Posts Categorized: Artist Features

So you wanna be a writer?


Q&A with local author Jerry Johnson

Introduction & interview by Aryn Henning Nichols • Photos by Aaron Lurth

Writing books is easy.

Said no one ever.

But we know a lot of people who have uttered the words, “I want to write a book.” Or even better, “I’m going to write a book!” So where do you start? Decorah’s Jerry Johnson – hunter, blogger, writer, and all-around witty wordsmith – suggests you start with the obvious: Words. You gotta get them on the page.

“Write,” he says, “Write every day. Write with passion.”

Jerry does just that, and with great discipline. His blog,, is home to numerous essays, musings, and a good smattering of dog and hunting photos (another passion).

Jerry has also self-published two books. His latest, Scrawny Dog, Hungry Cat, and Fat Rat: A Tragedy for Children (March, 2014) was written 45 years ago by his then college-aged self, just getting ready to take the writing world by storm. Happily, past Jerry would pat future Jerry on his back. Through his long writing career, Jerry has published numerous stories, editorials, essays, and columns for a variety of newspapers and press organizations. (Update! Jerry has now published a third book: Crazy Old Coot, a collection of essays about bird hunting, bird dogs, and bird guns, memoirs, social and political commentary, and other pieces of creative non-fiction, August 2014! You can buy his book and meet the Old Coot himself at Dragonfly Books – there is a reading this Saturday, December 6, from 2-3:30 pm.)

“But those were all a long time ago,” he says, “And of course, not creative writing.”

So for now, Jerry has settled back into the best – and probably worst – aspect of writing: the creative part. And that doesn’t always – or even often – lead to a book deal.

“Agents and publishers are not necessarily seeking good literature or even quality writing; they are seeking marketable writing,” he says. “If you write zombie or romance or mystery novels, you might be marketable. If you write for niche audiences, readers of outdoor sports literature for example, you may not be marketable.”

Along with a tendency for long titles – in addition to …Tragedy for Children, his first published book is titled Hunting Birds: The Lives and Legends of the Pine County Rod, Gun, Dog and Social Club – Jerry is apt to gear his work toward his life (hunting, dogs, old friends and good stories). He’s currently writing a collection of essays on outdoor sports, posting one or more to the blog each week in hopes of eventually compiling them for a book.

“I puttered around with a sequel to Hunting Birds, but I couldn’t get back into the character of Carter Preston, the story’s protagonist,” he says. “Some day an essay will take off and grow to 50,000 words and I’ll be on my way to a new novel.”

Jerry shares some advice he’s learned along the way – it won’t make it easy, but it sure as heck can’t hurt, write (groan…)?

JerryJohnson_4How long have you been a writer? At what point do you think it’s okay to call yourself “writer”?

Way back in the sixth grade, I was telling friends I would be a writer. I wrote a science fiction “novel” that year. I considered myself a true writer in August 1975 when my first published work, news and editorial and sports columns, rolled off the press of a weekly newspaper in Nebraska, where I was editor – and advertising rep and distribution manager and janitor. So I say you can call yourself a writer when you actually publish your work and someone reads it.

What’s your inspiration?

Inspiration? Mania, I suppose. Writers live to write. We’re slaves to the passion. It is captured perfectly in a Harry Chapin song: “For music was his life, it was not his livelihood/ It made him feel so happy, it made him feel so good/ And he sang from his heart, he sang from his soul/ He did not know how well he sang, it just made him whole.”

How do you go about finding a place to start publishing?

After much frustration dealing with publishing houses and agents, I followed the advice of a friend and e-published my novel “Hunting Birds” on There are several e-publishing and POD (print on demand) services available online. My advice: Do some research and select the one that feels best for you.

Can you tell us more about how online publishing works?

I publish in three formats: Kindle books (Amazon); CreateSpace POD (print on demand) paperback books (also Amazon); and on my blog, “Dispatches from a Northern Town,” ( It costs little (blogs) to nothing (ebooks and POD books) to publish your work. I am a technology troglodyte, though, so it was still a challenge. Fortunately, some of my former Luther College students are professionals with this stuff, and they helped a doddering old man get across the busy street.

Any tips for folks out there hoping to follow your lead?

Write. Write every day. Write with passion. Then read it aloud. If it sounds good, it probably is. If it sounds like junk, it probably is. Keep the good and throw away the bad. When you have written something really good, publish it. If you submit your work to an agent in hopes of getting it accepted by a big-name publishing house, remember that rejections are just like the sunrise: They happen every day.

