School of Visual Arts: The Book Show

The Book Show

September 24 – October 14
Reception: Tuesday, September 29, 6 – 8pm

School of Visual Arts (SVA) presents “The Book Show,” an exhibition of 20 book projects completed by students in the MFA Illustration as Visual Essay Department. The exhibition is curated by Department Chair Marshall Arisman and faculty member Carl Nicholas Titolo.

The exhibition features Emma Augylius’ book Kylie’s Dream Recipe about a mouse that visits a girl who doesn’t have dreams; Jonathan Bartlett’s Tertium Comparison, which combines images and quotations; Wesley Benson’s Cynthia’s Robot, about a new girl in town who befriends the robot next door; Kristy Caldwell’s There’s No Picnic without a Pickle, about a who girl gets help opening a pickle jar from magical creatures; Siyu Chen’s The Treasonous Hippocampus, an illustrated memoir of the author’s life; Christopher Darling’s 111th Street, a story about a day in the life of a deer living in New York City; Anat Even-Or’s sketchbook story about the lives of five different characters; Kelley Hensing’s book about a child coming to terms with the concepts of free will, self-awareness and the loss of innocence; Brendan Leach’s Flin Flon, Manitoba, about a young man’s preoccupation with ice hockey legend Bobby Clarke; Hye Su Lee’s Shall I invite you to my childhood?, a recreation of the author’s childhood diary; JP Peer’s Brazil is With You, a story of a young professional soccer player who leaves Brazil for a career in England; Laura Peyton’s story about the separation of two friends; and Clayton Rodery’s MARTIAN, about a Martian colonist who goes missing during a routine space walk.

The exhibition also features the work of Matthew Barteluce, Nathan Bulmer, Jeffrey Dalessandro, Anne Emond, Thomas Knowler, Sarah Knotz and Andrew Roberts.

SVA Gallery / 209 East 23 Street / Free and open to the public

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MFA Illustration as Visual Essay: The Book Show

Under communist control, there was a shortage of materials like paper, and there was no art market. There was, however, unlimited funds provided by the state to produce poster art, so many artists flocked to the field for a chance to do what they loved. The printing techniques were somewhat dated, forcing the artists to be creative and not use photographs. Since they had little influence from the west, their posters took on an illustrative style all their own, where an artist’s interpretation of the subject could flourish. A number of the posters used visual whit to showcase their product, and many artists found ways to rebel against the repressive regime. Most alluring during this era are the film posters, where the artist’s representation of the movie is often more poetic than literal.

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Polish Movie Poster Art from the Cold War Era