathematics in Durham, and a challenging conservation of an important painting by George Bireline that had been marred when someone scratched initials into its surface was completed. In addition, several other Program artworks have undergone general cleaning.

The art produced through the Artwork for State Buildings Program is a part of North Carolina’s cultural heritage. As the collection ages, maintenance and conservation will take on greater significance in order to preserve the perma- nence and viability of these public artworks and valuable cultural assets for future generations.

32 David Brewin and Joseph Miller Stream Garden Gate, 1996

A Brief History of North Carolina’s Public Art Program by Linda Johnson Dougherty

“Most of the IN 1982, NORTH CAROLINA’S General Assembly approved the state’s first artworks commissioned public art program. Originally entitled Art-in-State Buildings and later renamed Artworks for State Buildings, the impetus for starting the Program came from a through the Artworks for group of architects, legislators, and statewide arts administrators who had seen State Buildings program examples of public art in cities in the United States and Europe and saw the respond directly to North potential for public art in North Carolina to enliven public spaces. They were inspired by exemplary models of public art, such as Alexander Calder’s sculpture, Carolina’s landscape— La Grande Vitesse, installed in 1969 in Grand Rapids, Michigan. Criticized at first, some literally, others Calder’s sculpture has become, over time, the city’s most recognized symbol, metaphorically. They all, appearing on everything from the city’s letterhead to the sides of its city vehicles. Examples of the positive role art can play in revitalizing the public realm were however, respond to their seen in Seattle, Chicago, Philadelphia, and other cities where art was being site’s unique history, incorporated into the infrastructure of everyday life with artist-designed character, relevance or use. benches, bridges, walkways, plazas, and many other public elements that com- bine function with aesthetics to renew the urban environment. And, they all encourage interaction and dialogue In addition to improving the quality of public places, a public art program was with the viewer and user implemented for the state of North Carolina to enhance the education and enjoyment of the state’s citizens and visitors, to promote a climate in which of the space” business and the arts can thrive, and to recognize the role that the arts play in Jean McLaughlin, “Musings on economic development and community revitalization. Jean McLaughlin, who Art in the Landscape”1 oversaw the Artworks for State Buildings Program (AWSB) from 1982 to 1998, was the key force behind the development and implementation of North Carolina’s first public art program. In describing the inspiration for initiating the Program, she defined “public art as art that is in your everyday environment; it’s not part of a museum collection.” 2 McLaughlin was responsible for developing the Program’s administrative guidelines and procedures and, with the North Carolina Arts Council, oversaw the implementation of this new legislation.

33 The first year of the Program, $5,000 was set aside to fund artwork. The next year this amount was increased to $10,000. In 1987, a bill was ratified that set aside one-half percent of construction costs for new or renovated state facilities with construction budgets exceeding $1 million to commission artwork for the building and/or surrounding 3 grounds. The new legislation went into effect in 1988 In 1995, the General Assembly repealed the law and ended the Program. Contracts had been issued for planned Charlie Newton, Education, 1993 projects prior to 1995, and because the repeal was not retroactive, the Arts Council was legally obligated to complete all of the contracted projects. The last project was completed in 2000. In all, 61 artworks were funded and placed throughout the state between 1982 and 2000.

Because of the disparity in budgets for state-funded building projects, the budgets for the artworks ranged from approximately $2,000 to $130,000. The artworks encompass contemporary art forms including painting, sculpture, environmental artwork, mixed media installa- tions, and artworks integrated with the architecture and functional elements of buildings. North Carolina artists created the majority of the artworks. However, the competitions for the public art projects were also advertised nation- ally, and there are artists represented from across the U.S. in the collection. In keeping with the Program’s intent to reflect the cultural and ethnic diversity of both the state and the nation, artists commissioned to create AWSB projects include 15 women and 14 artists of color. During its short life, the Program was recognized as producing a highly successful collection of public art. As the Program was described by a local newspaper critic shortly after it was repealed:

Richard Fleischner, Untitled, 1997 “What most of these projects have in common is enlivening public environments, a worthy state goal that could inspire private builders to have similar cares. The state program does this through traditional means, such as murals or sculptures, and through more integrated designs. The Artworks for State Buildings Program became a national model by creating a process that yields either type, depending upon the individual construction project and the needs of its designers and users.” Chuck Twardy, “A New Year’s Wish for Public Art” 4

Each project went through a carefully considered process to ensure the participation and input of the people most impacted by the placement of a work of art. The budget for each project, one-half percent of construction or renovation funds, was allocated as follows: 78 percent was allocated for artwork, 20 percent was set aside for the administration, and 2 percent was placed in a pooled, nonreverting conservation and maintenance fund. When a project met the Program requirements, a project manager met with representatives of the building’s user group and the building’s architect. At this meeting, an overview of public art and the Program was presented and possible sites were identified for an artwork. A selection panel was then recommended, which included the architect, the principal user, and three arts professionals (artists, curators, arts administrators). All decisions made by the selection panel were reviewed by the Artworks for State Buildings Committee, which consisted of the Chair of the North Carolina Arts Council, two citizens appointed by the Chair, and the architect and principal user for each particular project.

34 At its first panel meeting, the project was discussed and a selection method was chosen. A call for entries was then developed for the project that was sent to mailing lists of interested artists, advertised in national art publications and also the N.C. Purchase Directory. At the second meeting, artists’ slides, résumés and letters of interest were reviewed, and finalists were selected. The finalists were notified and given information to prepare their proposals. At the third meeting, finalists presented their proposals and were interviewed. The panel then made recommendations for a project artist. Upon approval of the AWSB Committee, a contract with the artist to create the artwork was initiated. The project manager oversaw the design development, fabrication and installation of each project, communicating with the artist and monitoring the progress. When the artwork was installed, the project manager and the artist worked together to present an artist’s talk, panel discussion or tour in conjunction with the artwork. A printed educational handout or a brochure was provided for each project.

One of the more controversial projects in the AWSB collection, The Education Wall, by Vernon Pratt, 1992, can also be seen as one of the most successful public A child puts the finishing touches artworks in the state’s Program (p. 8). It has been criticized for the text that is on the Education Wall incorporated into the artwork—both for its meanings and its aesthetics. Yet, it has also been highlighted in an article in Southern Living magazine as an “out- 5 standing example of art that says something about place.” In 1997, the wall of the Education Building, which displays this 96 x 32 foot work of art, was transformed into a vertical stage by Project Bandaloop, a San Francisco-based dance troupe which combined dance with rock climbing techniques in an awe- inspiring performance which brought the words on the wall to life. The dancers, attached to ropes, started out on the roof of the Education Building and moved down the wall in a performance that blended acrobatics, dance, gymnastics, rock climbing, and flying. Defying gravity, they floated in space, animating a flat, static surface as their movements interacted with the words and images etched into the wall. This free, public performance took place at lunchtime, and a normally deserted plaza was filled by more than 3,000 people who came to watch.

Even as public art has moved toward a more inclusive and democratic process of commissioning artwork for public spaces, it still serves as a catalyst to galvanize the opinions and feelings of a community. Although the reaction to public art often proves that it is nearly impossible to find a common ground in public spaces, moments like the performance of Project Bandaloop on The Education Wall also show that public art just as often has the power to create a common ground and embrace a community.

Throughout history, public art has been used to commemorate, honor, remember, and acknowledge people and events. Whether functional or purely aesthetic, it serves to beautify and re-vitalize public spaces. Public art can be used to mark a place or a passage in time. It can serve to lead the way and guide us to a destination.

Jim Hirschfield and Sonja Ishii, In the last half of the twentieth century, public art has moved away from discrete Monument to an Arts Education, objects placed in public plazas to art that is integrated within a site. In the 1980s 2000 and 1990s, there was a move in the public art field to bring artists onto design teams to work with architects to incorporate artwork into the design of a building or plaza, and public art moved toward the goal of creating a sense of place.

35 Christopher Janney, Sonic Plaza (Sonic Gates, Percussion Water Wall), 1998

In the last decade, public art has changed once again, to focus on community involvement and outreach. In many current public art programs, community members are included in public meetings and on advisory and selection committees. There are public art programs in which both the artist and the community have to apply and be accepted in order to participate. Public art has become art for public places that is by, and about community.

