cover This elaborate plate, used to exchange sweets with family and friends during Purim, features a central image of Esther interceding before Ahasuerus. Read about how the creation of Judaica flourished in tolerant 17th-century Holland starting on page 2. Purim Plate, Hamburg, Germany, late 17th century, repousséd, hammered, and engraved silver, 18 1/2 × 221/4 in., Jewish Museum, New York, Gift of Dr. Harry G. Friedman, F 4188
PREVIEW
MANAGING EDITOR
Laura Napolitano
DESIGNER
Dan Ruccia
PHOTOGRAPHERS
Christopher Ciccone, Vann Powell, Keith Quick
CONTRIBUTORS
Cameron Allison, Jason Blyskal, Linda Dougherty, Laura Finan, Jessica Gorelick, Moses T. A. Greene, Miles Hall, Molly Hull, Sabrina Hurtado, Courtney Klemens, Lizzie Newton, Philip Pledger, Devin Riley, Sean Sabye, Bryanne Shepard, Jill Taylor, Lela Urquhart, Oliver Wagner, and Jeffrey Yelverton
Preview is published by the NCMA four times a year.
The North Carolina Museum of Art is a division of the Department of Natural and Cultural Resources, Pamela B. Cashwell, secretary.
The exhibitions and programs featured in Preview rely on support from people and organizations who value the Museum and its work. Please consider donating to the NCMArts Fund at qrco.de/ncmaartsdonation
WHAT’S TO COME!
We are currently reimagining our campuses through exciting renovation and construction projects. Here’s the latest.
raleigh Construction on East Building started in November 2025. In the Park the first phase of the stream restoration is complete. Native trees and shrubs will be planted in that area this winter. A trail and bridge to Cloud Chamber for the Trees and Sky are scheduled to open in March.
winston-salem The buildings and campus close to the public on Saturday, December 27, 2025, with construction beginning in 2026. Exhibitions, programs, and educational offerings will return in April 2026 at the new NCMA Winston-Salem Downtown space.
For up-to-date news and answers to frequently asked questions, please visit ncartmuseum.org/ncma-campus-renovations-and-updates
From the Director
Dear Friends,
As the NCMA wraps up another successful year, I am delighted by our communities’ sustained enthusiasm for all we set out to achieve in 2025. Thanks to the support of members and donors, we commenced the public phase of our transformative Reimagining the Possible campaign, presented groundbreaking exhibitions, uplifted artists contributing to our state’s flourishing cultural ecosystem, and more. Illustrated in this edition of Preview, 2026 promises further opportunities to learn more about ourselves and one another through engagement with the arts.
This winter, we are excited to offer a wide array of experiences for visitors. The Book of Esther in the Age of Rembrandt on view through March 8, 2026—contextualizes biblical Queen Esther’s prominence in 17th-century Dutch visual culture (pages 2–5). Find gift-giving ideas in the Exhibition Store, brimming with items from local women artists taking inspiration from Esther’s heroic story. NCMA Café, headed
by two successful businesswomen, is serving up bold, inventive dishes that draw upon the exhibition’s themes (pages 6–9).
In anticipation of lovely springtime weather, a new people-centered work of art by London-based artist Paul Cocksedge entitled Please Be Seated—North Carolina will be installed in the Ann and Jim Goodnight Museum Park to provide additional outdoor space for interactions among nature and the arts (pages 10–11).
At the NCMA Winston-Salem, we’re proud to present We Belong Here: The Gutierrez Collection through December 27. While we have shown various works from Onay Gutierrez and Jeffrey Childers’s contemporary art collection in our galleries, this is the first major exhibition bringing together North Carolina, US, and international artists working in a range of styles and mediums (pages 12–13).
We invite the photo-curious to take a peek behind the scenes of the Museum’s photography studio (pages 14–15). Then,
follow the DIY instructions on pages 18–19 to capture the beauty of NC’s wintry landscapes with a fun cyanotype craft based on a beautiful new installation by Eric William Carroll in West Building.
The festivities that punctuate this time of year inspire me to reflect on the important role community plays in our daily lives. I am always heartened to see loved ones connecting with one another and others on our campuses through exhibitions, performances, workshops, film screenings, lectures, and more (pages 20–23). I hope the NCMA continues to be a place where you and yours come to form treasured memories.
With appreciation and my best,
Valerie Hillings
Finding a Safe Haven
Dutch Judaica from Rembrandt’s Time and Beyond
michele frederick Curator of European Art and Provenance Research
sean burrus Curator of Judaic Art
The NCMA’s exhibition The Book of Esther in the Age of Rembrandt, on view through March 8, 2026, explores the biblical story of Esther’s impact on Dutch art and Jewish ceremonial art made in the Netherlands over the course of about two hundred years. The exhibition’s story is centered on the time of Rembrandt van Rijn (1606–1669), when newly independent Dutch citizens and growing numbers of Jewish immigrants both looked to the story of Esther to express ideas of freedom.
The Netherlands, once part of the Spanish Empire, fought for and eventually won its independence in the Eighty Years’ War (1568–1648). The Book of Esther was apt for expressing Dutch national identity: the evil Haman symbolized Catholic Spain, while Esther and Mordecai in their bravery and triumph represented the Protestant Dutch, who saw their struggle for freedom as parallel to the biblical Israelites. As the Dutch secured political and financial autonomy, they expanded their global reach and established themselves as a colonial power. They also gained religious freedom and offered a safe haven for many. Amsterdam in particular gave refuge to large numbers of immigrants from across the continent who were fleeing religious persecution and searching for economic
opportunities. This included Sephardic Jews who had been forced to convert to Catholicism in Spain and Portugal (called conversos) as well as Ashkenazic Jews from central and eastern Europe. Most Jewish immigrants settled in Vlooienburg—a human-made island that became the epicenter of Jewish life—where they lived alongside Rembrandt and a diverse community.
