Showing posts with label University of Northern Iowa. Show all posts
Showing posts with label University of Northern Iowa. Show all posts

Friday, May 1, 2026

Dean Schwarz (RIP) relives the loss of his father

Above
Roy R. Behrens, exhibition poster for Dean and Gunnar Schwarz: Pottery, Form and Inherent Expression (2007), Gallery of Art, University of Northern Iowa.

•••

It is not often that I cry. I cried when my father died. I cried when one of our parrots (Zooey, an African Gray who had bonded with me) died one evening in my arms. And I found that I was crying again just this morning as I was reading the memoir below in this post.

That memoir is not something I wrote. Rather, it was written by a friend (and my primary mentor), the Iowa potter Dean L. Schwarz, who died on March 18. Gerry, his wonderful wife (and one of my favorite people) was there, as were friends and family. His grandson Will Schwarz reported: "Music filled the whole house, and the afternoon sunlight which he loved to watch filtered through the pines and filled his room."

Since then I have been thinking about how I might pay tribute to Dean. And it occurred to me just yesterday that I should share with others a beautiful memoir he wrote in 2005, in which he remembered his father—and, more to the point, his father's death. Here it is—

On the Death of My Father, His Frank-ness by Dean L. Schwarz

It is with a mixture of pleasure and pain that I now stand where we, as family and friends, have stood so many times before, and where we will undoubtedly stand again in the future, when others also come to rest. Is it a blessing to be here? Will someone still be here to stand when we ourselves die? Surely, my "little sister" (Beverley) and my "knee-action brother" (Bill) will never fail to stand on behalf of our family. They know that the future is never the past, and that the present will only be good for those who strive to make it so. Beverley and Bill, I thank you, for your passion in making our father's departure from "the good life" a time that was also worth living. Beverley resides within a sweet bouquet of family, while Bill is receiving the benefits of family buds bursting into full bloom. We all give thanks for what we gained from the teaching of our parents. And to my wife, Gerry, and our children—and to their children's children—"I give thee flowers to strew thy way."

I myself have been lucky to know a handful of people who were not afraid to die. They and others like them found the courage to deal with the termination of their lives. My mother Nona, my father Frank, and (his brother) my Uncle Roger all died in the process of teaching, and each died with dignity. One used his observational skills to help others as a hospice volunteer—he knew how to make wise use of medication. Another knew when to stop eating at a time when that resource failed to provide sustenance for the life that he desired. And yet another was consoled by the belief in having been visited by angels in the hospital.

My friend David Cavagnaro once said to me, "Dean, why fear death?" He went on to tell about thousands of people, from the widest range of cultures, who, in one way or another, were able to cross the border between life and death. Stamped on their passports is proof that they have traveled through an egg yoke yellow tunnel (free-range chickens, of course) of warmth and happiness. When their names were called to return to the life of that existence, they protested. They wanted to stay, they insisted. I have not yet experienced this but I know it is not wise to fear without cause. Fear is a tool that a person should use only rationally. We have enough problems without creating additional fears. Why invent new kinds of darkness when instead we might create more light, recalling the beauty of lilies of the valley of life?

The beloved man who has left us (Frank Lester Schwarz) will nonetheless always be with us. This is our prerogative, to which he contributed by living creatively. Of course there were exceptions: He was neither a god nor a demigod. Our family of independent thinkers has never been heavy enough to tip the balance of Dad's convictions. We have argued that chicken and fish are food, while he insisted that food was a form of hamburger. Meatloaf is food. And when Nona, his Ruby, went to the reward of her convictions, Frank's global world shrank to the size of a Swedish meatball. As a result, for the past few years, he wanted most to join his wife—our mother, grandmother and great-grandmother, great, forever great. So now our feet are expected to make giant footprints, our legacy from their legacy.

We are all related. Perhaps there was an Adam and Eve, in the form of many truths at least. Whether metaphor, science, religion, or philosophy makes no difference. Choice need not divide us, I hope.

