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Jun 6 2025

Poe and the Symbolists

By Cecil Campbell, exhibition and engagement student lead for the Main Library Gallery.

The Symbolist Movement took place in France and Belgium in the late 19th century as a response to styles that emphasized realistic and classical forms. Visitors to the Main Library Gallery’s spring 2025 exhibit, A Roll of the Dice: Symbolism in the Sackner Archive will note the wide variety of abstract and non-traditional art throughout the gallery. This is because the Symbolists believed that deeper meanings could be discovered through art that did not attempt to make sense of the subject through literal portrayal. Symbolism is still used by many artists today.

Though the exhibit focuses on works inspired by French Symbolist Stéphane Mallarmé’s poem “Un coup de dés jamais n’abolira le hasard,” we can see the influence of notable American poet Edgar Allan Poe in several pieces within the exhibit. The goal of Symbolist art is to use abstract visuals to represent specific concepts—anything from the mourning, uncertainty, or twisting anxiety we see in Poe’s poems to the breaking of barriers and boundaries in Mallarme’s “Un coup de dés.”

A small book featuring a title page in French that depicts an illustrated raven next to a window.
Contes grotesques par Edgar Poe. Translated into French by Emile Hennequin from the English by Edgar Allan Poe, illustrated by Odilon Redon. Paris: P. Ollendorf, 1882. Mabbott Poe Collection [PS2604.F5 H45 1882], Special Collections and Archives, University of Iowa Libraries.

Poe’s use of concepts like dreams, abstraction, and psychoanalysis made him very popular among the Symbolist crowd, especially with his focus on darker concepts. Charles Baudelaire was the first person to translate Poe to French, and Stéphane Mallarmé was the first to translate The Raven, specifically. Poe became an influential figure among the Symbolists for the way that he used imagery in his writing to communicate so clearly the themes of his stories. The Raven stands as an excellent example of this. Many of Poe’s stories center on a protagonist who carries on toward some sort of breaking point—a moment at which we realize that something about the story, whether it be the protagonist or the world around them, is no longer what it seems. In The Raven, for example, what drives our protagonist toward his mounting mental breakdown is the presence of the titular raven, who repeats the word “nevermore” over and over. The protagonist interprets meaning into this message—grief and dread, and inescapable loss, though these themes are never communicated directly to us.   

To quote scholar James Lawler on Poe’s Symbolist influence, “For Baudelaire he was ‘one of the greatest of literary heroes,’ for Mallarmé ‘the spiritual Prince of this age,’ for Valéry an ‘achieved mind’: Symbolists that stand at the beginning, middle, and end of a lineage are constant in their fidelity to Poe. They encountered half-secretly, each in turn, a stranger to the canon and found in him the key to their works, for he served Baudelaire against Hugo, Mallarmé against Baudelaire, Valéry against Mallarmé. Distinct from the native conventions, he provoked less violence or anxiety than the intimate ferment of self-recognition.” 

A Roll of the Dice: Symbolism in the Sackner Archive is open through June 27, 2025. Learn more about the exhibit and the Main Library Gallery’s open hours at lib.uiowa.edu/gallery. The Main Library Gallery is free and open to the public.   

May 12 2025

‘Hawkeye Histories’ at home

The fall 2024 Main Library Gallery exhibition, Hawkeye Histories | Sporting Stories, is now available to view online.


Click here to view the accessible version of this interactive content

The virtual tour is a self-paced journey through the exhibition. It features 360° photos of the Main Library Gallery, which allow the viewer to move from area to area. The exhibit text and the items on display are clickable, meaning transcripts and close-up views of many objects are available along with information from curator Dr. Jennifer Sterling.

To read about the specific items on display in the Main Library Gallery for Hawkeye Histories | Sporting Stories, check out the exhibition guide online. To see the virtual version of this exhibit in full screen, click the full screen icon in the lower right corner of the tour preview above, or visit the exhibit here.

