Future Exhibitions

  •  My Grandmother’s Story | A Powerful Statement on The History Of Mental Health

    Thursday, May 18, 2017 – Thursday, July 6, 2017

    Meet the Artist | Friday, May 26, 2017, 5pm – 7pm (Kathy will be presenting at 6:00 pm)

          img_0031-jpg-1-jpg-6      img_0030-jpg2      img_0033-jpg7

    Artist Statement:
    My charcoal drawings were created to give my grandmother Frances a voice. On October. 25, 1941, my grandmother was committed to the insane asylum in Independence, Iowa. She spent the next 15 years there until she was moved to a nursing home where she died five years later. Never knowing my grandmother and wanting to understand why she was committed I went to Independence where I was able to get her records. II pieced together her story through these
    records and family memories.

    I choose charcoal for my medium to better express the darkness of her story. I present my drawings unframed as I did not want to put another barrier between my grandmother and the viewer.
    In the three years I worked on this project I have been very moved by all the people who have entered my studio and shared with me their stories of the effects of mental illness on their families. I was drawing for my grandmother but came to see there was a much larger audience.

    Some of the comments viewers of these drawings have made:
    – “I found myself looking unable to turn away.”
    –  “I left speechless with memories and emotions. Although my time in a mental hospital was short, you portrayed everything so wonderfully it  hits me deep.”
    – “What I think is incredible is that with only charcoal and paper you gave her a voice louder than audible words.”
    – “You have spoken for so many silenced women.”

    Artist Bio:

    Born and raised in Dubuque, Iowa I currently make my home in Cedar Rapids, Iowa where I work out of my studio in the historic Cherry Building located in NewBo. I am largely self-taught including numerous portrait workshops by nationally known artists, classes at Mt. Mercy University and Kirkwood Community College. I continue my study of figurative drawing at Sunday life drawing at Coe College. I have done commission portraits and my artwork has appeared at various venues, including the Campbell Steele Gallery in Marion, Ia and CSPS in Cedar Rapids. My medium is charcoal, oil and acrylic.

    My interest in portraiture has as much to do with emotion as it does in getting a likeness. I find myself drawn to a pose where the subject is looking into the eyes of the viewer creating an intimacy between the viewer and the subject.  Iapproach my work with an inspiration and then take time to search art books and magazines and online to see how other artists have handled similar creations. I admire the work of Mary Cassatt and Jenny Saville, especially Jenny’s drawings of her pregnant with her one year old squirming in her arms.



  • Tuesday, May 23, 2017 – Tuesday, June 6, 2017
    Artist Reception |Friday, May 26, 2017, 5pm – 7pm
                                         Free and Open to the Public
    img_0222     img_0217   img_0211

    Artist Bio:

    Pauline is a self taught artist winning a number of first place ribbons from area shows and has chosen to move beyond fabric to add metal, paper, paints and dyes to her work.  With that change in direction she has been accepted into 7 shows of which 4 were juried at the Dubuque Museum of Art.  This past September as part of a Fiber Arts group she exhibited her work at the Maquoketa Art Experience in Maquoketa. IA.

    Pauline lives and works in Dubuque, IA. In May 2000 Pauline co-curated a traditional quilt show held at the Dubuque Museum of Art.  For the past 7 years she has judged Needlework at the Dubuque County Fair.

    Artist Statement:

    This exhibit features several distinct art forms such as Notan, Encaustic, Eco and other dyeing processes, Art Quilts and 3 dimensional work.

    Notan is a Japanese word meaning dark – light.  It is an interaction between positive (light) and negative (dark) space

    Encaustic means “to burn” and is art that uses melted beeswax applied to an absorbent surface on a rigid substrate.  Adding wax gives an art piece a certain luminosity and glow and because of the layering aspect creates mystery and a dreamlike aspect that I really like.

    Eco dyeing is a new form for me after doing so much sun printing, discharge dyeing and Shibori dyeing.  Eco dyeing developed and was popularized by Australian, India Flint and is created by placing plant material on natural fiber fabric or watercolor paper.  The fabric is bundled over a metal rod and tied tightly on or in the case of paper clipped tightly.  The bundles are placed in a pot of simmering water that also has plant material and other additives such as tea or coffee grounds or metal and then “cooked” for several hours and left in the pot overnight.  The next day the bundles are taken out of the pot to dry for several days.  At that point they can be unrolled but still need to rest for 5 to 7 days before they can be gently washed.  The prints that result are a reflection of the natural world of the dyer and in my case consists of oak leaves, maple leaves and eucalyptus leaves as well as such diverse additions as carrot slices, pomegranate seeds and even pickling spice.  Each piece is unique and lends itself to hand embroidery very

    Art quilts are a mixed bag as I love abstract work using dyed fabric, metals and other odd additives

    **Several pieces feature paper and metal as the juxtaposition between fragile and strong are as impressive in contrast as the Notan’s black and white aspect as works depicting extremes.



