Showing posts with label teaching. Show all posts
Showing posts with label teaching. 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.

Sunday, March 29, 2026

dream-like substitutions / Guiseppe Arcimboldo

Arcimboldo, Fruit Basket (upsidedown reversible)
During all the years I taught university-level art and design (about 45 years), among the most pleasurable aspects was the process of inventing hands-on studio exercises which I presented to students to solve. 

Everyone was given the same problem, but the solutions that resulted were invariably different, often surprisingly. Each problem was presented to the assembled group, but each student worked alone on his / her answer. No one knew what the other would do until the day of the critique, at which time everyone's work was revealed.

The problems were sometimes derivative of certain kinds of imagery, which often as not were indebted to historical styles of art. In one of those problems for example (of which five responses are reproduced below), which I presented to freshmen, I gave a prefatory talk about the portrait paintings of the Italian Mannerist artist Giuseppe Arcimboldo (1527-1593), one of which is shown in the reproduction above.

In the Modern era, it was often claimed that Arcimboldo had anticipated the dream-like qualities of Surrealism, since the bulk of his paintings consist of surprising portraits that were made by combining bits and pieces of non-portraits, such as plants, animals, flowers, fish, and so on. Using cut-out fragments of magazine photographs (this predates the use of computers), the students were instructed to devise comparable portraits.

Five of those are shown below. I regret that so many years have passed that I no longer have a record of the names of the students who made these.



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.

Saturday, November 22, 2025

the professor cannot meet with his asses today

Digital Montage [detail] / Roy R. Behrens
Ralph Oesper
[referring to the 19th century Scottish physicist Sir William Thomson] in The Human Side of Scientists (Cincinnati, OH: University of Cincinnati Press, 1975), p. 181—

One day, because of an engagement elsewhere, he posted the following notice on the door of his lecture room: "Professor Thomson will not meet his classes today." The young men decided to play a joke on their beloved teacher, and one of them carefully erased the "c" so that the note read: "Professor Thomson will not meet his lasses today." They then left. The class gathered the next day and anticipated that the professor would make some suitable remark about the altered notice. He came slightly late, but obviously he had already seen what they had left. The notice of the day before had been changed once again, and this time by the professor himself. It now read: "Professor Thomson will not meet his asses today."

Postscript: This reminds me of those rare occasions when, as a university professor, I was too ill to teach. Sometimes (oh, surely not always!) I would post the following note on my classroom door: Class has been cancelled. Professor Behrens is il[sic] today.

Wednesday, March 26, 2025

book design and when work is truly meaningful

Above Merle Armitage cover design for his book, George Gershwin, Man and Legend. New York: Duell, Sloan and Pearce, 1958.

•••

Bernard Wolfe, Memoirs of a Not Altogether Shy Pornographer (Garden City NY: Doubleday and Company, 1972), p. 157.  

[THERE IS a Law of Laws] that says, it's not the paycheck you get that determines the value of the work you do, it's the inspired and organized energy you put into the project, the invention, inner direction, personal thrust no matter what payroll you're on, the best payrolls are your own, the best jobs are free-lance. That says, the difference between those who do and those who get done to and [who get done] in is what's hungered for, the life on your feet or the life flat on your back. That says, there are the active ones, the makers; then there are the passive ones, the made. That says, work ethic be damned, what we're talking about is the nature and direction of hunger, whether your need is to stiff the world a little or be steamrollered.

Chap-Book Style Poster for Bicycle Club / 1895


Above
Will H. Bradley, Bicycle Poster (1895).

•••

Billie Holiday—

They think they can make fuel from horse manure…Now, I don’t know if your car will be able to get 30 miles to the gallon, but it’s sure gonna put a stop to siphoning.

title slide / what have you to share with us today

Speaking of class meetings and education, while they still exist, I am currently preparing a series of three online talks (for OLLI Drake) about various aspects of art and design. One source of pleasure in preparing these is (of course) to share my ideas about the process of designing. Another source is the process of designing the slides that are actually used in the talk. This is the title slide for the third talk in the series.

•••

Vernon Fisher, Navigating the Stars (Chicago and Kansas City: Landfall Press & Karl Oskar Group. 1989). p. 24—

One little girl never brought anything to sharing time. Other children might bring an authentic Indian head-dress acquired on a vacation in Arizona, or a Civil War sword handed down from Great Granddad, but whenever the teacher asked: "Dori, do you have anything to share with us today?" she only stared at the top of her desk, shaking her head firmly from side to side. Then one day, long after her turn had mercifully passed, Dori abruptly left her seat and walked to the front of the class. With everyone's startled attention she began: "Today on the way to school I found something that I want to share." She held her arm stiffly out in front of her and began slowly dropping tiny pieces of shredded Kleenex. "See?" she said. "Snow."

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.

Sunday, February 18, 2024

Alan Watts / merely a philosophical entertainer?

from Art, Design and Gestalt Theory: The Film Version
Currently I am reading the autobiography of Alan Watts (1915-1973), the British-born philosopher (whom some have dismissed as a “philosophical entertainer”), who popularized Zen Buddhism and other aspects of Asian philosophy. To my dismay, I am not enjoying it.

