Editor-in-Chief Debra Brehmer

Associate Editor Calendar Editor Business Manager Therese Gantz

Associate Editor-Music From the Editor BobbyDuPah

Associate Editor Nathan Guequierre With this issue, Art Muscle celebrates its 2nd 2nd anniversary and we've only begun tapping Photo Editor anniversary. And no, I won't say anything about into its intriguing, yet still mysterious design ca­ Francis Ford growing pains and two year olds and all that. I'll pabilities. just say that I hope the magazine will continue to grow so we can expand the depth and detail of We invite you to help celebrate the anniversary Art Direction our coverage. by attending the A rf Muscle exhibition and party Barb Paulini from 7 p.m. to ? on Friday, October 7. The celebra­ We hope that in the past two years, Art Muscle tion will take place in the Art Muscle Ballroom at has helped define Milwaukee's art community 909 W. National Avenue, with live music and Sales Representatives and put us all closer in touch with one another. It short performances by Foothold Dance Collec­ is important for artists to feel a sense of commu­ tive, Wild Space Dance Company and Rip Tenor. Lisa Mohan, Sam Woodburn &Kathy Corbin nity and it's important for the public to feel tuned in to the thoughts and motivations of artists. Thanks to all our advertisers for two great years. Printing by Citizen Publishing Also thanks to our freelancers, families, friends So what's ahead? In the upcoming year, we plan and our subscribers. If you enjoy Art Muscle, FRIENDS OF ART MUSCLE to rearrange our format somewhat and add some there's one little thing that you could do that has new features, expand the "opportunities" sec­ a far greater impact than you could ever imagine: Perry & Bobbie Dinkin Ellen Checota tion, which provides artists with exhibition and Subscribe. A growing body of subscribers dem­ Barbara & Jack Recht Barbara Kohl-Spiro Jim Newhouse Thelma Friedman competition information, enlarge the Madison onstrates a willingness to participate in and sup­ Peter Goldberg Mary & Mark Timpany and Chicago calendars and possibly give each a port the magazine and the arts in Wisconsin. Theo Kitsch Dr. Clarence E. Kusik page of reviews and previews, distribute the Also, it makes us feel good when we get the Gerald Pelrine Tina Peterman magazine statewide and possibly nationally, make morning mail. Jay Brown Babcock Mechanical Christine Prevetti Katie Minahan more money to pay a real staff and attract new Richard & Marilyn Radke talent (writers, photographers, designers). The Dennis Hajewsky look of the magazine also may change. We gave Debra Brehmer Harvey & Lynn Goldstein Editor-in-Chief Robert Johnston ourselves a Macintosh and laserprinter for our Polly & Giles Daeger Judith Kuhn Dorothy Brehmer Karen Johnson Boyd Tim Holte/Debra Vest Jack & Ellen Welier Arthur & Flora Cohen Sandra Butler Jimmy G. Scharnek Sidney & Elaine Friedman

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Entire contents copyright © Art Muscle- Milwaukee, Inc. All rights reserved, except in reviews. Reproduction in whole or part without permission is prohibited. Art Muscle ON THE COVER: is a trademark of Art Muscle-Milwaukee, Inc. Hilary Goldblatt, detail from His Master's Voice, 1988. Subscriptions rates in continental U.S.: $12 Hilary Goldblatt is a Milwaukee artist. one year; elsewhere, $16 one year.

2 Art Muscle Art Musde O N N T

LOFTS 19 Debra Brehmer & Cynthia Crigler

ALICIA CZECHOWSKI 26 Jerome Schultz

THEATRE X 30 Debra Vest

WISCONSIN ART 32 KitBasquin

DEPARTMENTS

AGOG 6

LETTERS TO THE EDITOR 7

POST FACTO - REVIEWS 10

BEYOND VIDEO CLONE 14

EAR MUSCLE 15

PERFORMANCE FUTURES 16

LINEAR B 17

CALENDAR 35 U//l± / \UA

ADVERTISE! call (414)672-8485 BACK THROUGH

MILWAUKEE ART THE DISTANCE MUSEUM

P.S. 122 FIELD TRIP )RMANCE ART^ - .E

":5 :;AT?v e~";:If r:::;: • re"o e: ";:;,:'W>Ml,)f.-Ill-e.;::• :ll|fi-||;: at the current wor

sprawls and lunge ISHMAEL HOU beautiful and movement; pL choreogr

•mSlKi f'-i- jseum Shop jrs) Doks 8 PM Downer Ave. :ets: UMCE DANCE FACTORY FACTORY inia Ave. $7, $ um members 1 W. Virginia Ave. PERF /ART 1988 is Friday, September 23rd at 8:00 pm m funded by the National Saturday, September 24th at 8:00 pm Endowm the Arts Performing Arts Center, Vogel Hall INFORM* 414,271.9508 sMywlSelii" Art Museum 51) Main floor - $8.00 / Balcony - $5.00 (PAC Box Office 273-7206) Made possible through grants from The National Endowment for the Arts, Wisconsin Arts Board, 750 N. Lincoln Memorial Dr., Milwaukee, Wl 53202 414:271.9508 Milwaukee County, The Kohier Foundation, and The Bradley Foundation

4 Art Muscle Milwaukee Chamber Theatre presents AGOG

A rts seum of Art in San Jose, Calif. Individual artists' John Waters Mini-Retrospective and Classics. Admission is $2 at the door.) fellowships proposed bringing Waters here to lecture at 7 p.m. Malcolm Morrison, director of the Na­ Artists are encouraged to attend a meet­ Friday, Oct. 14. Waters is the bad-boy Art tours tional Theatre Conservatory and the ing at 3 p.m. Sept. 20 in room 201 of the director of Desperate Living, Mondo Tours D-Art will offer trips to the Art Denver Center Theatre Company in County Courthouse to voice support for Trasho, Pink Flamingos, and most Institute of Chicago's The Art of Paul Colorado, has been hired as director of county funding of individual artists' fel­ recently, Hair Spray. He made Divine Gauguin exhibition on Saturday, Sept. UWM's professional theater training lowships. In last year's budget, all fund­ famous. Waters' films will be shown Oct. 24 and Saturday, Dec. 10. Cost is $48 program. The program's former director, ing for individual artists ($30,000) was 14 through 16. Then, the new Primal which includes transportation, exhibi­ Sanford Robbins vacated the position cut. This year, a group of administrators Screen series initiated last April by Great tion admission with an audio tour and due to monetary squabbles and now and artists including Tom Bamberger, Jill Lakes Film and Video presents a Bergman lunch. Call Karen Kane at 332-3346 for heads a training program in Delaware. Sebastian and Susan Engberg have de­ series, including Smiles of a Summer reservations and departure times, etc. Morrison will join the UWM faculty full- veloped a proposal calling for $50,000 to Night on Oct. 9, The Seventh Seal on Oct. time in January. A new Professional be awarded a ten $5,000 fellowships to 23, Wild Strawberries on Nov. 6, The Theater Training Program class is sched­ individual artists in all media, including Virgin Spring on Nov. 20 and The Devil's Architecture lecture uled to start in the fall 1989 semester. performance. The fellowships would be Eye on Dec. 11. If this isn't good enough, The Architecture of Desire, a free lecture based solely on quality of current work, there's also a European Community Film by Professor Don Hanlon of the UWM and would be decided on by a panel of Festival with one current feature length School of Architecture and Urban Plan­ Art auction artists. During the September 20 meet­ film from each of 12 countries to be ning, will be at 4 p.m. Oct. 20 in UWM's The Milwaukee Art Museum's Contem­ ing, CAMP AC (the Cultural, Artistic, Music shown nightly Sept. 17 through Sept. 28. Golda Meir Library, 4th floor conference porary Art Society will hold its 2nd an­ Programming Advisory Committee), For ticket prices and more information center. Hanlon will discuss why Mod­ nual Art Auction fund-raiser on Satur­ which makes budget recommendations call the Union Cinema at 229-4070 or ernism and Post-Modernism have failed day, Oct. 15. Tickets are $150 (you heard to the county, will approve or reject the Great Lakes Film and Video at 229-3906. in achieving a truly humanist architec­ right). Up for bidding will be works by proposal. By attending the meeting, (Also of interest: The Gallery Cinema, ture. Jennifer Bartlett, Georg Baselitz, Joseph artists will reflect their support of the 2901 S. Delaware Ave., will be showing Beuys, Borofsky, Dubuffet, Fischl, Frank- proposal. Thin Man films at 1:15 p.m. Sunday and 7:30 p.m. Tuesday and Wednesday the Personnel news enthaler, Katz, Jasper Johns, Annie Leibo- vitz and many, many more. The work John Waters coming month of October. An Asta look-alike I. Michael Danoff, former director of the will be on view to preview Oct. 7 through to Milwaukee and more contest will be at 7:30 p.m. Tuesday, Oct. Milwaukee Art Museum, and most re­ Oct. 15 in the South Entrance Gallery The University of Milwaukee's Union 4. All wire-haired terriers are invited. cently director of Chicago's Museum of (and that's free). Call 271-9508 for infor­ Cinema program has really done it this Screenings will be introduced by Dale Contemporary Art, has taken a new mation about the auction. year. First of all, they are sponsoring a Kunt2, president of Milwaukee Film position as director of the San Jose Mu­

Grant s Brozek gets fellowship include Susan Ginalick Maakestad of Art Matters Inc. dation, 342 Madison Ave., Suite 1702, Jim Brozek, a Milwaukee photographer, Ladysmith (represented locally by Dean Art Matters funds visual artists projects New York, NY 10173 212-949-6360. recently received a $5,000 Visual Arts Jensen Gallery), Dennis Nechvatal and and performance art projects with strong Fellowship Grant from the National Carol Pyland-Backus of Madison and Fred visual emphasis, with priority given to Photo support grant Endowment of the Arts. Brozek's work Stonehouse of Milwaukee. contemporary or provocative projects. Kodak and The Maine Photographic has appeared in Art Muscle, Corporate The deadline is Nov. 1 for one-time grants Workshop will provide up to $1,200 in Report and the Milwaukee Journal. He of $1,000 to $5,000. Contact: Art Matters, film, paper, processing or other logistical plans to pursue a long-term project and WAB Fellowships Inc., 131 W. 24th St., NY, NY 10011, 212- support to three photographers for the buy equipment with the grant money. Applications are now available for the 929-7190 continuation of specific photographic Wisconsin Arts Board's $40,000 Fellow­ projects. Grants are awarded on the basis Arts Midwest Fellowships ship program. For information, contact Japan exchange of work submitted and the project pro­ Four area artists were among 20 who Paula McCarthy Panczenko, Wisconsin The Japan Foundation offers programs posal. Call or write: The Maine Photo­ received $3,500 from Arts Midwest/NEA Arts Board, 131 W. Wilson, Suite 301, for exchange of artists. Application dead­ graphic Workshops, Rockport, Maine Regional Visual Arts Fellowships. They Madison, Wl 53702. line is Nov. 15. Contact: The Japan Foun­ 04856, 207-236-8581.

opportunitie s Arf Muscle membership fee is $25. 1989. The winning play will receive former editor of the defunct Milwaukee Art Muscle's 2nd Anniversary exhibition, $25,000 cash award and it will be pro­ Review, and Carol Liesenfelder, a water- Arf Muscle, will accept entries on Sept. New gallery duced at both theaters within 18 months color artist, taking over where former 17 and 18 from 10 a.m. to 5 p.m. at Art A new gallery, A. Houberbocken, Inc., of the announcement. Competition rules owner Dean Olsen left off. The new Muscle, 909 W. National Ave. $5 entry will open at 230 W. Wells, suite 202 on may be obtained from Wild Geese owners are looking for artists' work. fee. Juried exhibition. All media. Work October 21. The gallery is currently ac­ Competition, Abbey Theatre, Lower Contact Ralph at 278-7981 or send slides should be dog-related. Opening recep­ cepting slides from Wisconsin artists. Fine Abbey Street, Dublin 1, Ireland. to Carol at 820 E. Townsend, Milwaukee, tion and dance party will be Friday, Oct. craft work is the focus. Submit slides, Wl 53212. The gallery will be open only 7 at Art Muscle. Call 672-8485 for infor­ prices, resume and SASE to A. Houber­ Video call on weekends, with shows changing every mation. bocken Inc., 230 W. Wells, Suite 202, Video work, including animation, is being six weeks. Milwaukee, Wl 53203. sought for possible screening on col­ Performers needed lege/cable networks. Send tapes and Jugglers, mimes, stiltwalkers,, magicians, Metropolitan family show SASA to: Video Whiplash, Jeff Moody or comedians, minstrels and vaudeville The Metropolitan Gallery is now view­ James Wells, 3520 30th Ave., Kenosha Contemporary art forums artists are sought for occasional work by ing slides or work for consideration in its Wl 53142-1960 (414) 656-6963. The Center for Arts Criticism of St. Paul, Friends Mime Theater. Send photo and December 17 "Relativity Show." 'Blood­ MN, will conduct three forums on the resume to: FMT, Ltd., P.O. Box 92127, lines' is the operating phrase for this Ushers wanted development, analysis, interpretation and Milwaukee, Wl 53202. group show, seeking sibling and multi- The Avalon Theater, 2473 S. KK, wants evaluation of new work in sculpture, generational artists to exhibit their work. volunteer ushers for its concert series, photography and painting. The three- Become a WPS member Entry deadline is Nov. 17. Contact Jim beginning with The Church concert on day forums are opportunities for artists Wisconsin Painters and Sculptors is ac­ Pattison or Kent Mueller at Metropolitan, Oct. 5. Call Sue at 271-2344 for more and critics from the Midwest to explore tively seeking new members. Artists 2572 N.-Bremen. 372-2100. information. emerging critical responses to new re­ working in any media should apply by gional and national work. Workshops sending 6-10 slides or photographs of Playwriting competition are limited to 15 participants who will recent work and a resume to: Gary John The Milwaukee Repertory Theater and Wright Street Gallery receive $100 stipends. Write or call for Gresl, 7662 N. Sherman, Milwaukee, Wl the Abbey Theatre of Dublin have ex­ has new proprietors dates and applications: Center for Arts 53209. A committee will notify appli­ tended the deadline for the Wild Geese Wright Street Gallery, 922 E. Wright St., is Criticism, 205 MarketHouse, 289 East 5th cants of the jury results. Annual mem­ Playwriting Competition to March 17, back in business with Ralph Larsen, a Street, St. Paul, MN 55101. 612-224-7849. bership fee is $25. 6 Art Muscle i 4

Gossi p

September seems to be the month for photographers J. Shimon and J. Linde- oh, what a difference it makes David large neon piece for the Performing Arts moving: John Luttropp, a design instruc­ mann are in Illinois at graduate school. Schweizer, recurrent guest director at Center. Someone else has been taking tor at MIAD and occasional.^ Muscle Stanley Ryan Jones has taken over Linde- Theatre X, was featured in the September credit for the work. Not very nice. "Design World" contributor, has moved mann's grab-and-grin photo job at the Interview Magazine. They said, "His work Milwaukee's too small for art fraud. to New Jersey to teach at an art school Art Museum. . . Our favorite hairburner, is bold, political, wildly irreverent and Felber's now working on a private com­ there with triple the salary. His cohort, Bomer, is teaching adult drawing classes often a comic synthesis of the camp, the mission for Archie's house. .. Jimmy von Claudia Looze, will also be heading east at MIAD this semester .. .Did anyone no­ intellectual and the surreal." Says it all, Milwaukee -and Sally Kolf have joined as soon as she finishes work on a current tice anything different about the Sept. doesn't it. . .Restaurant tip of the month: Wisconsin Painters and Sculptors. Are film. Photographer Larry Schwarm issue of New Art Examiner? Feel the The Sahara Inn at 730 West Mitchell St. they losing their edge or what? Maybe moved to Kansas City to take a teaching pages. Yes, they've finally gone to glossy Middle Eastern food. The absolute best they're planning some sort of internal job. Theatre Xers Pam Woodruff and paper and it's about time. Maybe no one in town. Incredible schwarma. Go there. subterfuge. Stay tuned. Wes Savick are moving to Chicago and else cares about these kind of things, but . .Hear this: Dennis Felber created the

Letters to the Editors

Reflective that had he been alive to see it, he'd have stand what I'm doing,"? A letter arrived at my door today from the loved it. I am pleased to share that news Linear C Minus Long Island Beef Company. Inside it was with anyone who might be interested. With all due respect to wanting respect, In the meantime, if you were really a four pages of the August 10th edition of I give the latest Linear B the curvature of writer — trained as you should have Seven Days which covered I am enclosing a copy of an essay by Erik a C Minus. Writers are like all other artists been as a specialist in using language — Mapplethorpe's first US major retrospec­ MacDonald of the University of Wash­ — they differ. Pardon the introspection, you should have been able to explain tive opening at the Whitney. My friend ington which I urge Art Muscle to pub­ but along with my love of mixing meta­ what you do to somebody quickly, ef­ sent me the story with an asterisk penned lish. This essay will appear as Chapter 10 phors, I have a very gregarious streak. fortlessly, and on that person's level. in next to the name of another friend, Jim of a book called Voices of Dissent: Art as Afterall, variety is the spice of life, as the Isermann, who the article noted was at a Force for Social Change, by a collec­ colonial rack on my wall will attest. Anybody can tell a complicated story or the opening. Ed Ruscha, Barbara Kruger, tion of writers (Sue Coe, Judith Malina, relate a difficult emotion in such a way Tom Verlaine, Bryan Ferry, Sandra John O'Neal, Linda Burnham, Joan Uh huh, writers want to be understood. that people are left saying to themselves, Bernhard, Kathe Burkhard among oth­ Holden, Steve Durland, and many oth­ What else is new and teething? Hey, I'm "What's going on here?" Telling the story ers were there. The exhibition was moved ers), scheduled to appear next June. all for expressing one's self. That's why so that people can understand it without to an earlier date to help make it possible MacDonald's essay is entitled "Finding a I write too, but I don't feel compelled to feeling talked down to — now that's art. for Mapplethorpe to attend. The photo Way between Clarity and Complexity: don the shaman's clay beads and bran­ that accompanied the piece is a real Theatre X, Impossible Theater, and So­ dish a gourd filled with rice every time I Sincerely, killer. It shows a standing Rauschenberg cial Theory," and it discusses A History of feel the urge to create. Some of the most Veronica Rusnak radiantly enfolding in his own hands, the Sexuality from a perspective which I frustrated preachers I've met are retail Milwaukee skin and bones hand of the unsmiling believe would be of real value to your clerks, office workers and beauticians. seated Mapplethorpe who is leaning readers. Spydor What Writers Like forward from his chair clasping a cane Yours, Scot Atkins, Poet and Temp Worker Kelli Peduzzi's "What Writers Hate to be with his other pale hand. Mapplethorpe John Schneider Milwaukee Asked" column was right on target. When is almost unrecognizable. The thumb of Theatre X people ask me "What kind of poetry do the hand that is held in Racushenberg's What Writers Really Hate you write?" I usually reply, "Dionysic hands is a talon.When Mapplethorpe (Editor's Note: We agree that the above Poor Kelli Peduzzi. What a ghastly chore Poetry." "What's that?" "Sex and Vio­ spoke at the Milwaukee Art Museum a mentioned essay would be of interest to it must be to explain what it is you do all lence." If that doesn't send them scurry­ few summers ago he was smilingly vi­ our readers. Unfortunately, it is much day to vapid, ignorant souls who just ing off to the bar, I add, "I used to write brant, so elegant and graceful and lithe. too long to print here. Anyone interested might want to read your work. What a about Sex, but Sex is out and Violence is Seeing him now looking 65 years old, in reading "Finding a Way between pain it must be to actually talk to non- in, so I'm practicing looking grim and and knowing he's in the throes of AIDS Clarity and Complexity," should con­ writers, or other people who didn't take war-weary and compassionate like is shattering. His disease is as horrifying tact Theatre Xfor a copy.) the training (college, I'm assuming) and Willem Dafoe." and cruel and malignant as his work is study you did. The panic sets in. Here is stark, luridly beautiful, direct, and un­ Dance Lover Peduzzi's Writer S. Cramp (Art Muscle, The other most often-asked question, pretentious. I can't stand it that this great Thank you for the fine issue of Art Muscle Volume 2, Issue 6) faced with the prob­ after I identify myself as a poet, is, "Oh. artist (and yet one more human being) principally devoted to articles on dance lem of having a conversation with some­ Can you make a living at that?" To which has been decimated by this hideous dis­ (Art Muscle Volume 2, Issue 6). It was one who wakes up, goes to a job, comes I reply, "Nobody makes a living at writ­ ease. And I can tell there is to be no nice to see somebody writing something home, laughs, cries, loves, eats, gets hurt, ing poetry," to which the other person consoling myself with this letter and this good about dance in Milwaukee. I fear becomes happy and eventually falls will usually reply, "How do you make a wan, vain little wail I attempt to share deeply for the future of dance in Milwau­ asleep; someone who feels all this, yet living then?" "I run guns to Nicaragua. with some elusive community I long for. kee, especially classical ballet, but if more can't grasp the scope of Cramp's work. I'm afraid I can't talk about it here." Kathy Keller people write with the thoughtfulness and But poor Joan Q., she has violated the Milwaukee care with which you approached your number rule of talking to a hipper-than- I hope the column makes us hear less of topic, I believe we could build enthusi­ thou writer/aritist: she asked innocent all of the above. astic and intelligent dance audiences questions about a subject she knows History Continues here. It is really hard to do this in light of nothing about but was curious. Yours candidly, Theatre X never intended, in creating^ the relentless negativism with which the Mary Shen Bamidge History of Sexuality, to offer a "Foucault city's main dance critic treats his subject. In the same column, Peduzzi laments: Chicago for Beginners;" in other words, to ex­ It is hard on artists, volunteers and audi­ "...we know for a fact that artists basically plain him. We meant to make a play ences. This difficulty translates directly make civilians uncomfortable." ("Civil­ Once more for the Bodeans about sexuality, informed at all levels by into contributed and earned income ians" — Oh for Chrissakes. I refuse to Thank you Martin Anderson for your his analysis. results. This makes the task of all of us join in the snobbery and make a sepera- comments relating to Mr. Bobby DuPah's who truly love dance and wish to see it tion between civilians and artists — piece, "Bodeans, A Retrospective" (Art Foucault spent a year teaching at UC- prosper in this city much more difficult. everybody's capable of making art, some Muscle, Volume 2, Issue 5). I am sure that Berkeley. During our June engagement It is a delicate flower which needs to be folks are just untrained.) Why shouldn't many others in the community feel the in San Francisco, the play was seen by nurtured and treated with the respect untrained artists feel antsy around you? same. As for Mr. DuPah's reply — fuck many of his friends, students, colleagues you showed to it in your recent articles. When people try to put their toes in the off. and torch bearers, such as Paul Rabinow water, snots like you come along and Barry Patton (who edited The Foucault Reader), Congratulations and keep up the good discourage them, not only from creating Musician Stephen Kotkin, and others. They were work! their art, but also from seeing what oth­ wholehearted in their enthusiasm for the Very truly yours, ers are doing. Who wants to learn about play, and unanimously agreed that "it T. Michael Bolger any form of art from someone who says, was absolutely true to Foucault," and President, Milwaukee Ballet in effect, "You couldn't possibly under­ WFMRQ8.3EM hWhMmm&Miirsmm be kind to your mind...

