April 30, 2025 • 37 mins
Something extraordinary is about to light up the Quad Cities skyline. The Figge Art Museum's glass façade will soon transform into Evanescent Field – a breathtaking light installation and the largest public art display in Iowa's history.
As the Figge celebrates its centennial year, Executive Director Melissa Mohr and one of the Senior Curators, Joshua Johnson, reveal the journey behind this monumental project. World-renowned artist Leo Villareal, creator of San Francisco's famous Bay Lights, has designed a mesmerizing installation featuring over 3,000 feet of programmable LED lights woven throughout the museum's glass exterior. Unlike typical light displays, Evanescent Field creates sequences that never repeat, responding specifically to the Mississippi River, the community, and the building itself.
"We wanted to give something back to the community that's supported us for 100 years," explains Mohr. The installation fulfills architect David Chipperfield's original vision for the building as a beacon of creativity and accessibility. Johnson describes how Villareal transforms LEDs from commercial tools into what he calls a "digital campfire" – a gathering place where art transcends traditional boundaries. Visible to everyone passing by, whether commuting to work or traveling through the region, Evanescent Field removes barriers to experiencing art.
The public unveiling happens May 17th at "Glow Up" – a community celebration featuring live music, family activities and food trucks, culminating when Villareal himself activates the installation as darkness falls. Even after the celebration ends, the lights will continue illuminating the Quad Cities nightly, becoming a postcard-worthy image representing the region's creative spirit.
Discover the technical marvels, artistic vision, and hopeful future this landmark installation represents. As the Figge looks toward its next hundred years, Evanescent Field symbolizes its commitment to weaving art more deeply into the fabric of the community – creating a museum that truly belongs to everyone. Don't miss your chance to witness this stunning merger of architecture, technology and artistic expression that will forever change how we see the Quad Cities after dark.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
The Figgy.
Our mission is bringing art andpeople together right.
So now we're going to have thiskind of external beacon calling
all people to the Quad Citiesand to the Figgy itself to kind
of experience the great art thatwe have to offer within the
museum, the great art we have tooffer from within the region.
And you know, right here in theQuad Cities and the artists
(00:20):
that are making things righthere in the Quad Cities, as well
.
Speaker 2 (00:23):
Where do you find a family of communities connected
by the storied Mississippi River, where young explorers and
dreamers, investors andentrepreneurs thrive?
Where can you connect with realpeople living and creating in a
place that's as genuine as itis quirky QC?
That's where.
Speaker 3 (00:45):
Welcome to QC.
That's where I'm.
Katrina, your host.
Thank you for joining today.
It's a really special episodewith Melissa Moore, the
executive director and CEO ofthe Figgy, and then Joshua
Johnson, one of the Figgy'ssenior curators, and we're going
to be talking about a reallyamazing community asset that is
bubbling up really soon.
Talking about a really amazingcommunity asset that is bubbling
(01:07):
up really soon, the Figge willsoon be the host of the largest
public art display in the stateof Iowa, one of the largest
public art displays in theMidwest, and this is really huge
.
So, before we get too far,melissa, I want to throw it
right to you this is huge.
Can you set the stage for whatis going on?
Speaker 4 (01:26):
I would love to and thank you, katrina, for having
us.
We're very excited to bespeaking with you and with your
listeners and your watchers, forthose who are watching this.
So Evanescent Field is the nameof the game and this is, like
Katrina said, the largest publicsculpture in the state of Iowa,
one of the largest in theMidwest, one of the most
ambitious light sculptures,certainly in the state of Iowa,
one of the largest in theMidwest, one of the most
ambitious light sculptures,certainly in the region.
(01:47):
We're really excited to befocusing on this as we head
through our centennial year.
So, for those of you who areless familiar with the Figge,
the Figge Art Museum wasactually founded in 1925.
So we are celebrating ourcentennial year this year and,
as we reflected back on 1925 andhow the museum began, it began
(02:08):
with a gift.
So a gift of art to the city ofDavenport before we, before we,
had an art gallery or a museumfor our community, and as our
team was thinking about what wecan do to truly celebrate the
generosity and support of ourcommunity these past hundred
years, we thought it should comein the form of a gift.
So, thinking about a gift thatwe can give to the community and
(02:30):
, of course, when you'rethinking about something on that
level and you want to make sureyou remove all barriers to
access, it really takes the formof public art.
So when we were coming up withthe concept of doing a public
piece, we also were thinking youknow, the building itself,
designed by Sir DavidChipperfield, turns 20 this year
(02:50):
.
He had always intended for usto have light as part of the
building and it's just somethingthat we never got to realize
when we opened in 2005.
So what if we take the idea oflighting the building and work
with a world renowned artist whoworks in this medium and we
think about public art, whathappens when we do that?
(03:10):
And the result is EvanescentField by artist Leo Villarreal,
which is something that we'regoing to be unveiling to the
public on May 17th.
So, coming up very shortly here, we're really excited to be
able to offer this to ourcommunity as a thank you for
everything the community hasdone and offered to us over the
past 100 years.
Speaker 3 (03:29):
So this really speaks to the fact that you know the
Quad Cities we all have calledthe creative capital of the
Midwest.
It's things like.
You know not only the historyof the figgy and the gift and
the, you know the family thatgot it started, but what's come
after that.
You know the brilliant creativeminds that interface in this
(03:52):
community and that contribute towhat you guys are adding to the
Figge.
And so you know, like you said,leo Villareal is world renowned
.
He did the Bay Lights on the BayBridge.
He's got works in the Museum ofModern Art in New York, the
National Gallery of Art in DC,and so his work coming here,
(04:14):
that creative mind justamplifies, I feel, what our
local people are doing as well,and so it's really exciting to
see that collaboration that youguys have been able to get
somebody world renowned andreally invested in this piece
coming so soon.
So, joshua, can you speak alittle bit to what it's been
(04:35):
like as a curator?
You know, on the back end ofthis, how has this all come
together?
What do you foresee this doinglong term for, you know, not
only the FIGI but like thepatrons and people in the
destination who are just goingto stumble upon it.
Speaker 1 (04:53):
Well, I think this is a really great opportunity to
have the building itself furtherkind of reflect what is going
on within.
You know the FIGge.
Our mission is bringing art andpeople together right so now
we're going to have this kind ofexternal beacon calling all
people to the Quad Cities and tothe Figge itself to kind of
(05:13):
experience the great art that wehave to offer within the museum
, the great art we have to offerfrom within the region and you
know, right here in the QuadCities and the artists that are
making things right here in theQuad Cities as well.
You know you were talking aboutthis kind of synthesis of what's
happening with you know localartists and you know a really
national and internationallyknown artist like Leo Villareal
(05:36):
and so things like.
You know, in our lobby rightnow, where we have a work by
Steve Banks and an artist whoyou know I could throw a rock
from the figgy and hit hisstudio by Steve Banks, an artist
who you know I could throw arock from the figgy and hit his
studio and he's hangingalongside Leo Villareal's Cosmic
Bloom figgy piece, which is awork that he designed for his
(05:56):
Interstellar exhibition we hadthis past year.
We can talk more about that.
But, it's great to have thesethings in conversation, where
there's this internationalartist and this, you know, local
artists all being able to beshown together.
We're also really excited thatyou know this is going to be a
piece that is going to beexperienced by people who not
only, you know, come to themuseum, but even people who
(06:17):
don't realize it is a museumPeople who are driving by or
commuting to work, are headingon their travels, or even we're
hoping I don't know if we'll beable to but be able to see it
from flying overhead as well.
So just a real indication ofwhat's going on in this
community and in this museumparticularly.
Speaker 4 (06:37):
Hey Josh, can I jump in for a second?
Speaker 1 (06:38):
Please.
Speaker 4 (06:39):
So, building on what you just shared, katrina, one of
the things that we're reallyexcited about is, you know, in
the weeks leading up to May 17thand the official unveiling we
hope everyone comes andcelebrates with us we have been
testing the fixtures.
So the fixtures are over 3,000feet of these LEDs that are
lining the entire building, ourglass facade and our curtain
(07:02):
wall.
