OCTOBER/NOVEMBER 1993 complimentary VOLUME 8, ISSIE 1

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» w % CONTENTS: ART, ENRICHED FLOUR, ARTICLES, VEGETABLE SHORTENING, PHOTOGRAPHY, SALT, TYPOGRAPHY, SUGAR, ARTIFICIAL COLORING (PANTONE™ 299U BLUE). MAY CONTAIN ONE CUSTOM FURNITURE & LIGHTING OR MORE OF THE FOLLOWING: INTERVIEWS, ADVERTISMENTS, SOY LECITHIN, CLEVER ANECDOTES, SQUID, INFORMATION, RIBOFLAVIN, ILLUSTRATIONS, PROPIONATE ADDED TO RETARD SPOILAGE.

Studio Visit: Evan Lewis 16 —Leslie Fedorchuk On the Road: Artists and Art Fairs 20 —Barbara Reinhart A Winning Kiss 24 —Anne Siegel From Art to Culture 38 —Linda Courbin Pardee

CHRISTOPHER POEHLMANN

P.O.BOX 93060 'MILWAUKEE W I . 5 3 2 0 3 414.226.9952 AGOG Arts, Grants, Opportunities, Gossip. 7 Post Facto 12 Calendar 28 Madison / Chicago Calendar 36 Sideshow. 37 FINE ART LETTER FROM THE EDITOR When Art Muscle was first published seven years ago, it was to "...introduce the people of Milwaukee and Wisconsin to its artists.. .to reach a broader spectrum of readers than those who regularly engage in the activities and literature of the arts..." Implied here is something of which I have become convinced over the past several years; to remain relevant and vital, the arts need to communicate to a greater segment of the population than in the past. In the twentieth century, art's preoccupation with its own forms and methods generated a need for a specialized audience and has seriously eroded wider accessibility and the art's intrinsic value to society-at-large. (Ever wonder why arts funding is always at risk and why artists are frequently asked to do things for free?) The pre-existing discussions between artists, critics, and academics often seems stale and bears little relevance to every day life.

Re-establishing relevance for the arts means that we have to rethink some things: What would an expanded art audience consider relevant? Will artists continue to assume an elite status from which they inform the public? Or, will they enter a dialogue withxhc public, which presumes a position of equality? The way we discuss the arts is also at issue. Can we be serious about expanding our audience if we cloak our "pluralism" in esoteric word-play? In fact, will we let new participants in the arts speak with their own voices? Yaffa Sikorsky Todd & Jeffery M. Todd "New Works In Glass7' The questions raised here are are not unique to me or Art Muscle. They are being Robert Van Bellinger addressed with varying degrees of success by artists and arts organizations every­ 77 where. However, that they have been asked for the past seven years by the staff at "New Works In Watercolor Art Muscle is one of the main reasons I wanted to work here. Opening Reception: October 1—November 13 Friday, October 1, 6-8pm • Artists will be present In order to be as responsive to our readership as possible, we will continue to expand our coverage of the arts throughout the state. We also invite your participation in the magazine. Beginning with this issue we will publish the general theme or a topic we will consider in the next issue. To be considered for publication, you may send your essays, poems, letters, and/or visuals responding to this topic by our deadline. We want Art Muscle to be a forum, and this requires your involvement. See the opportunities section, and let us hear from you.

GALLERY LTD'^—u—1^7 On the cover: Detail from Worry Book, 1992, by Deb Generotzky. 1400 WEST MEQUON ROAD • MEQUON • 241-7040 "This project sprang from my interest in cross cultural spiritual practices which function outside mainstream religions. The phrases are distillations of various past and present rituals. The purpose of these rituals is to obtain 'good luck' or protection." 2 Art Muscle Mm

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Con La Vista Al Sur (With A View To The South) 27" x 19" Acrylic on Paper Francisco X. Mora Paintings and Lithographs Santa Fe Gallery 2608 Monroe Street Madison, WI 53711 608 • 233 • 4223 800 • 336 • 1469 SUZANNE WOODS editor

THERESE GANTZ associate editor

FRANCIS FORD photo/shoe editor

MEGAN POWELL calendar editor

THOMAS FORD art director

CHRIS BLEILER design

OP ANGEL FRENCH Gallery of Wisconsin Art, Ltd. advertising & circulation director GEORGE MELCHIOR Introducing a collection of paintings by sales & circulation

RICK KARTZ Steve Warfel marketing intern BOBBY DUPAH <*rjLife! & the Pursuit of Happiness'' associate editor emeritus THERESE GANTZ DEBRA BREHMER October 15 - November 6 publishers

Printing by Port Publications Opening reception to meet the artist 5 to 9 p.m. on Friday, October 15 (Gallery Night) 931 East Ogden Avenue, at the corner of Ogden and Astor FRIENDS OF ART MUSCLE Milwaukee, WI 53202 Perry Dinkin Ellen Checota Barbara & Jack Recht Barbara Kohl-Spiro (414)278-8088 Gallery hours: Jim Newhouse Thelma & Sheldon Friedman Monday - Saturday 10 to 5 Natalie Soref, proprietor Mary & Mark Timpany Theo Kitsch Gerald Pelrine Tina Peterman Richard & Marilyn Radke Richard Cler Patti Davis Robert Johnston Judith Kuhn Joel & Mary Pfeiffer Nicholas Topping Dorothy Brehmer C. Garrett Morriss Karen Johnson Boyd Roger Hyman William James Taylor Dean Weller Arthur & Flora Cohen KATIE GINGRASS GALLERY Remy David & Madeleine Lubar Sidney & Elaine Friedman Mary Joe Donovan CONTEMPORARY ART & FINE CRAFTS James B. Chase Nate Holman JEWELRY CURATED BY LINDA RICHMAN Bob Brue Ello & Guido Brink Taglin Enterprises/Access Milw James & Marie Seder Robert E. Klavetter Keith M. Collis Mary Paul Richard Warzynski Morton & Joyce Phillips Delphine & John Cannon Jim & Julie Ansfield Daniel S. Weinberg Sharon L. Winderl Dori & Sam Chortek Carole & Adam Glass Janet & Marvin Fishman Il lElr IC Diane & David Buck Christopher Ahmuty Julie & Richard Staniszewski Toby & Sam Recht Thomas A. Fulrath Kathryn M. Finerty I Konrad Baumeister L'Atelier, Inc. Narada Productions, Inc. Wolfgang & Mary Schmidt Margaret Rozga Cardi Toellner Hannah C. Dugan Nancy Evans Jordan R. Sensibar Ronald W. Turinske Janet Treacy Cheryll Handley-Beck Barbara Candy Bruce Jacobs Tim Holte/Debra Vest Jim Raab Leon & Carolyn Travanti Eric D. Steele Steven H. Hill Polly & Giles Daeger Arthur E. Blair Joan Michaels-Paque Richard & Julie Staniszewski Helaine Lane Judith Bogumill-Thafton Marilyn Hanson M. Maribeth Devine Egg Stanzel To become a FRIEND OF ART MUSCLE, send a check for $50 which entitles you to receive Art Muscle for two years and gets your name on the masthead!

SwfcS Art Muscle is published bi-monthly by Art Muscle-Milwaukee, Inc., 901 W. National Ave., P.O. Box 93219, Milwaukee, WI 53203, (414) 672- 8485. Third Class postage paid at Milwaukee, WI 53202 and additional mailing offices. Postmaster: Send address changes to Art Muscle, P.O. HOW OP Box 93219, Milwaukee, WI 53203. B lify i § Entire contents copyright © Art Muscle-Milwaukee, Inc. All rights ill reserved, except in reviews. Reproduction in whole or in part without permission is prohibited. Art Muscle is a trademark of Art Muscle- WEARABLE ART EXHIBITION '93 CONTINUES THROUGH DECEMBER Milwaukee, Inc.

2^1-1 NORTH BROADWAY Subscription rates in continental U.S.:$12 one year; elsewhere, $28 one year; MILWAUKEE, WI 53202 back issues: $2.00. PHOME -4-1 4-2 89-0855 EXHIBITING AT NEW ART FORMS OCT 7-1 O, 1 993

4 Art Muscle To Your Health! Breakfast Sundae • Jogger's Breakfast • Continental Breakfast Vegetarian Soups • Vegetarian Chili Pasta Salad • Caesar Salad • Vegetarian Sandwich Spinach Lasagna • Garden Vegetable Pizza • Pesto Pizza Vegetarian Quiche • Stuffed Potato Vegetarian Couscous • A Variety of Pastas ENRY! m mmo by Gilbert & Sullivan 40 Brands of Cognac and Armagnac December 8-31 40 Brands of Port and Sherry 65 Brands of Scotch Tickets $16-$37 Group & senior/student discounts Domestic & Imported Draft & Bottled Beer available

Full Menu Sponsored By BILTMORE THE COFFEE TRADER • HENRY'S PUB • CAFE DEMI 2625 N. Downer Avenue • (414) 332-9690

M wan e e Ballet

*

m l\. STORYBOOK FANSTASY BROUGHT TO LIFE. IT'S ABOUT CINDERELLA AND HER HILARIOUS STEPSISTERS "SKINNY" AND "DUMPY" VYING FOR THE AFFECTIONS OF A LOVESTRUCK PRINCE. IN THE END, GOOD PRE­ VAILS OVER EVIL ... IN A MOST DELIGHTFUL WAY!

::: HALLOWEEN WEEKEND OCTOBER 28-31 at the PAC

W TICKETS $8.50448.50 AVAILABLE AT THE PAC Box OFFICE OR PHONE CHARGE 414-273-7206 OR TICKETMASTER OUTLETS OR PHONE CHARGE 414-276-4545.

• SEE PUMPKIN CARVINGS BY MILWAUKEE BALLET DANCERS IN THE PAC LOBBY. I • ATTEND OUR COMPLIMENTARY CHILDREN'S CINDERELLA COSTUME PARTY ON SUNDAY, OCTOBER 31 AFTER THE 1:30 MATINEE.

ARTISTIC DIRECTOR: DANE LAFONTSEE; CHOREOGRAPHERS: JEAN-PAUL COMELIN & DANE LAFONTSEE; DANIEL FORLANO & THE MILWAUKEE BALLET ORCHESTRA

6 Art Muscle ©c® %3©

COPYRIGHT SKYLIGHT OPERA r REFORJVI THEATER MOVES The Copyright Reform Act of 1993 The Skylight Opera Theatre, which

(HR897,S373) will eliminate the ended its 1992-93 season in the t requirement to formally register a black, moved to its new premises at copyrighted work as a condition for The Broadway Theatre Center, 158

filing an infringement action in the N. Broadway. Celebrations included a

federal courts. Letters to Senate parade and public tours of the facility. s Subcommittee on Patents, Copyrights and Trademarks in support of this bill

will weight in favor of its passage. PERSONNEL NEWS

Kathy Blankenburg joined the

NEW THEATER DANCECIRCUS/WISCONSING COMPANY staff in July. Kathy, who has a strong

Organized by a group of women from background in retail personnel man­

the Milwaukee area, Renaissance agement and non-profit social ser­

Theaterworks has been established to vices, replaces Doug Instenes.

provide a forum for women in the

theater community. The founders and Kathryn Murphy Burke, Chairman of

board of directors are Susan Fete, the Wisconsin Arts Board, was elected

Marie Kohler, Raeleen McMillion, to serve on the Board of Directors of

Jennifer Rupp and Michelle Traband. the American Council of the Arts at

its annual meeting in Chattanooga,

TN on August 1. UWM FINE ARTS DEAN DIES Sunset Playhouse of Elm Grove

William Rockett, Dean of UWM announces the appointment of

School of Fine Arts has died at the Michael Duncan as its new managing

age of 47. A writer, producer, direc­ artistic director effective August 16.

tor, journalist, scholar, teacher and He brings 20 years of theater experi­

poet, Rockett came to Milwaukee a ence to the Playhouse.

year ago to become fine arts dean. He

also held the position of professor of Irene Juckem, formerly Coordinator

film at UWM. He hosted a monthly of Development Projects at the

program Artscape for WUWM public Milwaukee Public Museum, was

radio and introduced performances in appointed as the new managing

the "Great Artist" series at the director at Wild Space Dance Com­

Pabst Theater. pany as of August 2. GRANTS OPPORTUN

ARTS MIDWEST VISUAL ART 29. National Endowment for the Arts, 1100 Penn­ AWARDS 1993-94 MMedii sylvania Ave. NW, Washington, DC 20506-0001. D r/~ lf\K[ A I 52nd Annual Juried Exhibition from 4/23 to 6/ lAEVJ lUIN AL 12/94. $20 fee for 3 slides. Deadline: October 29. Fine or Folk Art pCI I OWSHIPS ^or prospect^ write Sioux City Art Center, 513 Wanted for exhibition, Angels, Claus and Crystals to Nebraska Street, Sioux City, IA 51101-1305.712/ be held 11/15 to 12/31. Send slides to: South Shore Thirty artists were selected to receive 279-6272. Gallery & Framing, 2627 S. Kinnickinnic Ave., $5000 fellowships through the Arts Mid­ Milwaukee, WI 53207.414/481-1820. west Visual Artists Fund. Wisconsin recipi- ^ Gmsat Ac Brown County Expo Ccnter Dcad. ents are Mark Lorenzi from McFarland line: November 13. Intermedia Fellowships who creates glass, iron and copper sculp- Juried. Arts & Crafts. Information from:Ji m Kreiter, 1994 Intermedia Arts/McKnight Interdisciplinary tural vessels and Kate Wagle from Mil- NEW Arts Council, PO Box 704, Green Bay, WI Fellowships are available to artists exploring the waukee whose sterling silver works allude 54305-0704 414/435-2787. changing relationships between artistic disciplines. to rites of passage, vanity and loss. Deadline: November 10. Send SASE forguideline s Fourth Annual Midwest Winter Exhibition. Subject to: Intermedia Arts/McKnight Fellowships, 425 _^ matter must relate to midwest winters. Deadline: Ontario Street SE, Minneapolis, MN 55414. 612/ DANCEWORKS November 15. $10 for 1-2 slides. Information: 627-4444. n ^» CenterfortheVisualArts,POBox475,Wausaw,WI RECEIVES GRANT 544020475 Labor/Leisure Danceworks received $2600 from the JMKAC is organizing an exhibition (6/19 to 9/11/ Glenn and Gertrude Humphrey Founda- J"1**1 Reg"^ Art Exhibit from 11/20/93 to 1/ 94) featuring artists who deal with issues of labor and tion to support instruction, community 4/94. Artists within a 150 mile radius of Kenosha are leisure in their work. All media, including installa­ Ddiver rk on tion. Deadline: November 30. Send slides, resume, outreach, and performance. eligible. ™> November 5 or 6 to: Anderson Arts Center, 121 66th Street, Kenosha, SASE to: Labor/Leisure, John Michael Kohler Arts WI 53142.414-653-0481. Center, PO Box 489, Sheboygan, WI 53082-0489.

• ILIVI I IN I nt v» I I I £ J Booth space available for Roses in December Fine Arts PEACE, an exhibition to be held in conjunction with J/V MMOI IMrEC Fa,*r ^eld December 12 at the Miller Pavilion, a symposium on the same theme at Radford Univer­ ATIN IN U U IN V- L 5 O'Donnell Park. Fine arts only. DeadEne: Novem- sity in April, 1994. Deadline: December 1. Send 10 CJ RANT RFfTPIFNT^ ^ ** ^or i^ormatt°n ^d application call 414/ labeled slides and resume to: PEACE, Radford Uni­ 672-1044. versity Galleries, PO Box 6965, Radford, VA24142. Wisconsin recipients of 1993 regional film/ video grants are: David Braden, $1500; Diane Works in aH media are sought for a hohday show, ^Irf Prints Kitchen, $12,000; Iverson White, $8000; Fred in aiebrmon of the Season. Deadline: October 25. Eighth Annual National Small Print Exhibition from Wessel $3500; Cecilia Gencuski, $3000; Send SASE for prospectus to: Gallery 451, 510 E. 1/16 to 2/26/ 94. For information and application Jocelyn Riley, $3000. State St) Rockford, IL 61104. 815/961-9476. call 414/595 -2581 or write: UW-Parkside National Small Print Exhibition, University of Wisconsin- _ _ Work created during the last two years in any me- Parkside, 900 Wood Road, Box 2000, Kenosha, WI IVIl LWAUKEE dium is eligible to be entered in WP&S Juried 53141. £» /A Membership Show. Members only. Slide deadline: SYMPHONY S ART Octoberll.Entryformfrom:DougHaynes,9902 Small Works eyM Mt Horcb w 53572 m/437 Artists are invited to submit slides for a national COMPETITION ™ ' ' ' - - juried exhibition. Works should be no larger than Five first prize winners have been selected 12" x 12". Deadline: November 1. Prospectus avail­ in the Symphony's Encore Program Cover Works in all media requested for ,94-,95 season. able: Suburban Fine Arts Center, 777 Central Ave., Competition. They are: Amy Case, Jenny SendSASEto:CA.G.E.,344W.4thSt.,Cincinnati, Highland Park, IL 60035. 708/432-1888. Fojut, Kathleen jaeger, Sonia Szajnberg OH45202-2603. 513/381-2437. and Roy Tabat. Arc East seeks small works for holiday gift giving. 2D Arts Festival framed or shrink-wrapped, jewelry, wearables, and Exhibitors sought for 22nd Annual Festival of the 3D welcome. Contact Kristy at 414/374-9494. KJ F A A rM/AMfEIV/IEKIT Arts to ^ ^e^ Sunday, April 17, 1994. Prizes •—*» *%%* V/AI>I\»CIVICIN I awarded. Prospectus available in November from: Works on Paper P/y DTI f*l DA MT Festival of the Arts, PO Box 872, Stevens Point, WI National juried competition. Deadline: November 54481 1. Send SASE forprospectu s to: Graphic Eye Gal­ Milwaukee Chamber Theatre has been se­ lery, 301 Main Street, Port Washington, NY 11050. lected to participate in the NEA Advance- Design ment Program Phase I. They will receive Entries in Architecture, Industrial Design and Visual $5500 and a professional arts manage- Communication are invited for Design Milwaukee ment consultant for one year. >93, Deadline: October 15. For information call: DANCE MIAD at 414/276-7889. Writers sought WOODLAND PATTERN Erasercamngs Art Muscle is seeking writers interested in dance to O K I I™ A K* Hand carved eraser prints wanted for an anthology do reviews and features. Contact Therese Gantz or K EC E IVES N E A VJ RANT to be published in 1994. Send a clear, B/W impres- Suzanne Woods at 901W. National Ave. Milwau­ Woodland Pattern has been granted $24,540 sion (not a coUagc) to: Stamp ** Gailc^ 466 8th kee, WI 53204, or call 414/672-8485. to underwrite portions of artistic fees, salaries, St" ^ Frandsco> CA 94103. exhibitions, programs and workshops. Exhibition Venues Sought Venues sought to present Family Portraits; Images Music Clarification: The August/September issue of From Ue From Lim °" Ue Aids War- This k a Art Muscle ran a headline which read: Arts bienmal exhibit intended to personalize the disease Experimental music Midwest Awards Grants Totalling $250,000. ofMds-Contact: &*"* Shultz>*** Dean GaBay» Red Eye Collaboration seeks experimental music to The Friends of the Hispanic Community and 544 6th Ave-> San DieS°'CA 92101' present in its multimedia space through December. the Historical Keyboard Society of Wisconsin Send cassettes, videos and proposals to: Christopher shared this amount with organizations in the Film/Video Strouth, Red Eye, 15 W. 14th St. Minneapolis, MN nine states serviced by Arts Midwest. Film/Video Production grants. Deadline: October 55403. 612/870-0309.

8 Art Muscle TIES G O I

x HEAXER Buenas tardes, mis amigos estimados!

