GREG HERTZLIEB ed., Domestic Vision: Twenty Five Years of the Art of Joel Sheesley, Lutheran University Press, 2008. ISBN-13: 978-1-932688-30-6
Domestic Vision is the catalog for the 2008 retrospective exhibition at the Brauer Museum, Valparaiso University, Valparaiso, IN. Museum Director Gregg Hertzlieb curated the exhibition. Authors for Domestic Vision essays are: Wayne Roosa, Lisa DeBoer, David Morgan, Daniel Siedell, and John Walford. The exhibition featured works dating from 1981 - 2006. The catalog includes color reproductions of all thirty three paintings in the exhibition.
JOEL C. SHEESLEY AND WAYNE C. BRAGG, Sandino in the Streets, Bloomington: Indiana University Press, 1991. xxvi + 117 pp. ISBN 0-253-35207-x.
*Discourse & Society, Vol. 4, 1993, “Sandino in the Streets,” Review by Lena Jayyusi.
“Sheesley’s and Bragg’s beautifully produced, slim volume includes a prologue by Ernesto Cardenal and an introduction by Jack Hopkins, the series editor, as well as an essay by Joel Sheesley….Both the essay and the book as a whole invite us to contemplate the nature and use of images, the readings and readabilities of visual inscriptions, and the character of political praxis.”
*Latin American Research Review, Vol. 29, No. 1, 1994, “Sandino in the Streets,” Review by Chuck Tatum.
…Sandino in the Streets is the result of a collaborative effort by four contributors: Joel Sheesley provided both color and black and white photographs and a pithy interpretative essay on the popular images of Sandino; Wayne Bragg edited the book and translated excerpts from Sandino’s memoir, El pensamiento vivo; Ernesto Cardenal contributed a short prologue; and Jack Hopkins situates the reader in the political and social revolution partly inspired by Sandino in his introduction, “Nicaragua: The Context of the Revolution.”
Sheesley’s essay, “The Image of Sandino in the Streets,” focuses on multiple levels of meaning in the thousands of public images representing Sandino. Sheesley notes that the composite image – made up of professional produced posters, stenciled images, and even hasty sketches – became a point of convergence for many national and political themes: “Calls to patriotism, to defense, to national integrity, to exercise the right to vote, to peace, to production, and to cultural and global awareness have all relied on the image of Sandino for support” (p.xxi). Before the FSLN insurrection of 1979, this image served as a sign of resistance and defiance of repressive established authority; later the Sandinista victory, the image was used to help consolidate revolutionary gains and to promote nationalism and pride. Sheesley comments perceptively on the different aesthetic meanings taken on by Sandino and his image. He is at once a folk hero and a national hero, a people’s symbol and a party symbol (p.xxv). As Sheesley observes, the appearance of Sandino’s image on walls, doors, and other public surfaces can be interpreted as artistic expression, historical witness, political propaganda, national hope, and even mythological longing.