BEGIN:VCALENDAR VERSION:2.0 PRODID:icalendar-ruby CALSCALE:GREGORIAN X-WR-CALNAME:Honors Thesis Exhibitions 2026: Georgia Phillips X-WR-TIMEZONE:Eastern Time (US & Canada) BEGIN:VEVENT DTSTAMP:20260717T142439Z UID:tag:localist.com\,2008:EventInstance_52364282217982 DTSTART:20260406T120000Z DTEND:20260406T210000Z DESCRIPTION:Department of Art and Art History\n\n \n\nCutting Through Ideol ogy\nReception: April 7\, 2026 5-7 pm\n\n \n\nWe live in a moment where im ages of crisis are everywhere. News feeds\, social media\, and digital pla tforms constantly deliver images of political conflict\, environmental dis aster\, economic inequality\, and violence. Because these images appear so frequently\, they can begin to lose their impact. Urgency becomes routine \, and outrage becomes something we scroll past.\n\n \n\nGeorgia Phillips ’ project begins from that sense of disorientation. She became intereste d in how the overwhelming flow of images in contemporary media shapes our understanding of politics\, truth\, and responsibility. Rather than simply illustrating political issues\, her work asks a different question: how c an artistic form interrupt the ways politics are normally seen and consume d?\n\n \n\nTo explore this\, she draws inspiration from early twentieth-ce ntury avant-garde artists such as Hannah Höch\, John Heartfield\, and Rao ul Hausmann. Working in moments of political upheaval\, these artists used collage\, photomontage\, and experimental printmaking to break apart fami liar images and expose the ideological messages hidden within them. By cut ting\, rearranging\, and fragmenting media imagery\, they challenged syste ms of propaganda and questioned how political meaning is constructed. Rath er than producing seamless images like those that circulate online\, the w ork emphasizes the labor of construction and the instability of meaning.\n \n \n\nThis difference is important. Today we already experience fragmenta tion through endless scrolling feeds and algorithmic media environments. B ut that fragmentation often disperses attention rather than encouraging re flection. By contrast\, the fragmentation in this work is deliberate and m aterial. It slows perception and invites viewers to pause\, look closely\, and piece together meaning themselves.\n\n \n\nSatire also plays an impor tant role in the project. The work is not about supporting one political s ide or another. Instead\, it examines how ideology\, media spectacle\, and political messaging operate across the entire landscape of contemporary A merican politics. Through exaggeration\, irony\, and unexpected visual com binations\, satire helps reveal the contradictions embedded within politic al rhetoric. Humor becomes a way of creating distance from rigid partisan positions and opening space for critical reflection.\n\n \n\nThis project is about how we look at images and how images shape the way we think about the world. Fragmentation is not solely a visual style\, but a way of enco uraging viewers to question what they see. When images are cut apart and r eassembled\, their meanings are no longer fixed. Viewers must actively int erpret them.\n\n \n\nIn that moment of interpretation\, when we pause\, qu estion\, and reconsider what we are looking at\, the possibility emerges f or thinking differently about politics\, media\, and the structures of pow er that surround us.\n\n \n\nGeorgia Phillips is a senior double major in art and art history from Winston-Salem\, NC.\n\n \n\nArtist Instagram: @ge orgiaphillips.art\nContact: geoeliza@ad.unc.edu\n\n \n\nAdmission: Free\nG allery Hours: Monday-Friday\, 8 am-5 pm GEO:35.912392;-79.054366 LOCATION:Hanes Art Center\, John and June Allcott Gallery SUMMARY:Honors Thesis Exhibitions 2026: Georgia Phillips URL;VALUE=URI:https://calendar.unc.edu/event/honors-thesis-exhibitions-2026 -georgia-phillips CATEGORIES:Exhibits END:VEVENT BEGIN:VEVENT DTSTAMP:20260717T142439Z UID:tag:localist.com\,2008:EventInstance_52364282219007 DTSTART:20260407T120000Z DTEND:20260407T210000Z DESCRIPTION:Department of Art and Art History\n\n \n\nCutting Through Ideol ogy\nReception: April 7\, 2026 5-7 pm\n\n \n\nWe live in a moment where im ages of crisis are everywhere. News feeds\, social media\, and digital pla tforms constantly deliver images of political conflict\, environmental dis aster\, economic inequality\, and violence. Because these images appear so frequently\, they can begin to lose their impact. Urgency becomes routine \, and outrage becomes something we scroll past.