Playwrights and Film Makers At this very moment, as Frasquita types these If you have a play or film (first draft) join The Third this rich? No "blue" art in a show about blue art! Coast Playwrights. Monthly meetings. 414/962- letters, Yasir and Yitzhak are signing the peace Oh, ha, ha, ha, ha, ha. Apparently, the gallery is 9990. treaty. It gives her QOOiE, ullftllli just to concerned that its nursing home patrons will be think about this. These are historic times, dear put off by anything too risque, but Davis isn't Scripts Sought ones, and the lesson here is that there is always having any of that. "I feel that artists have really Original scripts to be considered for production at a chance that even the fiercest of rivals can come beentakinaa beating on this the Right Street Theatre. Also seeking actors, direc­ to terms... Locally, however, itseems that things tors, and others interested in the theater. Contact will just have to get a bit bumpier before they Dick Tate Productions, Inc, PO Box 07433, Mil­ smooth out. In fact, the whole local arts funding C6H- waukee, WI 53207. 414/265-TATE. scene is patas arriba these days. There are Singers and Actors ITllJriTlUirS from the County Board Apple Holler Productions is accepting resumes from that CAMPAC funding could be cut off at the singers/actors for a season of musical comedy re­ knees (another blow to quality of life programs vues. Must be available for weekday matinee perfor­ at the county level; when oh when are we going mances. Send resumes to: Jim Romenesko, Apple to get some form of regional support for these Holler Productions, PO Box 452, Sturtevant, WI 53177-0452. things? Or maybe there should just be some kind of surcharge for Waukesha County residents whenever they attend a museum exhibit, the­ GENERIC ater event or symphony performance)... Na­ tional Endowment for the Arts funding for the The next issue of Art Muscle will consider arts Milwaukee Arts Board has run its course; though education. If you attended an arts school or studied issue," she says, some $150,000 remains in the budget for the in a university arts program, what did that experience wanted to have someone dictate to me what I coming year, the board must decide how it provide for you? What did it lack? What do you should do, I'd be an office worker, not an artist." wants to spend it. Watch for some interesting believe should be the intent of a fine arts education? Frasquita admires la Davis for her courage in debatesto EMERGE here... Send your essays, poetry, letters, visuals to us by taking a stand for all artists, even when her own October 22. Art Muscle, 901W. National, PO Box Filmmaker Cathy Cook is off to become an particular piece is not sexually explicit* 93219, Milwaukee, WI 53203. assistant professor teaching animation and film production at New York City's Hunter College. The Charles Allis Art Museum has two offices avail­ Tta jtitle ajf hJr current film-in-progress just able for rent on the third floor. Interested arts But she wonders whetherThequestion organizations should contactSusanModderat414/ Z/l&fcfjffy' ^asquita no end: Beyond of context shouldn't be taken into consideration 278-8295. Voluntary Control... Milwaukee native Harlan in cases like this. En otras palabras, a nursing Steinberger (anybody remember him?) is work­ home gallery's choice not to show certain kinds The John Michael Kohler Arts Center is seeking ing on a documentary film about the life of 95- of art is simply not the same thing as police visual and performing artists/teachers to conduct year-old painter and Holocaust survivor Tibor classes or workshops for children and/or adults. closing down a Mapplethorpe exhibit. In any jankay, still a distinctive fixture on Venice beach Send resume, cover letter, slides to: Gina Kallman, case, artists would do well to be careful, in Education Assistant, John Michael Kohler Arts Cen­ with his paintbrush and canvas. He's got a grant protecting their own rights to self-expression, ter, 608 New York Ave., PO Bx489, Sheboygan, WI from the Holocaust Educational Foundation in that they don't weaken their case by treading on 53082-0489. Wilmette, Illinois, but he's been sending around others'. solicitations to raise another $100,000; siquieres, Milwaukee County Historical Society is seeking vol­ you can call him at 310 821 -0462... By the time be well, unteer tour guides. Classes will be held every Tues­ you read this, the um bearing Skylight Opera day through November beginning October 5 from Theatre founder Clair Richardson's ashes will 9:30 a.m. to noon. Call Kathleen O'Hara at 414/ 273-8288. presumably be enshrined in their new location under the main stage at the Broadway Theatre A new cable arts program is seeking material from Center, but there have been a few stops along minority/non-mainstream viewpoints. All disciplines. the way, it seems. Not long ago, the urn accom­ Send material to: Other Voices, Blue Rose Produc­ panied Colin Cabot, former managing director tions, 2736 Lyndale Ave. S., #208, Minneapolis, of the Skylight, and other Skylight associates to MN 55408. dinner at a local restaurant. Given the Sitka Center for Art & Ecology encourages applica­ outrageoixsness tions from artists of all disciplines. Send SASE for of Clair's legendary request to be "buried" under application to: Sitka Center for Art & Ecology, PO the Skylight stage, Frasquita doesn't suppose Box 65, Otis, OR 97368, 503/994-5485. he'd mind being taken out to dinner once in a while... But speaking of outrages, ceramic artist Volunteers wanted to learn marketing, sales, instal­ Linda Davis reports that she has pulled her piece lation, publicity, matting and framing. Contact Kit from the upcoming show at the Uihlein-Peters Koltermann, South Shore Gallery and Framing, 2627 S. Kinnickinnic Ave., Milwaukee, WI 53207.414/ Gallery in the St. John Tower residence for the 481-1820. elderly. It seems the contract for the show—the theme of which ^^^^ ^^ appears to An Information Hodine will be available as of No­ be art made II using the vember 1 to provide details on visual artists, art museums, art organizations, art schools and pro­ color PHI specifies grams, and art galleries throughout the state. For that the art- • works more information, or to register with Wisconsin contain no 9LJBI "inherent Visual Arts, Ltd. contact: Liz Jischkc at 414/278- vice," mean- ^^^^^^" \ngf savs 7701. Davis, no nudity or obscenity. Isn't OP untt fa open for tffdlUty BCART nm m GALLERY Gallery of Wisconsin Art, Ltd. ¥&sto i s-rf $> ' WL Familial Relations, AFRICAN AMERICAN ART arfel The Work of Mary Bero Lifeh REYNO tPO "Captured Light" and Dennis Nechvatal member 6 Oil Paintings by John Sayers and ; : "Remarkable Men" & :\; MKT-tli:E-""A*¥fe$T'' :- Opening reception to meet the artist •OCT. 15TH 5—8PM •"•.. 5 to 9 p.m. on Friday, October 15 Paintings, Dra wings. Sculpture Recent Work by Karen (Gallery Night) A Prints by 25 Artists 931 East Ogden Avenue, Gunderman and Christopher 919 E. OGDEN : at the corner of Ogden and Astor 2 7 7 — 1: 8: 9 8/^ Gallery hours: Milwaukee, W. 53202 PELTZ GALLERY 1119 E Knapp Davis-Benavides Monday - Saturday 10 to 5 (414) 278-8088 Milw. WI S3202 / 223-427S

SILVER PAPER GALLERY Gallery 218 i GROUP SHOW FEATURING: MIKE BRYLSKI Sally Gauger Jensen • Dorene Johnson Opening Reception Friday, Oct. 1 Joan Kaprelian • Tom McCann • Judy Thuss 7pm- 10pm Music & Refreshments MIXED MEDIA PAINTINGS Steve Rademan • Richard Waswo Hours: Fri 4-7, Sat 12-5, Sun 1 -5 Through October 29th JASON ROHLF Artists Reception Oct. 15, 5-1 Opm OIL ON PAPER i CHARLES ALLIS 1209 EAST BRADY STREET ART MUSEUM HOURS: OPENING RECEPTION 1801 N. Prospect Avenue M-F: 10-6, SAT: 10-5 FRIDAY OCT. 15th 7PM TO 10 PM Historic Tudor-style mansion TELEPHONE: 277-8228 SHOWS THROUGH DECEMBER 11th with a worldwide art collection Allis-Chalmers Art Association 217 NORTH BROADWAY A diverse group, many well- G R A V A MILWAUKEE WI 53202 known, offer paintings in 414. 273. 7737 various media. Thru Oct. 31 GALLERY TUES. thru SAT. 10 AM TO 5 PM l-5pm Wed - Sun & 7-9pm Wed GRAPHICS • POSTERS • FRAMING TODD GROSKOPF OWNER (414) 278-8295

HiHl Dual Opening — • Gallery at MIAD Home Accessories W Pastels Night "Walter Rosenblum" October 1 - November 1 One of America's leading BARBARA). HOPPASWANSON, living photographers, Rosenblum BUY A. Houberbocken Wisconsin Fiber Artist and Printmaker. W movingly documents over 50 years where Holiday OLAF WIEGHORST, Southwestern on planet earth in the 20th century. November 31 - December 31 Artist in the spirit of Charles M. Russel. IT H^T ELBA ALVARZ, New York "Imagineerirtg: Product creativity Contemporary Artist Design by Brooks Stevens" THERE Visit our mini store Consumer products are the focus of October 15,1993 / 5pm—10pm and quality North end of Exhibit runs: September 20-October 25 this exploration into the designs of FRAME Mayfair Mall JEWELRY ARTISTS: Jim Bradley, \fera, Industrial Design pioneer, Brooks go Banana Bob, & Brian Chambers. Stevens, the man who coined the IT November and December hand in hand Cynthia Tibon Galleries phrase "Planned Obsolesence." Fox Point Mequon 330 East Kilboum Avenue, Suite 102 6936 M.Santa HERE 10972 N. Port 276-6002 Milwaukee, WI 53202 • (414) 271-8644 Milwaukee Institute of Art & Design Monica Blvd. Washington Rd Hours: Monday—Friday: 10am—6pm 273 East Erie — Historic Third Ward 230 W.Wells -Suite 202 • Milw. HOURS: M-F, 10-5:30; SAT. 10-4.

BOUNTI • HARVEST (§oUe^€fJU^(§Ui^ Next Gallery Walk "Fruits of the Earth and Flowers" Stained Glass Specialists Downtown Pieces October 1-November 13 Lamps • Windows • Jewelry • Repairs Not Downtown Prices January 21,1994 Classes Available Meet Native Chippewa Indian Many unique and customized Advertise on Artist Neil Starr works on display Reception: Oct. 8, 6:30-9:00 Art Muscle's 2120 E. Rusk (Between Delaware Gallery Walk page. MILWAUKEE'S OWN ORIGINAL FINE ART &KKonRuskSt.) SOUTH SHORE GALLERY & FRAMING 482-0007 FRAME & GALLERY JZ&Si December/January issue 2627 South Kinnickinnic Avenue • (414)481-1820 Mon-Fri 12:00-8:00 A FULL Saturday 12:00-6:30 SERVICE J* bUhJL*. Or by appointment ¥ GALLERY frjkm As deadline: Nov 5 "Selected Folkart and Collectibles" 7ATJ W Lay-ton Ave • Greenfield • 282-3260 Call 414-672-8485 10 Art Muscle FRIDAY VSr\^OF20T/i NOVEMBER 5 O^ 05 & SNEAK PREVIEW PARTY 6:00 PM - 9:00 PM $30

T THE % SATURDAY NOVEMBER 6

10:00 AM-7:00 PM SHOW h.

Winnetka Community House 620 Lincoln Avenue Winnetka, Illinois 708-446-0537

LECTURE TOUR "Arts & Crafts: A Glorious Style for Tour some of Chicago's finest turn- Today" by New York's Barbara of-the-century landmarks on the Mayer, noted author and home "Arts & Crafts Tour of Chicago" led furnishings writer for the by Joan Arenberg of Art on the Associated Press Move Tours. Saturday, October 30 Wednesday, October 27 10:00 am, $10 9:00 am - 4:30 pm $50 per person (includes lunch) No Strollers, Please

To benefit The Winnetka Community House y^.yyyyy.^ *5 TT

gorgon heads and back again—the candles become twisty, wriggling snakes. The sight is shocking and impressive, but the only question it arouses is "how?" Once the means of the transformation is understood (it's cleverly achieved with a strobe light, the heads, cakes and interstages whirling on a carousel sus­ pended from the ceiling), the content becomes stiff and one-dimensional.

The rest of The Illusionists work in much the same manner, though none to so great a degree. The art is complex and beautiful at first glance, but without much underpinning. Justen Ladda creates a tidy grotto of garbage, of boxes and castoffs, containing a trash sculpture of Michelangelo's Pieta, in a fairly obvious comment on the permanence of art in a throwaway culture. Susan Leopold's Rebecca Si Iberm an, Silver Lining large, wall-mounted boxes contain inte­ rior scenes of apartments, locker rooms scribed by a critic as interesting, enjoy­ The concert opened with a John Cage and swimming pools, viewed from dif­ able, but less than masterful. To offer an sound-thing called A Dip In The Lake ferent angles through fish—eye lenses and evaluation at a less-than-hype level can (1978). This required the tape recording convoluted series of mirrors and lights. undeservedly damn with faint praise. of random sounds from random places The rooms are empty, containing only that are played through loudspeakers traces of human occupancy (a photo on For example, this concert by Milwaukee and on boom boxes that helpers carry as the wall, in one); the scenes are highly contemporary music ensemble Present they wander through the audience. articulated and almost precious but for Music didn't match other programs I've their eerie emptiness, and the viewer attended by this admirable organization This constitutes another of his efforts to becomes voyeur without subject matter. in variety and quality of selections. (It did reawaken concert hall listeners to the Leopold's works—there are about ten of equal them, however, in the expertise of marvels of all sounds; but as someone them in the show—are neat and intriguing the performances.) Yet apart from the once wrote, his works of this type usually but somehow are unable to hold attention. silly "opening day baseball game" make better ideas for pieces than actual Perhaps because the scenes are empty, schtick—which included throwing the pieces. The program notes quoted a pas­ the next box is always calling. "first baton of the season" to artistic di­ sage from Cage's book Silence saying he rector Kevin Stalheim—the concert was was seeking "greater freshness" by means In counterpoint to these single-sided still worth attending. It offered four works, of these procedures; but it's amazing how universes stand the kinetic sculptures of of which three are challenging and in­ soon machine, traffic and water noises Mary Ziegler, a graduate of the University teresting, if not masterful or even com­ start to sound stale in a concert context. of Wisconsin-Madison. Ziegler's table- pletely successful. sized works feature nearly barren land­ Leon Cohen scapes over which insect-squiggly, metal Steven Mackey, associate professor of scraps wander, from end to end, over music at Princeton University, was the debris, crossing voids, climbing poles, in featured guest artist. To judge from his patterns that aren't readily apparent. two featured compositions, his playing FALL BACK Propelled by magnets and motorized (electric guitar), conducting and his pre­ chain-drive systems, the scraps take on concert talk, Mackey is a thoroughly SPRING FORWARD distinctly organic qualities, their general likeable, intelligent, articulate musician September 3-October 9 movements repeated over and over, but with a welcome sense of humor, a keen Silver Paper Gallery Gregory B a rsa mi a n, Forty never in the same way. In Level2 and The ear and a lively imagination. Way, the theme and variation of their Fall Back Spring Forwardfeatures works THE ILLUSIONISTS movements are like those of the thou­ What he doesn't have yet is the sense of on paper by Rebecca Silberman and pho­ sand commuters who make their way form that tells the very best artists when tographs by Brian Kelly. Silberman uses June 5-September 5 downtown every morning and then home they've done enough. He shares with a smoke damaged Arches paper with im­ J M Kohler Arts Center, Sheboygan again at five o'clock; their occasional Present Music-favorite composer, Kamran ages both painted on the surface and collisions are like those of any of us as we Ince—whose dramatic but long-winded applied photographically. The paper is The mercurial relationship between de­ twist through the erratic but set patterns Fantasie of a Sudden Turtle (1990) for suspended in front of boards that are gilt piction and reality has driven much of the of daily living. In Myomortem, dozens of string trio and piano was also performed— in gold, silver or bronze. Objects are art of this century. Since Modernism's steel staples and tiny metal scraps dance a tendency to dwell on his ideas past a appliedtoandthroughthepaper'ssurface insistence on the discreteness of the pic­ endlessly in a row, but each confined to a listener's tolerance. and the whole is set in deep frames of ture plane, artists have pried into the two-inch vertical line. They are free to distressed wood. Occasionally, architec­ fractures between object and represen­ move laterally, but they don't. The shards tural artifacts are applied to the frames. tation, widening them to a point where Mackey is particularly interested in sometimes almost fall off the sculpture, The gilt backgrounds illuminate the pa­ art can't imitate the world, but mirrors it, microtones—pitches "between the notes" but they never touch: larva in a mating per from behind and provide a vivid funhouse-style, in a constellation of of Western music's 12-tone chromatic ritual prevented by their own inherent contrast between the rotted and precious spinning, individual systems. The Illu­ scale that are found in non-Western and limits from contact. materials thus reinforcing her themes of sionists features what-you-see-is-not- folk musics. But unlike Harry Partch, who loss and decay. what-you-get artworks, demonstrating invented his own instruments to get such not art's odd relationship to reality, but Mary Ziegler understands the necessity pitches, Mackey obtains them through rather the ultimate inability of most of of illusion in systems of art in ways her imaginative use of traditional instruments. Some of the work has text integrated into those systems to describe the world from fellow exhibitors ignore. They, by mak­ the images. While her words are chosen any but the narrowest point of view. ing illusion the end and not the means, In the three-movement Indigenous In­ sparingly and often wittily, her method of necessarily relegate their work to the struments(1989), he calls for re-tuning a application sometimes conflicts with the heading of "clever." Of all the artists in violin, cello and flute, making them sound overall style of the work. When she Each of the five New York-based illu­ The Illusionists, Ziegler's take on the "out of tune" with a piano and a clarinet. scratches the words into the surface, as in sionists creates her or his own little world concept reaches deepest, making illusion With these and other ideas, he created My Bonny lies over the ocean or Mother in which things aren't exacdy as they not the theme of her work, but its rhythmically energetic first and third Reign, the words become a visual exten appear, in which there is explicidy some­ r metaphor. The illusion in her sculpture is movements and a pretty but static sound sion of the image. When she uses press thing beneath the surface. Four of them our own: that we're getting somewhere. painting in the slow second movement. type, as in Directors of the Bored, its use suffer from the same malady: making comes off as overly decorative and too artworks in which the illusion itself— the Nathan Guequierre Mackey also did something seldom seen contrived for such a heavy hitting jibe at cockeyed-ness of the work — is the end. in contemporary "serious" music concerts. the misuse of the environment by big One is compelled only to figure out the In the solo piece It's Good To Be Back business. mechanism of the illusion, and after that (1991), he stood in front of the about 600 revelation, the works grind to a halt. PRESENT MUSIC September 10 people attending and spoke a half-comic, C is one piece in which words play a half-serious, quasi-coherent fantasy on minor role. A burnt circuit board floats The most stunning example in an exhi­ Milwaukee Art Museum fairy tales to his own electric guitar ac­ above a semi-decapitated illustration of a bition of initially stunning works is Gre­ companiment—the sort of act usually en­ 19th Century white man. He hovers be­ gory Barsamian's Forty, a creepy and in­ One problem composers of new classical countered at folk music concerts. Mackey hind a transmission tower. At the base genious installation intended to explore music face today is the burden of follow­ was a rock guitarist before he took up rests a collage of images from a Muybr idge our bad feelings about aging. Entering a ing more than two centuries of "master­ classical music study; and however study of human motion and a text book dark room, the viewer is ringed by pieces." Listeners to modern classical strange and self-mocking were the words account of the "organ of sight.' It all comes birthday cakes hovering near the ceiling. music seem to expect to find a new to this piece, he showed that he knows together in a poignant portrayal of The cakes quickly metamorphose into Beethoven at every concert and feel dis­ appointed when what they hear is de­ how to get the most from his instrument. postmodern decay and obsolescence. 12 Art Muscle •HP dtiP^k