My father, Frank Schwarz, showed us some incredible changes in his lifetime. Rising from his own father's labors in a world of steel, he himself became a welder, a "master welder." And then when everyone thought he had done enough and that his life was set in steel (even his games, such as horseshoe, were steel), he suddenly went back to school. With an outlandish bravado, he said to his teacher (as he entered the college classroom for the first time) that "I will not accept anything but an A in this class." And that, indeed, was what he received, and continued to achieve.

And then he became an avid reader. Previously he had only read a few books, including God's Little Acre. His brother Gail, who was the most successful entrepreneur in our family, had only read one book in his whole life, Smoky the Cow Horse. But now Frank began to read about history, which led in turn to reading about other cultures. No one could have anticipated that.

During this period he honored the memory of his beloved son, Steven Charles Schwarz, by making a monumental steel sculpture, based on his convictions about the Native American belief in contrarians. He had learned that contraries cried when others laughed, and walked on their hands instead of their feet. He saw the marvelous humor, introspection, and the psychological value of this tradition. His sculptural abstraction of a teepee standing upside-down at the entrance of South Bear School, a place that he referred to as his Asa Haugan Home, is about twenty feet tall. The shadows of this sundial still travel across our hearts. When the Hearst Center For 'the Arts, in Cedar Falls, invited Frank Lester Schwarz, artist, to have a show of his sculptures in the gardens on that center's grounds, he declined.

He began to see the value of looking at his own Frank-ness from the outside. This view led him to create by word-smithing, the lead-penciled yellow-paged products of which were published in Paddled Tails From Tattled Tales: An Autobiography of a Family, a family book of power and conviction as strong as his welds. (And that !s strong considering that he was hired to weld some of the most important seams in the nuclear energy plant in Palo, Iowa. Not a single bubble was found in the x-rays of his welds. So Cedar Rapids and surrounding area is safer because of Frank.) One of his playful stanzas reads: "Dean Dean, made a machine, Frank Frank turned the crank, Joe Joe made it go, just because Steven is leavin'."

Our father was a keeper of and a sharer of the lessons he learned. So is our Uncle Charlie, who speaks of the wisdom of being streetwise, a necessity for his brothers and sisters in their youthful days. Some of the lessons never taught in school are those that keep homes wise today. Ask Uncle Charlie to show you his hands: One is a map of the French coast that he stormed in World War II, the other is a pointer that teaches us about the important battles.

There were years when Frank would pout and crab at social events and drink beer into friendliness. But this was surely not the case in his later years. During those years (and there was certainly no family precedent for this), he began to make speeches at social gatherings. He became an orator. Yes, an orator, truly! And he liked to say the Lord's Prayer, aloud and loudly, with great reverence and conviction, and in what his deaf ears thought to be unison, very s-l-o-w-l-y. Some people had finished their dinner before he finally said A-a-a-men.

Beverley was witness to his growing love for children in his later years, and how he got so good at it. He became a grand grandfather. He quit suffering the little children to come unto him. He began to make it very pleasant. He loved to baptize them with new names, names they will forever remember in his spirit.

Our Aunt Jeanette is a wise woman. In the pains of our recent yesterday she kindly reminded me of a fact that is one of the most important ideas for to remember from the wisdom of El Franko: "He was a rich man. " And yes we often heard him say, "I am the richest man in the world." If you think it so, so it is. Such direct teaching has made all of us rich: We are a rich family finally, because we have inherited a great legacy, a richness beyond money.

Our many memories now tease the passions of our lives, lives that could not have been lived without our "Why-Nona?" and her "Frank husband." But now they are together again. His mission is complete, and now it is our responsibility to insure that the heaven we seek is the one we will receive. One of my hopes is that wherever Frank and Nona are—and they ARE together—that each of them can simultaneously enjoy the low and high volume of their television set.

