'The Peaceful Warriors,' by Skip Willits. Photo by Bruce Walters.

The Peaceful Warriors by Skip Willits and No Future - No Past - No You - No Me by Terry Rathje are located in an alley, not displayed prominently at a building's entrance or in an open location as one might expect for such thoughtful and professionally produced artworks. Both artists, however, created their pieces knowing that they would be displayed alongside graffiti, dumpsters, and loading docks.

Entering the alley between Second and Third avenues from 17th Street in the Rock Island District - near Theo's Java Club - one is initially met by Willits' three metal sculptures mounted high on a brick wall. The welded masks, made from hot rolled-metal sheets, are approximately five feet in height. In the daytime, they feel benign; their gaze is diffident. At night, they feel like armored sentries posted at an entry into darkness.

'Exhaling Dissolution' in Faye's Field. Photo by Bruce Walters. Click on the image for a larger version.

Just north of the corner of 18th Street and Middle Road in Bettendorf is - strangely - a large head made of bark in an open field. More than 13 feet tall, it's hard to miss. What makes the sculpture feel truly immense, however, is how the artist has fulfilled her goal of "giving the Earth a voice" through this work.

'Exhaling Dissolution.' Photo by Bruce Walters. Click on the image for a larger version.The sculpture, created by Sarah Deppe - a 24-year-old artist from Maquoketa, Iowa - is meant to represent the natural world. Its surface is made of cottonwood bark found on the ground. As Deppe has written: "I incorporate bark and wood because I believe it is less detrimental for the environment than other mediums. I feel as though I am simply borrowing from nature, and it will be returned to the Earth as it decomposes off my sculptures."

The artwork's title, Exhaling Dissolution, refers to the pollution constantly being spewed into the environment.

Inspired by Deppe's research into deforestation, the artwork took four months to plan and construct. Since its completion in 2010, it has been displayed on the Northern Iowa University campus and along the Riverwalk in the Port of Dubuque before being installed in Bettendorf on June 29, 2012. The artwork will be displayed in Faye's Field for only one year - through June 2013.

Pre-1892 downtown Davenport

I recently came across a photograph of downtown Davenport taken from the corner of Second and Harrison streets and facing north. The photo has a 1907 copyright date but appears to have been taken before 1892, when the Redstone Building was built. As I looked at the image carefully, I was struck by the realization that nothing in this photo - not one building or object - still exists.

I also saw a set of century-old photos of a roller coaster, merry-go-round, music pavilion, bowling alley, tunnel of love, and steep water ride - proclaimed as the largest amusement park west of Chicago - at the present-day location of the Black Hawk State Historic Site. It is so strange to see old photos that are identified as places we know well, yet little in them is familiar.

From one year to the next, the Quad Cities seem to change little. Over the course of decades, however, the differences are dramatic.

The same is true of public artworks. Many dozens of artworks have been painted over, removed, or relocated. Not surprisingly, aging materials account for the disappearance of many of these artworks; the cumulative effects of sunlight and temperature extremes take their toll on paint and materials such as wood.

The decision to move an artwork to another site, on the other hand, usually stems from remodeling or changes in ownership of the property where the artwork was originally situated.

The following are some of the best-known artworks in the Quad Cities that have been removed or relocated. Some were painted on walls; some stood prominently in front of buildings; and some lived in parks and cemeteries. Some were created by renowned artists, others by area students. What they have in common is that they are no longer at their original sites.

'Davenport Blues.' Courtesy Loren Shaw Hellige.

Dillon Memorial. Photo by Bruce Walters.

Davenport's Main Street begins at a fountain in LeClaire Park and leads directly to another in Vander Veer Botanical Park to the north. Both are significant city landmarks, yet each has a distinct history and appearance.

Campbell's Island war-memorial bronze relief. Photo by Bruce Walters.

On Campbell's Island is a war memorial side-by-side with an artwork dedicated to peace. One rises imposingly; the other is unassumingly low to the ground. Together, they give us a greater perspective on the area's history than if we were to consider them separately.

Campbell's Island war memorial. Photo by Bruce Walters.Campbell's Island is just north of East Moline, accessible from Illinois Route 84. The island is named for U.S. Lieutenant John Campbell, who was leading three gunboats past it on July 19, 1814, when his boat was grounded during a storm. While vulnerable, they were attacked by an estimated 500 Sauk warriors allied with the British Army. The attack led by Black Hawk and the ensuing fight became known as the Battle of Rock Island Rapids - one of the most western battles of the War of 1812. In all, there were between 35 and 37 casualities (depending on the source) among Campbell's men and their families - including the deaths of 14 men, a woman, and a child.

In 1908, the Campbell's Island State Memorial was dedicated on the site where the lieutenant's boat lay derelict for years. The monument is maintained by the Illinois Historic Preservation Agency as a state historic site.

Stuart Morris, 'Lloyd's Trek.' Photo by Bruce Walters.

A large abstract sculpture, Lloyd's Trek, greets visitors to Schwiebert Riverfront Park in the District of Rock Island. Standing some 20 feet tall at the park's southwest corner, the sculpture seems to watch protectively over the many areas of activities: a fountain meant to be run through; a playground that combines digital game elements with contemporary slides, swings, and climbing structures; a checkerboard concrete beach; walkways; and a performance stage.

The artwork feels fresh and intuitive. Though the artist, Stuart Morris, said it is an abstraction of a walking figure, its playful balance and irregular shapes also suggest a precarious stack of blocks or a doorway to the park.

Irish memorial. Photo by Bruce Walters.

The Charles J. Wright Transit Center at 300 West River Drive in downtown Davenport has two very different works of art related to travel. One is a sculpture of an impoverished Irish family traveling by foot. It is traditionally figurative and meant to draw you in emotionally. The other - modern and emotionally cool - evokes a sense of speed on a highway.

'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.

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.

Photo by Bruce Walters

Photo by Bruce WaltersThe entrance to the First National Bank Building (now U.S. Bank) at 201 West Second Street in Davenport tells the story of commerce and banking through classical images and symbols. The ancient Greek and Roman references and high artistic level of the entrance tell us, in effect, that banking is an important institution - one of the cornerstones of Western civilization and a pillar of the community.

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