Kelly's snap shots follow in the tradition very funny, in a twisted way. Most often, (now covered with duct tape) and piles of of Nathan Lyons and Garry Winogrand, a Gorey tale exaggerates our ability to see bricks and scrap wood are integral to the with an occasional Lee Friedlander-style humor in the misfortune of others, and viewing experience. This type of com­ self portrait thrown in. He uses his 35mm we certainly laugh with at least a slight monplace building has been a theme in camera to record the world around him. pang of chagrin: "My god, I'm laughing at Koch's art since the late 70s when he He shoots from high and low angles for a limerick about the tragic death of small began doing Walker Evans-esque docu­ distortion and prints small, full frame and children by inhuman devices!" mentary photographs of garage interiors contrasty. He is technically proficient and as part of an NEA grant project that he has a well-developed sense of composi­ The production was adapted from 18 of exhibited in this same structure in 1983. tion. Unlike his predecessors, he uses Corey's stories by Stephen Currens, with neither a theme nor sequencing to hold music by David Aldrich. Performed by Garages are the quintessential domain of the body of work together. This absence the Peninsula Arts Theater's own troupe men who typically decorate their walls of structure often makes the artist's view­ of local actors and directed by Martha with girlie centerfolds. Koch subverts this point ambiguous. Metzen, the musical faithfully maintained reality with his Not All That Glitters is the frisson of dreary isolation, bereave­ Goldpiece. Duct tape covers the flesh of Sometimes Kelly plays with focus. In ment and 19th-century dress and behav­ a Playboy centerfold but the eyes are left Broadway, NYC 1993 and Greenwich ior that is central to the spirit of Gorey's to peer out from behind the modern Village, NYC 1993 Kelly allows the cam­ cartoons and books. A duet of piano and mummy wrap. Readymade symbols of era to go out of focus as if he had to shoot flute opened the production with a suit­ the patriarchy—a duck decoy, boots and unprepared. This lends a spontaneity that ably woebegone air, which then pro­ military uniform—are altered with tape foregrounds the act of photographing, ceeded into a series of grim tales about a too. Totally wrapped is a small repro­ implicating the viewer in the process of libidinous opera star, a hack novelist in duction of Rodin's sculpture The Kiss. stealing someone's image. Rebecca NYC search of a story (any story!), a murder­ Tided Beyond Safe Sex, the heterosexual 1993 uses a long exposure to blur the ously boring train track tour by means of icon is reconsidered in the context of Lewis Koch, Beyond Safe Sex image of two feet resting on a patterned hand-propelled cart and a mislaid child. AIDS and environmental poisoning. The bedspread. A harsh light rakes across the lovers may be in a state of containment or Ben Heppner, who was so commanding bed, cutting the image in half, and creating In this last tale, young Charlotte Sophia is perhaps engaging in a bondage ritual. in the tide role of McTeague at the Lyric an almost sexual tension. These tech­ supposedly orphaned and then sold to a Buddha presides over Koch's milieu, Opera last fall. Heppner sang the part of niques allow the viewer access to the drunken lout who forces her to slave in blindfolded with the ever-present tape. Florestan, who is secredy captured and person behind the camera and make the unpleasant surroundings at the manufac­ imprisoned by his political enemy, the work less of a formalist exercise in com­ ture of artificial flowers. She becomes Unmanipulated black and white photo­ tyrannical prison governor Don Pizarro. position. blind due to the closeness of the work, graphs, often the subject of the "but is it Another benefit of a concert performance: and finally escaping from a life of utter art?" controversy, look a lot more like art this hefty man didn't have to try to re­ Cynthia Crigler wretchedness, is unhappily run down to some people if the artist does some­ semble someone being starved in a small, and killed by her own father's motorcar thing clever with them. Paralleling an art- dark cell. Employing just his musicality, GOREY STORIES as he searches the world for her. Not run- world trend, Koch's photographs evolved Heppner made Floristan's act two aria an of-the-mill material for laughter, but the over the years into thematic, serial in­ overwhelming expression of the Peninsula Arts Theater excessiveness of her misfortune, the stallations. Here, he alters his "straight" character's suffering and enduring faith. July 15, Door Community Auditorium, tongue-in-cheek narration and exclama­ photographs with tape, integrating them Fish Creek tion point acting were all so extreme as to into the installation concept and further Originally scheduled soprano Nadine July 29, Ephraim Village Hall, Ephraim provoke pained humor throughout. distancing them from their documentary Secunde apparently became ill, so Carol forebears. In Offering (Duct-o-graham) Yahr at the last minute substituted as Door County is hardly known for ad­ The cast, all year-round residents of Door a cracker is taped to the palm of a pho­ Florestan's wife Lenore, who disguises venturous theater. Most years, the only County, captured the Gorey sensibility tographed hand and photos of continu­ herself as a young man named Fidel io in choice summer theater-goers can make is with an admirable balance of restraint ous ducts are taped together end-to-end her effort to find and rescue her husband. between the polished comedies produced and a "we're all in on the same joke" to make Thread of Life Totem (Autoduct). Yahr seemed to have some trouble find­ by the 59-year-old Peninsula Players in acting style. At the premiere in the Door ing the center of her tone in her initial Fish Creek and the user-friendly comedy- County Auditorium, it relied on the The unsanitized nature of the ancient entrances, but was very effective where it musicals written and produced by the audience's reactions to certify its unusual garage and the funk iness of the art objects counted, in Leonore's very difficult first American Folklore Theater. Both groups brand of humor. When performed at the lend a quasi-outsider quality to this work. act aria and her dramatic second act con­ offer their productions in beautiful out­ much smaller Ephraim Town Hall a week Art historical references and a spartan, frontation with Pizarro. door settings. later, where the actors' expressions could purposeful installation, however, give be seen more easily, it was nice to see that Koch away as an art world insider. This Baritone Richard Paul Fink sang Pizarro's This year was an anomaly in Door County they were (almost) laughing, too. In that duality creates a sense of both profundity part with a marvelous dark tone and ap­ theater history, however, as an unusual setting, the audience was at least sure that and stoniness, endearing the viewer to propriately villainous relish. The other festival took place in July, hosted by the is was OK to enjoy the proceedings. Not the artist's quirky point of view. Indebted characters had less memorable solo parts: Peninsula Arts Theater. The first annual everyone had been laughing at the pre­ to the Dadaists, surrealists and transcen- Bass Aage Haugland as the jailer Rocco, Peninsula Theater Festival fielded a highly miere, which provoked more than a few dentalists, Koch imparts humor, political who hires Fidelio as an assistant; soprano disparate line-up of productions whose confused walk-outs. commentary and art critique right from Solveig Kringelborn as Rocco's daughter sole connection was that they were borne his own back yard, effectively bypassing Marzelling, who develops a crush on of theater groups who are (primarily) The bewildered enjoyment provoked by high-art curatorial censorship altogether. Fidelio; tenor Stanford Olsen as Jaquino, based in Door County. Gorey Stories, due mainly to the eccen­ who is frustrated in his romantic pursuit tricity of the author's vision, reflected /. Shimon &J. Lindemann of Marzelline; and baritone Richard Zeller The Peninsula Arts Children's Theater, well the double entendre of the as Don Fernando, the governmental min­ whose cast was composed of schoolchil­ production's name. ister and Florestan's friend. But they dren from Gibraltar School in Fish Creek, FIDELIO helped craft excellent renditions of this produced The Artful Lesson, the story of Chicago Symphony Orchestra John H. Nelson opera's important vocal ensemble pieces. an museum where the paintings come to Chicago Symphony Chorus August 13 life. The Blue Circle Theatre, Manhattan The men of the Chicago Symphony Cho­ LEWIS KOCH: Ravinia Festival residents who spend each summer in Egg rus gave a deeply moving account of the Harbor, offered Prospero's Revenge, or Duct Tape Works famous Prisoners' Chorus, sung when What's Next!, a rock musical version of August 28-November 6 Dedicated opera fans love everything Rocco and Fidelio allow some of the Shakespeare's The Tempest. The Island 2661 East Johnson Street, Madison about it. This music lover, who is not inmates to have a rare moment in the Players, from Washington Island, pro­ enamored of the form, finds most pro­ open air and sunlight; and the full chorus duced two dramatic one-acts, Triflesand A crusty wad of duct tape found by ductions he has seen of classic operas gave an exhuberant rendition of the Haiku. The star attraction of the Festival Madison photographer Lewis Koch in wrench his attention from the great music opera's triumphant close. was the Second City Players Reunion, 1991 spawned his latest garage installa­ to the usually idiotic stories, hammy act­ directed by improvisational acting guru ing and extravagant stage antics. tion. Displayed like a sacred relic of the Christopher Eschenbach's assured and Paul Sills, who pulled together former 20th century in a specimen box on a bed energetic conducting infused so much Second City players (you'd recognize most of cotton (selling price $500) and tided The lack of such distractions helped make spirit into the performance that one could of the names from movies or TV) for two Object of Affection (Montello, Wis, this concert performance of Beethoven's easily forgive the few bobbles inevitable nights of theater games. 5.18.91), this wad inspired Koch to ex­ only opera a delight. The master's elo­ in a rendition of a work this long and plore duct tape as an artistic medium. quent music can tell the story and express demanding. The most important Festival presenta­ Used by handymen, high fashion its emotions without theatrical assistance. deconstructivists and roadies everywhere, The singers and orchestra just had to tion, based on the criteria of ambition and These performers did so splendid a job the cultural significance of this silvery perform their parts well—with a few risk, was Gorey Stories, a musical based overall that the three-quarters full Ravinia repair material is unquestionable. pauses for actor Werner Klemperer (Col. on the macabre and murderous tales of pavilion audience gave them a standing Klink of the TV sitcom Hogan's Heroes) Edward Gorey. You may have encoun­ ovation at the second call. It takes three to summarize the plot—in order to create tered Gorey*s unique drawings and lyrics The 30 sculptural assemblages that make hours to perform the opera's two acts this a moving and thrilling experience out of in his popular book Amphigorey or in the up Duct Tape Works resonate within the way, but one hardly noticed the time or one of the most elaborate and longest of opening segment of Masterpiece Theater environment of Koch's garage where they the inevitable distractions of summer this season's Ravinia offerings. on PBS-TV, among other places. His work are now installed. Putting them into the outdoor concerts—passing jets, muggy reflects a mordant sensibility that fre- sterile atmosphere of a traditional gallery air and amazingly loud crickets. quendy fixates on misfortune, and which or museum would sap them of life. The All seven featured singers delivered fine includes large doses of death. His work is garage's weathered walls, cracked floor performances. Mostmemorable was tenor Leon Cohen 13 Most offers come with a hook, This is ours.

THEATRE WOMEN *=5s Theatre X October 1-31 Broadway Theatre Center

This month, when witches and banshees Clutch are known to exercise their wyrd wiles on Transnational Speedway League the world of men, a potent multi-media (Easrwest) brew will conjure up some female con­ Clutch is what you want to snap into the sciousness in town, as, throughout Oc­ wa I kma n when you' re havi ng a rea I ly bad tober, Theatre X plays hostess to day, when the bus is late and if s raining Milwaukee's first ever festival of perfor­ and you're only going to work anyway. mances by and about the female sex, If s a humorless homage to KiI •dozer's Ten Theatre XpresentsTheatre Women.. Point Buck. Nothing innovative, but plenty of co-misery: "I don't know where the gun The eponymous moniker does scant jus­ is/but I'm certain that if s pointed at me.' tice to the caliber of the scheduled lineup. Metallic grind and sludge, drone and But this kind of genius needs no subtitle, distortion, guitar like a circular saw. as actresses, performance artists, musi­ Millenial doomsday lyrics in a machine- cians and poets—some of the country's age vocal—imagine if a factory could most innovative, controversial and ap­ sing—amelodic, atonal, rending oblique plauded talents—assemble in twelve references to Baudelaire, Dante, the red different shows at the Studio Theatre in heat of spaghetti westerns. Transnational We simply offer the best selection of frames and mats the Broadway Theatre Center. With Main is a repetetive crunch that sounds the way for prints, pictures or keepsakes. Plus superb craftsmanship Stage presentations leaning toward life does sometimes: background music and expert advice. No strings attached. straight drama and a Late Night Series of for the next time there's a war on TV. NG performance art, music and poetry— Theatre Women runs the gamut of the­ ater art in a package designed to satisfy various audience tastes. David Bowie lOKARL Black Tie White Noise Center-stagers include: NYC performance This disc slipped past many people, and FRAMIMC/CALLLitY artist and NEA bad girl Holly Hughes, in shouldn't have. It brings together a broad group of musicians—each song bears the two autobiographical monologues; the WHERE CREATIVITY AND QUALITY GO HAND IN HAND Jeff Award winning diva of Chicago's unique identity of a collaborator. "Black after-hours stage madness, Paula Killen, Tie White Noise" echoes George Clinton, in her hit, Music Kills A Memory, the with Bowie and Al B. Sure! doing a vocal Pam Katz Bogan /Elayne Katz duet. "The Wedding" reflects the style of women of Theatre X making their season Fox Point Shopping Center • 6936 N. Santa Monica Blvd. • 351-1320 premiere in playwright Susan Sontag's the disc—drawing attention to feelings Alice in Bed, a fantastical journey into the with music. Bowie's soulful sax weaving in Pavilion at Mequon • 10972 N. Port Washington Rd. • 241-5008 and out of "Pallas Athena," (with a great stifled imagination of Henry James' bril­ MENTION THIS AD FOR 10% OFF CUSTOM FRAMING liant sister; the debut of Milwaukee's first bass melody supplied by John Regan), women's theater group, Renaissance and his wailing vocals on "Nite Flights" WE ACCEPT OUR COMPETITORS COUPONS Theaterworks, staging everyday acts of are outstanding. Bowie is back, and ifs heroine-ism against a Korean War back­ refreshing. CB ground; and a play based on the influen­ tial lives of African women leaders, from Chicago's Black Ensemble Theater. Great Big Atom Smasher your ACTIVITIES lead us to MATURITY Running simultaneously throughout the (Don't) month with those shows, the Late Night Attention to detail is apparently important series shines with equal innovation and to this band. Their use of instrumentation, originality. Like contemporary hearthside although simple, offers a surprising range tales, these performances are stories of dynamics and obvious skill in execution. steeped in feminine myths and emerging Their songwriting is idiosyncratic, with from modern society. Topics range from atypical themes (most of which I haven't the silly to the serious to the sublime: uite figured out yet). They chose a pro- being a sizel4 in a fashion model's world 3ucer with the ability to capture all the (.Bigger than a Bread Box, by Seattle'sFour details while preserving the live feel of the Big Girls); straining at the leash of social recording. They put their personal touch double standards (Toxic Shock by a on each CD (the cover is a hand-cut Houston duo), or traveling into real and square of fabric). Too bad they over­ imagined landscapes ( White/Man/Fever looked one eensy weensy aspect—the by performance artist Louise Smith and vocals. Not only are they severely limited musician Connie Grauer). Experiences in tonality but on many occasions the/re from around the neighborhood will also glaringly off-key. I'd like to hear the whole be shared, from the Milwaukee Latina/ thing done over again except this time Chicana Community, from three resident with someone who can sing. TG poets, and from a performance art quartet who mount their multi-media parody, Strange Fruit. The House of Love Audience With The Mind (Fontana) In a city not known for its evolved atti­ Moving melodies and powerful guitars tudes about gender and the sexes, this are strong points of this trio. "Erosion" kind of challenging treatment of female and "Corridors" are by far the most mov­ issues could be considered a non sequi- ing songs of this disc. Both have "hard" tur. Thanks to Theatre X and these artists, guitars played ata slower pace that doesn't however, the same program is a fait rely on distortion to achieve a gloomy accompli. Theatre Wom^naccommodates feeling. The song "Shining On" is slower the best any thinking woman or man and quite different—an uplifting song of could wish for on area stages this season: hope that gives the singers a chance to professional, pointed and poignant pre­ show off—with Sean CHagen's acoustic sentations concerning who we are as and slide guitar work adding fullness to women and who we are as a society. the sound. Unfortunately, House of Love's vocal and musical skills are held back by For information or to make reservations, a lack of poetic talent. A few songs sound contact Theatre X at 414/278-0555- like Robyn Hitchcock, only with dorky lyrics. Luckily the second half of the disc is Molly Grogan stronger and more complex. This is one of those CDs that grows on you the more you hear it. CB

14 Art Muscle LIPS THEATRE X presents TOGETHER, UWMb TEETH Northern Stage THEATRE APART Company WOMEN by Terrence McNally The Fourth of July are proud to present.. You'll Never Forget! Agatha Christie's A month long tribute Directed by Jon Kretzu riviting, suspenseful mystery to women in theater, Starring... Witness American Buffalo all written, produced With words like punches for the that, almost casually, & directed by women. prosecution build to violence -- "God forbid if something Directed by William Duwell inevitable occurs..." Including performances by: Produced by Maria Caravello Show Time: 8:00pm By the Pulitzer Prize-winning Holly Hughes writer of SPEED-THE-PLOW, West Allis Central GLENGARRY GLEN ROSS High School Auditorium and HOFFA. Renaissance Theaterworks 8510 W.Lincoln Ave. Drama Critics Circle Award Deborah Parks—Satterfield West Allis, WI "Best American Play" Oct. 22, 23, 29, 30 Theatre X in Alice in Bed October 7-24,1993 Tickets available at the door or by mail UWM STUDIO The Milwaukee Repertory's $6.00-Adults, $5.50-Seniors/Students by Susan Sontag Stiemke Theater THEATRE Mail Orders: Please send check and SASE to: 108 E. Wells Street, Milwaukee Steve Makovec, c/o West Allis Players OCT. 13-30 2728 N. 51st Street. Milwaukee. WI 53210 TAC Tickets: $12/$14 278-0555 Tickets: ]\|^ Bring in this ad at the door or include with your 224-9490 mail in order for a 50* discount off each ticket CALL 229-4308

WISCONSIN THE BAY VIEW PLAYERS *pt CO% WOMEN present 1993/94 Kopit & Yeston's IN THE ARTS All New Musical Thriller KICK-OFF & CONCERT UWM UNION

ART GALLERY TflWOF THE OPERA W PRESENT... ME TO

BeALTCy and MBSITnE/JER theeexsr: 144 E. WELLS ST. and other November 21,1993,3pm Ticket Prices $25, $20, $15 Sunday, Nov. 7 • 3:00 pm cnyensand Pabst Theater Sr. Citizens and Students Featuring: •;:>--$3. discount \.; Pianist Ralph Votapek Family Package:- Vv Performing in concert with October 1-22,1993 Milwaukee Civic 2200 Kenwood Blvd ••^Buy;two qduit tjeke^-.vi;:;" Symphony Orchestra Suite W197 and get up fofhree children Also performing: Milwaukee, WI admitted for naif price: Milwaukee Civic Concert Band ;:.Src^psof.tenoriTiore v-5--v;; • Tickets: $20 and $15

• ^$5:discoul per ticket ••.;,':, (seating by section) Call: Book by Arthur Kopit Students: $5 discount Music and Lyrics by Maury Yeston Available at: Pabst Theater Based on the novel Tickets go on sale October 1st at Wisconsin Conservatory of Music 229-6310 'The Phantom of the Opera" by Gaston Leroui the Pabst Theater Box Office Civic Music Association November 19, 20, 26, 27, & 28 for hours 761-2348 278-3663 Ticket Information: 483-3223

