Lincoln Marsh Journal is a book that reproduces all the paintings that were exhibited in "Landscape the Knowable Mystery," an exhibition of Lincoln Marsh landscapes coordinated by the Wheaton Park District and the Billy Graham Center in 2015.

My journal entries made while I was working on the Landscape the Knowable Mystery project are the text for Lincoln Marsh Journal.  Images and text together give the reader a glimpse into my year of observation of the Marsh and reflection on its significance.

Few copies of the book are still available, but inquiries may be made at the Wheaton Historical Museum in Wheaton. JOEL SHEESLEY, Lincoln Marsh Journal, Wheaton Park District, 2015. ISBN 978-1-933710-17-4  


Domestic Vision is the exhibition catalog from the 2008 retrospective exhibition of my work at the Brauer Museum at Valparaiso University.  

The book contains essays on my work by Lisa DeBoer, David Morgan, Wayne Roosa, Daniel A. Siedell, and E. John Walford.

Contact the Brauer Museum at Valparaiso University for copies of the book.  GREGG HERTZLIEB, Editor, Domestic Vision:Twenty-Five Years of the Art of Joel Sheesley, Lutheran University Press, 2008. ISBN-13:978-1-932688-30-6    


Sandino in the Streets was published in 1991 by Indiana University Press.  My photographs of Nicaraguan political graffiti that feature Augusto Cesar Sandino are featured in the book along with excerpts of text taken from Sergio Ramirez' 1981 Augusto C. Sandino: El pensamiento vivo.  Ernesto Cardenal wrote a prologue for the book and Jack W. Hopkins' essay gives context for the Nicaraguan Revolution of 1979.  Wayne G. Bragg translated Sandino's writing, helped me make connections in Nicaragua, and partnered with me on the organization of the book.

JOEL C. SHEESLEY AND WAYNE C. BRAGG, Sandino in the Streets, Bloomington: Indiana University Press, 1991. xxvi + 117 pp. ISBN 0-253-35207-x. 


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.

(Tatum, pp.206-207)