And as we've been testing them,of course people are seeing it.
It's not like we can hide thisand then you know, just suddenly
have it work.
We need to be working on it inreal time, and so there's been a
lot of chatter online.
People sit driving by at night.
They'll see a strip of lightwithin the museum and say what
is happening, what is going on.
So, kind of to Josh's point,this allows everyone to have
(07:23):
renewed curiosity and to getexcited about how art is all
around us.
It is everywhere and you knowit can come in many different
forms, even those that you maynot expect, so we're thrilled
about that.
In thinking about the culturaland creative capital of the
Midwest, we're proud to be partof that.
We're honored to be part ofthat.
We're honored to be part ofthat.
(07:44):
So, having a world-class artcollection and bringing in so
many exhibitions a year, havingeducational outreach and
community programs, thinkingabout the regional collaboration
that happens around leadershipand cultural creative endeavors,
committing to access for all.
You know, all of these thingsare really what inspire us to
(08:04):
continue doing the work thatwe're doing toward our mission
of bringing art and peopletogether, as Kioshoa mentioned,
but even beyond that, to ourvision of thinking about how art
can transform lives, and sowe're really excited to be part
of that in this community.
Speaker 3 (08:19):
If you're listening in like real time, you know this
podcast is being published lateApril, excuse me, late April
2025, may 17th, as you said,melissa, is the big event where
the flip the switch, so to speakis being flipped, and so, if
(08:40):
you're hearing this after, youknow all of this has already
happened, but now is the time togo see it.
It's there in real life now and, as you said Melissa, people
are stumbling upon it as theydrive by or as they visit and
they're going.
What is this, what's going on?
And so we're so excited to bejust weeks away from the event
(09:04):
Glow Up.
So can you talk a little bitabout and again, if you're
hearing this and it hasn'thappened yet, I'd love to have
you set the stage for what willGlow Up involve, like the day of
May 17th?
What is going to be happeningon your plaza?
Speaker 4 (09:19):
So Glow Up is the big public party that we've been
working on for months now with alot of our cherished partners,
such as the Quad Cities CulturalTrust, our legacy partners
through that organization andmany others throughout the
community.
We are going to activate ourplaza, which is the open space,
the public space in front of themuseum on the north side.
(09:40):
We'll have live music andentertainment, family-friendly
activities starting around seveno'clock at night, of course,
because we want to make surethat people can fully experience
Evanescent Field when we unveilit.
We are not unveiling it untilit gets dark out, so come early.
We'll have food trucks, we'llhave refreshments available,
(10:00):
like I said, all theentertainment.
It'll just be a wonderful blockparty for us as a community,
and then Leo Villarreal himselfwill be there as the sun is
setting.
We're going to I don't know ifit's actually flipping a switch.
It might be a button.
From what I've been hearingfrom his team, it's probably
more likely a button, but wewill make sure that we're
celebrating all together as weofficially unveil Evanescent
(10:23):
Field.
And that's not the end of theparty.
So we'll continue to have musicand entertainment after that
happens.
That'll probably happen.
I think the sunset's.
What did we say 817.
So by the time we get to maybe845, it'll be dark enough for us
to do this.
Of course, we'll want to makesure that we can thank all of
the people who have made thishappen, and you know from the
(10:43):
state of Iowa and all of theirsupport to local support within
the community and many, manydonors.
So we're excited to celebratewith everyone.
There also will be otheropportunities for you to see
this because, while we won'thave blow up every single night,
we will be turning it on everysingle night.
So we're you know the partywill continue in its own way as
people get to know the sculpture.
Speaker 3 (11:05):
So now we're going to pull up the rendering of
Evanescent Field.
So if one of you wouldn't mindhighlighting what are the, what
are the points here that we'reseeing, what should people be
looking for and what has goneinto this hard work?
Speaker 1 (11:19):
So within Evanescent Field, you know the building was
always designed by Sir DavidChipperfield with the intention
of using this double layer ofglass that encompasses the
entire building as anopportunity for light, as an
opportunity to illuminate theentire facade.
(11:39):
And you know David Chipperfieldwhen we look back at kind of
early interviews when he wastalking about what he wanted to
do with the architecture of thisyou know phenomenal building,
he was talking about having thisagain be a beacon, be a
gathering place, be this reallykind of iconic structure for the
community.
And this light sculptureEvanescent Field with Leo
(12:03):
Villareal kind of furthers DavidChipperfield's goal.
And this light sculptureEvanescent Field with Leo
Villareal kind of furthers DavidChipperfield's goal.
And the architect Chipperfieldis very enthusiastic about Leo
Villareal's intervention hereand they've worked on projects
together in the past.
He worked on a corporate centerin Seoul, korea, with Leo
(12:26):
Villareal as well.
So their kind of architectureand art go kind of together very
smoothly.
But what we'll actually beseeing within the building
itself there's over 3,000 feetof programmable LED lights that
have been strung throughout whatwe refer to as the curtain wall
, that space between the doublepanes of glass that encompass
(12:46):
the entire building, and all ofthese are almost infinitely
programmable.
You can control each individuallight that occurs along these
expanses and control them withthousands of different colors.
So Leo Villarreal is creatingsome site-specific programming
in response to our community, inresponse to the river, in
(13:08):
response to the building itselfand the people visiting it and
being able to actually react towhat he is seeing and then being
able to program these lightsand their movement and their
timing and their sequencing insuch a way that they're
responding to this community.
It should be mentioned, too,that this sequencing will never
(13:28):
really repeat itself.
There are individual kind ofvignettes or compositions that
he's making that will repeat,but their duration or when they
appear in the sequence willnever repeat, ever.
Um, and so it's this amazing,beautifully uh lit sculpture
that is going to become thiskind of gathering point or a
digital campfire is how Leooften refers to them, and that
(13:52):
really indicates his mission touse these as a gathering place.
It's interesting because heoften talks about LEDs being
this language of consumerculture.
Right, when we experience LEDsand lights like this, oftentimes
it's in places like TimesSquare, where they're being used
to kind of, you know, attractus like moths to the flame to go
(14:14):
and purchase something oftechnology to kind of bring
people together and appreciatethis kind of immersive aesthetic
experience and bring ustogether in a very, you know,
different way than how they'retypically used in commerce.
So we're excited about whatthis is going to do for the
(14:36):
community.
And I should mention too, youknow these renderings are
wonderful, but this is only kindof a almost a sketch of what
the ultimate design will be.
He's coming in person, as Imentioned, to program this, and
so he'll be able to basicallysit outside with his laptop
individually controlling thesedifferent light spans and
respond to things.
(14:57):
So we're talking about it, butwe really haven't seen it yet.
So we're talking about anartwork that there's been tons
of preparations for years ofwork.
Leo's been visiting the museumon and off for 10 years, but we
haven't seen the final result.
So we're excited to see what'sto come.
Melissa, did I miss anything?
Speaker 4 (15:18):
No, I think that's great, josh, and I also am glad
that you pointed out that thepiece itself has not actually
been created yet.
So, like Joshua said, what we'relooking at with the rendering
here and what you can find onthe Figge's YouTube channel as
well, this is all.
It is just that it's a rendering.
So the whole piece will beauthored in the coming weeks,
now that the fixed years are inplace and we're finalizing
(15:40):
testing on them, and we'rereally excited.
So when everyone is there withus at Glow Up on May 17th, we
will be experiencing it for thefirst time, the same way as
everyone in our community, andwe're really excited to share
that share in that moment withthe community.
This is a once in a lifetimeopportunity to be there at the
(16:02):
moment where the piece isrevealed.
Yes, it will continue everynight as we move forward, but
it's about this moment ofsharing together and and being
grateful for all of the giftsthat have come before, all the
generosity that has helped usget here, and then being excited
, getting excited about what'scoming next in the next 100
(16:24):
years for the museum orcommunity, and then looking
beyond that even thank you guysfor pulling this visual up, and
so, if you are listening to theaudio version of this podcast,
melissa said this video isavailable on the figgies youtube
channel.