\n\n \n\nGeorgia Phillips ’ project begins from that sense of disorientation. She became intereste d in how the overwhelming flow of images in contemporary media shapes our understanding of politics\, truth\, and responsibility. Rather than simply illustrating political issues\, her work asks a different question: how c an artistic form interrupt the ways politics are normally seen and consume d?\n\n \n\nTo explore this\, she draws inspiration from early twentieth-ce ntury avant-garde artists such as Hannah Höch\, John Heartfield\, and Rao ul Hausmann. Working in moments of political upheaval\, these artists used collage\, photomontage\, and experimental printmaking to break apart fami liar images and expose the ideological messages hidden within them. By cut ting\, rearranging\, and fragmenting media imagery\, they challenged syste ms of propaganda and questioned how political meaning is constructed. Rath er than producing seamless images like those that circulate online\, the w ork emphasizes the labor of construction and the instability of meaning.\n \n \n\nThis difference is important. Today we already experience fragmenta tion through endless scrolling feeds and algorithmic media environments. B ut that fragmentation often disperses attention rather than encouraging re flection. By contrast\, the fragmentation in this work is deliberate and m aterial. It slows perception and invites viewers to pause\, look closely\, and piece together meaning themselves.\n\n \n\nSatire also plays an impor tant role in the project. The work is not about supporting one political s ide or another. Instead\, it examines how ideology\, media spectacle\, and political messaging operate across the entire landscape of contemporary A merican politics. Through exaggeration\, irony\, and unexpected visual com binations\, satire helps reveal the contradictions embedded within politic al rhetoric. Humor becomes a way of creating distance from rigid partisan positions and opening space for critical reflection.\n\n \n\nThis project is about how we look at images and how images shape the way we think about the world. Fragmentation is not solely a visual style\, but a way of enco uraging viewers to question what they see. When images are cut apart and r eassembled\, their meanings are no longer fixed. Viewers must actively int erpret them.\n\n \n\nIn that moment of interpretation\, when we pause\, qu estion\, and reconsider what we are looking at\, the possibility emerges f or thinking differently about politics\, media\, and the structures of pow er that surround us.\n\n \n\nGeorgia Phillips is a senior double major in art and art history from Winston-Salem\, NC.\n\n \n\nArtist Instagram: @ge orgiaphillips.art\nContact: geoeliza@ad.unc.edu\n\n \n\nAdmission: Free\nG allery Hours: Monday-Friday\, 8 am-5 pm GEO:35.912392;-79.054366 LOCATION:Hanes Art Center\, John and June Allcott Gallery SUMMARY:Honors Thesis Exhibitions 2026: Georgia Phillips URL;VALUE=URI:https://calendar.unc.edu/event/honors-thesis-exhibitions-2026 -georgia-phillips CATEGORIES:Exhibits END:VEVENT BEGIN:VEVENT DTSTAMP:20260717T142439Z UID:tag:localist.com\,2008:EventInstance_52364282219008 DTSTART:20260408T120000Z DTEND:20260408T210000Z DESCRIPTION:Department of Art and Art History\n\n \n\nCutting Through Ideol ogy\nReception: April 7\, 2026 5-7 pm\n\n \n\nWe live in a moment where im ages of crisis are everywhere. News feeds\, social media\, and digital pla tforms constantly deliver images of political conflict\, environmental dis aster\, economic inequality\, and violence. Because these images appear so frequently\, they can begin to lose their impact. Urgency becomes routine \, and outrage becomes something we scroll past.\n\n \n\nGeorgia Phillips ’ project begins from that sense of disorientation. She became intereste d in how the overwhelming flow of images in contemporary media shapes our understanding of politics\, truth\, and responsibility. Rather than simply illustrating political issues\, her work asks a different question: how c an artistic form interrupt the ways politics are normally seen and consume d?\n\n \n\nTo explore this\, she draws inspiration from early twentieth-ce ntury avant-garde artists such as Hannah Höch\, John Heartfield\, and Rao ul Hausmann. Working in moments of political upheaval\, these artists used collage\, photomontage\, and experimental printmaking to break apart fami liar images and expose the ideological messages hidden within them. By cut ting\, rearranging\, and fragmenting media imagery\, they challenged syste ms of propaganda and questioned how political meaning is constructed. Rath er than producing seamless images like those that circulate online\, the w ork emphasizes the labor of construction and the instability of meaning.