The proliferation of public art programs across the country in the early 1970s was spurred on by the federally sponsored Art in Public Places Program started in 1967 at the National Endowment for the Arts, which provided matching grants for community-initiated public art projects.6 The Art in Architecture Program of the General Services Administration, another federally funded public art program started in 1972, continues to commission artwork for federal buildings across the country.7 Currently, 26 states have percent-for-art programs, which fund public artworks in and around state buildings, with the percentages allocated by each state ranging from one-half to one percent. Numerous cities and counties in the United States have percent-for-art public art programs with budgets ranging from one-half to two percent.8

The purpose of North Carolina’s Artworks for State Buildings Program was to develop and conduct an exemplary public art program that sought to enrich the lives of the state’s citizens through art and to promote the development of artists and craftsmen. The Program addressed the importance of each particular project site—its unique history, character, relevance or use. It was responsive to each project’s community, provided for artistic integrity and diversity, and integrated the work and thinking of artists into the development of the built environment.9

Truly successful public art projects cause you to take a second look, bring you back for another visit, and stay with you even after you leave. As Jean McLaughlin has said, “Public art is necessary—because as we alter the physical environment, we need to be careful how we create space for people. I see public art as one way to make sure there’s attention to people, to human scale, to creativity and imagination. When public art succeeds, it challenges us to think, it sparks our imagination and stimulates our senses and our mental faculties. It is ‘provocative’ in the best sense of that word.” 10

Linda Johnson Daugherty is an independent curator and former project director 36 with the AWSB program. NOTES:

1. Jean McLaughlin, “Musings on Art in the Landscape,” CRITS 97, Discourses on the Visual Arts (Cullowhee, NC: Western Carolina University, 1997), p. 8.

2. As paraphrased and quoted in Eleanor Howe’s, “ The Art of Public Art,” Popular Government (Summer 1999, vol. 64, no. 4) Institute of Government, The University of North Carolina at Chapel Hill, p. 3.

3. This legislation, North Carolina General Statutes, Article 47A, Chapter 143 was amended in 1988 (General Assembly, 1987 Session, Ratified Bill, Chapter 1072, House Bill 274) and revised in 1994 (Senate Bill 1505, 1993 Session). In 1995, the Artworks for State Buildings Program was repealed by the North Carolina General Assembly, N.C. Session Laws, chapter 324, and the program was no longer funded.

4. Chuck Twardy, “A New Year’s Wish for Public Art,” The News & Observer, Raleigh, NC, December 31, 1995, p. 3G.

5. Philip Morris, “Artful Places,” Southern Living, October 1995, unpaginated reprint.

6. The NEA’s Art in Public Places program ended in 1992 after awarding 461 grants for public art projects. After 1992, the NEA continued to fund public art projects through a variety of grant categories and currently organizations can apply to the NEA for matching grants to fund public art projects through the Creativity/Visual Arts category. This information came from a phone conversation with Wendy Clark, Visual Arts Specialist at the NEA, May 1, 2002.

7. For further information on this program, see Patricia Fuller’s foreword in Art in Public Places: A Survey of Community-sponsored Projects Supported by The National Endowment for the Arts (Washington, DC: Partners for Livable Places, 1981), p.6.

8. More information on percent-for-art programs can be found at the Public Art Network website at www.americansforthearts.com. I am grateful to Renee Piechocki, Public Art Network Facilitator, Americans for the Arts, for providing much of this information and for answering numerous questions.

9. North Carolina Arts Council, Administrative Guidelines for the Artworks for State Buildings Program, approved by the Visual Arts Panel, February 11, 1992.

10. As paraphrased and quoted in Eleanor Howe’s, “ The Art of Public Art,” Popular Government (Summer 1999, vol. 64, no. 4) Institute of Government, The University of North Carolina at Chapel Hill, p. 4.

37 Creating Place Through Public Art In North Carolina Communities

“Our public art enhances THE ARTWORKS FOR STATE BUILDINGS PROGRAM spurred interest in developing Asheville's reputation as public art projects and programs in numerous North Carolina communities. In the late 1980s, New Works, a dollar-for-dollar matching grant program administered by the one of the most North Carolina Arts Council, was implemented to encourage organizations to commis- acclaimed arts destinations sion new works of public art. Whether directly influenced by these two state efforts or not, Asheville, Chapel Hill, Cary, Charlotte and Hickory have developed their own in the United States, not public art programs. Many other North Carolina communities and organizations are only defining us adding public art on a project-by-project basis. as a cultural mecca, but As a result of continued interest in public art, the Creating Place: Public Art and Community Design Initiative was created through the North Carolina Arts Council in playing a crucial role 2001. The program’s aim is to educate communities about the benefits of public art as a in our economic logical part of community design and to facilitate the planning necessary to successfully introduce a public art project or program into a community. On-going education about development efforts.” public art is provided through the N.C. Public Art Network. The Network provides a forum for discussing public art issues and practices for professionals and citizens. - Charles Worley, Network activities range from quarterly programs and workshops held in different Mayor, Asheville, N.C. locations around the state to moderating an e-mail group that lists public art commissions in the state and elsewhere. Through the Public Art Network, links are also provided to other regional and national public art advocacy groups and related Web sites. Through the Creating Place Program, grants and advice are provided to interested communities and organizations to help them plan for and then implement public art projects. Creating Place also provides funds for architectural planning for arts facility construction or renovation. In 2001, Creating Place grants went to 11 communities or organizations. A list of those organizations and the funded projects is available through the North Carolina Arts Council’s Website, www.ncarts.org. As evidenced by the variety of public art produced through the Artworks For State Buildings Program, public art is so much more than that century-old monument in the town square. To assist communities in answering questions about public art and the public art process, here is a brief overview about incorporating public art into your community. What Is Public Art? Public art might simply be defined as “artwork located in a public space.” The notion that public art is just a memorial or sculpture placed on a plaza has given way to an art form that is integrated into the fabric of the community and defined by citizen participation. Imagine ordinary objects and places transformed into something extraordinary by the hand of an artist and you are seeing the effects of public art. Public art may be:

• Placed inside or out. • Integrated with architecture. • Commemorative and symbolic or just decorative. • Functional, educational or interactive. • Representational or abstract. • Anytime an artist is involved with a public • A single work of art or a whole plaza or park project. incorporating landscape design.

Why Incorporate Public Art Into A Community? The vitality and positive identity of a community is directly linked to the quality of its natural and built environments. Attractive public spaces make people want to linger and enjoy their surroundings. Public art that defines public space enhances the visual character of the community and creates a more congenial public space. Public art can also

• Foster a community’s sense of pride. • Encourage public interaction with governmental • Clarify neighborhood identity. processes. • Commemorate or celebrate history or cultural • Provide opportunities for regional artists. heritage. • Provide an economic development tool to attract • Creatively solve problems with vehicular/pedestrian tourists. traffic flow, seating, and gathering or other infrastructure elements.

Public art goals should be incorporated into larger community planning goals. What works in one community might not be right for another community. That is why a community-based planning process is recommended. 38 Where Should Public Art Be Placed? The placement of public art within a community should be well thought-out. Placement should begin with an assessment of current community design and development trends and what implications they pose for a public art project or program.

Getting Started! Every public art project or program should begin by remembering the “public” in public art. Establish a structure that identifies, defines and invests as many sections of the community as possible. Planning for a public art project is normally overseen by a committee of involved citizens who create a structure for group meetings and for public hearings. Ideas, thoughts, benefits and potential concerns derived from dialogue with all stakeholders helps define or refine the public art goals and develops necessary awareness and enthusiasm for the project. Working with someone experienced in public art projects can assist in defining goals, creating necessary guidelines, generating commission proposals and in bringing the community together. Assisting with the planning process is a service of the North Carolina Arts Council. There are many master plans, case studies, policies, guidelines, and project documents that can serve as models to assist in planning for a public art project.

How Are Artists Chosen For A Project? The democratic nature of public art asserts itself through the artist selection process. Selection involves either the direct commissioning of an artist by a selection committee, a limited competition open to invited artists or an open competition in which any artist can submit a design proposal. Selection panels should include community representatives and citizens as well as artists and other design experts. Project artists should be selected not only on artistic merit, but also on how well they can understand and interact with the community. Artist Juan Logan sums up the artist’s role in public art this way, “Public art should involve and is about the public and therefore is something greater than the artist.”

When Should Artists Become Involved In A Project? Artists are good problem solvers and can offer unique solutions to design and construction issues. The earlier an artist can be brought in on project planning, the better. This will allow optimal placement of the art, greater integration of the art within the broader community design goals, and may result in cost savings and a more interesting design.

How Is Public Art Funded? The cost of a public art project may range from a few hundred dollars to tens and even hundreds of thousands of dollars, depending on the scope of the project. There are a variety of ways public art is funded, including: • Percent for Art - A percentage of Capital Improvement Project Budgets (normally 1/2 to 1 percent) are set aside for public art. • Private Development Initiatives - Initiatives are offered to private developers to include public art in their development plans. • Leverage Dollar Contributions - This involves money set aside by the government and matched by private organizations. • Gift Program - Private contributors fund specific projects in exchange for having their name attached to that project. • Private/Corporate purchase - Projects are privately commissioned for placement in privately owned, public “accessible” spaces. • Grants - Grants from federal and state agencies and certain foundations are available for public art and community design projects. The dollar levels available from these grants can do no more than help leverage other funds. Most grants require a dollar for dollar match. • In-kind - In-kind donations of materials, labor and volunteer support help defray costs and can be cited as matching funds when applying for grants.