More about this exhibit:

From Nile Kinnick to Caitlin Clark and Duke Slater to Christine Grant, Hawkeyes have been breaking records, navigating barriers, and making sports history since the University of Iowa’s first teams emerged in the late 1800s.

Curated by Dr. Jennifer Sterling, Hawkeye Histories | Sporting Stories examines the role sports has played at Iowa throughout the changing landscape of intercollegiate athletics and explores Iowa’s first men’s and women’s teams at the turn of the 20th century, the emergence of big-time men’s sports in the mid-1900s, and the rise of women athletes from the 1970s onward.

Thank you to the University of Iowa Pentacrest Museums for partnering with the Main Library Gallery to make this virtual experience available.

May 2 2025

Remaking rules: artist interpretations of  “Un coup de dés”

By Cecil Campbell, exhibition and engagement student lead for the Main Library Gallery.

Written by French Symbolist poet Stéphane Mallarmé, “Un coup de dés jamais n’abolira le hasard” has confounded and inspired artists and poetry enthusiasts for over 128 years. The reason for this is attributed to the way the words in the poem are arranged as well as the words themselves. The poem tells the story of a shipwrecked sea captain, left to ponder his fate and brought face-to-face with the punishingly uncertain nature of existence.

While not the first, “Un coup de dés” is one of the more famous examples of concrete poetry. As defined by art collector Marvin Sackner, concrete poems are “those in which only letters and/or words are utilized to form a visual image.” “Un coup de dés” switches typefaces and font sizes, and words are scattered over large expanses of blank white space.

“Un coup de des jamais n’abolira le hasard” by Stéphane Mallarmé, as published in Cosmopolis (Magazine). Originally published in London, England, May 1897. Note the differing typefaces and font sizes for this poem, which is meant to be read across the gutter of the page. Photo: Sara Pinkham.

Mallarmé was one of the first poets to suggest that words on a page contain information beyond the ideas the words represent. How the words looked on the page also brought meaning. Indeed, many artists have taken inspiration from “Un coup de dés” by changing the visual aspects of the poem in some ways by altering not only the text but the physical material of the poem, like the interpretation below from Michalis Pichler, etched onto plexiglass panels. The clear medium calls extra attention to the negative space between the words and invites the viewer to meditate on the relationship between the words and the page.

Un coup de dés jamais n’abolira le hasard (SCULPTURE) by Michalis Pichler, 2008. Laser-etched plexiglass. Ruth and Marvin Sackner Archive of Concrete and Visual Poetry, Special Collections, University of Iowa Libraries. Photo: Tim Schoon, University of Iowa Office of Strategic Communication.

An interpretation by German artist Ernest Fraenkel obliterates the text completely, drawing attention to the way that the words flow across the page by physically connecting them with red ink.

Les Dessins Trans-conscients de Stéphane Mallarmé: à propos de la Typographie de Un Coup de Dés by Ernest Fraenkel, 1960. Ink on paper. Ruth and Marvin Sackner Archive of Concrete and Visual Poetry, Special Collections, University of Iowa Libraries. Photo: Sara Pinkham.

 “Un coup de dés” continues to contribute to a long artistic tradition of breaking and remaking rules. It subverted conventions and has had readers debating the meaning of the poem for years. Artists and poets continue challenging viewers by obliterating the text of the poem, drawing over it, cutting the words out, and printing it on glass, on literal dice, or on vinyl instead of paper. Much like the chaotic nature of chance itself, it invites artists, readers, and fellow poets to reckon with the true nature of poetry and art.

These materials and more can be viewed in the Main Library Gallery’s spring 2025 exhibition, A Roll of the Dice: Symbolism in the Sackner Archive. It is free and open to the public through June 27, 2025. Learn more about the exhibit and the Main Library Gallery’s open hours at lib.uiowa.edu/gallery.

Mar 26 2025

Cecil Campbell joins Main Library Gallery team

Portrait of Cecil Campbell, a student employee who is wearing a colorful outfit and has colorful hair.