15 Photographs by Francis Ford 16 Art Muscle Studio Visit By Leslie Fedorchuk

On the grounds of the Tria Gallery in Fish Creek, very much like how it felt then. It really hasn't sort of reason—there was all this logic there. The Lucy Roske, the Gallery Director, is giving me a changed that much. It's kind of a combination of same thing applied if I would just look at the mental image that I have been unable to put aside. play and work. structure of the El tracks in Chicago, and I would We are all standing around one of Evan Lewis' assume since engineers designed it, that every­ wind-powered, kinetic sound sculptures. She is So that's where you grew up, in Santa Bar­ thing was there for a reason. So I would slowly telling us how on a windy day she will look out her bara? observe and pick apart the structures and figure out office window and see the robins riding on the why they built them the way they did and try to sculpture, bobbing around in the wind and having Well, not completely—but from age nine to seven­ understand that whole structural system. I find it the time of their lives. "It's like the Teacups Ride at teen I was there. I did a lot of backpacking and got very similar to the observation of nature. Disneyland all over again," she laughs. in the mountains a lot. I did a lot of surfing, too, so I was in the ocean a lot and in the mountains a lot. What was important in your education to get It's a good metaphor for the work, and also a good That really did affect me, the whole natural beauty you to the point where you could visualize a metaphor for my meeting with Evan Lewis, a sculp­ thing was a saviour for me. It was sort of what piece, know how to fabricate it and have tor from Chicago who has been commissioned to propelled me. something like this be the result? create work as near as Chicago and as far away as Australia—with a Pheonix Art Commission work I see that in your sculpture, but then there is That's really a hard question because my education and two stints at Art Park, New York. Our conver­ this whole "other" part—the industrial, found was so much like pulling teeth. I always hated sation twirled and bobbed over a variety of sub­ object part. That had to come from some­ school. jects. Lewis has no qualms about speaking his where. mind. Here are parts of our conversation. Part of my motivation for asking you this is Well in a way it comes from nature. When I was a that I know a lot of people who are in that Are you on of those people who knew you kid and I was up in the mountains, I would look at process of figuring out "Do I have the disci­ wanted to be an artist since you were nine everything really carefully and then sort of figure pline and the focus to do this?'' years old? out how it got that way. Trees grow certain ways for reasons, right? Because they are responding to It's really interesting to me, too—I came out with Not really, but I was sort of an artist then, whether something structural—like the roots and the the rubber side down and the shiny side up—and I knew it or not. When I was nine, I went to a school branches and all of that stuff. Then things like rocks I'm really grateful because a lot of people don't in Santa Barbara that had a wood shop. It was the bang into them and break them and then they come out that way, a lot of people end up dead or first thing in school that I liked, to that point. I took change and heal and whatever. I would see all of in jail, you know—or worse. Miserable in some to it like a fish in water. The way I work now is really that and was fascinated by it, and found this whole way. People end up doing things that they don't 17 I just started working in my shop every day. The This current body of work you're doing, how like very much, and they end up thinking of work din%«ntisitfromwhatyouweredoingfiveyears as a punishment. way I work now is exactly the way I worked then— the process is exactly the same. ago? Howls ittakingshape? The thing is, I had a hard time in school for some It is mostly mechanical things that change, really. I pretty obvious reasons. Primarily, I'm dyslexic. I How did you get to the School of the Art just keep trying to perfect how I put it together so had a hard time learning how to read, so from the Institute? it works well, both mechanically and visually, but beginning I was put with the "dumb kids." I was especially mechanically. Like this piece we are considered dumb, and I believed it. I was ashamed Well, I didn't really think I was necessarily into art. looking at, it's all stainless steel and aluminum. It's and intimidated all the time. If you are ashamed and I thought of myself as a furniture builder, like a called Medusa. Thematically, it's not very compli­ intimidated, you can't do anything. Like last night, cabinet maker. I developed into that with my cated. It's just a weather-vane. There's not much to we were playing pool, and I did all right until there woodworkingskills.IfinishedhighschoolinMaine, were two guys waiting for the table. I assumed they I went to an alternative high school. The director it. were better players than me and that they were there suggested that I apply to Evergreen College Is whimsy an important thing to you? annoyed that we were taking so long. I just got inOlympia, Washington, because it was also an al­ worse and worse and worse. So you really need to ternative school and you design your own pro­ Yeah. I especially think whimsy is good when it is believe that you are doing something worthwhile gram. I had no idea what I was going to do. But one serious, when there are serious overtones. and that somebody cares about it. But, that's like of the classes I took was a humanities class and it childhood stuff that's important. had an arts focus. We just happened to be studying contemporary art. We read The Bride Stripped What's the inspiration or the motivation for these forms? That's the foundation, isn't it? Bare By Her Bachelors, Even by Duchamp, and it really inspired me. I was inspired by artists like I don't know, just shapes that I think are pleasant. Yeah, by the time I was in fourth grade, 0 was Cage and Rauschenberg and Duchamp—all of that inventiveness and art being fun and crazy really It is ornamental—I am just trying to make some­ repeating fourth grade, which made me feel like a thing that I think is really beautiful. The motion can total loser), I took this shop class and it was exactly appealed to me. So I started getting interested in sculpture then, and I thought I should go to an art be very pleasing, sort of like a dance. A ballerina what I wanted to do. It was offered in exactly the goes through all sorts of beautiful motions—and is right way. I went to this guy after two weeks—he school. I wanted to be in a city and I didn't want to be in New York—so I just picked Chicago. I had also beautiful, has a beautiful body and has a way had all of these projects—things that we were of standing—all that. supposed to do to learn how to use the tools. They lived there as a kid with my family, so it seemed familiar in some strange way. were really tacky, wierd things that I didn't want to You talk in your statement about your works make, that I knew nobody in my family would That ended up being a good experience? having a personality or lives of their own, want. So I just told the guy, "Look, I don't want to once they have this intercourse with nature, make this stuff and nobody in my family can use it, where there is something created out of the so how about if we just get straight to the boats?" Not really, I don't think the Art Institute is a very good school. movement and the sound. Are you always And he let me! He was a good boat builder and thinking about that in the fabrication? taught us how to make sailboats that really func­ tioned. I won't print that No. I never think about that in the fabrication. But it's part of the intent, especially with sound pieces; How about that, now there's a key person... I would be happy to print it, because it's true, but maybe there isn't a good art school. I don't know to make something thatsort of has a spirit. My hope if art school makes sense. It might have been better is that it has a personality and that it becomes a Yeah, he was really a key person. I don't know if character in your world. If you have a piece like that answers the question at all. My thing was if I would have gone somewhere like Cranbrook, somewhere that emphasized craftsmanship. The that in your garden, and you have had it for awhile working by myself with very little help. If someone and you know the sounds it makes, then you notice tried to help me, it would piss me off and make me Art Institute was the wrong school for me, really, because it was very conceptual. So it seemed like that there's a little breeze, then you will listen for it, run away and I just didn't want to be told what to do, and you will hear it and you will be reassured. It is because I had such bad experiences with certain nobody ever did any work. Everybody came up with some wild idea at the last minute and sort of like a creature that is speaking to you. I think it is family members and teachers trying to make me true of a lot of objects. You start to attach. People conform and make me do things a certain way. As threw it together and showed up a half hour late. get very attached to their cars and they think of their soon as someone tells me how to do it, I just don't Sometimes that's fine. It can be great. But I think cars as having a soul in a way. If you sell the car or want to do it any more. But I was diligent. I would you also have to work really hard to get anywhere. the car gets wrecked, you have all of this sadness come home from school and I had my own little To do anything really good, I'm convinced that you shop. Immediately I started getting tools and stuff. have to work hard for it. 18 Art Muscle that you wouldn't have if the car was just a piece of Yeah, what did I do? I started out by entering some Not very many, but a few. For me that is a great machinery, which is all a car is. shows that were outdoors. I had a piece that I made success. If you can just make a slight shift then in school and at the same time I made it I thought that's a huge accomplishment I think that if you How do you make a living doing this? We it was great, and after I finished it I thought it was just work hard and do a good job and try to show could use the word marketing.. .talk a little bit stupid. I felt bad about it for all sorts of reasons that your work, that's the most I can probably do. I also about the business. I won't go into. It was stashed away in my base­ think that education is just the biggest problem in ment getting all rusty. Four years later, I saw a thing a lot of ways—but in regard to art, too. We don't That's really a loaded question. for an outdoor show outside of Kansas over a have art education in this country that is worth a weekend. I thought I should enter this piece. Who damn. When I went to the Netherlands, I talked to Yeah it is, I know, but isn't it THE question knows, it might get in. So I entered the piece, and kids with high school educations. They knew more sometimes? it got in. Then I got all excited, and I fixed the piece about art history than I did—and I had been to the up and I took it and I got my picture on the front Art Institute already. They knew what was going Oh yeah, I think it is really important. I don't know page of the Sunday paper, and I sold the piece. on. They knew the basics. We just don't—as a though, it is really a hard question to answer. I Some guy with a big pinky ring and a gold card country, as a nation, as a culture—value that very think I know that a lot of students and young bought the piece. I thought COOL. I like doing much and we don't teach it. We teach football and people interested in the arts are immediately op­ this. It made me feel good, because this guy, even economics—and that's what we care about here. posed to and turned off by the whole concept of though he had on a Hawaiian shirt and a pinky ring, This is like an asphalt covered hell, really. Sandra selling their work, which I can understand, but I he was like a big shot, you know. He had made a and I went down to North Carolina. I was as­ never really subscribed to it. I have always sold my lot of money doing something, as a developer, or tounded at how many little churches there are. work. When I was a teenager, I was making something. To me it meant something that a guy There are so many little churches and they are so furniture—Queen Anne reproduction stools—and like this, who is so out of the arts, would be ugly. They are made out of the ugliest materials, selling them to friends of my mom's. I really liked intrigued by my work and want to buy it. That constructed in the stupidest ways, and they have it I like making money. It is something I really like really was a shot in the arm. So I started to apply to huge parking lots around them. Here's this little to do, so if I can make it pay, it is part of the more shows and send slides to galleries—espe­ tiny shit-box church with two acres of pavement satisfaction, and it means I can do it more. I think cially any galleries with an outdoor space. I'm all around it, and you know they spent all the money you just have to decide how much you want to do over them. on the parking lot, because the way they get people your art, and if you want to do it all of the time, then to go to church is to give them a place to park. So you have got to figure out a way to sell it. I guess How important is it to you to have your work that's it. That's what we are dealing with here. It's the thing I would want to emphasize the most is accessible to the public at large? Would you pretty complicated. It just makes me want to give that there is nothing wrong with selling your art. It's like to do more of that? up and move to Europe. I'm sorry if I don't seem true that you may have to change the nature of it to very responsible about enacting change, but you sell it, to make it saleable. I'd love to do more of it, but I think that the bottom know.... line is that Americans don't really like art very much Rather than be true to your "wonderful idea"? and aren't that interested in it, hence, all the prob­ Have you done any teaching? lems that we have with public art. Art in this See, I don't think it's black and white. I think you country tends to be a very elitist thing that rich Very little. can adapt what you do so you can please both people like. Rich, intellectual, well-educated people aspects. Like for instance, this piece here is much like it, and it becomes a trendy thing to show how Are you interested in that? easier to sell than that little piece with the wings. cool you are to buy something that is hip and This is like much more saleable, and hence it sold. expensive. Putting art in public places is, I think, Yeah, I am, but at the moment I'm not. The way I That little piece, I made it in 1990, and I have shown extremely difficult in this country. see it, I just want to keep working hard so that I can it in a bunch of different settings, and it still hasn't make some money and then later on when I get a sold. So that is the range right there. This piece is So what is our (the artist's) responsibility little older I could do something like that. I'd like pretty and pleasing, and it sells. And that piece is here? Do we have one? to teach boat building, actually. I'd like to do a little bit funny looking and a little bit scary in some something like boat building for poor kids on the way. Sometimes I would really like to work on Well, I think so, but it's hard to say what it is exactly. south side (of Chicago) who don't know that there's things that I know nobody will buy, and I can't. I It's so hard just to get out of bed and make art all day a lake in their town. I mean they're just trying to just don't have time. and try to sell it and do all that. That in itself is such keep from getting strafed, you know? For some a big task. I don't know. Like the thing in Phoenix, people, their daily existence is just very bleak and So, what did you do? You just started taking I think it did change some people's ideas about their priorities are very different.... your slides around—selling yourself, selling what art was. It really broadened some horizons. your work? y ••••••••••<•.:.:•.: ;• . . :: ®**%«*< fM '^M it

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118 ART FAIRS ARE EVERYWHERE. DURING THE SUMMER THERE IS The range of art fairs can be so broad as to be mind- nacles of success? Would Paula Cooper turn me at least one per weekend somewhere in the mid­ boggling. An important question for the artist is down if she knew? It's possible that I am respond­ west and east coast. As the season winds down up how to choose which fair to do. ing to the uneasy relationship between making art north, it is just gearing up in the south and west and selling art. There is no comfortable distance coast. Every year, new art fairs crop up and small At the bottom of the pecking order are non-juried between the two at an art fair and no middle person scale shows get bigger. What's the deal? What's the fairs. While these maybe well-organized and well- or institution to intercede. I may even be influ- attraction for artists and their audience? attended, the work exhibited is the most uneven and may include such I've been asking myself a multitude of questions items as refrigerator door magnets about art fairs since I crossed over from spectator to and decorated light switch plates. assistant eight years ago and became a participant Setting aside the issues of elitism about three years ago. I have come up with almost and art versus craft, it is difficult to as many answers as questions. The initial attrac­ sell higher-priced work when the tions for the artist are the potential of selling art­ range from one-of-a-kind artwork work and gaining a broader exposure for the work (be it jewelry or sculpture) to mass- than that which is offerred by galleries. The attrac­ produced, low-ticket items is so tions for the audience include a comfortable at­ broad. Although the egalitarian mosphere in which to view a wide variety of work, concept of a non-juried show may to purchase or not as they choose, and to enjoy the be appealing to some, it is difficult accompanying festivities. to sustain without the promise of income which would keep artists The art fair omnipresence didn't happen overnight. returning year after year. Some fairs go back thirty years or more. Their beginnings were humble. Artists laid their work A juried art fair is no guarantee of out on card tables or blankets. The stakes were high quality exhibits. In many cases, relatively low. During the early 80s, the frenzied the jurors' names are not included growth of the general economy was reflected in a on the prospectus, and jurying is similar expansion of art fairs in size, number and done from slides which may or may sophistication. It became possible to make a living not be truly representative. For some at "doing art fairs." Many artists maintain or estab­ fairs, a certain percentage of exhib­ lish relationships with galleries while also showing itors are re-invited each year. These, at fairs. In fact, one development in art fairs has among other factors make the job of been wholesale shows (or "wholesale only" days ranking juried art fairs a challenge before a retail show) which are open only to buyers indeed. There is, in fact, an organi­ for retail establishments such as galleries and de­ zation, The Harris List, which annu­ partment stores. For artists, the attraction of whole­ ally publishes a listing of major art sale business is the relative stability of income fairs ranked according to various throughout the year. Work is produced to fill qualities and based on artists' rec­ specific orders rather than on the gamble that it will ommendations. This listing is avail­ sell at the next show. able to artists for a fee.

The recent downturn of the general economy Art fairs take some years to establish caused many galleries to close their doors or tighten both a reputation and an audience. Thea Kovac, photograph by Francis Ford their belts. Wholesale artists began returning to Ranked above non-juried fairs are outdoor shows, which may partly account for the newer shows as well as those which have been enced by a centuries-old concept which ranks continued growth of art fairs in recent years. As art around awhile but have remained small and local physical labor below mental effort as participation in terms of advertising and have a in art fairs requires a considerable amount of grunt fairly low budget. They may be work. profitable and enjoyable but not known nationally. From the point of view of the spectator, an art fair artist's biggest challenge may be the endurance Close to the top of the heap are a required to sit through the two to five days of the handful of "high-end" art fairs which fair. This is not the case, however, as sitting, attract applications from hundreds, smiling and talking comes both after and before the if not thousands, of artists each year. packing, traveling, and unpacking. Designing, Both artists and buyers will go quite building, and maintaining the booth display walls a distance to attend them. Artists and/or pedestals so that they are able to withstand are willing to gamble on higher the elements and yet provide an aesthetic support expenses for these shows because for the work are crucial demands as well. Addition­ the audience is larger and reputed ally, there are bookkeeping responsibilities such as to be more inclined to buy art. There keeping track of show date deadlines and collect­ are currently two fairs generally ac­ ing and paying sales tax for each state in which one knowledged to be tied for first place exhibits. All of this is done with no guarantee of among outdoor shows: Coconut profit. Grove Art Festival near Miami, Flor­ ida which is held in February and Despite or, perhaps, because of the challenges that the Ann Arbor Street Art Fair in Ann art fairs present, the rewards are real and reach be­ Arbor, Michigan which takes place yond the financial. The artist who wouldn't do art in July. The reputation of these fairs if it weren't for the money may be practical shows is based, in part, on the vol­ when it comes to the bottom line but is missing out ume of sales reported by the artists, on a lot. High on my list of rewards is the wealth of on prestige because of the perceived friendships and experiences shared with other level of quality of the art displayed, artists. Exchanging information about shows, dis­ and on the degree of difficulty in plays, restaurants, etc., as well as commiserating on being juried into the shows. failures and celebrating successes are key elements to survival on the road. Writing about the hierarchy of art fairs is ironic for me when I think of From among the large and growing number of their position relative to the larger artists in Wisconsin who show work in fairs, four in­ art world. Even after three years, I dividuals: Thea Kovac, Patrick Turner, Kaaren am still in the process of reconciling Wiken and Tom Rauschke reflect the diversity of my art fair life with the rest of my life artists involved in fairs in respect to media, experi­ Patrick Turner, photograph by Francis Ford as an artist. For instance, I don't list ences and perspectives. fairs on my resume despite the fact fairs have grown, and indeed survived, they have that the work is the same as that which I exhibit in Thea Kovac is a painter and installation artist. She also gained a measure of credibility. Artists who galleries, and the competition to exhibit is as stiff as teaches "Art for Amateurs" through MIAD's Con­ once viewed art fairs as a stepping stone to galleries for most juried exhibitions. I've wondered about tinuing Education program. Her previous life as a now see the relative merits of both. Artists who this. Am I conforming to the popular perception of social worker adds to her empathy with those who have not gained access to the smaller stage of the "big picture" hierarchy with the Whitney Bien­ feel the urge to create but have not as yet given commercial galleries welcome the broader range nial and New York gallery representation as pin­ themselves permission to do so. This past year's of accessibility provided by art fairs.

21 Lakefront Festival of the Arts in Milwaukee, inci­ acceptance into two shows in Texas was based on All four artists list money as an obvious, tangible dentally one of the "high-end" fairs referred to two separate bodies of work, and he consequently reward. As Tom put it, "Art shows are our pay above, was Thea's first ever art fair. Her perspec­ had to pack both shows into one van. days...It's the day we turn the products of our tive is of one who is testing the waters. labors into the cash that allows us to keep doing it." All of the artists value direct contact with the con­ Thea gained a solo exhibition at Boerner Botanical Patrick Turner works with mixed media and col­ sumer. Thea reflected on the thrill of realizing that Gardens as a direct result of exhibiting at the lage primarily in a two-dimensional format but also someone had fallen in love with a painting and had Lakefront Festival of the Arts. She felt the exposure, to have it. Tom gets a sense of in general, was beneficial, and she added names to satisfaction from knowing not both her personal mailing list as well as for the "Art only who has the work but some­ for Amateurs" class she teaches. She figures art fairs times even where it is placed in are the ideal recruiting arena for that particular the home. He agrees with those class as spectators are often "artists-in-waiting full who feel that when people buy of untapped creativity." The intangible rewards for the artist's work, they also buy a Thea were particularly rich; "It's easier to answer little bit of the artist's life. None of the question, 'Who are you painting for anyway?' the artists would advocate abol­ with 'I'm painting for me andthe viewer'. I used to ishing the commercial gallery sys­ get more caught in an either/or polarity on this. I tem. Rather, galleries and art fairs also have a working alternative model for how I are seen as complementary ven­ can integrate my creative process with the alien ues: the former for when it is world of business." desirable to keep a distance and have the work sell through an Tom and Kaaren have made doing art fairs into an intermediary, and the latter, for art unto itself. They've cultivated deep, lasting access to a face-to-face market­ friendships with patrons and artists alike. They place. seek out the best (vegetarian) restaurants in each city in which they show. They excel at trading with When it came to talking about other artists. The lights for their display booth are hardships, pitfalls and breaking solar. They wanted me to be sure to put in a plug points, Patrick downplayed them for the Cherry Creek Arts Festival in Denver, Colo­ all. While he acknowledged that rado because the organizers have made waste there are hassles involved such reduction and recycling a priority and because they as exposure to the elements and treat the artists like royalty. the unpredictability of profit, he Kaaren Wiken and Tom Rauschke prefers to focus on developing Patrick enjoys his role as an educator. In his with constructed boxes and added found objects. and maintaining a positive mental attitude. He contacts with people, he hopes to expand their He has been regularly exhibiting in art fairs since looks for specific solutions to problems and tries to understanding of art and offer them new ways of 1988 with an increasing degree of success in terms anticipate and be prepared for any given situation. thinking. To that end, he signs his work with the of income, recognition and personal satisfaction. In fact, he enjoys challenges such as setting up the acronym, UCRA which can stand for Urban Con­ Patrick describes himself as a "man at the cross­ booth and sticking it out through a rainy day in temporary Renaissance Art or Universal Conscious roads" due to the fact that his full-time job and the hopes that the next might bring better weather. Relative Abstract or whatever else he might invent growing demands and attraction of art fairs pull on the spot. him in two different directions. Both Kaaren and Tom pointed to rejection as the toughest element involved by which they mean re­ So, what is the deal with art fairs? At their worst, Kaaren Wiken and Tom Rauschke are appropri­ jection of their work by individuals at shows but they can be an example of the commodification of ately introduced together. To be sure, they have mostly rejection of separate, albeit complementary identities. Never­ their work during theless, they are partners at home, in the studio and the jurying process. in exhibiting their collaborative work in galleries They have become and at art fairs. Tom and Kaaren work together on adept through the complex, interactive sculptures made of wood and years at solving embroidery. They are wholly committed to art fairs problems with dis­ as an aspect of their alternative lifestyle and major plays, slow traffic source of income. and insensitive comments, al­ Although I interviewed Thea, Patrick, Kaaren and though they still Tom on separate occasions, I posed several basic find it grueling at questions to each. I asked: "Who or what deter­ times. But getting mines what you make? and how do you feel about into every art fair it'" Also, "What degree of toughness is required of they apply to is not you? What is your particular breaking point?" And possible or within finally, "What are the rewards? What makes the their control no fairs worthwhile for you?" These questions and the matter how many artists' responses spawned other ideas both related years they've been and tangential. in it or how well- established they've In response to my first question, all the artists become. asserted that their work was made primarily for themselves as artistic statements or expressions. As a first-time art Kaaren noted that it helps her to work more freely fair exhibitor, Thea if her mindset is "maybe I'll keep this one." How­ naturally had most ever, sales and work go hand-in-hand when, for to say about tough­ example, a series may develop or be extended in ness and breaking order to keep one piece around to enjoy. There are points. She de­ practical considerations. Patrick Turner works scribed the engi­ within a few standard sizes to reduce the labor and neering/architec­ time involved in mat cutting and frame building. tural aspect of This also becomes an aesthetic consideration as a building her dis­ wide variety of sizes within a 10' x 10' booth could play as terrifying. become confusing and overwhelming. Another However, she now issue has to do with the lapse in time between jury­ feels "more com­ ing and exhibiting. Art fairs require that the work fortable with oper­ exhibited be consistent with the slides submitted ating in spatial con­ for jurying. In Thea's case, she had just begun a texts," and she is new series of paintings in February when she re­ using some of her ceived her acceptance to the Lakefront Festival. display in her in­ Ancestor Bowl, 1993 She was obliged to interrupt her new work and stallation with the Women's Experimental Theater art taken to the extreme. At their best, they are an return to work such as she had done the previous (W.E.T.) Thea also found that the three days of the exciting avenue towards autonomy for the artist fall when the slides were shot. While the process fair depleted her existing supply of extroverted en­ and an aesthetic experience for a wide audience. was psychologically painful for her, she was pleased ergy due to constant encounters with other people. Responsible involvement on the part of artists as with the hybrid paintings that were the result. For Her normal balance being upset, she was physi­ well as show organizers is the key to avoiding the Patrick, the need to have his work consistent with cally and emotionally drained and required a good worst and working toward the best. juried slides became an extra heavy load. His deal of time alone after it was all over. 22 Art Muscle Fine HANDCfiAFTCDJCUJCUUr Gold • Platinum • Silver

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•Organized by the Los Angeles County Museum of Art fr^hlf"? ^ M?E!d.t0Ur T ciTculated by""* American Federation of Arts and made possibly in part by generous grants from the Professional Photography Division of Eastman Kodak Company Y generous Krams MILJii^iJKEE g al exhibition as Jit w rc TT organized by the Corcoran Gallery of Art and made possible in part by a major grant from U S West Foundation. The exhibition photographs were printed by Gary Schneider of SchneWer/ErdmaKw YorkCity. ART MUS 750 North Lincoln Memorial Drive 414.224.3200 EUM

23 Wi n^° g

New York—It's only 11a.m., but already the streets Story. He wears black jeans, black loafers and a of Manhattan are sizzling in the late summer heat. white knit shirt that displays his muscular arms. He A cacophony of harsh, gritty noises filters upwards exercises regularly, and it shows. When the door­ from the pavement and into the opened windows bell rings, he springs from his chair with the energy of Anthony Crivello's midtown apartment. The of a well-trained athlete. But the door stays shut windows are open because there is no air-condi­ until Crivello is satisfied that the delivery person is tioning. There is no fan, either, to stir the stifling air. legitimate. Even in a secured apartment building, Crivello shares the space with a roommate, and there's no sense taking chances. although it's advertised as a one-bedroom apart­ ment, he complains that it's really just a spacious Oddly enough, Crivello earned his street smarts not studio. He mentions that his roommate is a film in Manhattan, but while growing up in one of director; this fact is rather obvious from the sloppy Milwaukee's tougher neighborhoods. The 37-year- piles of scripts and videotapes that threaten to spill old actor grew up on Holton Street, not far from the over from every chair, table and shelf. In one Holton Street Bridge. From his bedroom window, corner, a small, round dining table is plastered with he could see the flashing lights of Schuster's depart­ layers of unopened mail, indicating that his room­ ment store. In 1966, during a particularly acute mate is out of town. Also on the table is a vase filled period of racial conflict in the city, a sniper's bullet with very dead roses. came through that same window.

