NC State’s Gregg Museum of Art & Design, at 1903 Hillsborough Street in Raleigh, is open to the public and free to visit. Free parking is available adjacent to the building.
- Monday: closed
- Tuesday: 10 a.m. to 5 p.m.
- Wednesday: 10 a.m. to 5 p.m.
- Thursday: 10 a.m. to 9 p.m.
- Friday: 10 a.m. to 5 p.m. (open until 7 p.m. first Friday of month for First Fridays)
- Saturday: 10 a.m. to 5 p.m.
- Sunday: 1 p.m. to 5 p.m.
Upcoming events at Gregg Museum
Here are some of the upcoming events at Gregg Museum. These are free and open to the public.
See more events on Gregg Museum’s programs page.
Thurs. Nov. 14, 6pm. Artist Talk: Suzanne Anker
A Bio Art pioneer, visual artist, and theorist working at the intersection of art and the biological sciences, Anker talks about her work as it relates to Art’s Work in the Age of Biotechnology, setting the stage for The Handmaid’s Tale author Margaret Atwood’s presentation at NCSU Libraries the following evening (Nov. 15).
Thurs. Nov. 21, 6pm. Artist Talk: Deborah Luster
For over 20 years, photographer Deborah Luster has been engaged in an ongoing investigation of violence and its consequences. In “Archive of Lamentations” Luster discusses the evolution of her photo series One Big Self: Prisoners of Louisiana; Tooth for an Eye: A Chorography of Violence in Orleans Parish; and Passion Play, a series depicting Angola Prison inmates’ theatrical performance of “The Life of Jesus Christ.”
Current and upcoming exhibitions at Gregg Museum
Fantastic Fauna–Chimeric Creatures by Beauvais Lyons
Through January 26th, 2020
Evolution. Differentiation. The wondrous variety of individual creatures, one from the other. Many scientists, thinkers, and theorists have put forth their ideas of how the multitude of all living creatures came into being.
Fantastic Fauna-Chimeric Creatures features factitious historical and scientific parodies by Dr. Beauvais Lyons, Director of the Hokes Archives and art professor at the University of Tennessee. Part archaeologist, part scientist, part satirist, part artistic visionary, Director Lyons, on behalf of the Association for Creative Zoology, presents evidence that exotica throughout the animal world is merely a representation of the creative presence in all things. Creatures that have never been seen before are examples of the “zoomorphic juncture”, or the combination of previously built species into new works of creation from the building blocks of existing organisms. They are presented as meticulously rendered lithographs and taxidermy specimens, and stand as a representation of the Hokes Archives’ collection of imaginary archaeology, zoology, and medicine.
Prints presented in this collection include illustrations of such rare zoological creatures as the Giraffe Boa, the Monkey Centaur and the Nordic Hare Falcon. Director Lyons curated this collection of prints and other artifacts to serve as evidence that these fantastical creatures are merely tangible examples of divine creative inspiration and resulting flora and fauna.
A joint exhibition with The Power Plant Contemporary Art Gallery in Durham. Local curator: Randall Kenan, Professor of English, UNC-CH
September 5th to December 29th, 2019Southbound: Photographs of and about the New South is an unprecedented photography exhibition co-curated by Mark Sloan, director and chief curator of the Halsey Institute of Contemporary Art, and Mark Long, professor of political science, both of whom are on the faculty of the College of Charleston, in South Carolina.Southbound embraces the conundrum of its name. To be southbound is to journey to a place in flux, radically transformed over recent decades, yet also to the place where the past resonates most insistently in the United States. To be southbound is also to confront the weight of preconceived notions about this place, thick with stereotypes, encoded in the artistic, literary, and media records. Southbound engages with and unsettles assumed narratives about this contested region by providing fresh perspectives for understanding the complex admixture of history, geography, and culture that constitutes today’s New South.Southbound comprises fifty-six photographers’ visions of the South over the first decades of the twenty-first century. Accordingly, it offers a composite image of the region. The photographs echo stories told about the South as a bastion of tradition, as a region remade through Americanization and globalization, and as a land full of surprising realities. The project’s purpose is to investigate senses of place in the South that congeal, however fleetingly, in the spaces between the photographers’ looking, their images, and our own preexisting ideas about the region.
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