The University Libraries is excited to welcome Cecil Campbell as the first exhibition and engagement student lead for the Main Library Gallery.

This new student position was created to be a key member of the gallery’s team. Cecil will assist with a little bit of everything, including exhibition preparation and installation, campus and community outreach, events and programs, and leading guided tours for various age groups. Cecil is earning a Bachelor of Arts with a double major in creative writing and art history alongside a certificate in museum studies.

With an interest in GLAM (galleries, libraries, archives, and museums) as a career pathway and a strong background in public speaking, customer service, writing, and art, he is thrilled to take an active role in shaping upcoming exhibit and program experiences for fellow students and community visitors.

“I appreciate the objects contained in library and museum spaces because of the stories that they tell and the history they hold,” said Cecil. “I’m excited to learn how to plan an exhibit, to install it, and to learn how running a gallery works!”

Outside of the Libraries and class, Cecil enjoys cooking, making art through a variety of mediums, and being a member of the University of Iowa mock trial team.

Mar 24 2025

Bringing exhibitions to life: behind the scenes of ‘A Roll of the Dice’ with designer Lauren Coghlan 

By Sara J. Pinkham and Krista Hershberger

UI Libraries Creative Coordinator Lauren Coghlan. Photo: Isabella Cervantes for The Daily Iowan.

As the creative coordinator for the University of Iowa Libraries, Lauren Coghlan manages visual design across all seven libraries, creating everything from print materials to signage. As an artist, Lauren is always especially excited about one of the more unique challenges of the job: creating the look and feel for Main Library Gallery exhibitions. 

“As the exhibit designer, it’s my job to create and facilitate production of all printed collateral for each exhibit,” explains Lauren. This includes the panels inside the cases and on the walls, vinyl on the walls and windows, exhibit guides, artwork labels, posters, digital slides, and any other pieces unique to a specific project. Lauren loves that no two exhibits are the same. “I have total creative freedom and it’s great to be more artistic and work with my hands more,” she explains. 

While guest curators for each Main Library Gallery exhibit research, select objects for display, and write the educational narrative, Lauren ensures that the presentation is visually compelling and immersive through graphic design. 

“The overall feel of the exhibition is a collaboration between myself and the curator,” says Lauren. “The curators often have some idea of what they are looking for, but it’s my job to interpret those ideas into a cohesive look for each exhibit.” 

Lauren brainstormed design concepts with guest curator Rich Dana, the Sackner Archive Project coordinator librarian for Special Collections and Archives, for the spring 2025 exhibit, A Roll of the Dice: Symbolism in the Sackner Archive. She chose a bold aesthetic with red and black colors, and was influenced by specific objects in the exhibit and by Dadaism, the broader art movement which inspired some of the works on display. 

Rich Dana and Lauren Coghlan preparing vinyl for installation in A Roll of the Dice: Symbolism in the Sackner Archive. Photo: Sara Pinkham.

A Roll of the Dice follows the influence of an 1897 work by French Symbolist poet Stéphane Mallarmé. His avant-garde poem “Un coup de dés jamais n’abolira le hasard” [A throw of the dice will never abolish chance] ultimately contributed to graphic design as we know it today by challenging print design customs of the time. The pioneering poem later lent itself well to Dada artwork and showed up frequently during this brief movement in post-World War I Europe (ca. 1915-1922). Like the poem itself, Dadaism challenged traditional notions of beauty and form through art. Since its publication, artists and writers have continued to explore the mystery of “Un coup” and its revolutionary layout by reprinting and creating their own versions of the poem, or crafting works influenced by it, through a wide variety of mediums.  

“I was inspired by the design of many covers of ‘Un coup,’ many of which feature a white background, black and red borders, and red and black text,” says Lauren “On a broader level, I was inspired by Dadaism. Dada designers often used black, white, and red elements along with bold, condensed typefaces in their designs.” 