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« s^r^ p.121. •«? of Co, 0 ttW ^O/^

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8 Art Muscle Creative Papers for Creative People

Hundreds of papers for sale at our paper showroom: D HANDMADE D PRINTMAKING D JAPANESE D DRAWING D EUROPEAN O CALLIGRAPHY D MARBLED D COLLAGE D DECORATIVE O PASTEL D WATERCOLOR D GRAPHIC DESIGN D MATBOARDS FOR FRAMING D FOAMBOARDS JhxceMeuKce irj>y m/esigiri D MOUNTING BOARDS

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tached to the branches, add to the mood dium was transcendental. Though we triumph distinguishes Shimon and Lin­ of reality turned on its end. are now distanced from Sander's cul­ demann from the psychic uncertainty of tural milieu and no longer share his Arbus. In contrast to Church's dreamy or sleepy naivete, his pictures have stood the test figures, T.H. Gordon (b.1924), who lives of time. Shimon and Lindemann's work falls in Laguna Beach, Calif., draws highly outside the smug consistency and con­ charged, electrified monumental heads. In the early 1960s, Diane Arbus took trived irony of much of what we call art Consisting exclusively of severe, frontal Sander's positivism and twisted it. As photography today. They are compul­ poses pressed up to the picture plane, direct as her pictures were, there was sive sharers of experience. Quaint val­ the faces are flat without a trace of always an undertow, a puzzle, a knot. ues like honesty matter, as do the people modeling. Like archaic Gorgons, the Arbus' loss of innocence marked the end in their photos, people who fuel their heads with their oversize eyes are star- of our culture's innocence and the be­ desire to conserve something of pur­ tlingly confrontational. Mr. Molecular, a ginning of a greater appreciation of the pose. It is no wonder, then, that in the magic marker and ball point pen draw­ manipulative potential of photography. short time that they have been in Mil­ ing on cardboard from 1968, exudes a The mere act of looking (or represent­ waukee their photographs have been manic intensity that is heightened by the ing, for that matter) has never had the warmly received by so many people. T. H. Gordon, Pensive Widow, 1987. halo-like force lines radiating from his same charge since. hat. Gordon adds a tactile quality to the At the end of August, the artists left for NAIVE ART/ otherwise flat, stylized facial features by For the last several years, Shimon and their new residence on Main Street in OUTSIDER ARTISTS outlining their contours with incised Lindemann have been working through Normal, Illinois, where they will be at­ tending Illinois State University on a full Natasha Nicholson Works of Art lines. As in much primitive or naive art, the long shadow of Arbus and Sander. scholarship. 100 S. Baldwin St, #109 there is a horror of the undecorated Their most recent work, The Elders, being Madison, Wl surface; here both the face and the ground shown at the Milwaukee Public Library, Tom Bamberger July 20-August 20,1988 are covered with pattern. By denying combines the implicit nobility of Sander any recession into space, the activated, with Arbus' macabre awareness that eve­ (Tom Bamberger isaMilwaukeephotog- rapher) Featuring a Eugene von Breunchenhein all-over pattern furthers the immediacy rything isn't quite as it seems. As the chair, drawings by Guy Church, T.H. of the drawing. show's title suggests, these are pictures Gordon and Carter Todd, anonymously of old people. Some are already celeb­ crafted objects and "ready-mades,"AfcMwe A Madison resident like Guy Church, rities of sorts — designer Brook Stevens, 1988 JURIED Art/Outsider Artists highlights work Carter Todd (b. 1948), with a few excep­ ex-governor Warren Knowles, and poet created outside the artistic mainstream. tions, completely eschews the human Bob Watt—but most are supposed to be MEMBERSHIP SHOW Unlike academically trained artists figures. His colored drawings, the major­ ordinary. Despite the almost uniform, Wisconsin Painters and Sculptors (whose work is always seen and created ity of which range in scale from postcard life-affirming lilt of the pictures (long August 21-September 16 within an inherited, art historical tradi­ size to approximately 18 x 24 inches, captions reinforce their warmth), the Milwaukee Institute of Art tion) or folk artists (whose creations depict endless rows of expressive houses. harsh, funky renderings set up "a tension and Design reflect and continue a group or ethnic But unlike the houses in a Charles Burch- between Shimon and Lindemann's aesthetic), naive and outsider artists fre­ field painting, no malevolent or threat­ romance with their subjects and their ad­ The juried show of members of the quently lack any artistic training. Rather, ening quality is found in Todd's draw­ miration of the 1960's angst. Wisconsin Painters and Sculptors held they develop their own visual language ings. Fantasy basketball houses, houses on the sixth floor of MIAD does not, in to express deeply felt emotions. Single with windows like eyes and mouths, This duality takes us back before the many ways, live up to the expectations motifs frequently predominate: Gordon's even singing houses pour like a river obsessive reflectivity of postmodern pho­ the exhibition's title would convey. As frontal faces with large, typically primi­ from Todd's hand. This viewer felt a tography. As their subjects refer to a time my brother might put it, it just ain't fresh. tive eyes or Todd's endless rows of an­ yearning for inclusion in these childlike that will soon pass into history, Shimon With many of the 63 oils, pastels, prints, thropomorphized houses. Theirs is a renderings of suburban paradise. and Lindemann's faith in the descriptive sculptures, photographs and multi-media conceptual, and not a realistic art that potential of the medium has a nostalgia assemblages, the emphasis lies in the focuses on an inner reality and not on Although neither comprehensive in fact all its own. Their intention, the human­ works' execution rather than being bal­ the world of outward appearances; they nor intent, this exhibition clearly con­ ity of their work, endures the skepticism anced with inspiration, showing a reli­ depict what they know and feel about veys the compulsive, often obsessive of the 1980s even though their pictures ance more on formula than on finding their subjects, not what they see. quality of outsider art. Out of sync with are only partially successful. avenues for personal research and ex­ the rhythms of the larger society, these pression. Although currently on view in a small artists turn to art as a means of compre­ In this show, the tension between Arbus retrospective at the Milwaukee Art Mu­ hending and controlling their own envi­ and Sander never quite works itself out The showing of the work itself comes off seum, the work of Milwaukee artist von ronment. Unfettered by artifice, these into a satisfying whole. Often the angst fairly well, considering the difficulty of Bruenchenhein (1909-1983) was known artists translate feelings directly into in the pictures resides in the artifice of designing a show as eclectic in range to only a few during his lifetime. Ob­ images. photography, or the loving intentions and material as this one. The only glar­ sessed with his wife, von Breunchen­ are so palpable that they further disjoin ing glitch is the odd juxtaposition of a hein filled their home with sculptures, Stanley I Grand the subject from the photograph. These large neon installation in a corner with paintings and photographs dedicated to (Stanley I Grand, formerly Curator of two pitfalls Shimon and Lindemann share several tactilely fascinating ceramic her. Among his most striking inventions Collections at the Madison Art Center, with most of what we call documentary pieces. The ceramics demand close are painted chairs — thrones really — writes about art from Madison) photography today. What seemed to be inspection, but the neon sculpture spill­ made from turkey and chicken bones. so effortless in Sander's day and so ear­ ing down from the wall onto the floor Slightly over eight inches high, the power nestly realizable in Arbus, is now fraught creates a visually cramped area that of this chair derives from a tension be­ with conceptual conundrums. Telling a makes the ceramics more difficult to tween its expressive materials and clas­ story through a picture has never been look at. The other odd thing about the sic design. The elegance of the fused more difficult. organization of the show is the lack of vertebrae forming the central axis of the attention given to sculpture — there are chair or the wit of the chair's arms and This group of photographs is also inter­ only five pieces all together. Perhaps legs fashioned from drumsticks and thigh nally inconsistent. About a quarter of the very few sculptures were entered, but I bones delights use while they simultane­ 42 pictures are made with a view cam­ would be inclined to think that there is ously repel and serve as a type of era. And these, without exception, do much more going on with Wisconsin's memento mori. not measure up to the rest. The ease of sculptors than is represented by the small the pictures made with the smaller box welded and painted metal Industrial- Guy Church's (b. 1954) drawings con­ camera work better emotionally and America-made-safe pieces and the rela­ vey a mood of soft vulnerability, loneli­ formally. Many of their best images fall tively commercial neon works included ness and innocence. InNothing as Lovely too comfortably under Arbus stylistic in­ here. A greater emphasis on the art form fluence, while many of the others are as a Tree, a large, colored-pencil draw­ J. Shimon & J. Lindemann, 1987, Katherine Sokes. would have greatly benefitted the show, something else all together. ing which takes its title from a Joyce creating a perhaps rounder cross-sec­ Kilmer children's poem, Church employs tion of work. a elevated vantage point to express long­ THE ELDERS Shimon and Lindemann's awkwardness ing and wonder. From an inaccessible J. Shimon and J. Lindemann and inconsistencies notwithstanding, Regarding the art works proper, this spot high in the tree, the imaginary viewer September 17-October 31 many of their pictures charm us with certain isn't-there-more-than-this? feel­ looks down on a greatly foreshortened Wehr-McLenegan Gallery their candor. The artists' insistence on a ing extends to the bulk of them. The man, with pneumatic limbs and a struc­ Milwaukee Public Library human narrative is still moving. And viewer gets to see a bit of what has been tureless, upturned face. Delicately their subjects' stories of a life lived, of a going on with this loose association of rimmed with pink, the eyes and half- During the first third of this century confluence of the past and the present, Wisconsin artists, and for the most part it open mouth, a characteristic expression August Sander made a seemingly com­ endures. is not particularly exciting. Most of the of most of Church's figures, the face prehensive group of photographs — a work in this exhibition is of the type that social survey of his German culture. expresses yearning and awe, which Shimon and Lindemann, who grew up has been showing around Milwaukee Today, his unadorned depictions of would be saccharine if not so genuinely in Manitowoc County, see everything for quite some time, and if you haven't people have become recognized as the felt. The static quality of the figure con­ we think of as normal as a little strange. been gallery-hopping in the city, it is to seminal portraits of modern photogra­ trasts with the highly expressive, almost Their world is an unknowable, inhospi­ be found in virtually every visual arts phy. Sander's technique was straightfor­ windswept, sinuous tree branches, one table place, except, of course, for their magazine; it seems to be getting a little ward (he thought scientifically so) and of which contains an empty bird's nest. fondness for people who have survived old. unremarkable, but his faith in the me­ it. That their subjects so obviously The leaves, none of which is really at­ There are the requisite late-1980s shock- 10 Art Muscle art assemblages, featuring vinyl, legs/ first-hand information from clients, rela­ GROUP SHOW tives of clients, engineers, laborers and phalli, and a two-headed stuffed calf's Biersach Gallery draftspeople. People connected even in head with real straw, by Gary Gresl. The 147 N. Broadway very tangential ways to the architect or double-headed calf is fascinating, but Though October 1 not really shocking nor particularly re­ his buildings were tracked down and interviewed. pulsive (not that I would want it in my With this exhibition, John Biersach has house, but I do know people who go for opened a new gallery of sorts on the first Through this scrupulous research, and a that kind of thing). It isn't shocking, and floor of a building at 147 N. Broadway. willingness to allow the material to re­ the piece loses its value because of this, The upper floors are being renovated veal the facts, Hamilton and her col­ because such aberrations have come to into loft living space and the lower floor leagues arrived at some surprising dis­ be expected from post-modern assem­ remains in a raw, brick, rustic state, with coveries. blage artists. You can blame it on an eclectic group show currently on view Duchamp. Following along the same there. isn't-modern-life-ghastly lines are works A few of Wright's works are redated and these findings are bound to elicit funda­ like Cities Series #24, by Thelma Was- The unique thing about this gallery is mental changes in Wright scholarship. serman Friedman, a deceptively simple that Biersach rents the space for $300 a Some of the plans which for years were suburban scene viewed from above util­ month to anyone interested in showing thought to be stylistic precursors or to izing a naive, simple-minded approach their work. Biersach lives in the back of epitomize new stylistic directions, blend to convey emptiness, and Sally KolPs the gallery and has a studio in the base­ in logically with what are now known to The Doublemint Twins, with the brush­ ment. strokes of Kirchner and the sensibility of be contemporary buildings. Warhol. These things have been around, The current show is worth a look. It In the context of the show too, Wright's and while the paintings are marvelously includes work by Biersach, Kerry Lee dictum of "organic architecture," in which executed, there is a lack of newness Wiedemann, Bret Barrett, Gary Hodel, Frank Uoyd Wright, Armchair, 1955 a building's form is determined by a very about them. Jill Sanders-Trachte and Cynthia Sema- specific site and client's most individual nek, ranging from sculpture to artist needs, seems at times to be merely gra­ For the more conservative taste, there is books, paintings and drawings. FRANK LLOYD WRIGHT tuitous. One of the findings of the cura­ a finely wrought watercolor of apple tor and catologue contributor is Wright's slices, a pastoral landscape in pastel, IN MADISON: Bret Barrett's mechanized sculptures are not infrequent recycling of building de­ some drawings of beach chairs and their definitely the wacky highpoint of the Eight Decades of Artistic signs. This bold acknowledgement nul­ shadows from interesting points of view. lifies one of his basic theories. While he show. Each sculpture has a switch and Open the magazine Midwest Art some­ and Social Interaction was outspokenly dogmatic about the once activated they rattle, churn, jerk time. Again, several of these look more Through November 6 philosophical underpinning of his archi­ and rotate. They are constructed from like studio-course assignments in com­ Elvehjem Museum of Art found objects such as a coat hanger, a University of Wisconsin-Madison tecture, it becomes subtly apparent that position and color than anything else, or he did not always live up to his own vacuum cleaner, motors from hair dyers, like something an old art professor of stubborn standards. floor polishers and a spigot from turning mine is able to sell by the dozen. Nice, During the time that I lived in Germany, a turkey. He's welded the artifacts into yes; well-done, yes; very interesting, no. I was continuously asked about my ori­ effective sculptural forms and then, with Featured works include an extensive gins. When I tried to explain Wisconsin's the addition of movement, transformed discussion of the Monona Terrace, All of the works mentioned above, and location, after repeated attempts, I came them into frenetic, animated, somewhat Wright's ambitious but unrealized plan indeed most everything in the show, are to rely on three primary identifying fac­ anthropomorphic contraptions, each for a civic center in Madison. It was to be finely produced pieces of art, but they tors: Chicago, Harley Davidson and Frank with a totally different sound and style of a grandiose structure housing a theater, have the feeling that they were done by Lloyd Wright. On September 2, an ex­ motion. restaurant, train station, boat dock, art rote. hibit celebrating the last of these will open at the Elvehjem Museum of Art in gallery, a roof garden, county courts and There are, of course, exceptions, and Also worth noting in the show, are Jill Madison. As an architect of international a jail. At the time it evoked strong public some of them are wonderful. Beuys Sander-Trachte's collaged paintings and repute, and one who made a staggering reactions and ultimately was the decid­ Under Water, by K. Tinsley is a wonder­ handmade books and Kerry Lee impact on the language of building, a ing criterion for whether to love or hate fully funny, tongue-in-cheek painting/ Wiedemann's handmade books about Wisconsinite cannot help but to be proud Frank Iiyod Wright in Madison. Designed assemblage dealing, in a way, with the eating, death and other pertinent topics. of his heritage, andFrank Lloyd Wright in 1938, the plan remained an issue until problems which most of the show's in Madison: Eight Decades of Artistic his death in 1959 and recently it even pieces bespeak. Standing in front of it, Call John Biersach for gallery hours: 289- and Social Interaction will give a sense appeared in a modified form in plans 9374. the viewer finds him-/herself looking of his irrevocable ties with southwestern submitted for a new civic center com­ down into the marshy water in which Wisconsin. plex. Mr. Beuys has sunk while making his stand. The top of his felt hat protrudes Previews His style and moral-toned philosophy The exhibit is intended to illustrate the from the surface(s), and one can imag­ full extent of Wright's interaction with ine that he is trying to get out. Beuys regarding the vital relation of a building to its surroundings was so revelatory that Madison both as an architect and as a Under Water attests to the fact that personality. The full range of his stylistic multi-media assemblages have not been today, despite the fact that his styles have fallen out of fashion, they seem to development, from each decade of his killed by the shock-value ethic, and that life, is represented in the Madison show. when approached intelligently the re­ have been inevitable. In effect, Frank Lloyd Wright is much more than just a Whereas Oak Park, Illinois is commonly sults can be extremely satisfying. If I had thought to have the highest concentra­ $500, I would buy this piece. Similarly, majestic name. He is an institution who helped place Wisconsin on the map. tion of Wright architecture, the wealth of Joyce Gust's beautiful monoprint Mono­ projects he designed for Madison is sur-. lith is easy to get lost in. The artist has While his projects spanned the globe, prising. His circumspect cultivation of succeeded in making a print that never family ties and network utilization show stops tantalizing the viewer — its nu­ from Manhattan to Tokyo, Wright con­ tinued to plan buildings in and around him to be a prudent businessman as well ances describe an otherworldly land­ as a brilliant architect, as these connec­ scape, the details of which appear and Madison even after he achieved great fame. Frank Lloyd Wright in Madison.- tions provided fruitful opportunities for vanish. And Karen Olsen, with her lob­ commissions. His ties with the Unitarian bing organic ceramic forms, if one can Eight Decades of Artistic and Social Inter­ action is broad in scope, examining 32 Church, the University and the civic body, ignore the neon waterfall for a moment, for example, are thoroughly scrutinized, takes control of her medium. The simple realized and unrealized projects in the Madison area. Included in the exhibit are and led him to many of the Madison forms and rough exteriors work well as projects. a foil, giving way to the glowing glazes drawings, photographs and blueprints, that shine from the smooth interiors. with models, furniture and historic relics As a legend in the field of architecture The vessels seem to breathe on their lending the show a three-dimensional and in Wisconsin, the temptation to own, asking to be handled and explored. element. The exhibit should be satisfy­ aggrandize Wright and his work must be For some reason, they look like they ing to the aficionado and the new comer nearly irresistible. However, exploring would be great as musical instruments. alike. Guest curator Mary Jane Hamilton, has taken great pains to research the his function as a Madison personality, Foothold Dance Collective Photo by Jim Brozek project without imposing foregone con­ and the social fabric within which he All told, The Wisconsin Painters' and clusions. A commitment to truth was a worked, the exhibit promises to take a CLOUD BEATS Sculptors' 1988 Juried Show is nothing to perpetual guideline for Hamilton and fresh, critical and honest look at the Foothold Dance Collective shout about. With some notable excep­ her colleagues. Ann E. Biebel, managing master. 8 p.m. October 28 and 29 tions, most of the work is clinical in its editor of the catalogue, commented, "this Vogel Hall execution—nicely done but un inventive exhibit peels away some of the myth." CorinneD. Granof Performing Arts Center rehashes of the last five years' ideas and (CorinneD. Granof is afree-lance writer) forms. It would be interesting if, with the The former IPAAW performance collec­ next WPS show, we could see the further Newly discovered letters, as well as tive is about to re-emerge as a new dance evolution of some of these artists. heretofore unpublished drawings from group called Foothold. Their debut per­ the Taliesen Archives are just some of formance at Vogel Hall will feature five Jean Roberts the sources used to document research dance pieces performed by various (Jean Roberts is another local painter for the show. The organizers also took a members of the collective and friends. andprintmaker who works in a restau­ refreshing step beyond the often remote rant) realm of academic scholarship to collect (Continued)

