The Jurors have made their selections

2018 Annual Juried Student Exhibition List of Accepted Entries


Graphic Design (selected by Chaz Maviyane-Davies):

Genevieve Ryder: Ambiguous

Chase Monico: No More Buzz

Kerrie DeFelice: The (mostly) Good Moments of 2017

Lauren Bupp: Hast du Mich Verarscht

Nicole Fenn: The Pursuit of Rain & Reaction

Nicole Fenn: Horizons

Kirstyn Swancer: Controversy

Lillia McGhee: Bruno Munari quote

Tyler Josbeno: TY

Kerrie DeFelice: The Revolution is Female

Jessica Harkcom: Type Patterns

Rebecca Beal: Opposing Opinions

Lauren Bupp: Tiddles for Days

Matthew Cates: At the Sunrise’s Edge

 

 

Fine Art (selected by Kate Kretz):

Darian Hoke: Rotten Eggs

Darian Hoke: Ivan

Darian Hoke: Froot 2

Darian Hoke: Ray 1

Gabe Clarke: Cabin Door

Ivy Rodgers: Spicy

Stacy Pineda: Red

Stacy Pineda: Buildings

Kaitlynn Miller: Cacti

Chase Monico: Save the Honey

Woon Joung Choi: Bow

Woon Joung Choi: Neil Savage

Lexus Gore: Sleeping with Moose

Autumn Fetterolf: Reverent Bark

James Martin: Battle of the Bulge

Kerrie DeFelice: We are all Human

Christine Ognibene: Shades of Blue

Kaityln Hopkins: Overlooking Deer Creek

Amber Wiesberg: With or Without Me

Lauren Bupp: Barn

Hannah Tedesco: Pill Popper

Samantha LoBue: Untitled (hand)

Beck Liberatore: Stuck

Calling all YCP Art Students!

Enter the Annual Juried Student Exhibition!

The 2018 Juried Student Exhibition submission dates and locations are as follows:

Monday, March 5, 2018: 9am-3pm, Wolf Hall lobby

Tuesday, March 6, 2018: 9am – 9pm, Marketview Arts, 11am – 1pm, Wolf Hall lobby

Wednesday, March 7, 2018: 9am-3pm, Marketview Arts, 9am – 11am, Wolf Hall lobby

** You may also drop work off in Wolf410 from 5pm Wednesday night (March 7) until 8am Thursday morning (March 8,) but you do so at your own risk since there will be no one present to receive the work and ensure its safety. All work left in Wolf410 overnight will be collected at 8:15am Thursday morning, marking the end of the submission period.**

If you do not have transportation to Marketview Arts, make sure you submit your work on Monday, March 5 between 9am – 3pm, Tuesday, March 6 between 11am-1pm, or Wednesday, March 7 between 9-11am in the Wolf Hall lobby. After that, you will either need to bring work to Marketview Arts or leave it unattended in Wolf410 Wednesday night.

Submission Forms:
Submission forms and individual entry forms are available on the vestibule below the flat screen tv outside the gallery.

Graphic Design Juror: Chaz Maviyane-Davies (Boston, MA)

Fine Art Juror: Kate Kretz (Washington, DC)

Juror Lectures: Thursday, March 8, 5:30pm (reception at 6:30pm)
Selections will be made and announced on Friday, March 9. Work that is not selected by the jurors may be included in the F2C Exhibition in the Coni Wolf Gallery at Marketview Arts or picked up on Saturday, March 10 or Monday, March 12 at Marketview Arts or Tuesday in Wolf410. Please indicate on your submission form whether you’d like your rejected entries included in the F2C Exhibition.


Juried Exhibition Opening Reception/Announcement of Awards:

Friday, March 23, 5:00PM, Marketview Arts

Awards: 1st Place, 2nd Place, 3rd Place, Honorable Mention in both Fine Art and Graphic Design

Exhibition Dates: March 23 – April 21, 2018

Additional info: https://www.facebook.com/events/1879907692286656/

Questions? Contact Gallery Director Matthew Clay-Robison at mclayrob@ycp.edu

Taste and Privilege catalogues available

PillarroomexviewHiresDid you miss the immersive and beautiful installation, Taste and Privilege, by Baltimore-based artist Amy Boone-McCreesh? We anticipated that some of you wouldn’t make it during the exhibition’s 7-week run and produced a catalog featuring an essay by Carolyn Case, photography by Andrew Bale, and designed by our YCP alum Mariah Hertz! Stop by the gallery and pick up a copy! If you’d like one mailed to you, please contact gallery director Matthew Clay-Robison at mclayrob@ycp.edu.