  • Monday, July 10, 2017 – Thursday, August 31, 2017
    Meet the Artist Reception | Friday, July 14, 2017, 4:00pm – 7:00m
    Free and Open to the Public
                          howdle_tractor      turtles-and-pan-fish

    Artist’s Statement

    After a college career focused in the fine arts with an emphasis in clay, I founded a studio in the middle of the USA and vowed to make it work. Motivated to maintain my identity by my instructors in four universities, I avoided areas of the arts that compromised individuality for the ubiquitous commercial style that looks the same from east to west.  My style, surface, and method make my work my own. It is more important  to me to maintain the spontaneity of the surface than the identity of the subject portrayed.  I want to see the clay and the gesture of the subject expressed through how I worked the surface. To me it is all about the surface.

    Over the years my work has become increasingly more colorful and more playful. My themes have expanded to encompass animals in motion, under-water worlds, human aspirations and human history.  Part of what I do is also engineering. I have designed installations that wrap around building corners, follow large curved surfaces, and adorned plaster, brick and stone walls.

    Working in clay I have derived a profound respect for the earth and what it has to offer. The malleability of clay allows me to create virtually any image in as much or as little detail as I wish out of the simplest material and with confidence that it will last hundreds, even thousands of years.

    In the decades I have been working in clay I have often thought about the days as a boy when I saw the rusted remnants of old cars, barbed wire and old machinery thrown in gullies to help slow erosion from farm fields. As young adults we knew these dump sites as places where wild animals used our refuse for shelter and as a hunting ground. I was aware even then of the contrast between nature and the rusted remnants of human activity.This exhibit is about animals in motion and wild things in the human habitat.

    Artist Biography


    1976    • MFA, Arizona State University, Tempe, AZ Major: Ceramics

    1974    • MA, Northern Arizona University, Flagstaff, AZ Major: Ceramics, Minor: Education

    1969    • BS/Ed, University of Wisconsin-Platteville, Platteville, WI Major: General Art, Minor: Education


    2016    · A Healing Arts Exhibition, The Phipps Center for the Arts, Hudson,WI, Exhibitor

    2015    · Wild Things In The Human Environment, Monroe Arts Center, Monroe, WI; solo show

    2014    · Wild Things In The Human Environment, Howdle Gallery, Mineral Point, WI; solo show

    2014    · Ring of Fire, Sugar River Gallery, Verona, WI; Exhibitor

    2014    · Perceptions of the Material World, Harry & Laura Nohr Gallery, Platteville, WI; Exhibitor

    2014    · Generations of the Paoli Clay Family Show, J Nikolai Art, Milwaukee, WI; Exhibitor

    2014    ·Elevating Clay; From Wheel to Wall, Overture Center for the Arts, Madison WI; Exhibitor

    2003    • Slane Scholar Solo Exhibit Bradley University, Peoria, IL; Lecturer and Exhibitor

    1996    • Clay AZ Art XVIII, Flagstaff, AZ; Lecturer and Exhibitor

    1993    • World Clay Stomp, NAU Art Gallery, Flagstaff, AZ; Lecturer & Exhibitor

    1993    • Dubuque Public Art Museum, Dubuque, IA; One-Person Show

    1991    • International Exchange at Jurmala, Latvia; Guest of Soviet Artist Union

    1989    • Clay Arizona Art, National Crafts Gallery, Finland; Exhibitor

    1988    • Clay Arizona Art, Underground Gallery, Sweden; Exhibitor

    1987    • Red Carpet Gallery, Minneapolis, MN; One-Person Show

    1986    • Clay Arizona Art, Helsinki, Finland; Exhibitor

    1985    • Clay Arizona Art, Rotorua, New Zealand; Lecturer & Exhibitor

    1984    • West Bend Gallery of Fine Arts, West Bend, WI; Exhibitor

    1984    • NAU Western Regional Conference, Flagstaff, AZ; Lecturer & Exhibitor

    1983    • Marietta Representative Show, Elements Gallery, New York, NY; Exhibitor