There is no substitute for local contributions. When businesses and citizens of a community donate dollars for public art, they become personally invested in the visual development of the community.

The information shared here is only a start in how to plan for and implement a successful public art project. The North Carolina Arts Council is an excellent source for finding out more about incorporating public art in your community.

39 Map of the Artworks

61 Elizabeth City

10 Boone 11 Butner 30 31 32 33 12 Durham 34 35 36 37 38 39 Winston-Salem 15 16 17 18 6 40 7 13 Greensboro Chapel Hill 8 Asheville Colfax 19 21 22 23 24 25 57 9 Raleigh Wilson 2 41 42 43 44 45 46 47 48 3 20 Asheboro 49 50 51 52 53 54 55 56 Greenville Cullowhee 4 58 Franklin 1 5 14 Charlotte New Bern 59 26 Fayetteville 27

28 Pembrook 29 Lumberton

The Locations of artworks correspond Wilmington 60 to the numbers on the map and are referenced in the checklist that follows.

1. Multipurpose Juvenile Home Resident Dining Area, 32. John Umstead Hospital, B. Gene Barrett Building, Franklin Butner 2. WCU, Belk Building, Cullowhee 33. C.A. Dillon School, Multipurpose room/Chapel, Butner 3. WCU, Camp Lab, Cullowhee 34. NCCU, Chidley Residence Hall Complex, Durham 4. WCU, Moore Hall, Cullowhee 35. NCCU, Biomedical/Biotechnology Research Institute, 5. WCU, Reid Gym, Cullowhee Durham 6. NC Arboretum, Asheville 36. NCCU, Jones Building, Durham 7. Thomas Wolfe Memorial Visitor Center, Asheville 37. NCCU, Student Services Building, Durham 8. UNCA, Justice Center Physical Education Building, 38. NC School of Science and Mathematics, North Campus, Asheville Durham 9. UNCA Ramsey Library, Asheville 39. NC School of Science and Mathematics, Education Technology Complex, Durham 10. ASU, John E. Thomas Academic Support Building, Boone 40. UNC Center for Public Television, Research Triangle 11. ASU, Science and Math Complex, Boone Park 12. NC School of the Arts, Main Entrance, Winston-Salem 41. State Legislative Building, Raleigh 13. WSSU, O’Kelly Library, Winston-Salem 42. Legislative Office Building, Raleigh 14. UNCC, Friday and Fretwell Buildings, Charlotte 43. Education Building, Raleigh 15. UNCG, New Music Building, Greensboro 44. Revenue Building, Raleigh 16. NCA&T, Dudley Hall, Greensboro 45. NC Museum of History, Raleigh 17. NCA&T, School of Technology, Greensboro 46. Archives and History/State Library Building, Raleigh 18. NCA&T, Interdisciplinary Research Center, Greensboro 47. Caswell Building, Raleigh 19. Piedmont Triad Farmers Market, Colfax 48. Albemarle Building, Raleigh 20. NC Zoological Park, Asheboro 49. Labor Building, Raleigh 21. UNCCH, Student Recreation Center, Chapel Hill 50. Old Education Building, Raleigh 22. UNCCH, Tate Turner Kuralt School of Social Work, 51. Old Revenue Building, Raleigh Chapel Hill 52. Jenkins House, N.C. Arts Council, Raleigh 23. UNCCH, Lineberger Comprehensive Cancer Center, Chapel Hill 53. National Guard Military Center, Raleigh 24. UNCCH, Kenan-Flagler School of Business, Chapel Hill 54. Donald W. Eaddy Building, Raleigh 25. UNCCH, School of Dentistry, Chapel Hill 55. NCSU, Engineering Graduate Research Center, Raleigh 26. FSU, Health, Physical Education & Recreation Complex, 56. Dorothea Dix Hospital, Raleigh Fayetteville 57. Eastern School for the Deaf, Wilson 27. FSU, Honors Residence Hall Courtyard, Fayetteville 58. ECU, Joyner Library Plaza, Greenville 28. UNCP, Administration Building, Pembroke 59. Multipurpose Juvenile Home Resident Dining Area, 29. Multipurpose Juvenile Home Resident Dining Area, New Bern Lumberton 60. UNCW, Physical Science Building, Wilmington 30. Murdoch Center, Meadowview Center, Butner 61. ECSU, Fine Arts & Mass Communication and Jenkins 31. Murdoch Center, Parkview Cottage, Butner Science Buildings, Elizabeth City 40 Boone (map #s 10-11) Katherine A. Triplett b. 1949, Warrenton, VA, Robert Roesch b. 1946, Buffalo, (Resides in Weaverville, NC) NY (Resides in Philadelphia, PA) Working Out, 1996 (3 figures) Orion, 1999 Ceramic Stainless steel, corten steel and 60x24 inches (diameter), 48x24 bronze inches (diameter) and 36x22 inches 192x48x48 or 120x48x48 or (diameter) 96x48x48 inches Reid Gym, Western Carolina (pylon dimensions vary) University Science & Math Complex, Artworks for State Buildings Appalachian State University Program Artworks for State Buildings Art budget: $8,617 Program Art budget: $59,808 Franklin (map # 1)

Paul Sires, Source, 1993 Thomas Stancliffe b. 1955, Charlie Newton b. 1953, Elmhurst, NJ (Resides in New Chatanooga, TN Hartford, IA) (Resides in Charlotte, NC) Colloquy, 1997 New Bridge, 1993 Galvanized steel and bronze Acrylic on wallboard North Carolina’s Artworks 204x36 inches (diameter) 96x336 inches John E. Thomas Academic Support Multipurpose Juvenile Home for State Buildings Services Building, Appalachian State Artworks for State Buildings University Program Artworks for State Buildings Art budget: $2,500 Checklist of the Collection Program Art budget: $35,407 PIEDMONT

Artworks are listed regionally west to east, then alphebetically Cullowhee (map #s 2-5) Asheboro (map # 20) by location Alvin Frega b. 1956, Governeur, Horace L. Farlowe b. 1933, All dimensions are given as height x width x depth NY (Resides in Durham, NC) Robbins, NC Chalice, 1996 (Resides in Athens, GA) * Denotes that the artwork is not illustrated Stainless steel and concrete Zoological Egg Rest, 1994 93x53 inches (diameter) Marble Moore Hall, Western Carolina 114x144x120 inches overall An Online catalog of the Artworks for State Buildings University North Carolina Zoological Park Program is available through the North Carolina Art Artworks for State Buildings Artworks for State Buildings Program Program Council Web site: www.ncarts.org/awsb.cfm Art budget: $7,402 Art budget: $24,808

James E. Gallucci b. 1951, Butner (map #s 30-33) Rochester, NY (Resides in Greensboro, NC) Alvin Frega b. 1956, Governeur, Mountain Gate, 1997 NY (Resides in Durham, NC) MOUNTAINS George Handy b. 1954, Painted steel Altar, Pulpit, Lectern, 1994 Providence, RI 132x78x72 inches Found metal objects, steel Asheville (map #s 6-9) (Resides in Asheville, NC) Camp Laboratory, Western Carolina Altar-38x60x28 inches, Pulpit- Passing the Baton, 1997 University 42x30x24 inches, Lecturn- David Brewin b. 1945, Atlantic Ceramic stoneware, glaze-stains Artworks for State Buildings 42x32x20 inches City, NJ (Resides in Cullowhee, NC) and oil-based paint Program C.A. Dillon School Joseph Miller b. 1944, Watervielt, 85x165 inches Art budget: $6,785 Artworks for State Buildings MI (Resides in Brasstown, NC) Justice Center Physical Education Program Spring Garden Gate and Stream Building, University of North Katherine A. Triplett b. 1949, Art budget: $6,918 Garden Gate, 1996 Carolina - Asheville Warrenton, VA Forged and stainless steel Artworks for State Buildings (Resides in Weaverville, NC) Be Gardiner b. 1950, Washington, 64x64x2 inches each gate Program The Tools We Use, 1996 (2 murals) DC (Resides in Creston, NC) North Carolina Arboretum Art budget: $20,436 Ceramic tiles Vessel, 1994 Artworks for State Buildings 90x126 inches and 54x90 inches Marble Program Robert M. Johnson b. 1944, Belk Fine Arts Building, Western 76x36x17 inches Art budget: $16,396 Washington, D.C. Carolina University Meadowview Cottage, Murdoch (Resides in Burnsville, NC) Artworks for State Buildings Center Connie Bostic b. 1936, Spindale, Eight Views of Mt. Pisgah, 1997 Program Artworks for State Buildings NC (Resides in Fairview, NC) Acrylic on canvas mounted Art budget: $8,035 Program A Thorn of Memory, 1996 on wood Art budget: $5,598 Oil on birch plywood 72x276 inches 17x11x3/4 inches (each panel of Ramsey Library, University of North J. Paul Sires b. 1955, Savannah, 144 panels) Carolina - Asheville GA (Resides in Charlotte, NC) Thomas Wolfe Memorial Artworks for State Buildings Source, 1993 Artworks for State Buildings Program Granite Program Art budget: $12,361 72x41x3 inches Art budget: $2,773 Parkview Cottage, Murdoch Center Artworks for State Buildings Program Art budget: $6,440

