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<\/figure>\n\n\n\n The piece “Ever\nGreen” created in 2017 showcases everything that the color green has to\noffer. When I first looked at this work of art, I was very critical looking to\nsee if there was any symbol of the color green that was not represented on the\nartwork. For the most part, most people would claim that at least 90% of the\nmain iconic symbols that represent the color green was recognized. Each color\nhad a central point to it, and “Ever Green” had a primary point of\nrecycling. Symbols included in the “Ever Green” painting include\nmarijuana, green lights, four-leaf clovers, recycling symbols, snakes, and\nplants also including words of subjects symbolizing the color green as active\nboarders. Not every painting included in this exhibition dealt with color; the\npiece called “Justice in America” is what looks like a 3-part story\nthat fills a complete wall. Each painting is merged by vinyl, which surrounds\nit like a border, and there are vinyl of a watch post and fences with barbed wire\naround them to give the symbolization of the border. Each part of the painting\nhas intense detail and symbolism. The picture tells a story, but when the\naudience steps in closer and looks at each line, they will notice that some of\nthe lines are shredded money. When Weir spoke, she said that she would get\nshredded money donated to her, and she uses this in her work to also symbolize\nthe fact that the border and jail systems would not function without the money\nused in them. The three paintings depict jail scenes with outlines of bodies\nbehind the perpendicular and overlapping lines and patterns that symbolize a\njail cell. As a viewer, it is noticed that every piece of black in these\npaintings are reflective. A person can see themself in the piece. Though she\nprimarily is speaking about African Americans in the justice systems in this\nreflection, reflections average about the height of the body silhouettes, which\ntells us that no matter who stands before this piece, anyone can end up here. <\/p>\n\n\n\n The exhibition space\nwas very breathable, and there was enough room between each piece to make sure\nthe work did not fight for attention. The gallery layout was just a small piece\nto the bigger picture of Weirs’ work. As a whole, the artwork brought out an\nintense depiction of minority problems faced in the past but is very prominent\nin the modern world still. Having vinyl prints on the wall with ceramic pieces\naccompanying them of guns with wings on them, but when approached, the viewer\nrealizes that they are not wings but hands with “Don’t Shoot” placed\naround these visuals. Weirs work portrays gun violence having variations of\nguns, including pistols and assault rifles, as borders around some of her work\nrepresenting how guns can keep minorities locked away and caged. The exhibition\noverall was very emotionally driven and would be a very eye-opening and\nenlightening site to see if available.<\/p>\n\n\n\n Tony Coates is a Bachelor of Arts student at Valdosta State University. Currently studying graphic design to ultimately break into the user interface design field. He is from Gwinnett County, Georgia, and plans to move to Atlanta after graduation to pursue his career in UI designer.<\/p>\n","protected":false},"excerpt":{"rendered":" by Tony Coates Walking into the Dedo Maranville Fine Arts Gallery located on the Valdosta State University Campus, audiences will be greeted with a splash of different colors from the “Bearing Witness” gallery installations by Margi Weir. These installations take color and combine everything that is symbolized in modern culture by that color and collage … Continue reading Margi Weir Exhibition<\/span><\/a><\/p>\n","protected":false},"author":555,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[127],"tags":[130,128],"class_list":["post-888","post","type-post","status-publish","format-standard","hentry","category-margi_weir","tag-exhibition-review","tag-margi-weir"],"acf":[],"_links":{"self":[{"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/posts\/888","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/users\/555"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/comments?post=888"}],"version-history":[{"count":3,"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/posts\/888\/revisions"}],"predecessor-version":[{"id":899,"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/posts\/888\/revisions\/899"}],"wp:attachment":[{"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/media?parent=888"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/categories?post=888"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/tags?post=888"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"https:\/\/blog.valdosta.edu\/artcriticism\/wp-content\/uploads\/sites\/101\/2020\/04\/89598864_10158098292327766_3079981976367661056_n.jpg\")
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