Will you ever publish to print?

If you mean, will I attempt to find an agent and try to get my work accepted by a big publishing house? Probably not (he self-publishes and you can, in fact, pick up his book here in the Driftless Region). I worked in marketing 25 years. Now I want to write.

Tell us about “Scrawny Dog, Hungry Cat, and Fat Rat: A Tragedy for Children” (March, 2014)

It’s a novel for middle-grades children, written 45 years ago by a 19-year-old college student setting out on the long road to become me. Publishers (then) were not interested. I read it to my children, who had little choice but to say they liked it. Somewhere along the road, the manuscript was lost. My college roommate reconnected with me a few years ago, and one day he amazingly said he had a copy of the final draft. He encouraged me to rewrite it and publish it. I gave him a copy of the revised manuscript in November 2013. He died 12 days later. Now my grandchildren read it and say “Ah, pajamas!” – Cat cursing. I don’t know if kids today will like it. I rewrote it and published it as a tribute to friendship, and the book is dedicated to my friend Michael Shelton.

Lightning round:
What’s the first thing that comes to your mind…?

Books: Adventures.
Internet: World’s biggest library.
Summer: Almost fall.
Dog: You know, I shoulda been a professional dog trainer…
Kids: Have them while you’re young.
Ice Cream: Chocolate
Hunting: Heaven
Purple: Passion (Purple Passion was an alcoholic beverage made with Everclear; it does not taste good when it come back up through your nose – not that I personally experienced this)
Procrastination: The mother of all innovation.
Money: What you will not make much of as a self-published creative writer.

Hone Your Process:
Jerry shares seven creative writing “rules”

  1. Discipline: Write something every day, even if it is only 500 words.
  2. Truth: Write what you know, what you have experienced.
  3. Focus: Write to one specific person: “Hey, Michael, I want to tell you this story.”
  4. Honesty: You are beautiful and ugly, hero and villain, compassionate and hurtful; write about it all, not just the pretty side.
  5. Suffer: Make your characters suffer hurts and obstacles; that is how you reveal their character.
  6. Purpose: Each paragraph you write has to do one of three things: Advance the plot, tell something important about a character, or describe the setting.
  7. Passion: Write with joy and abandon, otherwise you are writing junk.

Paperback editions of both books are now available at two Decorah locations: Dragonfly Books and Luther College Book Shop.


Aryn Henning Nichols has wanted to be a writer since fourth grade. Since she has so many titles at Inspire(d), she doesn’t ever say, “I’m a writer.” But maybe this summer she’ll give it a try… everyone really should be exposed to her terrible puns, right?

Aaron Lurth is a graduate of Luther College (BA) and the University of Iowa (MFA in Photography and Graphic Design). He serves as Director of Visual Media at Luther where he also teaches in the Visual and Performing Arts department. Aaron has been a photographer for the Experimental Aircraft Association at AirVenture (the world’s largest air show), as well as numerous marketing campaigns for Luther College, minor league baseball teams, and in advertising for General Electric, NCCA Magazine, Sport Pilot,, and many more. Aaron also leads National Geographic Student Expeditions and teaches at Decorah’s ArtHaus.

Everything is Gonna Be OK

Check out The OK Factor this Saturday, November 8, 2014, at Marty’s Cafe in Luther College in Decorah – they’re playing with General B and The Wiz! More info here.


By Ingrid Baudler

Olivia Hahn and Karla Dietmeyer have come a long way since starting cello/violin duo The OK Factor in 2012.

And yet the two Luther alums still have a long way to go.


With the night’s gig all wrapped up, they grab their gear and hit the road, this time leaving Georgia in the rearview mirror. They head north, with shows in Minnesota, Iowa, and Wisconsin. Olivia usually does the driving while Karla navigates, but tonight it’s the other way around.

“I kind of like it,” Olivia says about all the traveling, “I feel like we’re paying our dues.”

OKFactor_2For most of this past year, Olivia (O) and Karla (K) have had to operate from different states, but that hasn’t stopped them from making great music together. They meet up to perform at different venues, hold workshops, and have even been recording.

But it was Decorah that made everything OK.

“The OK Factor was really an experiment,” Olivia says. “It was something that we wanted to do but the community was really what spurred us forward. It’s amazing how talented and eclectic one small town can be.”

