A BI-MONTHLY PUBLICATION OF THE • ARTS Volume 2, Issue 6 July 15/Sept 15, 1988
IBlffff Editor-in-Chief Debra Brehmer
Associate Editor Calendar Editor Business Manager Therese Gantz
Associate Editor-Music Bobby DuPah
From the Editor Associate Editor Nathan Guequierre
Dance-the dance form that has no deep cultur Photo Editor I recently had the odd experience of attending a master class at the Ko-Thi Dance Company's al roots; while both ballet and African dance Francis Ford studio on 22nd and Wisconsin, and then the have an acknowledged commitment to pre next night, attending the PM Ballet's Dance serving a cultural history, modern dance claims Art Direction Factory presentation of four world premieres. to have broken with those ties, moving within No two performances could have been further and responding to the present. Modern Dance, Barb Paulini apart in feel and technique. The Ko-Thi class, still in an early stage of its own evolution, may led by a woman from an African dance com be the most confusing of all dance forms and its Ad Manager pany in Chicago, was two hours of heart-racing precepts are perhaps the least well-verbalized Sam Woodburn movement, set to the deafening beat of seven or written about beyond the immediate theo drummers in a small, second floor, sweltering retical level. In the following pages, four chor (over 100°) studio. The African dance move eographers talk about the creative process of Design Assistance ments are so connected to the drumming that it dance. Modern dance in Milwaukee seems to be Don Sefton, Carl Knelson all flows into one mental/physical sensation, emerging from a slump and it may be one of the blending skillful technique with personal ex most exciting art forms to start watching. pression. Sales Representatives As long as we're on the subject of dance, as Lisa Mahan, Kathy Corbin, Liz Montgomery The PM Ballet's premieres were also of a work most people probably already know, Mary La- shop nature. At the Factory, choreographers dish, Executive Director of the Milwaukee Bal are given the chance to develop new works. let, has resigned from her position due to health Typesetting by Ries Graphics Between pieces, the dancers strolled informally reasons. Ladish coordinated the merger be Printing by Citizen Publishing around the dance platform, warming up in tween the Milwaukee and Pennsylvania ballet companies and brought Milwaukee its new FRIENDS OF ART MUSCLE front of the audience. For the most part, these dances were set to traditional classical music: Dance Factory. Ladish was an exceptional ad Perry & Bobbie Dinkin Brahms, Mendelssohn, etc., but the dances ministrator, who gave boundless energy to the Barbara & Jack Recht seemed removed and disconnected from the art form, and we respect her persistance and Jim Newhouse Peter Goldberg music. Every detail, like the oh-so-sublime success. She said she needs to take time off to Theo Kisch smiles on the dancers faces, was neurotically concentrate on health matters, but that "You Gerald Pelrine affected. It inspired no emotion, simply awe at haven't seen the last of me." Jay Brown Christine Prevetti the technique and orchestration, tension and Richard & Marilyn Radke flow. A final Art Muscle news flash: With this issue, Dennis Hajewsky in addition to our regular free distribution, we Harvey & Lynn Goldstein Robert Johnston But, what the two groups have in common is will begin selling the magazine for $2 on select Polly & Giles Daeger that they both represent a culture and perform newstands in Milwaukee, portions of the state Judith Kuhn and special bookstores nationally. Because the Dorothy Brehmer from a deep historic base. As divergent as they Karen Johnson Boyd are, they both symbolize a society and reveal a magazine disappears from the streets so quick Tim Holte/Debra Vest great deal about their respective conditions, be ly, it will now be available for purchase Jack & Ellen Weller Arthur & Flora Cohen liefs and idiosyncracies. And what an amazing throughout its entire two-month span. If you Sandra Butler difference it is-art forms that evolve from two still have trouble finding it, subscribe. It's only Jimmy Scharnek distinct cultures! $12 a year or $50 for a five-year Friend of Art Sidney & Elaine Friedman Muscle subscription! This all, finally, brings us around to the focus of To become a FRIEND OF ART MUSCLE, send a this issue of Art Muscle, which is Modern Debra Brehmer check for $50 which entitles you to a 5-year sub scription. Art Muscle is published bi-monthly by Art Muscle-Milwaukee, Inc., 909 W. National Ave, P.O. Box 93219, Milwau kee, Wl 53203. Third Class postage paid at Milwaukee, Wl 53202 and ad ditional mailing offices. Postmaster: Send address changes to Art Muscle, P.O. Box 93219, Milwaukee, Wl 53203.