Such is the glamorous life of a Broadway star. The experience of growing up in a tough neighbor­ fi egeI hood gave him a bit of an edge. He uses the edge >Mnne^ From Crivello's appearance, one would guess that to good advantage on stage in his role as the he had just returned from a casting call for West Side political prisoner Valentin in Kiss of the Spider 24 Art Muscle Woman. The Kander and Ebb musical is based on however, was when Barbra Streisand said she A particularly fond memory is when 19-year old Manuel Puig's novel, which also was made into a admired his voice. "Barbra Streisand is telling ME Crivello took the leading role in the musical Bye, move starring William Hurt and Raul Julia. I have a gorgeous voice?" he says, amazed. Bye, Birdie at Melody Top. He played opposite Luci Arnez. One night Arnez' mother, Lucille Ball, In the story, Valentin, a young revolutionary, is For all the perks of performing on Broadway, was in the audience. Afterwards, she went back­ trapped in a Latin American prison and tortured there's a lot of pressure, too. Crivello says he stage to congratulate the cast. Crivello remembers repeatedly. His cellmate is Molina (Brent Carver in learned the value of hard work from his father, her pointing at him and saying, "Come here, kid." the musical), a flamboyant gay window dresser who operated two gas stations in addition to his job She shook his hand, looked him straight in the eye who regales Valentin with elaborate movie fanta­ at Pabst Brewery. And there was always music in and said, "What are you doing here?" Crivello said sies. The tales he acts out always star an aging this Sicilian household, especially on Sundays. he was working. Ball replied, "OK, but it's time to movie queen, played in the musical by Chita Rivera. That's when Vincent Crivello would stride through leave the nest." At first Valentin is repulsed by his unconventional the house, singing operatic arias at the top of his cellmate, but eventually he respects and then voice. It was a good voice, too—good enough to That got Crivello thinking. He felt his experience admires Molina's loyalty and courage. The growing get Vincent an audition at the Metropolitan Opera. working with local professionals—such as Alan affection between the two men propels the musical Crivello's mother, Josephine, also instilled a love of Furlan and Mary Strong at Sunset Playhouse, to its dramatic climax. music in her four children. She used to sing with Montgomery Davis, whom Crivello first worked Milwaukee's Florentine Opera and encouraged with when Davis was managing the performance Light comedy this isn't. During an interview, Crivello her children's musical efforts. Crivello's parents space at Pzzazz, and his voice coach Gunnar Gran- remarks offhandedly that he has to apply and remove are now retired and live in Oak Creek. quist—had given him the foundation to make the stage blood from his face, chest and clothing five leap to a professional acting career. He began times at each performance. He has to appear gaunt, While Vincent was playing Enrico Caruso and auditioning in Chicago. emaciated, broken in body but not in spirit. During Mario Lanza records in the living room, young the play's two and one half hours, his character Anthony displayed distinctly different musical Things began to click when Crivello landed a role careens emotionally between hope and despair. tastes. He grew up listening (and dancing) to in the original Chicago company of the musical, Do Prison life teaches Valentin to deal with pain (the James Brown records, playing them in the bed­ Patent Leather Shoes Really Reflect Up? This re­ physical kind and the kind that comes from being room to avoid his father's taunts. gional hit flopped when it moved to Broadway, but separated from family and friends). It also causes the exposure led to a succession of film and TV him to question (and eventually reaffirm) the ideals roles for Crivello (including the part of a thug in that imprisoned him. Crocodile Dundee II, and a guest spot on Miami Vice.) Soon afterwards Crivello appeared on Broad­ Crivello understands this kind of emotional tug-of- way again, first in Evita and then, Les Miserables. war, even if his own separation from loved ones is I heard two little caused by fame, not prison walls. Crivello says one Now that he has had a taste of fame, can fortune be of the most personally resonant lines in Kissis when voices in my far behind? Crivello prefers to keep mum on the his cellmate, Molina, talks about owing everything subject of money. He won't reveal his salary, but to his mother. The speech is followed by a tender head...one said, it's undoubtedly far above Actor's Equity minimum love song, tided Dear One. Crivello says he identi­ of about $1,000 a week. Crivello's agents are fies with the song. "Family is definitely a priority," "Did he really say currently renegotiating his Kiss contract, and he he says, along with God, career and giving back. hopes it will give him the flexibility to pursue film my name?/' and the roles as opportunities arise. He would like to return Crivello was first offered the role of Valentin in other said "Stand to Milwaukee for theater roles, such as his 1989 1992. Producer Hal Prince remembered Crivello's appearance in the Milwaukee Chamber Theatre portrayal of Che Guevara in the musical, Evita, and up, stupid, and get production oiFrankie and Johnny in the Clair de asked him to audition for Kiss. The show opened in Lune directed by Montgomery Davis. But it's Toronto for a five-month run and then moved to up there because doubtful that his current career track will allow it. London for six months before coming to New York. Several weeks after opening in New York, it won a they might change That's one of the sacrifices Crivello must make as a handful of Tony Awards for the show and its cast. rising young actor. Perhaps because of his Midwest Crivello, Carver and Rivera all received awards for their minds." roots, he keenly feels some other sacrifices, too. He their performances. It's one of those things actors laments the fact that he's 3,000 miles away from his dream about. When Crivello talks about Tony girlfriend, a film actress living in Los Angeles. He night, it's clear that the thrill remains. also lives far from his family, and sometimes misses

It was perhaps the most anxiety-ridden night of Acting was not the way a young boy made his mark Milwaukee. He longs for the hash browns at Crivello's life. "As much as you try to stay cool about in Crivello's neighborhood. "I thought it was a George Webb's and for the Green Bay Packers. He something like that, it's impossible," Crivello says sissy thing to do," he recalls. Still, he was talked dreams of someday using his baritone voice to sing candidly. "My heart was beating out of my chest." into playing Pocahontas in a Cub Scout production the national anthem at County Stadium before a When presenter Tommy Tune (also a Melody Top (since there were no girls available to play the Packers game. alumnus) read Crivello's name, Crivello feared he part). "It was a one-time thing, and I played it for was going to black out. "I heard two little voices in all it was worth," he says defensively. But the For now, Crivello is confident of who he is and my head," Crivello recalls. "One said, 'Did he really ribbing he took later was so embarrassing that where he's going. "I'm a Midwestern boy, and I say my name?,' and the other said, 'Stand up, stupid, Crivello vowed to never get on stage again. have that Midwestern practicality." As he says this, and get up there because they might change their Crivello ignores the screech of tires outside the minds.'" He changed his mind when he saw his brother's window, and the grinding gears of a delivery truck performance in a school play. Seeing the boy take as it rolls to a stop. Somewhere in the distance, a Only now is Crivello realizing the full impact of on the voice and gestures of another personseemed police siren wails. winning a Tony Award. People recognize him on like a magical transformation. Crivello wanted to the street and ask for autographs. His caricature do it, too. He started performing locally and won hangs on the famed celebrity wall at Sardi's Restau­ a scholarship to Marquette University, where he rant. Well-known actors often visit Crivello back­ studied acting for two and one half years. Encour­ stage after seeing the show, which sometimes leaves aged by his teachers, Crivello made the rounds of Crivello star struck. Among those who've stopped Milwaukee's theater companies. He landed roles by are Rhea Pearlman, Danny DeVito, Danny Aiello at the old Melody Top Theatre, Sunset Playhouse and Placido Domingo. What really floored Crivello, and the Great American Children's Theatre.

25 SIXTH ANNUAL • INDIAN MARKET • Remember having experience it! your first featuring morning bun? Amado M. Pena, jr. Pure butter, flour, milk, brown sugar, monotype demonstration eggs, cinnamon, yeast, & salt. —ALL NATURAL— •••• Cliff Fragua, sculptor We've never stopped making them and they're better than ever! Juan Tafoya, potter Original or Pecan Lynn Quam, fetish carver Jimmy Harrison, jeweler

Artists'reception: Friday, October 29 7-9 Show & Sales: Saturday, October 30 11-4 Show & Sales: Sunday, October 31 11-3

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The most acclaimed and talked about off-Broadway play last year was Fires in the Mirror, Anna Deavere Smith's dramatic commentary on racial tension. Based on interviews with a wide range of people who experienced or witnessed New York's 1991 Crown Heights riots, Fires in the Mirror is a dazzling portrait of 26 interviewees. Anna Deavere Smith shifts sexes, ages, classes, and colors in mixing her own personality with 8:00 PM. FRIDAY, OCTOBER 29,1993 verbatim excerpts of her subjects' observations. This unique book combines the complete playscript, black-and-white photographs, Fine Arts Recital Hall background information, and a foreword by Cornel West to show University of Wisconsin, Milwaukee why Fires in the Mirror will continue (through its broadcast on PBS's "American Playhouse" and Ms. Smith's performances FREE FOR MEMBERS around the country this Fall) to fascinate, entertain, and educate. (with membership identification only) General Admission: $5.00 DOWNTOWN WHITEFISH BAY BROOKFIELD TICKETS CAN BE PURCHASED AT THE DOOR OR FOR ADVANCE Historic Iron Block East Silver Spring Loehmann's Plaza RESERVATIONS PLEASE CALL INDIA MUSIC SOCIETY AT: 521-4761 274-6400 962-7997 786-8017 26 Art Muscle VW\7J A SAMPLING OF IN/IILAA/AUK FINEST ETHNIC RESTAURANTS

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27 Arts Organizations: Please add Art Muscle to your mailing lists. Include dates, times single ticket price, i i i i location & phone number. Submit calendar listings for December/January in Frames writing on or before November 5, 1993 to 828 EAST LOCUST STREET Art Muscle Calendar MILWAUKEE, WISCONSIN 53212 P.O. Box 9321 3 7 4-9494 Milwaukee, WI 53203 Attn: Megan Powell Unless otherwise noted, all phone numbers are area code 414.

Custom Picture Framing • Original Art, Prints, Pasters • OUT THERE Corporate Art Service • More moving than macabre, El Dia de los Muertos (Day of me Dead) is clearly an unusual kind Over 1,000 Frame Styles of holiday: around November 2, Hispanic families gather graveside to remember departed QUALITY • SELECTION loved ones with elaborate picnics. "Day of the Dead doesn't have creepy connections, it's about remembrance," says Linda Courbin-Pardee of Walker's Point Center for the Arts, where AFFORDABILITY ADRIENNE MICHEL SAGER "Giverny: The Porch Series" an exhibit celebrating this distinctive Hispanic tradition will open on October 31. The show "Enhance your artwork with skillful and features altars created by local families and artists which commemorate the deceased and on creative framing techniques."—-KRISTY UHLIG, October 8 — November 5 Opening October 8th, 6:30-9 which special mementos, foods and flowers are placed. A "community" altar will be available [[lUjP'^irillll^j^y^^^-^^ Dennis Uhlig Fine Art 964-6220 for gallery visitors to add their own remembrances. An additional installation of two- dimensional art dealing with skeletons—another facet of the Dia—and a lecture and reception servina traditional holiday breads round out the celebration, which continues to November 27. For information call 672-2787.

1993 WISCONSIN CONFERENCE ON THE HISPANIC FAMILY Now-January 23 Selections from the Permanent Collection Now-October 8 UWM Art Museum, Vogel Hall, 3253 N "HISPANIC ARTS J 993/Wearable Art Exhibition Downer; 229-5070 October 15-November 20 & HERITAGE: Masters in Contemporary Craft Now-October 20 November 26-January 8 Brad VandeVenter & Lisa Salisbury A DIVERSITY Ray Hart! & Nancy Schieferstein October 24-November 23 Recent photographs; Katie Gingrass Gallery, tee Ann Garrison & JeffNoska OF CULTURES" 241 N Broadway; 289-0855 November 28-December 31 Gallery Artists; Kohler-Clark Gallery, 1317 E Now-October 8 Brady; 271-7001 NOVEMBER 4 & 5 Ritual Masks from Papua, New Guinea October 14-November 11 Now-October 20 At Centro de la Comunidad Unida Works from the Permanent Collection ..;•-» Brett Angel, Private Landscapes November 18-December 16 Milwaukee High School of the Arts, 2300 W United Community Center 2 J st Annual Art Faculty Exhibition Highland; 933-1500 1028 South 9th Street UW-Green Bay, Lawton Gallery, 2420 Nicolet Milwaukee, WI 53204 Dr, Green Bay; 465-2293 Now-October 23 Spiral Motion in the Urban Forest, Marian CONTACT: MARCO BARBOSA Now-October 9 Vieux wraps Walker's Point light poles & (414) 384-3100 Spring Forward, Fall Back buildings with fibers, mesh, other materials Photographs by Brian Kelly & photographically Al Balinsky & students, Photography This conference is made possible through the support of: Arts Midwest, CAMPAC, Friends of the Hispanic Community, derived works on paper by Rebecca Silberman October 31 -November 27 the Milwaukee Arts Board, the Wisconsin Arts Board, the National Endowment for the Arts & Wisconsin Bell October 15-December 11 Dia de los Muertos/Day of the Dead Mike Brylski, Mixed Media Paintings Mexican celebration honoring the dead; re­ Jason Rohlf, Oil on Paper ception Oct 31 1 -4pm; Walkers Point Center Reception Oct 15 7-1 Opm; Silver Paper Gal­ for the Arts, 911 W National; 672-2787 lery, 217 N Broadway; 273-7737 Now-October 23 Now-October 10 irs About Time! (My Own Work) Erwin Breithaupt Jr Memorial Exhibition Functional pottery by Marnie Elbaum Ripon College: Caestecker Gallery; 748-8364 October 30-November 30 Dick Woppert, New Porcelain Now-October 10 Marnie Pottery, 2711 N Bremen; 374-POTS 7 993 Wisconsin Artisfs Biennal Juried competition of state artists in all media; Now-October 24 UWM: Fine Arts Gallery, 2400 E Kenwood; The Invisible Harvest/La Cosecha Invisible: 229-5858 Codices, Retablos & Altar Installation by Santa Barraza & Angel Suarez-Rosado Now-October 10 Now-November 7 Gwendolyn Gillen, Drawings and Sculpture Wearables 5th Anniversary Retrospective Now-January 2 October 17-November 14 Discursive Dress: Re-created clothing True Blues October 31 -January 30 Works pay tribute to the color blue; lecture Oct Ben Pranger. Sculptures of found objects 173:30pm October 31-January 30 November 21-January 2 Richard Ross Joyce Marquess Carey, Interwoven Designs Photographs inside natural history museums Lecture Nov 21 3:30pm; St John's Uihlein- November 12-January 9 Peters Gallery, 1840 N Prospect; 291 -4993 Treasures: Jewelry, ceramics, wearables; re­ ception Nov 12 6-8pm; JM Kohler Arts Cen­ Now-October 10 ter, 608 New York, Sheboygan; 458-6144 Prints from Normal Editions Workshop at Illi­ nois Stale University Now-October 24 UW-Stevens Point: Carlsten Art Gallery, 2100 John Arzarian, Jr, Photographs Main, Stevens Point; 715/346-4797 James Mitchell, Figurative Works Riveredge Galleries, 432 E Main, Mishicot; Now-October 10 755-4777 DRAW WITH From the Table, Watercolors & Lithographs, Francisco X Mora Now-October 24 Memories of childhood in Mexico; Seebeck Beyond the Comic Image' GARY SIMMONS Gallery, 5601 6th Ave, Kenosha; 657-7] 72 Charles Bums, Don Colley, Tony Fitzpatrick ARKANSAS ARTIST AND AUTHOR November 5-December 5 OF THE BOOK THE TECHNICAL PEN Now-October 14 Women Photographers in Camera Work; WATERCOLOR GARY SIMMONS IS GIVING A Human Punk reception Nov 5 7-9pm; Lawrence University: JOSEPH FETTINGIS Paintings, collage & installation by Rev Norb Wriston Art Center, Appleton; 832-6585 2 DAY WORKSHOP • THIS IS A October 2-December 1 SAT NOV 6 UNIQUE OPPORTUNITY TO WORK 1:00 TO 3:00 The Fabulous, Fantastic, Flabbergastic Paint­ Now-October 25 WITH A MASTER OF PEN & INK • ings of Self-Proclaimed World's Greatest Artist Barbara J Hoppa Swanson, Fiberwoik & Olaf FRIENDLY PLASTIC BEGINNER THRU INTERMEDIATE • Mark Landgraf Wieghorst, Southwestern Art RAMONA AUDLEY YOU MUST BRING A 3X0 OR 2X0 Acrylic 8c oil paintings of Orange Popsicle Cynthia Tilson Galleries, 330 E Kilbourn; SAT NOV 20 TECHNICAL PEN • OTHER SUPPLIES humanoids & flying hats over rainbows; recep­ 271-8644 1:00 TO 3:00 ARE INCLUDED tion Oct 2 1 -4pm; Neo-Post-Now Gallery, 719 York St, Manitowoc, 682-0337 Now-October 29 ORIGAMI SAT OCT 23 & SUN OCT 24 Group Show/Sally Ganger Jensen, Dorene ART BEAUDRY 9:30 TO 4:00 BOTH DAYS Now-October 17 Johnson, Joan Kaprelian, TomMcCann, Steve SUN OCT 17 Exotic Photography & Contemporary Glass Rademann, Judy Thuss, Richard Waswo SUN NOV 21 The Gallery, Ltd, 1030 E Juneau; 272-1611 Grava Gallery, 1209 E Brady; 277-8228 1:00 TO 3:00 90.0105.00 AFTE0R OCT 8 Now-October 17 Now- October 29 Recent Work by Karen Gunderman & Christo­ Landscape Paintings ARTISTANDDISPLAY 9015 WEST BURLEIGH ST 442-9100 pher Davis-Benavides & Familial Relations, The Diane Bywaters, Peter Dean, Joseph Friebert, MWF 9-6 « TIE & THUR 9-8PM • SAT 9-5 • SUNDAY 12-4 Work of Mary Bero & Dennis Nechvalal(cont) William Nichols, Tom Uttech, Tomas Warn, 28 Art Muscle BALLERINAS • BEAUTIFUL • BRONZES STUDIO-GALLERY Porcelain, Jewelry, Photography Hours: Tuesday-Friday 2-5, •IIS! Saturday 1 1 -5 December: Distinctive; Co lectibles Tuesday-Friday 11-7, Saturday & Sunday 1 1-5 Call About Clay Classes 833 East Center Street Milwaukee- WI 53212 414-372-3372 Art Pottery Art Glass Vintage Clothin

SCULPTURE • VICTOR VILLARREAL DICK WORPERT Art De-co NEW PORCELAIN Opening: Saturday & Sunday Modern, funky, 50's October 30 & 31, 11-5 LEEFER GALLERY Hours: Tuesday—Friday 2-6 Saturday 11-5 926 EAST CENTER December: Weekdays 11-7 (414)645-4487 Weekends 11-5 562*2711 271 1 North Bremen Street 817 S. 5th Street • Milwaukee, WI 53204 Milwaukee 53212 WED & SUN 12-5pm 374-POTS C7687)

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Vf CfefF^MlTH 29 James Winn October 1-November 13 November 12-December 23 Bountiful Harvest - Fruits of Earth & Flowers Guido Brink/New Sculpture Neil Starr, Native American Art Reception Nov 12 5-8pm;Tory FolliardGallery, November 15-December 31 DAY OF THE DEAD 233 N Milwaukee; 273-7311 Angels, Clous & Crystal South Shore Gallery & Framing, 2627 S Kin- In Hispanic tradition. El Dia de los Now-October 30 nickinnic; 481 -1820 International Artists' Book Collaborations: Muertos combines the solemnity of a holy Women at Work October 2 & 3 Alverno College: Art & Cultures Gallery, 3401 La Lune Collection day with the joyous exuberance of a parly. S 39th; 382-6149 Open house of rustic furnishings in conjunction Join us for a celebration featuring fabulous artwork, altars of with Artwalk '93; La Lune Collection, 930 E remembrance, poetry, crafts, special foods and more. Bring a Now-October 31 Burleigh; 263-5300 Birds in Art memento of a loved one to include in a community altar. November 6-January 2 October 3-10 Opening Reception October 31, 1993 l-4pm American Paintings from the Daywood Collec­ Layton Art Scholars Exhibition tion; Paintings from late 19th-early 20th cen­ October 17-November 7 Talkback with Francisco Mora, co-curator and contributing tury, including Ashcan School; Leigh Yawkey Ann Gale, Figuration/Paintings artist at 2pm. Woodson Art Museum, 700 N Twelfth, Wau- November 14-December 12 The exhibit will be open through November 27, 1993. sau; 715/845-7010 Sister Remy Revor, Silkscreens Admission is free, however, donations are welcome. Mount Mary College, Marian Gallery,2900 N Now-October 31 Menomonee River Pkwy; 256-1210 Aiberte Garibbo Walker's Point Center for the Arts Original geometric paintings & engravings October 4-November 15 November 5-December 31 People, Places & Designs 911 W. National • Milw, WI • 414-672-2787 Group Show of European Art Kitty Dyble Thomson 8c Helen Anthony Pisarek Funding provided in part by the Wisconsin Arts Board and "WPCA friends. Paintings, sculpture, glass; Galerie Art Today, Wawautosa Public Library Art Gallery, 7635 218 N Water, 278-1211 W North; 964-9593

Now-October 31 October 6-31 "Xftvjfiejzisrnylmter.wfatoTiddfcBt, Melissa Greene, Ava Motherwell Illustrators as Artists 9bnmstBemtfiLsea,(mdfaIamfomeabne, \ 1993: The Year of American Craft Reception Oct 10 1:30-4pm Edgewood Orchard Galleries, Peninsula Play­ 9fc must St on the. sea drawing intfk nets, November 3-December 19 ers Rd, Fish Creek; 868-3579 Art for fhe Parks Sbidfiat 1amatfwmetfnwdbyneedles, I Nationwide show of paintings; West Bend Merwst6tmtfestasettbysai[, Now-October 31 Gallery of Fine Arts, 300 S 6th, West Bend, Andfat 1amattome stringingbeads." The Spirit of the Times: 334-9638 "" pmL'I^I'F&XESSn. By Irene tymni 1893 j American Arts & Crafts Furniture UWM Art History Gallery, Mitchell Hall, Rm October 8-November 6 154,3203 N Downer; 229-5858 Givemy. The Porch Series Adrienne Michel Soger, acrylic paintings; re­ Now-November 6 ception Oct 8 6-9pm; Dennis Uhlig Fine Art, Captured Light, paintings by John Sayers 1932 E Capitol; 964-6220 Remarkable Men November 14-January 8 October 15-November 13 Fores & Places, Oil Paintings by Carol S Pylant Steve Warfel, Paintings & Drawings Mark Mulhern, New Works of Art on Paper Reception Oct 15 5-9pm; Gallery of Wisconsin Peltz Gallery, 1119 E Knapp; 223-4278 Art, Ltd, 931 E Ogden, 278-8088