As the Dutch established themselves as a global and economic power, the Netherlands experienced an artistic flourishing the likes of which the world had never seen. In addition to producing geniuses like Rembrandt, this era had a profound impact on the making, use, and materials of Judaica. Jewish rituals and traditions using Judaica that had been banned or restricted in Iberia and other previous homelands were now permitted in more tolerant 17th-century Holland. Whether employed in the grand Portuguese Synagogue in Amsterdam for ceremonies or in the privacy of the home, pieces of Jewish ceremonial art took on a new visibility, and celebrations of holidays like Purim marked the Jewish presence in the Netherlands. Featured in the exhibition are Dutch-made tazzas that were adapted as bowls for collecting charity on Purim and Hebrew-language prayer books covered in
Salom Italia, Esther Scroll, Amsterdam, 1640s, printed border, handwritten text, and ink on parchment, 8 × 985/8 in., Jewish Museum, New York, Gift of the Danzig Jewish Community, D 76
bottom Dutch, Tazza (Purim collection cup), 1590–1611, silver, H. 63/4 in.; Diam. 81/8 in., Jewish Cultural Quarter, Cultural Heritage Foundation of the Portuguese Israelite Congregation (CEPIG), Amsterdam, 0788
opposite Dutch, Ceremonies of the Festival of Purim, 1650, copper engraving on paper, 13 × 173/4 in., Joods Historisch Museum, Amsterdam, purchased from the Arthur and Jetty Polak Collection, purchased with the support of the SponsorBingo Loterij, M008706
top
left to right Jacob Andreas Ebersbach, Sabbath and Festival Lamp, 1793, silver, H. 381/2 in., Purchased with funds from Lauri Union, Stanley Rosenzweig, and family in loving memory of Benjamin M. and E. Elizabeth Saslaw; Elizabeth Kanof Levine and Ronald Levine; Marion Meyer-Robboy and Stanley Robboy; Emily Kass and Charles Weinraub; and other Friends of the Judaic Art Gallery; Attributed to Willem Hendrik Rosier, Pair of Torah Finials, circa 1765, silver, brass, partly gilded, 165/8 × 51/2 in., Purchased with funds from Margaret and Douglas Abrams, Marion Meyer-Robboy and Stanley Robboy, Connie C. and Robert D. Shertz, Laura and David Brody, Joan and Kalman Cohen, David C. Falk Sr., Elizabeth Kanof Levine and Ronald Levine, and other Friends of the Judaic Art Gallery; De Klaauw Factory, Passover Plate, 18th C.?, earthenware and tin glaze, Diam. 87/8 × D. 13/16 in., Gift of Carol Vatz and Joel Rosch in memory of their parents, Betty and Benny Vatz and Bea and Maurice Rosch
tortoiseshell harvested by the Dutch West India Company. Also displayed are ornate Torah finials crafted using imported silver and Delftware Judaica, including a variety of plates and a rare ceramic Sabbath lamp.
As print culture thrived in the Netherlands, Amsterdam became a center of illustrated Esther scroll production, with Jewish engravers utilizing the newest printing technologies. The Jewish artist Salom Italia (1618/19–after 1664) is renowned for producing Esther scrolls in a range of styles that demonstrate the full potential of these new innovations. The scrolls integrate details from different European traditions; borders filled with Dutch cityscapes and landscapes, Italianate architecture, and flora and fauna are interspersed with scenes from the Megillah (Esther’s story). Characters, in dialogue with one another, appear nestled in niches, bringing the Purim story to life.
Dutch Judaica forms an important part of the NCMA’s Judaic Art Gallery as well. Important works shed light on the flowering of Jewish cultural life under the Dutch Republic and on the broader Dutch production of Jewish ceremonial art that continued into the 18th and 19th centuries. These include a pair of Torah finials once owned by the Great German Synagogue in Amsterdam, the oldest and most prominent of four synagogues belonging to the Ashkenazi community
of the city. The finials were made in the mid-18th century by the artist Willem Hendrik Rosier (1707–1775), a Catholic and a member of the Amsterdam goldsmiths guild. The tiered, architectural forms with balustrades, arches, columns, and ornate embellishments exemplify the unique style of baroque Torah finials that originated in the Netherlands in the time of Rembrandt. Complementing the Delftware sabbath lamp in the exhibition, a large hanging silver sabbath lamp by Jacob Andreas Ebersbach (1745–1827) is a stunning neoclassical example of Judaica made for the Dutch home and a highlight of the gallery. And just last year, the NCMA added to the collection a blue-and-white Delftware plate by the De Klaauw factory. One of a known group of similar plates made in the Delft style with Hebrew inscriptions indicating major holidays and occasions, the plate is inscribed with the holiday of Passover (Pesach in Hebrew) and was likely intended as a holiday gift, either individually or as part of a set. Like the art and ceremonial objects featured in The Book of Esther in the Age of Rembrandt, the works in the Judaic Art Gallery bear witness to the dynamic dialogue between the Dutch and Jewish communities beginning in the 17th century and the importance of the age of Rembrandt in the evolution of Jewish ceremonial art.
The in the
ESTHER Age of Book of REMBRANDT
Through March 8, 2026
East Building, Level B, Meymandi Exhibition Gallery
TIC K ETS
Reserve at ncartmuseum.org free for Members
$20 Adults, $17 Seniors age 65 and older, $12 Students (ages 7–22), free for children 6 and under Questions about ticketing? Email help@ncartmuseum.org
The Book of Esther in the Age of Rembrandt is co-organized by the Jewish Museum, New York, and the North Carolina Museum of Art, Raleigh.
In Raleigh the exhibition is made possible, in part, by the North Carolina Department of Natural and Cultural Resources; the North Carolina Museum of Art Foundation, Inc.; The Slomo and Cindy Silvian Foundation, Inc.; Samuel P. Mandell Foundation; Lisa and Michael Sandman; Lisa and Steven Feierstein; Dawn F.Lipson; Marion Meyer-Robboy and Stanley Robboy; Dutch Culture USA, a program of the Kingdom of the Netherlands in the United States; and the William R. Kenan Jr. Endowment for Educational Exhibitions. Research for this exhibition was made possible by Ann and Jim Goodnight/The Andrew W. Mellon Foundation Fund for Curatorial and Conservation Research and Travel.
E X HIBITIO N -REL A TED EVE N TS
Docent-Led Tours
Wednesday–Sunday through February 20 (by request)
free with exhibition ticket purchase
Join us for a tour that explores how different communities living in the 17th-century Netherlands looked to and used the figure of Esther and her story in various ways. Request at ncartmuseum.org/visit/tours
Audio Description Tour
Thursday, December 11, Saturday, February 7, 10:30 am–noon free with exhibition ticket purchase
Join us for an audio description tour to learn through art and material culture how the biblical queen of Persia became a Dutch heroine.
Secrets, Visions, and Mysteries: Creating Mixed-Media Narrative
Artwork with Noelle Gunn
Saturday, December 13, 10 am–4 pm
Ticket purchase required
This class, conceptually inspired by the story of Esther, explores symbolism, storytelling, and mixed-media materials. Students learn techniques using paint, drawing media, needle and thread, and transfers to create an original narrative work of art.
In Motion. In Time: She Who Stands Saturday, January 24, 11 am, 1 pm free
Partnering with the Broughton High School Dance Department under the direction of Director of Dance Betsy Graves, the NCMA presents an original, commissioned dance performance in conjunction with the exhibition.