11 Previews

— and a self-killer. for those with prior experience to find everyone's favorite music and dance answers to questions regarding their venue — the Gordon Park swimming Under the direction of Teri Carter, Foot­ Chong's concerns with the Outsider are work. The sessions will be run by noted pool. hold will continue to emphasize new often attributed to his own biography. A authors, agents and editors like Sharyn work and maintain the exploratory bent Chinese-American born in Manhattan's McCrumb, a recent recipient of the Edgar The remainder of the season's perform­ of IPAAW. The difference, however, Chinatown, Ping Chong has experienced Award, Caldecott-winning illustrator ances will be held in the Performing Arts will be that Foothold will focus on dance, his own sort of alienation and cultural Susan Jeffers and young adults author Center's Vogel Hall. On October 23, the while IPAAW included performance art assimilation. His parents were members Rosemary Wells. Second, the Milwau­ MME, in collaboration with the India and music. Another difference is that of the Peking Opera in the 1930s, and his kee Book Festival will close Saturday Music Society, will present violinist L. Foothold has managed to more than brand of theater owes quite a bit to the with the gala Rock 'n' Read event hosted Subramanium, who has performed triple its budget from $4,500 last year to stylized formality of Chinese Opera. by radio personality Bob Reitman, who worldwide playing Karnatic music, the around $20,000 this year, with grants is presently authoring a book on the traditional classical music of southern from the state and county. Foothold Ping Chong's most recent works, while history of rock music in Milwaukee. India, as well as his own "neo-fusion," a members include Tom Thoreson, David still dealing with the Outsider, are now Anyone with old rock photos, anecdotes combination of Karnatic and Western Figueroa and Kim Marks (also Wild Space rendered a bit more lightly. Kind Ness or memorabilia can bring them along classical influences. dancers), Joan Gonwa, Alexa Hollywood (1986) puns on "kindness" as one of the and they may end up in the book. Say, and Carter. Cardinal Virtues, as well as "kindness" in for example, your uncle is a Milwaukee MME artistic director Kevin Stalheim the sense of "the state or quality of being police officer who was part of the secu­ heard Subramanium at Ravinia in Illinois Sitting on the dance studio floor at Lin­ in kind, alike." It delivers the story of a rity force when the Beatles played at and decided then to learn more about coln Center for the Arts, Carter talked male exchange student, Buzz, at an MECCA in 1964, and he happened to non-Western forms. Subramanium, who enthusiastically about the new group. American high school in the 1950s. It's pick up one of John Lennon's broken has worked with artists in a variety of She and artist/dancer Pat Hidson were just that this exchange student happens guitar strings... Music will be provided contemporary genres, including George there developing ideas for certain sec­ to be an eight foot tall gorilla. by Wild Kingdom and Those Spanic Boys, Harrison and Hubert Laws, will perform tions of the Cloud Beats performance. and local poets will read between sets. the first half of the program with a tradi­ This performance should prove a chal­ tional Indian ensemble. He will then be joined the MME for his own composi­ One section is a solo danced by Joan lenge for the Milwaukee Repertory Sunday, the final day of the Festival, will tions. The repertoire for this concert will Gonwa, choreographed by Carter. An­ Theater, and its audience, since its be a continuation of Saturday, with the feature Subramanium's Spring Rhapsody other piece is a collaborative effort be­ method — relying more on movement resource tables, chidren's activities and and Nada Priva. tween Pat Hidson and Teri Carter about and visual images, rather than dialogue the Great Lakes Poem Band in place. In rituals. Against a backdrop of drumming or text — is quite different from that to addition, there will be a Medieval Wed­ The remainder of the season is as fol­ and human droning voices, the piece which both are accustomed. ding Feast with romance author Robyn lows: On January 20, the quartet Zeitgeist deals with sculptural aspects of dance. Carr, a benefit brunch at the Marc Plaza will perform works including Terry Being under the influence of Hidson, a John Blum for public radio's Chapter-A-Day pro­ Riley's In Winter They Buried the Cock­ painter/choreographer, it will attempt to (John Blum teaches composition at the gram, any number of genre events in­ tail Pianist and Frederick Rzewski's represent a work of art in the process of University of Wisconsin-Milwaukee) cluding journal writing, cookbook con­ creation. Another piece, Carter said, was Wails. Zeitgeist is a critically acclaimed struction, a bookseller's Olympics (to raise influenced by the national artist Sol multi-instrumental group dedicated to money for local literacy programs), Lewitt, whose work explores the build­ performing works by living composers MILWAUKEE young adult theater presentations, haiku ing blocks of form. Consequently, the (John Cage is among those who have writing, and an attempt to break the piece will have a very geometric, preci- written for them). On February 17, the BOOK FESTIVAL world record for continuous out-loud sionist feel to it. And the final section is Oberlin Trio (violinist Stephen Clapp, September 30, October 1-2 reading of banned books. The Second called a "goddess" piece with a primarily cellist Andor Toth, Jr., and pianist Joseph Miwaukee Public Library Annual Milwaukee Book Festival will male cast. Schwartz, all from the Oberlin Conserva­ conclude with the world premiere show­ tory) will play piano trios by Ravel, Been wondering about Wisconsin's lit­ ing of the film Rachel River, directed by Charles Ives and Edward Miller. Mark Carter said she is currently interested in erary scene? Have a manuscript worth Sandy Smolan with screenplay written Anderson's theater/music piece, Rereci- contact improvisation, a dance tech­ publishing but don't know where to by Judith Guest based on the short sto­ tal, will premiere on March 17, along nique/theory that involves a different begin? Need to brush up on your poetry ries of Minnesota author Carol Bly. use of weight and space. "It focuses on or find outlets for freelancing? You can with David Kenny's concerto for ham­ where your body is and the give and take find answers to all these questions and, Some events require a fee/pre-registra- mer dulcimer and chamber ensemble, a of weight," Carter said. Her exploration literally, much more at the Second An­ tion. For more information, contact first-of-its-kind piece. This date will also of this technique, she said, has totally nual Milwaukee Book Festival, being Sandy Hintz or Becky Mayer at 273-0300. feature premieres by Wisconsin com­ changed her approach to dance so that co-sponsored by Milwaukee Book Festi­ poser Joseph Koykkar and 1988 Pulitzer the work produced by Foothold will be val, Inc. and the Milwaukee Public Li­ Prize winner William Bolcom. unlike anything previous. brary. To be held throughout the down­ PRESENT MUSIC town library, the Book Festival is de­ Milwaukee Music Ensemble Present Music will close April 28 when signed to bring writers and readers to­ 1988-1989 season the Percussion Group, a Cincinnatti trio, KIND NESS gether to explore and celebrate the world will join the MME in performing George of words in Wisconsin. The Milwaukee Music Ensemble de­ Antheil's Ballet Mecanique, a work for Created and directed by Ping Chong scribes Present Music, its seventh sea­ four pianos and seven percussionists, Milwaukee Repertory Theater The 1988 Book Festival begins Friday son, as "filled with firsts." Four interna­ incorporating a film by Dudley Murphy. Stiemke Theater evening, September 30, with a "Tribute tionally acclaimed artists and ensembles Nov. 5 - 20 to Wisconsin Authors Dinner," with will be making their first Milwaukee The deadline for subscription orders is Robert Gard, author of Prairie Visions appearances as part of a program that October 1. For more information, call Ping Chong, often termed a perform­ and Wisconsin Lore and editor of We includes premieres of 17 new works. the Milwaukee Music Ensemble at 964- ance artist, is yoked frequently with Were Children Then functioning as Firsts or otherwise, the program is di­ 1617. practitioners of the "Theatre of Images": master of ceremonies, and George Vuke- verse and uniformly promising. Steve Wurcer Robert Wilson, Meredith Monk (with lich, author of North Country Notebook, (Steve Wurcer is a musician and gradu­ whom he has collaborated), Mabou as featured speaker. This dinner is a The season opened September 11 at ate student in journalism) Mines, Squat Theatre. Like many others chance to individually recognize all those of this camp, Chong uses a multi-media who have taken a bite of the Wisconsin format, with different modes of expres­ literary pie and to introduce them to one sion: slide projectors, film, dance, pup­ another. pets, as well as dramatic enactment. His narratives are delivered elliptically. Activities continue and multiply Satur­ C H I ¥=> 8c RY'S Scenes of single images or clusters of day from 9 am to 5 pm, with such varied images are strung together associatively, offerings as resource tables with pub­ Located in the heart of historic rather than by a strict linear pattern. lishers' representatives, a papermaking Walker's Point, Chip & Py's is demonstration by Arnold E. Grummer perhaps the most unique dining His theater pieces deal with the psychol­ experience Milwaukee offers. (formerly of the Paper Institute in Apple- ogy of the Outsider — loneliness, aliena­ Changing art exhibitions and ton), the Great Lakes Poem Band, a tion, repression, melancholy. And he classic jazz will make your chance to have rare books appraised by continental dining experience looks at these themes darkly. AM JAM. Gary Meagher of the Gutenberg Society, truly memorable. — The Articulated Man (1982), for ex­ and a plethora of children's activities, ample, has as its central drama a newly including, of course, the Discovery World created robot who confronts the ambi­ Museum. Live Jazz every Friday and guity of its own subjectivity and objectiv­ Saturday from 8 p.m. ity, like any other human. It escapes The day will be centered around two from the laboratory to seek normalcy, major events. First, from 8 am to 5:15 only to be hunted down and persecuted pm, the Book Festival's Writers' Confer­ solely because of its fundamentally dif­ ence will take place. Unlike last year, Now offering ferent nature. In Humboldt's Current this year's conference participants will Thai specials (1977), the outsider is a visionary ex­ separate into workshops for both new plorer in quest of an imaginary beast. Thurs-Sun evenings and published authors — the logic being Fear and Loathing in Gotham (1975) that it is relatively easy for new writers to has an Oriental man who is a child killer learn of opportunities, but more difficult 815 S. 5th Street 645-3435 12 Art Muscle TIHE I

13 Beyond Video Clone

By Julia Romanski won't say. She just offers hard scrutiny. But Less Than Zero, directed by Marek (Beyond Video Clone is d regular col­ Kanievska, 20th Century Fox, 1987, on umn about rentable videos worth see­ the other hand, couldn't help but end in ing. ) a conclusion of sorts, or lay on a point of Less Than Zero and Suburbia are view. Perhaps that's because the novel on which the movie was based, by Brett movies which, it might be argued, are Easton Ellis, posed in its thorough al­ about exactly the same subject. Oddly ienation and cold disenchantment too enough, in both the content of these great a challenge to the filmmakers. movies and how that content is ex­ Maybe...I'm not sure. Less Than Zero is pressed, money is the deciding and di­ a movie that might well be a piece of viding factor. And money, strengthening crap. Maybe not. Either way, it is a movie and detracting from each film as it does, in which the money that made it and the acts as a barrier of sorts between the money which surrounds the lives of the audience and its response to the stories characters is a distracting sub-theme to the movies tell. Do we, should we, like the movie itself. Somehow, I don't know the low-budget Suburbia more than its why, it's easier to criticize a big-budget somewhat more costly counterpart, Less movie, as though for each additional Than Zero, simply because it is low- million the movie has to be that much budget? I don't know. Do we rightly better, that much more meaningful. view Less Than Zero through a cynicism created by the wealth its characters are inundated with? I don't know the an­ I liked Less Than Zero. Should I have swer to that one, either. But I like both of liked it less because the movie could be these movies and wanted from the open­ said to come down on the deterrent side ing moments to give both of them the of its theme? I hope not. Less Than Zero, benefit of the doubt. as I said, is the same story zsSuburbia. Instead of South Los Angeles, these kids Suburbia, directed by Penelope live in Beverly Hills. They party in Palm Spheeris, New World Pictures, 1984. Sub­ Springs 0 can hear it already, "Oh, the urbia, cast primarily with non-actors, is poor babies"). They drive Porsches and a harrowing movie. A meditation of sorts collector-edition Corvettes. They take a on the "disaffected youth" of Los Ange­ lot of drugs, and spend staggering les, it keeps generously clear of any amounts of money to do that. But life is moralizing tone, ingratiating flattery of a strange shadow for them, a concept its subject, or righteous finger waving. merely to be purchased in one form or Amazingly, you find yourself wondering another. Their parents are all but invis­ just where the camera was. The kids are ible, and the world in its motion is dis­ so unselfconscious, so completely im­ tant. But they have so much money. Like pervious to the filming process, that it's the T.R. Kids in Suburbia, these T.R. easy to believe the camera was invisible. Kids (Too Rich) live outside it all, not That is an indication of Penelope seeing their futures, not even knowing Spheeris' touch, her clear ability to win how to question the world around them. trust and affection from the teenagers Frighteningly, they can afford that per­ who appear in her movie, and as the spective. Whereas the lack of money in movie progresses, the degree to which part has decimated the kids in Suburbia, the event of your week! this is true becomes more and more re­ the sheer over-abundance of it in Less markable. Than Zero has led these kids to deci­ mate themselves. They do it by using EVERY SUNDAY! drugs in stupifying amounts, to escape, Suburbia is about the T.R. Kids, a group and, more importantly, to come closer to of teenagers linked only by the fact that HOLLY & COMPANY each other. Loneliness is the central axis they are homeless, for one reason or of this story, and most of the actions another. They live in an abandoned ranch taken by the characters, attempt to house in the middle of the hellish out­ combat that loneliness. skirts of South Los Angeles, squatting in a modern day slum which began its existence as part of a suburban Utopia: I'm sure many people thought Less Than the subdivision. Cheap pre-fab houses, Zero was a smug, hollow piece of glitz, they've become slums within two dec­ which, perfunctorily ashamed of itself, ades, over-run with abandoned dogs became sincere and then swung toward turned wild, junked cars, dirt lawns. The the "Just Say No" safety net. I disagree. I poverty is rife and numbing. think a thread of integrity does exist in the movie, and maintains itself through­ The T.R. Kids (they call themselves The out, fighting against the pat reactions Rejected) simply stay alive. They live by which the style of the movie was bound their own sense of order, rely on each to attract. Less Than Zero looked too other, and, unsurprisingly, distrust just good to some, I'd guess, too pretty, not about everyone else. They steal if they "real" enough. But that's kind of like have to steal, and do whatever else is saying "Well, that guy over there in the necessary to take care of each other. head-on collision was driving a rusted How they are locked into habits created Buick LeSabre, so I guess it's too bad he by their sense of frustration and loneli­ croaked, but look at that other guy over ness conflicts sharply with the fact that there in the Ferrarri — hey, it was proba­ they are good people. Violence comes bly his fault, the rich asshole." We resent A REVUE! easily, helplessly, to the T.R. Kids. It's people with massive amounts of money, Starring: Vannessa, Liz, Debbie, what they know, but they don't under­ it seems, and resent further the idea that stand it. they could have any problems at all. Or, Tim, David, Mike plus Special Guests depending on who it is, we take comfort Exploiting the advantages of low-budget in it. filmmaking, Suburbia doesn't have to 9:30 PM pull any punches. Of course, the story is Less Than Zero, I think, attempts to exist true; three-hundred thousand teenagers somewhere between those two perspec­ 801-805 South 2nd Street / Milwaukee / 383-8330 exist in Los Angeles in much the same tives. It's just that the movie depicts a way today. The movie doesn't preach on world so insulated and insulating, and that fact. That Suburbia portrays the ' characters so limited (except in their particular sort of violence it does points world), that it's hard to know them. It's at yet another subject: do we need to see hard to believe anybody could live like tragedy to understand the T.R. Kids, or to they do, and what's really amazing is that cHanco c&mc& (um€& care? Is it enough just to watch the movie it's easier to believe that someone can and feel arm-chair compassion? Spheeris live like the T.R. Kids in Suburbia do.

14 Art Muscle Ear Muscle rvi Philip Glass' '1,000 AIRPLANES By Bobby DuPah That's a What I Like ON THE ROOF' Saint "I'm on the guest list" (patron saint There is no denying that a conflict of Thurs., Oct. 13, 7:30 p.m. of rock music reviewers), forgive me for interest exists concerning the next band $18.75, $16.75, $14.75 what I am about to do, and grant me the on the roster. Sam, the lead singer and Continuing in the tradition of the new, the dif­ ability to ignore my detractors, or at least song-writer for said band was the sales ferent and the controversial, comes the latest find nicer ways to respond to their out­ manager for the magazine you now hold chamber opera by famed minimalist composer, cries. in your hands for the last year and only Philip Glass. A science fiction music-drama recently gave up the position to pursue a rvi written by David Hwang with sets by Jerome Until now I have managed to avoid the career with the band. As long as the cards local rock music scene, feeling too closely Sirlin. are on the table, I have been doing sound Funded in part by the National Endowment for the Arts, Wisconsin Arts connected to too many bands. Making for the band in its Milwaukee appear­ Board and Madison Civic Center Foundation. things even more difficult is the fact that ances. My very willingness to write about the bands I most want to write about are the band, given my own unwavering the very same ones I have had some scruples, should leave little doubt in the personal contact with — what a coinci­ reader's mind as to the sheer talent about dence! I like a band, so eventually I meet to be exposed. Really folks, these guys is them, and if I get lucky, end up working good. NINA WIENER with them. Hailing from Madison, Wisconsin as Hopefully this inside vantage point will Green Eggs & Sam, a band which in­ AND DANCERS give me better credentials or at least a cluded legendary drummer Clive Stub- fresh perspective, but it also leaves me blefield (Otis Redding and James Brown) Sat., Nov. 5, 8 p.m. biased or less inclined to say bad things may I introduce Milkshake. Oh, don't — it's just part of the deal. $12.75, $10.75, $8.75 let the name deceive you, this is straight One of today's cutting-edge modern dance com­ on well... music. If R&B and funk/fusion panies, exhibiting a dazzling and exuberant style Lest there be any doubt, the Milwau- ever met in a sweeter liquid, I haven't that flashes personality at every gesture. Three keeans reign supreme. No self-respect­ tasted it. In fact, the only fault I can find ing inhabitant of this town needs to be with this band is that they have no faults time BAM Next Wave Festival performer, reminded of this fact, nonetheless it bears and that's a bit unnerving. My normal Wiener will present her latest work, Internal repeating. Quality and integrity only reaction to a band with this much virtu­ Travelogue. flourish with age. And no, I have no osity is immediate rejection. Maybe it's connection with this band whatsoever, just jealousy, but I've rarely seen a musi­ except maybe a fleeting "that was great, cian achieve even a modest degree of thanks man" as I drag my drenched body skill without sacrificing a gigantic amount back into the night. The only amazing of feel. How they escaped the trap I'll thing about my love for this band is that never know. MADISON CIVIC CENTER I don't usually like anything but origi­ Tickets available at the Civic Center Box Office, Ticketron nals, but they infuse their covers with so Though the songs use traceable grooves at Sears, or charge by phone (608) 266-9055. much personality and conviction that I and pop changes, the melody lines and just flat out don't care — my whole value lyrics are original. They're chocked full system crumbles at their feet. They are of emotion and/or fun and/or sex and it's Milwaukee's greatest asset. very hard to tell that the same person wrote most of them. Unfortunately, the Die Krcuzcn have been creating their band has decided to move to that big city completely hardcore completely origi­ just south of here (no not Cudahy) but nal "music" since 1981. I never liked it will continue to play Milwaukee regu­ R D much despite its originality — it was just larly. See them at the Toad on September too primitive. Talk about taking things 16th or at the Boardwalk on the 22nd. Oh back to their roots — this stuff was just and don't forget to tip the soundman, the guts. No, it was bile itself. Unrelenting latest in the tipping craze now sweeping emotion or tension — it was hard to tell clubland. M since the "lyrics" were never intelligible and purposely so. And so on record they Last in the hot tips category is a spin-off were identical to hundreds of other band lead by a well known musical bands. The two albums they released on personality by the name of Sue Julian. Touch & Go, Die Kreuzen and October Sue's dues-paying began 14 years ago, File* sold well by hardcore standards, a but it wasnt until 1984 that her talents testament to their relentless and success­ were given the acclaim they deserved. ful touring of college campuses and the During her two year stint with the Raw like. These guys had no problem torch­ Rockers, she pounded out the blues on ing a crowd. the ivories and shared the lead vocal spotlight. When the chance to tour with So why am I using all these past tense a certain local band (yes, it's the Bodeans) verbs? Has the band finally spontane­ came along, Sue jumped on the band­ ously combusted? No, at least not liter­ wagon — literally — and saw the world. ally, though the transformation the band has gone through would be easier to Now that the band is back in town get­ explain in terms of reincarnation. Their ting ready to put out their third album, recently released double album Century Sue has decided to use the time to pres­ Days (Touch & Go) actually qualifies as ent some of her own material and show music. Songs have grooves, melody lines off them pipes again. I had the pleasure and somewhat discernible lyrics. Don't of recording a demo tape for her and was get me wrong, there's still plenty of head really moved by the sheer richness and banging savage rock but by comparison, depth of her voice. I mean it sent shivers this is Barry Manilow. Yes, I know Keith, down my spine. As was the case with the bassist, but only well enough to feel nearly every band I've mentioned here, comfortable putting him down. I can't say the style of music they play really appeals to me in theory or even in Approaching pop music from that direc­ the typical versions I've heard played tion is like mirroring civilization and live. But here as with the others, the there's something that comforts me about sincerity and real love for the music she's artists (sorry boys, but you qualify) that playing cuts through what I felt were have searched for and even defined the hefty-bag-tough barriers. Oh Saint what- lowest common denominator and then sisname may all those barriers fall with evolved. In this case, they had to learn to WEBSTEK'S such ease. See Sue play every Tuesday at The Render's Bookstore (and Cafe) run before they could walk, to play blitz- the Up & Under. speed and mean it, before they could Cafe Hours: Mon-Sat 7am-Midnight, Sun 9:30am-8pm. walk and still believe in themselves. Bookstore Hours: Mon-Sat 9:30am-Midnight, Sun 9:30am-5pm Watch for their soon-to-be-released video 2559 N. Downer Ave. Milwaukee, Wl 53211 Phone 332-9560

15 By Mark Anderson PERFORMANCE FUTURES

centric Motions, was presented here a couple of years ago by the Haggerty Museum.

There will be recorded music played before the iance Space 122 (formerly Public show, during intermission, and afterwards, fea­ I 122), in New York City's East Vil- turing three bands who perform regularly at P.S. , x3, as I wrote in an earlier column, one under the dance category, but it is difficult to 122: Kaniecki and Zippi, Bosho, and Hugo of the main breeding grounds for new perform­ leave it there. I'm very familiar with her work, Largo (with lead singer Mimi Goese, a perform­ eance work in NYC. and can write a bit more about it. While she has ance artist who participated in the first set of spent a lot of time as a dancer and choreographer, Field Trips ). Rounding out the evening, albeit Now, what I refer to as "new performance work" her work of the past bunch of years has included behind the scenes, is one of the greatest stage is a range of live art works. It may be dance, elements and concepts from all of the live arts, managers/technicians in the business, Lori Seid, music, theater, monologue, performance art, or plus some things from life that don't usually find another downtown regular. themselves inside that frame: goats and lawyers, any combination thereof. It may be good and it The Field Trips project began two years ago, with may not. The new aspect of it refers to the fact friends, fly-fishing, basketball and a cow. Her work is difficult to describe without going into all a two-week residency in Bennington, Vermont. that much of what goes on there is in an early It was a joint-venture, sponsored by P.S. 122 and stage of its creation and development. the details, which I will be glad to do upon request. This past February, she presented a the New England Foundation for the Arts (funded piece entitled Animals at Dance Theater Work­ by the Massachusetts Council on the Arts and So what has happened, is that the people who Humanities). There were eight performers in­ run P.S. 122 (executive director Mark Russell in shop in NYC, made up of five sections, ranging from solos to large group pieces, most of them in­ volved, and we were each commissioned to particular) have put together a sampler of sorts, create a twenty-minute solo performance. representing the kind of work that goes on there. cluding an animal or two. It was sublime and dis­ It is called The P.S. 122Field Trip, and it is coming turbing and funny and wonderful and personal to a venue near you. On September 29 and 30 and and universal. There were always at least seven­ October 1, the Milwaukee Art Museum will be teen different things resonating in the air, in the presenting The P.S. 122 Field Trip at the Milwau­ room, in your head and other locations inside kee Ballet's Dance Factory. There will be four you. If we're lucky, maybe it will come to Mil­ performers, each presenting about twenty min­ waukee some day. She'll be performing one of utes of solo material, and one film. All four have the sections fromAnimals, called "Sarah," at the spent some time onstage at P.S. 122 and at other Dance Factory. venues in the downtown Manhattan area. Ishmael Houston-Jones is a movement-based Danny Mydlack is an artist from Boston; he was performer from Philadelphia who has been presented in Milwaukee by the MAM last year. working in New York as a soloist and in collabo­ He sings, tells stories and plays the accordian, just ration with other artists for many years. His work

like your uncle in West Allis, only different. Real has real power and impact, connecting with you Ann Carlson different. Danny presents a kind of warm, insane viscerally while also shaking your brain up a bit. Of that original group, Ann, Ishmael and I are in and intelligent humor, with a vulnerable pres­ Both of the solos he will be performing combine this current incarnation of the Field Trip—the ence and real joy. Danny has an ongoing project text and movement. He has performed all over others being busy with other things, or no longer of Living Room Performances, where he goes this country as well as in Canada, Europe and interested in this kind of work situation. It's Nicaragua. Ishmael has appeared in the work of appealing in certain ways, but not entirely and Ping Chong, Dancenoise, and John Sayles (re­ not for everyone. I'm looking forward to spend­ member the scene in Brother from Another ing several weeks in the company of these people, Planet, nighttime, on the street, and some guy is all of whom I admire as artists and enjoy as partly dancing and partly slamming himself against humans. Life on the road will have its good and a metal wall?). bad points, but it's always beneficial to show your work in other cities. Good for you and good for The fourth performer is tall and from Milwaukee, them. and is writing this column. His solo work is mouth-based, a lot of talk, stuff he's written in pieces and glued together. He tries to balance The tour will hop from New York to San Diego, humor and ideas. And other stuff. He will also be Los Angeles, Seattle, Milwaukee, and then end in serving as the host, or some such thing, of the Syracuse. Perhaps at some time in the future, Ishmael Houston-Jones Photo by Dona Ann McAdams. proceedings. each of those cities will send its own representa­ tive group of artists on tour, to cross-fertilize with into peoples' houses and performs for them in other communities, and de-centralize the art their living rooms. The film will be one by Pooh Kaye, a New York choreographer who also makes films, using ani­ world. Ann Carlson is a NYC artist (originally from mation and pixillation techniques to augment her outside of Chicago) whose work is usually filed movement ideas. Pooh, with her company Ec­ See you there. **a.