“No one ever told us no, and that was huge for us,” Karla adds. “I think it takes good people to really make great music and that is what we found in Decorah.”

Both women picked up instruments at an early age – Karla started the violin at five and Olivia was four when she first sat at a cello. They met at Luther College, where they majored in music performance, and formed The OK Factor in 2012 with the goal of  “challenging their formal training.”

The duo has since found their way around the Midwest and the U.S., and from classical to bluegrass, jazz, and pop, finally arriving at a musical style they dub “alternative/progressive folk”.

“You can always hear a classically-trained musician in their tone or the way they play certain melodies,” Olivia says. “We don’t want to undo that. We like that aspect of our playing. We want to throw that into the mix with other genres. There’s a lot to explore there.”

Their first gig was part of the Water Street Music Series at ArtHaus in Decorah. Post-college, each was planning to go to graduate school for music performance and pursue a career as a classical musician, but all that changed after that first show.

“The combination of how extremely satisfied and full we both felt, as well as the overwhelming support and positive feedback we got from the audience – people whose opinions we trusted greatly – made us feel as though this was no longer something we ‘just did for fun,’ but something we could do more permanently,” Olivia says. “We couldn’t really believe we were considering taking a different path than we had envisioned, but we knew it was what we really wanted.”

The two had only written a few songs together before that performance, and they knew they had a lot of work ahead of them if it was going to work.

“I had very little experience in the music industry, but my passion for the DIY, grassroots movement really gave me confidence that The OK Factor had what it takes to go somewhere,” Karla says.

They planned to move to Minneapolis the summer after graduation, and explored regional performance possibilities.

“I found applications to the Iowa State Fair and Stone Arch Bridge Festival,” Karla says. “We were both surprised to discover that by the end of our senior year we had been accepted to play at both events. This boosted our confidence to find other places to play throughout the summer.”

Cold calls and asking around landed them a full performance schedule for the summer of 2013.  They had gigs lined up at jazz clubs, weddings, wineries, and more.

Next came the goal of recording a full-length album – with a writing method that isn’t exactly traditional.

“We just sit down and make it up,” Olivia says, only half joking. “We never write anything down.”

While they were still working on the album, Karla migrated from the Midwest back home to Georgia. Long-distance composition seems like it would be impossible, but, luckily, they worked it out.

“It’s not this way friendship-wise, but musically, we know exactly where the other fits in,” Olivia says, smiling.OKFactorLogo

“Musically, we can finish each other’s sentences,” Karla agrees.

One of them brings up an idea and the other fills in their part.

“We send arrangements back and forth, piece by piece,” Olivia says. “Karla will start with the melody and I will add harmony and a baseline and Karla mixes it all on her computer.”

As a tribute to their beginning, they named their first album, released in February of 2014, after Decorah’s main drag: Water Street. Most of the tracks – such as Switchback and Trout Run ­– are inspired by the area.

“Trout Run evokes the feeling you get when you think about Decorah – Trout Run Trail, switchbacks over the cornfields, and that feeling of grandeur when you’re looking out over the bluffs,” Karla says. “The beauty of the Driftless Region.”

It was this connection to the Driftless Region that kept the two connected.

“Water Street was really the glue that held us together through the summer, and pushed us through the nine-month long distance from Atlanta to Minneapolis this past fall,” Olivia says.

Going forward, the two will continue to be in different cities – Karla’s moving to Colorado and Olivia’s staying in Minneapolis – but don’t worry: The OK Factor will be okay.They’ve already got gigs and plans set for the this fall, including a new EP and a music video.

 “We trust our instincts and try every way possible to spread the word and get our music out there, because we believe in it. We also take risks and get out of our comfort zones, taking what would be ‘long shot ideas’ and going for them,” Olivia says. “Our motto has been, ‘If you don’t ask, the answer is always no.’”

The two, unknowingly, leave the obvious pun – and perfect life lesson – hanging: When you do ask, sometimes the answer is – what else? OK!

To check out The OK Factor and listen to their music, visit or Like and follow them Facebook and Twitter to enjoy the sometimes silly things they post after long hours on the road.


Ingrid_BioFall14Ingrid is a recent Luther College graduate and has been inspired enough by Decorah to stay. She remembers Luther’s Chips newspaper covering The OK Factor’s first performance at ArtHaus and had a great time catching up on what they have been doing since.