Enrique Vega b. 1952, Havana, Cuba (Resides in Apex, NC) Healing Suns, 1995 Steel, brass and etched glass 82x198x3 inches B. Gene Barrett Building, John Umstead Hospital Artworks for State Buildings Program Art budget: $32,936

Katherine Triplett, Eyes Wide Open, 1998 41 Colfax (map # 19) Mary Ann E. Mears b. 1946, Morristown, NJ Roger P. Halligan b. 1948, Troy, NY (Resides in Baltimore, MD) (Resides in Asheboro, NC) Oasis Diffraction, 1999 Jan Chenoweth b. 1945, Miami Painted aluminum and polished Beach, FL stainless steel tubing (Resides in Asheboro, NC) 18x20x20 feet Relaxed Space, 1998 Educational Technology Building, Concrete, steel, landscaping North Carolina School of Science Benches-48x180x18 inches, trellis- and Mathematics 138x56x48 inches and platform- Artworks for State Buildings 47x47x61/2 inches Program Piedmont Triad Farmers Market Art budget: $29,332 Artworks for State Buildings Program Thomas H. Sayre b. 1950, Art budget: $18,720 Cleveland, OH (Resides in Raleigh, NC) Durham (map #s 34-39) *Gnomon, 1985 Reinforced concrete, iron and steel John Thomas Biggers b. 1924, (3 panels) Gastonia, NC d. 2001 28x8-10 feet x3 inches (Resided in Houston, TX) North campus, North Carolina Family Arc, 1992 School of Science and Mathematics Five color lithograph on paper Art-in-State-Buildings Program 291/4x357/8 inches Art budget: $9,000 Student Services Center, North Carolina Central University, Fayetteville (map #s 26-27) Durham Artworks for State Buildings Herb Cohen b. 1931, New York Program City, NY Art budget: $4,000 (Resides in Blowing Rock, NC) Jose Fumaro b. 1924, Havana, Michael Harris b. 1948, Cleveland, Cuba (Resides in Blowing Rock, OH (Resides in Apex, NC) NC) Be Gardiner, Vessel, 1994 *Mothers and the Presence of Untitled, 1994 Myth, 1994 Paint, vinyl floor tile, carpet and Chapel Hill (map #s 21-25) David Wilson b. 1941, Stockton- Color lithograph ceramic tile on-Tees, England 301/4x22 inches Decorated spaces (various Judy Byron b. 1947, Syracuse, NY (Resides in South New Berlin, NY) Student Services Center, North dimensions) (Resides in Washington D.C.) Untitled, 1997 Carolina Central University, Tile murals-58x147 inches, Who We Are, 1997 Etched glass Durham Fayetteville State University (12 woodcut prints, edition of 3) 40x16 feet x1 inch Artworks for State Buildings Artworks for State Buildings Woodcut rubbings with color McColl Building, Kenan-Flagler Program Program pencil, pastel and crayon School of Business, University of Art budget: $1,200 Art budget: $37,855 28x20 inches and 41x20 inches North Carolina - Chapel Hill Tate-Turner-Kuralt School of Social Artworks for State Buildings Charles Joyner b. 1947, Smithfield, Hanna Jubran b. 1952, Ish, Israel Work, University of North Carolina Program NC (Resides in Cary, NC) (Resides in Grimesland, NC) - Chapel Hill Art budget: $64,315 Chandra Denise Cox b. 1949, New Unity, 1996 Artworks for State Buildings York City (Resides in Raleigh, NC) Cast concrete, brick pavers and Program Charlotte (map # 14) The Fabric of Life, 1997 sand Art budget: $37,554 Acrylic on canvas 11x32 feet x 27 inches James (Jim) Sanborn b. 1945, 96x166 inches Honors Residence Hall, Fayetteville Richard Fleischner b. 1944, New Washington, D.C. Jones Building, North Carolina State University York City, NY (Resides in Washington D.C.) Central University Artworks for State Buildings (Resides in Providence, RI) *Adam’s Spinning Top, 1997 Artworks for State Buildings Program Untitled, 1997 Bronze Program Art budget: $12,691 Terrazzo 101x156 inches (diameter) Art budget: $3,354 3,200 square feet Ida and William Friday Building/E.K. Greensboro (map #s 15-18) Lineberger Comprehensive Cancer Fretwell Building, University of Juan L. Logan b. 1946, Nashville, Center, University of North Carolina North Carolina - Charlotte TN (Resides in Chapel Hill, NC) Roberto L. Delgado b. 1944, Los - Chapel Hill Artworks for State Buildings The Seed, 1998 Angeles, CA Artworks for State Buildings Program Stainless Steel (resides in Los Angeles, CA) Program Art budget: $31,000 130x92x46 inches The Faces of Science, 1999 Art budget: $66,240 Biomedical/Biotechnology Research (4 murals) James (Jim) Sanborn b. 1945, Institute, North Carolina Central Acrylic polymer on fiberglass mesh Wopo Holup b. 1939, San Diego, Washington, D.C. University panels CA (Resides in New York City, NY) (Resides in Washington, D.C.) Artworks for State Buildings 34x252 inches each Hygeia’s Stream, 1997 The Cyrillic Projector, 1997 Program Interdisciplinary Research Center, 20x80 feet Bronze Art budget: $42,940 North Carolina A&T State Concrete with inlaid bronze 96x60 inches (diameter) University Tarrson Hall, School of Dentistry, Ida and William Friday Building/E.K. Katherine A. Triplett b. 1949, Artworks for State Buildings University of North Carolina - Fretwell Building, University of Warrenton, VA Program Chapel Hill North Carolina - Charlotte (Resides in Weaverville, NC) Art budget: $16,926 Artworks for State Buildings Artworks for State Buildings *Growth, Freedom and Obstacles, Program Program 1998 (interior) Charles Joyner b. 1947, Smithfield, Art budget: $34,646 Art budget: $32,707 Eyes Wide Open, 1998 (interior) NC (Resides in Cary, NC) *Eagles, 1998 (exterior) Connie Floyd b. 1953, Loris, SC Mary Ann E. Mears b. 1946, *Open Mind, 1998 (exterior) (Resides in Raleigh, NC) Morristown, NJ Ceramic tiles Damedame, 1998 (Resides in Baltimore, MD) Growth-32x156 inches, Eyes- Ceramic tile Sky Dancing, 1994 32x178 inches, Eagle and Open 24x22 feet Painted aluminum Mind-16 inches x 170 feet (each) Dudley Hall, North Carolina A&T 192x264x288 inches Chidley Residence Hall, North State University Student Recreation Center, Carolina Central University Artworks for State Buildings University of North Carolina - Artworks for State Buildings Program Chapel Hill Program Art budget: $4,563 Artworks for State Buildings Art budget: $33,160 Program Art budget: $20,000 42 Bill Fontana b. 1947, Cleveland, Thomas H. Sayre, b.1950, OH (Resides in San Francisco, CA) Cleveland, OH *Spiraling Sound Axis, 1993 (Resides in Raleigh, NC) Multi-media sound installation Encryption, 1997 North Carolina Department of Steel reinforced cast concrete (24 Revenue Building elements) Artworks for State Buildings Various heights from 113/4 feet to 4 Program feet, lawn size-54x15 feet overall Art budget: $130,870 North Carolina Old Education Building James E. Gallucci b. 1951, Artworks for State Buildings Rochester, NY (Resides in Program Greensboro, NC) Art budget: $39,527 Vale, 1979 Painted steel J. Paul Sires b. 1955, Savannah, 108x60x19 inches GA (Resides in