    Major Commisions:

    2014    Six residential commissions from 25 to 40 sq ft

    2013-14 Wild Things In The Human Environment, series of 11 murals for exhibitions

    2013    Various residential commissions from 15 to 25 sq ft

    2012    Cornish Society, Mineral Point Public Library, Mineral Point, WI, Immigrant Pioneers, (three panels total 9’w 3.5’h)

    2012    Private residence, Cassville, WI, Fell Pony (8’w x5.5’h)

    2011    Culver Corp., Prairie du Sac, WI, Cranes, (three panels from 3’h x 3w to 3”hx6’w)

    2011    Rider Transit Center, Concord, NC, Public Transportation Retrospective, (five panels from 3’ x 4’ to 5’ x 6’)

    2010    Private residence, Galena, IL, Eastern Canadian Moose, (5.5‘hx9’w)

    2009    The Fort Group, St. Augustine FL, Mermaid with Dolphins, (8’6”h x 12’w),

    2008    Peru State College, Peru, NE, (five window sized panels on façade of building)

    2008    City of Menasha, Working the Locks, (7’h x 8’w)

    2008    Café 4, Mineral Point, WI. Wisconsin Tuscan Landscape, (4’h x6’w)

    2007    Sheboygan Public Ed Fnd, Sheboygan, WI ,Landmarks of Sheboygan ( two 3’h x 40’w)

    2006    Crocodile, private residence, Mineral Point, WI (5’h x 8’w)

    2005    Waunakee Community High School, Waunakee, WI, 150 sq. ft. Prehistoric Wisconsin

    2004    Various Residential Commissions, ranging in size from 15-42 sq. ft.

    2003    TDS Metrocom/Wall Properties, Madison, WI, Reaching Higher, 5ʼx15ʼ

    2002    Brighton, CO Police/Municipal Court Facility, Transportation History, 27ʼx9ʼ

    2002    First Presbyterian Church, Fond du Lac, WI, Christ Surrounded by Children, 10ʼx5ʼ

    2001    John Deere & Co, Davenport, IA, Buck and Doe in the Woods, 11’6”ʼx6’6”ʼ

    2000    Primate Research Center, Madison, WI, Rhesus Monkeys in Forest Canopy, 38ʼx2ʼ

    2000    Mercy Medical Center, Oshkosh, WI, Peacable Kingdom, 17ʼx8ʼ

    2000    City of Menasha, Menasha, WI, Commercial History of the City, 53ʼx32ʼ

    2000    Stafford Schools, Stafford, AZ, K-12 Activities, five 6ʼx4ʼ

    2000    NAU, Flagstaff, AZ, Elk and Havolina in Mountain Landscape, 7ʼ6”x7ʼ

    2000    Private Residence, MN, Native American Wildlife Scene, 8ʼw x25ʼh

    1998    University Hospital Clinic, Madison, WI, Celebration of Life, two 5ʼx18ʼ

    1998    Education Center, Camp Ripley, MN, Timber Wolf, 5ʼx7ʼ

    1997    Private Residence, WI, Fish and Birds, 18ʼx8ʼ with 20º corner

    1996    Wichita Mountain Wildlife Refuge, Lawton, OK, Elk, Buffalo, Longhorn and Deer,

    28ʼx10ʼ on concave wall (66ʼ6” degree radius)

    1995    National Jockey Club, Sportsmen’s Park, Cicero, IL, Jockeys and Horses,

    23ʼx7ʼ with 90º corner

    1993    American Family Insurance National Headquarters, Madison, WI, Children at Play in Rural Landscape, 20ʼx14’with 54º radius