Entire contents copyright © Art Mus cle-Milwaukee, Inc. All rights re served, except in reviews. Reproduc tions in whole or part without written permission is prohibited. Art Muscle is a trademark of Art Muscle-Milwaukee, Inc.
Subscriptions rates in continental U.S.: $12 one year; elsewhere, $16 Strange? Why shouldn't it be strange? It is strange. It is all strange. one year. Saul Bellow
2 Art Muscle Art Muscle
CONTENTS
I.M.I HBHI Cate Deicher 20 fob))/ Blum
Debra Loewen 22 Debra Brehmer
Diane VanDerhei 24 Francis Ford
Robert Dunn 26 Jon Erickson
Kate Davy 28 Mark Anderson
Mayor John Norquist 31 Tom Bamberger
Dan Dance 34 Jim Oblscbniidt
Design World 35 John f.nltropp
The Parade 37 Jerome Schultz & Sally Kolf
1 DEPARTMENTS AGOG 6
Letters to the Editor 7
Post Facto - Reviews 10
Beyond Video Clone 13
Linear B 14
Walk This Way 16
Ear Muscle 41 Cover: Photograph by Francis Ford page notes excerpted from Zero db. a collection of short stories by Madi Calendar 43 son Smartt Bell, Madison Smartt Bell, 1987, Viking Penguin, Inc., NY, NY. A ADVERTISE! /\ call (414)672-8485
3 JWiMlijiJK. m taM®44fr
EVERYONE'S MAKING TRACKS TOLEREER
~J&
/"•"\^
Now's the perfect time for you to find out ^^m why people with good taste are beating a path to Le Peep. It could be our slightly sinful servings of the most wholesome ingredients ever dished up piping hot for breakfast, brunch or lunch — your choice of over 40 original dishes from our decadent "Panhandled Eggs""' and Seafood Entrees to the bounty of our "Knife 'n Fork Sandwiches'.'™ Or it could be our intimate atmosphere, our refreshingly fast service, or our afford able prices. Drop by for a meal today. And find out for yourself why Le Peep is on the inside track for people in the know. Open M-F 6:30a.m.-2:30p.m. • Sat & Sun 7:00a.m.-2:30p.m. 250 E. Wisconsin Ave. 273-PEEP LE BREAKFAST LE BRUNCH LE LUNCH
4 Art Muscle Hair / Cheryl Sunderland Make-up / Jules Photo / Bomer a full service / 2401 N. Maryland 276-7616 AGOG
A rts New decorative arts Street. Ladish has been executive di is July 20 for registration. For more contemporary painter whose work ex curator at MAM rection of the Milwaukee Ballet since information contact Debra Loewen, poses the buried emotions of the Jayne E. Stokes, formerly a consultant 1985. Wild Space, 1363 N. Prospect Ave., American psyche. There is no charge for Shaker Village in Canterbury, New Milwaukee, Wl 229-4617 or 474- for the lecture, other than regular Art Hampshire, has been named assistant IPAAW reorganizes 7398. Museum admission. IPAAW has retired and a new dance curator of decorative arts at the Mil Friends of Oriental formed collective of six choreographers has Window works waukee Art Museum. She will orga A new non-profit organization, The formed in its place. Teri Carter will be Theatre X is coordinating an exhibi nize exhibitions, target acquisitions Friends of the Oriental Theatre, has Artistic Director. Participating artists tion of local artists' works in windows and expand educational programs in been formed to insure the continuing will include Tom Thoreson, Alexa Hol of over a dozen buildings in the Histor the decorative arts. The Art Museum restoration and preservation of the lywood, Joan Gonwa, Kimm Marks ic Third Ward, in conjunction with the has not had a full-time curator of deco Oriental Theater at 2230 N. Farwell and David Figueroa. The groups first Third Ward Block Party to be held Fri rative arts since 1981. Ave. The group will organize several performance will be in October. day, Aug. 5. Some of the artists doing fund-raising events each year. Anyone windqws include Deb Fabian and Jim Ladish resigns interested in joining the group should Wild Space workshop Matson, Pat Grace, Demetra Copou- Mary Ladish recently resigned as ex call Rick Poplawski or Kevin O'Neill at Wild Space Dance Company will hold los, Roberta Williams, Irene Adam- ecutive director of the Milwaukee Bal 276-5140. Members will be entitled to its second annual summer workshop czyk, Leslie Bellavance and Matthew let and co-manager of the Pennsylva special screenings. nia and Milwaukee Ballet due to Aug. 4-7 at the Wild Space Farm in Groshek, Bruce Dorow, Gary John undisclosed health problems. Ladish Ixonia. The workshop will include Fischl to lecture Gresl, Mark Lawson, Carri Skoczek, Leslie Fedorchuk and Barbara Rein- recently opened the Dance Factory, dance technique; dance and move Eric Fischl will present a lecture at the hart, Stanley Ryan Jones, Sandra the Milwaukee Ballet's alternative ment improvisation; performance/ac Milwaukee Art Museum at 7p.m. July Greuel, and Taffnie Bogart. performance space at 710 W. Virginia tions; and music and dance. Deadline 28. Fischl is an internationally-known
