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October 2006
In 1987 photographer Sandra Dyas moved to Iowa City and began documenting the area's vibrant live music scene, with its distinctive combination of folk, blues, roots/Americana, and rock sounds. The sixty photos in Down to the River capture her twenty years of photographing live music venues and shooting portraits of musicians in and around the city, resulting in a collection of images as compassionate and honest as the music itself. Dyas's photographs present both the sweaty intensity of live performances and the more contemplative moments of individual portraits. They are complemented by Chris Offutt's empathetic essay, which also encapsulates the experience of connecting with a new home through its music. A companion CD with eighteen tracks by Iowa's finest singer/songwriters, including Dave Moore, Greg Brown, Bo Ramsey, David Zollo, and Pieta Brown, add up to an unmatched perspective on Iowa music and musicians. CD Tracks 1. Iowa Crawl, Joe Price 2. Poor Back Slider, Greg Brown 3. Parnell, David Zollo 4. #807, Pieta Brown 5. Wheels of Steel, Radoslav Lorkovic 6. Down to the River, Dave Moore 7. Lucy and Andy Drive to Arkansas, Kevin Gordon 8. Chuck Brown, Mike and Amy Finders 9. Nobody But You, Joe Price 10. Earleton, BeJae Fleming 11. Ceremonial Child, High and Lonesome 12. Sidetrack Lounge, Bo Ramsey 13. On the Edge, Pieta Brown 14. One Wrong Turn, Greg Brown 15. Not in Iowa, Kelly Pardekooper 16. Living in a Cornfield, Bo Ramsey 17. '57 Chevy, Tom Jessen's Dimestore Outfit 18. Roll on John, the Pines
Invoking spiders and senators, physicists and aliens, Lauren Haldeman’s second book, Instead of Dying, decodes the world of death with a powerful mix of humor, epiphany, and agonizing grief. In the spirit of Calvino’s Invisible Cities, these poems compulsively imagine alternate realities for a lost sibling (“Instead of dying, they inject you with sunlight & you live” or “Instead of dying, you join a dog-sledding team in Quebec”), relentlessly recording the unlived possibilities that blossom from the purgative magical thinking of mourning. Whether she is channeling Google Maps Street View to visit a scene of murder (“Because / a picture of this place is / also a picture of you”) or investigating the origins of consciousness (“Yes, alien / life-forms exist / they are your thoughts”), Haldeman wrenches verse into new sublime forms, attempting to both translate the human experience as well as encrypt it, inviting readers into realms where we hover, plunge, rise again, and ascend.
One of The Christian Science Monitor's Ten Best Books of May "A highly original work of history . . . [Saltzman] has written a distinctive study that transcends both art and history and forces us to explore the connections between the two.” —Roger Lowenstein, The Wall Street Journal A captivatingstudy of Napoleon’s plundering of Europe’s art for the Louvre, told through the story of a Renaissance masterpiece seized from Venice Cynthia Saltzman’s Plunder recounts the fate of Paolo Veronese’s Wedding Feast at Cana, a vast, sublime canvas that the French, under the command of the young Napoleon Bonaparte, tore from a wall of the monastery of San Giorgio Maggiore, on an island in Venice, in 1797. Painted in 1563 during the Renaissance, the picture was immediately hailed as a masterpiece. Veronese had filled the scene with some 130 figures, lavishing color on the canvas to build the illusion that the viewers’ space opened onto a biblical banquet taking place on a terrace in sixteenth-century Venice. Once pulled from the wall, the Venetian canvas crossed the Mediterranean rolled on a cylinder; soon after, artworks commandeered from Venice and Rome were triumphantly brought into Paris. In 1801, the Veronese went on exhibition at the Louvre, the new public art museum founded during the Revolution in the former palace of the French kings. As Saltzman tells the larger story of Napoleon’s looting of Italian art and its role in the creation of the Louvre, she reveals the contradictions of his character: his thirst for greatness—to carry forward the finest aspects of civilization—and his ruthlessness in getting whatever he sought. After Napoleon’s 1815 defeat at Waterloo, the Duke of Wellington and the Allies forced the French to return many of the Louvre’s plundered paintings and sculptures. Nevertheless, The Wedding Feast at Cana remains in Paris to this day, hanging directly across from the Mona Lisa. Expertly researched and deftly told, Plunder chronicles one of the most spectacular art appropriation campaigns in history, one that sheds light on a seminal historical figure and the complex origins of one of the great museums of the world.
Angel De Cora (c. 1870–1919) was a Native Ho-Chunk artist who received relative acclaim during her lifetime. Karen Thronson (1850–1929) was a Norwegian settler housewife who created crafts and folk art in obscurity along with the other women of her small immigrant community. The immigration of Thronson and her family literally maps over the De Cora family’s forced migration across Wisconsin, Iowa, and onto the plains of Nebraska and Kansas. Tracing the parallel lives of these two women artists at the turn of the twentieth century, art historian Elizabeth Sutton reveals how their stories intersected and diverged in the American Midwest. By examining the creations of these two artists, Sutton shows how each woman produced art or handicrafts that linked her new home to her homeland. Both women had to navigate and negotiate between asserting their authentic self and the expectations placed on them by others in their new locations. The result is a fascinating story of two women that speaks to universal themes of Native displacement, settler conquest, and the connection between art and place.
How a caring grandmother and a simple treatment changed the life of an eight-year-old African boy who was born with clubfoot.
Accompanying the recent Artists in Iowa: The First Century exhibition is a new major publication, written by Dr. Lea Rosson DeLong, which discusses the seventy works of art by over forty-five Iowa artists in the exhibition. The publication traces the earliest known art by the Meskwaki artist Wachochachi through the art of more recognized artists such as Lee Allen, Grant Wood, Christian Petersen, Christine Glasell and Eve Drewelowe who created New Deal murals, portraits, and captured scenes of urbanization in Iowa. The 258-page full color publication is available for purchase from the University Museums' office during business hours. Cost is $45.00 each; cash, check or credit card accepted."Iowa has a distinctive artistic heritage; we have only to look for it, preserve it, and pass it on to the next generations."-Dr. Lea Rosson DeLong, art historian and exhibition curator
"Rexroth's most notable work, Iowa, is a series of dream-like and poetic images.Each seemingly candid and liquid composition includes a soft focus and vignette, characteristic qualities of Diana camera images. [...] The Iowa series subconsciously expresses Rexroth's childhood memories of visiting family in Iowa. Growing up in the suburbs of Arlington, Virginia, she was captivated by the exotic summer landscapes of Iowa. Although the influence of her memories is present, Rexroth refers to Iowa as a hallucinatory state of mind rather than a concrete geographic location of personal sentiment. She describes Iowa as 'conceived of as a kind of psychic journey from one emotional mood to the next-- a maturation process. It all happens in a place which is very exotic.' In the introduction to the book, Mark L. Power describes this work as 'Sunny Iowa was transformed by memory into a dark Iowa with "a real feeling of melancholy." [...]"
At the crossroads of two cultural icons exists Jay Sigmund, born near the Wapsipinicon River in Waubeek, Iowa. As the Regionalist movement was in full swing guess who had an enormous influence on well-known artist Grant Wood? Jay Sigmund! Also at this time, a paperboy in Cedar Rapids, Iowa, was working on his interests in poetry with Jay Sigmund--this paperboy was Paul Engle, who later went on to co-create and direct the Iowa Writers' Workshop and start the International Writers' Workshop at the University of Iowa. In his time, Jay Sigmund was a successful insurance agent, but also a respected and well-known author who had a major impact on Midwestern culture through his deep love and respect of his place in Iowa.