‘Red Barns and White Clouds Are Not Always Stereotypes’


An exhibition of life and purpose by artist Dean Schwarz

Story and Photos by Kristine Kopperud Jepsen

HarryBaumertDeanPotAcquainting one’s self with potter Dean Schwarz isn’t as simple as looking at his finished works, neatly numbered and named. To get his particular sense of craft-as-life, you really need to hear his narrative: A looping, mingling romp through the history of functional studio pottery – and the life he and his family have built around it.

Spend enough time immersed in creative expression, Schwarz suggests, and you’ll find that it’s not just the work that remains, but the shape of a whole life and the lives it’s touched. This degree of dedication can also, on occasion, connect the lives of two different artists in different times – such as Dean Schwarz and painter Marvin Cone – without their ever having met. (Photo at right by Harry Baumert.)

Cone, a prolific life-long painter, lecturer and community advocate, studied and traveled, first as an interpreter of French in the military in World War I, but his roots were, like Schwarz’s, always twined in Cedar Rapids, where he was born. In all, Cone spent four decades teaching at Coe College there, founding the art department in the process.

Over the past three and a half years, more than five decades into his own vocation as artist and teacher, Schwarz has created a distinct series of pots inspired by Marvin Cone’s paintings – 512 pieces, to be exact.

The exhibition, “Marvin Cone On My Mind: The Ceramics of Dean Schwarz,” pairs many of Cone’s works with Schwarz’s pottery, creating a unique conversation between the two media and the two artists. The exhibit will be housed at the Cedar Rapids Museum of Art, March 15 through November 2, 2014.

“Growing up in Cedar Rapids, I was aware of Marvin Cone ­– and his good friend [widely known ‘American Gothic’ painter] Grant Wood – even though I was more into athletics,” Dean says. In retrospect, Dean knew he had been introduced to art growing up, but he never planned to become an artist. Ever the athlete, he went to the University of Northern Iowa – at that time Iowa State Teacher’s College – on a basketball scholarship. It was there that he first got his hands in clay.

“I was required to take a class called ‘Man and Materials’ in college. And voila! To my great surprise, I found the same excitement in using my hands to make pottery as moving a basketball on the court,” he says.

He also met another love in college – his wife, Geraldine (Gerry). After earning a masters degree, finishing his navy stint and teaching one year in Independence, Iowa, Dean spent his first of three summers at pond farm in California. He was about to embark on an influential alliance with mentor and master potter Marguerite Wildenhain, utilizing the functional artistry embraced by her masters’ school, the Bauhaus of Weimar, Germany.

Following Wildenhain’s example, the Schwarzes – with fellow Luther College professor and Decorah art-gallery owner Doug Eckheart – established South Bear School in the summer of 1970. In the tiny hamlet of Highlandville, Iowa, on the banks of South Bear Creek, a 14-room former hospital became the first home for South Bear’s master classes, apprenticeship program, and momentous community in pottery and other arts. After six summers, the art outgrew the space, and South Bear School was moved – with the infusion of new collaborators, the John Nellermoe family – to the former Aase Haugen retirement home, a 65-room facility on a dead-end drive in a wooded valley southwest of Decorah.

(Schwarz family photo circa 1972 by Joan Liffing Zug-Bourret.)

The school followed the European Bauhaus model of apprenticeship, in which children serve as craft apprentices from ages 12 to 18. The Schwarzes raised their six children – Bill, Gunnar, Lane, Jason, Sheela, and Nan – at South Bear, and each was required to study pottery – or another functional art – each summer with the older students enrolled.

“That’s just what we did,” says Gunnar, who threw many of the medium and large (up to 40-inch) pots in the CRMA exhibition – saving Dean’s ailing back. Gunnar and Lane have been making a living in the studio, adjacent to their dad’s, since the mid ‘80s, and all the Schwarz siblings are ‘proficient’ in pottery, as Gerry says, whether they profit from it professionally or not.

GreenKitchenThe work ethic and immersion experience seem to have gotten into the Schwarz DNA. Daughter Nan studied art on scholarship at the University of Iowa with interest in photography, and her work appears throughout South Bear School. Today, she performs acupuncture and Chinese medicine through her private practice, Nanarita, in Seattle, and says artistic value plays into her everyday activities. “It feels like everything I know about artistic flow, movement, and consideration weighs in on any diagnostic evaluations I make when considering a patient,” she writes via e-mail. “Form and function should be recognized in every aspect of your life. And there is nothing more functional than the human form.”