For many years I suffered because I could not say words of endearment to Frank without hollering loudly, because of his deafness. And even if he did hear what I heard coming from my shouting mouth, it never sounded intimate, no matter how hard I tried. And the pathos was made even greater because I knew that he could only see a shadow of who I am…

So now, dear Father, for the first time in many years, I can say to you in a softer, pleasant voice that all can hear, from a radiant countenance: "l love you, please say hello to Mom and Stevee."

•••

A few years ago, I made a short slide loop video in tribute to Dean and Gerry Schwarz in connection with an exhibition at the Hearst Center for the Arts. It can be viewed online here. Dean's memoir of his father was initially published in Ballast Quarterly Review Vol 20 No 4 Summer 2005.

Monday, December 29, 2025

Tao Te Ching / Bauhaus / Gestalt / Invisible Core

In the past three or four years, I have produced about 
18 online video talks, which are indebted to—but not the same—as years and years of classroom slide-embellished talks for courses in graphic design and design history. It is one way to continue to teach, long after having retired from in-person lecturing. The videos have become surprisingly popular, and I suspect that some are being used by university faculty as supplementary teaching resources. The most frequently visited has had thousands of viewers (6000 alone on YouTube, plus those at other sources) which is encouraging, given that I don't admonish viewers to "like and subscribe."The most popular video is a foundations-level overview of the most basic understandings about "how form functions" in design-based art, architecture and graphic design. The title is Art, Design and Gestalt Theory: The Film Version. In referring to it as "the film version," I intended to distinguish it from an academic paper with the same title, that I published twenty-seven years ago (in 1998) in the journal Leonardo (MIT Press).

That print on paper version was (perhaps still is) one of the top-ten most downloaded articles in that magazine's history. The paper and the video address the same subject, but they differ markedly, and I think the film is better. The film is derived from a classroom talk that I nearly always gave on the first day of class in my university-level design studio and foundations courses. It evolved over the years of course. But it seemed to function reliably as a "big picture" overview of what designers, architects and design-based artists might hope to achieve.

At the end of the film, I conclude by saying how lucky I was to have taught during the last 29 years of my teaching career (not 39, as the film narration mistakenly claims) in the Kamerick Art Building at the University of Northern Iowa. As I noticed when I first spoke there, the design of that building is based on recurrent references to a rectangular motif, the shape and proportion (1 by 2) of a domino game piece. That same motif is also fundamental in traditional Japanese architecture, where it occurs in the floor mats or tatami, which measure 3 x 6 feet. I surmised that the Kamerick building pays homage to that, in features both inside and out, an assumption that was verified years later when I spoke to the architect.



Earlier in the film, I allude to the resemblance between Gestalt theory in perceptual psychology, and the Tao Te Ching, which may have been first introduced to me by Weimar Bauhaus Master Potter Marguerite Wildenhain, with whom my friend and teacher Dean Schwarz and I spent a summer studying pottery at Pond Farm (her mountain-top studio, home and school) in Northern California. In her autobiography, titled The Invisible Core: A Potter's Life and Thoughts, she makes explicit references to Lao-tze's famous passage that claims that the essence of a pot is not in the walls, but in the space (or void) within—its "invisible core."

Here is the full passage from Lao-tze:

Thirty spokes meet in the hub, but the empty space between them is the essence of the wheel. Pots are formed from clay, but the empty space within it is the essence of the pot. Walls with windows and doors form the house, but the empty space within it is the essence of the home.

Marguerite Wildenhain was one of many who were struck by that now-famous passage. Another was Frank Lloyd Wright, who was quoted as follows in Bruce Brooks Pfeiffer, ed., Frank Lloyd Wright: His Living Voice (Fresno: California State University Press, 1987), pp. 25-26—

One day in 1912 I got a little book from the Japanese ambassador to America ... It was a charming little book and all you ought to own it. It is called The Book of Tea [by Okakura Kakuzo]. Well, there I read Lao-tze for the first time, and I read that the reality of a building does not consist in the roof and the walls but In the space within to be lived in. Well, there is my thesis.

