The first gallery exhibition of the 2017-18 school year will feature three decades' worth of works by Crawford, who has concentrated on woodcuts and monotypes since earning a 1987 MA in Fine Art from Peoria's Bradley University.

Augustana College's first art exhibition of its 2017-18 school year finds dozens of contemporary artists and poets responding to the history of multiracial coalitions – including the Rainbow Coalition, the Young Patriots Organization, and the Black Panther Party – that have organized against racism, poverty, and oppression.

An associate professor of painting and drawing and the director of graduate studies at the University of Arkansas, acclaimed visual artist Musgnug explores both nature and the painting process in her latest touring exhibition of works on paper.

The final area festival of 2017's summer will commence in this inaugural celebration of music, film, comedy, and visual art, with performances and activities scheduled at 14 downtown-Davenport venues.

Urban, Third Place: Dale Fehr, Hampton, Illinois (<em>The Bench</em>)

The River Cities’ Reader’s 2017 photo contest received more than 100 entries in four categories: “Uniquely Quad Cities,” “Reflection,” “Urban,” and “Rural.” Here are our winners and favorites.

The River Cities’ Reader’s photo contest has returned, with four new categories for your submissions: “Urban,” “Rural,” “Uniquely Quad Cities,” and “Reflection.”

The deadline for entries is June 27. We plan to publish the winners in the July 6 issue of the River Cities’ Reader.

Baseball is 90 percent mental and the other half is physical.” – Yogi Berra

Yogi’s words are illogical. But brilliant.

It is equally illogical to inlay a full-sized baseball diamond – made of brick and stone! – in the pavement west of Modern Woodmen Park, not far from the “real” one inside.

Hovering high above the heads of visitors to the Figge Art Museum, a neon sign that reads “Colored Entranced” points the way into the third-floor gallery. Anchored to the wall, the sign sits at an angle so visitors who enter from either the elevator or the stairs see it almost immediately. Bright tubes of clean red-orange light form words that contrast with and illuminate the corroded tin support from which they extend. The glow of the neon affects the surrounding space by casting light in shades of pink and violet on the white walls. A ghostly reflected image with deep red and cobalt-blue hues can be seen on the polished gray floor.

Colored Entranced is visually appealing, but the symbolic history it represents is abhorrent. Seeing it for the first time, non-black visitors may feel an unexpected pang of empathy for those who were subjected to that kind of direct segregation.

If you visit the Figge Art Museum to see Jefferson Pinder’s exhibit Ghost Light (see our review here), the artist will be satisfied if you leave enlightened. Or thoughtful. Or angry. Or confused.

He’ll also be okay if you see the neon sign reading “Colored Entranced” and choose not to enter the gallery.

The statue at the Kaaba Shriners Masonic Center. Photo by Bruce Walters.

Two similar Quad Cities sculptures that could be best described as sentimental raise issues about the role of art. Although their tones are different, both pieces depict young girls with adult-male authority figures and are meant to reflect the goals of the organizations that host them.

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