Similarly, son Jason did some of his childhood apprenticeship in fiber arts and is now the editorial associate of South Bear Press (, a publishing company begun by Dean and Gerry as a vehicle for their research. He threw a series of bowls for a friend’s wedding reception, and though the intent was for guests to take them home, they turned out so beautifully that the bride and groom kept most of them. Daughter Sheena is the owner/director of Squirrel’s End Gallery in Iowa City, specializing in ancient Chinese artifacts, vintage decor, jade jewelry, and American pottery, paintings, and prints. Finally, son Bill teaches and is head coach of boys cross-country and track and field at Prairie High School in Cedar Rapids.

“It’s a pretty neat collaboration,” Gunnar says of working side-by-side with his dad, in his childhood home, this nexus of familial interests. He bikes to work in the summer, and cross-country skis out in winter. “There was a time when working there was more of a mentorship, but we’ve always been encouraged to grow into our own expression. So, sometimes Dad will tell me about something he wants, if it’s a specific form, but most of the time it’s more like, ‘What do you want to do right now?’”

Years became decades of near-daily work in the studio, resulting in vast collections of pieces. In storage in the basement, on shelves floor-to-ceiling, this body of work is formidable as a library — but all upside down. “We store them that way to keep the bats out,” Dean explains, only half joking. “Otherwise, Gerry has to get in here with her terrific sniffer and ferret out the casualties.”TallPots

To their mutual credit and amusement, Dean and Gerry orbit each other comfortably, fact-checking each other and adding details the other skipped. They are lively bookends, as Gerry tries to keep Dean on task (such as eating lunch while it’s actually hot) and Dean pauses in his steady narrative to pull a date or name from Gerry’s encyclopedic memory.

Since he stopped traveling to and selling at art fairs nearly a decade ago, Dean has settled into a creative hermitage at South Bear, preferring to keep the studio and apartment at 50-odd degrees in winter and wearing, almost without exception, a pair of singular blue insulated coveralls. (He still plays competitive tennis each week with former colleagues at Luther – but also in blue coveralls, cut off at the shins.) Gerry, on the other hand, stays on her family’s farm near Mason City during the week while teaching writing and literature at North Iowa Area Community College and travels home on weekends.

DeanMary_Pot“She has a special relationship with the thermostat around here,” Dean says mischievously. “When she’s home, it’s suddenly jumped to 65!”

But beneath their banter, the Schwarzes take seriously the honest, earnest creative work that fills their days, not to mention the business of documenting it. Together they have authored and published several respected books through South Bear Press.

Each title is carefully researched with first-hand access to the artists, locations, artifacts, and artistic subject matter at hand, incorporating such experiences as the family’s time spent in South Korea, where Dean studied and taught ceramics as a Fulbright-Hays Research Fellow, and in Israel, where he was an on-site restorer of pottery on an archaeological dig. Dean also visited Japan, where he studied traditional pottery, and he made several trips to Panama, where he researched Pre-Columbian pots. Their 770-page compilation Marguerite Wildenhain and the Bauhaus: An Eyewitness Anthology, weaves together essays, memoirs, diaries, letters, interviews and other written documents by or about Bauhaus or crafts-related professionals. The project took them more than a decade.

“It makes perfect sense to me that my parents would eventually go into publishing, as they are both storytellers and believe in passing on the traditions that make them/us what we are,” Nan writes via e-mail.

Gerry notes that with such creative longevity, subjects and interests have a way of cycling back into their lives, inspiring new bodies of work. “You don’t really know you’re in a series until you’re in it,” Gerry explains, “and then there it is, all its own.”

TallPotDean’s Cone series ranges from two-inch-tall ‘mini’ pots thrown by Lane, to pots so tall and heavy that Gunnar and Dean had to work together just to lever and strap them safely into the kiln. (Photo at right by Harry Baumert.)

“When I got into Marvin Cone’s collections, I saw that he spent time with some of the subject matter – rural landscapes, elements of architecture – that I had been after, too,” says Schwarz, who, in the ‘70s, made a practice of hoisting himself – canvas and materials in tow – up any limestone outcropping to get some perspective on Northeast Iowa’s landscape. The mill stands tall over here. Expansive barns with hay lofts there. “As a person and an artist, Cone was ‘quiet,’ I think, but he was a great observer and brought out what he ‘saw’ when he looked at a bend in a river, or a homesteader’s barn. He seemed to get what was ‘going away’ and what would be lost with it. Most of all, his work was a love of place and spirit.”