I ❤ Purim 2026
Saturday, February 21, 7–10 pm
Ticket purchase required
Join the Friends of the Judaic Art Gallery for an evening of fun and festivities as The Book of Esther in the Age of Rembrandt takes center stage. To become an event sponsor, contact bwilson@ncartmuseum.org
Selections and Scenes from Darius Milhaud’s Esther de Carpentras
February 22, 2026, 1 pm
Ticket purchase required
This program presents excerpts, animation, and contextual lectures related to Esther de Carpentras (1938). This two-act opéra bouffe (satirical comic opera) by Darius Milhaud is rooted in the Purim traditions of southern France’s Jewish communities.
kayla miles
Empowered Women
janis treiber Director of Visitor Experience and Retail
DExecutive Administrative Assistant, Catering Works
uring the run of The Book of Esther in the Age of Rembrandt in Raleigh, the Museum Store and the NCMA’s dining partner, Catering Works, present exhibition-themed merchandise and culinary experiences inspired by the powerful story of biblical Queen Esther. These offerings both support strong women in our community and make for impressive gifts during the holiday season.
Talented Creators
ARTIST DEBBIE SECAN
In the Book of Esther Exhibition Store, we are honored to showcase and promote local artists inspired by Queen Esther’s story and her example of how courage and identity can shape the future. These artists remind us that art has the power to amplify stories that go beyond time. Featured here are two women who demonstrate how creativity and conviction influence culture and community.
I weave strips of salvaged material into textural canvases and then paint, focusing on texture and luminosity. Recently, I added a spiritual layer to my work, rooted in a love of Judaism and the Jewish people. I find inspiration in scripture, liturgy, ritual, and history while leaving space for the viewer’s interpretation. It is meaningful when people of other faiths connect with the spirit of my work.
There are two series I am working on currently. Light in Darkness is a metaphor for how we can create joy in the depths of sorrow. Revealed Star uses the Star of David, which is visible in some paintings and disappears in others, playing with the idea of revealed blessings—hidden blessings that stem from hardship. This work explores the choices Jews have made from the time of Esther regarding religious tradition and assimilation and how that intersects with personal and communal safety.
I grew up in Winston-Salem, NC, and first studied weaving at the Interlochen Arts Academy in Northern Michigan as a teenager. I began a degree in textile design at the Rhode Island School of Design and completed it at Shenkar College in Israel, where I lived for seven years designing woven upholstery. I hold a master of arts and design from NCSU and have a studio at Artspace. My work has been exhibited throughout the Southeast.
ARTIST ERICA VOGEL
Though I started making jewelry over two decades ago, I didn’t fully embrace it until 2016. I’ve always used it as a creative outlet from my otherwise left-brained life. I’m trained as a chemist and was a chemistry professor after completing my doctorate. Ten years ago, I left teaching to run my own business.
I love sourcing quality materials and finding ways to make them work together. I strive to construct pieces that you will want to wear every day, not only because they are beautiful but because they are comfortable.
I've created four wearable designs inspired by the strength and story of Queen Esther. Earrings featuring the quote “If I perish, I perish” reference Esther’s resolve when she goes before King Ahasuerus uninvited. Another pair of earrings includes the quote “for such a time as this” and features a prominent engraving of a peacock symbolizing resilience, as demonstrated by Esther’s selfless effort to save the Jewish people in ancient Persia. Dainty hammered brass earrings topped with wire-wrapped amethyst in the shape of a bejeweled scepter represent the moment that the King held out his royal staff to Esther in favor. Amethyst both symbolizes royalty and is thought to protect the wearer. The design Candle-Lit Stars references the name Esther, meaning star, and mimics the dimness of Rembrandt’s paintings, often with light emanating from a single candlestick.
Find these offerings and more at the Exhibition Store on Level B in East Building. Open Wednesday–Sunday, 10 am–5 pm.
Flavorful Visions
JILL SANTA LUCIA AND LORIN LAXTON
As the community gears up for the holiday season, one local business is serving more than just food. It’s also serving empowerment, artistry, and a taste of homegrown creativity. Co-owned by sisters Jill Santa Lucia and Lorin Laxton, Catering Works is a woman-owned, veteran-owned business that presents memorable event catering, fine-dining cuisine, and a retail popcorn line on site at NCMA Café. This season, they’re excited to showcase offerings related to the exhibition The Book of Esther in the Age of Rembrandt.
Esther, a bold and strategic queen, used her voice and influence to protect her people. Her story echoes the journey of many modern-day women in leadership, including Santa Lucia and Laxton. Their partnership with the Museum is more than a business collaboration; it’s a creative dialogue about food, art, and the enduring power of women’s stories.
“We see Esther’s story as one of resilience and strategic strength, which really mirrors how we’ve built this business from the ground up,” says Santa Lucia, who leads the company’s culinary direction. “Food can tell stories, too, and we’re proud that ours is one of community, culture, and courage.”
Laxton, whose background is in the US Navy, shaped the company’s logistics and technology. She adds, “We’re honored to connect with the Museum and this exhibition. It’s a reminder that women have always been at the heart of powerful narratives, whether on a canvas or at a table.”
Catering Works is infusing the spirit of Esther into every corner of their operation. Thematic menus for private events inspired by the exhibition include culinary traditions from Dutch, Persian, and Jewish cultures. NCMA Café offers paintable pancakes and a gilded fondue skillet during the exhibition’s run, inviting art lovers to experience food through multiple senses on a visit to the Museum. As the holidays approach, gift cards for NCMA dining experiences are available, as are gift boxes of Ella’s Popcorn—the company’s artisanal popcorn that’s become a local favorite. These make thoughtful gifts for the holidays.
In a season defined by gathering and gratitude, Catering Works and The Book of Esther in the Age of Rembrandt offer a timely reminder that when women lead, the whole table rises.
Jill Santa Lucia and Lorin Laxton; Photo: Moira Grace Photography
NCMA Café is located in West Building and is open Wednesday–Sunday, 10 am–5 pm, for coffee service, brunch, and lunch.
UPCOMING NCMA CAFÉ EVENTS
Gingerbread Tea
Sunday, December 7, December 14, 10:30 am–3:30 pm
Prepaid reservations required
Join us at the Gingerbread Tea to celebrate the holiday season. This family-friendly, festive afternoon tea features a variety of finger sandwiches, premium hot teas and cocoa, and savory and sweet treats.
Art Heist Dinner
Thursday, January 22, 6–9 pm
Prepaid reservations required During an evening of intrigue, art meets mystery, and every bite holds a clue. Indulge in a special multicourse menu while uncovering hints that guide you to who stole the missing artwork. Will you crack the case before dessert?
Art inside the Bottle
Friday, January 30, 6:30–9:30 pm
Prepaid reservations required
Explore the connections among art, wine, and food. This enjoyable, enlightening, and delicious experience includes wine education and pairings and a tour of the works of art that inspired the art on the plate.
Valentine’s Day Dinner
Saturday, February 14, 6:30–9 pm
Prepaid reservations required
In partnership with Chamber Music Raleigh, we present a curated four-course meal accompanied by live music by the Cleveland Celtic Ensemble.