That said, I remain indebted to his introduction to The Two Hands of God: The Myths of Polarity (NY: Braziller, 1963), which I first read secretly (since books were banned as “contraband”) while undergoing US Marine Corps infantry training. Back then, I was enamored by the resemblance between Watts’ essay and my own understanding of Gestalt theory (which had influenced him as well), which I had discovered as an undergraduate art student.

I wish his autobiography had been as precisely and sparingly phrased. But I would like to share the following passage, in which he bemoans his own education, and provides a list of components that he regards as more essential. Do not try this at home.

•••

Alan Watts, In My Own Way: An Autobiography, 1915-1965. NY: Pantheon Books, 1972, pp. 92-93–

[In an ideal education] I would have arranged for myself to be taught survival techniques for both natural and urban wildernesses. I would want to have been instructed in self hypnosis, in azkido (the esoteric and purely self-defensive style of judo), in elementary medicine, in sexual hygiene, in vegetable gardening, in astronomy, navigation, and sailing; in cookery and clothesmaking, in metalwork and carpentry, in drawing and painting, in printing and typography, in botany and biology, in optics and acoustics, in semantics and psychology, in mysticism and yoga, in electronics and mathematical fantasy, in drama and dancing, in singing and in playing an instrument by ear; in wandering, in advanced daydreaming, in prestidigitation, in techniques of escape from bondage, in disguise, in conversation with birds and beasts, in ventriloquism, and in classical Chinese.

Tuesday, August 15, 2023

Walter Hamady // book artist and paper maker

Above (and below) Title frame and other single frames from a new 20-minute video talk about Walter Hamady (1940-2019), prominent book artist, paper-maker, and collagist, who was well-known as a teacher at the University of Wisconsin at Madison. 

Having earlier taught in Milwaukee for ten years, I had become aware of his work in the 1970s. Because of his liking for Ballast Quarterly Review (which I had founded in 1985), he and I began to exchange spirited letters (along with a mix of enclosures), once or twice or more a month. 

This led to collaborations of one kind or another, eventually resulting in exhibitions, published essays, and an archive of his artist’s books. I saved everything, even all the envelopes and mailing containers, in part because they were always addressed to mutilations of my name, such as Corps du Roy, Rhoidamoto, Trompe L’Roi at Labbast, Royatolla, and so on. This continued for more than a decade, perhaps to the mailman’s amusement.

Looking back on what I have, I have now produced a video talk (a brief memoir-like tribute) titled BOOK ART: Walter Hamady’s Books, Collages and Assemblages, which can be accessed free online on my YouTube channel.




Saturday, May 20, 2023

the democratization of the art of brain surgery

A.A. Milne [author of Winnie the Pooh], Autobiography. New York: E.P. Dutton, 1939, pp. 310-311—

…the modern eagerness to lower standards and abolish “form” [is distressing]. It is as if democracy had said, not “[Art] shall be open to aII,” as it has every right to say, but [rather] “Achievement in [art] shall be the [assured for everyone]; which is nice for all of us, but not so good for [art]. Sometimes I think it is a pity that, having gone so far, we do not go further, and say: “Achievement in sports shall be [assured for everyone].” As a golfer I should like to be able to look contemptuously down upon the old-fashioned practice of raising the golf ball in the air, and to abolish the old-fashioned rule which says, how foolishly, that the player who does the hole in the lean number of shots shall be the winner. It is more in keeping with modern ideals (and it is also easier) to go from one point to another in a straight line rather than in a parabola, and the playing of eight shots expresses your personality, which is really all that matters, much more completely than the playing of one. But alas! in sport you can only feel superior to the champions of the past by beating them at their own game and under their own rules. In the arts you can denounce the target, change the rules, aim in a different direction, hit nothing, and receive the assurances of your friends that you are the better man.

Also see Art, Design, and Brain Research: Non-Scientific Thoughts about Neuroesthetics

Monday, May 8, 2023

the lash of the tongue of teacher Henry Tonks

Above Roy R. Behrens, exhibition card design, 2023.

•••

Bernard Leach, Beyond East and West: memoirs, portraits, and essays. New York: Watson-Guptill, 1978—

[As an art student at the Slade School of Art, he endured] the lash of the tongue of [his drawing teacher] Henry Tonks—Tonks with his gritty eye and tomahawk nose, tall in shiny blue serge, who had given up his job as house surgeon at Bart's Hospital to use his scalpel on us at the Slade; Tonks who became a second-class artist in the Impressionist manner, but a good draughtsman and perhaps the best teacher in all England. Often we saw some girl cowering in tears behind a plaster cast. He spared none; his bitter tongue was fearless and true. Here is tribute and thanks to him. His surgery changed our skins—saved our lives maybe. Tonks, who enunciated “action, construction, proportion” as the flaming guardians of the paradise of art; who, sitting on one of the student’s “donkeys” [drawing benches], after a glance at his drawing, buried his face in his hands, paused long, and then asked, “Why do you do it?”; and who once said to me grudgingly, “You may be able to draw one day.” I remember on one occasion he flung open the studio door, stood there in deadly silence, then burst out: “I want to know whether a day will come when I shall see a sign of art in this room,” and slammed the door behind him.