Charlotte, NC) North Carolina Archives and History *Leaf, Spiral, Wave, 1992 Building Granite Katherine Triplett, The Tools We Use, 1996 Art-in-State Buildings Program, 37x156x15 inches purchased from the artist, 1984 North Carolina Museum of History Art budget: $8,000 Artworks for State Buildings Program David Judelson b. 1941, Holyoke, George Bireline b. 1923, Peoria, IL Sylvia Heyden b. 1927, Basel, Art budget: $10,000 MA (Resides in Brooklyn, NY) (Resides in Raleigh, NC) Switzerland (Resided in Raleigh, Cubic Mambo and Partner, 1998 *Untitled, c. 1967 NC/Resides in Basel, Switzerland) Thomas H. Spleth b. 1946, Tulsa, Multi-media installation Acrylic on unprimed canvas *Ramifications, 1987 OK (Resides in Penland, NC) 110 feet long 631/2x92 inches Wool and linen *Green, 1986 School of Technology, North North Carolina Arts Council 491/2x67 inches Ceramic tile Carolina A&T State University (Jenkins House) North Carolina Department of 126x230x1/2 inches Artworks for State Buildings Gift of North Carolina National Community Colleges Building Albemarle Building Program Bank Corporation, 1983 Art-in-State Buildings Program Art-in-State Buildings Program Art budget: $28,763 Art budget: $2,000 Art budget: $7,800 Mike Cindric b. 1947, Pittsburgh, Tom Otterness b. 1952, Wichita, PA (Resides in Raleigh, NC) Jun Kaneko b. 1942, Nagoya, Richard Stenhouse b. 1944, KS (Resides in Brooklyn, NY) Susan Toplikar b. 1952, Kansas Japan (Resides in Omaha, NE) Charlotte, NC Music Lesson, 1999 City, MO (Resides in Raleigh, NC) Liquid Order, 1996 (Resides in Charlotte, NC) Bronze Judy Harmon b. 1941, Atlanta, Brick pavers *City Edge, Meckenburg County, 216x36x26 inches GA (Resides in Raleigh, NC) 200x100 feet 1989 School of Music, University of Frank Harmon b. 1945, San Engineering Graduate Research *Piedmont, January 1989 North Carolina - Greensboro Antonio, TX Center, North Carolina State *By the Tracks, Rowan County, Artworks for State Buildings (Resides in Raleigh, NC) University 1989 Program From Here to There, 2000 Artworks for State Buildings *Rain Pools, Robeson County, Art budget: $79,560 Painted steel, concrete and Program 1989 landscape materials Art budget: $109,817 Pastel on mylar Lumberton (map # 29) 54x150 feet (overall site) 121/2x20 inches Dorothea Dix Hospital, McBryde Silas Kopf b.1949, Warren, PA North Carolina Department of Charlie Newton b. 1953, Dormitory (Resides in North Hampton, MA) Labor Building Chatanooga, TN Artworks for State Buildings Untitled, 1992 Artworks for State Buildings (Resides in Charlotte, NC) Program Wood veneers Program Education, 1993 Art budget: $15,993 321/2x621/2 inches Art budget: $7,200 Acrylic on wallboard North Carolina National Guard 60x240 inches James G. Davis b. 1947, Center Research Triangle Park Multipurpose Juvenile Home Goldsboro, NC Artworks for State Buildings (map # 40) Artworks for State Buildings (Resides in Chapel Hill, NC) Program Program Christine Hilt b. 1959, Charlotte, Art budget: $7,106 Xavier Toubes b. 1947, La Coruna, Art budget: $2,500 NC (Resides in Apex, NC) Spain (Resided in Chapel Hill, NC/ Page Laughlin b. 1961, Richmond, Clarence E. Morgan b. 1950, Resides in Chicago, IL) Pembroke (map # 28) VA (Resides in Winston-Salem, NC) Philadelphia, PA (Resided in *Exquisite Nomads, 1990 Nature/Nurture, Nurture/Nature, Greenville, NC/Resides in Glazed ceramic Kenneth Matsumoto b. 1949, 1994 Minneapolis, MN) 421/4x26x90 inches Ventura, CA Landscape materials, aluminum *Untitled #127, 1983 University of North Carolina Center (Resides in San Jose, CA) 150x160 feet (overall site) Acrylic on canvas for Public Television Font (Lumbee River), 1995 Donald W. Eaddy Agronomics Lab 701/2x112 inches Artworks for State Buildings Terrazzo with bronze inlays Artworks for State Buildings North Carolina Legislative Office Program 753/4 x 215/8 inches Program Building Art budget: $10,000 Administration Building, University Art budget: $34,500 Art-in-State Buildings Program of North Carolina – Pembroke Art budget: $5,000 Wilson (map # 57) Artworks for State Buildings Cary Esser b. 1955, Durham, NC Program (Resided in Durham, NC/Resides in Vernon Pratt b. 1940, Durham, Betty G. Miller b. 1934, Chicago, Art budget: $25,596 Kansas City, KS) NC, d. 2000 (Resided in Durham, IL (Resides in Washington, D.C.) Alvin Frega b. 1956, Governeur, NC) ASL: Past, Present, and Future, Raleigh (map #s 41-56) NY (Resides in Durham, NC) Georgann Eubanks b. 1954, 1996 Rosettes;1999 Atlanta, GA (Resides in Carrboro, NC) Neon James Converse Biggers b. 1948, Ceramic, ceramic tile and steel Education Wall, 1992 70x216 inches Gastonia, NC 90x102x6 inches Sandblasted granite Recreation Center, Eastern North (Resides in Gastonia, NC) (entire installation) 32x96 feet Carolina School for the Deaf John Thomas Biggers b. 1924, 54x32x6 and 42x30x6 inches Education Building Artworks for State Buildings Gastonia, NC, d. 2001 (individual plaques) Artworks for State Buildings Program (Resided in Houston, TX) Relic/Altar, 1999 Program Art budget: $10,076 North Carolina Belongs to Found metal objects, marble Art budget: $109,975 Children, 1994 ceramic Winston-Salem (map #s 12-13) Acrylic on canvas 67x301/2x30 inches (entire Lucy Puls b. 1955, Milwaukee, WI 8x40 feet installation) (Resided in Cullowhee, NC/Resides David Freeman b. 1937, North Carolina State Legislative North Carolina Old Revenue in Berkeley, CA) (Resided in Rock Hill, SC) Building Building *All of Us, 1983 *Parlor Piece, 1975 Artworks for State Buildings Artworks for State Buildings Painted wood and steel Acrylic on canvas Program Program 88 x 441/2 inches North Carolina School of the Arts Art budget: $21,160 Art budget: $29,601 In storage Gift of North Carolina National Gift of Northern Telecom, Inc., 1983 Bank Corporation, 1983 43 Wanda Levin b. 1949, Buffalo, NY Greenville (map # 58) (Resides in Burnsville, NC) Cane River Cemetery #2, 1986 Christopher Janney b.1950, Infrared print Washington, D.C. 71/2x103/4 inches (Resides in Lexington, MA) Jimmy R. Jenkins Science Building, Sonic Plaza, 1998 Elizabeth City State University (4 related artworks) Gift of the Appalachian Environ- Sonic Gates mental Arts Center Percussive Water Wall Media Glockenspiel Roger B. Manley b. 1952, San Ground Cloud Antonio, TX (Resides in Durham, Multi-media NC) 70x300 feet (Plaza dimensions) Untitled, 1982 J. Y. Joyner Library Plaza, East Silver gelatin print Carolina University 87/8 inches (diameter) Artworks for State Buildings Jimmy R. Jenkins Science Building, Program Elizabeth City State University Art budget: $106,936 Gift of the Appalachian Environ- mental Arts Center New Bern (map # 59)

