Early during the summer of 2022, several members of the Collective Rogue Arts (CRA), an informal group of area creatives, artists, and entrepreneurs in south-central Pennsylvania, began discussing an exhibit of works focusing on collaborations between two or more artists.

As visual artists, we typically join an exhibit with many predetermined specifics: location, dates, times, exhibit themes, mediums, etc., but in this case, the task was designed from the opposite direction. We opened up this possibility to fellow CRA members.

Seven artists started down the path without a confirmed exhibit location and with only the concept of working on these joint works. During initial meetings, the artists themselves determined the exhibit theme, randomly selected initial collaborative partners for artworks, and a common color (copper) to use on individual 12" x 12" tiles that each would create.

Art is a powerful and valuable tool for looking at social issues, and this exhibit's artists chose to examine challenges around entitlement via their unique mediums, techniques, and place in life. The result is shared with visitors to the gallery space at York's Marketview Arts, part of York College of Pennsylvania's Center for Community Engagement.

In addition to collaborative works, exhibit guests will see individual sample art from each contributor. We hope you join Reagan Bitler, Ophelia Chambliss, Jeannine Dabb, Kristin Kest, Nicole Osborne, Andrew Smith, and Debbie Toluba in considering our continuing role in issues revolving around the challenges for the unentitled.

The Summoning of Everyman

In the 15th Century play, The Summoning of Everyman, the Everyman character — representing humankind — tries in vain to get others to travel through life's journey by his side. In the end, he learns that he must take this voyage alone.

Some of us are in positions in life that come with supports and inherent systems that aid our journey through life. Others, however, are placed in a tier of those that society has deemed unentitled to companionship, the ability to move forward, and the capacity to discover self-improvement. Their journey is one of disappointment and loneliness.

Artists: Nicole Osborne & Andrew Smith

Sabotage

Art can be behind obstacles for some: lack of access to meaningful arts experiences is an entrenched part of poverty.

In Sabotage, a work by Kristin Kest and Andrew Smith, gallery visitors are asked to place one or more clay tiles into a smaller display area to represent those with significant barriers to participation in the arts. Adding or removing tiles in the larger central region as they wish, they may note that the systems to create fair, equitable arts access are uneven and broken — sometimes with intent.

*“Clay & Play I* and Clay & Play II” 2023 © Ophelia Chambliss & Andrew Smith

Clay & Play I and II

The Clay & Play artworks begin with a clay monoprint — clay slip clinging to pellon — which then is transformed with a second layer, this time of acrylic paint guided by a second artist. The top level of play was a series of continuous lines filled with non-contiguous color in the most random yet consistent pattern.

It's way too common in our societies for a less dominant (or unentitled) class to be forced to mold itself onto and into the seams and structures built by the majority or more established group.

Race, gender, age, orientation, and so on are all layers of our larger communities and can be challenging to traverse. Like the art mediums in collaborative art, a prosperous society is best achieved when we celebrate and understand our valued differences and unifying attributes.

Artists: Ophelia Chambliss & Andrew Smith
Medium: Acrylic Paint & Clay Monoprint on Pellon

Redlined
by Andrew Smith
Clay Monoprint, Slip, Copper Mica, LEDs, Copper Wire, Red Tape, Copper Foil, & 9 Volt Battery on Wood Panel

Each of the seven artists created a 12" x 12" tile touching on the shared unentitled theme, utilizing the color of copper to tie the individual artworks together cohesively.

Redlining has had a tremendous negative impact on our communities, the consequences of which can still be seen. In my tile, shown above, a clay monoprint serves as the circuit board, with some areas created with a copper-colored mica in addition to the clay slip. Copper wire is purposely cut heading into the redlined area, removing any potential benefits afforded to the rest of the board.

LEDs are active on the left but are nonfunctional within the redlined area.

unentitled
August 19th - October 21st, 2023
Curator: Ivy Rodgers

Marketview Arts
37 W. Philadelphia St.
York, Pennsylvania