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16 Art Muscle Linear B

(Linear B is a regular column dealing wisdom, and Annie diligently pursues it. with literary issues.) "When you know how to make love, you'll know how to pitch," she says to her chosen lover, one Ebby Calvin "Nuke" By Kelli Peduzzi LaLoosh (played by Tim Robbins) who is blissfully and comically innocent of the How are we to think about a movie that unorthodox methods she is about to use uses sex as a metaphor for baseball, and to make him a star pitcher. Annie makes baseball as a metaphor for faith? About a him wear a black lace garter during heroine who ties up her lovers in bed games, invokes the shakras in his tes­ only to read them Walt Whitman? About ticles, encourages him to channel his a hero, a minor league baseball catcher, sexual energy into pitching, schools him whose animal sensuality is as cerebral as in the ancient Mayan practice of "breath­ it is physical? ing though your eyelids like a lava liz­ ard," to the point where he is utterly Bull Durham, written and directed by distracted and relaxed. Ron Shelton and starring Susan Saran- don and Kevin Costner, is not merely a In a planetary spin of his own, Kevin movie about baseball-the-great-Ameri- Costner as Crash Davis infuses his role as can-pastime. It is about the power of a veteran minor league catcher with the language to separate us from the com­ quiet passion of conviction. Crash is the fortable parameters of American myth- total organic man. He knows how the making to confront who we really are. universe operates, and just how to direct As a dramatic lyric, it entertainingly the ebb and flow. engages us in a matrix of themes unusual in a "Hollywood" movie: what is the Crash is frankly aghast at Annie's choice power of sex, what is the function of of Nuke as her lover, and tells her very poetry in life, where does baseball fit in calmly that she is flatly ignoring the real the grand scheme of things (or is it the thing. Crash wants her, but what makes grand scheme)? And if these seem like him a completely modem film hero is unrelated issues, the film finally asks the not what he does when presented with ultimate existential question: can't we the possibility of perfect love, but what stop all the theorizing about what we are he doesn't do: he doesn't try to discredit and just "be"? his rival or pursue Annie, nor does he even appear to bide his time until the In a culture that relies more and more right moment when he can prove he's heavily on cheap metaphor to give form right. By refusing to resolve the issue, he and meaning to life, Bull Durham for­ merely adds to the sexual tension be­ goes representation to explore implicit tween them. associations. Photographically it avoids being heavy handed by exploding the If Annie is the high priestess, then Crash cliches of baseball, sex, and power rela­ is the Zen Master of baseball. He talks to tionships, employing their visual and the bat, the ball, and knows what the linguistic vocabulary to undermine au­ opposing pitcher will throw next. He dience expectations. takes a holistic, amoral view of baseball. The enemy is not the other team, it is Many Moods Most interesting is the film's desire to one's own unwillingness to be ruled by subvert the traditions of a "baseball" the game, a concept he tries to teach his of Sculpture picture (i.e. good vs. bad, win vs. lose) hotheaded protege with mixed results. September 14 - October 15 while remaining tender toward the game Nuke, not yet fully grasping the poetic itself. That dearly beloved, most sym­ aspect of baseball, thinks he can control bolic American game, assumes the power the outcome. He wants to throw his to affirm or deny life itself, and the obser­ "heat," (fast ball) but Crash calls for a vance of baseball exerts this force on curve. Nuke shakes him off. Crash strides those who play it. While the movie is, on out to the mound not to chew the rookie the one hand, light entertainment, it is out, but to deliver a lesson in ethics: unashamed about using baseball as a "Strikeouts are boring, besides that formal structure in which the object of they're fascist. Throw some ground balls the game is for the characters to fulfill -- it's more democratic. And above all, try their place in the paradigm. The force of to have fun. This is supposed to be fun, randomness is at work on the characters, goddamit!" the controlled randomness peculiar to a baseball game. Everyone's role is de­ What makes this story utterly modern fined very clearly: lover/muse, teacher/ and new is that the characters aren't catcher, pupil/pitcher, etc., yet within consciously or subconsciously search­ Karl Appel defined field positions is the potential ing for themselves. While some might for grace. As the heroine says, "They • Hand painted wooden floor sculpture interpret Costner's smolder as being on played with poetry." Guido Brink the edge of jadedness, and Annie's New • Indoor, outdoor and wearable sculpture Age philosophizing as cutely pat, they The integrity of baseball is Annie Savoy's Doug DeLind seem already to have arrived at a defini­ • New racu galzed wall sculputure (Susan Sarandon) answer to organized tion of faith, of life, of love. The movie Frank Gallo religion, and she openly prefers meta­ also has a certain nostalgia for the pres­ • Epoxy resin sculpture and cast paper sculpture physics to theology. The game is not her ent, if such a thing is possible, in the af­ Frederick Hart object of worship, but a completeness fectionate intimacy the camera has for its • Sculpture from the "Age of Light" collection into which she lodges her faith and from objects. Yannis Gaitis which she derives sustenance. In the • Wall and indoor sculpture "church of baseball" she regards herself Jonas Pascal Though Bull Durham has been highly a high priestess. Each season she anoints, • Critically acclaimed Haitian tin sculpture touted as a literate adult movie, it man­ as one might a sacrificial virgin, one Holland Poska ages to entertain without being high­ team member to be her bedmate (re­ • Handmade paper brow itself, and this is what keeps it garded an honor among the Durham Saigo charming. Bull Durham would fail if it • Wayang puppetmaker for the Sultan of Yogoyakarta Bulls). "I give them life-wisdom, they were just another story about an un­ Vern Shaffer give me love. To some it may seem like known talent who overcomes the odds. • Featuring new sculpture developed at the Kohler an uneven trade, but uneven trades are Though Nuke achieves conventional Company's Arts/Industry program part of baseball." Her job as English pro­ success, even he leaves Durham chas­ Jim Treutelaar fessor at Alamance Junior College re­ tened with Crash's words "play with fear • Mobile sculpture ceives scant mention, though she quotes Victor Vasarely and arrogance." Bull Durham is all about • New painted wooden and acrylic sculpture (and beautifully) Walt Whitman and process, specifically, the process of self- William Blake at will, invoking in them knowledge. And while this sounds like a the power of the individual to achieve a heavy concept for a summer Hollywood personal mysticism. movie, all the same, it conveys the joy in DeLind Fine Art just being. «**< Sex is an instrument in attaining life- 801 N. Jefferson St. • On Cathedral Square • Milwaukee, Wl 53202 • (414) 271-8525

17 HANDS MAKING PAPER an eye for art AN EXHIBITION OF TWO AND THREE DIMENSIONAL HANDMADE PAPER

Featuring the work of 22 regional and national artists.

Nancy Albertson John Babcock Colleen Barry-Wilson Yael Bentovim Glen Brill Carolyn Dahl Madeline De Joly Lu Dickens PeQOy Farrell Sam Gilliam Tom Grade Joanne Johnson Karen Lee Klamann Marjorie Mau Lloyd Menard Gisela Moyer Margaret Murphy-Reed Walter Nottingham Kay Sekimachi Sylvia Seventy October 28 - November 26 Diane Sheehan Opening Reception: William Weege Friday, October 28 5 to 8 p.m.

KATIE GINGRASS GALLERY 714 N. Mlilwaukee Street Milwaukee, Wl 53202 (414) 289-0855 Gallery Hours: Mon-Sat., 10-5

Art Muscle Magazine's 2nd Anniversary Exhibition and Celebration

Friday, October 7 7 p.m. to 1 a.m. at Art Muscle 909 W. National Ave. 672-8485

Live Music by Elvis Short performances by Wild Space Foothold Dance Collective Rip Tenor and the Gorilla Theatre

Free beer $5 donation

Exhibition continues through Oct. 21 10 a.m. to 5 p.m. Tues.-Sat.

18 Art Muscle VAU LOPT

HcTPlAre

LOT9 0 £ . RESCUE? FRDrA HOP.T * M*f[

•py CAW M wueK

Glenn O'Brien from Glenn O'Brien's Beat, Interview Magazine, September, 1988

PHOTOS BY DENNIS FELBER BY DEBRA BREHMER

19 ii fit. Artists iPt iistips it lulu elm, line, nw

1 i suM

Studios are great places to visit, especially in the story nationwide, from SoHo or the East Village in rented to the "president of a company in Milwau­ waukee Ballet's Dance Factory. Gruenwald, along summer when they're warm. (Heat in winter can New York to the Hubbard Street area of Chicago. kee," Guest said. with artists Jill Sebastian, Paul Caster and Bill be an unpredictable commodity). You probably Artists stake out territory. Restaurants, condos Hughes, has rented the fifth floor, a large, empty "If find out more about a person in 10 minutes in his/ and conversions follow. Rents escalate. space with wooden floors. They are currently her studio than you would spending a week with Another building, at 341 N. Milwaukee St, that erecting walls, crafting studio spaces, sanding them in the Catskills. Just to put it in perspective, rent at the new houses the Milwaukee Antique Center was pur­ floors and building hallways. Vogel fronted them Broadway Apartments in the Third Ward ranges chased two years ago by Jack Gardner, president money for building materials. The rent is $1.40 a 1 itlisp's Potat Although Milwaukee still doesn't have a gallery from $605 to $900, with parking, kitchen appli­ of Artcraft Industries, a manufacturer of subway square foot heated, with a five year lease. Gruen­ district per se, a very solid artists' community is ances, washer and dryers and a 6th floor exercise and rail car seating. Gardner bought the building wald will have a 2,000 square foot studio and a finally developing in Walker's Point, the neigh­ and sauna room. There are 105 units available, as an investment with intentions of renovating it 2,000 square foot lounge/office-type area in the borhood south of downtown, just beyond the and the parent company in Philadelphia would to apartment space, but he hasn't had time to new space. Another artist who used to have a will itIP in iii industrial valley. The fact that an artists' commu­ not divulge how many apartments have thus far delve into the project. The fifthfloo r of the build­ studio in the Antique Center building, Scott Zoel- nity is developing indicates health and produc­ been rented. Very secretive business. ing contained 7 artists' studios. When the rent lick, is renting the entire fourth floor, which is tivity for the arts in Milwaukee. Proximity and increased from $2 to between $4 and $5 a square 11,000 square feet, part of which he will share a undo-zone, numbers. Artists feel that they're a part of some­ Banking on the predicted success of the Broad­ foot and when the security of lease renewals with a sculptor. He has a 10 year lease. Other thing, rather than plugging away in isolation in way, people such as Michael Guest are busy seemed uncertain, the artists started looking else­ tenants in other buildings in the complex include various corners of the city. Once you're out of converting historic buildings into highbrow loft where. John Gruenwald, a printmaker, who had a woodworking company, the rock band Semi- school, you lose a certain sense of intellectual and office spaces. Guest, owner of Adserts, an rented space in the building for 10 years, said he Twang and the Sprecher Brewery. wis*! would community and sharing. When enough artists advertising company, purchased a narrow, four- first tried the Third Ward, but found space going live or work in a certain area, you regain it. story building at 147 N. Broadway in April. Previ­ for $8 to $12 a square foot ously, artists occupied all of the floors, paying Vogel said, depending on demand, that he will $300 per floor. Guest vacated the building and Walker's Point is primarily a Mexican and Puerto Gruenwald then discovered the P and V Atlas make another warehouse available for rental. ii irtlfs hired Renner Design to orchestrate the renova­ Rican neighborhood. It remains, in the public Building on Virginia in Walker's Point This huge This one is actually attached to the Dance Fac­ tion. The building will be ready for occupancy on eye, just threatening enough to keep rents low. warehouse is actually part of a complex of 35 tory, with 10,000 feet per floor and concrete December 1, with a two-bedroom apartment per Many of the artists who work/live here now, had buildings on 18 acres of land owned by Fred floors and walls. He'll rent it for $1.75 a square ! Ml floor and commercial space on the street level. years ago occupied buildings in the Third Ward, Vogel and G. Hans Moede. It's like a small foot heated, and said he thinks the space would i§ Rent will range from $800 to $1,000 a month. The but as gentrification set in, they migrated further village. The buildings used to house a booming be ideal for sculptors or ceramic people who top floor, Guest said, will be a deluxe loft with south, leaving the Third Ward to young profes­ tannery industry. Now, they primarily sit vacant need floor drains. He is also allowing the tenants fireplace, hot tub and rooftop deck. It is already sionals who can afford the rents. It's the same Gruenwald's building is directly behind the Mil­ to mold their own environments from the raw 21 20 Art Muscle space, with few stipulations. I& lllM

|0MP"% He does not, however feel that Walker's Point is on the verge of development. "There isn't any dynamic leadership, no plan, no vison," Vogel said. "Walker's Point is not a SoHo, there's not Hftlftfe enough buildings to allow that to happen. Mil­ waukee is just now beginning to develop a criti­ cal mass in downtown. The process is slow. I just don't see anything happening here right now. ii The bars and restaurants...those are mere trans­ actions, they don't indicate a trend of develop­ jrf * IT ment. I wish I knew how to change things. Land is not even particularly cheap in Walker's Point." 1,

It's obvious that two different attitudes prevail between Third Ward building owners and those in Walker's Point. Anyone who owns property in the Third Ward seems quite assured that their investments will pay off. In Walker's Point, there is no surge of development-mania. Instead, it's a rather quiet, piece by piece renovation of smaller "•••J^W historic buildings. The Yuppie bars and Mexican Other studio/loft spaces are scattered throughout into the Third Ward, but was displaced when her restaurants are flourishing, and the upscale res- the area, on the top floors of industrial buildings. building burned. She's been in Walker's Point for turants, Chip and Pys and the new Pelican, are To find such a space takes a lot of leg work. Artists five years and says she wouldn't want to live more crowded than ever. If the area is being reno­ who occupy the buildings said they just walked anywhere else. "It's a neighborhood," Beal said. vated, it's being done by visionary, independent around and talked to building owners. For the "More and more people are moving in, and it's commerical business owners, rather than devel­ building owners, it's a dream come true. When mixed racially. It's a small town in a city and I opers, which, hopefully means, rents will stay artists move into the vacant floors, they clean, don't want it to change." They have 3,400 square reasonable for a long time. paint, sand floors, install electricity and plumb­ feet with a deck and 1,000 square feet of storage space for $230 a month. Artists Carri Skoczek and Jim Goelz bought a large building on 5th (which ing. The reasonable rents allow artists to invest their own money in rehabing the buildings, so Fred Stonehouse have studios in the same build­ used to house Clavis Theater on its street level) ing. two and one-half years ago for $75,000. He's everyone benefits. been slowly renovating it and subdividing it, One of the long-term Walker's Point residents is starting from the ground up. The four floors, each Dennis Coffey and Joanne Davis are in the proc­ Dennis Cary, who has occupied his studio space 6,000 square feet, had no heat or electricity. They ess of turing a somewhat less than habitable top above a large manufacturing business off 2nd were piled with junk left from when Goodwill floor of a long-vacant warehouse in Walker's Street for seven years. In 4,500 square feet of Industries owned the building from 1936 to 1970. Point into a work and living area. Coffey is a painter and Davis is self-empolyed as an interior space, he has cafted a photo/studio area, two designer specializing in painted finishes. (She bedrooms, a kitchen and living room, with ample did some of the marblizing work in the Oriental storage space. The Polish Moon (Allen Bradley Theater renovation). They have an enormous clock) provides a luminescent view out the win­ task before them. The 7,000 sq. foot floor ($250 a dow. Nearly everything in the loft was constructed from found-materials — old shelves and cabi­ month rent) is not heated and, until recently, had nets, discarded lumber, rummage furniture. It's a no electricity. For plumbing, they currently run a nest within an industrial complex that provides hose over the roof. The water heats from the just the right amount of peace and privacy for sunlight and by the time it fills their bathtub it's Cary to create his art work. pleasantly hot. The roof leaks and there's huge old coffin-matress-making machines in the middle of their floor, left there from the early 1900s. But, All of the artists who live or work in the area have what the space does have is beautiful brick walls, a realistic fear of real estate developers and a a skylight and access to the roof which provides somewhat secretive, protective attitude toward a stunning view of the lake and closer below, their spaces. If Walker's Point would ever turn into a condo-zone, where would they go? Mil­ scrap metal yards. They plan to do most of the The floors were badly buckled from water dam­ waukee does not have an unlimited expanse of work themselves, and have been at it, full-time age. Goelz said he would have liked to turn it into poor neighborhoods with warehouses or historic for three months. living and office space, but the cost of bringing it buildings. But one of the best and worst things up to residential code was prohibitive. Currenuy, about Milwaukee is that things happen very slowly Demetra Copoulos, a sculptor, and Tommy he has finished the third floor, which is divided here. So for now, and maybe the next decade at Littmann, a carpenter, have occupied their loft on into six studios of varying sizes (approximately least, the art community should be safe to flourish Mitchell Street for five months and are a litde 1,000 square feet) which rent for $250 a month in Walker's Point. further along on the renovation. They pay $225 a without heat. Four of the six studios are currently month for 5,000 square feet that includes a large rented. He's now working on the first floor, part studio area, storage space and living area. They've of which has been rented to two photographers. The following is a list of names and num­ had to build walls, strip floors and install a kitchen. Goelz definitely feels Walker's Point has poten­ bers to contact about available studio space: (Loft kitchens tend to be remarkably similar: hot tial. "I see the push of development coming this plate instead of a stove, toaster oven instead of an Fred Vogel, P & V Atlas Buildings, Virginia Street, way. Younger couples are getting more inter­ oven, industrial sinks.) $1.40 to $1.75 sq. foot: 271-7282. ested in this neighborhood." Jim Goelz, 900 5th Street, about $250 per month Joan Julien, whose family owns Julien Shade for 1,000 square feet, larger spaces available, heat shop on Milwaukee and St. Paul streets, owns the not included: 241-4180. building called #10 Walkers Point and the adjoin­ ing Pittsburgh building at the corner of 2nd and Rothchild Investments, 133 West Oregon, $2 to Pittsburgh streets. There are 40 artists studios in $4 square foot, five floors: 647-1700. three attached buildings, ranging from 600 to 5,000 sq. feet each. Rent, including heat and Joan Julien, #10 Walkers Point/Pittsburgh Build­ electric, ranges from $2.50 to $3 per square foot. ing, $2.50 to $2.75 sq. foot heated, currently full, Average rents run $250 to $275 a month. She waiting list available: 646-8112. bought the building in 1984 after it had been on the market for a year. "I knew the Third Ward was developing," she said, "I bought this building Sublet studio space (shared space in artists' with the intention of renting to artists who were studios): outpriced in the Third Ward." The buildings have Carri Skoczek, 1028 S. 5th, 450 sq. feet, $75 a full occupancy with a waiting list of interested Most of the artists have workshops or studios of month, heated. tenants. equal size to their living area. When you walk into Maggie Beal and Mike Brinkman's place off 5th, Jim Matson/Deb Fabian, 100 E. Pleasant (Brewer's "It's the next developing area," Julien said. "South you walk through a large woodworking area Hill), 1,000 sq. feet available, plus 6,000 feet on is the only place to go. I see it as continuing as where they create custom furniture. They are in 4th floor, $2 sq. foot heated. Call 265-5499. light manufacturing and office space. My feeling the process of erecting a wall to divide their living is there is a need in the market for reasonable area from the invasion of sawdust in the work Chuck Vansen/Mark Jacobsen, 204 W. Washing­ office space still near the downtown area." area. Beal was one of the early artists to migrate ton, various spaces available. Call 647-8865. ***<

22 Art Muscle B Y CYNTHIA C R I G L E R Artwaft '88 wll take place In Riverwest cm Saturday Octo- nnirn|iiro ber 1f fmm 10 am to 5 pm. chased at RCDC, 824 E. Locust St. or from the individual stti- ttosafttiiiia^^ of Vie event lidcel puces are $2.50 fop adults, $1,50 for

Since the turn of the century, the area once called a square foot. The average storefront is 1,000 feet the Riverwest Community Development Corpo­ "Mechanicsville" and now called "Riverwest" has with 14 foot ceilings. It is possible to buy build­ ration. had one of the highest concentrations of artists' ings for less than $20,000, which makes the area studios of any neighborhood in Milwaukee. economical for artists trying to earn a living from It was during this period that the community Located between the Milwaukee River and Holton their work. activists in Riverwest began organizing the insti­ Street, North Avenue and Capitol Drive, the prox­ tutions which now, ten years later, continue to imity of the university has long attracted the Things probably weren't all that different at the work for the benefit of the neighborhood. Two academic art community. turn of the century when the academic easel major events occurred which solidified their base painters built studios in Riverwest because of its of support. The first was an attempt by the city to Today, a new generation of teachers and former proximity to Downer College. These buildings widen Locust Street between Holton and Hum­ students from the University of Wisconsin-Mil­ usually consisted of a large studio space in the boldt to provide easier access from the freeway to waukee and the Milwaukee Institute of Art and front where people could sit for portraits, a living the East Side. This brought people together, Design carries on the tradition. And with the aid space in the back, and/or an apartment upstairs. young and old, because the construction would of the area's community activists, the arts con­ These artists remained in the area until the 1940s. have divided the neighborhood in half and de­ tinue to thrive in Riverwest. stroyed the Riverwest Building, an important In the next decade, with a commercial boom in landmark, as well as the community center, which On Saturday, October 1, forty artists will open the neighborhood, many of these studios were later became Woodland Pattern. The second was their studios to the public for the 4th Riverwest turned into stores. The monetary crunch of the the attempt to buy the Riverwest Building, on the Artists' Studio Walking Tour. ARTWALK '88 was 1960s closed down most of these small busi­ corner of Locust and Bremen. This large, deterio­ organized by the newly formed RAA (Riverwest nesses and the landlords used the front spaces for rating structure has played an important role in Artist's Association) and RCDC (Riverwest Com­ storage rather than waste the money it would the community for decades. Over a 60 year span munity Development Corporation). The devel­ take to bring them up to residential code. This it has housed a silent movie theater (which pro­ opment of these two organizations marks a sig­ inadvertently brought in a new generation of vided St. Casimir's School with a stage for its nificant step in the growth of the area and attests artists. Academic artists looking for private graduation ceremonies), a bowling alley, an infa­ to one of the reasons artists continue to live and studio spaces that were not connected to their mous night club in the 1960s and the only super­ work there. living spaces convinced the landlords to rent out market in the area, to name a few. Three years these large rooms for $15-$20 a month. Since the ago the RCDC was formed and two years ago the Most of the neighborhood's artists move to River­ artists were not living in them, the studios didn't organization bought the building. In October west because of the large, well-lighted, cheap need to be improved. This marked an important they will receive the loan to begin renovating it. spaces and come to love the area for its cultural transition from the public studio of the early 20th The lower two floors will house businesses, and diversity and entertaining street life. It is a neigh­ Century, where people came to commission art­ the top floor will be divided into studio/living borhood where people sit on their front porches works, to the private studio, where the artist lofts. or in their backyards and know everything about works alone on a product which is then sold everyone. People from diverse backgrounds elsewhere. In the late 1970s, the presence of so many people learn daily how to live together, finding that active in the community affected the artists and friendships can form in unexpected ways. With the real estate boom of the late 1970s, the work they produced. Anna O'Cain and Stanley landlords began converting these front spaces Ryan Jones both had storefront windows which Between 65 to 75 artists live and/or work in into living rooms. Windows were boarded up they turned into revolving art installations. Adolph Riverwest today. Most of them are visual artists and ceilings were dropped. This brought artists Rosenblatt was working on his character studies though there are still some filmmakers, videogra- to the realization that they either had to buy their of patrons of Gordon's Cafe, a local landmark. phers, ceramicists and jewelers. Roughly half own studios or move out of the area. Some artists The Gordon Park Pub provided wall space for have been here 10 years or longer. moved south into the warehouse districts, while artists to show their work as well as allowing local others stayed in Riverwest, bought storefronts or musicians to play for the gate. The Jazz Gallery Ron Bitticks, painter and teacher at the Milwau­ converted large flats into studio/living quarters, brought the best jazz to town and held poetry kee Institute of Art and Design, moved his studio and while more and more artists were being readings and performances by area artists. here in 1965 when storefronts rented for $15. He attracted to the area, other groups of people were bought his present storefront on Wright Street in also beginning to move in. It is now, finally, that with the technical assistance 1975 for $4,500. It has 1,000 square feet of studio of the RCDC the artists of Riverwest are able to space and two floors of living space. Jill Sebas­ Single mothers who could not rent places in other organize themselves. RCDC recognizes that the tian, mixed media artist, came here in 1976 and areas of the city found the landlords in Riverwest artists enhance the community's vitality, an asset rented a studio at 905 Clarke Street for $25. It had willing to rent to them. Natural foods enthusiasts which must be nurtured if the neighborhood's originally been built as a studio in the 1920s. were attracted by the Outpost Natural Foods quality of life is to continue to improve while still Many of her pieces are inspired by the colorful Coop. Writers and poets came here to work for maintaining the area's racial, generational and street life around the studio. the Crazy Shepherd and later because of Wood­ cultural integration. The close proximity of so land Pattern Book Center. Community activists many artists is stimulating and vibrant. At the end Susan Alexander, ceramicist, opened Artistry were attracted to the quiet neighborhood with a of a long day in the studio one may go to one of Studio/Gallery recently on the corner of Center solid, integrated working-class base. the local art pubs and talk with other artists, and Bremen. The 1,000 sq. foot space, originally writers, poets and musicians; the five galleries in La Verne's Pastry Shop, still contains much of the These young, mostly white people moved into the neighborhood provide important communal original tile work and woodwork. A large yard on homes alongside those owned by Polish, black meeting spaces. the side is being converted into a sculpture gar­ and Latino families and retired couples. It wasn't den. always easy for these diverse peoples to get The ongoing spirit of activity in the Riverwest along, but as the long-term residents watched the area led Jill Sebastian and Ron Bitticks to create Peggy Riverwest, sculptor and interior design young newcomers fix up the houses and care for the Artwalk. This year's Artwalk, for the first time, consultant, rents a 750 sq. foot storefront on the neighborhood, they came to accept them is being organized by the artists and the proceeds Clarke which has housed artists for 10 years. She regardless of their cultural backgrounds. will remain in the area, instead of going toward uses the windows as an installation site, which the purchase of art for the Milwaukee Art Mu­ has long been a tradition in Riverwest. Mamie An important coalescing agent in the area at that seum, as has been the case in the past. It is the Elbaum, a potter, moved her studio into a 600 sq. time was the Gordon Park Food Coop. The only dream of some of the artists to eventually pur­ foot storefront on Bremen St. five years ago. She large grocery store in the neighborhood, it was chase a building that can function as an art center, relies on neighborly support for her retail busi­ owned and operated by area residents and thus merging the private activities of the studio ness. employed many of them, from teenagers to with the public activity of enjoying art. „** pensioners. The business experience it provided Rents on storefronts now run between $3 and $8 to Riverwest was instrumental to the founding of 23 Don't coait! s*a^^*sen*Music- Milwaukee Music ensembles 1988-89 ser «s^ ^ ^