Photos: Hans Rosemond Photography
Anew work of art will be installed in the Museum Park this winter on the hill above the Joseph M. Bryan, Jr., Theater in the Museum Park. Please Be Seated—North Carolina by the British artist and designer Paul Cocksedge transforms a simple bench into a monumental, site-specific installation. Designed to follow the contours of the landscape and provide space for rest, conversation, exploration, and performance, this uniquely people-centered design invites social interaction.
Based in London, England, with a background in industrial design, Cocksedge creates innovative works of art that bridge public art, design, and architecture. Often deceptively minimal in appearance, his works are complex constructions that are carefully calculated, engineered, and balanced. Ranging from unorthodox lighting fixtures, furniture, and sculpture to creative seating structures, pavilions, and bridges, his work provides spaces that encourage human connection. In his words, “What I’m trying to do with my work is create moments to connect with others because this is what I feel moves society forward.”
Designed as a series of rings, with rippling waves of arches that created spaces for people to pass through or sit and relax
linda johnson dougherty Chief Curator and Senior Curator of Contemporary Art
top Paul Cocksedge, Rendering of Please Be Seated—North Carolina, 2025
bottom Paul Cocksedge, Please Be Seated—London, 2019; Photo: Mark Cocksedge, Courtesy of Paul Cocksedge Studio
on, the original Please Be Seated was a temporary installation made from recycled scaffolding boards located in downtown London during the London Design Festival in 2019. As described by Cocksedge, “This piece was an instinctive response to the space and the rhythm of people through it. It filled a public square and engaged passersby, without obstructing the space.” Following its debut in London, the temporary version of Please Be Seated traveled to several cities in China, including Chengdu, Guangzhou, Shanghai, and Beijing. Another temporary version of the project was created for Kew Gardens in London in 2021. There are now two permanent editions of the work, one in Hong Kong (2021) and one in Beijing (2022).
After visiting the Museum Park, Cocksedge designed a site-specific version of his earlier Please Be Seated projects for the NCMA. Following the changing topography of the landscape, the undulating bench forms two sweeping arcs that flow down the hill, providing a physical and visual link between the upper areas of the Museum Park and the Museum buildings and Bryan Theater.
This new Park art project has been made possible by a significant gift from Pat and Tom Gipson, longtime patrons of the NCMA. The Gipsons’ tremendous support and generosity have brought numerous works of art to the NCMA over the past few years, including Daily tous les jours’ Musical Swings and Daydreamer: Kinetic Musical Benches, Rose B. Simpson’s Counterculture, Jeppe Hein’s Mirror Labyrinth NY, Hank Willis Thomas’s sculptural benches Ernest and Ruth, and Daniel Johnston’s large-scale ceramic work Installation 1-183, all in the Museum Park. They also donated Leonardo Drew’s monumental sculpture Number 235, located at the entrance to the Global Contemporary galleries in East Building.
ABOUT THE ARTIST
Born in 1978 in London, Paul Cocksedge received his bachelor of fine arts in Industrial Design at Sheffield Hallam University in 1997. He studied with Ron Arad at the Royal College of Art in London, receiving a master of arts in Product Design in 2002. In 2004 he founded Paul Cocksedge Studio in London along with his business partner, Joana Pinho. He currently lives and works in London.
Cocksedge has collaborated with designers such as Issey Miyake and Ingo Maurer as well as with brands such as BMW, Flos, Hermès, Sony, and Swarovski. His public installations and large-scale projects include A Gust of Wind (2019), a light sculpture for the Eskenazi Museum
of Art at Indiana University, and Coalescence (2023), a sculpture made from over 2,500 pieces of anthracite excavated from the UK’s last remaining coal mine, for the Painted Hall at the Old Royal Naval College in London.
Cocksedge’s work is held in numerous collections throughout the world, including the British Council, London; Design Museum, London; Eskenazi Museum of Art, Bloomington, IN; Museum of Arts and Design, New York; Museum of Fine Arts, Houston; Museum of Modern Art, New York; and Victoria and Albert Museum, London. A monograph on his work, Paul Cocksedge: Reflections, was published by Phaidon in 2025.
Paul Cocksedge, Please Be Seated—Hong Kong, 2021; Photo: @timmy727, Courtesy of Paul Cocksedge Studio
Photo:
A Cutting-Edg E Coll ECtion
We Belong Here: The Gutierrez Collection, on view through Saturday, December 27, at the NCMA Winston-Salem, is the first public exhibition of the contemporary art collection that North Carolina–based Onay Gutierrez and Jeffrey Childers have built over the past decade. The presentation features over 40 works created in the 21st century by international contemporary artists working in a broad range of media.
These artists are engaged with current social, political, cultural, and personal
issues. According to Linda Dougherty, chief curator and senior curator of contemporary art at the NCMA, We Belong Here “presents the highly personal perspective of a collection based in North Carolina with an incredibly expansive and thought-provoking global view, highlighting the experiences, narratives, voices, and perspectives of a remarkably diverse group of artists.” The collection reflects contemporary ideas around mental health; LGBTQ+ rights; Latin/Latinx, African, and African diasporic identities; as well as
broader explorations of activism, protest, and civil disobedience.
The show is especially exciting in that it provides an overview of cutting-edge contemporary art by artists not often shown in the US, such as Tunji AdeniyiJones, Sesse Elangwe, Angele Etoundi Essamba, Yukimasa Ida, No Martins, and Thandiwe Muriu. It also displays works by artists represented in the People’s Collection, such as Saif Azzuz, Clarence Heyward, Hayv Kahraman, Beverly McIver, Zanele Muholi, Tavares Strachan,
We Belong Here:
The Gutierrez Collection
Through December 27, 2025
NCMA Winston-Salem, Main Gallery
750 Marguerite Drive
Winston-Salem, NC 27106 ncmawinstonsalem.gov
Wednesday–Saturday, 11 am–4 pm
Open until 8 pm on Thursdays
Mickalene Thomas, and Kehinde Wiley. In viewing We Belong Here, visitors have the opportunity to see additional pieces by artists they have been introduced to on the Raleigh campus.
North Carolinian Clarence Heyward, whose portrait Everything Is Everything hangs in East Building, creates figurative paintings primarily depicting his family and himself. In both Everything Is Everything and While You Were Away, he uses the chroma key green color to reference the video concept of a green screen, upon
Admission
free for Members and Youth (ages 17 and under); $8 Adults; $6 Seniors, Military, and College Students
This exhibition is made possible through the support of Onay Gutierrez and Jeffrey Childers and is co-organized with the Cameron Art Museum (CAM) in Wilmington, NC. Additional support for this exhibition was provided by Blanco Tackabery, Attorneys & Counsellors at Law.
which any background or reality can be superimposed. This reminds us that who we see is a function of who we are as observers.