Now-November 7 October 15-January 23 C ( ( ( From Our Vault to the Studio Carol Schmidt, Masks HHE BLU E BBW Works of over 30 craft artists; Wustum Museum, Dorothy Naimon, Oriental Brush Paintings 2519 Northwestern, Racine, 636-9177 Reception Oct 15 6-9pm; Piano Gallery, 219 N Milwaukee; 276-3525/964-3605 < Now-November 7 %^Ba% Wl &7Q3 % (608) 251-2583nteBtadStriypsofya&tbtfohti^Saqptk Mark Tansey October 17-November 28 Retrospective of detailed large-scale paintings Annette Hirsh, Wall Plaques & Watercolors Now-November 21 Reception Oct 17 1 -4pm; Jewish Community Children's Art for Peace Center, 6255 N Santa Monica; 964-4444 Arab ex Jewish children's art from Israel A lot of Now-January 2 November 4-30 Latin American Art from Permanent Collection Prints From Tandem Press of Madison Prints, drawings, paintings, photographs Michael H Lord Gallery, 420 E Wisconsin; October 1-November 21 272-1007 / Dream a World: Portraits of Black Women Who Changed America November 5-28 75 Portrait photographs by Brian Lanker Organics October 1-November 28 Patricia Gilman Graham, pastel paintings; Jane Fine Prints from Five Centuries Rumpf-Knight, oil paintings; reception Nov 5 7- Survey from permanent collection 10pm; Gallery 218, 218 S 2nd; 277-7800 October 15-February 6 Ne been doing color copying since 1978. Eight Days in November A Project by Concep­ tual Art Research trust your color copying to a Black & White shop? Michelle Grabner 8c Brad Killam investigate hunting 8c gaming in Wisconsin Continuing November 19-January 9 International Recreational Dancing The Jewish Contribution in 20th-century Art: Tu 7:30-10pm, introductory dancing 6:30pm; Selections from the Permanent Collection no partner required; $2; Muellner Hall, 7300 Works in all media, major periods 8c styles Chestnut, Wauwatosa; 662-2293 Polomar Milwaukee Art Museum; 224-3200 Color Reproductions, Inc. October 2 541 N. Broadway • Milwaukee • 53202 Now-November 7 Songs of My People Odadaa! Images by African-American photo journalists Alverno College Fine Arts Season (414)765^9229 * FAX 272.3282 • MODEM 272-6567 Now-November 14 Traditional rhythms, songs, dances from Ghana; Politics of Nature: Art, Ideology, and Interpre­ 8pm; $18/$15; Alverno College: Pitman The­ tations of Nature in European Prints & Draw­ atre, 3401 S 39th; 382-6044 ings 1650-1850; reception Oct 21; Haggerty Museum, 13th 8c Clybourn; 288-7290 October 2 Ko-Thi Dance Company Now-November 12 Door Community Auditorium Antologio Hispana/Hispanic Anthology 8pm; $6-$15; 3924 Hwy 42 at Gibraltar Hispanic artists in variety of styles; United School, Fish Creek; 868-2728 Community Center, 1028 S 9th; 384-3100 October 5 & 6 Now-November 17 Billboards Cash for books. Up In Smoke Joffrey Ballet Indian Totems 8c Paintings by Bob Watt; Leo Contemporary ballet featuring music of Prince; Feldman Galleries, 301 N Water; 482-3695 Tu28,8pmW8pm;$l 5-$27.50; PAC: Uihlein Bring your books, LPs, cassettes or CDs to Half Price Books any time we're Hall; 273-7206 Now-December 31 open and we'll make you an offer on the spot. And while you're in our store, be Familiar Images of Past & Present Milwaukee October 24 sure to browse through our enormous selection of new and used books on every Landmarks Les Ballets Africains Bokare Designer Framing & Gallery, 10972 N National ensemble of the Republic of Guinea subject imaginable. You'll find beautiful art books, delightful children's books, Pt Washington; 241-5008 present dance, music, story-telling; 2pm; $15.50-$22.50; PAC: Uihlein Hall; 273-7206 histories, mysteries and more, all at incredibly low prices. So whether you want October 1-30 to sell your books or cash in on a few bargains, come in today. One Piece Membership Exhibition October 28-31 Reception Oct 1 6-9pm; Riverwest Art Center, A Night of Storybook Fantasy 825 E Center; 374-4722 Milwaukee Ballet BROOKFIELD • Brookfield Fashion Center • 789-0280 Cinderella choreographed by Jean-Paul October 1-November 13 Comelin & Dane LaFontsee; Th 7:30pm F, Sa (16750 W. Bluemound Rd. • Between Calhoun and Moorland Rd.) Yaffa Sikorsky Todd & Jeffery M Todd, New 8pm Su 1:30 & 7pm; $8.50-$48.50; PAC: MILWAUKEE • Plaza Plaza • 6814 W. Brown Deer Rd. • 354-1235 Works in Glass & Robert Van Bellinger, New Uihlein Hall, 273-7206 Both stores open 9am-10pm Mon.-Sat. • 10am-6pm Sun. Works; Art Elements Gallery, 1400 WMequon Rd,Meauon; 241-7040 30 Art Muscle eoo so FI OF VINTAGE

OUT THERE CLOTHING FOR MEN 'The birth of American Indian Dance Theatre couldn't have come soon enough, according to its "organizers. It formed in 1987 because "no such company existed," says Barbara Schwei, e Lefs Be New York producer and AIDT co-founder, with Native American playwright/director Hanay Geiogamah. "I always wondered why every country except the United States had its own HISTORIC national dance companies representing the diverse segments of their cultures," she says. Schwei and Geiogamah, committed to creating a company which integrates the various tribes 3no WRAP and cultures of North American Indians, have chosen dancers from North American festivals and dance competitions. A cross-section of tribes, including Comanche, Cheyenne, Sioux, OPEN DHILY Cree, Chippewa, Cherokee and Zuni Pueblo are represented in performances accompanied by URIHPM authentic regalia and music. Lavished with critical and popular acclaim, AIDT has performed Friends around the globe and will appear November 18 at 8:00 pm at the Pabst Theater. Tickets may be obtained from the UWM Fine Arts Box Office at 229-4308. 249 N. WATER ST. - 272-2470 LOWER LEVEL AT THRIFT PRICES - THOUSANDS OF November 1-7 JEANS - BELL BOTTOMS The Little Prince Et toi, tu danses? BRING AD IN FOR EXTRA We know you're out there. At M-F10am F 7:30pm Su 3pm; $5; Danceworks, 10% OFF OUR 1/2 OFF PRICES 727 N Milwaukee; 276-3191 Thursdays least, we think you are. Punk Rock Thursdays November 6 UWM WoHd Cinema Someone's picking up all those Ballet Hispanico Oct 7 - The Great Rock & Roll Swindle & UWM Great Artist Series Blitzkrieg Bop Art Muscles we distribute, Hispanic dance ensemble blends flamenco, Oct 14 - Rude Boy with the Clash NOUVEAU Latin American, modern dance, ballet; 8pm; Oct 21 -Hippy Porn faithfully, every two months. $17-$20; Pabst Theater, 144 E Wells; 229- Oct 28 - Fingered & Haled: GG Allin & the nn TU 5714 Murder Junkies 7pm; $4/$3; UWM Union Cinema; 229-4070 November 18 STYLE American Indian Dance Theatre October 2-November 21 UWM Great Artist Series Reel Art/1 Dream A World: Portraits of Black Dancers from 14 tribes celebrate cultural heri­ Women Who Changed America FROM AN ERA tage; 8pm; $24/$20; Pabst Theater, 144 E Oct 2, 3 - Maya Angelou Wells; 229-5714 Oct 9, 10 - Stormy Weather How about making our Oct 16, 17 - Mama's Pushcart NOT LONG November 18-21 Oct 23,24 - Picking Tribes & Land Where My endship a two-way street? Ballet/Modern Dance Mix Fathers Died & Illusions Danceworks Oct 30, 31 - Lady in the Lincoln Memorial & FORGOTTEN Were curious to know Et toi, tu danses?, Wild Space Dance Co, 8c Wild Women Don't Have the Blues Danceworks company; Th 7:30pm F Sa 8pm Nov 6, 7 - Now Pretend & A Powerful Thang • Fabulous • Special • what you think. Su 3pm; $5; 727 N Milwaukee; 276-3191 Nov 13,14 - A Place of Rage •Unique* Nov 20, 21 - Kiss Grandma Goodbye Mardi Gras Masks 1 pm; free w/ admission; Milwaukee Art Mu­ seum; 224-3200 on this ad for 10% off any mask in stock! :i N. Wilson Dr., Shorewood October 5-November 9 PAC Film Series 964-4434 Sundays Oct 5 - Blood & Sand Hours: By Appointment Sunday Brunch Tours Oct 12 - Meet Me in St Louis Hour-long tours of art 8c architecture of Pfister Nov 2 - Tap Roots Hotel; 10am-2pm; free; Pfister Hotel, 424 E Nov 9 - Color Musical Highlights Wisconsin; 273-8222 12:30pm; $1; PAC; 273-7206

October 2 & 3 October 9 Artwalk '93 Black Noise Riverwest Artists Association Community Media Project Artists open their studios & galleries; Sa & Su Review of nip-hop video with 2 documentaries; llam-6pm; $3/$2; bus tour $6/$4; 374- 7pm; free; UWM Union Cinema; 229-6971 4722 for free brochure & map October 13 October 8-31 Teresa L Getter, Filmmaker Hauntings Great Lakes Film & Video If you like us a lot, maybe A night of delightful terrorwith David Parr; F Sa Milwaukee film 8c video artist; 7:30pm; free; Su 8 8.10pm; $13; Turner Hall, 1034 N 4th; UWM, Mitchell Hall Rm B-91,3203 N Downer; you'd be willing to put some 272-1733 229-6971 money on it and allow us to October 14-16, 21-24, 26-31 October 15 WU\ Haunted Theatre Tours Open Screening of Artist-Produced Video Modjeska Theatre Halloween Extravaganza publish your name on our Great Lakes Film & Video Cocktails • Alternative Music F Sa 7-11 pm; Su-Th 7-10pm; $5/$3.50 chil­ Video artists are invited to screen up to 10 dren; Modjeska Theatre, 1134 W Mitchell; masthead. If you do, besides minutes of VHS or 3/4* video; 9pm; free; Fuel The Milwaukee Poetry Slam 383-9580 Cafe, 818 E Center; 229-6971 delivering Art Muscle to your every 2nd and 4th Wednesday October 22-30 October 23 door for two years, we'll also Illusions in the Night OfRebellion! of the month at 8:30pm Modjeska Theatre Halloween Extravaganza Community Media Project Featuring David Seebach, magician; F Sa Su Videos addressing the ongoing racial question 706 E. Lyon Street • 347-9972 send you our 1993 artist's 8pm, Oct 30 2 8.8pm; $10-$l 5, matinee $5; of violence & predjudice in large cities & small Modjeska Theatre, 1134 W Mitchell; 383- towns; 7pm; free; UWM Union Cinema; 229- mug, which has a wrap-around 9580 4070/229-3732 illustration, Hermetic Drainer October 24 October 29-31 Wisconsin Boats & Landscapes Native American Film & Video Series by Marvin Hill. Open house for Bill Gutzwilier, original pastel UWM WoHd Cinema paintings, 1 -5pm Oct 29 - The Silent Enemy 1931 E Iron St; 747-0422 Oct 30 - Monument of Chief Rolling Thunder, Wiping the Tears of Seven Generations & November 4 & 5 Return of the Country Hispanic Arts & Heritage: A Diversity of Cul­ Oct31 - Warrior. The Life of Leonard Peltier & tures Wilma P Mankiller: Woman of Power 1993 Wisconsin Conference on the Hispanic 7pm; $4/$3; UWM Union Cinema; 229-4070/ Family; United Community Center, 1028 S 9th; 229-3732 If you can't afford the $50, 384-3100 November 4 & 5 November 6 you could spring for 29

IWIUSSC November 11 October 3-November 18 A Small War: The United States in Puerto Rico Writers to Readers Series Mondays & Thursdays Great Lakes Film & Video Oct 3 - Mary Gordon, The Rest of Life: Three Alia Levina, Classical Piano Premiere of video by Chris Bratton; 7:30pm; Novellas; 2pm; free; 17145 W Bluemound 6-10pm; free free; UWM, Mitchell Hall Rm B-91, 3203 N Oct7- Peter bavesy, Diamond Solitaire 8cMarcia Tuesdays, Wednesdays & Sundays Downer; 229-6971 Muller, Wolf in the Shadows; 7pm; free; 17145 Zoya Makhlina, Classical Piano W Bluemound Tu & Wed 6-10pm, Su noon-4pm; Audubon November 13-18 Oct 14 - William J K Beaudot & Lance J Court Books, 383 W Brown Deer; 351 -9140 A Festival of Jewish Films Herdegon, An Irishman in the Iron Brigade: The Great Lakes Film & Video Civil War Memories of James P Sullivan; Fridays & Saturdays Contemporary films by Jewish directors about 5:30pm; 209 E Wisconsin Thomas Clippert, Classical Guitar Jewish culture Oct 14 - Michael Dorris, Working Men; 7pm; 7-9 pm; free; Oakland Cafe, 3549 N Oakland; •$£ 'yfe^a^ $#m£MM& 8pm; $5/$3; UWM Union Cinema; 229-6971 free; 17145 W Bluemound 332-5440 Oct 21 - Margaret George, Mary Queen of November 19 Scots & Isles; 7pm; free; 17145 W Bluemound October 1 •jXJL-UiT i 'rex Women in the Director's Chair Oct 27 - Patricia Reilly Griff, Write Up a Storm Betty Carter Great Lakes Film & Video wirfj bePolk StreetSchool; 4:30pm; free; 17145 UWM Great Artist Series Benefit for Angles magazine presenting series W Bluemound America's top female jazz vocalist; 8pm; $22/ of films & videos made by women; 7:30pm; Nov 7 - Zane Williams, Wisconsin; noon; free; $18; Pabst Theater, 144 E Wells; 229-5714 $7/$4 students; UWM Fine Arts Recital Hall, The Pavilion, 10976 N Pt Washington, Mequon 2400 E Kenwood; 229-6971 Nov 8 - Douglas Adams, Mostly Harmless &. October 1 *~T- | '•! ' 1 1 I 1 »•" The Deeper Meaning of Liff, 7pm; free; The Peter & Lou Berryman November 20 Pavilion, 10976 N Pt Washington, Mequon Prairie Performing Arts Center Entertainment Harambee: Pulling Together Nov 10 - Rosellen Brown, Before & After, 6:30 Series Community Media Project pm; free; Centennial Hall, 733 N 8th Folk 8c Wisconsin humor; 8pm; $10/$8; Prai­ CO??£R Afro-Latina images in film & video featuring Nov 13 - Theodore Taylor, Timothy of the Cay, rie School, Mitchell Theatre, 4050 Lighthouse *"" 5TERNCNAMCL S works by Cuban American women; 7pm; free; 1 pm; free; 17145 W Bluemound Dr, Racine; 631 -3845 UWM Union Cinema; 229-6971 Nov 14 - Patricia Wells, Patricia Wells' Tratto­ ria; 1:30pm; free; 17145 W Bluemound October 1-30 Nov 15 - Amos Oz, Fima; 7pm; free; The Pa­ Coffeehouse SUN OCT. 2H vilion, 10976 N Pt Washington, Mequon Oct 1 - Hugo Nov 18 - Julia A Boyd, In the Company of My Oct 2 - Craig Kinney Tuesdays Sisters; 5:30pm; free; 209 E Wisconsin Oct 8 - Uncharted Country JS&WN.PORT WASHINGTON QCX sponsored by Schwartz Bookshops, 274-8680 Milwaukee Art Museum Gallery Talks: Oct 9 - Rick Watson & Jerry Short wieQuoN car 37?-/23z. Oct 12 - / Dream a World Oct 10 - Open Stage; 7:30pm; $1 Oct 26 - Fine Prints From Five Centuries October 5 Oct 15 - John Stano IHOtiATivei Tu 1:30pm; free w/ admission; 224-3200 Regarding the Nature of Collaborative Work - Oct 16 - Dan Zahn w/ Candice Nokes MQSXOFf P0TT£RV The Laundry Book Oct 22 - Food Pantry Benefit, Daisy Cubias, Tuesday Evenings Gallery discussion by Nancy Lamers; 1pm; Dave Lucht, Brett Kemnilz, The Greens; $2 plus Open Figure Drawing free; Alverno Art & Cultures Gallery, Alverno donation of 2 canned goods No instructor; 2 rooms; one model each room; College, 3401 S 39th; 382-6149 Oct 23 - The Fox Family & Assorted Villains $3/$2 students; 7-10pm; Milwaukee Institute Oct 29 - Brennan Cornwell w/ L'il Rev of Art 8, Design: Rms #80 & #85,3rd level, 273 October 7 & November 4 Oct 30 - Dev Singh w/Jane Freitag E Erie; 276-7889 Poetry Readings 8:30pm, $3, unless otherwise noted; Coffee­ Oct 7 - DeWitt Clinton, Joanne Chang, Tim house, 631 N 19th; 744-FOLK October 2 Grair, Raymond Mess —RENTAL— Collecting Quimper Pottery Nov 4 - Kathy Lester, Terry Spohn, Rick Ryan, October 2-November 27 For writers & artists who need to "get away" Milwaukee County Historical Society Marilyn Taylor Music on KK Series for a week or two. Quiet secluded home on Joan Datesman, leading authority on Quimper Each night concludes with open mike; Audubon Joyce Parker Productions forty acres in Waupaca County. pottery, discusses collecting; 9:30 am; $10; Court Books, 383 W Brown Deer; 351 -9140 Oct 2 - Steve Larson & Victoria Stepanova Grain Exchange Room, Mackie Bldg, 225 E Oct 9 - Adrienne Bunde, soprano & Alia Levin, (414)872-5072 Michigan; 273-8288 October 18 piano Book Review: The Peabody Sisters of Salem by Octl6-TBA October 8 Louise Hall Tharp Oct 23 - Carol Meves, flute Kyudo & Ikebana: Presented by Jo McReynolds-Blochowiak; noon; Oct 30 - Monte Liebman, pianist & Mark & PRIVATE MINI STUDIO Contemplative Arts in Society free; East Library, 1910 E North; 964-3463 Cathy Probst & Margo Nolte, vocalists Lecture by art instructors Alex & Carol Halpem Nov 6 - Cindy Sol fest, flute |QO a month of the Naropa Institute of Boulder; 8pm; $8; October 19 Nov 13 - Tony Jensen, piano & Mary Murl, Shambhala Center of Milwaukee, 2344 N Women in Economics - The Shadow Box singer Oakland; 277-8020 Gallery discussion by Zoreh Emami & Cynthia Nov 20 - Dottie D'iggs Quartet Taylor; 1pm; free; Alverno Art & Cultures Nov 27 - Pamela Brown, pop Christmas Songs Cfiatct at the !%iver October 21 Gallery, Alverno College, 3401 S 39th; 382- 3pm; free; 2685 S Kinnickinnic; 744-8866 823 N. 2nd Lecture byJohann J K Reusch, curator of Politics 6149 Artists, hobbiest, art crafters-use of Nature: Art, Ideology & Interpretation of October 4 your quiet retreat whenever you Nature European Prints & Drawings, 1650- October 24 Overtures to Romance wish. A place where you can 1850; 6pm; free; Marquette University, Straz Laura Tohe Reading Milwaukee Chamber Orchestra work and show your products. Hall, adjacent toHaggert y Museum; 288-7290 2pm; $5/$4 members; Woodland Pattern Book Telemann, Haydn, Sibelius, Brahms 277-9898 Center, 720 E Locust; 263-5001 7:30pm; $15; PAC: Vogel Hall; 744-8866 October 24 Soprano singer Evelyn Lear October 27 October 7 Met National Council Auditions Sonic Harvest featuring poet Andrea Peck- Institute of Chamber Music CLASSED Lear conducts a master dass in conjunction with enpaugh UWM Department of Music district audtions for Metropolitan Opera; November 17 Featuring Veronika String Quartet; 8pm; $4/ 12:30pm; free; Carroll College, Shattuck Au­ Sonic Harvest $2; Recital Hall, 2400 E Kenwood; 229-4308 ditorium, 100 N East Ave, Waukesha; 962- 7pm; $5/$4 members; Woodland Pattern Book Qaids 4013 Center, 720 E Locust; 263-5001 October 8-10 25% Milwaukee Symphony Orchestra OFF October 30 Zdenek Macal, conductor

