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Quiet Giant: Riverssance Honors the Memory of Jeanne Tamisiea PDF Print E-mail
Tuesday, 12 September 2006 23:04

Reader issue #598 When Bill Hannan first met Jeanne Tamisiea in the 1980s, she was one of three finalists for a teaching position on the fine-arts faculty at Black Hawk College. "You could tell right off the bat that she was a teacher," Hannan said. "If you are a teacher, you can spot one."

Tamisiea "tried to connect immediately," Hannan explained. She made eye contact and asked questions, and the vibe was less of a job interview than a classroom in which Tamisiea was the teacher and her interrogators were her students. "Jeanne sat down to talk to us," Hannan said. "The other two [candidates] sat down to be interviewed."

After the interviews, Hannan said, the decision to hire Tamisiea was a foregone conclusion. "We only talked about her," he said. "We didn't talk about the other two guys."

“It’s Either Me or the Landfill”: Metal Sculpture by Dick Cooley PDF Print E-mail
Feature Stories
Written by Mike Schulz   
Tuesday, 12 September 2006 23:02

"Sunbeam, Airstream, Toaster Camper" by Dick Cooley Glancing at the Dick Cooley metal sculpture that he calls "my Sunbeam, Airstream, Toaster Camper," your first thought is likely to be: Look at that - a toaster on roller skates.

But stare at it a bit longer. Hey - there's a bottle opener for the grill. That's a cheese-grater awning. The lights are actually nuts. And wait a minute ... is that what I think it is?

Yup. "I have a martini shaker on the front for a hitch," Cooley said during a recent phone interview. "I always try to put many different things in a piece."

A Smile on the Wall: Airbrushed Acrylic Paintings by John Booth PDF Print E-mail
Feature Stories
Written by Mike Schulz   
Tuesday, 12 September 2006 23:00

"Suited Saguaro Sights Migrating Money" by John M. Booth Painter John M. Booth, referencing one of his artworks, says, "Hopefully, it'll put a smile on somebody's wall." The odds are pretty good that it will - in his airbrushed acrylic paintings, there's a lot of smiling going on.

In Booth's Fishin, an enormous red fish grins dementedly as he prepared to devour a small black cat. In Tada, a similar fish - emerald green this time - is balanced on top of a cat, who, in turn, stands upon a dog; their smiles indicate great pride at the feat. (Ta da!) In Good Coffee, a balding, middle-aged man looks frighteningly giddy about taking his first sip.

And throughout Booth's works, many of which can be seen at ( and at Riverssance this weekend, his figures - human and animal, smiling and unsmiling alike - are painted in bold, vivid colors, a vibrant array of reds, blues, greens, and purples.

Riverssance Prepares to Pass the Baton PDF Print E-mail
Tuesday, 12 September 2006 22:58

The Riverssance Festival of Fine Art will be losing one of its founders after this year's event, with Larry DeVilbiss stepping down from his second stint as director.

"Persistence of Mother" by Larry DeVilbiss DeVilbiss has run the festival for the vast majority of its 19 years - he returned three years ago when MidCoast Fine Arts took over the event - but he'll be leaving after this weekend's edition, being held Saturday and Sunday in the Village of East Davenport's Lindsay Park. (The River Cities' Reader is a sponsor of the event. A Riverssance map is located on the back cover of this week's issue.)

A Door Left Open: John Dilg Artist Reception, September 8 at St. Ambrose’s Catich Gallery PDF Print E-mail
Tuesday, 05 September 2006 22:40

Children PlayingViewing the work of an artist who has been making art for decades is like looking at an iceberg. You see the little part that is showing but not the hidden part, which is years of study, making art, learning about oneself, and inventing.

The work of John Dilg, on exhibit at St. Ambrose University's Catich Gallery through September 29, may seem simple at first glance, but that is only the tip, the obvious part. Part of the reason is that as one paints for a long time, one begins to consciously and unconsciously shed the unnecessary. What remains is the essential. Dilg's work is simple, spare, and verges on being a visual language, like hieroglyphs or ideograms. There is a subtle humor about them, and the dozen small paintings spread around the room feel like the characters or phrases of this visual language.

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