John Menapace b. 1927, Charlie Newton b.1953, Shamokin, PA Chattanooga, TN (Resides in (Resides in Durham, NC) Charlotte, NC) Untitled, 1975 Decisions, 1993 Silver gelatin print Acrylic on wallboard 73/4x93/4 inches 60x240 inches Jimmy R. Jenkins Science Building, Multipurpose Group Home Elizabeth City State University Artworks for State Buildings Gift of the Appalachian Environ- Program mental Arts Center (destroyed 1/2000) Art budget: $2,500 John Scarlata b. 1949, Jamaica Estates, NY Wilmington (map # 60) Dennis Peacock, (Other) Voices, 1996 (Resides in Valle Cruces, NC) Cedar Island, North Carolina, 1982 Thomas H. Sayre b. 1950, Jim Hirschfield b. 1951, Pittsburgh, Carolyn DeMeritt b. 1946, Silver gelatin print Cleveland, OH PA (Resides in Chapel Hill, NC) Charlotte, NC 8x103/4 inches (Resides in Raleigh, NC) Sonya Ishii b. 1952, Honolulu, HI (Resides in Charlotte, NC) Jimmy R. Jenkins Science Building, Khan’s Garden, 1997 (Resides in Chapel Hill, NC) Untitled, 1984 Elizabeth City State University Pigmented concrete, stainless steel, Monument To An Art Education, Diana Camera image Gift of the Appalachian Environ- wood and terrazzo 2000 9x9 inches mental Arts Center 70x28 feet Painted steel and concrete Jimmy R. Jenkins Science Building, DeLoach Hall, University of North 139x85x411/2 inches Elizabeth City State University Michael Schultz b. 1952 Carolina - Wilmington North Carolina School of the Arts Gift of the Appalachian Environ- (Resides in Kernersville, NC) Artworks for State Buildings Artworks for State Buildings mental Arts Center 87 North Carolina, 1987 Program Program Silver gelatin print Art budget: $63,707 Art budget: $27,690 Arnold Doren b. 1933, Chicago, IL 8x9 inches (Resides in Greensboro, NC) Jimmy R. Jenkins Science Building, Kwan Lau American Faces, 1987 Elizabeth City State University *Spring Morning, c. 1975 Silver gelatin print Gift of the Appalachian Environ- Oil on canvas 9x12 3/4 inches mental Arts Center 59x69 inches Jimmy R. Jenkins Science Building, North Carolina School of the Arts Elizabeth City State University Sam Wang b. 1939, Peking, China Gift of North Carolina National Gift of the Appalachian Environ- (Resides in Clemson, SC) Bank Corporation, 1983 mental Arts Center Untitled, 1986 Silver gelatin print 1 3 Dennis Peacock b. 1942, Ann Sebrell Ehringhaus b. 1949, 7 /2x9 /4 inches Bellingham, WA (Resides Knoxville, Charlotte, NC (Resides in Jimmy R. Jenkins Science Building, TN) Ocracoke, NC) Elizabeth City State University (Other) Voices, 1996 The Path With Heart, 1986 Gift of the Appalachian Environ- Steel Hand tinted infrared photograph mental Arts Center 216x96x24 inches 111/4x73/4 inches O’Kelly Library, Winston-Salem Jimmy R. Jenkins Science Building, Merry Moor Winnett b. 1951, d. State University Elizabeth City State University 1994 (Resided in Greensboro, NC) Artworks for State Buildings Gift of the Appalachian Environ- The Enchanted Forest, 1976 Program mental Arts Center Toned infrared print 1 Art budget: $34,600 9x6 /8 inches Mary Sayer Hammond b. 1946 Jimmy R. Jenkins Science Building, COASTAL (Resided in Fairfax, VA) Elizabeth City State University Manassas Battlefield, Virginia Gift of the Appalachian Environ- Elizabeth City (map # 61) 1988, 1988 mental Arts Center Silver gelatin print Lisa Kaslow b. 1953, New York 61/2x81/4 inches City, NY Jimmy R. Jenkins Science Building, (Resides in Cockysville, MD) Elizabeth City State University Folkway, 1999 Gift of the Appalachian Environ- Painted steel mental Arts Center 84x84x2 inches Fine Arts & Mass Communications Jackie Leebrick b. 1947, Cleveland, Building, Elizabeth City State OH (Resides in Greenville, NC) University Untitled, 1984 Artworks for State Buildings Hand-tinted silver gelatin print Program 61/2x91/4 inches Art budget: $23,400 Jimmy R. Jenkins Science Building, Elizabeth City State University *Southeast Photography Portfolio, Gift of the Appalachian Environ- 1988 mental Arts Center

