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- Dan Perry and Tom Stancliffe, "Public Art Incubator: Fabricating Community Engagement Through Public Art"
"Public Art Incubator: Fabricating Community Engagement Through Public Art"
"Public Art Incubator: Fabricating Community Engagement Through Public Art"
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Symposia Abstracts and Speaker Bios
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2016
- Erika Doss, "Screwball Regionalism: Grant Wood and Humor During the Great Depression"
- Kerry Dean Carso, "Grant Wood and the After-Life of Victorian Architecture"
- James Swensen, "On Common Ground: Grant Wood and the photography of the Farm Security Administration"
- Annelise K. Madsen, "'Something of color and imagination': Grant Wood, Storytelling, and the Past’s Appeal in Depression-Era America"
- Jason Weems, "Grant Wood's Regionalist Camouflage"
- Sue Taylor, "In Springtime: Myth and Memory in Grant Wood's Last Paintings"
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2018
- Betni Kalk, "Artist-Community Collaborative Murals"
- Carrie Ida, "On the Line and Community Engagement"
- Jane Gilmor, "Within and Without: A Socially Engaged Art Practice Investigates the Invisible Worker, Poverty and Community Building"
- Fereshteh Toosi, "Learning in Public: Socially-Engaged Art and Experimental Education"
- David Bright, "Permission, Ownership, Copyright, and Preservation, and Sale of Public Art"
- Lynn Verschoor and Scott Wallace, "Public Art, Private Funds"
- Mandy Vink, "How Saying No to YES became the Catalyst for Boulder's Public Art Program"
- Jen Krava, "Codified Bodies: Tools to Measure Social Liberation and Inculcate Cultural Change"
- Traci Molloy, "Against My Will: A Multigenerational Collaboration with Sexual Assault Survivors from Alfred University"
- Michael LeClere, "Art as an Avenue to Promote Industry, Manufacturing, and Placemaking Amidst the Decline of America's Bread Basket, Rust Belt, and & Rural Communities"
- Desmond Lewis, "Grit and Grind: Memphis Bred Me"
- Dan Perry and Tom Stancliffe, "Public Art Incubator: Fabricating Community Engagement Through Public Art"
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2022
- Valerie Balint, "Yesterday and Tomorrow: Re-framing the Historic Artists’ Homes and Studios Program"
- Joni Kinsey, "Grant Wood’s Studio-Homes: From Hayloft to Mansion, Overalls to Hollywood"
- Olivia Armandroff, "Tiling a Life: Henry Chapman Mercer and His Fonthill Castle"
- Michael Clapper, "Living the Dream: Maxfield Parrish and The Oaks"
- Karen Zukowski, "The Past and Future of Henry Varnum Poor's Crow House"
- Lisa Stone, "Home Based and Life-Specific: Artist-Built Environments"
- Zac Bleicher, "Edgar Miller’s Handmade Homes and Studios of Interwar Chicago"
- Sarah Rovang, "'Thinking on a Wall': Home, Space, and the Creative Practice of Georgia O’Keeffe"
- Daniel Belasco, "The Artist as Builder: Al Held’s Barn Studio, 1965–2005"
- Sean Ulmer, "The Grant Wood Studio: A Space Transformed and Transformational"
- Victoria Munro, "Alice Austen House"
- Helen A. Harrison, "'The Country is Wonderful': Jackson Pollock and Lee Krasner in The Springs"
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2025
- Maya Harakawa, "Benny Andrews and the Problem of Regionalism"
- Erika Schneider, "Inclusive Regionalism: Meta Vaux Warrick Fuller’s Water Boy"
- Carey Rote, "Antonio E. García: South Texas Regionalist"
- Gina Gwen Palacios, "Frontera Regionalism: Art from the Borderlands"
- Liz Kim, "Regionalist Views of Amado M. Peña’s Chicano Movement Posters"
- James Denison, "Beyond Midwestern Realism: Racialized Regionalism in Comparative Perspective"
- David Ehrenpreis, "'Savage Iowa:' Grant Wood’s Vision of Native America"
- Christopher Atkins, "Reimagining Rural America: Grant Wood’s Corn Room"
- Paolo Morales, "Memphis Tulips and Flowering Dogwood: Exploring Racialization of the Photograph through Encounters as an Asian-American"
- Christopher-Rasheem McMillan, "Performing Christian Nationalism in the Midwest: Race, Ritual, and the Other"
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2016
Abstract
The PAI at UNI enables artists at any stage of a career the opportunity to contribute to the cultural landscape of their own community through the production of permanent public art.
The UNI Public Art Incubator (PAI) is a unique program that offers technical resources and fabrication assistance to regional and national artists in the production of commissioned public sculpture. In addition, through mentorships with faculty and staff and partnerships with professional artists, students gain meaningful experience and learn the artistic and organizational skills necessary to carry out large-scale public art commissions on their own. Over the past 7 years, students of all levels have been directly involved in the production of more than 20 public art projects currently installed across Iowa and beyond.
About the presenter
Dan Perry’s sculptures are composed in ways that imply a narrative to which the viewer becomes a witness - part of a scene; a moment suspended in time. Over the past 10 years, he has exhibited his sculptures across the United States in over 40 juried and group exhibitions as well as 10 solo exhibitions. Notable venues include the Des Moines Art Center, Waterloo Center for the Arts, and the Spartanburg Art Museum. He has also exhibited large-scale sculptures in outdoor exhibitions across the country. Dan has also completed 7 large-scale public sculpture commissions. Most recently, he completed large scale sculptures for the cities of Urbandale and Marion, Iowa respectively. Currently, Dan is the Art Studio Technician and Instructor at the University of Northern Iowa and also leads the UNI Public Art Incubator while serving on several civic public art committees.
Tom Stancliffe is the lead artist in charge of the PAI. He is a Professor of Art at the University of Northern Iowa and his professional involvement in public art spans nearly forty years beginning in 1974 when he was a studio assistant to sculptor Gene Horvath. In the early 1980’s after completing his M.F.A. degree at Northern Illinois University, he was the lead fabrication assistant to sculptor Bruce White and by 1988 the focus of his own art work shifted almost completely to large scale public sculpture. To date he has completed over 25 commissioned public works nationally and serves on multiple civic public art committees.