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24 Art Muscle Coming This Fall to EASTOWN! NATASHA NICHOLSON WORKS OF ART

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CHARLES After the Drought: Janet Cooling MUNCH Bountiful Harvest Modern Myths: Future Perfect Mary Bero John Broenen PAINTINGS: LANDSCAPES & FIGURES Reg K. Gee Mark Mulhern paintings and drawings October 5 to November 19 Dennis Nechvatal Reception Wednesday, October 5 5 to 8 William Nichols Adolph Rosenblatt Jill Sebastian Simon Sparrow Fred Stonehouse Gallery Hours: Tom Uttech Opening Reception Wednesday through Friday 1 to 5:30 Mark Wilson 6 p.m. to 9 p.m. October 7 Saturday 11 to 5 or by appointment September 9 - October 4 October 7 - November 2 dean iensen gallery 217 N. Broadway Milwaukee, Wl 53202 (414) 278-7100 Tuesday - Saturday

HOBERT HERMAN HS£ SEPT. 18

£6? •HH ..J*"~~ iiiiiilli srliUlH ESHHSHHI llllltlll •111 CUSTOM • lilt: illlillll flllill • FRAMING till WATER STREET Milwaukee's buildings are visited by our animal friends in Hobert Herman's whimsical watercolors.The PAC, Milwaukee Art Mu­ seum, Pfister Hotel, Gesu Church, Gas Company, City Hall and GALLERY Northwestern Mutual Life Ins. buildings all become hosts to Her­ man's images. MEET THE ARTIST, Champagne Reception, 1 to 5 p.m. Sunday, September 18. 144 North Water Street • 271-1231 Open Mon.-Fri. 10-5:30; Thurs. til 8-.00; Sal. 10-4 ^anfrmarks d>aller|j 231 N. 76th St. Milwaukee, Wl 50213 (414) 453-1620

25 JMLy ToTeakzfcist

BY JEROME SCHULTZ PHOTOS BY J. SHIMON & J. LINDEMANN

licia Czechowski and I had breakfast at make of it is a garbage dump. Everything is either class. Everything in my art career came about by the Island Restaurant on Brady Street. becoming a shopping mall or a landfill. That is accident I went to school at Wayne State in A what we do to everything we touch. It is like the Detroit, where I grew up. I started as a chemistry • For two hours, Alicia talked about her midas touch of garbage. Everything we touch major because I knew I needed a real job after life, her art and life in the 1980s. I did not ask her becomes corrupt and turns into trash. The air, the school. Then I wanted to spend more time with any specific questions. I just interjected topics, water, the land, everything is becoming polluted what I wanted to do — art. Being a chem major I hence the text below arranged into titled seg­ and toxic. was able to take advance sculpture courses with­ ments. During the breakfast, Alicia meticulously out taking the prerequisites. I was able to use the removed a lemon peel's outer skin and broke it I think about these things all the time. There is sculpture facilities basically as I pleased. There into minute pieces which she occasionally shaped something about this in my painting. It isn't obvi­ was no instruction back then. Nobody cared—at into a mound on the plate before her. ous. It really isn't worth talking about. There is the end of the year you got a grade and that was Alicia taught painting and figure drawing at the this attitude in the figures I paint, this sense of the system. Then one day a favorite instructor University of Wisconsin-Milwaukee from 1979 to complacency in our culture. This uncritical voice asked me when I was going to graduate. I didn't 1984, when she moved to New York. Since then to let there be air conditioning, let there be high­ know. He arranged that if I took two art history she has had two shows here at David Barnett ways, let there be pollution. Just as long as people classes, of my choice, I could get a BA. I took Gallery. Her recent show closed September 3, but can go and buy their favorite products. The com­ "19th century French Painting" and the "Evolu­ some of the work may still be viewed. Alicia is placency is dreamlike. It's a living death. We tion of the Crafts." I had never had an art history currently preparing an upcoming show of "unde­ want life to be nice, to live in a dream. That is why class before that. I then had a couple of little jobs and decided to go back to school and began sirable commercial subject matter" tentatively there are all those glossy magazines out there studying French and again using the sculpture scheduled for this winter at Leo Feldman's. now to reinforce our dreams. We look at the glossy pictures and identify, or if we're counter­ Czechowski recently was named a 1988 Fellow of culture, we look at the pulpy black and white the New York Foundation of the Arts. photos and identify. That is why it is real hard for me to put more than one person in a picture, I think, therefore because I always think of people as being alone. Maybe that is how I see myself like these people I have a mind and there is something that seems alone doing nothing except sitting around in their right and something that seems wrong and some­ little places. That is why people have a "look" thing that seems indifferent. What seems wrong now. They dress in a certain way and buy a about animals is that humans consider them cute. certain product to create a "look," to create an Take the elephant. It has a long evolutionary image, so they are no longer alone. We are turn­ history on this planet, yet man views them as cute ing into image instead of people and that is what and fun. I don't know what is goin' on inside an makes people alone. Consumerism is now our elephant's mind but I don't think they consider identity and people want that 'cause they'd rather themselves cute. Take the mouse. There is a fight than switch. whole industry (Mickey Mouse) built around making mice cute and humanlike. The reality is We make everything easy. We like easy so much that we vivisect millions of mice every year, and that we spell it ezy to make it eezzier. Life is we don't care how we kill them. We cut them. We bearable when everything is ezy and fun. I guess pour chemicals on them. We asphyxiate them. that what we are trying to do is get closer to our We blind and burn them. We don't realize mice god. Close enough to take the driver's seat. Fun is are just like us. They live and they die. They want now spiritual. It is nourishment to feed our spirit. food, shelter and comfort. They're animals and We are evolving into a day-care society for adults, we kill them, because that is their function, and where there are no more adults, just children. the function of everything else on earth, to serve That is why we need so much fun. man — the greatest thing since life's breath. . My life

Take something that is essential, like a vacation. Alicia Czechowski, Woman Powdering bar Pace. We want green hills, blue skies and clean water. I am self-taught as a painter, that's why I'm so bad. We are always seeking paradise and what we I am very proud of the fact I never had a painting

26 Art Muscle facilities. Then one day a faculty member ap­ to do shadows. Once you're got something, stick It was a very sophisticated group of buyers and proached me and told me I couldn't use the space to it with the basic hope it will carry you through producers. anymore unless I enrolled in the MFA program. I this world. Then you develop a name and a had a review of my paintings, which I had done following. That is what being an artist consists of The last show (at David Barnett Gallery) I was at home, and was accepted. That was the begin­ today. That's all there is. foolin' around with the seven deadly sins. These ning of the end. are basic things to me. The virtues and the vices, My life the struggle between good and evil, is the melo­ Grad school consisted of what grad school typi­ drama of human existence. I'll come back to this cally consists of. You do what you want to do and Incidentally, I don't consider myself an artist. I in a new and improved form. I always recycle the a bunch of people say things about it now and don't know what I am. I am obviously not an artist same themes. Right now I am resting up from it. then. You pay a certain amount of money and say because I don't have anything to do with what the I am in a pause thinking over what I've done. It is a certain amount of things and then one day you press has informed me artists do. I grew up in a evident in the images. People captured in this get a piece of paper, a degree. Then I heard about factory town in a factory family, so I guess I am a moment of pensiveness, doing nothing in par­ all these people applying for teaching positions, working person. That is the main thing for me ticular. If you look around you right now that is so I tried. I didn't think I would get a job since the about painting. I spend a long time painting what people are doing. It is the substance of life, competition was so tough. I never wanted to pictures. I like to do that, probably always will. I just sitting or standing around and doing nothing. teach, but I got a position in Salt Lake City for a have been very lucky in being able to do what I Passion in our culture has been neutralized. We year. I got fired for the reason I think most people like to do. That's why everything has been so think a lot about passion but we don't experience are fired. I didn't old-boy it. I worked very hard in accidental for me. Back in school, everybody else it. All the glossy magazines are filled with pictures my classes but was very unsocial, so they fired me was an artist. I was Alicia, the chemistry person. of passion to feed those dreams. I am a snob. I for no particular reason. Then for no particular Everyone else was painting art and I was making pictures. I really don't care as long as I get to do think if people don't do something with them­ reason I wanted to get out east. I felt I couldn't what I like to do. I really don't care about what selves they're human lemmings, a rather repel- afford New York so I moved to a town in a factory people think about what I am doing because I lant thing. valley in Connecticut right on the commuter like to do it. I am alone so much of the time. I do route 45 minutes from the bigscene. It was awful very little other than stay in my studio and work. I am easily entertained by everything. It probably there so I moved to Portland, Maine, got a part- It is hard work but I enjoy it. I have so much sounds like I have a lot of pessimism in me, which time teaching position at a teeny college and a freedom to do what I want to do. I had jobs and I do in my mind, but I have this terrible capacity good gallery in New York. Good in that I was able I hated them. to be entertained by the least little thing. I have a to make enough money to survive. I lost the sense of wonder for everything but I also have gallery when the owner of 25 years had to retire this neutral attitude about things. What does it Everybody is always telling me that I am a very for health reasons. He had no children and no matter that I care or don't care about something. opinionated person. I don't understand how a one to buy the name so the gallery was dissolved. I have no real effect on anything. I am just as small person couldn't be opinionated. Does everyone I went across the street to another gallery which as every other physical thing on this globe. I have was the big mistake. That was the last time I was a great capacity for apathy. I never feel bored but heard of until now. I left Maine for Milwaukee to I talk a lot about boredom. I guess I feel impatient teach here. While I was in Milwaukee I had a most. gallery in New York. Now I live in New York and have a gallery in Milwaukee. So I think the thing Modern living to do is to move to Dayton, Ohio and get another gallery in New York. That is the whole story of my I never throw anything away. I hate to waste life. things. Our whole capitalistic culture is based on being able to discard things. We get so much New York, New York pleasure casting things off. When the masses came to power, and I am one of them—as a child I hate New York. I am not living there to enjoy it. I didn't even get to be middle class — they It is monstrous. It stimulates you to action. I went wanted to live like royalty. You see this in the there to gather up the things in my mind. In New many imperial symbols on Victorian household York, you have to decide real quick what you are products. The masses thought to live like royals going to do. To get a gallery in New York is just you had to discard things and hence our throw- a matter of foot work, which I'll do, but it isn't any away culture. The act of throwing away is one of fun. You have to go out and sell yourself. You the skills we now learn as children. We no longer have to go around and look more and more and have the skills of mending or repairing objects. more 'cause there are so many galleries out there. We just discard things as habit. The galleries are becoming more and more spe­ cialized in the look they present, so that all the I wish people including myself left animals alone. work shown by a particular gallery is very uni­ I have this pile of cats I'd rather not have. I have form, and they will permit no exception to their taken them off the streets, that is all I have done. particular look. I have often been into a gallery re­ I am proud of them but at the same time all of peatedly and thought I was seeing the same artist animaldom would be better off if people just left all the time. Then I realized, and this is not a joke, them alone. We don't behave toward animals like that I was seeing different shows all the time. just stay neutral? Is that the norm? They don't have animals. We don't run up on them and jump on some reaction to something? I will go back and them to slaughter them and eat them. Instead we The key to success for all young and old artists out forth. Sometimes I will say yes to something and put them in pens and make them breed and live there is to develop a nice uniform look. The then another time say no to the same thing. I just in their own excrement. We breed them to de­ attitude you should have is that you are a machine develop a different attitude about it. velop things that are not pleasant for them to live and that you work a certain way and produce a with. So many animals are bred to be corporeal certain job, just like a machine does a certain task. As a child I hated Fragonard. I despised his and to be oppressed by the weight of that flesh. That task is to crank out a certain look. Before painting and now, there recently was a large retro And there is all sort of systemic damage that artists had a style and now they have a look, a at the Met. I think he is the most marvelous of comes from inbreeding. These animals suffer totally different thing from style. There use to be western painters. Like Paganini he had an amaz­ while they're living. We pave over everything a recognized style of doing something and now ing skill to whip a few flicks of paint, very few, to and destroy their habitat and so eventually we there is just a look. Things are more calculated depict something. Bravura painting it was called will kill them all off. I think it will be a good thing now. If you have a group of people who aren't centuries later. It is amazing what a feeling he had cause I don't think the earth will be fit for any­ very good at something and don't know how to for paint and how much illusion he could get with thing soon but us humans living in little air- do anything and they all tried to draw a square, just a few brushstrokes, which is a pleasure to conditioned boxes with TVs. that is the level everything is at now because look at. People look at things in a real literal way there is less capability of a style developing with and develop prejudices because of his pretty little It's what we're evolving toward, living in nice just a square. There isn't the skill needed, say, people in pretty costumes in pretty settings. We little temperature controlled boxes with flavored with drawing a circle without the aid of a com­ have a bias against that attitude. I don't look at foods for titillation and chemical sprays for fra­ pass or even drawing a sphere. A box is a lot things in this literal way. There is that too, but to grance and electronic noise boxes. It is like a harder to draw than a square but people haven't me it is painting. living death and we lie around passively until we got beyond these rudimentary skills now and are dead. More and more people want to with­ want to be artists. If you're at this stage what you I think I am very open-minded. When I was a draw from anything that might indicate they are can do is develop a look using the skills you have. child, I hated Fragonard for those very reasons. alive, like sweating, breathing heavy, having to And the look is to make the square real big on a Everything was too fluffy, pretty and cute. Now walk. All these things are unpleasant to us. Life is shaped canvas and perhaps paint it pinkish. And that isn't important to me. In the context of the unpleasant to us. We want to get rid of it but we're in the next show, put some green in it or a pretend 18th century, you got a different eye, a different afraid to die. We want to be free of life, yet we also line. The level of skill has not gotten to shadows attitude about art and life. Fragonard painted for want to live forever. It is a wonderful paradox that yet and there is no interest in developing the skill a very sophisticated audience, not like us bozos. makes people so fascinating to themselves. >»

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the Art of ^ National Campus Film Network's Displaying the beauty of form Richard Meier and function in today's products. ^w REAMnNtlLMPERIES environments and graphics. ^W HHIJ Frogdesign D Nancy Skolos At the University of Wisconsin—Milwaukee Helmut Jahn University of Wisconsin M i The Wednesday Classic Cinema Series Kelly Johnson October: Fine Arts Gallery 12: BLONDE VENUS starring Cary Grant & Marlene Dietrich Stanley Tigerman October 16, to November 13.1 26: BEDTIME FOR BONZO; our tribute to Ronald Reagan! Bill Stumpf Presentations November: to include 9: MY MAN GODFREY; starring William Powell & Carole Lombard Emilio Ambasz Robert Vogel, 16: DIAL M FOR MURDER; Hitchcock thriller with Ray Milland & Grace Kelly . Rick Valicenti, 30: ANIMAL CRACKERS; A Marx Brothers classic! Free Animal Crackers to all Michael Graves Tom IMewhouse, December: among others. 14: THE LAST PICTURE SHOW; Peter Bogdanovich's Academy Award winner about life in a small Texas town in the '50s; stars Timothy Bottoms & Cybil Shepard Opening Showtimes for the WEDNESDAY CLASSIC CINEMA SERIES are 7 & 9:30 pm. Some films are accompanied by an added short feature. Prices are: $1 for UWM stu­ dents & senior citizens/$1.50 general. The Union Cinema is located in the UWM Union, 2200 E. Kenwood, 2nd Floor. Hours: Tuesday.Thursday, Friday, 10-4; Wednes­ day, 12-8; Saturday, Sunday, 1-4. and... The DREAM ON Film Series at the Flicks September: Fri/Sat/Sun, 16, 17, 18: BLADE RUNNER; starring Harrison Ford. Rated R October: A. HOUBERBOCKEN, INC Wed/Thur, 5, 6: HAROLD AND MAUDE; starring Ruth Gordon & Bud Cort. Fri/Sat/Sun, 14, 15, 16: HAIRSPRAY; director John Waters & DIVINE! The Upper Gallery Wed/Thur, 19, 20: MARLENE; documentary on the life of Marlene Dietrich November: Wed/Thur, 2, 3: DOWN BY LAW; director Jim Jarmusch (Stranger than Paradise) of­ fers this wonderful film featuring John Lurie and Tom Waits. Rated R Fri/Sat/Sun, 11, 12, 13: PERSONAL SERVICES; Julie Walters (Educating Rita) stars as a kinky madam pleasing her kinky customers in this brilliant British comedy. Rated R is here! December: Wed/Thur, 7, 8: HAIL MARY; director Jean-Luc Godard offers his interpretation of the lives of the Virgin Mary and Joseph; French with subtitles. Rated R Showtimes for the DREAM ON FILM SERIES at the Sandburg Flicks are 7:30 & 9:45 pm for Wed., Thur., and Sun. nights, and 7:30 & 9:45 pm & 12 midnight for all Fri. and Serving the Art Community Since 1988, Sat. nights. Admission is $1.50 for UWM students & senior citizens/$2 general. Fine Craft • Limited Editions • Original Art The Sandburg Flicks is located on the ground floor of the Sandburg Residence Halls, 3400 N. Maryland Ave. For more info on these and other film events, call our 24 hr. info line at 229-6569! 230 W. Wells • Suite 202 • Milwaukee, Wl 53203 Neither this ad or the events contained within were paid for by taxpayers monies 414-276-6002

29 A MAN COMES ALONG BY

hat follows is (at least in part) an inter­ "Post-modern work and deconstruction are done view with John Kishline of Theatre X for very — what is the right word here? — are Wabout his new full-length play, / Can't CHANCE done for very good reasons. At least some are. Stop Loving You, based on Anton Chekhov's The Some people don't always agree with those Seagull. The interview is not represented here in reasons, but I think the motives are good tact, however. It has been transposed from a fairly wmaami BYDBRAVEST mmmmt motives..." straightforward (external) dialogue to an internal monologue — the memory of that interview as it We need new forms. New forms are needed, and mixes in the mind with questions, quips and quo­ JOHN KISHLINE if we can't have them, then we'd better have tations from Chekhov's text. While the structure nothing at all. and accent of this piece then are primarily my own, Kishline's words (in quotation marks) are Kishline's CHANNE LS words. Chekhov excerpts are in italic. My words John Cage? are in plain text. CHEKHOV IN NEW "Good motives..."

Synopsis: THE SETTING SAILS, SOURCES REVEAL RAY T H E A T R E But in return I should demand fame...real, re­ sounding fame.. My head is swimming...Ough! CHARLES AS WALK-IN. CHEKHOV LIVES. "...to try to take these cultural symbols and tear / Can't Stop Loving You. them apart in a way that they haven't been before: to find out why they are and what they I didn't know you were trying to quit. PRODUCTION are. And what makes them tick, at their hearts. What can we learn from tearing The Seagull C'mon. It's a play. apart?"

Well, I knew that. But if you're MNMHR> WMK^MmMMBXS®mMmS>B% going to win out there... "It's a big play."

No, play as in theatre, as in X. "How might that process Theatre X's new play. Author: increase our understanding, John Kishline. Director: Wes expand our knowledge?" Savick. It's based on Chekhov's The Seagull. When I was eighteen, I looked at Nina and she had Play thing, mate, pen, write. Play my face. As I aged, the play right. See the seagull swing. deconstructed itself. See the stuffed seagull sing. "Yes. You move from being "A theatre company is doing Nina or Treplev, to Dorn, their version of The Seagull. It's Masha and on up the ladder." experimental: they're decon­ structing it..." Nina, the star-chaser; Treplev, the deadbeat poet; Masha, the a wing, a beak, a limp claw... masochist; Irina, Lee Remick before cosmetic surgery. "...and what you see is the whole Trigorin, shaving by his re­ of the play, the whole of flection on paper, drawing his Chekhov's Seagull, and some of razor along the letters, the the things that go on putting words he sees there. A man that play on the stage." ceaselessly watching himself and taking notes. "An attempted suicide, a dead baby, a young alcoholic woman "You move on up the ladder, who enters into a loveless mar­ depending on the degrees of riage, the seduction of a teen­ despair and compromise ager by somebody who's a you've dealt with in your own generation older than she..." life."

Ray Charles? If ever you want my life, come and take it. "... and dumps her. If you list the things that happen in the "So everybody's got sort of play, it sounds pretty melodra­ two persons, sometimes three. matic, you know?" People are doubling." il^Miii«ii^iiiii« A pretty picture, Love like Two doors down, a seagull kudzu. comes out of the run-down, red rooming house to water "My play is set in the eighties. the lawn. She holds the hose The performance group in my too long in one place, talking play sets The Seagull in the six­ to people I never see. Mud ties..." pools around her ankles.

If you're going to San Francisco... "Some pretty outrageous dou­ bling." "Wrong. Father-Knows-Best- Land, you know?" Will she be in it? "Tell them they'll get to see some fohn Kishline Photo by Francis Ford 1962 performance art. Some of m. Loads of Technique: the first. They'll understand it's performance art because it's somebody sitting in SHADOW-BOXING WITH SUGAR front of a Siiper-8 projector." "They'll get to hear Neil Sedaka singing, 'Break­ PLUMS OR BORING DOWN TO MOSCOW ing Up is Hard to Do.'" But to me all these fine words, if you will forgive Yes, charming, clever...charming, but a far cry me, are like sugarplums— which I never eat. from Tolstoy. Ah, Derrida. Cha cha. "Sing, dance. Shoot a gun. Show slides." Don't put that in. n. The Cast: HOW MUCH GALL WOULD A SEAGULL SEE OR THE RED ROOMING HOUSE "It brings up the issue of why you do it. How do "They have chosen to put it there and use that kind you do it? How do you make the choices you of imagery and those kinds of associations..." Isn't much post-modern art parasitic? Isn't make, find actors? How do you get the money? Practically speaking, how do you put on a play Camelot? The Bay of Pigs? poking fun at a classic work an easy thing to do, the result often facile? in 1988 — you know — how do you pay for it?" "...because they think it will help them illuminate "I've spent sixteen-and-a-half years shadow- The Seagull." "That is a subject addressed in this play. I don't want to tell you how. But I think it's very much boxing at the edges of form." addressed in this play." Circuits. Tungsten. By taking apart, to turn on. Depending on the degree of the author's narcis­ sism? Ihis seagull I suppose is another symbol, but Return to sender. Address unknown. forgive me, I don't understand. "Sometimes."