Speaker 3 (16:38):
I also have the podcast link on youtube in the
description, so go ahead andlike pop over to that so that
you can follow along while Joshand Melissa talk through this
really, really gorgeous creation, and that is the fascinating
part.
So you know it's like you saidit's, it's being authored.
It is not yet done, it issomething that is but a future
(17:01):
cast of what will be, and it'sreally cool that we have this
kind of sneak peek because youknow that's modern art for you,
you know that's a modern take onwhat we can create.
You know as an artist or youknow as the Quad Cities, a
destination, and so you know youget to see it kind of being
built behind the scenes in realtime.
But when we get together on May17th to see it all unveiled,
(17:24):
that really will be a beautifulcommunity moment.
Josh, you mentioned the wordbeacon.
I think that that's absolutely,absolutely accurate.
To steal a statement from KyleCarter with Downtown Davenport
Partnership.
You know he said, I think duringone of the initial
announcements about this, thatthis, you know, this image will
(17:46):
be the postcard, you know, forthe Quad Cities going forward.
This is going to be that visualthat people want to share with
their friends, their family, outof town, something a memento
like hey, I visited here and Isaw this and this was really
incredible.
And so, you know, the IowaEconomic Development Authority
obviously put great support andinvestment into this and this is
(18:07):
a part of a larger, you know,davenport improvement project,
and so we're so excited as, likea destination marketing
organization, to be able to toutthis going forward and to have
all of us be part of this hugeevent coming up in just a couple
of weeks is really, reallyexciting.
So is there anything that, onthe construct side, that you
(18:34):
know is happening behind thescenes that you guys are kind of
having to work around?
Or you know, when people comein to the museum right now, say,
hey, you can take a sneak peekat you know such and such going
on, what kinds of things arepeople seeing right now?
Speaker 4 (18:48):
I think that.
So, yes, there's the answer tothat.
Anytime you take on a massiveinfrastructure project like this
, especially in a building thatis new but now 20 years old,
there are things that come upthat we've been really fortunate
enough to be able to address onthe front end.
One example is that visitors tothe museum and in the recent
(19:11):
weeks, past month, will haveprobably noticed a lot of
activity and construction in thecurtain wall, especially on the
first floor.
One of the things that werealized was very important to
the success of this projectmoving forward was to ensure
that we had proper waterproofingand weatherproofing in the
curtain wall.
The lights, of course, thefixtures are graded for outdoors
and we do have propercontainment in the curtain wall,
(19:34):
but just a precaution to makesure that while we're in there
and kind of, you know, gettingdirty, while we're setting this
up, we're also doing everythingwe can to protect it moving
forward, so that we can preserveit for the long term.
People will also see thesefixtures.
Um, I think that they're.
If you're not, I'm looking overto the side because I'm
actually looking at them at myoffice window.
(19:55):
Um, it'll be really fun forpeople who listen to this
podcast or watch it or hearabout the field and some other
way to come.
And now look for these fixturesduring the daytime.
They won't be lit until the suncomes down, but people can
actually see how this ishappening, the mechanism behind
it and, like I said, we've beenvery fortunate to have so many
(20:17):
talented people working with usum, through construction,
engineering, like everything,just to make sure that when the
artistic team featuring, ofcourse, leo Villarreal arrives,
everything is ready to go in theway it needs to be so that Leo
can come in and author thispiece from his heart.
So, yeah, it's been an adventure.
I'm newer to this position.
(20:38):
I've been with the museum forover 15 years now, but really
came into this leadershipposition within the past six
months, and so there have been alot of new vocabulary words
that I'm learning around.
This type of artwork and Ithink that that's one of the
things that's so excitingelicits a response from you, an
emotional response, and so itcan involve fixtures and pixels
and you know talking aboutwaterproofing and
(21:10):
weatherproofing and a curtainwall, like.
All of this comes together toget to a creative moment, and I
think that that's really fun andhopefully, people in the
community feel the same way,like it's accessible in a
different way, because it's nottraditionally what you might
consider art to be.
Speaker 3 (21:24):
Melissa, where does your love for art come from?
Speaker 4 (21:29):
You know I'm very lucky.
My parents are artists, and soI grew up I never.
Art has always been a part ofmy life, even before I realized
what it was.
Obviously, you know, most kidsgrow up drawing before they are
writing and reading.
We are visual by nature and Ifeel like that was really
supported and encouraged in myhome from the beginning.
(21:50):
Now, of course, because myparents were artists when I was
a teenager, I didn't want to dowhat they did, and so I pushed
away from that and thought Iwould go down a different track
that was more historical.
But everything comes fullcircle when you just let
yourself be authentic and true.
So I did end up back in the artworld and obviously in the
museum world, but I grew upgoing to museums, so I have a
(22:13):
fondness for them.
Speaker 1 (22:14):
Yeah, Joshua, how about you?
Where does your art trajectorycome from?
(22:35):
Decent portion of my youthvisiting the, you know, the
local museums the DavenportMuseum of Art, the Putnam, the
Family Museum and justexhausting any of the art
resources there and any of theart faculty.
And then my educationalbackground was initially in
studio art and then, you know,got into the museums and
(22:57):
galleries and history side ofthings a little bit later.
So a not very kind of linearpath but one that I, you know
I've loved the whole time.
Speaker 3 (23:07):
Do you, would you say you have a career highlight at
this point.
Speaker 1 (23:11):
A career in terms of, like my work within the music.
Speaker 3 (23:15):
Well, a favorite, favorite moment.
Speaker 1 (23:20):
I would say several of the exhibitions we've worked
on have been truly wonderful.
A Mia Foyer exhibition back inI think 2018 now gosh, I can't
remember where we had a skatablehockey rink within the museum
was pretty extraordinary.
It was one of the firstexhibitions I really helped to
bring in and I love those kindof immersive experiences and you
(23:41):
know Evanescent Field is goingto be very similar to that and
that you know it's not anartwork you view on a wall, it's
one that you kind of live in.
Speaker 3 (23:52):
I love that.
Wow, melissa.
I have to ask you the same.
Do you have a highlight or afavorite, a favorite moment?
You know in your years to whereyou've gotten to today?
Speaker 4 (24:03):
I do, I have, I have two, one that is more.
Um, yeah, I have two of them,so I'll share both.
Uh, one is the openingreception for an exhibition we
did called artists.
First, and this was where wereally worked with our local
artists community to make surethat we were celebrating all
that they were doing, especiallythose who are teaching artists.
We do a series of exhibitionsthat are around they are around
(24:29):
students, and we focus on thestudents and the talent and
creativity that is beingfostered in classrooms at all
levels.
But we at that point this wasmany years ago we had not truly
celebrated all of those whohelped them get there, you know,
the, the art, the teachingartists behind the scenes, and
so that was a really.
It was like being in a gallerypacked with so much creativity,
(24:53):
being hugged by creativity,really, and an excitement and
hope for what was to come next.
So that was a pretty powerfulmoment for me at the museum.
But more recently and this iskind of nerdy, I guess, but I
really have so enjoyed the quietmoments with our staff where
we're talking about strategicplanning or we're talking about
(25:16):
these little things that areworking fine but could be
working better with just alittle adjustment here and there
.
It's just, having been on theteam for so long and knowing
fully what the challenges are,it's been just heartwarming to
work with our team in thesequiet moments and to see the
small changes happening that aregoing to help us, help set us
(25:39):
up for what comes in the future.
So I know it's it's not aflashy answer, but it's also
something that I really.
I value those moments as muchas I do the big celebratory
moments, because one helps usget to the other.
Speaker 3 (25:52):
Yeah, it's those progress moments.
You know it's in, in thephysical world.
It's like you know the, theconstruction and the laying of
evanescent field right now.
And then you know, in the moreabstract world, it's those
moments with your team, withyour staff, where you're having
those conversations and you'rejust laying the progress work to
(26:13):
something big to come.
So I completely resonate withthat, 100%.
And Melissa, correct me if I'mwrong you're not originally from
the Quad Cities, correct?