\n \n \n\nThis difference is important. Today we already experience fragmenta tion through endless scrolling feeds and algorithmic media environments. B ut that fragmentation often disperses attention rather than encouraging re flection. By contrast\, the fragmentation in this work is deliberate and m aterial. It slows perception and invites viewers to pause\, look closely\, and piece together meaning themselves.\n\n \n\nSatire also plays an impor tant role in the project. The work is not about supporting one political s ide or another. Instead\, it examines how ideology\, media spectacle\, and political messaging operate across the entire landscape of contemporary A merican politics. Through exaggeration\, irony\, and unexpected visual com binations\, satire helps reveal the contradictions embedded within politic al rhetoric. Humor becomes a way of creating distance from rigid partisan positions and opening space for critical reflection.\n\n \n\nThis project is about how we look at images and how images shape the way we think about the world. Fragmentation is not solely a visual style\, but a way of enco uraging viewers to question what they see. When images are cut apart and r eassembled\, their meanings are no longer fixed. Viewers must actively int erpret them.\n\n \n\nIn that moment of interpretation\, when we pause\, qu estion\, and reconsider what we are looking at\, the possibility emerges f or thinking differently about politics\, media\, and the structures of pow er that surround us.\n\n \n\nGeorgia Phillips is a senior double major in art and art history from Winston-Salem\, NC.\n\n \n\nArtist Instagram: @ge orgiaphillips.art\nContact: geoeliza@ad.unc.edu\n\n \n\nAdmission: Free\nG allery Hours: Monday-Friday\, 8 am-5 pm GEO:35.912392;-79.054366 LOCATION:Hanes Art Center\, John and June Allcott Gallery SUMMARY:Honors Thesis Exhibitions 2026: Georgia Phillips URL;VALUE=URI:https://calendar.unc.edu/event/honors-thesis-exhibitions-2026 -georgia-phillips CATEGORIES:Exhibits END:VEVENT BEGIN:VEVENT DTSTAMP:20260717T142439Z UID:tag:localist.com\,2008:EventInstance_52364282220033 DTSTART:20260409T120000Z DTEND:20260409T210000Z DESCRIPTION:Department of Art and Art History\n\n \n\nCutting Through Ideol ogy\nReception: April 7\, 2026 5-7 pm\n\n \n\nWe live in a moment where im ages of crisis are everywhere. News feeds\, social media\, and digital pla tforms constantly deliver images of political conflict\, environmental dis aster\, economic inequality\, and violence. Because these images appear so frequently\, they can begin to lose their impact. Urgency becomes routine \, and outrage becomes something we scroll past.\n\n \n\nGeorgia Phillips ’ project begins from that sense of disorientation. She became intereste d in how the overwhelming flow of images in contemporary media shapes our understanding of politics\, truth\, and responsibility. Rather than simply illustrating political issues\, her work asks a different question: how c an artistic form interrupt the ways politics are normally seen and consume d?\n\n \n\nTo explore this\, she draws inspiration from early twentieth-ce ntury avant-garde artists such as Hannah Höch\, John Heartfield\, and Rao ul Hausmann. Working in moments of political upheaval\, these artists used collage\, photomontage\, and experimental printmaking to break apart fami liar images and expose the ideological messages hidden within them. By cut ting\, rearranging\, and fragmenting media imagery\, they challenged syste ms of propaganda and questioned how political meaning is constructed. Rath er than producing seamless images like those that circulate online\, the w ork emphasizes the labor of construction and the instability of meaning.\n \n \n\nThis difference is important. Today we already experience fragmenta tion through endless scrolling feeds and algorithmic media environments. B ut that fragmentation often disperses attention rather than encouraging re flection. By contrast\, the fragmentation in this work is deliberate and m aterial. It slows perception and invites viewers to pause\, look closely\, and piece together meaning themselves.\n\n \n\nSatire also plays an impor tant role in the project. The work is not about supporting one political s ide or another. Instead\, it examines how ideology\, media spectacle\, and political messaging operate across the entire landscape of contemporary A merican politics. Through exaggeration\, irony\, and unexpected visual com binations\, satire helps reveal the contradictions embedded within politic al rhetoric. Humor becomes a way of creating distance from rigid partisan positions and opening space for critical reflection.