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Here are some more images from the exhibition:

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2017 Guggenheim Fellow Paul Rucker to perform “Stories from the Trees” on Saturday, October 7

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Visiting artist and 2017 Guggenheim Fellow Paul Rucker, whose exhibition REWIND is on display in the York College Galleries until October 21, is returning by popular demand for an encore performance in DeMeester Recital Hall (beside the York College Galleries in Wolf Hall) on Saturday, October 7 at 7:00 p.m. Stories from the Trees is a multi-disciplinary performance with Paul Rucker performing a live soundtrack on cello to re-imagine vintage lynching postcards that have been animated. Based on one survey, 4,742 African Americans were murdered by lynching between 1882 and 1968. Others were lynched as well, but not nearly in the same numbers- including people of Caucasian, Chinese, Latino, and Jewish descent. This performance will bring to life the different scenarios of lynchings, places where communities gathered with women and children proudly watching these atrocities. The images will suggest those of postcards that were made from photographs of lynchings as common practice. Many of these postcards are from the  personal collection of the artist, Paul Rucker and will be on view during the show. The artist will also take questions from the audience both from the stage and in person inside the gallery.

Limited edition REWIND screen prints, made in collaboration with artist/printer Adam DelMarcelle, will be available for purchase by cash and check.

 

Distinguished Visiting Lecturer Paul Rucker to speak Thursday, August 31

Paul Rucker2017 Guggenheim Fellow Paul Rucker will lecture in DeMeester Recital Hall in York College’s Wolf Hall at 7:00 PM on Thursday, August 31, 2017. A reception will precede the lecture beginning at 6:00 PM. During the reception, tickets will be distributed to those wishing to attend the lecture. In order to attend the lecture and exhibition, visitors must either show YCP identification or make arrangements with the artist, Paul Rucker,  or gallery director, Matthew Clay-Robison. If you are interested in receiving more information, please email mclayrob@ycp.edu or visit the Facebook event page.

The exhibition, REWIND, will run from August 31 – October 21, 2017 by appointment and will be open Monday-Friday from 11:00 AM – 4:00 PM to those with YCP ID for an initial run of September 1 – September 15.

Summer Hours

The Summer 2017 schedule for the York College Galleries on campus are as follows:

June 8 – July 6

Mon – Thu 10:00AM – 8:00PM

Friday, July 7: 8:00 – 11:30AM

 

July 8 – August 30

Closed (Please visit our exhibitions downtown at Marketview Arts)

 

August 31 –

Resume normal business hours

 

Conversation with Dan Schank

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Conversation with Dan Schank 

By Gabriel Cutrufello, PhD

Visiting artist Dan Schank earned a BFA in Painting and Drawing from the Tyler School of Art and MFA in Painting from UC-San Diego. He has exhibited throughout the United States, most recently at Tiger Strikes Asteroid in Los Angeles and the Erie Art Museum in Erie, PA. He is a longtime friend of York College English Professor Dr. Gabriel Cutrufello and the two discussed Schank’s work in the following conversation.

GC: Can you talk a little bit about your art background (where you went to school, etc.)?

DS: I was an undergraduate at the Tyler School of Art in Philly (Temple University’s art school). I then went directly to graduate school at the University of California in San Diego. During that time, I attended the Skowhegan School of Painting and Sculpture (a great residency in rural Maine) in 2001 as well.


GC: One of the things I find striking about your work is the physical and visual textures you create. Can you talk about the process that you use to create your work?

DS: The easiest way to describe my process is this – I’m building collages out of my own paintings. Typically, I begin with several small sheets of paper, which are painted in great detail with gouache (a medium similar to watercolor, but more opaque). When I have enough components, usually anywhere between a dozen to four dozen pieces of paper, I begin assembling them on wood panels. I’m typically about two-thirds of the way through a painting before I begin adhering the paper to the surface. To “glue” the cut-out scraps to the panel, I take matte gel medium (basically acrylic paint without any pigment in it) and literally paint it on to the back of each sheet. The paint sticks to the surface of the panel.

Since it’s very difficult to remove a scrap of paper once it is adhered, most of my paintings need to be built from the back forward. Once something is stuck to the surface, it’s almost always there permanently.

More recently, I’ve been working on a smaller scale with watercolor and pencil rather than collage. This allows me to burn through ideas more quickly as I try to expand my visual vocabulary. But I haven’t given up on the collage stuff either.


GC: We’ve known each other for a long time, and I’ve seen your work evolve over the years. I feel like I’ve seen this progress towards a kind of fantastic of the mundane in your work. Can you talk about the images that you use and the juxtaposition in some of your work between those mundane objects and the fantastical animal-like creatures that populate some of your pieces?

DS: For about twenty years now, my work has always been about the tension between everyday life and the fantasies that circulate through it via mass media. Over time, the imagery I’ve used to convey that tension has gotten more mundane – less overtly monstrous, but with the same underlying sense of distress.

Presently, I’m fascinated with the idea of the false promise. The way that things appear when someone has promised more than they can deliver. I’m fascinated by attempts to satiate as many desires as possible at once, which can take a variety of forms in contemporary culture. About three years back, I started depicting shopping malls with this idea in mind – spaces that try to accommodate all of your material needs in one brick-and-mortar setting. In a sense, websites like Amazon have taken on this role even more effectively, which is probably one of the reasons why malls appear to be on the decline geographically. So I’m trying to fuse the language of online shopping with the language of retail architecture, while focusing on the degree to which both try to offer us everything at once.

