Joe Wardwell, a Boston-based artist, unveils a compelling exploration of American identity in his wall drawing, Hello America: 40 Hits from the 50 States, currently exhibited at MASS MoCA. Inspired by J.G. Ballard’s dystopian novel Hello America, Wardwell’s piece resonates with the anxieties and fragmented dreams of a nation, prompting viewers to consider the underlying narratives that shape the idea of America. While not a literal “50 States Of America Song”, Wardwell’s artwork functions as a visual song cycle, each layer and element contributing to a complex and thought-provoking composition on the American condition.
Echoes of a Post-Apocalyptic America: Ballard’s Influence
Ballard’s 1981 novel, Hello America, sets a stage of societal collapse following a 20th-century energy crisis. A century later, European explorers encounter a drastically altered United States, transformed into a desert wasteland. This vision of a broken America, where even iconic figures are twisted into tyrannical leaders, deeply influenced Wardwell. The artwork directly references a chilling moment in the book where “President Manson” declares, “together, Wayne, we will make America great again!”, a phrase that eerily mirrors contemporary political slogans and anxieties about the American dream. Wardwell captures this sense of a distorted and perhaps unattainable “American dream” in his art, much like a fragmented lyric from a forgotten 50 states of america song.
Negativland’s Discord and the Shattered Ideal
The subtitle of Wardwell’s project, inspired by Negativland’s controversial song “I Still Haven’t Found Snuggles,” further enriches the artwork’s thematic depth. Negativland’s song, built around a jarring juxtaposition of radio host Casey Kasem’s on-air persona crumbling into an expletive-laden rant, highlights the dissonance beneath the polished surface of American media and culture. This deconstruction of an American icon’s façade resonates with Wardwell’s exploration of fractured American ideals. Just as Negativland dissects a popular song, Wardwell deconstructs the visual and textual elements of American identity, presenting a less harmonious, more critical “song” of the 50 states.
Layers of Meaning: Landscape, Slogans, and Lyrics
Wardwell’s Hello America is a multi-layered artwork, both literally and metaphorically. It begins with a foundation of silhouetted winter trees, evocative of the Berkshire landscape, grounding the piece in a tangible American place. Over this, a dusky, post-apocalyptic landscape is painted in yellows and blues, visually representing a nation in decline, mirroring the environmental devastation in Ballard’s novel. Layered on top are large, camouflaged letters forming slogans, echoing political rhetoric and the slogans that permeate American public discourse. Finally, screen-printed texts in vertical bands overlay the entire composition – “40 hits” drawn from a diverse collection of American voices. These quotes range from presidential campaign slogans to reflections on the nation’s end, governmental roles, and legal principles. Lyrics from artists like Jello Biafra, Chuck D, and Anne Sexton, alongside words from historical figures like Abraham Lincoln and Barack Obama, create a chorus of American perspectives, much like verses in a complex 50 states of america song.
A Fragmented Portrait: Uncovering the American Narrative
In its totality, Hello America becomes a fragmented portrait of the United States. The interplay of landscape, slogans, and lyrics functions like unearthed cultural fragments, similar to the discoveries made by explorers in Ballard’s Hello America. Wardwell assembles these pieces to present a critical commentary on American identity, ambition, and the gap between the idealized “American dream” and the potentially harsher realities. His “40 hits from the 50 states” are not celebratory anthems, but rather a collection of discordant notes, forming a visual song that questions, rather than affirms, the conventional narrative of America. This artwork serves as a powerful reminder to look beyond the surface and consider the complex and often contradictory voices that contribute to the ongoing, evolving song of the 50 states of America.