Speaker 4 (26:23):
You are correct, I'm originally from the St Louis
area, so St Louis of course hasa thriving art scene and I spent
many, many days in the St LouisArt Museum just sketching and
dreaming.
So I think that that kind ofconnects back with what you
asked about my foundation inarts.
So I think that that kind ofconnects back with what you
asked about my foundation inarts.
After that I went to collegeand studied classics.
(27:03):
Thinking revolve around theseworks and with these works to
make a better future.
That really inspired me and soI came back and switched gears
from the more historicallanguage-based track to an art
historical track where I couldfocus on a visual culture.
I went to grad school for thatended up working for the museum
at.
I was at the University of Iowaso I worked for the Stanley
(27:25):
Museum of Art and ended upgetting recruited over at the
Figge.
So it's been a really.
You know, josh talked about alinear path.
Mine has been maybe slightlymore linear, but also I bounced
around.
I feel like it's been reactiveto who I was at that moment and
what the environment was, andfor me it's always really
important to make sure that whatI have to give is um is being
(27:49):
given to what the place at themoment needs, that it's a good
match so that it can be true Um.
And that that's how I felt.
When the Figge offered me aposition of executive director
at the museum last year, it wasreally.
I felt good about it throughand through because I knew that
they knew the work that I couldbe doing here and recognized
(28:12):
that it was a match for what themuseum needed at that moment.
So I think I've been veryfortunate in this path, as
twisty as it has been from timeto time.
Speaker 3 (28:20):
The twists and turns make the best stories and
memories, though.
So, Josh, are you a Quadcitizen from birth.
Speaker 1 (28:31):
I've never heard that term before I like that I, yes,
I lived in.
I was born in Port Byron, soabout 30 minutes up river, as
anyone in this community wouldprobably say.
That's how we judge time andspace is by the river.
But then, you know, moved allaround, did undergrad near
(28:51):
Chicago and then graduate schoolin Washington DC and then came
back here and did someadditional grad school actually
had Melissa as an instructor,which was wonderful.
Came back here and did someadditional grad school.
I actually had Melissa as aninstructor, which was wonderful.
So it's been kind of all over.
And then I was so glad to, youknow, come back home and then
get a job in my kind of hometownmuseum.
And you know, I remember, likeI said, coming to the Davenport
(29:12):
Museum of Art and seeing some ofthe paintings that are now kind
of in my charge on the wallsand appreciating them then, and
so to get to now work with themin a more intimate way is truly
wonderful.
Speaker 3 (29:25):
So really putting you guys on the spot here.
So feel free to dodge thequestion.
We are at 100 years of thefiggy.
What will 100 more years bringto the figgy?
Speaker 4 (29:39):
That's a very good question and one that we've been
talking about here.
When we talk about it, it's notin exact terms, it's more about
a feeling.
So what does the figgy in ourcommunity feel like 100 years
from now?
And it is a figgy that peoplefeel like is theirs, that they
(30:01):
have ownership of it, that theybelong in it, and not just, oh,
we're free today, so we'veprovided access, but more like
we want more and more communitymembers to be co-creating with
us every day as we move forward.
So truly feeling like they arepart, like woven into the fabric
of what the museum is.
I think that we've done some ofthat, but there's more that we
(30:22):
can continue to do, always inthat regard.
So, thinking about 100 yearsfrom now, it's a museum that is
truly of the community and forthe community, and there are
many more words that we'vetalked about as a team just what
that feels like.
Michashua, I don't know if youhave a different answer to this.
I know this is kind of a higherlevel, you know, talking about
(30:44):
the feelings, but thenindividuals may have very
specific things that they feelthe figgy should be in the next
hundred years.
So I'll pass the torch to youin case you have anything you
want to add.
Speaker 1 (30:55):
Yeah, I mean the thing that I would add is, I
guess, a little bit more interms of art specific.
You know, looking at, you knowwe have a fairly modest
collection.
We have about, you know, 6,000plus objects within the
collection and you know we dothese around 14 to 17
exhibitions a year roughly,depending on how you're counting
, and I think it's importantthat, as we go forward, the
(31:19):
collection and the exhibitionscontinue to grow with, you know,
the world in which we live.
You know, further embrace thefull range of diversity, embrace
the's obviously a very largeartwork, but also, you know,
(31:40):
embracing more thoroughly videoart.
You know, prior to this year weonly had about six pieces
within the collection that couldbe deemed video, and now you
know we're continuing to add tothat in a much more kind of
planned and strategic way.
And also just further embracing, you know, arts by LGBTQ
artists, women artists, artistsfrom all sorts of different
(32:02):
backgrounds that had beenpreviously kind of
underrepresented in thecollection.
So I know that's kind of a moretargeted thing than the kind of
more global scope, but I dothink it's an important facet of
how this institution willcontinue to kind of grow and
change.
Speaker 4 (32:17):
Yeah, I'm glad you brought that up, joshua.
That's also a conversationwe've been having pretty
regularly and making sure thatwe are supporting that on the
back end by providing resourceso that we can move forward in
these ways.
Just prioritizing that as ateam has been really important.
I'd also say, you know, anothertheme that comes up is advocacy
.
So in 100 years and hopefullyit won't take a full 100 years,
(32:42):
but it would be like I dream ofa place, a community and even a
state or a region where we don'thave to ask people to advocate
for us.
They wouldn't even think to notdo it because we are so
important to them and they areso important to us.
You know it's we'reinterconnected.
So that's kind of the theultimate goal creating this,
(33:04):
cultivating a culture of museumadvocacy, of creative advocacy,
so that it's never I mean, we'renot, we're not facing funding
cuts the way so many of our dearpartners are right now, but
it's not even a question thatpeople wouldn't jump in and help
, because we have that culturehere in our community.
Speaker 3 (33:24):
Good points on that and I think you know, as the
decades go on, as the years goon, the Quad Cities does become
a more inclusive community.
You know, part of our belongingstatement at Visit Quad Cities
is, you know, our work is tofoster a place where everybody
can thrive and feel that theybelong and know that they belong
, and you know so, yes, havingarts that represent that and
(33:48):
then having, you know, thesupport of the community going
forward that recognizes that thefiggy, you know, values these
things and is an invaluableasset that we have to protect
and keep going.
So I see good things for thenext 100 years of the figgy.
May 17th is the day EvanescentField comes to life and I just I
(34:10):
want to rewind a smidge.
Earlier in this podcast, josh,you said 3,000 feet of LED
lighting.
That's over a half a mile and Ican't wrap my head around that,
but I hope somebody else can.
That's huge, that's wild and Ireally am having a hard time
getting my arms around that.
That's just such a big projectand I'm so wowed by the fact
(34:32):
that there's an artist out thereand a team who can make that
happen, that you all haveembraced such a huge project and
it's going to be an asset forgenerations to come.
So I'm just I'm thrilled foryou guys.
Congratulations big time andthank you for the insight on
this podcast, letting us kind oftake a sneak peek at these
(34:55):
renderings which have been outthere, and I think this whole
community is just really buzzingfor Glow Up.
So thank you guys so much.
The Figgy is really really goodabout hosting events throughout
the year and keepingVisitQuestCitiescom events
calendar up to date with whatyou guys have going on.
So that's a really easy waythat everyone listening can
experience, you know, kind ofspecial events going on with
(35:17):
Figgy and obviously if you'relistening past May 17th, it is
here, it is live, so go check itout.
Per tradition on this podcast,I would love to throw it back to
you guys and have you each fillin the blank QC, that's where.
So, josh, would you like to gofirst with your QC?
That's where?
Statement.
Speaker 1 (35:35):
Sure QC.
That's where creativity callshome.
Speaker 3 (35:40):
Perfect Melissa.
What is yours?
Speaker 4 (35:43):
Oh gosh, that was really good.
Jeez, I was going to say QC,that's where, all in a day, you
can be outdoors exploring in somany ways, indoors learning in
so many ways.
And QC, that's where you seefriends and you meet new friends
on an ongoing basis.
It's just QC, that's where itis truly home.