Friday, October 11, 2024

pleased to attend / Elena Diane Curris Exhibition

Last evening, I had the pleasure of attending the opening of the 2024 Elena Diane Curris Biennial Design Exhibition the UNI Gallery of Art. Below is a two-part posting I uploaded to LinkedIn earlier this afternoon. Such a wonderful exhibition, as well as a pleasurable social event.



Saturday, July 6, 2024

Writer Ruth Suckow / Cedar Falls Connection

The success of the Ruth Suckow Traveling Exhibition is non-stop. It continues to travel throughout the state, to libraries, history centers, and other public venues. It has now been booked for exhibits through all of 2025. That’s pretty amazing.

It is currently on exhibit at the Cedar Falls Public Library (Cedar Falls IA), where it will remain on view through Sunday, August 4. Above is a view of a detail of the installation from a video on the website of the Waterloo Courier. In addition, just two days from now, there will be a program (free and open to the public) titled Iowa Writer Ruth Suckow: The Cedar Falls Connection, on Monday (July 8) at 6 pm at the library in the upstairs meeting room.

Friday, May 3, 2024

the anatomy of a conference / design education

download pdf
Earlier this week, I posted online this six-page pdf of a printed booklet that served as the schedule of events at a gathering that I was partly responsible for in 2005. It was a conference about design in relation to teaching—not only graphic design, but a more inclusive category, including, for example, industrial and architectural design. The conference title was THE BAUHAUS AND BEYOND 1919-2005: The Shape of Design Education.

Although this conference took place almost twenty years ago, it may be of value to current design faculty at art schools, colleges, universities, art centers, and museums. Conferences (whether online or in-person) can be inspiring events for both faculty and students. But they may as first appear to require too much effort on the part of those who organize them, or perhaps they aren’t affordable.

This booklet documents a conference that was one of three that were organized and hosted by members of the graphic design faculty and students at the University of Northern Iowa. In all three cases, the conferences were carried out with all but zero funding. A "call for proposals" poster was prepared, and sent out, months in advance, postage free, by distributing an email to prospective participants, with a pdf attached. Those who participated in the conference (whether presenters or attendees) were required to provide their own transportation, lodging and meals.

No honoraria or travel allowances were given for presenters, albeit with two exceptions, consisting of prominent speakers who had traveled in and were speaking elsewhere in the region, so that some costs could be shared between schools. The conference were purposely held on days of the week (Friday evening, Saturday and Sunday morning) when the departmental building spaces would most likely be available. Parking might also have been a problem (as is nearly always true for anything other than sports events), but that problem was avoided because campus parking was free and unrestricted on weekends.

Particular attention was given to making the conference schedule align with already-scheduled campus events, such as the annual student art exhibition, and an annual graphic design student portfolio review. Components were scheduled in such a way that participants might easily choose to be present for only the one full-day sequence of events, which took place on Saturday.

We used this method of sponsoring conferences on three occasions, over the span of three or four years. The approach worked reasonably well each time. Comparable information about the two other conferences will be posted here in the near future. Again, the full multi-page pdf can be downloaded here.

Saturday, December 2, 2023

John Page / painter, printmaker and professor

site link
Just today, I have designed and posted a new website about the life and work of Iowa-based printmaker, painter and teacher John H. Page (1923-2018). I hope it will be of interest to those who know and admire his work—as well as to those who have never heard of him.

Thursday, August 24, 2023

new poetry book with Mary Snyder Behrens art

It has been a pleasure to learn today about the upcoming publication of a new book of poetry by American poet J.D. Schraffenberger, titled American Sad. Its projected publication date is February 2024, but copies can be pre-ordered now, at an advance sale discount price. The author is editor of the North American Review and professor of English at the University of Northern Iowa. More book information, examples of the author's poems, and ordering information can be found here.