We Belong Here by Bahamian American Tavares Strachan will be familiar to visitors who have encountered his neon work You Belong Here at the NCMA. The welcoming tone struck by both statements invites viewers to contemplate who does or does not feel included in a specific time or place. Any change to the location or context of the works changes who “we”
or “you” might be and where “here” is, bringing new meanings to the phrases.
For Gutierrez and Childers, their collection, and in turn the exhibition, “aims to create a space where art becomes a platform for dialogue and understanding across a broad spectrum of identities and perspectives.”
Joining the NCMA as an assistant photographer 25 years ago—a length of time he describes as “horrifying to think about”—Chris Ciccone, manager of digital imaging, was forced to reconsider the central function of his professional practice. Working previously as a commercial photographer, Ciccone had been taught to “idealize and valorize” his subjects for the sake of stimulating consumer interest. At the Museum he was told that any inkling of subjective perspective must be resisted. “Here we render as faithful or neutral an image as we can,” he said.
“There’s no enhancement whatsoever. We’re trying to show the thing as it is.”
Running up against these ends are the manipulations made readily available by advancements in digital photography. When visitors search for an artwork through the NCMA’s online catalogue, they are often presented with a composite image, assembled from multiple photographs of the same object. Initially, this approach seems to detract from an image’s “neutrality.” Embracing current photographic processes, however, may bring the act of digitally viewing artworks closer to the experience of an in-gallery encounter than ever before. Ciccone clarified this perspective by delving into a few of the many innovative approaches to photography the NCMA has adopted since its transition from film to digital.
Although color targets have been in use since the 1970s, the latest iterations communicate directly with capture software to automatically create custom color profiles, “allowing for much greater color accuracy,” according to Ciccone. This reduces the labor of color correction during the editing process. Without color targets, the multiple viewpoints used to produce composite collection images may contain subtle variations in color, leading to discrepancies between what’s visible online and in the galleries. Preventing color variances is especially important when considering the numerous techniques, like focus stacking, that necessitate the creation of composite images.
When capturing high-resolution images of three-dimensional objects, like sculptures or ceramics, the entirety of an object cannot be rendered sharply in one image. Ciccone employs focusstacking technology, which automatically refocuses the camera while he snaps dozens of photographs from different angles. Elements across several focal lengths are combined to eliminate any blurring around an object’s edges. Focus stacking is common within insect macro photography and photomicrography (photography of objects under a microscope).
Accurate color is of paramount concern when photographing artworks, and the tools used to ensure its continuity have only grown more sophisticated with the integration of capture software. To take a reference image of Neck Amphora with Polychrome Decoration, an EtruscoCorinthian storage vessel from around the late 7th or early 6th century bce, Ciccone placed a polychromatic rectangle beside the base of the vessel. He explained that the rectangle is what’s known as a color target, which provides standardized references to preserve color consistency across camera and lighting setups.
Photo: Sean Sabye
Photo: Sean Sabye
When photographing at that small a scale, Ciccone explained, “your depth of field is miniscule,” necessitating the use of a digital imaging process that bends the laws of optical physics. With this clever technique comes the catch of massive image files. “When you focus stack,” said Ciccone, “you end up creating a working file that’s around two to three gigabytes.” For reference, the file size of an average iPhone image ranges from two to eight megabytes—a unit roughly one thousand times smaller than a gigabyte. Though cumbersome, the larger files produced by a medium-format camera with a substantial image sensor permit online visitors to closely analyze all aspects of a work in the People’s Collection.
Another photographic method that clarifies the finer features of artworks
involves splicing together several close-up detail shots with overlapping fields to produce one high-resolution image. Known as image stitching, this technique can be used to photograph flat, oversized works whose dimensions restrict what photographers can capture within a single object view. To illustrate this function, Ciccone brought up the example of the NCMA’s 1947 Torah Binder (wimpel) by Reuben Eschwege. Measuring 97 inches long, Eschwege’s painted work on linen had to be photographed in gridded segments and fit together like a jigsaw puzzle to form a cohesive whole.
Photographing works in this manner also unlocks new possibilities when it comes to facilitating in-person interactions between visitors and objects. When Eschwege’s wimpel was placed on view in the Judaic Art Gallery this past fall, the
top The highlighted details in the images above represent the different segments of the vessel captured in crisp focus during the focus-stacking process. The in-focus elements are combined into one composite image to create the illusion of the entire object in focus, illustrated on the far right. West Mexican, Colima state, Two Acrobats Effigy Vessel, circa 200 bce–300 ce, ceramic with red slip paint, H. 81/4 × W. 113/4 × D. 61/2 in., Gift of Mr. and Mrs. Mace Neufeld
bottom Ciccone renders the entire Torah Binder in detail by taking highresolution, close-up photographs of segments that he then stitches together to create a single, intelligible view. If he were to try and capture the wimpel in a single photograph, most of its distinguishing features would be obscured. Reuben Eschwege, Torah Binder, 1947, linen, paint, 65/16 × 971/16 in., Gift of Marion Meyer-Robboy and Stanley Robboy
Museum’s interpretation team used Ciccone’s stitched image to create a digital display installed in front of the object that invites visitors to inspect close-up views of the work and learn more about its history. In this way digital representations of objects both replicate and transform the richness of viewing art in person.
While discussing the state-of-the-art photographic technology at the Museum’s disposal, Ciccone’s enthusiasm for the future of his field never felt like an expression of digital superiority. He shared reflections on his admiration of the medium’s material origins. “When I’m doing work for myself,” he said, “I still shoot film. There’s something really magical about the blackbox process.”
It can be said that film captures the physical essence of whatever object it is
exposed to and therefore reveals aspects of the object’s inner life. This may seem like the most powerful means of capturing “the thing as it is,” but the agility, consistency, and practicality of digital enables photographers to create trueto-life imagery in an efficient, economical way, even if digital imaging’s connection to objects contains a less potent air of otherworldliness.
Forthcoming developments in photography are likely to lean even further into experimentation with digital models and realms. Ciccone interprets inventions like virtual reality as a means of “providing a contextual and realistic experience of objects that goes far beyond the act of looking at a printed or digital image.” Photography’s pace of change, he posited, “is only going to accelerate.”
page 15 bottom Attributed to the Monte Abatone Painter, Etrusco-Corinthian, Neck Amphora with Polychrome Decoration, circa late 7th or early 6th century bce, ceramic and pigment, H. 191/2 × Max. W. 117/8 in., Gift of Mr. and Mrs. Gordon Hanes
NATURAL LIGHTS
courtney klemens Manager of Family Programs
cali stuckey Programs Assistant
Create a luminary exploring the process of cyanotypes, inspired by Asheville-based artist Eric William Carroll’s new installation Natural Time in West Building at the NCMA.