44 C. J. Carter Acha Debela Selection Panel Members Vice Chancellor of Business Affairs Professor, Art Department WCU NCCU Cullowhee, NC Durham, NC Lyn Adams Mel Blowers Zoo architect Professor/University Librarian Gurney Chambers (ex-officio) Margaret DeMott N.C. Zoological Park (NC Zoo) University of North Carolina at WCU representative Director of Artist Services Asheboro, NC Asheville (UNC-A) Cullowhee, NC Durham Arts Council Asheville, NC Durham, NC Arthur Affleck Louis W. Cherry Vice-Chancellor of Student Affairs Ginger Booker (ex-officio) Architect Peter Van Denend (ex-officio) North Carolina Central University Triad Farmers Market Advisory Cherry, Huffman Architects, PA Student (NCCU) Committee Raleigh, NC North Carolina School of the Arts Durham, NC Colfax, NC (NCSA) Isabel Chicquor Winston-Salem, NC Brooke Davis Anderson Ken Botnick Associate Professor, Art Department Director, Diggs Gallery Director NCCU Rosemarie DePaulo (ex-officio) Winston-Salem State University Penland School of Crafts Durham, NC WCU representative (WSSU) Penland, NC Cullowhee, NC Winston-Salem, NC Moodye Clary Barbara Braveboy-Locklear Architect Jan Detter Eric Anderson Specialist Clary Architects, Inc. Executive Director Professor of Art Native American Art and Culture Charlotte, NC Piedmont Craftsmen, Inc. University of North Carolina at Charlotte, NC Winston-Salem, NC Charlotte (UNC-C) Marie Colton Charlotte, NC Amanda Brewer (ex-officio) Representative, North Carolina House Lopé Max Diaz Student of Representatives Associate Professor, School of Design Henry Arnold UNC-A Asheville, NC NCSU Landscape architect Asheville, NC Raleigh, NC Arnold Associates Andrew Comrie (ex-officio) Princeton, NJ George Briggs WCU representative Denise Dickens Executive Director Cullowhee, NC Director Penny Bach North Carolina Arboretum City Gallery of Contemporary Art Executive Director Asheville, NC Richard Conboy Raleigh, NC Fairmont Park Art Association Associate Dean, Belk College of Philadelphia, PA Doug Brinkley Business Administration William Dodge Architect UNC-C Architect William Barlow Pearce, Brinkley, Cease and Lee Charlotte, NC Dodge & Associates University Engineer Raleigh, NC Raleigh, NC North Carolina A&T State University Tucker Cooke (NC A&T) C. Reynolds Brown Chairman and Professor of Art Patric Dorsey (ex-officio) Greensboro, NC Director UNC-A Secretary St. John’s Museum of Art Asheville, NC N.C. Department of Cultural Donald Barlow Wilmington, NC Resources Principal user Terrence Corbin Raleigh, NC North Carolina Revenue Building Cee Brown Visiting Assistant Professor Raleigh, NC Executive Director Fayetteville State University (FSU) Linda Johnson Dougherty Creative Time Fayetteville, NC Curator and free-lance arts writer Steven Barnes New York, NY Chapel Hill, NC Director of Facilities Planning John Cort University of North Carolina at Charlotte Brown Architect Terry Dowell-Dennis Greensboro (UNC-G) Director Cort Architectural Group Curator of Education Greensboro, NC North Carolina State University Asheville, NC Southeastern Center for Contem- (NCSU) Visual Arts Center porary Art (SECCA) David Bediz (ex-officio) Raleigh, NC Chandra Cox Winston-Salem, NC Student Professor, School of Design North Carolina School of Science and Claudia Brown NCSU Douglas Dreishpoon Mathematics (NCSSM) Historic Preservation Specialist Raleigh, NC Curator of Collections Durham, NC N.C. State Historic Preservation Office Weatherspoon Art Gallery, UNC-G Raleigh, NC Teresa Crossland Greensboro, NC Mary Beebe Architect, Campus Planning Office Director of the Stuart Collection Bill Buchanan University of North Carolina at Martha Dunigan University of California, Santa Professor of Art Chapel Hill (UNC-CH) Visual Arts Program Barbara Western Carolina University (WCU) Chapel Hill, NC NCSA Santa Barbara, CA Cullowhee, NC Winston-Salem, NC Linda Darty Ruth Beesch David O. Bullock Assistant Professor, Art Department Andrew Dunnill Director Assistant Director, Design and Review East Carolina University (ECU) Artist and Assistant Professor of Art Weatherspoon Art Gallery, UNC-G N.C. State Construction Office Greenville NC UNC-G Greensboro, NC Raleigh, NC Greensboro, NC Jan Davidson Richard Bell Norma DeCamp Burns Executive Director Thelancy Durant Landscape architect Architect, John C. Campbell Folk School Architect Bell-Glazener Design Group Burnstudio Architects Brasstown, NC Gantt Huberman Architects Raleigh, NC Raleigh, NC Charlotte, NC Arcenia Davis John Biggers Douglas Burns Assistant Professor, Art Department Donald Eaddy Artist and Professor Emeritus Architect WSSU Director, Agronomics Services Texas Southern University Heery International Winston-Salem, NC N.C. Department of Agriculture Houston, TX Charlotte, NC Raleigh, NC Bernard Davis (ex-officio) * Molly Blankenship Aukram Burton Student John Ellington (ex-officio) Citizen appointee Photographer and Visiting Assistant UNC-A Director Board member, N.C. Arts Council Professor of English/Communications Asheville, NC North Carolina Museum of History Cherokee, NC UNC-C Raleigh, NC Charlotte, NC C.A. Davis Nancy Blass Physical Plant Director Ronnie Elliott Artist, public school art teacher and Marley Carroll Dorothea Dix Hospital Director of Business Services board member Architect Raleigh, NC Murdoch Center Pasuotank County Arts Council Odell Associates Butner, NC Elizabeth City, NC Charlotte, NC Walter Davis Assistant Director, African-American Cary Esser Melvin Carter Cultural Center Artist Chair, Art Department NCSU Chapel Hill, NC NCCU Raleigh, NC Durham, NC 45 Alex C. Ewing David Girardot (ex-officio) Jane Helm Harvey C. Jenkins Chancellor Assistant Vice Chancellor for Business Vice Chancellor for Business Affairs Art Coordinator NCSA Affairs-Facilities Appalachian State University (ASU) FSU Winston-Salem, NC University of North Carolina at Boone, NC Fayetteville, NC Wilmington (UNC-W) William G. Faris Wilmington, NC Lana Henderson Elma Johnson Architect Associte Dean, College of Arts and Artist and Associate Professor Jefferies and Faris Associates Lu Glover Sciences UNC-A Wilmington, NC Art teacher NCCU Asheville, NC Eastern North Carolina School for the Durham, NC David Finn Deaf (ENCSD) Laura Johnson Artist and Visiting Assistant Professor Wilson, NC J. Michael Hennike Assistant Athletic Director Wake Forest University Director UNC-A Winston-Salem, NC Robert Godfrey Murdoch Center Asheville, NC Chair, Art Department Butner, NC Regina Flanagan WCU Louis Johnson (ex-officio) Director, Percent for Art Program Cullowhee, NC Steve Hepler Farmers Market Coordinator, Division Minnesota State Arts Board Architect of Marketing St. Paul, MN Beth Grabowski Lee, Nichols, Hepler Architecture N.C. Department of Agriculture Assistant Professor, Art Department Charlotte, NC Raleigh, NC Ken Foster UNC-CH Assistant Director for Community Chapel Hill, NC Silvia Heyden Gene Jones Services Artist Architect Division of Youth Services, N.C. Bob Gray Durham, NC F. Carter Williams Architects Department of Human Resources Director Emeritus Raleigh, NC Raleigh, NC Southern Highland Handicrafts Guild Timothy Hicks Asheville, NC Chair, Department of Art Chester Jordan Clyde Fowler NC A&T Professor, Department of Communi- Director, Visual Arts Program Vanessa Greene Greensboro, NC cative Arts NCSA Executive Director Pembroke State University (PSU) Winston-Salem, NC Afro-American Cultural Center Dexter Hill Pembroke, NC Charlotte, NC Manager Philip C. Freelon Triad Farmers Market Charles Joyner Architect Ellen Greer Colfax, NC Associate Professor of Design The Freelon Group, Inc. Curator of Design NCSU Research Triangle Park, NC NC Zoo Steve Hill Raleigh, NC Asheboro, NC Manager Mike Freeman Thomas Wolfe Memorial Site Al Judd Architect Cathy Griffin Asheville, NC Physical Plant Director Padgett and Freeman Architects Professor of Art John Umstead Hospital Asheville, NC WCU * Ted Hill Butner, NC Cullowhee, NC Citizen appointee Margaret Fuller Board Member, N.C. Arts Council * Robert S. Kadis Program Coordinator Sam Grogg Advance, NC Citizen appointee YMI Cultural Center Dean, School of Filmmaking Board Member, N.C. Arts Council Asheville, NC NCSA Billy Hines (ex-officio) Goldsboro, NC Winston-Salem, NC Director of Choral Activities Jose Fumero ECSU Mitchell Kahan Artist Tom Grubb Elizabeth City, NC Curator of Contemporary Art Boone, NC Artist and Director North Carolina Museum of Art Fayetteville Museum of Art Will Hinton Raleigh, NC Anne-Linda Furstenberg Fayetteville, NC Chair, Visual and Performing Arts Chairperson of the Building Task Department Chancey Kapp Force Robert Gunn Louisburg College Principal user UNC-CH Architect Louisburg, NC UNC-TV Chapel Hill, NC Clark Nelson Architecture Chapel Hill, NC Charlotte, NC Jim Hirshfield James Gadson Associate Professor of Art Hunter Kariher Professor of Art George Hall UNC - CH Director UNC-CH Principal user Chapel Hill, NC Penland School of Crafts Chapel Hill, NC Legislative Services Penland, NC N.C. General Assembly Perry Howard Ken Gallaugher Raleigh, NC Head, Department of Landscape Steve Kaufman Architect Architecture Architect Little & Associates John Hancock NC A&T Reece, Nowland, & McElrath Charlotte, NC Assistant Professor Greensboro, NC Waynesville, NC Barton College Harvey Gantt Wilson, NC * Claude Howell Lisa Keel Architect Citizen appointee Architect Gantt Huberman Architects Gordon Hanes (ex-officio) Board Member, N.C. Arts Council Peterson Associates Architects Charlotte, NC Board member, Diggs Gallery Wilmington, NC Raleigh, NC WSSU Paula Garrett Winston-Salem, NC Judy Humphrey Jane Kessler Artist Acting Chair, Department of Art Curator of Contemporary Art Asheville, NC Edwin Harris ASU Mint Museum of Art Director of Campus Planning and Boone, NC Charlotte, NC Brian George Construction Architect NCSU Kim Irwin Tom King O’Brien/Atkins Associates Raleigh, NC Artist Department of Community Colleges Research Triangle Park, NC Durham, NC Raleigh, NC Andrew Hayes Henry Ghee Associate Professor, Department of Sonya Ishii Stanley Knick Acting Vice-Chancellor for Business Specialty Studies Artist Director/Curator, Native American and Finance UNC-W Chapel Hill, NC Resource Center FSU Wilmington, NC PSU Fayetteville, NC Andrew Janson Pembroke, NC Gloria Haynes Associate Professor, Department of Ruth Ann Gibbons Director of Corporate and Foundation Fine Arts Sue Koenigshofer Student Relations UNC-W Principal user ECSU Office of Development Wilmington, NC UNC-TV Elizabeth City, NC NCCU Chapel Hill, NC Durham, NC