Once design is finalized for an exhibit and printed panels have arrived, Lauren also helps with installation alongside other Libraries colleagues. Exhibit production for the Main Library Gallery involves a core project team that works for months ahead of opening day. Exhibition and Engagement Coordinator Sara Pinkham manages the production process and logistics for each exhibit from start to finish, along with directing day-to-day gallery operations. Conservator Technician and Exhibit Preparator Bill Voss starts building custom display mounts for each object weeks before installation begins, ensuring that materials selected by curators are shown safely and elegantly. University Conservator Giselle Simón determines conservation treatment needs for materials ahead of display, handles necessary framing, and helps facilitate item loans. Giselle, Bill, and their colleagues in Conservation and Collections Care carry out prescribed treatments before exhibit installation. This can mean careful removal of adhesives, binding repairs, gentle cleaning, and more depending on the conditions of the selected materials.   

Lauren Coghlan working in her large vinyl installation of Stéphane Mallarmé’s poem “Un coup de dés jamais n’abolira le hasard.” Photo: Sara Pinkham.

A Roll of the Dice featured a few unique endeavors for the Main Library Gallery, including an extensive vinyl installation around the inside perimeter. Lauren designed, printed, and applied the vinyl, along with support from the team. 

“This piece required a lot of forethought, but seeing it come together—and that my math was correct—was fun,” Lauren remarks. “I also conquered my fear of ladders after having to be on one for over twelve hours to place the vinyl on the walls.” 

When asked what advice she would give to graphic design students working with larger physical spaces, Lauren emphasized accessibility and user experience along with logistical preparation. 

“Put accessibility into the forefront of the design process,” she says. “This includes thinking about the space needed to maneuver wheelchairs, placing wall panels at accessible heights, color contrast for increased legibility, and choosing font sizes for effective reading. I am always learning about how I can increase accessibility in my work, and I encourage others to do the same. I also strongly recommend taking the time to create to-scale mockups of the space you’re designing for. I’ve found it extremely helpful to have all decisions about installation layout and measurements made before installation begins.” 

A Roll of the Dice: Symbolism in the Sackner Archive is open through June 27, 2025. Learn more about the exhibit and the Main Library Gallery’s open hours at lib.uiowa.edu/gallery. The Main Library Gallery is free and open to the public.  

Oct 17 2024

Exploring women’s Hawkeye Histories with the Iowa Women’s Archives

In curating Hawkeye Histories | Sporting Stories, Dr. Jennifer Sterling worked with the staff of the Iowa Women’s Archives (IWA) and the University Archives at the University of Iowa Libraries to select collection materials that bring Iowa’s athletic history to life. Many of those items help tell the story of Hawkeye women who broke barriers to make Iowa a leader on the national athletic stage.

Anna Holland, associate curator for the IWA, assisted with the exhibit by helping to find materials that tell the story of women in Hawkeye sports. Holland enjoys discovering what she describes as “eye-catching items that invite the viewer to imagine what it would be like to be there in that moment.” Below, she shares three objects on display in the exhibition that demonstrate women’s central role in Hawkeye Histories.

Table tents

One of Holland’s favorite items in the exhibit is a pair of table tents dating to the 1920s, used at a dinner to mark seats for Pauline Spencer and Julia Darrow, both accomplished student-athletes. The tents, which belong to the C. Pauline Spencer papers within IWA, are lettered and illustrated by hand. This sense of camaraderie and enthusiasm is one of the strongest throughlines connecting the IWA materials in the exhibition, according to Holland. “The time that must have been put into these custom drawings shows how much fun these athletes were having and how much they cared about their sport and each other,” she says. [IWA 0627]

Pins

This assortment of pins serves as a reminder of the many obstacles women athletes took on to combat gender inequality. Among Holland’s favorites are those that represent the Association for Intercollegiate Athletics for Women (AIAW). “The AIAW was constantly battling for women’s equality in sport and for its own existence in an NCAA-dominated landscape,” says Holland. “I like to imagine women defiantly wearing these pins.” She also appreciates some of the declarative slogans—including “I’m a sportswoman and proud of it!”—that appear in the Holly Wilson Greene papers.