Dean, now in his mid 70s, is keen to the precariousness of productivity. “The most difficult thing for me is that I cannot work harder, share more spirit, and develop new ways to live and love,” he says.

But, in reality, he’s still no slouch at celebrating and remixing the eclectic successes of his many friends, family, former students, and colleagues the world over. In his studio, he’s surrounded by totems – collages of artifacts, assembled like complex personas.

“That’s my dad’s welding mask,” he says, pointing to the wall above a bench of pots-in-progress. It’s mounted atop a canvas stunt suit – or straight jacket? – that, fyi, once belonged to Houdini-era escape artist and Decorah local Roy Jaegerson. “Both my parents were welders, actually,” he continues. “My dad was once told that his were the only seams in the construction of the Duane Arnold [atomic] Energy Center, near Cedar Rapids, that had no bubbles in them. He was quite proud of that.”weldingmask

On another wall, capped by a Panamanian sun hat, hangs a tweed duffle coat wrapped in cotton fishing net and bobbers Dean painted himself. In front hangs a walking stick carved by a former student; at the head, a tin dish Gerry once used panning for gold on a short stint in Alaska. “I’ll never get over the thrill of seeing or hearing or feeling something and remembering where you were when you first encountered it,” Dean says. “We have so much to learn from where we’ve been.”

DeanHatWallAfter a few beats, his thoughts turn back in the direction of the exhibition and the buzz it’s generating among former colleagues and students, many of whom haven’t seen him since he largely retired from lecturing and art fairs. “I’ll be really happy if people think [CRMA] is a good place to show this series, seeing it in direct relation to Cone’s paintings,” he continues. “That’s what I want.”

The exhibit commands two of the museum’s 16 galleries and involves nearly 100 of Schwarz’s pots, displayed in cases, with Cone’s paintings arranged on walls. The pairings were selected by CRMA interim director Sean Ulmer.

“Dean’s interaction with Cone’s work isn’t replication,” he explains, “as though he could take a Cone painting and wrap it around a pot. In some cases, the relationship is a familiar form – a barn or silo or field. Sometimes, the title of Dean’s piece references one of Cone’s lectures at Coe. Or, it might be an archetype – a portrait of an older MAN – that shows up in both works. To me, Dean is referencing Cone as teacher, as friend to Grant Wood, as a man in the community, Cone the artist. And, the show also contains works that are outgrowths, not related to Cone – where you can see a transmutation, where Dean is now a step away, or two steps away.”

Schwarz himself, however, seems never to have been far away at all, despite his pots and acclaim having reached galleries and collections all over the world.

“When my mother had died, and my father was dying, I would visit Cedar Rapids, and every time I drove away, about 20 minutes down the road, a profound depression would wash over me, knowing that their end meant I wouldn’t be ‘going back,’” he says. “This exhibition feels like coming home. I’m quite honored to do it.”


Kristine_Spring14Kristine Jepsen loved being immersed in the Schwarz’s world of functional studio pottery while writing this story. And she’ll be over the moon if she can produce anywhere near 512 related articles, essays, and other written works in her own career. When not tap-tapping at a keyboard for magazines and the Web, she works with Grass Run Farms, a grass-fed beed company she owns and manages with her husband.

The Boy and the Old Dam – By Dean Schwarz. Memories of an eight-year boy living in the heart of Cedar Rapids. Available In 2014.

Also available in 2014, a biography of Dean Schwarz written by South Bear School student and professional potter Brent Johnson.

Marguerite Wildenhain and the Bauhaus: An Eyewitness Anthology ISBN 978-0-9761381-2-9, and Centering Bauhaus Clay: A Potter’s Perspective, ISBN 978-0-9761381-5-0, both edited by Dean and Geraldine Schwarz, (Decorah, Iowa: South Bear Press, 2007).

Schwarz’s ceramics are owned by private collectors, museums and universities throughout the world, including, the Museum of Art and Culture (Wu Han, Hubei, China), University of Nottingham (Nottingham, England), Collection of King Olaf (Oslo, Norway), Pottery Museum (Mikawachi, Japan), Burg Giebichenstein (Halle, Germany) and the White House Collection (Washington, D.C.).