G rants Poet wins Penn Award fessional playwrights of exceptional ers," which will be used as a Wild mann & John Shimon, $2,680 for a Milwaukee poet Jeff Poniewaz recent talent." As playwright and Associate Space dance set; Rob Danielson, series of portraits of emerging Wiscon ly won a Discovery Award from the Artistic Director of Theatre X, $2,425 for a 60-minute documentary sin artists and creative achievers; and midwest chapter of PENN. He re Schneider has written 23 plays. film called "In Convenience," about Diane Van Derhei, $900 for a dance ceived the award at a ceremony in Chi technology in communication; Anne piece called "Men's Dances." cago. WAB grants Kingsbury, $1,764 for autobiograph Grants totaling $416,373 were award ical pot holders, which will be mixed- The Wisconsin Arts Board, at its May Schneider wins fellowship ed to 198 individuals and organiza media wall hangings with text; Clau meeting, also elected Executive Com Theatre X's John Schneider was tions in May by the Wisconsin Arts dia Looze, $1,500 for a 30-minute film mittee members to one year terms: awarded a Playwright Fellowship to Board. Some of the Milwaukee-based about a funeral called "In Memor- Jeanne Brunette Tregoning, Shulls- taling $12,500 from the National En individuals receiving grants included: iam;" Angela Peckenpaugh, $595 for berg, Chairman; Duane DeLorme, dowment for the Arts. He is one of Debra Loewen, $900; Irene Adam- completion of poems about women vi Green Bay, Vice-chairman; Lloyd Her- eight playwrights nationwide to re czyk, $740 for a photography project; sual artists; Gary Schlappal, $1,000 rold, Milwaukee, Secretary; Cynthia ceive the grant which is intended to Terese Agnew, $3,000 for a series of for four sculptures based on figures in Pitts and Jess Brownell, both of Mil "encourage the development of pro sculptures called "The Serpent Tam Milwaukee architecture; Julie Linde waukee, members-at-large.
opportunitie s Juried exhibition on workshops in mobile making with sought. The work is an exploration of New gallery Gallery Ten in Rockford, ILL. invites residents of mental health facilities. the various aspects of male dancing A. Houberbocken, Inc will be opening artists to submit work to a juried exhi Submissions consisting of a project and will be performed in January the Fine Craft Gallery at 230 W. Wells, bition to be held Oct. 7-Nov. 12. It is proposal, slides of work, resume and 1989. 276-2101, ext. 306 for info. Suite 202 on Sept. 1. The gallery will open to artists who live within 100 other support materials must be in by specialize in the work of regional fine miles of Rockford. Michael Flanagan is Nov. 1. Contact Callie Cary at 271- Wild Space auditions craft artists. An extensive show is be the juror. Slides are due by Sept. 2 and 4704 for application information Wild Space Dance Company needs ex ing planned for '88/'89. For consider the entry fee is $5 per slide, maximum tras for their Swimming Pool piece. No ation, submit 10 to 20 slides, resume four slides. Prizes will be awarded. WPCA possibilities formal dance experience is required. and SASE to A. Houberbocken, Inc., Send slides to: Gallery Ten, 221A East The Walker's Point Center for the Arts Contact Debra Loewen at 229-4617. PO BOX 27292, Milwaukee, Wl State Street, Rockford, IL 61104 (815) is accepting proposals for performance 53227. 