Aesthetically, I’ve been turning to things like conspiracy organizations, religious cults, and psychedelia to establish the right mood. I can remember being a little kid and learning about aliens – the slender, wide-eyed creatures popularized in books like Communion by Whitley Strieber – and being really freaked out by them. On some level, there’s something exciting and unsettling that occurs when an explanation of our world begins to go off the rails. This brings me back to the idea of a false promise; the sense that some extraordinary explanation can remedy all of our anxieties at once. I think these explanations often feel and look a certain way. And I’m trying to make use of that feeling.

GC: Another facet of your work is repetition of images and themes. I think there are two aspects to this that interest me: 1.) The effect of the repetition on the themes of the work; 2.) The physical work that goes into creating some of these repetitions. Can you talk about how you achieve repetition in individual pieces and how you think that adds to your body of work?

DS: When I was in art school, I imagined that I’d be the kind of person who would always be trying new things in my work. That’s a great attitude to have in that setting because it keeps you open and flexible. But that hasn’t honestly been the way it’s turned out.

Coming up with iconography – imagery that is evocative enough to steer my work away from pure formalism, but not literal enough to devalue intuition – is probably my biggest challenge. I try to find visuals that convey a particular sense of place and establish a strong atmosphere, but that can also accommodate social critique to some degree. My work tends to begin with ideas more often than shapes or colors. And once I find images that work, I tend to stick with them for a long time and work with them in a variety of contexts. This can be tedious – a lot of my studio practice is pretty brainless, actually – but it also allows me to really invest in the vocabulary, which hopefully adds weight over time.

GC: As you can tell, I think your process is interesting (maybe because we used to be roommates, and I’ve seen you work). Can you talk about a course you took or a part of the craft of art that you find to be essential in your work, but you didn’t think much of at the time you were first learning it? 

DS: As an undergraduate, I absolutely loathed using gouache, mostly because it was required for my foundation design courses (which I never enjoyed). So it’s kind of funny that I use so much of it now. But the more substantive answer is probably the role that film has played in my understanding of art since my mid-twenties.

I definitely think more logically and methodically about film than painting, probably because I don’t make films myself. And since my late twenties, film has become increasingly important to the way I generate ideas, especially because my paintings often have a strange, non-committal relationship to narrative. More specifically, people like the Taiwanese director Tsai Ming-Liang and the British documentarian Adam Curtis have been highly influential to me in the ways that they assess contemporary culture. It helps that over the past fifteen years or so, an explosion of really interesting international cinema has become available.

Sometimes I think it’s easier for me to draw inspiration from recent movies than from other contemporary painters, because I can set myself apart more easily from the current trends of the art world. My grad program at UCSD was interdisciplinary, and I think I really benefitted from not being exclusively surrounded by other painters.

Typically, if I’m spending a lot of time thinking about something, it will eventually seep into my work. And sometimes the freshest ideas come when I’m not thinking about other painters.


Dan Schank’s exhibition, Open Arms, runs from Friday, April 7 to Saturday, May 6 in the YCP Gallery (formerly PAE) at Marketview Arts in downtown York (37 W Philadelphia St, 17401.) There will be a 
reception for the artist from 5-8pm on Friday, April 7. To see his work, visit danschank.com.

Diary, an exhibition of 29 paintings by Hartford, CT – based artist Matthew Best now on view at Marketview Arts

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#lonianderson by Matthew Best, 2014

Diary, an exhibition of 29 paintings made between 2014-2017, offers a glimpse of artist Matthew Best’s inner thoughts as his work has evolved over the last three years. Upon entering the gallery, viewers are greeted by the non-objective doppelgängers of Burt Reynolds and Loni Anderson. Titled #burtreynolds and #lonianderson respectively, the paintings, with clusters of layered triangles, represent their subjects mainly through color. The two are paired, as if in homage to their brief marriage that began while Best was in middle school and ended during his second year of college in the University of Hartford’s BFA program. Separated by Ambrosia, a larger work with similar characteristics to #lonianderson but with a wider range of color, and a comfortable distance from the drama of Burt and Loni sits #richardsimmons, a richly painted tribute to one of the artist’s favorite pop culture icons. Moving further into the space the work becomes more architectural before the invasion of election-year politics and the ominous cloud of demagoguery and fascism force their way into the artist’s psyche. Best’s response to the outcome of the election is captured by the one painting in the show that includes text. The work becomes heavier and more rigid. The imagery remains non-objective, but the titles give the viewer a sense of what the artist was feeling while making them, taking refuge in his Hartford, CT studio while trying to make sense of what was happening beyond those walls.

Diary runs from March 28 – May 6. There will be a closing reception on Friday, May 5 from 5 – 8pm.

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Final Painting of the Old Order
(detail) by Matthew Best, 2016