Even with daylight hours waning and plants and animals alike seeming to slumber, winter is a perfect time to reflect on the beauty of the natural world. Step outside during this season and discover vibrant evergreens, long shadows, and color in the form of berries or flowers.
The natural world is the setting for Carroll’s art-making process as well, as seen in Natural Time. In August 2025 Carroll created 84 photograms in the Museum Park using only light and shadows cast from a grove of river birches. Our winter luminary is made using the same method: cyanotype. This photographic printing process employs UV light to produce a blue-and-white image.
Step-by-step photos by Courtney Klemens and Cali Stuckey
DIY Cyanotype Luminaries
MATERIALS NEEDED
Natural materials like sticks, leaves, berries, or stones
White paper bag
Two-part cyanotype sensitizer solution (available in the Museum Store or art supply stores)
Paint brush
Plexiglas sheet (optional)
Tea light or votive candle (batteryoperated preferred)
Eric William Carroll, Natural Time, 2025, cyanotypes on board, dimensions variable, Commissioned by the North Carolina Museum of Art with support from The Snyderman Fund for Art Acquisition
INSTRUCTIONS
1
Check the weather and gather your materials. Cyanotypes develop best on a day with bright, clear sunlight. What natural materials can you find growing around you?
2
Determine your composition. Play around with the arrangement of your collected materials on the paper bag before you are ready to expose the cyanotype sensitizer solution to light.
5 Place the painted bag with natural material on top in direct sunlight for 5 to 15 minutes. Optional: place Plexiglas on top of the materials to keep them from moving. The sensitizer solution should turn from green to brown when fully exposed.
Place a candle inside the bag and let your luminary bring warmth and light, indoors or out. Optional: weigh down the luminaries with a few rocks to keep them in place. love your luminary? Bring it to the Winter Lantern Walk on Saturday, December 13! Find more information on page 22 and register at ncartmuseum.org. 1 2 3 4 5 6 7
4 Paint the bag and arrange your materials. Painted areas exposed to light will turn blue, and areas where objects are placed will stay white when the luminary is completed.
6
Rinse the surface of the bag for at least one minute in cool, running water, then let dry. Watch as the cyanotype transforms into a deep blue. The color will deepen over the next 24 hours as it dries.
3
Prepare the cyanotype sensitizer solution. In dim lighting mix the solution according to the directions on the package. Most solutions will be usable for a limited window after combining.
7
MY NCMA
The Museum offers many types of accessibility accommodations for events and tours. To find out what is available or request an accommodation, contact Accessibility Coordinator Molly Hull, mhull@ncartmuseum.org. Please note that requests require a minimum two-week notice.
WINTER EVENTS
The events in My NCMA represent a selection of programs taking place at the Museum in December 2025 and January and February 2026. Please be aware that due to building renovations, some programs may be taking place in the Park or off site. Watch for email newsletters and go to ncartmuseum.org/programs for details and to find more programs.
MEMBER EVENTS
Patron Party 2026
Thursday, January 8, 7–9:30 pm
Tickets available to Patron-level and above members starting Thursday, November 20
Dive into 2026 at the annual Patron Party, where we celebrate your philanthropic support. Indulge in light bites and an artistic cocktail. Dress to impress in your most creative attire.
Humber Dinner 2026:
Celebrating American Art
Tuesday, January 27, 6–9:30 pm free for members at the Humber level and above
To celebrate the 250th anniversary of the signing of the Declaration of Independence, this year’s Humber Dinner honors those who have contributed to building the NCMA’s American art collection. Curator Lauren Applebaum gives its history.
ADULT PROGRAMMING
ncartmuseum.org/adultprograms
Virtual Sensory Journey through Art
Thursday, December 11, February 12, 7–8 pm
free with registration
Join us and NCMA curators for a virtual sensory journey inspired by art from the People's Collection. Participants are prompted to use a provided sensory kit to activate the senses of touch, taste, smell, and sound. Paired with audio description.
Drawing Meditation with Maureen O’Neill
Saturday, December 13, February 21, 10 am–noon
Ticket purchase required
25th Annual African American Cultural Celebration
Friday–Saturday, January 30–31
free
The NC Museum of History's African American Cultural Celebration (AACC)—with support from the NC African American Heritage Commission—kicks off Black History Month with this engaging festival. Demonstrations, inspiring presentations, and powerful performances highlight the contributions that African Americans, past and present, have made to NC’s history and culture.
virtual education day Friday, January 30
in-person festival at the ncma Saturday, January 31, 10 am–4 pm
In this workshop with artist Maureen O’Neill, participants use guided drawing and painting to connect with the present moment. Experience the healing and creative power of intuitive mark making.
Interdisciplinary Explorations
Inspired by Black Mountain College with Jason Lord
Thursday, January 8, 15, 22, 29, February 5, 1–4 pm
Ticket purchase required
In this five-part workshop series, artist Jason Lord leads participants through studio explorations of the processes of Ruth Asawa, Josef and Anni Albers, Robert Rauschenberg, Buckminster Fuller, and John Cage, artists associated with Black Mountain College.
Sculpture
Meditation with Meg Stein
Saturday, January 10, 10 am–noon
Ticket purchase required
Engage in hands-on sculpting while practicing embodied meditation, fostering relaxation and artistic expression. Led by sculptor and certified mindfulness instructor Meg Stein, this workshop invites participants into deeper self-connection.
NCMA After Hours
Thursday, January 15, 5–9 pm free
Spend an evening at the Museum once your workday is over. Join a tour, meander through the galleries, and listen to live music. Relax, enjoy food and drink specials, and browse the Museum Store.
Character Design and Fashion in Animation
Saturday, January 17, 5–7 pm
Ticket purchase required
Study how wardrobe, silhouette, and styling amplify personality with instructor Charles Williams, then design characters with depth, intention, and visual identity.
Poetry in the Galleries:
An Interactive Evening and Book Signing with Jameela F. Dallis
Thursday, February 5, 6–7:30 pm free with registration
Join us for a special evening with Durham poet and curator Jameela F. Dallis. Her first poetry collection, Encounters for the Living and the Dead, includes poems inspired by works in the People’s Collection.
The Printed Heart with Susan Martin
Saturday, February 14, 10 am–4 pm
Ticket purchase required
Utilizing tools, materials, and printmaking techniques in the same fashion as Rembrandt, participants create printed works inspired by vintage Valentine’s Day greetings. Students work directly on copper plates, then ink and print them on a press.
MINDFUL MUSEUM
ncartmuseum.org/mindfulprograms
Winter Slow Art Appreciation
Wednesday, December 17, 6–7 pm free with registration
Slow art is a practice to mindfully observe and communally appreciate art. Participants are guided through an intentional observation and discussion of a single work from our collection.