Dr. Christine Grant cut-out

Dr. Christine Grant was the University of Iowa’s first director of women’s intercollegiate athletics, beginning in 1973 after Title IX was signed into law. She continued in the role for 27 years, working tirelessly to lay the foundation for today’s record-breaking women’s teams. During the height of the pandemic, when stands were empty at sporting events, this cut-out of Grant was used to encourage athletes. When sporting events re-opened, the cut-out was donated to the IWA. When it’s not in Hawkeye Histories, it’s occupying a place of honor in the IWA reading room. “I love having Dr. Grant in the Archives ‘watching’ us all work,” says Holland. “I’m just really thrilled to be able to share her with others.”

Holland hopes that visitors to the exhibition will come away with a renewed interest in preserving pieces of their own history. “What we have in the Archives is thanks in great part to Iowans who kept their papers,” she says. “I’d like people today, particularly student-athletes, to think about what they are saving.”

There’s so much more where these materials came from. If you’re interested in learning more about the history of women’s athletics at Iowa, Holland recommends beginning with a visit to explore records and collections from the three leaders listed below.

Learn more

  • Christine Grant, the first and only head of women’s athletics at the University of Iowa
  • Lark Birdsong, the first head coach of Iowa’s women’s basketball program
  • Nadine Domond, a Hawkeye women’s basketball star who played under Coach C. Vivian Stringer and had a career in the WNBA
Oct 9 2024

In the making: Soccer star Samantha Cary talks about her jersey’s inclusion in ‘Hawkeye Histories | Sporting Stories’

A white jersey with light green accents, a lavender Nike symbol, a patch for the Racing Louisville team, and large sponsor logos featured for GE Appliances and Toyota.
Samantha Cary loaned her Racing Louisville jersey to the Main Library Gallery exhibition.
A white jersey with light green accents, a lavender Nike symbol, a patch for the Racing Louisville team, and large sponsor logos featured for GE Appliances and Toyota.
Samantha Cary loaned her Racing Louisville jersey to the Main Library Gallery exhibition.
A white jersey with light green accents, a lavender Nike symbol, a patch for the Racing Louisville team, and large sponsor logos featured for GE Appliances and Toyota.
Samantha Cary loaned her Racing Louisville jersey to the Main Library Gallery exhibition.

When Dr. Jennifer Sterling of the Department of American Studies and the School of Journalism and Mass Communication took on the role of curator for the Main Library Gallery’s fall 2024 exhibition, Hawkeye Histories | Sporting Stories, she knew she’d have over a century of material to sort through to tell the story of athletics at Iowa. She was also aware that some of the materials she sought—items with their histories still unfolding—would need to be borrowed from their owners.

Samantha Cary on the soccer field in a gold Hawkeye uniform mid-kick.
Samantha Cary playing for Iowa in the 2023 NCAA Tournament Second Round. Courtesy of University of Iowa Athletics.
Samantha Cary on the soccer field in a gold Hawkeye uniform mid-kick.
Samantha Cary playing for Iowa in the 2023 NCAA Tournament Second Round. Courtesy of University of Iowa Athletics.
Samantha Cary on the soccer field in a gold Hawkeye uniform mid-kick.
Samantha Cary playing for Iowa in the 2023 NCAA Tournament Second Round. Courtesy of University of Iowa Athletics.

One of these loaned items is a piece of recent sporting history: Samantha Cary’s soccer jersey. In January 2024, Cary became the first Hawkeye to be drafted to the National Women’s Soccer League (NWSL), joining Racing Louisville before moving to a top Swedish soccer club. While at Iowa, the all-time minutes leader was also awarded the honor of Scholar All-American for her academic performance.

Early in the curation process, Sterling knew she’d like to include the jersey, which she says provided an opportunity to expand on the stories of Iowa players recruited to professional leagues.