Speaker 3 (36:04):
Thank you both so, so much.
I love both of those, all ofthose.
We may snag them for some ofour social media.
So again, thank you, Reallyappreciate your time.
And May 17th mark yourcalendars and again, if it's
already happened, we're here.
So thank you guys.
Speaker 4 (36:20):
Thank you, Katrina.
Thank you for being such agreat partner.
Visit Quad Cities.
We would not be where we arewithout you and without your
team.
Thank you for all the good workyou do to move us forward.
Speaker 3 (36:30):
That means a lot, really really appreciate that,
appreciate what you guys do.
Speaker 2 (36:33):
Thanks for listening to QC.
That's when a podcast poweredby visit quad cities text visit
QC to three, eight, three, one,four for insider events,
activities and updates sentstraight to your phone.
That's V I, s, I T QC.
One word to three, eight, three, one, four.
(36:54):
Message and data rates mayapply.
The Figgy.
Our mission is bringing art andpeople together right.
So now we're going to have thiskind of external beacon calling
all people to the Quad Citiesand to the Figgy itself to kind
of experience the great art thatwe have to offer within the
museum, the great art we have tooffer from within the region.
And you know, right here in theQuad Cities and the artists
(00:20):
that are making things righthere in the Quad Cities, as well
.
Speaker 2 (00:23):
Where do you find a family of communities connected
by the storied Mississippi River, where young explorers and
dreamers, investors andentrepreneurs thrive?
Where can you connect with realpeople living and creating in a
place that's as genuine as itis quirky QC?
That's where.
Speaker 3 (00:45):
Welcome to QC.
That's where I'm.
Katrina, your host.
Thank you for joining today.
It's a really special episodewith Melissa Moore, the
executive director and CEO ofthe Figgy, and then Joshua
Johnson, one of the Figgy'ssenior curators, and we're going
to be talking about a reallyamazing community asset that is
bubbling up really soon.
Talking about a really amazingcommunity asset that is bubbling
(01:07):
up really soon, the Figge willsoon be the host of the largest
public art display in the stateof Iowa, one of the largest
public art displays in theMidwest, and this is really huge
.
So, before we get too far,melissa, I want to throw it
right to you this is huge.
Can you set the stage for whatis going on?
Speaker 4 (01:26):
I would love to and thank you, katrina, for having
us.
We're very excited to bespeaking with you and with your
listeners and your watchers, forthose who are watching this.
So Evanescent Field is the nameof the game and this is, like
Katrina said, the largest publicsculpture in the state of Iowa,
one of the largest in theMidwest, one of the most
ambitious light sculptures,certainly in the state of Iowa,
one of the largest in theMidwest, one of the most
ambitious light sculptures,certainly in the region.
(01:47):
We're really excited to befocusing on this as we head
through our centennial year.
So, for those of you who areless familiar with the Figge,
the Figge Art Museum wasactually founded in 1925.
So we are celebrating ourcentennial year this year and,
as we reflected back on 1925 andhow the museum began, it began
(02:08):
with a gift.
So a gift of art to the city ofDavenport before we, before we,
had an art gallery or a museumfor our community, and as our
team was thinking about what wecan do to truly celebrate the
generosity and support of ourcommunity these past hundred
years, we thought it should comein the form of a gift.
So, thinking about a gift thatwe can give to the community and
(02:30):
, of course, when you'rethinking about something on that
level and you want to make sureyou remove all barriers to
access, it really takes the formof public art.
So when we were coming up withthe concept of doing a public
piece, we also were thinking youknow, the building itself,
designed by Sir DavidChipperfield, turns 20 this year
(02:50):
.
He had always intended for usto have light as part of the
building and it's just somethingthat we never got to realize
when we opened in 2005.
So what if we take the idea oflighting the building and work
with a world renowned artist whoworks in this medium and we
think about public art, whathappens when we do that?
(03:10):
And the result is EvanescentField by artist Leo Villarreal,
which is something that we'regoing to be unveiling to the
public on May 17th.
So, coming up very shortly here, we're really excited to be
able to offer this to ourcommunity as a thank you for
everything the community hasdone and offered to us over the
past 100 years.
Speaker 3 (03:29):
So this really speaks to the fact that you know the
Quad Cities we all have calledthe creative capital of the
Midwest.
It's things like.
You know not only the historyof the figgy and the gift and
the, you know the family thatgot it started, but what's come
after that.
You know the brilliant creativeminds that interface in this
(03:52):
community and that contribute towhat you guys are adding to the
Figge.
And so you know, like you said,leo Villareal is world renowned
.
He did the Bay Lights on the BayBridge.
He's got works in the Museum ofModern Art in New York, the
National Gallery of Art in DC,and so his work coming here,
(04:14):
that creative mind justamplifies, I feel, what our
local people are doing as well,and so it's really exciting to
see that collaboration that youguys have been able to get
somebody world renowned andreally invested in this piece
coming so soon.
So, joshua, can you speak alittle bit to what it's been
(04:35):
like as a curator?
You know, on the back end ofthis, how has this all come
together?
What do you foresee this doinglong term for, you know, not
only the FIGI but like thepatrons and people in the
destination who are just goingto stumble upon it.
Speaker 1 (04:53):
Well, I think this is a really great opportunity to
have the building itself furtherkind of reflect what is going
on within.
You know the FIGge.
Our mission is bringing art andpeople together right so now
we're going to have this kind ofexternal beacon calling all
people to the Quad Cities and tothe Figge itself to kind of
(05:13):
experience the great art that wehave to offer within the museum
, the great art we have to offerfrom within the region and you
know, right here in the QuadCities and the artists that are
making things right here in theQuad Cities as well.
You know you were talking aboutthis kind of synthesis of what's
happening with you know localartists and you know a really
national and internationallyknown artist like Leo Villareal
(05:36):
and so things like.
You know, in our lobby rightnow, where we have a work by
Steve Banks and an artist whoyou know I could throw a rock
from the figgy and hit hisstudio by Steve Banks, an artist
who you know I could throw arock from the figgy and hit his
studio and he's hangingalongside Leo Villareal's Cosmic
Bloom figgy piece, which is awork that he designed for his
(05:56):
Interstellar exhibition we hadthis past year.
We can talk more about that.
But, it's great to have thesethings in conversation, where
there's this internationalartist and this, you know, local
artists all being able to beshown together.
We're also really excited thatyou know this is going to be a
piece that is going to beexperienced by people who not
only, you know, come to themuseum, but even people who
(06:17):
don't realize it is a museumPeople who are driving by or
commuting to work, are headingon their travels, or even we're
hoping I don't know if we'll beable to but be able to see it
from flying overhead as well.
So just a real indication ofwhat's going on in this
community and in this museumparticularly.
Speaker 4 (06:37):
Hey Josh, can I jump in for a second?
Speaker 1 (06:38):
Please.
Speaker 4 (06:39):
So, building on what you just shared, katrina, one of
the things that we're reallyexcited about is, you know, in
the weeks leading up to May 17thand the official unveiling we
hope everyone comes andcelebrates with us we have been
testing the fixtures.
So the fixtures are over 3,000feet of these LEDs that are
lining the entire building, ourglass facade and our curtain
(07:02):
wall.
And as we've been testing them,of course people are seeing it.
It's not like we can hide thisand then you know, just suddenly
have it work.
We need to be working on it inreal time, and so there's been a
lot of chatter online.
People sit driving by at night.
They'll see a strip of lightwithin the museum and say what
is happening, what is going on.
So, kind of to Josh's point,this allows everyone to have
(07:23):
renewed curiosity and to getexcited about how art is all
around us.
It is everywhere and you knowit can come in many different
forms, even those that you maynot expect, so we're thrilled
about that.
In thinking about the culturaland creative capital of the
Midwest, we're proud to be partof that.
We're honored to be part ofthat.
We're honored to be part ofthat.
(07:44):
So, having a world-class artcollection and bringing in so
many exhibitions a year, havingeducational outreach and
community programs, thinkingabout the regional collaboration
that happens around leadershipand cultural creative endeavors,
committing to access for all.
