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Cuddly Monsters, Captivating Portraits, and Juicy, Gross Textures: The 36th-Annual Rock Island Fine Arts Exhibition, through April 22 PDF Print E-mail
Reviews
Written by Michelle Garrison   
Thursday, 22 March 2012 06:01

Jessica Teckemeyer, 'Fawn or Foe'

Jessica Teckemeyer’s Fawn or Foe is both a cuddly creature and a disturbing monster, with a lifelike aura that defies the porcelain from which it’s formed. In this year’s Rock Island Fine Arts Exhibition, the piece stands out as a strong marriage of technique and subtext.

Similarly, Kristin Quinn’s Flyway offers a modern sensibility and expression that differentiate it from an exhibition full of technical skill yet often lacking stylistic flair, nuance, and ambiguity.

While those two works are exceptional, there’s also a strong vein of realism in the show, and several artists conjure meaning through an abstract approach – but without quite reaching the resonant standard set by Teckemeyer and Quinn.

Featuring 51 pieces by 40 artists within a 150-mile radius of the Quad Cities, the 36th-annual exhibit is on display in Centennial Hall at Augustana College through April 22. Juror Joseph Mella, the director of the Vanderbilt University Fine Arts Gallery in Nashville, Tennessee, awarded prizes sponsored by the Rock Island Art Guild and Augustana College.

 
“A Real Renaissance Man”: St. Ambrose Art Professor Leslie Bell (Sort of) Retires After 38 Years PDF Print E-mail
Feature Stories
Written by Jeff Ignatius   
Thursday, 15 March 2012 06:34

Leslie Bell in his office. Photo Corey Wieckhorst.

One minute, St. Ambrose art professor Leslie Bell is talking about his paintings – mostly allegorical scenes featuring women and girls. The next minute he’s talking about his students – especially the female ones – without having shifted gears.

“On a really basic level, I’m trying to kindle a spark of quirky individuality in each person I paint,” he said in an interview last week. “I don’t want them to come across as generic. And ... through body language, environment, to a lesser extent facial expression – because my characters tend to be a little bit on the deadpan side – even fashion or dress ... I want to communicate a kind of self-made-ness.”

He then says he doesn’t want to be cheesy – the simplistic idea that girls can be carpenters or play chess: “I want it to be more what we deal with everyday in the studio, which is following what you’re interested in, sort out the ‘should’ voice in you ... , acknowledge that there is peer pressure and that there are societal pressures and that there are laws, but then make as much use of the freedoms that you have to cultivate your interests, develop your interests, don’t be ashamed to be an intellectual, fight me as a professor ... .”

One can see that shift happening even more quickly here, in a single sentence: “I want my work to be really affirmative of women’s and girls’ abilities to create themselves, to stick to their own ideals, to find ways of proving to whoever might be skeptical of what it is to be a woman artist or just a woman that there are as many paths to maturity as there are people attempting to mature.”

This conflation is illuminating, as Bell’s artistic interest in female experience and identity seems inseparable from his teaching responsibility to help young artists develop their own voices. He notes that well over half of the students in the St. Ambrose art department are women, and it’s easy to infer that his painting is akin to homework, a way to develop empathy and connections with his female students. They’re also a way of leading by example, of showing through art a path to authenticity.

 
Art in Plain Sight: “Freedom” PDF Print E-mail
Feature Stories
Written by Bruce Walters   
Wednesday, 07 March 2012 14:34

'Freedom.' Photo by Bruce Walters.

Karoly Veress’ sculpture Freedom is paradoxical: Its wing-like forms are ascending and graceful from some vantage points, yet they look like ax blades from others. Delving into the lives of the artist and the humanitarian who inspired this work, though, we can begin to understand that these elements aren’t as contradictory as they first seem.

Dedicated in 2000, Freedom is located on the Augustana College campus, near the Denkmann Memorial Building at 3520 Seventh Avenue in Rock Island. Cast in bronze from a plaster model, it rises from a cylindrical concrete base to an overall height of about 10 feet.

The dynamic upper portion of the sculpture unfurls boldly into two fluid forms – giving the work its sense of motion. Veress explained: “In this design I symbolize freedom in wings, partly protecting, and sheltering, but foremost enabling us to rise above the daily confusions. These wings sometimes lift us up out of the monstrous historic context into a state where all that remains is just one commitment: to human values, to the dignity of all human beings.”

Veress’ words stem, in part, from his own experiences. The artist was a student at the University of Budapest while the city was still in postwar ruins and under Soviet occupation. When the 1956 Hungarian Revolution failed, he fled to safety in the Netherlands, where he would discover his love for sculpting.

 
Winter Photography-Contest Winners PDF Print E-mail
Photography
Written by Administrator   
Thursday, 16 February 2012 06:46

Our winter photo contest – the first such reader competition we’ve held since 2008 – brought 80 submissions over three categories: attraction, resistance, and ambivalence. Thanks to all who entered!

In these pages are the top five finishers in each category as judged by the River Cities’ Reader staff. We considered both the technical merits of the photograph as well as how well it fit or played off the category in which it was entered. Accompanying each photo is a short statement from the photographer. Click on the photo for a larger version.

While we restricted photographers to three entries, some entrants placed more than one photo among these top 15.

Ambivalence, First Place, Aric Keil


“This was taken along a fence line outside of Lost Nation, Iowa, in 2011. All of the goats (except one) seemed timid yet curious when I stopped to take the photo. They did not approach me or run away from me; they just stared ambivalently.”

 
Art in Plain Sight: Palmer Busts PDF Print E-mail
Feature Stories
Written by Bruce Walters   
Thursday, 09 February 2012 08:10

Photo by Bruce Walters.

In the Heritage Court on the Palmer College of Chiropractic campus (at 1000 Brady Street in Davenport) are four large bronze busts. Sculptures of D.D. Palmer, his son B.J. Palmer, and his grandson David Palmer are placed symmetrically on a curved brick and stone wall with the incised words “The Foundation of Chiropractic.” These men collectively presided over the Palmer College of Chiropractic for its first 81 years, beginning with its founding in 1897.

Slightly to the north is a bust of Mabel Heath Palmer, who is recognized as the “First Lady of Chiropractic” and was B.J.’s wife and David’s mother.

Created by three different artists over a period of nearly 70 years, the sculptures are stylistically distinct. They are unified, however, by their consistency in height. Each bust is approximately five feet tall. Positioned on the two walls, they each reach a total height of about 12 feet. They also work together because of the consistent use of materials and conformity to a sculptural form from antiquity – the bust. During the Roman Empire, important families celebrated their achievements and honored their deceased relatives by displaying these sculpted portraits prominently and publicly.

 
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