designed by Willy Wilson; constructed by Marty Riback and David Wilson
In 1920 the Russian artist and architect Vladimir Yevgrafovich Tatlin drew up plans for a huge tower constructed of iron, steel and glass as a monument to the Communist International movement. Its intended height was 1,200 feet — a third taller than the Eiffel Tower — with a cube, pyramid, cylinder and hemisphere rotating inside. The visionary work was never constructed; it would have taken more steel than Russia was capable of producing. The interpretation of Tatlin's tower that anchors our box office reflects the daring spirit of the original design, which is also evident in the films you will enjoy at Ragtag Cinema.
Lee Elementary 5th graders and Dr. Ann Mehr; screenprinting on clay
The mural in the north courtyard displays the history of motion pictures and of Columbia's movie houses, all in 36 square feet. Constructed by Lee Expressive Arts School's 2007 5th grade class, this clay mural started with the silkscreening of historic Columbia theater photos onto clay (with special thanks to Diggit Printing and the Missouri Historical Society). 3-D tiles created by the children brought the ghosts of Alfred Hitchcock, King Kong, Buster Keaton, and others vividly into life.
Bob Bussabarger; ceramic
The Horn Player, with his mischievious pout, feels right at home on our outdoor patio after years at various other locations. One of Bussabarger's many music-themed sculptures, Horn Player was inspired by the comic marching Fufu bands of India. Bussabarger says "The material is clay — earth — a basic element that is centered in the world," which, according to him, makes Ragtag an appropriate display site because he believes it is "the physical and mental center of the community."
Helen Hawley; celluloid film
Representing a blend of form and function that typifies Ragtag philosophy, this blind was constructed from individual strips of 35mm film, culled from miles of old movie trailers. Once selected, the strips were organized by color and detail and then hand-sewn to create a single large sheet. The blind represents a visual history of Ragtag, as well as repurposing the frames and footage. As is always the case with film, light plays an integral role in bringing the piece to life Hawley, who lives in a cabin in rural Moniteau County, is a 2002 graduate of the Rhode Island School of Design. Hawley's work is primarily in printmaking and lithography.
Susie Fiegel of Village Glass Works
Susie Fiege, who makes reproduction glass shades for historic fixtures all over the country, created molds to form the glass wall sconces that illuminate Ragtag's halls. The molten glass for the sconces is poured onto a table, fed through rollers to produce thin sheets, which are cut to size and then bent in the kiln at 1170 degrees. The black-and-white glass was swirled by hand and then sandblasted. The dark red/orange glass in the big theater comes to us from the longest operating opalescent glass factory in the world.