30 Art Muscle "In its first successful production in the first other people who don't know it. . . and you have "Let's get away from all this abstraction." season of the Moscow Art Theatre, Stanislavsky damage done unknowingly, blindly." played Trigorin." A man comes along by chance, sees her, and "Well they did and they have and it's been ex­ having nothing better to do, destroys her, just Who? traordinarily gratifying. It also scares the hell out like this seagull here. of me." When I die my friends will walk by my grave My wife took me to Three Sisters. People were and say, "Here lies Trigorin: a good writer, but The snake? always going someplace and never getting there. Turgenev was better." Nothing but talk, talk and more talk. Why would Praise. Applause. anyone ever want to see Chekhov again, decon­ "All Stanislavky's theories about method acting structed or otherwise? He's a bore. Boring. and the influences we derive from them are a "Yeah. I think that says it." Boring. Boring. result of his working on this play." Flashing lights of a squad car at the curb. The "Chekhov thought the last act of Three Sisters / Can't Stop Loving You? seagull exits the red rooming house. She is not in was knee-slappingly funny." costume. You could say that. Why do you say you kiss the ground I walk on — Don't see me off. I'll go by myself. . . I ought to have been killed. "Before that, he was a typical schtick popular actor." "They react the way they react. We try to illumi­ "He calls them comedies for a reason. Maybe if nate issues, pique minds. We don't tell anybody they come, they'll find out why." "Shadow-boxing on the edges of form." what to think. We don't let anybody off the hook." I've made up my mind to live in memory... You can't imagine what it's like to feel that you are acting abominably. lam a seagull. . . No, He creates impressions, nothing more, and of that's not it. lam an actress. course you don't get very far on impressions IV. Author-ity: THE ASTROLOGY OF TECHNOLOGY OR alone. DON'T WALK UNDER A SEAGULL. That's entertainment. But depressions. They go the distance. All the lonesome time. V. Checkered Pasts: WHO PUT THE X IN SEX OR THE Do you want your audience engaged or periodi­ "Their understanding of The Seagull is a good SOUND OF ONE HAND CLAPPING cally disengaged, thinking, critiquing as in the one, and, I think, a right one, an intelligent Brechtian model? understanding of the play, but what they put on "This play jacked his head around." the stage is wrong — or maybe wrong is a bad "Yes. All of the above. I hope it all happens." word — what they put on the stage doesn't Rather like A History of Sexuality did work, just plain doesn't work." Milwaukee's? VII. Curtains: EINSTEIN AND NINA HEAD FOR TWENTY- But does it play? Eat...sleep...play? Did. Didn't. ONE "Well, it's going to be pretty outrageous. Yeah. I ...it seemed to me that all the dark-haired people "It's a dress rehearsal, a work through. So the don't know how much to go into it." in the audience were hostile and all the fair- play stops and starts." haired ones, cold and indifferent. Go in. Come in. All the way. I have confidence in this. In fact, I predict a hit. "It's a hometown reaction: 'Oh yeah. It's Theatre In the original Seagull, nearly every character is X.'" "When Nina talks in Act IV — if you're disen­ an artist, wishes to be an artist or is madly gaged from that, you're probably dead." attracted to an artist. Is that situation or theme "I'm pretty new at it (playwriting) ... I'm mostly particularly relevant... an actor, that's what I've always been and that's . . . like this seagull here. pretty much what I still am." "A bad word..." "Some pretty outrageous doubling." "We were in San Francisco doings History of Like contemporary? Like true? Sexuality...Thai scared me a lot. The response Maybe if they come they'll find out why. to it has been more than I could have hoped as a "At least as true today, if not more so, and if you piece of writing. I guess that says it. People have "It's an incredibly demanding part. One of the look at the amount of time and money people said things about it which, in your heart of hearts hardest parts in the theatre. You can play her as spend caring about and watching the stars, think­ you hope they'll say, but never do. It was doing if she has snapped, out of her tree, or as an EST ing about being famous, and trying to be on tele­ quite well, and I opened my mouth and said, graduate, or as somebody who realizes what she vision..." 'Oh, I've got a couple ideas for plays.' They said, is saying, sees the world as it is." 'Why don't you write one and we'll do it for fall?' The First Lady, an ex-star wed to an ex-star, con­ And I said, 'There are two,' and there were two "This play jacked his head around." sults a star-gazer from Starland. Graceland. — and the first one that came out of my mouth is the one I'm working on." "One and a half times by two different people." We can't do without the theatre. "So I came home and went fishing for eight days Kill the lights. But are the stars artists? Was there such a distinc­ to run away from it all and then sat down and tion between talent and popularity in nineteenth started reading. See, the idea had come to me six Backstage is deserted. Those who know where century Russia? In America, the fine arts are not years before and had been in my head, sort of home is have gone there. At this moment, the something to die for... hiding." space in the dark wings very much resembles that which fills the red rooming house, daytime Graceland. I'm going to Graceland. Theatre with a social/cultural/political edge. or nighttime. "What is the emphasis of this society? Television. "...theatre as a way of being cultural anthropolo­ Wings again. . . It sells us things and we buy them. It's a shaper gists: to examine the things going on in our of our reality. And a lot of time and money is lives." "He's despairingly funny because he's talking spent to make it be just that. Our emphasis is on about real human lives. He was able to see that, people who appear as electrons on a little / hove no faith and I don't know what my and that's his gift to us." magnetized field." vocation is. Kishline? "Maybe if they come they'll find out why." And is that onstage, offstage or both? You, with your hackneyed conventions, have I am a seagull. . . usurped the foremost places in art, and consider VI. Denouement: BRECHT KNOWS BEST OR WHAT­ nothing genuine and legitimate except what you Do I need to read the play? EVER HAPPENED TO KITTEN yourselves do — "I hope I Can't Stop Loving You will be funny "The first thing I did was a one-man show called "Being narrow-minded is always a mistake." and accessible and moving for those who know Faust: An Entertainment. I sort of thought if I The Seagull well and for those who don't know it was going to write seriously I had to rant and To construct or deconstruct, that is the question. at all, for people who know theatre well and for rave a little bit and get some things off my chest." those who don't. I've tried to do that. I don't "That is his gift to us." know if it's going to succeed." / have no faith and I don t know what my vocation is. They should be reminded of Einstein on the . . . success? I've never pleased myself. I don't like Beach. «*< myself as a writer. "Selling your soul. What does all that mean? It was a history of Western Culture in ten minutes: "To a certain degree the audience should have sing, dance, shoot a gun, show slides. There's a (Debra Vest is a Milwaukee poet) some context — if the playwright is going to snake in it." create laughter, he's got to do it by surprising Now you have to do it again. them — which means they must begin with some expectations." "A play pushes the limits a lot and whenever you I Cant Stop Loving You will be per­ do that you're going to alienate some people and formed October 16 - November 13, Wednes­ . . . geese, spiders, silent fish that dwell in the you're going to excite others." days through Sundays at Theatre X, 158 N. deep . . . Broadway. Preview performances will be And is that offstage or onstage or both? "They should read the play because it's a great October 11 - 15- The cast includes Rhonda Gerolmo, John Starmer, Victor DeLorenzo, play. It defined acting as we know it today." "Offstage. During the breaks." Scott Schanke, Flora Coker, John Kishline Charlie Sheen? "In the sense that there are people in love with and Debra Clifton.

31 WISCONSIN'S ART HISTORY The Art Museum celebrates 100 years of Wisconsin art

By Kit Basquin The Milwaukee Art Museum continues its cen­ the late 19th century and early 20th century, tennial celebration with 100 Years of Wisconsin when arists had fewer opportunities to exhibit, Art, running from September 24 through Novem­ did we find artists who should have had exhibi­ ber 6. Included are 170 works by 52 Wisconsin tions, but didn't, and we included them here," artists. Sobel said.

The contemporary portion of the show, dating This hazards of such an objective approach are from 1940 on, was organized by the Art Museum's exemplified by the obvious imbalance of women Assistant Curator Dean Sobel, who described artists in the show,with only nine included. Sobel "Wisconsin artists" as artists who had created a commented, "We tried to be aware of gender, but significant body of work while living in the state. we didn't want to jury a person into any particular Natives such as Georgia O'Keeffe and William situation just because she was a woman. We Wegman, who left the state before contributing actually thought we were doing pretty well. major work, were omitted. However, Frank Lloyd However, certain people felt that nine women Wright and Edward Steichen were included. out of 52 was a very small percentage, and it Wright continued to live and work in Wisconsin certainly was, but it was what we would call an throughout his life, while Steichen already was 'art world reality.'" Sobel said he felt the museum exhibiting photographs in galleries before he would be distorting history by including more moved out of state, even through he was rela­ women. "In other words, we would be patroniz­ tively young. ing gender," he said. "Women didn't have the same opportunities available to them as men. We Jill Sebastian, NOT 2 LESII, 1981. Sobel stressed the difficulty of only selecting 52 looked at the periods and picked the best artists artists, but also the necessity of limiting the number regardless of gender." to ensure that each artist has space enough to It would be hard to argue with the choices the make an impact. He said museum staff has made as being representative the final list evolved over of prominent Wisconsin artists. But, what can be a year of deliberation, learned from such a survey, if anything? Beyond and included sugges­ the value of putting the state's artistic history into tions from museum staff, a handy catalog, does the exhibition do anything artists, dealers, critics other than record and index? Looking at the and collectors. The exhibition as a whole, can we make assumptions artist's work, exhibition about stylistic undercurrents in Wisconsin art' record, reputation and media were considered. Sobel singled out an interest in nature that perme­ "We didn't need to do ates the state's art, from Henry Vianden in the studio visits during the early period to Owen Gromme, famous for his selection process," So­ paintings of birds and mammals, and John Colt bel said, "because we whose pastel colored paintings of insects border already knew the art on abstraction. In more recent work, the world of from exhibitions [at the nature is explored in Nancy Burkert's book illus­ museum] and in the city. trations depict real and imaginary animals, Tom It's our job to follow it." Uttech's paintings of anthropomorphic animals He added, however, that in the wilderness, Dennis Nechvatal's richly pat­ William Weege, detail horn. Long Live Life, 1968. Janet Treacy, who curated the pre-1940 portion terned portraits in wild settings, Steven Foster's of the show, visited many private collections to lake photographs and Fred Stonehouse's carica­ gather and select work. tures surrounded by exotic floral environments all perpetuate, to some degree, the interest in Complicating the selection process was the inclu­ nature of Wisconsin artists. sion of all media: painting, sculpture, printmak- ing, photography, architecture, glass, fiber, jew­ An interest in nature, however, certainly isn't elry and industrial design. Some categories, such unique to Wisconsin. Perhaps a more telling as photography, merited representation through­ characteristic, as pointed out by Sobel, is the out the 100 year span — from Edward Steichen, relative lack of abstract painting in the state. Sobel who helped establish photography as an art form, credits Joseph Friebert and Fred Berman with to Murray Weiss, who brought professionalism to initiating abstraction, highlighted by their pres­ photography in Wisconsin with his photography ence at the Venice Biennial in 1956. Berman's school. Recent contributors include Steven Fos­ Dark Landscape, 1983, focuses on paint quality ter, whose retrospective, including the Lake Se­ and light, barely hinting at horizon and architec­ ries, inagurated the photography gallery at the tural forms. Art Institute of Chicago, and Tom Bamberger, who recently had a piece shown at the Museum of Modern Art in New York. Other media have Conceptual art is even more scantly represented, only one spokesperson, such as Brooks Stevens with only Jill Sebastian exploring that arena with for industrial design. He designed, among other her verbally layered sculptural forms. Similarly, things, the first steam iron. Jean Stamsta, who was William Weege alone reflects development in one of the first artists to create sculptural works in pop art with images such as one of Ronald Re­ fiber, and Harvey Littleton, who helped establish agan in his underwear. glass as an artform, speak for their respective Fred Stonehouse, Nescafe, 1987 fields. One has to wonder when viewing the show, if the work truly represents certain trends, or whether A survey exhibition such as this can take different the curators have imposed their personal criteria approaches. It can attempt to "correct" history, by upon the work. It is said that what's past is pro­ going back and reevaluating which artists re­ logue, and 100 Years of'Wisconsin Art is a telling ceived the most attention and why, and which documentation of the state's artistic history. And artists perhaps should have been recognized to a at its best, it gives an important reference point for greater degree. Or, it can merely reflect as objec­ the future. ,•**< tively as possible an impression of history as it has been handed down. This exhibition takes the (Kit Basquin is a former Milwaukee gallery owner safer, objective route. "Only in the early period, and a freelance writer)

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34 Art Muscle Contemporary Art Society Calendar Now-October 6 Sept 16-October 21 75 works of art will be offered for silent Tom Warn Contemporary Realism auction & preview; auction Oct 15; MAM: Arts Organizations: Oil paintings on masonite; Aristoi, 2521 E Recent works of 16 regionally & nationally South Entrance Gallery; 271-9508 Please add Art Muscle to Belleview; 962-8330 renowned artists; opening reception Sept your mailing lists 16 5-8pm; Katie Gingrass Gallery, 714 N October 7-21 Now-October 8 Milwaukee; 289-0855 Arf Muscle Robert Paulusky Art Muscle's 2nd Anniversary Exhibition PO Box 93219 Vessel & sculptures in delicate hues; D/ Sept 16-Nov20 Juried group exhibition of dog-related art; Milwaukee, Wl 53203 Erlein Fine Art Ltd, 790 N Jackson; 224- Group Show mixed media; opening reception, perform­ Attn: T Gantz 1773 Paintings, photographs, pottery, jewelry & ances & dance party Oct 7 7pm-1 am; $5 do­ other works by Cedarburg area artists; nation; 909 W National; 672-8485 Now-October 8 opening reception Sept 18 1-4pm; Cedar­ Deadline for Nov-Jan Barbara Kohl: A Celebration of Women burg Cultural Center, W63 N643 Washing­ October 7-Nov 4 issue is Dec 21 Recent works; Michael H Lord Gallery, 420 ton Ave, Cedarburg; 377-9620 John Balsley E Wisconsin; 272-1007 New paintings & sculptures; opening recep­ ART EXHIBITIONS Sept 17-October 31 tion Oct 7 6-9pm; Michael H Lord Gallery, Now-October 8 The Elders 420 E Wisconsin; 272-1007 Suzanne Buhrman Photographs by J Shimon & J Lindemann Now-Sept 21 Paintings; Tory Folliard Gallery, 6862 N Documentation of the lives & work of 50 October 7-Nov 12 Aggregate Santa Monica; 351-2405 older Milwaukeeans; opening reception Sept Modern Myths: Future Perfect Group show of Chicago abstract painters & 17 2-4pm; Milwaukee Public Library: Wehr Janet Cooling sculptors; Now-October 9 McLenegan Gallery, 814 W Wisconsin; 278- Paintings & drawings; opening reception Thomas Bremer: Photographs Midwest Photography Invitational V 3572 Oct 7 6-9pm; Dean Jensen Gallery, 217 N Charles A Wustum Museum of Fine Arts, Reception Sept 18,3-5pm; UW-Green Bay: Broadway; 278-7100 2519 Northwestern (Hwy 38), Racine; Lawton Gallery, 2420 Nicolet, Green Bay; Sept 18-October 1 1/363-9177 1/465-2271 The Nature of Milwaukee October 7-Nov 13 Hobert Herman Aluminum Exhibition Now-Sept 21 Now-October 15 Opening reception Sept 18 1-5pm; Land­ Presented by Leo Feldman Galleries Inc Allis Chalmers Art Association George Ronsholdt marks Gallery, 231 N 76th; 453-1620 Guest curator C Morrill; opening reception Group show; Charles Allis Art Museum, Early fantasy watercolors & recent prints; Oct 7 5-9pm; Theatre X exhibition space, 1630 E Royall; 278-8295 West Bank Cafe, 732 E Burleigh; 354-7400 Sept 18-October 14 158 N Broadway; info 289-0308 Seeing Sound Now-Sept 22 Now-October 16 Photography; opening reception Sept 18 October 8-January 3 John A Sayers Photomorphs 4:30-7pm; UWM: Kenwood Inn; 229-6310 Wildlife in Art A realist in still lifes; Dorothy Bradley Galler­ J Karl Bogartte Contemporary wildlife art; Milwaukee Pub­ ies, 2639 N Downer; 332-9500 Surrealist works; Woodland Pattern Book Sept 23-Dec 18 lic Museum, 800 W Wells; 278-2713 Center, 720 E Locust; 263-5001 Seymour Rosofsky Retrospective Now-Sept 22 40 works by Chicago imagist painter; UWM: October 8-Continuing Faculty Mini Retrospectives Now-October 22 Vogel Hall Gallery; 229-5714 Continuum 1988: Works by Wisconsin Art­ Works of 5 UW-Parkside art faculty; UW- In the Beginning- ists Parkside: Communication Arts Gallery, Hwy Mixed media, group show; Moyer Gallery, Sept 24-October 20 Works in all media; opening reception Oct 7 JR & Outer Loop Rd, Kenosha; 1/553-2404 900 Cedar Street, Green Bay; 1/435-3388 Mike Brylski, assemblage & paintings 5-7:30pm; MAM: Cudahy Gallery of Wis­ Tom Feyer, ceramic sculptures consin Art; 271-9508 Now-Sept 22 Now-October 23 Chris Brylski, wood carvings Tim Haglund & Peter Tenuta Michael Sarich: Opening reception Sept 24 7pm; Metropoli­ October 9 & 16 Paintings & drawings; Metropolitan Gallery, Parking Meters & Other Icons; also tan Gallery, 2572 N Bremen; 372-2100 Wildlife Art 2572 N Bremen; 372-2100 Sensuous Image: Work of Owen Gromme, Anne Gromme Xerographic Work of Garie Crawford Sept 24-Nov 6 Ross, Maynard Reece, Gerry Sawyer, Harry Now-Sept 23 John Michael Kohler Art Center, 608 New 100 Years of Wisconsin Art Moeller & Mike Capser; St John's Uihlein Robert Wick: Bronze Landscape and Life York, Sheboyqan; 1/458-6144 Mixed media works of 52 key Wisconsin Peters Gallery, 2025 N Summit, 272-2618 Sculpture; Walker's Point Center for the artists; MAM: Journal/Lubar Galleries; 271- Arts, 438 W National; 672-2787 9508 October 10-Nov 11 The Rage, The Rapture - A Visual Art Now-Sept 25 Sept 25-Oct 19 Experience Painting to Know: After X Comes Y Ruth Kjaer Works by Milwaukeean Evelyn Patricia Terry Morgan T Paine New Paintings; opening reception Sept 25 & Louis Delcarte of New York; Grand Ave­ Paintings, drawings & constructions; Alverno 1-4:30pm; Dorothy Bradley Galleries, 2639 nue Mall; info 344-9486 College: Fine Arts Gallery, 3401 S 39th; N Downer; 332-9500 382-6144 October 14-Nov 11 Sept 25-October 27 IDM Show Off Now-Sept 25 Patricia A Miuccio Juried exhibition by Illustrators & Designers League of Milwaukee Artists and Original etchings; opening reception Sept of Milwaukee (IDM), an association of WGBFA Associates Exhibition 25 1-5pm; Charles Allis Art Museum, 1630 graphic communication professionals; West Bend Gallery of Fine Arts, 300 S 6th E Royall; info 762-3230 opening reception Oct 14 7:30-10pm; UWM: Ave, West Bend; 1/334-9638 Union Art Gallery; 229-6310 Sept 26-October 31 Now-Sept 25 Joan Langenhol October 14-Nov 12 Winslow Homer: Prints & Watercolors Photography; Hales Corners Public Library, Dick Huss MAM: Segel Gallery; 271-9508 5885 S 116th; 425-8050 Etched glass vessels; D/Erlein Fine Art Ltd, 790 N Jackson; 227-1773 Now-Sept 30 Sept 28-October 30 Wauwatosa Artists Workshop Fall Exhibit David V Holmes October 14-Nov 13 West Allis City Hall Gallery, 7525 W Green­ Wood sculpture & acrylic painting; West Fractured Images field; info 771-2198 Bend Gallery of Fine Arts, 300 S 6th, West Paintings by Lee Bjorklund & constructions Bend; 1/334-9638 by Judy Onofrio; Tory Folliard Gallery, 6862 Now-Sept 30 N Santa Monica; 351-2405 The Spirit Unspoiled: Morgan Paine, AfterX Comes Y Alverno College Sept 29-Nov 27 Hatian Art From Milwaukee Collections Photo by Frank Miller Barbara Morgan: Prints, Drawings, Water- October 14-January 1 Reception & Lecture Sept 23 7:30-10pm; colors & Photographs Early Needlework from Milwaukee Collec­ UWM: Union Art Gallery; 229-6310 Pioneering modern dance photographer; tions Now-October 26 opening reception (artist will be present) Opening reception Oct 13 5:30pm; MAM: Now-Sept 30 Mammoth Mania Sept 19 7-8:30pm; Haggerty Museum of Segel Gallery; 271-9508 Jody Kaiser, Paintings 6 life-size, moving, growling models of post- Art, 13th & Clybourn; 224-1669 Jerry Scott, Assemblage Sculpture dinosaur wildlife; Milwaukee Public Mu­ October 15-January 8 Piano Gallery, 219 N Milwaukee, 964-3605 seum, 800 W Wells; 278-2713 Sept 30-October 31 Spirits of the Rainforest HaHa The Brazilian Yanomamo Indians' world Now-October 1 Now-October 30 6 artists from Randolph Street Gallery, view represented through drawings, arti­ Women of 53209 Pots & Rags Chicago, will transform the gallery into a facts, photographs & myths; Milwaukee Presented by Wisconsin Women in the Arts Conventional & unconventional pottery and futuristic home; performances Sept 30 & Public Museum, 800 W Wells; 278-2713 Susanne Derzon, bronze & aluminum sculp­ unique wearables in many media; A Houber- Oct 8; Walkers Point Center for the Arts, ture, Luanne Ehr, oriental water colors and bocken Inc. 230 W Wells, Suite 202; 481- 438 W National; 672-2787 October 16-Nov 10 Catherine Necci, intaglio prints & aluminum 6265 The Art of Design sculpture; Firestation Gallery, 5174 N October 1-Nov 1 Outstanding examples of product, graphic, Hopkins; 462-5509 Now-October 31 Salon Des Refuses industrial & environmental design; featuring Primitive Art - An Exhibit J C Biersach an audio-visual presentation; UWM: Fine Now-October 1 Edward Schwalbach Oil paintings; opening reception Oct 1 3- Arts Galleries; 229-5714 Group Show Scenes of rural America; Boerner Botanical 11pm; Biersach's, 147 N Broadway; 289- Mixed media; Biersach's, 147 N Broadway; Gardens: Exhibition Room, 5879 S 92nd 9374 October 16-Nov 15 289-9374 16th Annual Art Faculty Exhibition Now-Nov 6 October 1-Nov 15 Reception Oct 18 5-7pm; UW-Green Bay: Now-October 2 Hollywood Glamour, 1924-1956 Spiral Rotation: 4 Octahedrons in a Chest­ Lawton Gallery, 2420 Nicolet, Green Bay; Faculty Biennial Exhibition Selected portraits from the Wisconsin Center nut Grove 1/465-2271 Recent work by Art Dept Faculty; UWM: for Film & Theatre Research; Wustum Marian J Vieux Fine Arts Galleries; 229-5714 Museum of Fine Arts, 2519 Northwestern Scupture/installation in the PAC's chestnut October 22-Nov 17 (Hwy 38), Racine; 1/636-9177 grove; Kilbourn at Water St; info 273-7121 Su Zacharski, Abstract Paintings Now-October 4 Roberta Williams, Assemblage After the Drought: Bountiful Harvest Now-November 13 October 2-Nov 5 Opening reception 7pm Oct 22 will feature 12 Wisconsin artists; Dean Jensen Gallery, Second Hand: Wit & Vitriol: Hogarth Political Prints a dance performance by Foothold; Metro­ 217 N Broadway; 278-7100 An Exhibition of Contemporary Found Ob­ A look at 18th century English art & politics; politan Gallery, 2572 N Bremen; 372-2100 ject Art UWM: Art History Gallery; 229-5174 Now-October 5 Works by John Balsley (Wl), Dave Quick October 23-Nov 17 Randall Berndt (CA), Ronald Gonzalez (NY) & Ken Little October 7-15 Gibson Byrd Mythic & illusionistic paintings; David Bar- (TX); John Michael Kohler Arts Center, 608 Preview Exhibition for 2nd Benefit Art Auc­ Paintings; opening reception Oct 23 1- nett Gallery, 1024 E State; 271-5058 New York, Sheboygan; 1/458-6144 tion 4:30pm; Dorothy Bradley Galleries, 2639 N