Full disclosure: Personally, I am especially pleased that a major artwork by my wife, Mary Snyder Behrens, as been chosen by the author for use on the cover. I live with this work, since it has been on view in our dining room for years, and I pass it multiple times in the course of a day. It is large, for the scale of a dining room wall (48h x 30w x 4d), encased in a plexiglas cover, and so multi-faceted and visually provocative that one cannot help but be drawn in. Titled American Canvas II, it is one of several comparable-sized, related works that she completed in 2002 (can it really have been 21 years ago?).  All of them are mixed media, dimensional compositions of cast-off detritus from our farm, bits of junk that farmers buried years ago (in the manner of amateur landfills), and which, during heavy rains, rise up again to the surface—and, in some cases, cause us harm. 

I for one could not be more delighted that the writer J.D. Schraffenberger has found some strand of common ground between the art he makes with words, and the visual verse that Mary constructs.

novelist Ruth Suckow / a celebration of her life

Suckow exhibition banner (2023)
On Saturday (two days from now), there is a gathering of the Ruth Suckow Memorial Association. Suckow (pronounced Soo-Co), who lived from 1892-1960, was a once highly-acclaimed novelist and short story writer from Iowa, whose work was resoundingly praised by the famous literary critic H.L. Mencken. Much more information about her can be found on an online Wikipedia biography site, including a list of her books, and a link to the Suckow Memorial Association, which was founded in 1966.

The association's annual gathering will take place this weekend at the Hearst Center for the Arts at 304 West Seerley Boulevard (a few blocks east of the University of Northern Iowa campus) in Cedar Falls IA on August 26. Beginning at 1:00 pm that day, there is a one-hour session that is free and open to the public. One of her novels, titled Country People, will be the primary focus of that afternoon session, in which a discussion will follow a series of short presentations by four association members, Bill Douglas, Jim O'Loughlin, Julie Husband, and Cherie Dargan.

I have a particular interest in this event because earlier this year I was asked by Barbara Lounsberry, the association's president, to design a six-panel exhibition about Ruth Suckow's life, along with a banner for posting (as shown above) as it travels to libraries throughout the state. The panels and banner, which were made possible by a grant from Humanities Iowa, will premiere this weekend at the RSMA gathering. 

I have an additional interest because one of the communities where Ruth Suckow lived was the city of Manchester IA, at a time when my maternal ancestors, the family of John J. Pentony, also lived there. Suckow attended high school with my grandmother and several great aunts.



Sunday, January 1, 2023

when reading his poems he performed them

book cover
In 1976, I was fortunate to be asked to design a paperbound edition of Joseph Langland’s The Sacrifice Poems for the North American Review, at the University of Northern Iowa. I was a young designer / teacher, and I am no longer happy with how I handled the page layout. But I remain very pleased with the cover, which is shown above.

Soon after I designed that book, I moved to a teaching position at another university, and moved elsewhere after that. But I rejoined the UNI faculty in 1990, where I taught graphic design and illustration, including book design. More than a decade later, Joseph Langland retired from teaching and he too moved back to Iowa. In 2004, near the end of his life, Langland talked to a class of my students at the UNI about the role of rhythmic sound and the music of the voice in the recitation of verse.

I think it would be fair to say that my students were astonished by Joe Langland’s presentation that day. One could say they were taken aback, because whenever Langland read his poems, it was more that he “performed” them—and in fact he often ”sang” the lines. The session was filmed, and having recently been edited, it can be accessed free online, and freely shared with others..

He also talked about his past, not knowing that his life would end a few years later. He recalled how he was drawn to literature at a very young age, and thereafter used poetry as a way to try to understand his life, such as growing up on a family farm, his rich Norwegian heritage, the death of his younger brother, and his lingering memories of having been an officer in the US Army infantry in Europe during World War II.

His talk took place on Veterans Day, on November 11, 2004. He died in 2007.