    1992    Jerry’s Old Town, Germantown, WI, Life Size Pig and Corn

    1991    Dubuque Internal Medicine, Dubuque, IA, Human Life Cycle , 5ʼh

    1991    Puskin Museum, Moscow, Russia, Life Size Pigs Head

    1991    Latvia Art Museum, Riga, Latvia, Life Size Pigs Head

    1989    Altar Piece for Chapel on the recommissioned USS Wisconsin

    1988    Honey Baked Ham Co., Corporate Office, Life Size Pig and Corn

    1987    Bigsby & Kruthers, Oakbrook, IL, Horse Sculpture, 8ʼ7” tall

    1986    Northern Arizona University, Flagstaff, AZ, University Activities, 9ʼx9ʼ

    1986    Epply Airfield, Omaha, NE, The West Begins, 8ʼx30ʼ

    1985    Bolinger Marketing, California, MO, Life-sized Wild Turkey

    1985    John & Deborah Appleton, Dallas, TX, Life-sized Pig and Apples and Matched Pair of Geese


    1985    McDonaldʼs Corporate Office, Oakbrook, IL, Life-Sized Pig & Corn

    1980    Inter-North, Omaha, NE, Four Vases with Varying Themes, average height 42”

    1979    Iowa Beef Processors, Dakota City, NE, Cattle herd, 9ʼ4”x27ʼ



    2012    · Mural Magic, The Fell Pony Express, Vol. 11, No. 1

    2005    · World Contemporary Public Ceramic Art, Zhang Yushan, Hunan Fine Arts Press

    2003    • The Craft and Art of Clay, by Susan Peterson (third edition)

    2003    • Working with Clay, by Susan Peterson (second edition)

    2002    • Ceramics: A Potterʼs Handbook, by Glenn C. Nelson and Richard Burkett

    (sixth edition)

    1999    • Art Calendar, November

    1998    • Working with Clay, by Susan Peterson

    1996    • Ceramic Art and Perception, Issue 23

    1991    • The Craft and Art of Clay, by Susan Peterson

    1988    • Studio Potter, Volume 16

    1987    • Ceramics Monthly, September

    1985    • Studio Potter

    1983    • Images in Clay Sculpture, by Charlotte F. Speight

    1981    • Clay is the Way, Gen Kleinsmith

    1980    • Ceramics Monthly, on September cover

    Email:  bruce@brucehowdle.com



  • Monday, July 10, 2017 – Thursday, August 24th, 2017



    Artist’s Statement:
    I have always been engaged by the creative fiber arts. I come by it honestly;it was bred into me. I inherited my love of textiles from my mother, who was a lifelong seamstress and fabric artist. I learned to sew, knit, and crochet from her. Weaving and felting I discovered more recently.

    As a yarn collector, I am fascinated by the colors and textures, both visual and tactile. Whether shiny or dull, sparkly or matte, smooth or fuzzy, skinny or fat, lumpy or loopy, curly or flat: I want it all. I love to look at it, but most of all I want to touch it. My yarn hoard inspires me. Being a spinster, (maker of yarn,) I find happiness in an aromatic sheep’s fleece, delight in the process of washing away the dirt to uncover the white wool beneath, waiting for me to dye it brilliant hues. Then the real fun begins; what type of yarn do I want to create?

    My process is intuitive and tactile. I must touch something to really understand it, and that will help determine what I do with the fiber. My fiber art, whether it is wearable or not, plays with color relationships, creates visual patterns, and also invites touch. Spinning yarn from fiber is my passion and greatest joy. I am, and always have been, a fiber artist, although it took me forty years to figure out.

    I was born and raised in northwest Iowa, or what I call the tundra. Graduated from the University of Iowa with a BFA and MA in art. Worked for a regional art supply store, then managed stores in Omaha, Kansas City, and Des Moines. Moved to the Quad Cities and started teaching at Scott Community College. Lab courses were Color Theory, Basic Design, Interiors 1 & 2, and Textile Design. Lecture courses covered Textiles and Materials, as well as History of Art,
    Architecture, and Decorative Arts. I retired in May 2015, after 25 years teaching in the Interior
    Design Program.image4

    I am a member of the Quad Cities Fiber Arts group, and the Valley Weavers and Spinners Guild, participating in demonstrations and instruction in the fiber arts. I spend asmuch time as I am able in northern New Mexico, exploring regional fiber arts. I devote the majority of my time, whether spinning, dyeing, knitting, weaving, or crocheting, to my love of all things fiber.

  • August 31, 2017 – October 26, 2017


    Dickinson, who cites Andy Warhol as his lifelong inspiration. Dickinson graduated from Cedar Rapids’ Mount Mercy College with a degree in art. He worked nearly 20 years as a newspaper carrier for The Clinton Herald before retiring last year.

    He states  “I like making people smile no matter what I’m doing. If I can make you smile by looking at something bright and colorful, that’s my mission. When you can paint something people know and see in their everyday life, I think that makes them happy. And that’s always what I’m going back to… making people happy through art.”

    According to Dewitt artist Ellen Wagner, Dickinson’s acrylic paintings “touch on fame, joy, and the simplicity of life.  They feel good!”

  • September 2, 2017 –  October 30, 2017

    More to Come–



  • November 1, 2017 – December 31, 2017

    More to follow–


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