Winter Meditative Moments with Art
Wednesday, January 21, 6–7 pm
Ticket purchase required
A mindful observation of art is followed by guided meditation that draws on themes from works in our collection and qualities of the winter season.
Winter Singing Bowl Sound Bath
Wednesday, February 18, 6–7 pm
Ticket purchase required
Enjoy a restorative sound bath in the peaceful setting of our galleries. Sound baths are a meditative practice that use resonant instruments to calm the nervous system, decrease stress, and enhance rest.
PERFORMING ARTS AND FILM
ncartmuseum.org/pafprograms
Music
Join us for the pop-up music series Notes on View, featuring live performances that respond to and resonate with works on display.
Carolyn Colquitt
Sunday, December 14, noon, 3 pm free
Celebrate the season with holiday standards performed by Carolyn Colquitt, whose rich, expressive style brings warmth, joy, and timeless holiday spirit to this special musical performance.
Mallarmé Music
Saturday, January 10, 11 am, 2 pm free
Join this acclaimed Durham-based chamber ensemble for an inspiring performance of classical and contemporary works, offering an engaging musical experience that connects sound, space, and storytelling.
The Gregg Gelb Jazz Group
Saturday, February 14, 11 am, 2 pm free
Gregg Gelb, award-winning jazz composer and educator with degrees from Berklee,
UNCSA, and UNC Greensboro, has performed statewide, produced CDs, leads La Fiesta Latin Jazz Quintet, and mentors the acclaimed Triangle Youth Jazz Ensemble.
Dance
Still. Moving is a performance dance series that explores timeless works in the People’s Collection, reimagining the galleries as stages where past and present meet and where the boundaries between objects and experience dissolve.
Support for Still. Moving is provided by Dawn F. Lipson
Semi-Reclining Dress Impression
with Drapery as interpreted by Arts Together Rainbow Dance
Saturday, December 13, 11 am, 1 pm free
Watch as dancers under the artistic direction of Kathryn Auman offer a living response to Semi-Reclining Dress Impression with Drapery by contemporary American sculptor Karen LaMonte, bringing choreographed motion to what was made to endure.
Metamorfosis (Alba) as interpreted by Tara Z. Mullins
Saturday, January 17, 11 am, 1 pm free
Experience art in motion as choreographer, teaching professor, and NCSU Performance and Lecture Series Coordinator Tara Z. Mullins brings a living, breathing response to Metamorfosis (Alba), a powerful mixed-media work by Spanish artist Manuel Rivera.
Film
NCMA Loves Anime Winter Bazaar
Saturday, December 20, 10 am–7:30 pm free
With more vendors than last year, a musical performance that you’ll have to see to believe, and a screening of Yamada’s Liz and the Blue Bird, this is a day not to be missed.
JEWISH FILM SERIES
Talkbacks with the films’ creators follow each screening.
Bad Shabbos (2024)
Thursday, December 18, 7 pm
Ticket purchase required
Directed by Daniel Robbins, 1 hr. 24 min, comedy, NR
David and his fiancée, Meg, are about to have their parents meet for the first time over a Shabbat dinner on New York’s Upper West Side when an accidental death (or murder?) gets in the way.
Art Spiegelman:
Disaster Is My Muse (2024)
Thursday, January 15, 7 pm
Ticket purchase required
Directed by Molly Bernstein and Philip Dolin, 1 hr. 38 min., documentary, NR
This doc provides intimate access to the man and mind who revolutionized the art form of comics with provocative work that confronts personally traumatic themes.
Elie Wiesel: Soul on Fire (2024)
Thursday, February 12, 7 pm
Ticket purchase required
Directed by Oren Rudavsky, 1 hr. 27 min., documentary, NR
With exclusive access to Wiesel’s family and personal archives, this film delves into the passions, struggles, and enduring impact of a man who became a powerful voice for human rights.
ncma loves anime
Liz and the Blue Bird (2018)
Saturday, December 20, 8 pm
Ticket purchase required
Directed by Naoko Yamada, 1 hr. 30 min., anime/drama/fantasy/music, NR
Best friends Mizore and Nozomi find that with high school graduation looming and a planned duet proving difficult, their friendship begins to buckle. Interspersed with the story is the fantasy tale of the duet, “Liz and the Blue Bird.”
animation is art
My Life as a Zucchini (2016)
Saturday, January 17, 8 pm
Ticket purchase required
Directed by Claude Barras, 1 hr. 10 min., animation/comedy/drama, PG-13
After his mother’s sudden death, Zucchini goes into a foster home. At first, he struggles to find his place in this at times hostile environment. With support from new friends, he learns to trust and love again.
the people’s collection
Borom Sarret (1963) and Black Girl (1966)
Friday, February 20, 8 PM
Ticket purchase required
Black Girl: Directed by Ousmane Sembene, 1 hr. 5 min., drama, NR
Following the short Borom Sarret, the NCMA presents Black Girl. A young Senegalese woman moves to France to work for a white couple and finds that their apartment becomes a prison. Curator Tashae Smith gives a talk after the screenings.
PARK
ncartmuseum.org/parkprograms
Winter Lantern Walk
Saturday, December 13, 4:30–6:30 pm free with registration
Shine your light at our annual lantern walk! Bring a homemade lantern (no flames) and come together as we honor the quiet beauty of the approaching winter season with a magical paper lantern procession through the Museum Park.
Winter Full Moon Walk
Monday, February 2, 6–7:30 pm free with registration
Join us for an after-hours walk in the Museum Park. Enjoy our seasonal guided moonlit walk to experience nature and art at night.
FAMILIES
ncartmuseum.org/familyprograms
What’s in the Box?
Wednesday, December 3, January 7, February 4, 10–11 am
Wednesday, February 4, 2–3 pm
Child ticket purchase required (adults and siblings under 3 free)
Meet a work of art, enjoy movement and play, and get your creative juices flowing in this artful workshop for 3- to 5-year-olds and their caregivers.
Pop-Up Art
Sunday, December 14, February 22, noon–3 pm free
Enjoy the fun of drop-in art-making activities for all ages popping up across the Museum galleries and Museum Park. Check ncartmuseum.org for specific activities and locations.
Artful Story Time
Wednesday, December 17, January 21, February 18, 10:30–11 am free with registration
Story time with an artful twist! Come look, listen, and move as we make connections with original works of art and children’s books. Rotating featured readers and locations mean there’s always a new perspective to enjoy.
NCMA to Go Activity Kits
Saturday, January 10, 10 am–noon free with registration
Get creative with NCMA art and artists at home! Reserve an activity kit with materials for a complete hands-on project with written instructions. Kits are designed for all ages. In English and Spanish.