35 October 28-Nov 25 October 27-30 October 23 Sept 22 Elizabeth Austin, Wall Reliefs & Sculptures Arcade Antique Identification Clinic Bombay Talkie (1970) William Weege, Installation: Carlos the Symphony in C Bring old textile, costumes & decorative arts An Indian movie star sweeps a Hollywood Monster World Premier (TBA) to be dated; 1:30-3:30pm; MAM: East En­ pulp novelist off her feet; 7pm; MAM; 271- Performances Oct 28,29 & Nov 4,5 8pm; Milwaukee Ballet Company trance in the American South Galleries; 9508 Walkers Point Center for the Arts, 438 W (parent company for PM Ballet) 271-9508 National; 672-2782 Th.Su 7:30pm, F.Sa 8pm, Sa,Su 2pm; October 1 & 2 $5.50-$42; PAC: Uihlein Hall; 273-7206 October 28 & 29 Harvey Littleton (Video; 1984) October 28-Nov 26 Haunted Halloween at Riveredge A Search for Form (1973) Hands Making Paper October 28 One hour spook-guided hike through the The artists demonstrates techniques & Over 20 regional & national artists; Katie Frula dark of the night followed by tricks & treats discusses theory of art glass; 2pm; MAM; Gingrass Gallery, 714 N Milwaukee; 289- 36-member troupe of Yugoslavian dancers around a campfire; hikes leave every 12min 271-9508 0855 & musicians; (pre-performance dinner 6pm, between 6:30-8:30pm; $3.50; preregistra­ tion required; Riveredge Nature Center, October 2-Nov 2 $9.50); 8pm; $7.35-$10.50; Alverno Col- October 31-Dec 5 4438 W Hawthorne Dr, Newburg; 931-8095 Thin Man Film Series (1934-47) Joyce Eesley October 28 & 29 Oct 2,4,5: The Thin Man Oil & acrylics; Hales Corners Public Library, Cloud Beats October 29 Oct 9,11,12: After the Thin Man 5885 S 116th; 425-8050 Foothold Halloween Party Oct 16,18,19: Another Thin Man Choreography by Teri Carter, art by Pat Songs, spooky stories & refreshments; 7- Oct 23,25,26: Shadow of the Thin Man Nov 2-27 Hidson, music by Dave Kenny; $6/$4; PAC: 9pm; $2.50 donation, kids under 18 free; Oct 30, Nov 1,2: Song of the Thin Man Joyce Carey, Fabric Vogel Hall; info 278-0717 The Coffee House, 631 N 19th; 962-2135 Su 1:15pm, T.W 7:30pm; $2; Gallery Cin­ Charles Kaiser, Prismacolor drawings; also ema, 2901 S Delaware German Steins Nov 4 & 5 October 30 An historical decorative arts collection Bauer Contemporary Ballet Craft Sale October 6 & 7 West Bend Gallery of Fine Arts, 300 S 6th, Premiering 2 works; 8pm; $8/$5; Alverno Handmade creations by Milwaukee County My Life as a Dog (1985, Sweden) West Bend; 1/334-9638 College: Pitman Theatre, 3401 S 39th; 382- Seniors; 12-3:30pm; Washington Park The experiences of a young boy set in the 6044 Senior Center, 4420 W Vliet; 933-2332 late '50s; 8pm; $3; UWM: Union Cinema; Nov 1-January 7 229-3906 Baskets, Bangles & Beads Nov 5 FILM Basketry, jewelry & creative beading; A Milwaukee Dance Theatre October 7 & 8 Gala Benefit Place of Weeping (1986, South African) Houberbocken, Inc, 230 W Wells, Suite Sept 17 & 18 7:30pm; benefit tickets $35 ($20 donation), Insightful depiction of South African struggle; 202;481-6265 Winslow Homer: The Nature of the Artist $15 & $10/$5; post-performance reception Oct 7 7:30pm Martin Luther King Center, for benefit ticket-holders; Pabst Theater, (1987) Oct 8 8pm UWM: Union Cinema; free; 229- Nov 3-January 1 2pm; MAM; 271-9508 William Wegman 144 E Wells; 271-3773 6015 30 Polaroid & Cibachrome works and 2 Sept 17-28 Nov 12 October 8 videos; MAM: Teweles Gallery; 271-9508 European Community Film Festival Betty Salamun & the Dancecircus The Dinosaur Who Wondered Who He Was Sept 17: Skin (1987, Belgium) 8pm; $8/$5; Alverno College: Pitman The­ The Dragon's Tears Nov 4-30 Sept 18: Murder in the Dark atre, 3401 S 39th; 382-6044 Dinosaur Show TBA (1986, Denmark) Dean Jensen Gallery, 217 N Broadway; Triple feature of animated films for kids; Sept 19: The Flyer (1986, Germany) 10:30am & 1pm; MAM; 271-9508 278-7100 Sept 20: The Photograph (1986,Greece) EVENTS Sept 21: Extramuros (1985, Spain) October 9-Dec 11 Nov 5-27 Sept 22: Beatrice (1986, France) 37th Annual Wisconsin Handweavers Exhi­ Ingmar Bergman Film Series Sept 16 & 30, October 14 & 28, Nov 11 Sept 23: Reefer and the Model bition Oct 9: Smiles of a Summer Night (1955) Poetry Slam (1988, Ireland) Oct 23: The Seventh Seal (1956) Traditional & innovative loom artists; open­ Sept 24: The Family (1987, Italy) 8pm open mike, 9pm featured artists, 10pm Nov 6: Wild Strawberries (1957) ing reception Nov 5 1-5pm; works will be on slam; Golden Mushroom, 1572 W Green­ Sept 25: Vacation for a Murder sale; Charles Allis Art Museum, 1630 E Nov 20: The Virgin Spring (1959) field (1984,Luxembourg) Dec 11: The Devil's Eye (1960) Royall; 278-8295 Sept 26: Havinck (1987, Netherlands) 8pm; $3; UWM: Union Cinema; 229-3906 Sept 18 Sept 27: Contactos (1988, Portugal) Nov 6-27 Heritage Festival of the Arts Sept28:Withnail & I (United Kingdom, 1987) October 13 The Centennial Collection Marian College 8pm; $3; UWM: Union Cinema; 229-3906 Bad Works of art donated or promised to the Booths, workshops, entertainment & spe­ Andy Warhol museum in honor of the centennial; MAM: cial children's activities; 10am-5pm; free; Sept 18-28 A gang of young female killers operate out South Entrance Gallery; 271-9508 Marian College, 45 S National, Fond du Al Jolson Film Series of an electrolysis salon; 8pm; $2; UWM: Lac; info 1/923-76560 Sept 18,20,21: The Jolson Story (1946) Union Cinema; 229-4070 Nov 11-January Sept 25,27,28: Jolson Sings Again (1949) Earl Kittleson, watercolors Sept 25, Oct 14 & 23 Su 1:15pm, T,W 7:30pm; $2; Gallery Cin­ October 14-16 Joyce Winter, mixed media paintings & Open Stage ema, 2901 S Delaware John Waters Mini-Retrospective kinetic sculpture 7:30pm; $1; The Coffee House, 631 N 19th; Oct 14: Desperate Living Opening reception Nov 11 5-8pm; Water 962-2135 Sept 18-Nov 13 Oct 15: The Diane Linkletter Story Street Gallery, 411 N Water; 271-1231 Kinder Cinema Mondo Trasho Sept 30-October 2 Sept 18: The Point Oct 16: Pink Flamingos Nov 13-Dec 18 1988 Antiques Show & Sale Sept 25: Disney's Cinderella Love Letter to Edy Watercolor Wisconsin '88 Milwaukee County Historical Society Oct 2: Star Wars The artist will speak before the Oct 14 Watercolors from the Permanent Collection 25 exhibitors of fine antiques; F 11 am-9pm, Oct 9: The Empire Strikes Back showing; 8pm; $2; UWM: Union Cinema; Opening reception/demonstration Nov 13 Sa.Su 11 am-5pm; $5 for 3-day pass; Mackie Oct 16: The Return of the Jedi 229-229-4070 1:30-4pm; Wustum Museum of Fine Arts, Building: Grain Exchange Room, 225 E Oct 23: Gulliver's Travels 2519 Northwestern (Hwy 38), Racine; 1/ Michigan; info 273-8288 Oct 30: Island of the Blue Dolphins October 15 & 16 636-9177 Nov 6: Classic Cartoon Festival The Bohrod Touch: The Art of Aaron Bohrod Sept 30-October 2 Nov 13: Pete's Dragon Portrait of the Madison artist; 2pm; MAM; 2nd Annual Milwaukee Book Festival Su 12:30 & 2:30pm; $1; UWM: Union Cin­ 271-9508 DANCE Exhibits, conferences, entertainment & ema; 229-4070 special guests; Milwaukee Public Library, October 20 Sept 15-18 814 W Wisconsin; info 273-0300 Sept 21-October 26 Up to a Certain Point (1984) The Magic Flute Cinema For Seniors Comedy of the changes between men & Brahms Sonatas October 1 Sept 21: Because of You (1952) women in contemporary Cuba; 7pm; MAM; Gallumathias Musicum Artwalk 88 Sept 28: The Phantom of the Opera (1943) 271-9508 Milwaukee Ballet Company Riverwest; visit studios & galleries, exhibits Oct 5: The Lady is Willing (1942) (parent company for PM Ballet) in area businesses & video screenings; Oct 12: After the Thin Man (1936) October 20 & 21 Th.Su 7:30pm, F.Sa 8pm, Sa.Su 2pm; 10am-5pm; $2.50/$1.50; info 263-3030 Oct 19: Waikiki Wedding (1937) Boy Meets Girl (1984, France) $5.50-$42; PAC: Uihlein Hall; 273-7206 Oct 26: A Look at 1930s Musicals 8pm; $3; UWM: Union Cinema; 229-3906 October 1 W 12:30pm; free; PAC: Vogel Hall; 273- Sept 18 Fall Fundraiser: Wustum Art Museum 7206 Dance Exchange/Dancers of the Third Age In conjunction with opening of fall exhibi­ Liz Lerman tions; $30 donation; 2519 Northwestern Ave, Intergenerational dance company; 3pm; $8/ Racine; info 1/636-9177 $5; Alverno College: Pitman Theatre, 3401 S 39th; 382-6044 October 4 Publication Party Sept 23 & 24 Celebration for Charles Sykes' Prof Scam; Valeric* Back Through the Distance 7:30-9:30pm; free; Websters Books, 2559 Betty Salamun & the Dancecircus N Downer; 332-9560 Gallery of Art & Antiques Dance, poetry & music; 8pm; $8/$5; PAC: Vogel Hall; 273-7206 October 7 Gallery Night -feuturing- October 12 Participating galleries will be open 6-9pm; Joseph Holmes Dance Theatre see exhibition calendar for more details; Local Artists' Work of 7:30pm; $9.50-$14.50; Capitol Civic Centre, free mixed media and antiques 917A S 8th, Manitowoc; 1/683-2184 October 7 October 22 Art Muscle 2nd Anniversary Celebration Located in Walkers Point Foothold Arf Muscle artists reception, performances, The Up and Coming Hub for the Arts Excerpts from Weekly Alterations; directed & dance party featuring live music & new and Antiques in Milwaukee by Alexa Hollywood with Teri Carter &. Tom Dupah tapes; 7pm-?; $5 donation; 909 W Thoreson; 9 & 10pm; free Metropolitan National; info 672-8485 Gallery, 2572 N Bremen; 372-2100 1200 S. 1st Street October 22 Milwaukee, Wl 53204 October 22 Publication Party Kanopy Dance Company Bus trip to Ela Orchard to celebrate Jane Phone: 645-3177 Madison contemporary dance group; 8pm; Hamilton's The Book of Ruth; 1-5pm; $6 Hours: Mon.-Sat. 11-5 $8/$5; Alverno College: Pitman Theatre, preregistration required; sponsored by 3401 S 39th; 382-6044 Websters Books, 2559 N Downer; 332- 9560

36 Art Muscle Oct 21 & 22 Sept 28 October 22 Sept 24 & 30 Zoot Suit (1981) The Map in Classical Antiquity Bus Tour of Milwaukee Sept 24: Amy Beth & Odette Musial Musical drama on the Chicano experience; Oswald Dilke, professor emeritus of latin, A tour of Milwaukee's neighborhoods with Kellers & Company Oct 21 7:30pm Martin Luther King Center, Univ of Leeds, United Kingdom; 4pm, re­ John Gurda; reservations required; spon­ Sept 30: Hugh Moffatt Oct 22 8pm UWM: Union Cinema; free; ception follows lecture; free; UWM: Confer­ sored by Friends of Art; info 271-9508 Tom Webber & Barb Tlachac 229-6015 ence Center, Golda Meir Library; info 229- Traditional American music; 8:30pm; $2.50 4101 October 23 donation; The Coffee House, 631 N 19th; October 22 Exploring Autumn With Your Young Child 962-2135 The Sorcer's Apprentice (1980) Sept 29 (3-5yrs) Live magician will appear after screening; Reflections in a Critical Eye: Wisconsin Art Insects, birds, plants & seeds; 1-3pm; $3 Sept 24 & 25 10:30am & 1pm; MAM; 271-9508 After 100 Years ($1 extra child); Riveredge Nature Center, Great Lakes Opera James Auer, Art Critic, Milwaukee Journal 4438 W Hawthorne, Newburg; 1/931-8095 Vaughn Williams: Riders to the Sea October 27 6:15pm; MAM: Vogel/Helfaer Galleries; 271- Puccini: Gianni Schicchi Pixote 9508 October 25 Sa 8pm, Su 2pm; $7/$6 Bellarmine Hall Portrait of a Homeless Brazilian youth; 8pm; Early Needlework from Milwaukee Collec­ Theater at the Archbishop Cousins Center, $2; UWM: Union Cinema; 229-4070 Sept 30 tions 3501 S Lake Dr; 962-9500 Wicker: Down the Nile & Through the Ages Gallery Talk by Jayne E Stokes; 1:30pm; October 29 & 30 Lee Stewart, wicker furniture expert from MAM: Segel Gallery; 271-9508 Sept 25 & 26 Two Guys From Milwaukee (1946) Wilmette, IL; 10:15am; free; Marshall Fields: The Sullivan Ensemble All star cast includes cameo by Bacall & 8th Floor Forum, Grand Avenue Mall; 273- October 27 Ensemble of the Historical Keyboard Soci­ Bogart; 2pm; MAM; 271-9508 8288 My Salad Days in Milwaukee ety Tracy Atkinson, former MAM Director Music of Telemann & Hassler; Su 5pm, M Nov 3 & 4 October 8, Nov 5 & Dec 6 6:15pm; MAM; 271-9508 8pm; $7/$5; Plymouth Church, 2717 E What Have I Done to Deserve This?(1984) Bus Trip to Art Institute of Chicago Hampshire; 332-2828 Black comedy of a Span ish housewife driven Sponsored by MAM; call 271-9508 for res­ October 27 to the edge; 8pm; $3; UWM: Union Cinema; ervations Hollywood's Golden Age Sept 28 229-3906 James Neibaur, Film Magazine Writer Jessica Suchy-Pilalis, Harp Recital October 9-Dec 11 7pm; free; Wustum Museum of Art; 2519 8pm; $4/$2; UWM: Recital Hall; 229-4308 Nov 4 & 5 Family Sundays Northwestern, Racine; 1/636-9177 The Killing Floor Art workshops for kids & their families; 1:30- Sept 29 A young black man attempts to form an 4:30pm; MAM; 271-9508 Nov 3 & 5 Christine Lavin interracial labor union in the Chicago stock­ The Art of Paul Gaugin Great Alverno Folk Series; 8pm; $6.50; yards; Nov 4 7:30pm Martin Luther King October 11 Bus Tour to Art Institute of Chicago Alverno College: Wehr Hall; 3401 S 39th; Center, Nov 5 8pm UMW: Union Cinema; Continuum 1988: Works by Wisconsin Art­ Sponsored by Wustum Museum of Art; 382-6044 free; 229-6015 ists: Gallery Talk 7:45am-6:15pm; $31; bus departs from 1:30pm; MAM: Cudahy Gallery; 271-9508 Wustum parking lot; resv deadline Oct 19; Sept 29 Nov 10 info 1/636-9177 Polonaise! All Chopin Evening Born in Flames October 12-Nov 9 Keyboard Conversations with Jeffrey Siegel Science fiction/feminist adventure story; A Special Kind of Double: Sisters in Fiction MUSIC 7:30pm; $10/$8; PAC: Vogel Hall; 273- 8pm; $2; UWM: Union Cinema; 229-4070 The sister relationship in fiction; 5 Wednes­ 7206 days, 5:45-8pm; $50; Brown Deer Middle Now-October 16 Nov 12 & 13 School, 5757 W Dean Rd; info 224-7345 Sept 30-Oct I Eduardo Peralta Anonymous Was a Woman Margaret Hawkins, Conductor Chilean songwriter & composer; Tu-Th & Celebration ofwomen's traditional art forms; October 13 Milwaukee Symphony Chorus Su $5, F.Sa $7; MRT: Stackner Cabaret, 2pm; MAM; 271-9508 Intro to the Collection of the Wisconsin Palestrina: Three Motets 108 E Wells; 272-1994 Center for Film & Theater Research Mozart: Vesperae Solennes De Confessor Maxine Fleckner Ducey, Archivist Beethoven: Mass in C Major LECTURES Sept 18 7pm; free; Wustum Museum of Art, 2519 F,Sa 8pm; $10.50-$33.50; PAC: Uihlein Carla Bauer, Soprano Northwestern, Racine; 1/636-9177 Hall; 273-7206 Now-Dee 3 2:30pm; free; Villa Terrace, 2220 N Terrace Ko-Thi Studio Classes October 13 October 1 Dance & drumming; Sa afternoon; call for Sept 19 Early Needlework from Wisconsin Collec­ Joe Ruback & Dave Kenney info 933-7007 Robert Thompson, Bassoon tions Mountain & hammered dulcimer; 8:30pm; Jeffry Peterson, Piano Christa C Mayer-Thurman, Curator of Tex­ $2.50 donation; The Coffee House, 631 N Sept 21-Nov 9 Faculty recital; 8pm; $4/$2; UWM: Fine Arts tiles, Art Institute of Chicago will lecture at 19th; 962-2135 King Arthur: History, Legend, Myth Recital Hall; 229-4308 the opening reception; 6:15pm; MAM: Vogel/ 8 Wednesdays, 7-8:30pm; $60; Marquette Helfaer Galleries; 271-9508 October 1,2,16,23 & 30 University; 224-7345 Sept 20-25 Faculty Recitals Die Fledermaus October 14 Oct 1: Viennese Guitar Duo; 8pm; $7.50/$5 Sept 22-Nov 10 Johann Strauss, Jr Business of Art Luncheon Lecture Oct 2: Classical Chamber Music; 3pm; free Writing Scripts for Cinema & Television Skylight Comic Opera John Gurda Oct 16: Patricia Jones, Piano; 3pm; free 8 Thursdays, 7-9pm; $65; Marquette Uni­ Waltzes, revenge & love lost and redis­ The history & architecture of downtown Oct 23: Lesley Conger-Hatch, Flute; 3pm; versity; 224-7345 covered; W,Th 7:30pm, F,Sa 8pm, Su 2 & Milwaukee; noon; reservations required; $5/$4 7:30pm; $18-$22; Pabst Theater, 144 E MAM: Vogel/Helfaer Galleries; 271-9508 Oct 30: Debra Hogan, Soprano, with Lynn Sept 23 Wells; 271-8815 Faina-Luckow, Mezzo & Don St Pierre, 100 Years of Wisconsin Art October 14-16 Piano; 3pm; $5/$4; Wisconsin Conserva­ Exhibit opening lecture by William H Gerdts, Sept 21 Stringalong Weekend tory of Music, 1584 N Prospect; 276-5760 professor of art history, City University of Sylvan Winds UWM Folk Center New York; 6:15pm; MAM: Vogel/Helfaer Workshops & performances; YMCA Camp 7:30pm; $5/$4; Wisconsin Conservatory of Galleries; 271-9508 Edwards, East Troy; variable rates; 229- Music, 1584 N Prospect; 276-5760 4177 Sept 24 Sept 23 Beginner Music Fest Nannahil Weavers ii St. Paul Veterinary Clinic October 14-16 2628 W. St. Paul • 342-7800 UWM Folk Center 14th Annual Woman to Woman Confer­ Celtic Music; 8pm; $10 & $12; UWM: Fine Learn to play in just one day; 9am-4:30pm; ence Arts Theatre; 229-4308 $35; UWM: Fine Arts Music Building; 229- Quality Care Exhibits plus 150 workshops; speakers At 4177 include Cicely Tyson, Judith Briles & Jac­ Sept 23,24,26 queline Mitchard; F,Sa 7am-5pm, Su 10am- Milwaukee Symphony Orchestra Affordable Sept 24-Oct 10 4:30pm; Mecca; call for info 276-4477 Zdenek Macal, Conductor Prices! Art of the Renaissance Yefim Bronfman, Pianist 3 Saturdays, 10-11:30am; $55; Marquette October 16 Husa: Music for Prague Monday-Friday Liszt: Piano Concerto #2 6 p.m. to 9 p.m. University; 224-7345 Jung & Picasso Dvorak: Symphony #6 Saturday Sept 25, October 9 & 23 James Wylie 9:30 a.m. to 6:30 p.m. F,Sa8pm,M 7:30pm; $10.50-$33.50; PAC: 100 Years of Wisconsin Art Sponsored by the C G Jung Center of Wm. R. Losch, D.V.M. |j Uihlein Hall; 273-7206 Gallery Talks by Exhibiting Artists Milwaukee; 2pm; $2; Unitarian Church, 1340 Sept 25: Tom Uttech, Painter N Astor; 475-0500 Oct 9: Warrington Colescott, Printmaker Oct 26: John Colt, Painter October 18 2pm; MAM: Journal/Lubar Galleries; 271- Music in the Museum 9508 Lecture/concert featuring the music of Tchaikovsky; 5:30pm; MAM; 271-9508 Sept 26 Chamber Music Master Class October 20 Yefim Bronfman 100 Years of Wisconsin Art 10:30am-12:30pm; free; UWM: Fine Arts John Wilde, Wisconsin Painter ^ii\rr Recital Hall; info Alice Brown, 229-4564 The artist will discuss his work; 6:15pm; MAM: Vogel/Helfaer Galleries; 271-9508 Sept 27 100 Years of Wisconsin Art October 20 Gallery Talk The Architecture of Desire Janet Treacy, manager, Cudahy Gallery of Don Hanlon, UWM School of Architecture FINIfffTl Wisconsin Art; 1:30pm; MAM: Journal/Lubar Architectural ideals vsPostModernism;4pm, Galleries; 271-9508 reception follows lecture; free; UWM: Con­ ference Center, Golda Meir Library; Sept 27-Nov 15 A Survey of Antiques & Collectibles October 20 8 Tuesdays, 7-9pm; $40 ($6 per session); Hatian Culture Madame Viviane Nicolas MAN>RA<