In the Q&A below, Cary discusses the transition from Iowa to life as a professional athlete and offers a glimpse of Hawkeye history from one of its recent stars.

What was the journey from Iowa to Kentucky to Sweden like?   

The past year has been an absolute whirlwind in the best possible way. After leaving Iowa and graduating I knew I always wanted to continue my career by playing pro. I entered my name in the NWSL draft and was fortunate enough to be the first Hawkeye drafted by Racing Louisville. I spent the next two months training and playing in Louisville in the NWSL, which was a dream come true. But then I was given the opportunity to sign a contract overseas in Sweden’s top division. This was a hard decision to make, but I couldn’t pass up the opportunity to travel the world and experience soccer overseas. So in March 2024 I moved to Sweden and have had a dream of a rookie year as a pro. 

What are a couple of your favorite stories about your time playing for Iowa?  

Playing at Iowa was one of the best experiences of my life. I have had so many highs, such as winning two Big Ten tournament titles and making it to three NCAA tournaments. But my favorite stories are the ones in the locker room and behind the scenes. I will always cherish the relationships I built with the staff in our weekly “Coffee with Cary” check-ins. I will never forget the 2021 season and working as a group to turn an 0-7-1 start into the first Big Ten Title. And I will never forget the laughs and dance parties in the locker room before games to get us excited and ready to go. 

How did your experience at Iowa prepare you for Louisville and Sweden?   

Playing at Iowa is the reason that I am a pro. It was the coaches and staff who were the first people to truly believe that being a pro was a possibility for me, and they pushed me every day to make it a reality. The team and the program knew my dream of being a pro and helped rally around it, not only challenging me to be a better player, but to help me grow my mind and my habits to lead me to a successful pro career.  

How do you feel about being Iowa’s first NWSL draftee? Why was this important for you, and for the Hawkeyes?

Being Iowa’s first draftee is something I am beyond proud of, but I know that it is due to the village that helped support me through my five-year Iowa career. Being challenged, pushed, and supported everyday by the Hawkeye community is the reason I was able to achieve this feat. This is extremely important to me, however, because of the recognition it allowed Iowa to have in the soccer community nationally. The Iowa program is often undeservedly an underdog in the soccer community, and being drafted was a way to shine a much-needed light on the Iowa program. 

What did you think when Sterling reached out about including your jersey in the exhibition? 

I was super thankful when [Sterling] reached out about my jersey being featured in this exhibition because the history of Iowa’s women’s sports is so special and rich, and the soccer program has earned a right to be a part of that history. By being included in this exhibit it will help cement the impact the Iowa soccer program has had on the university and highlight one small accomplishment out of so many. 

According to Sterling, these items form an integral part of Hawkeye Histories and remind visitors that current events will become histories too, gaining new resonance in the future. “It’s exceptionally important to continue to track recent histories and collect related materials for future research,” says Sterling.

To see Cary’s jersey and other Hawkeye Histories up close, visit the Main Library Gallery during the fall 2024 semester.

Oct 9 2024

In the making: Hannah Sieperda is proud to see women’s wrestling headgear in ‘Hawkeye Histories | Sporting Stories’

The right side of the wrestling headgear worn by the Hawkeye women's wrestling team in the NCWWC features a Tigerhawk logo.
The right side of the headgear worn by the Hawkeye women’s wrestling team in the NCWWC features a Tigerhawk logo.
The right side of the wrestling headgear worn by the Hawkeye women's wrestling team in the NCWWC features a Tigerhawk logo.
The right side of the headgear worn by the Hawkeye women’s wrestling team in the NCWWC features a Tigerhawk logo.
The right side of the wrestling headgear worn by the Hawkeye women's wrestling team in the NCWWC features a Tigerhawk logo.
The right side of the headgear worn by the Hawkeye women’s wrestling team in the NCWWC features a Tigerhawk logo.