Friday, March 11, 2022

recalling the death of Iowa poet Michael Andorf

Michael Andorf (1947-2022) was an Iowa-born poet, who, at earlier times in his life, served in the US Navy, worked on farms for numerous years, and operated a snow plow, as a road maintenance worker. He and I grew up at around the same time, only a few miles apart. And while I was long familiar with his name and his poetry, the two of us didn't actually meet until about ten years ago. 

When we did connect in person, it was largely because of our memories of a wonderful teacher of Literature and Theatre (at Independence High School), named Florence Helt. She was something, we agreed, and two of us were forever convinced that she had been a key factor in our shared thirst for writing. 

In 2013, while I was teaching graphic design at the University of Northern Iowa, Michael agreed to come to my class as a visiting speaker. He read a number of his poems, which the students then responded to by designing digital images that "belonged with" each of those poems. When printed, multiples of the book were produced, assembled and bound in the form of a book. We gave signed copies to Michael, and a single copy was given to each student designer, as well as to regional archives. 

In recent years, I've remained in touch with Michael, primarily through emails. I have always enjoyed his humor, and a chance to read his latest poems. I was saddened to learn that he died less than a week ago, on Saturday, on March 5, 2022. Here is an online connection to a pdf version of the book of poems that he, my students, and I produced just nine years ago. Please do share with others.

Saturday, March 5, 2022

the world's prettiest girls live in Des Moines IA

Roy R. Behrens, "Allen Ginsberg in Cedar Falls" in The Iowa Source, Vol 39 No. 3 (March 2022), pp. 13ff— 

In the 1960s, as a high school student in Iowa, I was an avid follower of MAD Magazine. I also subscribed to the Village Voice. Concerned about my waywardness, my mother arranged for me to meet with a religious elder for an advisory conversation. I was a youthful artist then, and during that meeting the subject turned to visual art. The sagacious elder said to me that, only that morning, he had read an editorial in the Wall Street Journal that claimed that “Modern Art is a dung heap.”

Moments later, I was somewhat put at ease when he laughed goodnaturedly and said that it was his opinion that there was no reason for anyone to worry about me—I was simply going through a phase. Most likely, the source of my problem, he said, was that I was reading “too much MAD Magazine.” Out of politeness, I didn’t respond. But in my mind I wondered if the source of his problem was that he was reading “too much Wall Street Journal.”

I recall that a further concern at the time was my new-found interest in the Beat Generation and in writers referred to as “beatniks.” A few years earlier, a former football player from Lowell, Mass., named Jack Kerouac (one of whose high school classmates had been Ray Goulding of the hilarious Bob and Ray radio comedy team) had published a rambling, unorthodox novel called On the Road. Among my chief interests was literature, controversial or not. I had first read Kerouac’s book around 1962, including that now-famous passage in which he lamented having traveled through Iowa too quickly—“past the pretty girls, and the prettiest girls in the world live in Des Moines.”

When On the Road was first released in 1957, reactions from critics were radically mixed. As its notability spread, so did the fame of its author, who soon became referred to as the King of the Beats. His book was a pivotal influence on a generation of writers, musicians, and others, among them the Beatles, David Bowie, Bob Dylan, and Jim Morrison.… more>>>

Friday, September 18, 2020

Sixty years of ceramic pots by Dean Schwarz

Below Dean L. Schwarz, Flat Sides, Two Moons, Two Eyes and Lips. Ceramic vase (2003). One of almost 100 clay artworks by Iowa potter Dean L. Schwarz (spanning six decades) reproduced in color in Dean and Geraldine Schwarz, eds., Sixty Years with Clay: Dean Schwarz. Decorah IA: South Bear Press, 2020. See cover below.



Related links South Bear Press. Marguerite Wildenhain and the Bauhaus. Centering Bauhaus Clay. Storied Pots. Dean Schwarz and the Black Pot Series.