46 Jan Kohl Francine Giles Madrey Charles Millard Maggie O’Conner Associate Director Vice Chancellor for Student Affairs Director Director Durham Arts Council WSSU Ackland Art Museum Asheville Historic Resource Durham, NC Winston-Salem, NC Chapel Hill, NC Commission Asheville, NC Vicki Kopf Fernando Magallenes Dan Millspaugh Head of Exhibitions Assistant Professor of Landscape Associate Professor of Art Dr. Theodore R. Oldenburg SECCA Architecture UNC-A School of Dentistry Winston-Salem, NC NCSU Asheville, NC UNC-CH Raleigh, NC Chapel Hill, NC Sally Kovach Mary Mintich Chair, Art Department Kenneth Marks Artist Kay Oney UNC-C Director, Joyner Library Belmont, NC Principal user Charlotte, NC ECU Education Building Greenville, NC Adi Mistri Raleigh, NC Laura Kreps Architect Assistant Curator for Contemporary Ellie Marsh (ex-officio) J.N. Pease Associates Benson Otovo Exhibitions Associate University Librarian for Charlotte, NC Principal user Ackland Art Museum Public Service Indoor Health, Physical Education and Chapel Hill, NC UNC-A * Stephanie Mitchell Intramural Facility Asheville, NC Citizen appointee FSU Ken Lambla Board Member, N.C. Arts Council Fayetteville, NC Architect and Associate Professor Jonathan Martin (ex-officio) Raleigh, NC UNC-C Trustee Linda Oxendine Charlotte, NC NCSSM Kevin Montgomery Chair, Department of American Indian Durham, NC Architect Studies Lorraine Laslett O’Brien/Atkins Associates PSU Art specialist Helen Marvin Research Triangle Park, NC Pembroke, NC Pinehurst, NC Senator, North Carolina Senate Gastonia, NC Allan Moore Jim Padgett Wilma Lassiter (ex-officio) Architect Architect WSSU Trustee Jim Mason Calloway, Johnson, Moore and West Padgett & Freeman Architects Winston-Salem, NC Architect Winston-Salem, NC Asheville, NC O’Brien/Atkins Associates Mark Leach Research Triangle Park, NC David Moore Dr. Joseph Pagano Curator of Contemporary Art Architect Director, Lineberger Comprehensive Mint Museum of Art Ed McBride Calloway, Johnson, Moore and West Cancer Center Charlotte, NC Director of Operations Winston-Salem, NC UNC-CH NCSSM Chapel Hill, NC Billy Lee Durham, NC Jenny Moore Artist and Associate Professor Art Executive Director Janice Palmer UNC-G Cheryl McClary Green Hill Center for North Carolina Director of Cultural Services Greensboro, NC Chairman and Assistant Professor of Art Duke University Medical Center Health and Fitness Greensboro, NC Durham, NC Eric W. Lee UNC-A Architect Asheville, NC Jimmy Moore William Parrish Foy, Lee, Moody & Associates Department of the State Treasurer Director, Physical Plant Waynesville, NC Wesley A. McClure Raleigh, NC NCSA Architect Winston-Salem, NC Roger Lesson O’Brien/Atkins Associates Clarence Morgan Architect Research Triangle Park, NC Artist, Associate Professor, Art Huston Paschal Boney Architects Department Assistant Curator Wilmington, NC Bill McCrea ECU North Carolina Museum of Art Project Manager, Office of Historic Greenville, NC Raleigh, NC James Leutze Sites Chancellor N.C. Department of Cultural Sam Morrison Gerald W. Peer UNC-W Resources Principal user Architect Wilmington, NC Raleigh, NC Duke University Medical Center Jenkins & Peer Durham, NC Charlotte, NC Joe Liles Jenny McIntosh Chair, Art Program Chair, Art Department Jennifer Murphy Norman Pendergraft NCSSM ECSU Director Director Durham, NC Elizabeth City, NC Public Art Commission NCCU Museum of Art Charlotte, NC Durham, NC Bruce Lineker Beverly McIver Curator Artist and Visiting Lecturer in Art C. F. Ndege Peter Plagens SECCA NCCU Director, African Heritage Center Artist and Critic Winston-Salem, NC Durham, NC NC A&T Chapel Hill, NC Greensboro, NC Juan Logan Herb McKim Ted Potter Artist Architect * Margaret S. “Tog” Newman Director Chapel Hill, NC Ballard, McKim & Sawyer Citizen appointee SECCA Wilmington, NC Board Chair, N.C. Arts Council Winston-Salem, NC David Lombardi (ex-officio) Winston-Salem, NC College of Engineering Roger McLean (ex-officio) Dale Pounds (ex-officio) NCSU Vice Chancellor for Business and * Michael Newman WCU representative Raleigh, NC Finance Citizen appointee Cullowhee, NC ECSU Board Chair, N.C. Arts Council Lida Lowrey Elizabeth City, NC Winston-Salem, NC Richard Powell Chief Designer Professor of Art History North Carolina Museum of Art James McMillan Bill Nichols Duke University Raleigh, NC Artist and Chairman Emeritus, Art Architect Durham, NC Department Lee, Nichols Architecture Jan Loyd Guilford College Charlotte, NC * Susie Powell Artist Greensboro, NC Citizen appointee Newell, NC Jerry Noe Board Member, N.C. Arts Council Sherry Medling (ex-officio) Artist and Associate Professor of Art Durham, NC Schley Lyons Program Assistant UNC-CH Dean of College of Arts and Sciences UNC-A Chapel Hill Prudence Precourt (ex-officio) UNC-C Asheville, NC Vice Chancellor for Development and Charlotte, NC William O’Brien University Relations Wilbur Meier, (ex-officio) Architect PSU Dean, College of Engineering O’Brien/Atkins Associates Pembroke, NC NCSU Research Triangle Park, NC Raleigh, NC 47 Bill Price (ex-officio) Ann Shengold Blake Talbot Jason Watson Director Visual Arts Director Architect Art student and Resident Living N.C. Division of Archives and History Spirit Square Arts Center O’Brien/Atkins Associates assistant Raleigh, NC Charlotte, NC Research Triangle Park, NC UNC-A Asheville, NC Eugene Rairden J. K. Sherron Susan Lubowsky Talbott Architect Property Director Director Gayle Marie Weitz Scovil & Rairden N.C. Department of Administration SECCA Professor of Art Education Raleigh, NC Raleigh, NC Winston-Salem, NC ASU Boone, NC Russ Rankin Mitzi Shewmake Braughn Taylor Assistant to the Dean, School of Director, Diggs Gallery Associate Dean for Operations Francie Whitford Technology WSSU NCSSM Adminstrator, Division of Marketing NC A&T Winston-Salem, NC Durham, NC N.C. Department of Agriculture Greensboro, NC Raleigh, NC * Harley Shuford, Jr. Robert Tenery J. C. Raulston Citizen appointee Clinical Chaplain R.W. Wilkerson Director, NCSU Arboretum and Board Chair, N.C. Arts Council C.A. Dillon School Architect Professor, Horticultural Science Hickory, NC Butner, NC Wilkerson & Associates Department Charlotte, NC NCSU Pamela Siers Paul Tesar Raleigh, NC Executive Director Professor of Architecture, School of Darryl Williams Southern Highland Handicraft Guild Design Architect Ron Reagan Asheville, NC NCSU Gantt Huberman Architects Director of Facilities Planning and Raleigh, NC Charlotte, NC Construction Laura Sindell UNC-A Public artist Rosie Thompson Gloria Williams Asheville, NC Seattle, WA Associate Professor, Art Department Trustee NCCU PSU General Nathanial Robb J. Paul Sires Durham, NC Pembroke, NC Principal user Artist National Guard Military Center Charlotte, NC Frank Thomson Eve Williamson (ex-officio) Raleigh, NC Artist and Curator Executive Director Jay W. Smith Asheville Art Museum North Carolina Museum of History Clyde Robbins Landscape architect Asheville, NC Associates Associate Vice Chancellor for Physical O’Brien/Atkins Associates Raleigh, NC Operations Research Triangle Park, NC Arthur Tollefson ASU Dean, School of Music Winston Wingo Boone, NC Meredith Smith UNC-G Artist Public Information Office Greensboro, NC Spartanburg, SC Larry Robbs N.C. Department of Human Architect Resources Marta Tornero Carl Winstead Walters, Robbs, Callahan & Pierce Raleigh, NC Artist Architect Winston-Salem, NC Greensboro, NC Clearscapes Architecture Molton Smith (ex-officio) Raleigh, NC Mozell Robinson Student Xavier Toubes Director of Administrative Services, NCCU Assistant Professor of Art Ken Wood (ex-officio) Office of Financial Affairs Durham, NC UNC-CH WCU representative NCCU Chapel Hill, NC Cullowhee, NC Durham, NC Deborah Sonnenstrahl Professor César Trasobares Hal Wright Mae Rodney Gallaudet University Artist and public art consultant Special Needs Principal Director, O’Kelly Library Washington, DC Miami, FL ENCSD WSSU Wilson, NC Winston-Salem, NC Dennis Stallings Bob Trotman Architect Artist Earl Yarbrough John Rogers The Freelon Group Casar, NC Dean, School of Technology Architect Research Triangle Park, NC NC A&T Rogers Associates John Turner Greensboro, NC Asheville, NC Verne Stanford Building Task Force Director UNC-CH Mary Young Kenneth Rogers (ex-officio) Penland School of Crafts Chapel Hill, NC Education Coordinator Director Penland, NC Green Hill Center for NC Art NCCU Museum of Art Robert Tynes Greensboro, NC Durham, NC Mel Stanforth Assistant Professor of Art Professor, School of Art UNC-A Dennis Zaborowski Ruth Rogers ECU Asheville, NC Artist and Professor of Art Architect Greenville, NC UNC-CH O’Brien/Atkins Associates Rhonda Tyson (ex-officio) Chapel Hill, NC Research Triangle Park, NC Tom Stanley Exhibitions Curator Director North Carolina Museum of History Carl Zeithami Thomas Sayre Waterworks Gallery Raleigh, NC Senior Associate Dean of Academic Artist Salisbury, NC Affairs, Kenan-Flagler School of Raleigh, NC Mark Valand Business Ralph Steeds RS and H Architects UNC-CH Phil Schive Associate Professor Raleigh, NC Chapel Hill, NC Architect Art Department Shive Associates PSU Paul Van Zandt Martin Zimmerman Charlotte, NC Pembroke, NC Chair, Art Department University Architect PSU UNC-C Sarah Schroth Margaret Stephenson (ex-officio) Pembroke, NC Charlotte, NC Curator Director of Adult Admissions Ackland Art Museum John Umstead Hospital Victor Vines Chapel Hill, NC Butner, NC Architect The Freelon Group Steven Schuster Cici Stevens Research Triangle Park, NC Architect Artist Clearscapes Architecture Durham, NC Clifford E. Watkins Raleigh, NC Music Department Terry Suhre NC A&T John D. Schwanebeck Director, Catherine Smith Gallery Greensboro, NC Designer ASU Reynolds, Smith & Hils Boone, NC Tampa, FL