You know, all of these thingsare really what inspire us to
(08:04):
continue doing the work thatwe're doing toward our mission
of bringing art and peopletogether, as Kioshoa mentioned,
but even beyond that, to ourvision of thinking about how art
can transform lives, and sowe're really excited to be part
of that in this community.
Speaker 3 (08:19):
If you're listening in like real time, you know this
podcast is being published lateApril, excuse me, late April
2025, may 17th, as you said,melissa, is the big event where
the flip the switch, so to speakis being flipped, and so, if
(08:40):
you're hearing this after, youknow all of this has already
happened, but now is the time togo see it.
It's there in real life now and, as you said Melissa, people
are stumbling upon it as theydrive by or as they visit and
they're going.
What is this, what's going on?
And so we're so excited to bejust weeks away from the event
(09:04):
Glow Up.
So can you talk a little bitabout and again, if you're
hearing this and it hasn'thappened yet, I'd love to have
you set the stage for what willGlow Up involve, like the day of
May 17th?
What is going to be happeningon your plaza?
Speaker 4 (09:19):
So Glow Up is the big public party that we've been
working on for months now with alot of our cherished partners,
such as the Quad Cities CulturalTrust, our legacy partners
through that organization andmany others throughout the
community.
We are going to activate ourplaza, which is the open space,
the public space in front of themuseum on the north side.
(09:40):
We'll have live music andentertainment, family-friendly
activities starting around seveno'clock at night, of course,
because we want to make surethat people can fully experience
Evanescent Field when we unveilit.
We are not unveiling it untilit gets dark out, so come early.
We'll have food trucks, we'llhave refreshments available,
(10:00):
like I said, all theentertainment.
It'll just be a wonderful blockparty for us as a community,
and then Leo Villarreal himselfwill be there as the sun is
setting.
We're going to I don't know ifit's actually flipping a switch.
It might be a button.
From what I've been hearingfrom his team, it's probably
more likely a button, but wewill make sure that we're
celebrating all together as weofficially unveil Evanescent
(10:23):
Field.
And that's not the end of theparty.
So we'll continue to have musicand entertainment after that
happens.
That'll probably happen.
I think the sunset's.
What did we say 817.
So by the time we get to maybe845, it'll be dark enough for us
to do this.
Of course, we'll want to makesure that we can thank all of
the people who have made thishappen, and you know from the
(10:43):
state of Iowa and all of theirsupport to local support within
the community and many, manydonors.
So we're excited to celebratewith everyone.
There also will be otheropportunities for you to see
this because, while we won'thave blow up every single night,
we will be turning it on everysingle night.
So we're you know the partywill continue in its own way as
people get to know the sculpture.
Speaker 3 (11:05):
So now we're going to pull up the rendering of
Evanescent Field.
So if one of you wouldn't mindhighlighting what are the, what
are the points here that we'reseeing, what should people be
looking for and what has goneinto this hard work?
Speaker 1 (11:19):
So within Evanescent Field, you know the building was
always designed by Sir DavidChipperfield with the intention
of using this double layer ofglass that encompasses the
entire building as anopportunity for light, as an
opportunity to illuminate theentire facade.
(11:39):
And you know David Chipperfieldwhen we look back at kind of
early interviews when he wastalking about what he wanted to
do with the architecture of thisyou know phenomenal building,
he was talking about having thisagain be a beacon, be a
gathering place, be this reallykind of iconic structure for the
community.
And this light sculptureEvanescent Field with Leo
(12:03):
Villareal kind of furthers DavidChipperfield's goal.
And this light sculptureEvanescent Field with Leo
Villareal kind of furthers DavidChipperfield's goal.
And the architect Chipperfieldis very enthusiastic about Leo
Villareal's intervention hereand they've worked on projects
together in the past.
He worked on a corporate centerin Seoul, korea, with Leo
(12:26):
Villareal as well.
So their kind of architectureand art go kind of together very
smoothly.
But what we'll actually beseeing within the building
itself there's over 3,000 feetof programmable LED lights that
have been strung throughout whatwe refer to as the curtain wall
, that space between the doublepanes of glass that encompass
(12:46):
the entire building, and all ofthese are almost infinitely
programmable.
You can control each individuallight that occurs along these
expanses and control them withthousands of different colors.
So Leo Villarreal is creatingsome site-specific programming
in response to our community, inresponse to the river, in
(13:08):
response to the building itselfand the people visiting it and
being able to actually react towhat he is seeing and then being
able to program these lightsand their movement and their
timing and their sequencing insuch a way that they're
responding to this community.
It should be mentioned, too,that this sequencing will never
(13:28):
really repeat itself.
There are individual kind ofvignettes or compositions that
he's making that will repeat,but their duration or when they
appear in the sequence willnever repeat, ever.
Um, and so it's this amazing,beautifully uh lit sculpture
that is going to become thiskind of gathering point or a
digital campfire is how Leooften refers to them, and that
(13:52):
really indicates his mission touse these as a gathering place.
It's interesting because heoften talks about LEDs being
this language of consumerculture.
Right, when we experience LEDsand lights like this, oftentimes
it's in places like TimesSquare, where they're being used
to kind of, you know, attractus like moths to the flame to go
(14:14):
and purchase something oftechnology to kind of bring
people together and appreciatethis kind of immersive aesthetic
experience and bring ustogether in a very, you know,
different way than how they'retypically used in commerce.
So we're excited about whatthis is going to do for the
(14:36):
community.
And I should mention too, youknow these renderings are
wonderful, but this is only kindof a almost a sketch of what
the ultimate design will be.
He's coming in person, as Imentioned, to program this, and
so he'll be able to basicallysit outside with his laptop
individually controlling thesedifferent light spans and
respond to things.
(14:57):
So we're talking about it, butwe really haven't seen it yet.
So we're talking about anartwork that there's been tons
of preparations for years ofwork.
Leo's been visiting the museumon and off for 10 years, but we
haven't seen the final result.
So we're excited to see what'sto come.
Melissa, did I miss anything?
Speaker 4 (15:18):
No, I think that's great, josh, and I also am glad
that you pointed out that thepiece itself has not actually
been created yet.
So, like Joshua said, what we'relooking at with the rendering
here and what you can find onthe Figge's YouTube channel as
well, this is all.
It is just that it's a rendering.
So the whole piece will beauthored in the coming weeks,
now that the fixed years are inplace and we're finalizing
(15:40):
testing on them, and we'rereally excited.
So when everyone is there withus at Glow Up on May 17th, we
will be experiencing it for thefirst time, the same way as
everyone in our community, andwe're really excited to share
that share in that moment withthe community.
This is a once in a lifetimeopportunity to be there at the
(16:02):
moment where the piece isrevealed.
Yes, it will continue everynight as we move forward, but
it's about this moment ofsharing together and and being
grateful for all of the giftsthat have come before, all the
generosity that has helped usget here, and then being excited
, getting excited about what'scoming next in the next 100
(16:24):
years for the museum orcommunity, and then looking
beyond that even thank you guysfor pulling this visual up, and
so, if you are listening to theaudio version of this podcast,
melissa said this video isavailable on the figgies youtube
channel.
Speaker 3 (16:38):
I also have the podcast link on youtube in the
description, so go ahead andlike pop over to that so that
you can follow along while Joshand Melissa talk through this
really, really gorgeous creation, and that is the fascinating
part.
So you know it's like you saidit's, it's being authored.
It is not yet done, it issomething that is but a future
(17:01):
cast of what will be, and it'sreally cool that we have this
kind of sneak peek because youknow that's modern art for you,
you know that's a modern take onwhat we can create.
You know as an artist or youknow as the Quad Cities, a
destination, and so you know youget to see it kind of being
built behind the scenes in realtime.
But when we get together on May17th to see it all unveiled,
(17:24):
that really will be a beautifulcommunity moment.
Josh, you mentioned the wordbeacon.
I think that that's absolutely,absolutely accurate.
To steal a statement from KyleCarter with Downtown Davenport
Partnership.