•MiiaWHIII^IHiy ,..jf your only exposure to the medieval epic Beowulf was an interminable college lecture in SERVICES ...Middle English or a tedious translation in high school, you may want to discover the drama of .the poem with Early Music Now on October 30. Ben Bagby, an American medieval musician based in Cologne, Germany, "will tell the tale as it might have been done in days of yore," r says Thallis Hoyt Drake, founder of Early Music Now. The dark, mead hall-like DeKoven TTTT #3H ^ Center in Racine should prove an ideal background for Bagb/s telling—in Middle English and accompanied by his six-string lyre—of brave knight BeowulPs slaying of the ferocious dragon Grendel. "A story synopsis in modern English will be available but won't really be necessary Buffalo Wtj because he makes the piece convincing and communicative,* says Drake. The 5:00 pm o Wmv a performance will be followed by an authentic medieval banquet—so authentic, in fact, that no utensils will be provided. "Bring your own napkin," adds Drake, "because you'll need it!" Call Intertribal Store 225-3113 for tickets. EMPLOYMENT part-time sales Native American October 30 OPPORTUNITIES October 11 Owned and Ben Bagby, Beowulf part-time framer Vladimir Feltsman Operated by Early Music Now Internationally recognized pianist; 8pm; $13- AVAILABLE Bagby tells tale of Beowulf, accompanied by 6- inquire within Tony & Raine $30; PAC: Uihlein Hall; 273-7206 LaFountain string lyre; 5pm, medieval banquet 6:30pm; October 14 $17/$15, banquet $ 15; DeKoven Center, 600 21 st St, Racine; 225-3113 Music From Almost Yesterday Fox Point ^^^ Mequon Tue, Thu, Sat: 10-6 6936 N.Santa •='^3^ 10972 N. Port 546-4428 Yehuda Yannay, director; 8pm; $4/$2; UWM Monica Blvd. PJJ JKZSoi Washington Rd Wed, Fri: 10-9 Recital Hall, 2400 E Kenwood; 229-4308 October 31 351-1320 241-5008 Mon: closed 7629 W. Becher Ian Hominick, Piano 3pm; $10/$7; Wisconsin Conservatory of HOURS: M-F, 10-5:30; SAT. 10-4. Sun: 10-5 2 blocks north of Lincoln October 1517 Music, 1584 N Prospect; 276-5760 Trashiest "Scum always rises to the top;" features Voot Presley, P-52s, Me Neervana, Diaper, among November 2 others; 10pm; $5; Oct 15: Quarters, 900 E Midori ,Violinist THE MARKET PLACE Center; Oct 16: Blues Oasis, 2433 N Holton; Artist Series at the Pabst Traditional Latin American Oct 17; The Globe, 2028 E North; 272-3995 8pm; $15-$30; Pabst Theater, 144 E Wells; Arts & Crafts 278-3663 2034 E. North Ave. 278-7338 October 15-17 Mon. 10-5, T-F 10-8, Sat 10-5:30 November 4-7

November 20 Now-October 17 UWM Symphony with Yuri Beliavsky, Violin Dancing at Lughnasa Downey, Bartok, Dvorak; 8pm; $7.50; Pabst Brian Friel Theater, 144 E Wells; 229-4308 Milwaukee Repertory Theartre CUSTOM DESIGNED STEEL TABLES I OBJECTS • FURNITURE • INTANGIBLES f Story of a family in 1936 Ireland; Tu W7;30pm November 19&21 Th F 8pm Sa 5 & 9pm Su 2 & 7:30pm; $8-$25; Music with Eastern Earlines Powerhouse Theatre, 108 E Wells; 224-9490 E CCO LA J 2 & 8pm; $5/$4 members; Woodland Pattern Book Center, 720 E Locust; 263-5001 Now-October 31 237 N. BROADWAY, MILWAUKEE WI 53202 (414) 273-3727 FAX (414) 273-3740 Unsung Cole (And Classics Too) November 26-28 Words & music by Cole Porter, conceived by Milwaukee Symphony Orchestra Norman LBerman; musical revue; WSu 7:30pm Zdenek Macal, conductor F 8pm Sa 5 &9pm; $9/$l 2; Stackner Cabaret, Tchaikovsky; F Su 7:30pm Sa 8pm; $13-$45; 108 E Wells; 224-9490 PAC: Uihlein Hall; 273-7206 LINDA SCHNOLL ORIGINALS October 1-3 November 28 In Short, A Playwright's Dream Finest Gems & Jewelry at Affordable Prices Chamber Concert Series Recital Cedarburg Cultural Center Wisconsin Conservatory of Music Original short plays & monologues; F & Sa Award Winning . 3pm; $10/$7; 1584 N Prospect; 276-5760 8pm Su 2pm; $4; W62N546 Washington * Unique & Exceptional Jewelry Designers Exhibition Ave; 375-3676 * Gold* Silver * Joan Z. Horn *. October 1 -November 4 • Jerry Ingeman • Snow White ; October 1-3 First Stage Milwaukee * Diamonds & Gems '_;V/--.. r^Lincoln Center for the Arts, 820 E Knapp Rm 241-1116 • (1/4 mile W. of 143) 110; 276-2243 October 6-24 7if»e Magic Flute October 20-22 Mozart Louise Smith, While/Man/Fever Skylight Opera Theatre Late Night Theatre X World-premiere translation by New Yorker s New York performance artist, with Connie music critic Paul Griffiths; W 7:30pm F Sa 8pm Grauer; W-F 10pm; $5; Broadway Theatre Su 2pm 7:30pm (Oct 17); Broadway Theatre Center, Studio Theatre, 158 N Broadway; Center, 158 N Broadway; 291 -7800 278-0555 October 7-10 October 23 & 24 Bigger Than A Breadbox Strange Fruit Four Big Girls Late Night Theatre X Late Night Theatre X Multi-media performance with poetry, film, Comedy group from Seattle perform poignant music, performance art; Sa 10pm Su 7pm; $5; satire about large women; Th-Sa 10pm Su Broadway Theatre Center, Studio Theatre, 158 7pm; $5; Broadway Theatre Center, Studio N Broadway; 278-0555 Theatre, 158 N Broadway; 278-0555

October 7-24 October 29-31 Lips Together, Teeth Apart Toxic Shock Terrence McNally Late Night Theatre X Next Act Theatre Performance by Meghan Saleebey &Tina Parker Revelations & insight come aboutas two couples Oak Leather Boutique of Houston involving women's issues; F-Su vacation at Fire Island beach house; Th F 8pm 244 North Broadway 10pm; $5; Broadway Theatre Center, Studio Theatre, 158 N Broadway; 278-0555 Sa 5 & 9pm Su 2 & 6pm; $17/$l 5; Stiemke Historic Third Ward Theatre, 108 E Wells; 278-7780 272-6645 Tues-Sat 11:00-5:00pm October 8-10 Haunted Shakespeare Joyce Parker Productions B i Scenes from the Bard's most famous works; Now-October 3 8pm; $8/$7; Theatre on KK, 2685 S Kinnick- The Baltimore Waltz innic; 744-8866 Paula Vogel Milwaukee Repertory Theatre October 8-17 ART MATERIALS Story about losing a loved one to AIDS; Tu W 7ihe Effects of Gamma Rays on Man-ln-The- 7:30pm Th F 8pm Sa 5 & 9pm Su 2 & 7:30pm; Moon-Marigolds Paul Zindel $12/$l 7; SteimkeTheatre, 108 E Wells; 224- Village Playhouse of Wauwatosa 9490 Pulitzer Prize-winning story of frowzy Beatrice & two daughters; F Sa 8pm Su 2:30pm; $6/$5; Now-October 9 Windfall" 9508 Watertown Plank Rd; 744-8916 You Can't Take It With You Moss Hart & George S. Kaufman October 13-17 Sunset Playhouse Music Kills a Memory Families meet in this popular comedy; Th F 8pm Theatre X Sa 6 & 9pm Su (Oct3) 2pm; $9; 800 Elm Grove Sale Musical extravaganza by Chicagoan Paula Rd, Elm Grove; 782-4430 Killen featuring a Sex Addicts Anonymous Meeting & a cross-country cabaret tour; W Th Now-October 10 7:30pm F 8pm Sa 5 & 8pm Su 2pm; $16/$l 4; UP TO 50% ON OVERSTOCKED ITEMS The Capitol Gains & Atomic Flashbacks Thru November 15th Broadway Theatre Center, Studio Theatre, 158 Alan Zuberbuehler N Broadway; 278-0555 PAINTS • BRUSHES • BOOKS • PRINTS • FRAMES • Etc. Possibility Players Satire on American politics & monologue on October 13-30 EVERYDAY DISCOUNTS of 10%-30% world peace politics; 8pm, Oct 10 3pm; $8; American Buffalo Wauwatosa Women'sClub, 1626 Wauwatosa David Mamet Ave; 778-1724 Arts & Crafts Retail Store Northern Stage Company 100A E. Pleasant St. (Walnut & 1ST), Milwaukee, WI Seedy pair of friends in Chicago junk shop plot Hours: M-F 8:30-6, SAT 9-5 414-264-1580 to steal valuable coin collection; WTh 7:30pm F Sa 8pm Su 2:30pm; $14/$l 2; UWM Studio Theatre, 2400 E Kenwood; 229-4308 34 Art Muscle October 14-16 November 11-28 Milwaukee Latina/Chicana Community Per­ Lonely Planet formances Steven Dietz Late Night Theatre X Collision Theatre Ensemble Th-Sa 1 Opm Su 7pm; $5; Broadway Theatre An unlikely friendship between two men & how viihc/iHhA ^AntMuscle Center, Studio Theatre, 158 N Broadway; their lives have been changed by the AIDS 278-0555 epidemic; Th-Su 8pm; $10, Nov 22 pay-what- 1 I VI 1H six bi-monthly issues for $ 12 you-can; Broadway Theatre Center, Studio October 14-24 Theatre, Broadway Theatre Center, 158 N JUVJUIUI The Pied Piper ofHamelin Broadway; 481 -8431 send check or money order to: Adapted by Gabrielle Toerpe art muscle magazine Milwaukee Youth Theatre November 11-21 p . o . box 93219 Modern retelling of traditional tale; Th-F 7pm Mother Courage milwaukee, w i 53203 Sa 2 8c 7pm Su 4pm; $6/$3; 2479 S Kinnick- Bertolt Brecht innic; 769-6226 Marquette University Theatre New translation with original music; a mother name October 20-24 makes her living by following an army with Great African Queens goods; Th F 8pm Sa 5 8c 9pm Su 2:30pm; $10/ Black Ensemble Theatre of Chicago $9; Helfaer Theatre, 13th 8c Clybourn; 288- address. Theatre X 7504 Based on African women who ruled the world; WTh 7:30pm F 8pm Sa 5 8c 8pm Su 2pm; $16/ November 12-21 $14; Studio Theatre, Broadway Theatre Cen­ Oklahoma ter, 158 N Broadway; 278-0555 Shorewood Players city_ F Sa 8pm Su 2pm; $7/$6; Shorewood Audito­ October 20-30 rium, 1701 E Capitol; 332-6944/963-6940 state. Stridor Mark Rozovsky November 12-21 zip— UWM Professional Theatre Training Program Murder at the Howard Johnsons Story of life through eyes of pie-bald horse; W Ron Clark 8c Sam Bobrick Th 7:30pm F Sa 8pm Su 2:30pm; $14/$l 2; Sunset Playhouse UWM Fine Arts Theatre, 2400 E Kenwood; Suspense-comedy about a love triangle in a SINCE 1974 229-4308 motor inn; Th F 8pm Sa 6 8c 9pm Su (Nov 21) 2pm; $9; 800 Elm Grove, Elm Grove; 782- October 22-November 7 4430 Shadowlands C S Lewis November 12-21 Waukesha Civic Theatre 10th Annual Wisconsin Playwrights Original Based on Lewis' life; F Sa 8:15pm Su 2 & One-Act Festival Katy's 7:30pm; $8.50; 506 N Washington; 547- Village Playhouse of Wauwatosa 0708 F Sa 8pm Su 2:30pm; $6/$5; 9508 Watertown AMERICAN Plank Rd; 744-8916 October 24-November 19 INDIAN Dream Girl November 14-December 19 ARTS Elmer Rice If These Shoes Could Talk Milwaukee Repertory Theatre Kevin Ramsey Day in the life of daydreaming young woman; Milwaukee Repertory Theatre 1803 Monroe Street Tu W 7;30pm Th F 8pm Sa 5 & 9pm Su 2 8c Musical top dance tale of 2 men at shoe shine 7:30pm; $8-$25; Powerhouse Theatre, 108 E stand; W Su 7:30pm F 8pm Sa 5 & 9pm; $9/ Madison, WI 53711 Wells; 224-9490 $12; Stackner Cabaret, 108 E Wells; 224- (608)251-5451 9490 October 27-31 Mon-Sat 10am-5:15 pm New Play To Be Announced November 18-21 The Finest Navajo, Zuni, Hopi Jewelry, Theatre X The Caucasian Chalk Circle Call for extended hours Pueblo Pottery, & Winnebago Baskets Directed by Chicagoan Andrea Urice Bertolt Brecht Milwaukee High School of the Arts October 29 Th-Sa 7:30pm Su 2pm; $4/$2; Stiemke The­ An Evening with Ellen Burstyn atre, 108 E Wells; 933-1500 Alverno Presents An intimate evening of the actress's favorite November 19-December 3 Broadway 8c movie roles; 8pm; $24/$ 22; Never Forgetting Chantell LA GALLERIA DEL CONTE Alverno College: Pitman Theatre, 3401 S 39th; David Powell GALLERY OF FINE ART 382-6044 The Right Street Theatre ft -_.^S^ ft A therapist reconciles her past & her patients' October 29 & 30 futures; F Sa 8pm Su 2pm; $3/$ 2; 901 E Macbett Wright St; 265-8283 Eugene lonesco Inertia Ensemble November 24-December 26 lonesco's dark 8c funny vision of Macbeth; F It's A Wonderful Life 1 Opm Sa 8pm; $5; Fuel Cafe, 818 E Center; American Inside Theatre 289-9380 Theannual holiday offering returns; Th 7:30pm F Sa 8pm Su 2pm; $14-$17; Lunt-Fontanne October 29-31 Theatre, UW-Waukesha; 968-4770 777 NORTH JEFFEERSON Halloween Madness MILWAUKEE, WISCONSIN 53202 Joyce Parker Productions 414-276-7545 Musical comedy revue; 8pm; $12/$10; The­ atre on KK, 2685 S Kinnickinnic; 744-8866 Mondays Guitar Nuts DAVE NIEC October 29-November 6 For guitarists & fans; Channel 14; 9pm; Warner Blithe Spirit Cablel 4 8. Viacom 11B; 353-5052 Portraits and Landscapes Noel Coward Brookfield Players Mondays 8c Fridays Opening Friday, October 29, 7-9pm Sophisticated classic; 8pm; $7/$5; Brookfield Joy Farm Continuing through November 30th Central High School Little Theatre, 16900 W Award-winning social satire series Gebhardt Rd, Brookfield; 821 -5767 M 9:30pm, Warner Channel 14; F 9:30, Hours: Tuesday-Saturday, 1 l-4pm, or by appointment Warner Channel 47 October 29-November 7 1st Annual Young Playwrights Festival Wednesdays The Right Street Theatre Milwaukee Ballet Radio Hour 4 original one-acts by area students; F Sa 7pm 7pm; WFMR 98.3 FM Su 2pm; $3/$2; 901 E Wright St; 265-8283 Mondays, Wednesdays, Fridays & Saturdays [ptfditirH'S October 30-November 14 Where the Waters Meet kevin stalheim, artistic director From the Mississippi Delta Christina Zawadiwsky & Mark Mars Dr. Endesha Ida Mae Holland Oct 1 - Present Music Milwaukee Repertory Theatre Oct 8 - Art for Amateurs Srasiiii Opi'iiiT & Parly Autobiography ofwoman's rise above poverty, Oct 15 -Gang of 40 Friday, September 10,\993-Milwaukee Art Museum 93-94 prostitution to become a civil rights activist, Oct 22 - Louise Bourgeois (with Dean Sobel) author, scholar; Tu W 7:30pm Th F 8pm Sa 5 Oct 29 - John Colt at Tory Folliard SEASON & 9pm Su 2 & 7:30pm; $12/$17; Steimke Nov 5 - 7Jf»e Black Family Theatre, 108 E Wells; 224-9490 Nov 12 - Martha Bergland, Writer Friday, Novembers, 1993-UWM Fine Arts Recital Hall Nov 19 - Carri Skoczek, Arte Brut 1 subscriptions: $35—$75 November 6-21 Nov 26 - Carlos Cumpian, Poet Pluralistic Univrrsi The School for Scandal F 7pm M W 2pm, Warner Cable 14 &Viacom Friday, January 14,1994-UWM Fine Arts Recital Hall Richard Brinsley Sheridan 11B, repeated M &W 2pm; Sa 7pm City Milwaukee Chamber Theatre Government Channel 26 Wnlriiliiii'liii'iillSiliiiiliiiiis Restoration comedy in which scandal-mongers seek to ruin marriage of old man & young Sundays Saturday, February 12,1994-Milwaukee Art Museum bride; W Th 7:30pm F 8pm Sa 4 8c 8pm Su 2 Alternating Currents in 20th Century Music & 7pm; $18-$24; Broadway Theatre Center, DJ Hal Rammel; 6:30pm; WMSE 91.7 FM hilliii Willi i;n\l.liiiT\srl. to subscribe or receive a 158 N Broadway; 276-8842 Friday, April 15, 1994-Shank Hall 93-94 season brochure, call: Sriisniiliiiiili'M'iirly Friday, June 10, 1994-Milwaukee Art Museum