Courtesy of Cargo Film & Releasing
Family Studio
Saturday, February 7, 10 am–noon or 1–3 pm
Ticket purchase required
Look closely at original works of art and find inspiration to create your own projects guided by expert artists during these twohour studio workshops. Best for families with children ages 5 to 11.
TEENS AND COLLEGE
ncartmuseum.org/teencollegeprograms
Interested in learning more about the Teen Arts Council or the College Advisory Panel? Keep up-to-date with all happenings on our Teens and College programs web pages.
Teens Sketch the Galleries
Saturday, December 6, January 3, February 7, noon–2 pm free with registration
Join us to spend time sketching with other teens in the galleries. Bring a pencil and your sketchbook and follow prompts or find your favorite sketching spot with a friend.
Teen Day: Winter Wonderland
Saturday, December 6, noon–4 pm free with registration
Get cozy at the NCMA! Create something, immerse yourself in the galleries, and learn a thing or two about our Museum Teen Ambassadors. Find pop-up art activities and enjoy a day at the Museum with the Teen Arts Council.
Teen Day: We LOVE the NCMA
Saturday, February 7, noon–4 pm free with registration
Celebrate the season of love at the Museum! Make something, walk the galleries, and learn about our Museum Teen Ambassadors. Find pop-up art activities and enjoy a day at the Museum with the Teen Arts Council.
Art on the Dot: Students
Friday, February 13, 2–4 pm free with registration
Art on the Dot, the NCMA’s newest tour offering, is expanding to college students. Join a student gallery guide for a bitesized tour of the People’s Collection. Engage with about three works of art for 30 minutes.
NCMA Student Short-Film Festival
Friday, February 27, 6–8 pm
Saturday, February 28, 4–8:30 pm
Ticket purchase required
The NCMA is hosting its first-ever student short-film festival. Enjoy one or both short-film genre blocks: Friday, February 27: comedy, horror; Saturday, February 28: documentary, romance, sci-fi, animation.
TOURS
ncartmuseum.org/tours
NCMA Public Tours
Every Thursday, Saturday, and Sunday, 1 pm free
These tours of the People’s Collection are great for first-time visitors, as an afterlunch treat, or if you’re curious about the 5,000+ years of art and culture on constant rotation in the NCMA galleries.
Art on the Dot
Saturdays and Sundays, 11 am, 11:45 am, 12:30 pm free
Join a docent in the galleries for a bite-size tour experience. Engage with about three
works of art over 30 minutes. Join for one or stay for all three!
Family-Friendly Tours
Saturday, December 6, January 10, February 7, 10:30–11 am free with registration
Find new favorites alongside old friends on these playful tours. Tours are 30 minutes long and are best for kids ages 5–11 with their adult companions.
Museum Tours in ASL
Saturday, January 17, February 21, 10 am–noon free with registration
This two-hour, docent-led tour in American Sign Language is intended for adults who are Deaf or Hard of Hearing; no English is spoken. It takes place in both East and West buildings, and the theme varies each month.
EDUCATORS
learn.ncartmuseum.org
Online Course: Art and Science
January 27–April 7
Ticket purchase required
Explore art and science through five topics, including observation, physics, and ecology. Work at your own pace and make connections through inquiry-based learning. Each topic takes around three hours (15 hours for the entire course).
Membership Matters
ART & COMMUNITY
This holiday season, consider giving the gift of membership to the NCMA! It’s a gift that keeps on giving all year long, connecting others with the arts and cultural programming that make the NCMA and NCMA Winston-Salem such special places while also supporting the Museum. During this holiday season, gift recipients receive an exclusive magnet set to show our appreciation.
Giftees will enjoy free access to exhibitions in Raleigh and Winston-Salem. They’ll also receive discounts in the Museum’s stores and cafés and get exclusive presale access to and discounts on event tickets. This includes advance tickets for popular Art in Bloom on Thursday, January 22, and early summer camp registration on Thursday, January 29.
On top of all the great benefits your giftee receives, membership purchases support the NCMA’s mission to steward and share the People’s Collection and inspire creativity in our communities. Members help sustain art conservation, educational programs, residencies for emerging artists, performing arts series, and general museum operations.
Please consider sharing the gift of membership with those you love—members make everything we do possible!
DID YOU KNOW?
You can now save all your NCMA tickets to your smartphone’s wallet. Transfer tickets directly after purchase and have them at your fingertips when you need them.
Why We Give
VAIBHAV, SHEFALI, AND KAJAL PARMAR
The North Carolina Museum of Art has been a special place for our family for more than 20 years. From wandering the galleries and running on the trails to seeing renowned exhibitions and attending summer camps, we can never get enough of all that the Museum has to offer. The Museum’s mission and vision are very much aligned to our family values—growth through exploration of cultural and natural resources. We are honored to give back to the Museum to make it a world-class destination rooted in the charm and heritage of North Carolina.
Vaibhav (left), Shefali (right), and their daughter, Kajal (center); Photo: Courtesy of the Parmars
Plan Your Visit
HOURS
GALLERIES, STORES, NCMA CAFÉ
Wednesday–Sunday, 10 am–5 pm
ANN AND JIM GOODNIGHT MUSEUM PARK
Daily, dawn to dusk
WELCOME CENTER
Saturday–Sunday, 10 am–5 pm (weather permitting)
VISITOR EXPERIENCE
help@ncartmuseum.org | (919) 715-5923
Please contact us via email during open hours for the quickest response.
You Make It
Please join us during this historic moment at the NCMA. Through the Reimagining the Possible campaign, we’re building on the Museum’s foundation of excellence to expand access to the arts and create innovative spaces for future generations. Make your year-end gift by December 31 to support this transformative vision.
ALL THE WAYS TO PLAY
ACCESSIBILITY
The Museum seeks to make a welcoming space for all. Visit ncartmuseum.org/accessibility for details about on-site accommodations and more information.
TICKETS
Admission to the People’s Collection is free. Members receive free admission to ticketed exhibitions.
For exhibition, performance, and program tickets, go to ncartmuseum.org.
NC Museum of Art Foundation
4630 Mail Service Center
Raleigh, NC 27699-4630
RETURN SERVICE REQUESTED
MANY HAPPY RETURNS
The Museum received an amazing 290 submissions for Return to Sender, the pop-up postcard show on view during the NCMA’s book art fair End Paper held in September 2025. Participants answered our call in incredibly creative ways, sending in interpretations of artwork in the People’s Collection, renderings of animals and natural features, abstract images, and more in a wide range of media—graphite, colored pencil, watercolor, and even textiles. The installation, a 12-by-8-foot display wall, attracted scores of End Paper attendees. In an effort to connect artists and communities across the state, the Museum is showing the postcards at the NCMA Winston-Salem until the end of December.
Pete Sack submitted this gouache of Yinka Shonibare’ s Wind Sculpture II in the Museum Park; Image: Courtesy of the artist