When Dr. Jennifer Sterling of the Department of American Studies and the School of Journalism and Mass Communication took on the role of curator for the Main Library Gallery’s fall 2024 exhibition, Hawkeye Histories | Sporting Stories, she knew she’d have over a century of material to sort through to tell the story of athletics at Iowa. She was also aware that some of the materials she sought—items with their histories still unfolding—would need to be borrowed from their owners.

One of Sterling’s favorite loaned items in the exhibition is headgear worn during the women’s wrestling team’s record-breaking 2023–24 season. With its championship backstory, this Hawkeye women’s wrestling headgear occupies a place of honor in the exhibition.

The left side of the wrestling headgear shows two lines, symbolizing the team's aspirations, and says IOWA.
The left side of the headgear shows two lines, symbolizing the team’s aspirations.
The left side of the wrestling headgear shows two lines, symbolizing the team's aspirations, and says IOWA.
The left side of the headgear shows two lines, symbolizing the team’s aspirations.
The left side of the wrestling headgear shows two lines, symbolizing the team's aspirations, and says IOWA.
The left side of the headgear shows two lines, symbolizing the team’s aspirations.

According to Sterling, “The fight for girls’ and women’s inclusion in wrestling—and their success—is also part of a rich legacy of advocating for women’s equity in athletics at Iowa.”

In March 2024, the Hawkeye women’s wrestling team brought home the team title from the inaugural National Collegiate Women’s Wrestling Championships (NCWWC), and six of its wrestlers became national champions. Hannah Sieperda, the program’s director of operations, was proud to join them for the journey.

Below, Sieperda shares her perspective on the exhibit and a landmark year for Hawkeye women’s wrestling.

What did you think when Sterling reached out about including some items from women’s wrestling in the exhibition?  

I was really excited when [Sterling] reached out about including items from the women’s wrestling program. It’s a great opportunity to highlight the contributions of what our women are doing in this sport and to showcase their impact on women’s wrestling in the state of Iowa. I also worked at the Iowa Athletics Hall of Fame and Museum during my undergraduate studies, so I was excited to be part of the curating process for an exhibit. 

What is important about the headgear and the proclamation on display in the exhibit? 

The headgear is a meaningful item that we provided to the women for their first postseason competitions. It’s important as a staff to ensure that every piece they received from the program features the Iowa Women’s Wrestling brand or the Tigerhawk logo above a designated line. This line, one of two you can see on the headgear, represents the standard of women’s collegiate wrestling, and that we aim to rise above it—not just as athletes, but as students, community leaders, and advocates for our sport. Each time our athletes wear it, they embody the pride and legacy of the University of Iowa and our women’s wrestling program. 

The proclamation serves as an official recognition of women’s wrestling in the state of Iowa. It not only highlights the dedication and hard work of the athletes but also celebrates the progress and achievements of the program we are building here at Iowa. 

What are a couple of favorite stories from your historic first season?  

One of my favorite stories from our historic season is the incredible resilience our team showed at the National Wrestling Coaches Association (NWCA) National Duals. In freestyle wrestling, which is different from the men’s folkstyle, even if you lose a match but score a point, you contribute to the team’s score. In a tough finals dual, we came from behind and secured a 21-20 win thanks to one of our athletes scoring a crucial point, despite losing her match. It was a powerful reminder that every point matters and showed the heart and determination that define our program. 

Another unforgettable moment was watching our young women win national titles at the NCWWC, competing against seasoned athletes. Their journeys, from day one to the championship, captured the spirit of perseverance and showcased the immense potential of our young program. These moments truly laid the foundation for our team’s future success.

According to Sterling, the work of curation is partially about preserving the present. “We should continue to adapt collection and curatorial practices for an increasingly digitized future,” she says, “So that we can continue to preserve, research, and share these important stories.”

To see the headgear that took Hawkeye women’s wrestling through a banner year and see other Hawkeye Histories up close, visit the Main Library Gallery during the fall 2024 semester.