Friday, April 3, 2020

Kenneth Gogel | Recalling a wonderful teacher

Above Kenneth Gogel, The Nervous System. Collage (1973). Permanent Collection of Art, University of Northern Iowa. Among his most memorable artworks is Gogel's portrayal of “the [very] nervous system” of US President Richard Nixon at the height of the Watergate scandal. Gift of Roy R. and Mary Snyder Behrens.

•••

In the late 1960s, when I was an undergraduate art student at the University of Northern Iowa, one of my favorite teachers was an art education professor named Kenneth Gogel. He had been a student of Victor Lowenfeld at Pennsylvania State University. He was particularly interested in children’s drawings, and what those might reveal about (in Lowenfeld’s words) their “creative and mental growth.”

Part of the reason I liked him so much was his eccentricity. He had "a mind of his own,” so his comments were often surprising. His artwork was equally unpredictable. He wasn’t committed to staying within a consistent approach to art-making, whether medium, style, or subject matter. In one of his experiments, he used photo booth self-portraits and xerox (innovative at the time). In another, he rigged up a kind of terrarium, the sides of which were covered with a card-like material punched with random circular holes; inside the terrarium were ladybugs, which changed the pattern of the holes (on-or-off, like digital punch cards) as they climbed up and down the interior walls.

Of the artworks he was making then, one I especially admire is a large mixed media work titled A Bride and Her Father Visit the World’s Largest Turtle, dated c1968 (below). It is now in the UNI Permanent Collection of Art. Gift of Roy R. and Mary Snyder Behrens. The original source for the turtle is the vintage print at the bottom of this post.

Kenneth Gogel (c1968), mixed media


Ken and I remained in contact now and then after I graduated, by exchanging cryptic notes. His were usually whimsical observations he made during lengthy faculty meetings or peculiar things he’d run across while nosing around in the library. One time, he sent me the patent diagram for a mechanical drawing device by Jean Tinguely. He was forever looking around at thrift shops and used bookstores, then sending me things that he thought I could use. He sent me my very first vintage World War I photograph of a dazzle-camouflaged ship, the USS Leviathan.

He even wrote to me when I was (miserably) in the US Marine Corps. When I answered candidly, he saved the letter (he saved nearly everything, repurposing the slightest scraps), then simply mailed it back to me fifteen years later.

Years later, when I was teaching temporarily at an awful art school in the South, I was surprised to hear his voice when I answered the phone one day at home. When I asked where he was calling from (I had heard that he was touring the country alone in a recreational vehicle), he replied, “Oh, I’m just a couple of blocks from your house. If you’re going to be there, I’d like to stop by briefly, just to say hello.” Moments later, he arrived, and, in spite of my insistence that he stay for a few days, we talked briefly and off he went. That time, I think he gave me a copy of Karl Gerstner’s A Compendium for Literates.

As an undergraduate, my major was Art Education, so that later, I would teach grades 7-12 for most of a school year, until the draft board broke my contract and sent me off to be a Marine. But in the last year before graduating with a BA degree, I was a student teacher for the first nine weeks of one semester. During the remaining half of that semester, Ken Gogel was my advisor for a full-time research project in which I proposed to read about the role of perception in visual art. I met with Ken only a few times, with the agreement that at the end of the term I would turn in a substantial paper about what I had discovered.

The paper I turned in was titled Perception in the Visual Arts. It anticipated many of the subjects that I would research and write about for the next fifty years. Although I was only an undergraduate, on a whim I submitted it to Art Education: The Journal of the National Art Education Association, the foremost journal in the field. It was published there in March 1969, just weeks in advance of being ejected from the classroom (not having a bone spur) and sent off to an unjust war. I am the same age as the man who now pretends to be the US President.

