Hot Glass art, photo by Meghan McLaughlinWhen you first walk in the doors of downtown Davenport's recently opened Hot Glass art studio, there are a few things you might notice right off the bat.

Initially, your eye is drawn to the vibrant splashes of color on the shelving units to the left: multi-hued glass bowls, vases, and paperweights, all located beneath a striking, meticulously assembled, golden glass chandelier that wouldn't look out of place in the ballroom of Beauty & the Beast.

To your right, you see much of the studio's equipment: a workbench and containers of colored glass and a pair of sizable furnaces, one of whose indicators reveals its interior temperature to be just over 2,300 degrees.

On the opposite side of the studio, through the windows facing River Drive, you're treated to a view of Modern Woodmen Park so picture-perfect that the ballpark should consider using it on souvenir postcards. (Hot Glass is located at 104 Western Avenue, in the rear of the Davenport Printing Company facility.)

But if you turn around and face the direction you came in, you'll find what is the most beautiful sight in the entire studio, at least for Hot Glass Executive Director Joel Ryser and his co-founder son Logan: a large sign on the wall listing the names of local organizations, businesses, and individuals who provided the money, equipment, and experience necessary to make their dream studio a reality.

It is as if a Jimi Hendrix concert outfit collided and merged with great-grandma's doily and potholder collection in the 2009 Soundsuit by Nick Cave, part of the exhibition Innovators & Legends: Generations in Textiles & Fiber that runs through September 7 at the Figge Art Museum.

Photo by Bruce Walters

Cadence of Diversity is a joyful mural - rich with expressions of many cultures that are balanced with an underlying theme of connectedness.

The 100-foot-long mural is painted on a concrete wall just south of Seventh Avenue on 38th Street in Rock Island. Working with more than 50 Augustana students, Peter Xiao - a professor of art at the college - led the mural's development and execution throughout much of 2009, completing the work in the spring of 2010.

Recently at the Quad City International Airport art gallery, two travelers were bluntly musing about twisting sculptures cantilevered off the display wall. "Normally, this would be considered a pile of crap," one said.

We received 116 entries in our 2014 Photo Contest in four categories: Fun in the Sun, In the Garden, Summer Nights, and Heat Wave. We're happy to present this selection of winners.

The Blues Brothers. Photo by Bruce Walters.

On May 2, the life-sized sculptures of the Blues Brothers were back on public display in the Rock Island District after months of storage and repairs. The sculptures are seated in chairs near the corner of Second Avenue and 18th Street.

On the same day, Watching the Ferry - a sculpture of two boys seated on a park bench - was unveiled at its new site in Davenport's Lindsay Park near the riverfront. This sculpture had been out of public view for five years, since its removal from near the Iowa American Water treatment plant when construction began on a floodwall.

Although the timing was a coincidence, the two sculptures share some similarities. Both depict two young men seated side-by-side and convey a sense of camaraderie. Both look to a past associated with the Quad Cities. Both are based on works in other media: television and film with the Blues Brothers and a lithograph with Watching the Ferry.

A comparison between the two pieces is intriguing because of this difference in their sources - as well as in their attitudes, materials, and locations.

Photo by Bruce Walters

The Lindsay Architectural Sculpture Park is a grouping of structural forms derived from historic styles of buildings and homes in the Quad Cities. The park is - in turn - visually engaging, playful, and educational. It is located along the Riverfront Parkway south of the Village of East Davenport.

The park's layout feels organic. Its overall circular shape is crisscrossed with walkways that lead one past - or through - 10 primary groupings of structural forms. The largest of these structures is a 30-foot-tall limestone tower. Its slate roof is constructed in the style of the Victorian towers and turrets built in the late 1800s.

A 2013 photo-contest winner by Jess Ellis

The theme for the River Cities' Reader 2014 photography contest is summer - in large part because we want to erase memories of our beastly winter.

The four categories are "Fun in the Sun," "In the Garden," "Heat Wave," and "Summer Nights."

The deadline for entries is May 9, and the rules are below. We plan to publish the winners in our May 29 issue.

(The photo above, by Jess Ellis, is a winner from our 2013 contest, incidentally.)

The current sign at the Col. Photo by Bruce Walters.

The Col Ballroom, at 1012 West Fourth Street in Davenport, is 100 years old this year. No other large ballroom in Iowa has reached a century of continuous operation. For that matter, neither has any ballroom in Chicago.

During the past century, the sign in front of the Col has been changed several times. The installation of a neon sign during the Jazz Age signaled a change in the cultural role of the ballroom. It was replaced when rock 'n' roll became king, re-made when rock went psychedelic, and duplicated when there wasn't a prevalent new direction in popular music.

Each sign had its own aesthetic, stylistically shaped by its era. Each is interesting in and of itself. However, they are all the more fascinating when we see them as a reflection of the sweep of changes in popular culture throughout the century.

Photo by Bruce Walters

Davenport's Skybridge is meant to be spectacular. Waves of color from 8,036 LED lights race the length of its 575-foot corridor at night. Brightly lit masts and tension rods angle upward and out, towering 100 feet over the River Drive traffic below.

The bridge's most successful feature, however, is its outstanding panoramic view of the river and the surrounding cityscape.

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