\n\n \n\nThis project is about how we look at images and how images shape the way we think about the world. Fragmentation is not solely a visual style\, but a way of enco uraging viewers to question what they see. When images are cut apart and r eassembled\, their meanings are no longer fixed. Viewers must actively int erpret them.\n\n \n\nIn that moment of interpretation\, when we pause\, qu estion\, and reconsider what we are looking at\, the possibility emerges f or thinking differently about politics\, media\, and the structures of pow er that surround us.\n\n \n\nGeorgia Phillips is a senior double major in art and art history from Winston-Salem\, NC.\n\n \n\nArtist Instagram: @ge orgiaphillips.art\nContact: geoeliza@ad.unc.edu\n\n \n\nAdmission: Free\nG allery Hours: Monday-Friday\, 8 am-5 pm GEO:35.912392;-79.054366 LOCATION:Hanes Art Center\, John and June Allcott Gallery SUMMARY:Honors Thesis Exhibitions 2026: Georgia Phillips URL;VALUE=URI:https://calendar.unc.edu/event/honors-thesis-exhibitions-2026 -georgia-phillips CATEGORIES:Exhibits END:VEVENT BEGIN:VEVENT DTSTAMP:20260717T142439Z UID:tag:localist.com\,2008:EventInstance_52364282221058 DTSTART:20260410T120000Z DTEND:20260410T210000Z DESCRIPTION:Department of Art and Art History\n\n \n\nCutting Through Ideol ogy\nReception: April 7\, 2026 5-7 pm\n\n \n\nWe live in a moment where im ages of crisis are everywhere. News feeds\, social media\, and digital pla tforms constantly deliver images of political conflict\, environmental dis aster\, economic inequality\, and violence. Because these images appear so frequently\, they can begin to lose their impact. Urgency becomes routine \, and outrage becomes something we scroll past.\n\n \n\nGeorgia Phillips ’ project begins from that sense of disorientation. She became intereste d in how the overwhelming flow of images in contemporary media shapes our understanding of politics\, truth\, and responsibility. Rather than simply illustrating political issues\, her work asks a different question: how c an artistic form interrupt the ways politics are normally seen and consume d?\n\n \n\nTo explore this\, she draws inspiration from early twentieth-ce ntury avant-garde artists such as Hannah Höch\, John Heartfield\, and Rao ul Hausmann. Working in moments of political upheaval\, these artists used collage\, photomontage\, and experimental printmaking to break apart fami liar images and expose the ideological messages hidden within them. By cut ting\, rearranging\, and fragmenting media imagery\, they challenged syste ms of propaganda and questioned how political meaning is constructed. Rath er than producing seamless images like those that circulate online\, the w ork emphasizes the labor of construction and the instability of meaning.\n \n \n\nThis difference is important. Today we already experience fragmenta tion through endless scrolling feeds and algorithmic media environments. B ut that fragmentation often disperses attention rather than encouraging re flection. By contrast\, the fragmentation in this work is deliberate and m aterial. It slows perception and invites viewers to pause\, look closely\, and piece together meaning themselves.\n\n \n\nSatire also plays an impor tant role in the project. The work is not about supporting one political s ide or another. Instead\, it examines how ideology\, media spectacle\, and political messaging operate across the entire landscape of contemporary A merican politics. Through exaggeration\, irony\, and unexpected visual com binations\, satire helps reveal the contradictions embedded within politic al rhetoric. Humor becomes a way of creating distance from rigid partisan positions and opening space for critical reflection.\n\n \n\nThis project is about how we look at images and how images shape the way we think about the world. Fragmentation is not solely a visual style\, but a way of enco uraging viewers to question what they see. When images are cut apart and r eassembled\, their meanings are no longer fixed. Viewers must actively int erpret them.\n\n \n\nIn that moment of interpretation\, when we pause\, qu estion\, and reconsider what we are looking at\, the possibility emerges f or thinking differently about politics\, media\, and the structures of pow er that surround us.\n\n \n\nGeorgia Phillips is a senior double major in art and art history from Winston-Salem\, NC.\n\n \n\nArtist Instagram: @ge orgiaphillips.art\nContact: geoeliza@ad.unc.edu\n\n \n\nAdmission: Free\nG allery Hours: Monday-Friday\, 8 am-5 pm GEO:35.912392;-79.054366 LOCATION:Hanes Art Center\, John and June Allcott Gallery SUMMARY:Honors Thesis Exhibitions 2026: Georgia Phillips URL;VALUE=URI:https://calendar.unc.edu/event/honors-thesis-exhibitions-2026 -georgia-phillips CATEGORIES:Exhibits END:VEVENT END:VCALENDAR