Public domain

Thursday, March 12, 2020

A designer remembers the writer Guy Davenport

Remembering Guy Davenport
Guy Davenport was an American essayist, fiction writer, poet, translator, painter, illustrator, university scholar and professor, and a recipient in 1992 of a "genius award" from the MacArthur Foundation. For more than a decade, he and I exchanged letters of a length of one or two pages, sometimes as often as weekly. I saved all his letters, with copies of nearly all of mine. To correspond with him for so many years was among the wisest things I’ve done. Yet in truth, it was always exhausting since the intensity of his letters was forever a woeful reminder that I was writing not simply to an ordinary person but to a remarkably talented man whose powers of observation were astonishing at very least. more>>>

Sunday, February 23, 2020

Memoir | Learning from Iowa poet James Hearst

I still clearly remember the day I met Iowa poet James Hearst and his wife Meryl Hearst for the first time. I remember it in part because I have a photograph of it. It took place during my freshman year at the University of Northern Iowa (known as the State College of Iowa in those days). I was an art student, and I had just returned to Iowa from a summer in California, where I had the fortune to study pottery with a person who had been among the first women students at the Bauhaus in Weimar, Germany. The UNI Department of Art hosted an on-campus event in which non-art members of the faculty were invited to a gathering at the ceramics studio quonset hut, where they painted their designs on greenware pots that had been wheel-thrown by the students. In that surviving photo, I am quietly standing beside music professor Don Wendt and Meryl Hearst. James Hearst is not in the photo, but he was nearby in his wheelchair. …more>>>

Thursday, February 20, 2020

More than 50 years ago | The Maucker Portrait

In 1966, University of Iowa painting professor James Lechay was commissioned to paint a portrait of the president of the State College of Iowa (now the University of Northern Iowa), J.W. Maucker. When the painting was completed and displayed prominently in the library, it prompted a controversy that went on for months, with most of the debate taking place in the student newspaper.

To a lot of people, both faculty and students, there was not enough resemblance between Lechay's portrait and its subject. "The first time I saw the President's picture," lamented sociology professor Louis Bultena, "I muttered, 'If that looks like President Maucker then there is no reason why it should not be said that I look like the Queen of Sheba.” (Possessed of a rare sense of humor, as well as a talent for sleight of hand magic, Professor Bultena later confessed that ”I have since been told that I do bear a distinct resemblance to the Queen of Sheba, so it's all very confusing.") more>>>

Friday, December 27, 2019

The worms are now eating dead Ernest again

Above and below: Two photographs that surfaced only recently in the post-retirement agony of downsizing. They appeared side by side in an issue of The Northern Iowan, the student newspaper at the University of Northern Iowa, on October 14, 1975. I was an assistant professor then, and, as part of the freshman foundations program, had initiated a student competition called the Rube Goldberg Drawing Machine Contest, in which students were challenged to invent absurd self-operating contraptions that would somehow result in a "drawing" (loosely defined). I was also one of the judges, as shown above. The caption for that photo reads: "A judge at the Rube Goldberg content, Roy Behrens, did not seem to get a great deal of sleep the night before the contest, or he just saw a great looking piece of art." In the photo at the bottom, I have been joined in the judging by writer Robley Wilson (who was editor of the then-famous North American Review), who is attired in a fine-looking British judge's wig. The caption for that photo reads: "A large crowd was on hand…and some of them are shown looking at the first place entry in the drawing machine contest." I still remember the first-place winner, invented by a student named Mark Mattern. At the end of a sequence of absurdly unrelated events, it made a silhouette of a dog—with gun powder.

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A memorable humorous passage from David Meyer's memoir of his friend Ernest Summers, in Ernie and Me (c2003)—

His name was Ernest Summers and he told this joke about himself: When he was dead the marker on his grave would read, "The worms are eating in dead Ernest." 
 

Tuesday, September 10, 2019

Graphic Design Alum | Matthew Menz at UNI

Poster © Phil Fass (2019)
Coming Thursday evening of this week: Matthew Menz, graduate of the Graphic Design Program at the University of Northern Iowa, and now Amazon Web Services Director in San Francisco, will speak in the Art Auditorium, Kamerick Room 111, at 7:00 pm, September 12, 2019. Free and open to the public. Made possible by funding from The Elena Diane Curris Endowment for Design.