You know he said, I think duringone of the initial
announcements about this, thatthis, you know, this image will
(17:46):
be the postcard, you know, forthe Quad Cities going forward.
This is going to be that visualthat people want to share with
their friends, their family, outof town, something a memento
like hey, I visited here and Isaw this and this was really
incredible.
And so, you know, the IowaEconomic Development Authority
obviously put great support andinvestment into this and this is
(18:07):
a part of a larger, you know,davenport improvement project,
and so we're so excited as, likea destination marketing
organization, to be able to toutthis going forward and to have
all of us be part of this hugeevent coming up in just a couple
of weeks is really, reallyexciting.
So is there anything that, onthe construct side, that you
(18:34):
know is happening behind thescenes that you guys are kind of
having to work around?
Or you know, when people comein to the museum right now, say,
hey, you can take a sneak peekat you know such and such going
on, what kinds of things arepeople seeing right now?
Speaker 4 (18:48):
I think that.
So, yes, there's the answer tothat.
Anytime you take on a massiveinfrastructure project like this
, especially in a building thatis new but now 20 years old,
there are things that come upthat we've been really fortunate
enough to be able to address onthe front end.
One example is that visitors tothe museum and in the recent
(19:11):
weeks, past month, will haveprobably noticed a lot of
activity and construction in thecurtain wall, especially on the
first floor.
One of the things that werealized was very important to
the success of this projectmoving forward was to ensure
that we had proper waterproofingand weatherproofing in the
curtain wall.
The lights, of course, thefixtures are graded for outdoors
and we do have propercontainment in the curtain wall,
(19:34):
but just a precaution to makesure that while we're in there
and kind of, you know, gettingdirty, while we're setting this
up, we're also doing everythingwe can to protect it moving
forward, so that we can preserveit for the long term.
People will also see thesefixtures.
Um, I think that they're.
If you're not, I'm looking overto the side because I'm
actually looking at them at myoffice window.
(19:55):
Um, it'll be really fun forpeople who listen to this
podcast or watch it or hearabout the field and some other
way to come.
And now look for these fixturesduring the daytime.
They won't be lit until the suncomes down, but people can
actually see how this ishappening, the mechanism behind
it and, like I said, we've beenvery fortunate to have so many
(20:17):
talented people working with usum, through construction,
engineering, like everything,just to make sure that when the
artistic team featuring, ofcourse, leo Villarreal arrives,
everything is ready to go in theway it needs to be so that Leo
can come in and author thispiece from his heart.
So, yeah, it's been an adventure.
I'm newer to this position.
(20:38):
I've been with the museum forover 15 years now, but really
came into this leadershipposition within the past six
months, and so there have been alot of new vocabulary words
that I'm learning around.
This type of artwork and Ithink that that's one of the
things that's so excitingelicits a response from you, an
emotional response, and so itcan involve fixtures and pixels
and you know talking aboutwaterproofing and
(21:10):
weatherproofing and a curtainwall, like.
All of this comes together toget to a creative moment, and I
think that that's really fun andhopefully, people in the
community feel the same way,like it's accessible in a
different way, because it's nottraditionally what you might
consider art to be.
Speaker 3 (21:24):
Melissa, where does your love for art come from?
Speaker 4 (21:29):
You know I'm very lucky.
My parents are artists, and soI grew up I never.
Art has always been a part ofmy life, even before I realized
what it was.
Obviously, you know, most kidsgrow up drawing before they are
writing and reading.
We are visual by nature and Ifeel like that was really
supported and encouraged in myhome from the beginning.
(21:50):
Now, of course, because myparents were artists when I was
a teenager, I didn't want to dowhat they did, and so I pushed
away from that and thought Iwould go down a different track
that was more historical.
But everything comes fullcircle when you just let
yourself be authentic and true.
So I did end up back in the artworld and obviously in the
museum world, but I grew upgoing to museums, so I have a
(22:13):
fondness for them.
Speaker 1 (22:14):
Yeah, Joshua, how about you?
Where does your art trajectorycome from?
(22:35):
Decent portion of my youthvisiting the, you know, the
local museums the DavenportMuseum of Art, the Putnam, the
Family Museum and justexhausting any of the art
resources there and any of theart faculty.
And then my educationalbackground was initially in
studio art and then, you know,got into the museums and
(22:57):
galleries and history side ofthings a little bit later.
So a not very kind of linearpath but one that I, you know
I've loved the whole time.
Speaker 3 (23:07):
Do you, would you say you have a career highlight at
this point.
Speaker 1 (23:11):
A career in terms of, like my work within the music.
Speaker 3 (23:15):
Well, a favorite, favorite moment.
Speaker 1 (23:20):
I would say several of the exhibitions we've worked
on have been truly wonderful.
A Mia Foyer exhibition back inI think 2018 now gosh, I can't
remember where we had a skatablehockey rink within the museum
was pretty extraordinary.
It was one of the firstexhibitions I really helped to
bring in and I love those kindof immersive experiences and you
(23:41):
know Evanescent Field is goingto be very similar to that and
that you know it's not anartwork you view on a wall, it's
one that you kind of live in.
Speaker 3 (23:52):
I love that.
Wow, melissa.
I have to ask you the same.
Do you have a highlight or afavorite, a favorite moment?
You know in your years to whereyou've gotten to today?
Speaker 4 (24:03):
I do, I have, I have two, one that is more.
Um, yeah, I have two of them,so I'll share both.
Uh, one is the openingreception for an exhibition we
did called artists.
First, and this was where wereally worked with our local
artists community to make surethat we were celebrating all
that they were doing, especiallythose who are teaching artists.
We do a series of exhibitionsthat are around they are around
(24:29):
students, and we focus on thestudents and the talent and
creativity that is beingfostered in classrooms at all
levels.
But we at that point this wasmany years ago we had not truly
celebrated all of those whohelped them get there, you know,
the, the art, the teachingartists behind the scenes, and
so that was a really.
It was like being in a gallerypacked with so much creativity,
(24:53):
being hugged by creativity,really, and an excitement and
hope for what was to come next.
So that was a pretty powerfulmoment for me at the museum.
But more recently and this iskind of nerdy, I guess, but I
really have so enjoyed the quietmoments with our staff where
we're talking about strategicplanning or we're talking about
(25:16):
these little things that areworking fine but could be
working better with just alittle adjustment here and there
.
It's just, having been on theteam for so long and knowing
fully what the challenges are,it's been just heartwarming to
work with our team in thesequiet moments and to see the
small changes happening that aregoing to help us, help set us
(25:39):
up for what comes in the future.
So I know it's it's not aflashy answer, but it's also
something that I really.
I value those moments as muchas I do the big celebratory
moments, because one helps usget to the other.
Speaker 3 (25:52):
Yeah, it's those progress moments.
You know it's in, in thephysical world.
It's like you know the, theconstruction and the laying of
evanescent field right now.
And then you know, in the moreabstract world, it's those
moments with your team, withyour staff, where you're having
those conversations and you'rejust laying the progress work to
(26:13):
something big to come.
So I completely resonate withthat, 100%.
And Melissa, correct me if I'mwrong you're not originally from
the Quad Cities, correct?
Speaker 4 (26:23):
You are correct, I'm originally from the St Louis
area, so St Louis of course hasa thriving art scene and I spent
many, many days in the St LouisArt Museum just sketching and
dreaming.
So I think that that kind ofconnects back with what you
asked about my foundation inarts.
So I think that that kind ofconnects back with what you
asked about my foundation inarts.
After that I went to collegeand studied classics.
(27:03):
Thinking revolve around theseworks and with these works to
make a better future.
That really inspired me and soI came back and switched gears
from the more historicallanguage-based track to an art
historical track where I couldfocus on a visual culture.
I went to grad school for thatended up working for the museum
at.
I was at the University of Iowaso I worked for the Stanley
(27:25):
Museum of Art and ended upgetting recruited over at the
Figge.
So it's been a really.
You know, josh talked about alinear path.
Mine has been maybe slightlymore linear, but also I bounced
around.