Sunday, April 23, 2023

tao te ching / the space within defines the pot

Above One of a series of posters (2023) intended to commemorate the Index of American Design, a Depression-era US government program, which commissioned unemployed graphic designers / illustrators to make detailed renderings of historic craft and folk art. The original paintings, now in public domain, can be accessed on the website of the National Gallery of Art.

I was first introduced to Lao-Tse’s famous sayings from the Tao Te Ching in the summer of 1964 when, at age seventeen, I studied for the summer in California at Pond Farm with Marguerite Wildenhain. In 1919, she had been among the first students at the Weimar Bauhaus, where Itten was one of her teachers. A few days ago, I found the passage noted below.

•••

Jack Pritchard, “Gropius, the Bauhaus and the Future” in Journal of the Royal Society of Arts. Vol 117 No 5150 (January 1969), pp. 75-94—

When discussing problems of space, Johannes Itten [head of the Bauhaus foundations course] was fond of quoting from Lao-Tse, who in the sixth century BC wrote [in revised wording]:

Thirty spokes converge at the hub,
But it is the space between the spokes that forms the essence of the wheel.

The walls of a vessel are made of clay, but its essence is determined by the space within the pot.…

• This saying is also referred to in a recent video on ART, DESIGN AND GESTALT THEORY: The Film Version.

Tuesday, February 14, 2023

age-old Japanese motif in Kamerick Art Building

I became interested in the design of the Kamerick Art Building (on the campus of the University of Northern Iowa) on the first day I saw it in 1990. As a job applicant, I had been invited to speak in the auditorium that day, and, while giving that talk, I recognized the logo-like pattern with which it complies. In my most recent online video talk, I conclude by telling about my realization that day, and how it would later contribute to the experience of teaching design in that building for the next three decades (from 1990-2018). I say 38 years in the film, but it was only 28 years (further confirmation that I have never been good at math).

I was never certain who designed the building (the firm was credited but not the designer). But later, around 2015, while giving a Humanities Iowa talk in a library in Des Moines, I shared that story with the audience. After the talk, a man came up from the audience and introduced himself as the building’s architect. I was delighted when he told me that all my suspicions were accurate. 



Friday, January 6, 2023

monumental replicas / complex and complete

students at Peet Junior High School
Roy R. Behrens, "Looming Large: the outdoor megasculpture student projects of Bill Close" in The Iowa Source. Vol 40 No 1. January 2023, pp. 6-7—

In the spring of 1994, when I was in my 40s and had moved back to Iowa to teach, I was walking near a shopping mall and came within sight of a bicycle shop. There, propped up in front of the building, was a gigantic mountain bike, so large that it was taller than the building it stood beside. Even from a nearer view, it appeared to be an enormous, functioning bicycle, complex and complete in every detail. It was breathtaking and delightful, a flashback to my childhood days.

That enormous bicycle, as I soon found out, was a trompe l’oeil work of art, a “fool the eye” construction, like the large-scale sculptures of Swedish-born American artist Claes Oldenburg. As a pop artist, Oldenburg made monumental replicas of mundane familiar objects, such as bowling pins, binoculars, and a garden trowel. But the giant bicycle that I had suddenly come upon was not created by Oldenburg. The sculpture had been built from scratch as an art project by ninth-grade students at Peet Junior High School in Cedar Falls. The person who initiated the project and supervised the students was an art teacher named William F. (Bill) Close. more>>>

book cover

 

Saturday, December 24, 2022

mammoth flyer / elephantine mastodon hybrid

Before I became a university professor, I taught briefly in a public school. One day, in a class of seventh grade students, I came prepared to talk about usually unnoticed connections between familiar objects, and in particular, about skeletal structures. I brought with me to school that day various examples of medical x-rays, a plastic model of the skeleton of a mastodon, and the balsa wood wings of an unassembled model airplane. I displayed these on a table top in preparation for my talk. But I was then distracted by some other event in the classroom, and I briefly turned aside.

When I returned to the table, I found, to my surprise and great delight, that one of the students had spontaneously attached the airplane wings to the skeleton of the mastodon. I was so pleased by this invention that I permanently mounted the wings, added a wooden base, and painted the hybrid construction. Obviously, a new idea had taken flight, and the title I later chose for it was the Mammoth Flyer. It appealed to a wide range of people, as was confirmed, a few years later, when it was stolen from an art exhibition.

Wednesday, July 6, 2022

a retrospective reverie on 46 years of teaching

I was recently a presenter at a nationwide exhibition and symposium (conducted remotely as well as in-person at the University of Wisconsin at Madison), titled Evolving Graphic Design. The majority of the attendees were design professors, graduate students, and professional designers. The subjects discussed were wide-ranging.

Each presentation was limited to fourteen minutes. Having retired at the end of 2018, after having taught graphic design illustration and design history at various art schools and universities for more than 45 years, my presentation consisted of an 8-minute retrospective reverie on my memories of working with students, titled Solving Problems in Design. This was presented as a video, and can now be viewed online.