Pat Lodge Professor Julie Hicks LBST 1105-H72 October 18, 2012 McColl Center Response

In the lower floor of the McColl Center for Visual Arts a collection of works entitled America Now was on display. America Now is an exhibit in honor of the 2012 Democratic National Convention and is best described by Suzanne Fetscher, Executive Director of McColl Center for Visual Art:
"The core of the exhibit couples aesthetic perspective with social commentary and is the outcome of five artists who are grappling with their own complex questions about Americas contemporary culture. Using art as a catalyst, we hope this exhibition will spark dialogue, both in and outside of the gallery space, and help to encourage a politically informed community.

The first area near the entrance containing the rendition of a polling center made the spark described by Fetscher. I was completely perplexed by the interaction of the viewers with the different ballots at each station. This use of the public's voice was interesting in that the art was not fully completed by the artist. Although he provided the initial inspiration of thought to the public, it was not until their responses were taken and displayed before the experience came full circle with the re-thinking of their personal view. As I passed through the rest of America Now the extremely diverse styles of presentation kept me eager as I traveled from graphic prints to pencil drawings and sculptures.

Within these sculptures I found the first piece of which I would like to further examine. I chose a striking work entitled The Thrashers and the Entangled by Robyn Hasty. Beside the artist's name on the label it was stated "A.K.A. Imminent Disaster". After further research, I found out that Robyn Hasty assumed the alias Imminent Disaster for use in relation to her street art. She has used this alias in conjunction with her work for the City of Philadelphia Mural Arts Program. This was an exciting discovery in relation to our recent examination of the works of Banksy and MBW in the film Exit Through the Gift Shop. Hasty's sculpture The Thrashers and the Entangled is a tall structure, roughly 9-10 feet, containing two separate vertical branches. The branches each consisted of an old wood post with a long sickle attached and protruding upwards. Hanging from the taller of the two branches are what could be best described as the top half a jar or a bell-shaped pieces of glass of diverse colors. The glass pieces are attached with a simple white string of varying length to position them in a large cluster towards the top that diminishes as you travel down the bunch. Taking the title of the piece into consideration, the sickle branches can easily be seen as the "thrashers" and the cluster of hanging glasses the "entangled". All of the materials used in the figure have an old and worn appearance to them that gives it a weary and distraught feel. The smaller of the two branches appears to be in a such a position so that the blade of the sickle is ready to slice through the "entangled". In relation to s today's culture I would consider the "entangled" to be the wishes and dreams of the people and the "thrashers" to be the conforms of society. The conforms of our society today are ever pressing our aspirations, but it is up to us to fend off the "thrashers". By doing so one will protect their hopes from being chopped down one by one. Personally found this piece visually appealing due to its tarnished look. As a kid I always enjoyed exploring the woods at the end of our street. I would constantly come across old, dilapidated branches, glass, and metal. These

materials always had such an interesting texture and hue that fascinated me. The materials of The Thrashers and the Entangled brought me back to the childish curiosity I had while scouring the forest. The next work I chose was actually not found in the main areas of display in the center. It was not until we entered the studio of photographer Joann Sieburg-Baker that I was struck by the brilliant colors and images. Her walls were full of massive prints on canvas of bold, crisp lines and form. Of these magnificent photos I chose Windows, Venice. The image contains a open field with a large, rectangular bush on the left. A matted grass driveway runs from the right of the frame back and behind the bush. The driveway is lined with short stakes to divide it and the field which begins just beyond the driveway. The light is entering the view from the left and illuminating the luscious texture of the face of the bush and casting a shadow into the field. Off in the distances of the field there is a soft haze that softens the sky and horizon. Sieburg's use of the canvas as her print removes the restriction of a glass cover and almost puts the viewer right in the scene. This image shows that in our world of industry and production there are still places of utter serenity. It causes us to step back from greed and desire, and admire the beauty of the world around us. This is similar to the bliss, refreshing feeling I have always connected to the first breath of fresh spring air as I exit church on Easter Sunday. The entire experience of the McColl Center was truly exhilarating to be able to talk to the artists. When listening to Joann Seiburg-Baker I was captured by her pleasant demeanor and love for the process of taking a photo. I feel as though this connection to the artists allowed me to make a better tie to the art and look deeper into how I, myself, felt about the piece.