I feel like it's been reactiveto who I was at that moment and
what the environment was, andfor me it's always really
important to make sure that whatI have to give is um is being
(27:49):
given to what the place at themoment needs, that it's a good
match so that it can be true Um.
And that that's how I felt.
When the Figge offered me aposition of executive director
at the museum last year, it wasreally.
I felt good about it throughand through because I knew that
they knew the work that I couldbe doing here and recognized
(28:12):
that it was a match for what themuseum needed at that moment.
So I think I've been veryfortunate in this path, as
twisty as it has been from timeto time.
Speaker 3 (28:20):
The twists and turns make the best stories and
memories, though.
So, Josh, are you a Quadcitizen from birth.
Speaker 1 (28:31):
I've never heard that term before I like that I, yes,
I lived in.
I was born in Port Byron, soabout 30 minutes up river, as
anyone in this community wouldprobably say.
That's how we judge time andspace is by the river.
But then, you know, moved allaround, did undergrad near
(28:51):
Chicago and then graduate schoolin Washington DC and then came
back here and did someadditional grad school actually
had Melissa as an instructor,which was wonderful.
Came back here and did someadditional grad school.
I actually had Melissa as aninstructor, which was wonderful.
So it's been kind of all over.
And then I was so glad to, youknow, come back home and then
get a job in my kind of hometownmuseum.
And you know, I remember, likeI said, coming to the Davenport
(29:12):
Museum of Art and seeing some ofthe paintings that are now kind
of in my charge on the wallsand appreciating them then, and
so to get to now work with themin a more intimate way is truly
wonderful.
Speaker 3 (29:25):
So really putting you guys on the spot here.
So feel free to dodge thequestion.
We are at 100 years of thefiggy.
What will 100 more years bringto the figgy?
Speaker 4 (29:39):
That's a very good question and one that we've been
talking about here.
When we talk about it, it's notin exact terms, it's more about
a feeling.
So what does the figgy in ourcommunity feel like 100 years
from now?
And it is a figgy that peoplefeel like is theirs, that they
(30:01):
have ownership of it, that theybelong in it, and not just, oh,
we're free today, so we'veprovided access, but more like
we want more and more communitymembers to be co-creating with
us every day as we move forward.
So truly feeling like they arepart, like woven into the fabric
of what the museum is.
I think that we've done some ofthat, but there's more that we
(30:22):
can continue to do, always inthat regard.
So, thinking about 100 yearsfrom now, it's a museum that is
truly of the community and forthe community, and there are
many more words that we'vetalked about as a team just what
that feels like.
Michashua, I don't know if youhave a different answer to this.
I know this is kind of a higherlevel, you know, talking about
(30:44):
the feelings, but thenindividuals may have very
specific things that they feelthe figgy should be in the next
hundred years.
So I'll pass the torch to youin case you have anything you
want to add.
Speaker 1 (30:55):
Yeah, I mean the thing that I would add is, I
guess, a little bit more interms of art specific.
You know, looking at, you knowwe have a fairly modest
collection.
We have about, you know, 6,000plus objects within the
collection and you know we dothese around 14 to 17
exhibitions a year roughly,depending on how you're counting
, and I think it's importantthat, as we go forward, the
(31:19):
collection and the exhibitionscontinue to grow with, you know,
the world in which we live.
You know, further embrace thefull range of diversity, embrace
the's obviously a very largeartwork, but also, you know,
(31:40):
embracing more thoroughly videoart.
You know, prior to this year weonly had about six pieces
within the collection that couldbe deemed video, and now you
know we're continuing to add tothat in a much more kind of
planned and strategic way.
And also just further embracing, you know, arts by LGBTQ
artists, women artists, artistsfrom all sorts of different
(32:02):
backgrounds that had beenpreviously kind of
underrepresented in thecollection.
So I know that's kind of a moretargeted thing than the kind of
more global scope, but I dothink it's an important facet of
how this institution willcontinue to kind of grow and
change.
Speaker 4 (32:17):
Yeah, I'm glad you brought that up, joshua.
That's also a conversationwe've been having pretty
regularly and making sure thatwe are supporting that on the
back end by providing resourceso that we can move forward in
these ways.
Just prioritizing that as ateam has been really important.
I'd also say, you know, anothertheme that comes up is advocacy
.
So in 100 years and hopefullyit won't take a full 100 years,
(32:42):
but it would be like I dream ofa place, a community and even a
state or a region where we don'thave to ask people to advocate
for us.
They wouldn't even think to notdo it because we are so
important to them and they areso important to us.
You know it's we'reinterconnected.
So that's kind of the theultimate goal creating this,
(33:04):
cultivating a culture of museumadvocacy, of creative advocacy,
so that it's never I mean, we'renot, we're not facing funding
cuts the way so many of our dearpartners are right now, but
it's not even a question thatpeople wouldn't jump in and help
, because we have that culturehere in our community.
Speaker 3 (33:24):
Good points on that and I think you know, as the
decades go on, as the years goon, the Quad Cities does become
a more inclusive community.
You know, part of our belongingstatement at Visit Quad Cities
is, you know, our work is tofoster a place where everybody
can thrive and feel that theybelong and know that they belong
, and you know so, yes, havingarts that represent that and
(33:48):
then having, you know, thesupport of the community going
forward that recognizes that thefiggy, you know, values these
things and is an invaluableasset that we have to protect
and keep going.
So I see good things for thenext 100 years of the figgy.
May 17th is the day EvanescentField comes to life and I just I
(34:10):
want to rewind a smidge.
Earlier in this podcast, josh,you said 3,000 feet of LED
lighting.
That's over a half a mile and Ican't wrap my head around that,
but I hope somebody else can.
That's huge, that's wild and Ireally am having a hard time
getting my arms around that.
That's just such a big projectand I'm so wowed by the fact
(34:32):
that there's an artist out thereand a team who can make that
happen, that you all haveembraced such a huge project and
it's going to be an asset forgenerations to come.
So I'm just I'm thrilled foryou guys.
Congratulations big time andthank you for the insight on
this podcast, letting us kind oftake a sneak peek at these
(34:55):
renderings which have been outthere, and I think this whole
community is just really buzzingfor Glow Up.
So thank you guys so much.
The Figgy is really really goodabout hosting events throughout
the year and keepingVisitQuestCitiescom events
calendar up to date with whatyou guys have going on.
So that's a really easy waythat everyone listening can
experience, you know, kind ofspecial events going on with
(35:17):
Figgy and obviously if you'relistening past May 17th, it is
here, it is live, so go check itout.
Per tradition on this podcast,I would love to throw it back to
you guys and have you each fillin the blank QC, that's where.
So, josh, would you like to gofirst with your QC?
That's where?
Statement.
Speaker 1 (35:35):
Sure QC.
That's where creativity callshome.
Speaker 3 (35:40):
Perfect Melissa.
What is yours?
Speaker 4 (35:43):
Oh gosh, that was really good.
Jeez, I was going to say QC,that's where, all in a day, you
can be outdoors exploring in somany ways, indoors learning in
so many ways.
And QC, that's where you seefriends and you meet new friends
on an ongoing basis.
It's just QC, that's where itis truly home.
Speaker 3 (36:04):
Thank you both so, so much.
I love both of those, all ofthose.
We may snag them for some ofour social media.
So again, thank you, Reallyappreciate your time.
And May 17th mark yourcalendars and again, if it's
already happened, we're here.
So thank you guys.
Speaker 4 (36:20):
Thank you, Katrina.
Thank you for being such agreat partner.
Visit Quad Cities.
We would not be where we arewithout you and without your
team.
Thank you for all the good workyou do to move us forward.
Speaker 3 (36:30):
That means a lot, really really appreciate that,
appreciate what you guys do.
Speaker 2 (36:33):
Thanks for listening to QC.
That's when a podcast poweredby visit quad cities text visit
QC to three, eight, three, one,four for insider events,
activities and updates sentstraight to your phone.
That's V I, s, I T QC.
One word to three, eight, three, one, four.
(36:54):
Message and data rates mayapply.
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