The Lycoming College Art Gallery and the student-run Lycoming College Downtown Project Space are both located at 25 West Fourth Street in downtown Williamsport. Some exhibitions are housed in both spaces.
“For over twenty-five years now, I have been welcomed into the community of the Oglala Lakota Tribe on the Pine Ridge Reservation in South Dakota. I’ve felt continually humbled by the traditions of the Oglala Lakota people. In 2016, I spent eight weeks at the Oceti Sakowin Camp (Camp of the Seven Council Fires) in North Dakota just above the Standing Rock Sioux Reservation. I contributed my time witnessing and assisting the camp media group, participating in the Indigenous led prayerful movement against the Dakota Access Pipe Line. The on-going work I’ve made over the years looks at the inequality the indigenous people face within their own homeland, metaphorically questioning our society’s skewed values, while also recognizing how much of value we all can learn from indigenous traditions.”
John Willis received his MFA from the Rhode Island School of Design; he is Professor of Photography at Marlboro College and co -founder of The In-Sight Photography Project, offering courses to Vermont youth regardless of ability to pay. He also co-founded the Exposures Cross Cultural Youth Photography Program, bringing youth from VT, the Navajo Nation, Chicago, New York and the Oglala Lakota Tribe together to share photography lessons and life stories. John is a recipient of a John Simon Guggenheim Fellowship as well as fellowships from the Vermont Council on the Arts and Vermont Arts Endowment. His work is included in the permanent collections of the Corcoran Gallery of Art, Whitney Museum of American Art, Museum of Fine Arts, Boston, The George Eastman House Museum, The National Museum of Native Americans, The Tokyo Metropolitan Museum of Photography, and The Bibliotheque Nationale de France. John Willis' book, Views From The Reservation, was published by the Center for American Places. More Info: www.jwillis.net
“We humans are a damaged, broken, and divided lot. We are a collection of injuries, injustices, minor slights and major traumas, never quite forgotten. These all build to age us, to scar us, and in some cases, to absolutely mutilate us. Of course we work hard to remedy our problems- we bandage our cuts and plaster the holes in our walls. We re-configure, recalibrate our machines, so that they may continue to perform. This collection of paintings revolves around the idea that we are in a constant state of damage incursion, striving to maintain a precipitous state of repair. Some of the repairs are successful while others are embarrassing failures. The paintings are about how life chips away at our bodies, at our structures, at our goals, and how we try, at varying levels, to negotiate, to fight back.”
Greg McLemore uses Realism as a starting point to explore the tragic, mysterious, and often comical aspects of life. His work ranges from elaborately detailed urban landscapes to fantastical, surreal narratives. Greg earned his MFA at The University of Arizona. He was a semifinalist for the 2016 Sondheim Prize and was awarded an Individual Artist Grant by the Maryland State Arts Council in 2016. He exhibits his work nationally.
More Info: Greg McLemore website
“My work possesses a close aesthetic relationship to performance art, drawing and painting. Experimentation and chance have become important tools in my research. A large part of my methodology has been to abandon a considerable amount of control and allow the material to take over in some unexpected and unpredictable ways. In Entangled with Justice series, I circumvent the manufacturer’s specification of separating the negative from the positive of the Polaroid Type 55 film and instead of fixing and washing it immediately, I allow it to develop and decay over a period of weeks, months, sometimes years before I tone it for permanence. In the X-Ray series, mark-making is created through application of photographic chemicals by hand onto the film’s surfaces. By allowing the chemical phenomena to randomly and arbitrarily impact the the image, the resulting shapes and forms become metaphors for our own unpredictable existence. The work reveals a sense of empathy for the human condition that has been a guiding force in my life as well as my art.”
Andreas Rentsch studied at Les Ecoles d’Arts Appliqués in Vevey, Switzerland and received his MFA in Studio Art from Stony Brook University. Having grown up on a prison compound where his father was the warden, Andreas’ work is an ongoing exploration of the connection of fate, geography, and politics in the direction of justice. His work is in many museum collections and has been exhibited worldwide. Two of his Polaroid negatives are included in the Polaroid Project, a two-year traveling exhibition with stops at the Amon Carter Museum in Fort Worth, MIT Museum in Cambridge, MA and three photography museums in Europe. He is a recipient of two New York Foundation for the Arts fellowships and had a portfolio published by Aperture. Andreas teaches all levels of photography at Lycoming College.
More Info: www.andreasrentsch.com
The art of Berta Golahny (1925-2005) spans the 1940s through the early twenty-first century, in themes from the gritty city, war, space, the cosmos in its poetic evocation, and nature. These explorations are summed up in her extensive series The Landscape of Humanity, in prints and paintings, from the 1950s through 2000. Widely exhibited in the United States and abroad during the artist’s lifetime, her work is in major museum collections. Golahny studied at the Art Students League in New York City, The Art Institute of Chicago (BFA), and the University of Iowa (MFA). She received many awards, including the prestigious Tiffany Fellowship.
More Info: www.golahny.org
The Lycoming College Juried Senior Show is the culmination of the thesis project for all seniors with a major in studio art. All studio art majors are required to produce a cohesive body of professional thesis work, and must be chosen by an outside juror to exhibit in the Senior Show in order to graduate.
Doreen Bolger served as director of the Baltimore Museum of Art until retiring in 2015. Prior to joining the BMA, she held positions as Director of the Museum of Art, Rhode Island School of Design in Providence; as Curator of Paintings and Sculpture at the Amon Carter Museum of American Art in Fort Worth, TX; and as Curator of American Paintings and Sculpture at The Metropolitan Museum of Art in New York City. Bolger earned a B.A. from Bucknell University, a M.A. from the University of Delaware, and a Ph.D. from the Graduate Center of the City University of New York. A scholar on 19th and early 20th century American art, she has published extensively on American painting, drawings, and decorative arts.
To submit work for consideration for a Gallery Exhibition:
Contact Rose DiRocco-Hodges, Gallery Director, email@example.com, 570-321-4002