37 October 3 October 15 October 29 Sept 29,30 & Oct 1 Irving Berlin & Tin Pan Alley UWM Symphony Orchestra The Best of Gilbert & Sullivan PS 122 Field Trip Piano Portraits with Jeffrey Hollander The Master Singers, Guest Artists Stars of the D'Oyly Carte Sponsored by Milwaukee Art Museum 7:30pm; $6/$3; UWM: Fine Arts Recital Margery Deutsch, Conductor Original London touring company; 8pm; New work by New York performance group; Hall; 229-4308 8pm; $6/$3; Pabst Theater, 144 E Wells; $12 & $14; Pabst Theater, 144 E Wells; 8pm; $7; Dance Factory, 710 W Virginia; 229-4308 278-3663 271-9508 October 3 Milwaukee Chamber Orchestra October 15 October 29 October 28,29, Nov 4 & 5 Stephen Colburn, Conductor Eliza Triumphans Hogarth, Handel & Politics Call Me 7:30pm; $12; PAC: Vogel Hall; 273-7206 Benefit for Early Music Now Gerald Fischbach, Violin Elizabeth Austin Dramatic portrait of Queen Elizabeth I with Jeffry Peterson, Piano New York performance artist using taped & October 3 reading, music & songs from Elizabethan 2pm; $4/$2; UWM: Fine Arts Recital Hall; live phone messages; 8pm; $5; Walkers Miller Organ Concert sources; English Tea w/Renaissance re­ 229-4308 Point Center for the Arts, 438 W National; Thomas Murray freshments 4pm; concert 5pm; $20 dona­ 672-2787 8pm; $7.50-$12.50; PAC: Uihlein Hall; 273- tion; First Unitarian Church, 1009 E Ogden; October 31 Musica Antigua Koln 7206 264-8796 Nov 11 &12 Historical Keyboard Society Constant State of Desire Oct 15 Baroque ensemble from West Germany; October 4-27 Karen Finley 8pm; $6-$14; Pabst Theater, 144 E Wells; Brown Bach It UWM Symphony Orchestra From New York's Kitchen; a view of Amer­ 278-3663 Oct 4: Victoria Drake, Harpist Master Singers of Milwaukee ica; 8pm; $8; Walkers Point Center for the Oct 6: Judith Goetz & Stefanie Jacob, Piano 8:00pm; $6/$3; Pabst Theatre, 144 E Wells, Arts, 438 W National; 672-2787 Oct 11: Peter Baime, Flamenco Guitar 229-4308 October 31 Oct 18: Peter Paris, Cello & Delores Sani- UWM Woodwind Arts Quartet Nov 18 & 19 cola, piano Oct 16 8pm; $6/$3; UWM: Fine Arts Recital Hall; Mark Anderson & Fiona Templeton Oct 20: Accoladian Harp Duo Russell Brazzel, Classical Guitar 229-4308 Each will present solo works, mixed through Oct 25: The Greenwood Recorder Consort 2:30pm; free; Villa Terrace, 2220 N Terrace an agreed-upon series of interruptions; 8pm; Nov1 Oct 27: Milwaukee Mandolin Orchestra $6/$4; Alverno College: Pitman Theatre, The London Brass 11:45-1:15pm; free; PAC: Magin Lounge October 16 3401 S 39th; 382-6044 Rachmaninoff: A Tapestry of Color 8pm; $8-$18; Pabst Theatre, 144 E Wells; October 6 Tahlia Chamber Music Artists 278-3663 Montclaire String Quartet 3pm; $6/$4; Mount Mary College: Stiemke THEATER 8pn; $4/$2; UWM: Fine Arts Recital Hall; Hall, 2900 N Menomonee River Pkwy; 482- Nov 4 229-4308 6952 Duck Baker Now-October 16 American Finger-Style Guitar Recital The Torch October 6-9 October 16 8pm; $7; Wisconsin Conservatory of Music, Luis Alberty Heiremans Big Band Musical Revue Vocal Chamber Music 1584 N Prospect; 276-5760 Milwaukee Repertory Theater Dale Gutzman 3pm; $6/$3; UWM: Fine Arts Recital Hall; A modem Chilean drama; Su.T.W 7:30pm, The Milwaukee Players 229 4308 Nov 4-6 Th,F 8pm, Sa 5 & 9:15pm plus selected W Th-Sa 8pm; Su 2 & 7pm; $8-$ 10; Pabst Sondheim/Bernstein & Su matinees; $5-$17; 108 E Wells; 224- Theater, 144 E Wells; 271-3773 October 18 Skitch Henderson, Conductor 9490 Montclaire String Quartet Milwaukee Symphony SuperPops Series October 7,8,15,22 & 28 12:30pm; free; UWM: Union Art Gallery F,Sa8pm, Su 7:30pm; $10.50-$33.50; PAC: Folk Music Uihlein Hall; 273-7206 Oct 7: Coffee House Benefit Concert October 21, Nov 4 & 18 Larry Penn, Ann & Johnny Rosen & Bob Milwaukee Sound Explorations Nov 5 Schweitzer; 8:30pm; $3.50 donation; Oct 21: Yehuda Yannay & Jon Welstead Gordon Bok Oct 8: Jym Mooney & Friends Nov 4: Monica Maye Great Alverno Folk Series; 8pm; $7.50; Third Ward Loft Oct 15: Jerry Rau Nov 18: Salvatore Matirano Alverno College: Wehr Hall, 3401 S 39th; Oct 22: Julie Luther & Joe Warren 12:30pm, free, UWM: Recital Hall; 8pm, 382-6044 For Rent Oct 28: Hon Haynie & Sheryl Samuel; $6.50/$4, Walkers Point Center for the Arts, 8:30pm; $2.50 donation; The Coffee House, 438 W National; 229-4308 Nov 5 631 N 19th; 962-2135 5th Annual UWM Symphony Orchestra October 21 & 22 Chamber Music Marathon • 5,000 square feet October 7 The Creation BenefitfortheOrchestra Performance Fund; of space UWM Symphony Band & Wind Ensemble Joseph Haydn 11 am-11 pm; Coffee Trader, 2625 N Downer • Complete with kitchen 12:30pm; free; UWM: Union Concourse Bel Canto Chorus Richard Hynson, Conductor Nov 8-10 and bath areas October 7-9 8pm; $12 & $10; St John's Cathedral; 226- UWM Institute of Chamber Music • Available November 1, Tony Bennett 8800 Nov 8: 12:30pm; free; UWM: Union Art Harvey Felder Conductor Gallery 1988 Milwaukee Symphony SuperPops Series October 22 & 23 Nov 9:7:30pm; $4/$2; Piano Gallery, 219 N • Rent $600 per month F,Sa8pm,Su7:30pm;$10.50-$33.50;PAC: Milwaukee Symphony Orchestra Milwaukee Uihlein Hall; 273-7206 Zdenek Macal, Conductor Nov 10:8pn; $4/$2; UWM: Fine Arts Recital Boris Belkin, Violinist Hall; 229-4308 October 9 Mozart: Symphony #35 For more information UWM Symphony Band & Wind Ensemble Bruch: Violin Concerto #1 Nov 9 7:30pm; $6/$3; PAC: Vogel Hall; 229-4308 Brahms: Symphony #4 Music From Almost Yesterday contact: Sa 8pm, Su 7:30pm; $10.50-$33.50; PAC: Yehuda Yannay October 9 & 10 Uihlein Hall; 273-7206 8pm; $4/$2; UWM: Fine Arts Recital Hall; UWM Fine Arts Quartet 229-4308 Sue Colburn Music of Mozart, Schubert & Franck; Su October 23 272-1461 3pm, M 8pm; $7.50 & $9.50; UWM: Fine Milwaukee Music Ensemble Nov 11 Arts Recital Hall; 229-4308 L Subramaniam, Guest Violinist New York Counterpoint 3pm; $7-$12; PAC: Vogel Hall; 273-7206 Mixture of jazz & classics; 8pm; $8-$18; Oct II Pabst Theater, 144 E Wells; 278-3663 creative goldsmithing Paillard Chamber Orchestra October 23 & 24 fine jewelry repairs Jean-Francois Paillard, Conductor UWM Fine Arts Quartet Nov 11 Shigenori Kudo, Flutist The Tchaikovsky Quartet, Guests The McClain Family Band 8pm; $8-$18; Pabst Theater, 144 E Wells; Su 3pm, M 8pm; $7.50 & $9.50; UWM: Fine Appalachian-rooted acoustic music; back 271-3773 Arts Recital Hall; 229 4308 by popular request; 8pm; $7.35-$10.50; Alverno College: Pitman Theatre, 3401 S October 12 October 25 39th; 671-5482 Sylvan Winds Trio UWM Institute of Chamber Music Wind music of the baroque, classical & 12:30pm; free; UWM: Union Art Gallery Nov 12 & 13 modern eras; 7:30pm; $5/$4; Wisconsin Milwaukee Symphony Orchestra Conservatory of Music, 1584 N Prospect; October 26-Nov 27 Zdenek Macal, Conductor 276-5760 The Monteverdi Cycle Milwaukee Symphony Women's Chorus Skylight Comic Opera Martinu: The Opening of the Wells October 12 Oct 26-Nov 12 , 20 & 27: The Return of Mahler: Symphony #5 Early Music From the Newberry Library Ulysses Sa 8pm, Su 7:30pm; $10.50-$33.50; PAC: The Matter of Britain Nov 13,16,19 & 26: The Coronation of Uihlein Hall; 273-7206 Early Music Now Poppea Medieval music based on the legends of Nov 18,23 $25: Orfeo Nov 13 King Arthur & his court; Lecture at 7:15pm W.Th 7:30pm, F.Sa 8pm, Su 2 & 7:30pm; Marlee Sabo, Soprano by UWM Prof Xavier Baron, free; concert $18-$22; 813 N Jefferson; 271-8815 Faculty voice recital; 3pm; $5/$4; Wiscon­ 8pm; $12/$10; Milwaukee Public Library: sin Conservatory of Music, 1584 N Pros­ Centennial Hall, 733 N 8th; 264-8796 October 27 pect; 276-5760 UWM Institute of Chamber Music October 12 8pm; $4/$2; UWM: Fine Arts Recital Hall; Nov 15 barbara brinck Geald Fischbach, Violin 229-4308 Robert Goodberg, Flute owner Jeffry Peterson, Piano Jeffry Peterson, Piano Faculty recital; 8pm; $4/$2; UWM: Fine Arts October 28 Faculty recital; 8pm; $4/$2; UWM: Fine Arts Recital Rail; 229-4308 The Sullivan Ensemble Recital Hall; 229-4308 James Melby, Guest Organist BOKARE Music of Britten & Elgar for chorus S-organ; PERFORMANCE ART October 13,15 & 17 F 8pm, Su 3pm; $7/$5; St Paul's Episcopal CUSTOM FRAMING & GALLERY Milwaukee Symphony Orchestra Church, 914 E Knapp; 332-2828 Sept 30 & Oct 8 WANTED Zdenek Macal, Conductor HaHa Jose Feghali, Pianist October 29 Six artists from Randolph Street Gallery, CREATIVE < RELIABLE > FRIENDLY Bernstein: Candide Overture Madame Butterfly Chicago; the center will be transformed into Beethoven: Piano Concerto #3 Puccini PERSONS a futuristic home; Sept 30 intermittent per­ Sibelius: Symphony #2 Western Opera Theater SEVERAL POSITIONS AVAILABLE formances 6-8pm, Oct 8 performance 8pm Th 11am, Sa 8pm, M 7:30pm; $10.50- 7:30pm; $9.50-$14.50; Capitol Civic Cen­ followed by artist talk-back; free ($1 sug­ Send resume to: Bokare $33.50; PAC: Uihlein Hall; 273-7206 ter, 917A S 8th, Manitowoc; 1/683-2184 gested donation); Walkers Point Center for 6936 N. Santa Monica the Arts, 438 W National; 672-2787 Milw.,WI 53217

38 Art Muscle Sept 15-Oct 2 The Amen Corner MADISON CHICAGO A Tribute to James Baldwin Presented by Colorlines ART EXHIBITIONS The spiritual quests of one black woman in ART EXHIBITIONS Harlem; Th-Sa 8pm, Su 3pm, no perform­ Caturas Gallery ance Sept 18 & 22; $5; Clinton Rose Com­ Art Institute of Chicago munity Center, 3045 N Martin Luther King Now-Oct 2 Now-November 20 Dr; info 344-9486 Andre Ferrella The Modern Movement: Large photo works & oil paintings; 7475 Selections from the Permanent Collection Now-September 18 Sept 15-Nov 6 Mineral Point Rd; 608/833-1519 Dutch & Flemish Paintings from the Hermit­ Promises, Promises Elvejhem Museum of Art age Neil Simon Now-Nov 6 Sept 17-Nov 13 J & E Productions Frank Lloyd Wright in Madison: Eight Dec­ Garry Winogrand Photography Th &Su dinner at 5:30/show 7:30pm, F6pm ades of Artistic & Social Interaction Sept 17-Dec11 dinner/8pm show, Sa Oct 24 & 29 6/8pm; The House Beautiful: Frank Lloyd Wright for The Art of Paul Gaugin Oscar's Place Dinner Theatre, 8309 N 107th; Gaugin & His Circle in Brittany: the Prints of reservations 357-8014 Everyone 800 University Ave; 608/263-2246 the Pont-Aven School Michigan at Adams; 312/443-3626 Sept 16,17, 23, 24 & 25 Grace Chosy Gallery A Streetcar Named Desire Odd Nerdrum, The Memory Hall, 1985 Klein Gallery Tennessee Williams Now-Sept 24 Madison Art Center Now-October 8 Village Playhouse of Wauwatosa Ed Dolinger: Relevant Alchemy, Mixed media; Mineko Grimmer: Constructions & Environ­ 8pm (2pm on Sept 25); $5/$4; Plank Road ments School, 9508 Watertown Plank Rd; info October 14-30 Frances Myers: The Architectural Period, October 14-Nov 26 475-5955 Born Yesterday aqua tints from the Frank Lloyd Wright Garson Kanin portfolio; Sam Gilliam: New Paintings October 21-Nov 26 Sept 17 & 18 Sunset Playhouse Sept 30-October 22 William S. Burroughs, Paintings The Collage Project Th,F8pm,Sa6&9pm,Su7pm;$7;800Elm The Contest Between Invention & Harmony Openings Oct 14 & 21 5-7:30pm; 356 W Jim Helgeson Grove Rd; 782-4430 Jan Serr Huron; 312/787-0400 3 one-act plays with music, painting, neon Opening reception Sept 30 6-8pm; 218 N sculpture, audio collage, photography & October 14-30 Henry; 608/255-1211 Galleria Renata visual collage; 8pm; Metropolitan Gallery, Waiting for Godot Now-October 22 2572 N Bremen Samuel Beckett Madison Art Center Figuratively Speaking: A Celebration of the Milwaukee Chamber Theatre Now-Nov 6 Human Form & Spirit Sept 17-October 9 2 tramps contemplate existence; W-Sa 8pm; The Chicago School in the Permanent Burning Patience opening night 7:30pm; Su Oct 23 & 30 2pm; Group exhibition, mixed media; 507 N Wells; Collection 312/782-7110 Antonio Skarmeta Su Oct 16 & 23 7pm; $10.50 & $12; MRT: William V Kaeser: Madison's Organic Archi­ Milwaukee Repertory Theater Stiemke Theater, 108 E Wells; 224-9490 tect Museum of Contemporary Art Nobel Prize-winning poet Pablo Neruda Now-Nov 13 Sept 17-Nov 27 explains his visions of love; (previews Sept October 16-Nov 13 Don Baum, Scuptural found-art house forms Gerhard Richter: Paintings 15 & 16 8pm; $6 ); Su.T.W 7:30pm, Th,F I Can't Stop Loving You Odd Nerdrum, Paintings October 27-Dec 11 8pm, Sa 5 & 9:15pm plus selected W & Su John Kishline Force II: Drawings & Objects by Dennis Options 34: Mike & Doug Stam: Selections matinees; $7.50-$10; Stiemke Theater, 108 Theatre X Nechtvatal from 1985-87 E Wells; 224-9490 Play about a '60s experimental theatre 211 State; 608/257-0158 237 E Ontario; 312/280-5161 group's performance of Chekhov's The Sept 30-October 23 Seagull; directed by Wes Savick; W-Su One of a Kind Gallery N.A.M.E. Gallery Winnie the Pooh 8pm; previews Oct 11-15 (call for info); 158 Nov 3-30 Now-October 7 First Stage Milwaukee N Broadway; 278-0555 Lane Last David Kroll, Paintings Musical adaptation of A A Milne's stories; Drawings, paintings & video; opening Jason Miklik, Collage Sa 1 & 3pm, Su 2pm; $7/$5; PAC: Todd October 21-28 rectption Nov 5 7:30pm 700 N Carpenter; 312/226-0671 Wehr Theater; 273-7206 Charlotte's Web Great American Children's Theater Signature Gallery Pilsen East Center for the Arts October 5-16 M-F 10am & 12:15pm, Sa 1pm; $4.50- Now-August 6 The Learned Ladies $7.50; Pabst Theater, 144 E Wells; 278- Martin Hurtig, Shaped Paintings Now-Sept 30 Moliere 3663 184 W Main, Stoughton; 608/873-2000 Noospheres & Citizens of the Woorid Marquette University Paintings & objects; 1935 S Halsted; info W-Sa 8pm, Su 2:30pm; $7; Evan P & Mar­ October 23-Nov 27 Sunprint Cafe & Gallery 217/333-0855 ion Helfaer Theatre, 13th & Clybourn; 224- Precious Memories October 3-Nov 13 7504 Romulus Linney Joyce Framces Wartmann, Watercolors Portals, Ltd Milwaukee Repertory Theater October 31-Nov 27 Now-October 31 October 6-15 1920's Appalachian drama; (previews Oct Christopher Comello, Photographs Tomas Galambos & Maria Palatini The Velveteen Rabbit 20-22 8pm ;$4-$12); Su.Tu.W 7:30pm, Th,F Mark Roeder, Pointillism Ink Abstractions Paintings (naive/prinitive art); 230 W Huron; M & W Productions 8pm; Sa 5 & 9:15pm plus selected Su & W Opening reception Nov 1; 2701 University 312/642-1066 Musical based on the story by Margery matinees; $5-$17; 108 E Wells, 224-9490 Ave; 608/249-3861 Williams about how toys become real; 10/ Randolph Street Gallery 6,7,11,12,13 & 14-10am, 10/15-noon; $4 October 29 & 30 Wisconsin Artisan Gallery Now-Sept 30 (group rates avail); MATC: Cooley Audito­ Zeami Now-Sept 30 Days of Rage rium, 1015 N 6th; phone reservations re­ Tokyo Institute of Dramatic Arts Clothing & accessories by Wisconsin artists Video, photography, kinetic sculpture & art quested 272-7701 Sa 8pm, Su 2pm; $10 & $12; UWM: Fine Sept17-Oct6 in proposal form for a memorial to the events Arts Theatre; 224-9490 or 229-4308 Designs in Wood: A One-Man Show by Ron of the 1968 Democratic Convention in Chi­ October 6-30 DeKok cago; 756 N Milwaukee; 312/666-7737 The Common Pursuit Nov 4-20 Opening reception Sept 17 10am-5pm; Simon Gray Murder in the Cathedral October 8-Nov 12 Terra Museum of American Art Theatre Tesseract T S Eliot Artisan Harvest: October 1-Nov 27 The relationships of 6 Cambridge class­ Milwaukee Chamber Theatre A cornucopia of fine crafts by 40+ Wiscon­ Progressive Geometric Abstractions in mates, linked by a literary magazine, over a Bach Chamber Choir sin artists; opening reception Oct 8 10am- America 1934-1955 20 year period; Th,F 8pm, Sa 5 & 9pm, Su Dramatization of the martyrdom of Thomas 5pm; 6858 Paoli Road, Belleville; 608/845- Selections from the Peter B Fischer Collec­ 7pm; $9 & $11; Lincoln Center for the Arts, a' Becket; W-Sa 8pm, opening night 7:30pm, 6600 tion 820 E Knapp; 273-PLAY Su Nov 13 & 20 2pm, Su Nov 6 & 13 7pm; $4/$2.50; 666 N Michigan; 312/664-3939 $10.50 & $12; St Paul's Episcopal Church, Now-October 28 October 8 914 E Knapp; 276-8842 or 224-9490 Roberta Scherrer Gerds 333 Gallery Ripped Van Winkle Oil paintings in the mode of modern fantasy Now-October 28 The San Francisco Mime Troupe Nov 4-Dec 4 abstraction; GEF-1 Building, 1st floor, 201 Individuals: New Art From Wisconsin 8pm; $12 & $14; UWM: Fine Arts Theatre; Poe E Washington Ave; 608/266-0366 Works of contemporary Wisconsin artists; 229-4308 First Stage Milwaukee 333 W Wacker; info 271-9508 Dramatization of stories & poems by Edgar DANCE Allen Poe; Sa 1 & 3pm, Su 2pm, Nov 25 1 & 3pm; $7/$5; PAC: Todd Wehr Theater; Madison Civic Center EVENTS 271-7206 Oct 13 1,000 Airplanes on the Roof Sept 24-26 Spider Veins Nov 5-20 Philip Glass New Art Forms Kind Ness Nina Weiner Dance Company 20th Century Decorative & Applied Arts Disappear Ping Chong Kronos Quartet (Milwaukee's Katie Gingrass Gallery will be Milwaukee Repertory Theater Introduction by Professor Joseph Koyykar; participating); Sa.Su noon-9pm, M noon- An exploration of friendship; (previews Nov Oct 12, 7:30pm; $4; performance Oct 13, 6pm; $8/$6; Navy Pier; info 312/787-6858 A simple, painless medical 3 & 4 8pm; $6); Su.Tu.W 7:30pm, Th,F 8pm, 7:30pm; $13.75-$16.75; procedure for the permanent Sa 5 & 9:15pm; $7.5-$10; Stiemke Theater, Nov 5 PERFORMANCE ART 108 E Wells; 224-9490 Nina Wiener & Dancers removal of broken capillaries 8pm; $8.75-$12.75; 211 State St; 608/266- Randolph Street Gallery (commonly called "spider Nov 9-30 9055 Sept 17 veins") that appear on the The Rimers of Eldritch Necropoiitan Lanford Wilson LECTURES Matthew Owens; 8pm; $5/$3; legs or face. Marquette University Sept 24 Dramatic mystery; W-Sa 8pm, Su 2:30pm; October 16-18 Vacant Lot $7; Evan P & Marion Helfaer Theatre, 13th Quinceanera Nancy Forest Brown; 8pm; $6/$4; 756 N For wore information and & Clybourn; 224-7504 First Statewide Arts Conference Milwaukee; 312/7737 appointments call 222-3404 Wisconsin Arts Board Nov 11-Dec 18 Capillary Vein Center ) Showcases & individual sessions for all Cloud Nine disciplines; Su noon-7:30pm, M 9-7:30pm, OLIDORA Caryl Churchill Tu 9-2:30pm; $45 ($40 before Sept 30); UW Pc Clavis Theatre MONONA GROVE CLINIC Memorial Union, info Carol Jefferson, 608/ Comedy of sexual mores from 1880-1980; 5001 MONONA DRIVE 266-0190 ADVERTISE! revival production; W.Th.F 8pm, Sa 5 & MADISON Wl 53716 9pm, Su 2 & 7pm; call for more info 272- call (414)672-8485 3043

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