35 ART EXHIBITIONS MUSIC ART EXHIBITIONS Klein Art Work Now-October 16: Stephanie Weber Elvehjem Museum of Art Wisconsin Chamber Orchestra American Spirit Folk Art Gallery October 1-10: Jun Kaneko Now-November 14 October 23 October 2-November 27 400 N Morgan; 312/243-0400 Information Art: Diagramming Microchips Baroque Concert Folk, Country, Wildlife Art Features computer-generated designs Bach, Biber, Handel; 8pm; $16/$10 1720 N Sedgewick; 312/337-2349 Marx Gallery Now-January 2 November 28 Now-October 10: Mark Peiser, Glass African Reflections: Art From Northeastern Zaire Sing-Out Messiah An Art Place, Inc November 5-30: David Jaworski; reception Nov Sculpture, furniture, pottery, baskets, weapons Sing-along; 3pm; $10/$8; First Congrega­ October 22-November 20 5 5-8pm; 230 W Superior; 312/661 -0657 November 20-January 23 tional United Church of Christ, University Ave at Multi-Perspectives British Watercolors: 1750-1900 Breese Terrace; 608/257-0638 Reception Oct 22 5:30-8pm; 847 W Jackson Museum of Contemporary Art UW-Madison, 800 University; 608/263-8188 Blvd, 10th fir; 312/455-0407 Now-October 24 Wisconsin Union Theater Susan Rothenberg: Paintings & Drawings Jura Silverman Gallery October 9 ARC Gallery November 13-January 16 Now-November 12 Peter Serkin, Pianist Now-October 30: Iris Goldstein, Judy Sowa, In the Spirit of Fluxus John Higgs, New Paintings in Oil 8pm;$20/$10 Susan Strack Balding, Michel Gamundi, Ron 237 E Ontario; 312/280-5161 6th Annual Wisconsin Sculpture Exhibition November 3 Lorenson, Rich Ffynn 143 S Washington, Spring Green; 608/546- The Gregg Smith Singers November 2-27: Tamara Petrov, Leslie Eliet. Museum of Contemporary Photography 6211 8pm;$16.50/$8.25 Mark Abrahamson, Ceasar Augusto Romero, Now-November 11 November 5 Toney Galigo, E Dudley Smith; reception Nov Dawoud Bey. Poloroid Photographs Madison Art Canter R Carlos Nakai, Native American Flutist 5 5-8pm; 1040 W Huron; 312/733-2787 600 S Michigan; 312/663-5554 Now-November 14 8pm;$16/$8 Wisconsin Triennial November 11 Art Institute of Chicago N.AM.E Gallery Survey of current Wisconsin art; 211 State; Bobby Watson & Horizon & The Kenny Barron Now-November 6: Early Italian Paintings Now-October 15: Categories of Robert 608/257-0158 Trio Now-November 30: Max Ernst Smithson; alsoTWENTY 8pm;$16.50/$8.25 October 13-February 20: Selected Textile Ac­ 700 N Carpenter; 312/226-0671 Pyxis Gallery November 12 quisitions October 10-November 14 Sanford Sylvan, Baritone November 1 -January 9: Chicago's Dream, A Perimeter Gallery Magnificent Mofas! 8pm; $18/$9 World's Treasure: The Art Institute of Chicago, Now-October 12: Jack Earl: New Work November 21 -December 26 800 Langdon; 608/262-2201 1893-1993 October 8-November 13 Holiday Happenings November 20-January 2: Italian Medieval 10 American Jewelers; alsoPeter Voulkos: Re­ 2086 Atwood; 608/249-0554 First Unitarian Meeting House Church Needlework cent Work; rec Oct 8 5-8pm November 3 Michigan at Adams; 312/443-3626 November 19-December 31 Spaightwood Galleries Present Music Sally Larson: Orotones; reception Nov 19 5- Now-November 7 New David Lang work, Cheating, Lying, Artemisia Gallery 8pm; 750 N Orleans; 312/266-9473 100 Years of Representing the Human Figure Stealing; 8pm; $10/$5 students; 900 Univer­ Now-October 30:20th Anniversary Exhibition 1150 Spaight Street; 608/255-3043 sity Bay Dr; 271-0711 November 2-27: Scotland Exchange Show, Peter Miller Gallery Mary Burke, Carolyn Giles, Tim Jag; rec Nov 5 Now-October 20: Twelve No Trump Wisconsin Union Galleries THEATER 5-8pm; 700 N Carpenter; 312/226-7323 410 W Superior; 312/951 -0252 Now-October 9 Visitas Latinos Madison Repertory Theater Arts Club of Chicago Phyllis Kind Gallery October 16-November 5 Now-October 3 Now-October 30: Rene Daniels Now-October 5: Ed Paschke The Last of the African Americans Miss Evers' Boys November 4-December 4: Fluxus Vivus 313 W Superior; 312/642-6302 Plane Waves In Empty Space Story of the Tuskegee Study in Alabama 109 E Ontario; 312/787-3997 My CourbeL.or, A Beaver's Tale October 15-31 Printworks November 13-December 9 The Miser Beacon Street Gallery Now-October 16: Hollis Sigler: New Drawings Icons: Sibyls, Saints, & Symbols Moliere October 8-November 20: Gerda Mayer- October 22-November 27 The Mamas of South Africa W Th Su 7:30pm F 8pm, Sa 5 & 8:30pm Su Bernstein, Block 11; View of Nazi Holocaust- Seymour Rosofsky Undiscovered Drawings UW-Madison: Union Galleries; 608/262-5969 2pm (Aug 15); $15 &$18.50; 211 State; 608/ reception Oct 8 6-8pm; 4520 N Beacon St; 311 W Superior, Suite 105; 312/664-9407 256-0029 312/528-4526 Randolph Street Gallery Block Gallery Now-October 9: Real Small (Utile Things) Now-December 5: Fluxus: A Conceptual Now-October 30: 23 Blows of the Dagger UWM ART MUSEUM Country, 1967 Sheridan Rd, Northwestern; October 15-November 24 708/491-4000 When Push Comes to Shove 3253 NORTH DOWNER AVENUE 756 N Milwaukee; 312/666-7737 THE LINARES FAMILY, MANUEL JIMENEZ AND Carl Hammer Gallery CONTEMPORARY MEXICAN-AMERICAN PRINTMAKERS Now-October 16 Sazama Gallery Dwight Mackintosh, Drawings & Paintings Now-Odober 16 October 29-December 12 Opening Reception: October 29, 5-7 pm 200 W Superior; 312/266-8512 Lourdes Fisa, Mixed Media Paintings This exhibition features life size papier machisculpture, brightly painted traditional Mexican folk October 22-November 27 carvings of animals, and prints by contemporary Mexican-Americans from the Chicago-Pilsen community. Catherine Edelman Gallery Lorraine Peltz, RecentPaintings; rec Oct 22 5:30- October 15-November 13: Keith Carter 8pm; 300 W Superior; 312/951 -0004 November 19-December 23: MatthewRolston GLORIA PATRI: AN INSTALLATION BY MARY KELLY 300 W Superior; 312/266-2350 School of the Art Institute of Chicago Opening Friday, November 19 at 3:30 pm with a Lecture by Now-Od 13: Sacred Spaces & Other Places Mary Kelly in Curtin Hall, room 175 Contemporary Art Workshop Odober 22-December 8: Faculty Show October 1-November 2: Barbara Jo 1040 W Huron; 312/226-1449 Reception following at the UWM Art Museum McLaughlin, Sculpture & Diane Hoffman, This Exhibition is co-sponsored by the UWM Art Museum, and the UWM Departments Paintings; 542 W Grant; 312/472-4004 Stephen Solovy Fine Art of Twentieth Century Studies, Fine Arts and Art History. Now-Odober 15: David Austen, Paintings Charles Durall Gallery Now-October 30 Now-October 20 H N Semjon, The Triplet Series Substance & Spirit, Drew Benway, Grace Cole, 620 N Michigan; 312/664-4860 FINE ARTS GALLERY Mark Kosiba, Kirk Smith, Sachi Utake 7015 N Glenwood; 312/274-9129 2400 EAST KENWOOD BOULEVARD The University of Illinois at Chicago November 1 -December 4: influx GRADUATE THESIS EXHIBITION Ehlers Caudill Gallery Ltd Gallery 400,400 S Peoria St; 312/996-6114 November 21-December 12 Opening Reception: November 21, 1-4 pm Now-October 12: Kenneth Shorr, Photographs October 15-December 4: Sandra Newbury, World Tattoo Gallery This exhibition features the creative work of graduating Masters Candidates. Pastorals & Salt Mine Series November 12-December 11 750 N Orleans; 312/642-8611 The November Show: Paul Natkin, Claude Nutt, Pat Murphy, Susan Hagen ART HISTORY GALLERY- Eva Cohon Gallery 1255 S Wabash; 312/939-2222 October 8-November 10 3203 NORTH DOWNER AVENUE Kikuo Saito, Oils; reception Oct 8 5-8pm EVENTS November 12-December 15 CHANGE IN ASMAT CARVINGS: ADAPTABILITY AND INNOVATION Aaron Karp, Acrylic on canvas & paper October 7-10 November 11 -December 19 Opening Reception: November 11,5-7 pm Reception Nov 12 5-8pm; 301 W Superior; International New Art Forms Exposition 312/664-3669 Th 5:30-10pm F Sa noon-8pm Su noon-6pm; Art History Masters Candidate, Lisa Dudley, examines how outside influences have changed the art of $10/$7; Navy Pier, Grand Avenue at Lake the Asmat people of New Guinea over the past thirty years. Gruen Galleries Michigan; 312/787-6858 Now-October 12: Morris Baranzani October 15-November 30: Robert Donley October 22-24 BEAUX ARTS GALA BENEFIT FOR THE UWM ART MUSEUM 226 W Superior; 312/337-6262 The Chicago Photographic Print Fair Chicago Cultural Center, 78 E Washington; Saturday, October 23,6-9 pm at the UWM Edith Hefter Conference Illinois Art Gallery 312/663-5554 Now-Odober 29 Center, Lake Drive and Hartford Avenue Tradition & Change in Fine Crafts November 5-7 Treat yourself to a fine dinner, live music, and an auction of American Folk Art, Artists Book Works: A Decade in Illinois The Modernism Show Contemporary Art, a ski week in Snowmass, Colorado, a weekend cottage in Door County, and 100 W Randolph; 312/814-5322 Exposition & sale of 20th century design; F 6- restaurant and hotel packages. Proceeds will be used for new exhibitions, educational programs and 9pm Sa 10am-7pm Su 11 am-5pm; $8; 620 conservation of the permanent collection of the UWM Art Museum. In'tuit Lincoln Ave, Winnetka; 708/446-0537 October 1 -30: Eccentric Chairs 1800 N Clybourn; 312/759-1406 FOR INFORMATION TELEPHONE 229.5070

36 Art Muscle UT OF THE BLEAK LANDSCAPE OF ART occupy a couple of white cubicles with a window After the New York show opened, Fitzpatrick WORK I ENCOUNTERED AT THE "NAVY view of the lake, are orderly, efficient places, says he was back in Chicago at his bartending PIER" SHOWS IN CHICAGO THIS YEAR, without the rebel character one might expect. job, when the phone rang. It was the gallery THREE SMALL PIECES ON CHILDREN'S Fitzpatrick tells stories in a warm, open way, but dealer. "She told me to sit down," Fitzpatrick CHALK SLATES CALLED TO ME. I walked when he talks about breaking the legs of gallery says. "I sat down and she told me that the film over to where these drawings leaned dealers who cross him I sense that it is more than director Johnathan Demme (Silence of the Lambs) against the wall of Janet Fleisher boastful hyperbole. had walked into the gallery and bought the entire Gallery's booth, and grabbed the near­ show. I hung up the phone and walked out of the est gallery assistant. "Who is this artist? Fitzpatrick tells me that 10 years ago he was bar." Fitzpatrick said that was the last time he ever Where is he from? How much?" The nearly destitute. "Broke, living in [rented] rooms worked for anyone. "I never thought I'd be doing dealer, in that cool, pressed, recondite, soapy and cars," he says. He gave up a professional art for a living," he says, shaking his head. dealer way, obligingly filled me in on the bio­ boxing career in 1980 and apparently filled the graphical details. The artist was Tony Fitzpatrick, vacancy in his life with drugs and alcohol. Asking It was Demme who told Fitzpatrick that he must oa "self-taught" painter from Chicago. The work me not to dwell on gory biographical details, he go Haiti and arranged his first trip. "Those two cost too much, but I walked away with a book of mentions that it was after several brushes with trips to Haiti were defining moments ofm y life," Fitzpatrick's paintings and poetry called "The the law that he received his only formal art Fitzpatrick says. "I worked with artists there, Hard Angels." education, three weeks at the Art Institute of artists who did it purely for the reason that it Chicago. "I just didn't fit in. I had no friends and meant something to them, not as a business. It That book floated around my house for the next there was, ah, some trouble with the Dean." was the most magical nightmare imaginable." few months. I'd pick it up periodically, read one of the stark little poems and stare at the images. Lighting a cigarette, Fitzpatrick shifts back a few We talk a little about the political climate of I was not surprised when I later found out that decades to less trying times. When he was a child, Haiti. Fitzpatrick expresses strong opinions about Fitzpatrick had made several trips to Haiti. His he said his mother, who worked third shift at hungry people, disappearing ground soil and work, teeming with ghosts, birds, apparitions, Pepperidge Farms, would bring home the big corrupt leadership. I think about how the rich sexuality, half-human, half-animal forms, had sheets of paper they set bread on to cool. "She'd Haitian spirit life of Us Invisibles contrasts with the effervescent, narrative quality of Haitian say 'draw me a picture and write me a story about the island's physical desolation. Fitzpatrick's work, the pil esprit (much spirit). But his subject it.'" His grandmother gave him holy cards with work also explores this dichotomy as he overlays matter was often rooted in a dark and strange intriguing and gruesome imagery—St. Sebastian the atmosphere of Voodoo and Catholicism street sense. Boxers, losers, strippers and serial full of arrows. He loved comic books, horror with a down-and-out worldliness. murderers peopled Fitzpatrick's domain. At the movies and tattoos. After he dried out in 1983, show his work had looked intimate and idiosyn­ Fitzpatrick said he started doing work on the I ask him why a snowman with stick arms keeps cratic, like hand-written letters in an otherwise slates, pulling from these childhood memories. creeping into the background of his new etch­ computer-generated anthology. ings. "It melts," he says, blowing out a puff of Fitzpatrick gets up to search for something and smoke. "It doesn't last." He pulls a print of a Months later, I am on my way to Fitzpatrick's I take in his new work. I like the way he combines large dog from the drawer. "This is about my studio and I stop for morning coffee at the a material world of specific images with a mythic first experience with death," he says. "I was Artists Snack Shop on Michigan Avenue. It's world of homemade symbology. The pull of sitting in my grade school classroom and I raining. Eggs sizzle in the background as the fate, the presence ofhidden, irreconcilable forces, watched out the window as a janitor shot a rabid waitress, Rose, sings Un­ dog, a dog I had been play­ forgettable along with the ing with earlier in the day." radio. It is nearly a perfect There's almost always a bird moment. Out the window, somewhere in his work. people wrapped in rain "When I was young my fa­ gear steadily trod along the ther had a heart attack and wet, shiny street. I am my grandmother came to thinking about how much stay with us. Every morn­ • personality Chicago has, ing she would make toast for a such big, tough city. and spread jelly on a piece The beat cops and Soma- then break it up and throw lian cab drivers are friendly it in the yard. I said, and talkative and even the 'Grandma, why are you giv­ giant population of street ing away our bread?' She people act like they've been said, 'For a piece of bread to finishing school. "No you can hear God sing.'" money? Oh, well thank you anyway, next time," The phone rings in the stu­ one chirps after I brush dio. It's an artist friend him off. Context and con­ who's about to be released tent. Everyone I see be­ from prison after 13 years gins to look like a possible appears in musical notes, ghosts, playing cards (attempted murder), who Fitzpatrick subject. and horseshoes. Signpost words such as "high­ wants to store his work at way," "jewel," "snake," pop from white borders Tony's. The phone rings Tony's studio is in a gritty and connect the images. There's a messiness again. It's a tattoo artist neighborhood about ten blocks south of the about it all as Fitzpatrick opts for the chaos of who wants to make some etchings. Big Cat Snack Shop (which is near the Art Institute) in a unforeseen dualities over any ordered structure. Press, besides working with various Chicago nondescript warehouse. The building also con­ artists such as Ed Paschke, also prints work by tains World Tattoo, the gallery he co-founded, It makes sense that fate and luck are part of his tattoo artists and Tony trades his work for and the year-old etching press, Big Cat, that he visual lexicon. It was a twist of fate that launched tattoos. His left upper arm sports a panther on a is a partner in with artist Steve Campbell. Fitzpatrick's career and he still tells his story of card with the words "The Lucky Kind." His being "discovered," with a sense of amazement. right arm has two eye-covered sparrows and the Fitzpatrick starts telling stories the minute I walk About 10 years ago, he says, a friend asked him names of his wife and son. in. He acknowledges that life is particularly good to come to New York City to look for gallery for him right now. Fleisher Gallery of Philadel­ representation. They approached every gallery We walk down the hall to World Tattoo Gallery. phia, his main dealer, had a list of 30 people in the East Village with their work to no avail. I ask him what kind of work they show there. He waiting to purchase the slate paintings before he His friend got mad and went home. With $40 in says, "Anything with conviction. There is a great stopped doing them. Fitzpatrick says they had his pocket, Fitzpatrick says he picked a corner of deal of modern art that I don't like," he says. run their course. He is now concentrating on Washington Square and laid out eight slates. "Work that frankly I don't get. I went to see that drawings on paper and etchings. He decided to "The first one I sold was to Keith Haring and the High/Low show and it was bullshit. To me master the more academic skills of printmaking, next day I sold one to Jean Paul Basquiat. I there's only good and bad art. Any artist who after too frequently being pigeonholed as an didn't even know who they were at the time. I can't explain what they do to a five year old is "outsider" artist. He opens a drawer, pulls out a just thought they were guys with funny hair crap. I draw pictures. Period." pile of new etchings, shakes his head and says, cuts." Haring told him he should get more than "Now some people are putting me in the Chi­ $100 for them. He took the work to Phoenix The rain ends and I leave Tony's and head back cago Imagist category. Who can figure?" City Gallery in the Village and they scheduled a up Michigan. The hand sign that signals pedes­ show in the fall. He went back to the square and trians to stop reminds me of the hands, many Fitzpatrick, 34, is married and has an 18-month- sold the rest of the slates. "I made $800. I with stigmata, in Fitzpatrick's work. He said the old son named Max. Square-built, with bright, couldn't believe it." hands are those of all the mean nuns who slapped expressive light blue eyes, he smokes, says he's and ushered him, as a young delinquent, through from red-neck stock, doesn't hang out with childhood. Fitzpatrick has referred to his poetry artists and hates the business end of being suc­ and drawings as prayers—prayers divined from cessful. The studio and printing press, which the street rather than the sky: Hard angels. HILTON KRAMER'S Kramer's most striking pronouncement was: "As soon as you shift the discus­ TALK AT THE MILWAU­ sion of not only folk art, but of all art, KEE ART MUSEUM'S from art to culture, you are shifting it into a realm where strategies of power, FOLK ART SYMPOSIUM domination, conflict, diversity, and LAST APRIL HAS HAD A other matters are given priority over aesthetics." As I look at this statement STRONG IMPACT ON ME. now, my reaction continues to be, "And THE ISSUES HE ADDRESSED that's good, right? Isn't that what we want?" It is not what Kramer wants. I ARE ONES THAT STRIKE ME can't help but feel that looking at art in AS FUNDAMENTAL IN THE terms of these strategies gives it a pro­ fundity and power that is lacking in a ART WORLD TODAY. discussion of aesthetics alone. To ask whether we like the way a work of art Kramer's talk was given for a panel looks may be one of the first things we entitled "Folk Art and Culture." The ask, but in the long run it really isn 't the speakers were Jeffrey Hayes, a professor most meaningful or interesting ques­ it was created and exhibited, as well as of American art history at UW-Milwau­ tion that can be posed about art. howit demonstrates that ideas ofbeauty kee, Kenneth Ames, chief historian for are connected to historical circum­ the state of New York in Albany, and Kramer's statements are absurd in a stances. Art is much more than an aes­ Hilton Kramer, editor in chief of the couple of different ways. To suggest thetic impulse—it represents a relation­ New Criterion, a journal of cultural that aesthetics has no relation to social ship between art viewers and the ob­ criticism. I knew Kramer's name in a or cultural concerns is ridiculous. When jects they view, as well as the creators of vague sort of way as one of the strong critics such as Kramer endorse a par­ those objects. voices in American art criticism since ticular aesthetic style or sensibility, it is the 50s. I didn't realize until he had a political act, one absolutely concerned Hilton Kramer seemed to imply that been speaking for a while that his role in with 'power, domination, conflict and there is a renegade branch of art profes­ this panel was to represent the art world's diversity', because it is an act based, in sionals—historians, critics, museum reactionary old guard. This was particu­ part, on economics. I still remember my professionals—in the process of foist­ larly apparent because he spoke second, shock upon hearing some years ago that ing an alien discipline, the social sci­ framed by Hayes and Ames who are quite a number of Julian Schnabel's ences, on the arts. However, it is con­ both strong advocates of an expanded works were sold before they were made. temporary artitselfwhich is demanding vision of what constitutes art. That informed me that one of the func­ to be looked at in an inclusive, rather an act of communication, then I need tions of art criticism was to establish a than exclusive way; a way that takes into to recognize the drastic changes in that Kramer's talk centered around his be­ system for evaluating the significance consideration such broad-ranging ideas communication. This is not surprising, lief that art should be viewed first and and worth of the art being produced at as society, culture, and ideology. One as modes of communication in every­ foremost as an aesthetic experience; in that time in order to verify its value for sees this not only in the wide range of day life are advancing at a furious rate. essence, a strictly visual experience of the collections of individuals and muse­ subject matter chosen, but in the mate­ Ten years ago, how familiar was the beauty. Issues such as where the work ums. rials used, the venue in which it is public with electronic mail, fax ma­ was made, under what circumstances, shown, the scale on which it exists, and chines, television phones and video and for whom are for Kramer unimpor­ Kramer also does not address the fact in many other ways. For example, the conferencing? Yet now this technology tant to the discussion of art. When that aesthetic consciousness changes, is large numbers of public murals being is fairly common. It is logical that the Kramer began setting up oppositions not fixed. The problem with assuming done at this time—because of their size artist too is reaching for new ways to between art and culture, the humani­ that there is ,an eternal aesthetic con­ and locations, as well as the sometimes speak, that artistic products are less ties and social sciences, aesthetics and sciousness is that it is extremely elitist. It highly political subjects—force the recognizable, even sometimes seeming politics, it became clear to me why suggests that there is a standard of viewer to see the works as more than to speak in ways and in a language not modernist art theory is inadequate for beauty, a system for judging quality for reflecting, but actually participating in a easily understood. discussing contemporary art practice all time, accessible to only the culti­ community identity. and procedures. More and more, it vated few. This idea excludes the gen­ Using common materials is a particu­ seems crucial to me to discuss the social eral public from finding something of Much of what is causing me to look at larly dramatic change in art production. ckcumstances of artistic creation in or­ value in art, by placing it in such a art in new ways and with a new vision is Materials like cigarette packages, tin der for art to remain vital and dynamic. ratified realm that it has little signifi­ my growing awareness of the art of foil, cardboard, and many found ob­ cance in day to day life. other cultures and sub-cultures. There jects speak to the art viewer in different has been a concern for so long with ways about daily life and the objects That aesthetic criteria do change is clear tracing the coherent progression of within it. One connects with everyday when one thinks of such works of art as Western art from pre-history to the things strongly and personally. In this Eduoard Manet's Olympia, When it present that eyes have been closed to way, the artist struggles to communi­ was firstshow n in France in the middle those art forms which deviate from the cate in a language more familiar than of the 19th century, it was a scandal; continuum. Now, everywhere one turns one might expect. more than a scandal, an atrocity! Art there is art from outside the main­ viewers couldn't stand the thickness of stream. Is it to be judged against long- Modernist thought would have us be­ the paint; they didn't like the tones of established standards? It is impossible if lieve that there is a specific aesthetic the woman's skin; they thought her the purpose of the art is different or the experience for art, that the visual aspect proportions were unbeautiful and impetus that led to its creation is differ­ of the work is self-sufficient and that art coarse. And then there was the fact that ent. Perhaps the European modernists develops without any influence from Manet was painting a prostitute—what like Picasso and Matisse were only con­ social conditions. This kind of think­ an inappropriate subject! Today it is cerned with howthe art objects ofother ing, which Hilton Kramer perpetuates, considered to be one of the great mas­ cultures looked, and how those forms is elitist and anachronistic. In the be­ terpieces in the history of art. It is a could be appropriated into their own ginning of this century, Robert Henri, fascinating work because of everything work. Perhaps as Kramer stated, the the leader of the "Ashcan School", de­ it reveals to us about the time in which early American modernists who "dis­ scribed the artist as one who "disturbs, covered" folk art were only interested upsets, enlightens, and opens ways for a in its aesthetic qualities. Even if that was better understanding. Where those who the case, it does not mean that I must are not artists are trying to close the continue to view these art formsmerel y book, he opens it, shows there are still in terms of aesthetics. These objects can more pages possible." I think Kramer tell me about my cultural heritage in a would like to close the book for a lot of voice rarely heard, yet as revelatory as people. It must enhance his sense of his the voice of the Western, mainstream own importance to feel he can read the artist. book while others cannot. But the art­ ists are keeping it open, always writing The art forms one sees these days are a new story, trying to keep the pages sometimes confusing and unsettling turning. The story these days is very because they are often not recognizable interesting—sometimes beautiful, as art—there are computer-generated sometimes disquieting. I think there is images, or an image of Christ in a glass space within the text to find out some­ of urine, or duck decoys. As I acknowl­ thing about the circumstances of mod­ edge that art, however else I define it, is ern life.

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