964-1743. work, installations and interdisciplin Harvest Fest deadline extended ary collaborations. WPCA is dedicated The Ozaukee Art Center is seeking Women's ceramics Feldman seeks entries to the presentation of new works and works in all media for the 1988 Har A national, juried show entitled Wom Leo Feldman Galleries is looking for genres. Send proposals to Jane Brite, vest Festival of the Arts, to be held en's Ceramics will be held Oct. 16- work to display in the Aluminum Foil director/curator, WPCA, 438 W. Na Sep. 17-18. Due to a bulk mailing de Nov. 5 at the University of Kansas. For Show to be held Oct. 7-16. Artists my tional Ave., Milwaukee, Wl 53204. lay, the deadline for entries has been entry information write or call: Rose submit design descriptions for foil 672-2787. WPCA also has positions extended until Aug. 15. Call 377-8230 Rousseau, Continuing Ed Building, clothing, jewelry, masks, small-scale available for an installation technician, or 377-7220 for entry information. University of Kansas, Lawrence, KS sculpture and "other creative uses for volunteers with art background for 66045-2607. (913) 864-3284. aluminum foil" to guest curator C. staffing, and in-kind needs for print Morrill, PO Box 93473, Milwaukee, ing, computer work, air conditioning Wl 53203. SASE for more informa installation and floor re-finishing. Sculpture Chicago tion. Sculpture Chicago is seeking proposals Video work Pockets auditions from professional sculptors for large- The Kitchen in New York City is seek PAC needs ushers Teri Carter is looking for two addition scale outdoor works to be erected and ing videos for possible screening and Volunteer ushers are needed for week al dancers for her Pockets Dance Con displayed in downtown Chicago. The distribution. Include a self-addressed, day performances at the PAC's Uilhein cert taking place in late October. Expe six to eight artists selected by a jury stamped envelope (SASE). Send to: Hall, Todd Wehr Theater and Vogel rience in modern dance is required and will recieve a $6,000-$8,000 stipend Amy Taubin, video curator, The Kitch Hall. Volunteers must be 18 or older speaking experience is optional. 276- to cover materials and construction en, 512 W. 19th St., NY NY 10011. and may set their own schedules. Ori 2101, ext. 306 for information. costs and use of a tent studio. Four entation classes have been set for July slides and four to six drawings of the Window installations and August. Call 273-7121, ext. 311, Men's Dance auditions proposed work, a minimum of six Artists are invited to submit proposals weekdays 9-4 for more info. Auditions for Diane VanDerhei's slides of previous work and a resume for window displays or installations. Men's Dances (Stepping On Solid must accompany application. There is $100 honorarium. For prospectus, Mobile makers in residence Ground) will be held in September at no fee for applying, and application send SASE to: Artists Book Works, ARTREACH Milwaukee is seeking Alverno College. Male dancers with deadline is Nov. 1. Contact Robin 1422 W. Irving Park Rd., Chicago, IL three visual artists to conduct hands- ballet or modern background are Franklin Nigh at (312) 951-0094. 60613.
6 Art Muscle Gossi p 4 Elvis has been sighted in Fox Point. rumor has it, are opening for him. Reg, if you don't remember, is the artist Judith Moriarty's hair?. . .Sculp But what was he doing there, if he lives .Sometime soon, the Hollywood mov wonder boy discovered by gallery tor Jim Matson broke the ball-joint in in Kalamazoo, Mich? An Art Muscle ie, Major League, being filmed in Mil owner Dean Jensen. Reg K. Gee's his shoulder. Stay tuned lor an upcom staff person, who lived in Michigan, waukee, will move into the Bern Boys paintings have been selling as fast as he ing fundraiser to help pay medical verifies that he saw Elvis at the end of Furniture building on 5th and Nation can make them. But, downtown, Fred bills.. . and finally, here's some tips for the bar in the Rex Cafe in Kalamazoo, al. The movie people will be taking Stonehouse sold 19 works out of 23 summer fun: swimming, re-reading without his shirt on. He claims that over the second or third floor and total at his recent show at Michael H. 100 Years of Solitude, fighting off mag Elvis was a regular at the bar. The best transforming it into a flea-bag type ho Lord Gallery, get 'em while he's hot. gots in your cat food, drinking margar- news of all, however, is that we heard tel. . . also in that neck of the woods, And by the way, it was just reported itas on a tar terrace, riding your bike that Elvis will be giving a surprise per The Pelican Restaurant is finally open that Stonehouse received a $3,500 through the industrial valley, roasting formance at Eddie's Southside Hawai ing next door to Chip and Py's, bring Arts Midwest Grant. I guess he's on a a pig or your neighbor, looking at ian bar, 1717 W. Mitchell St., on Thurs ing the South American tapa to the roll. . . Boy, what about this drought. yourself naked in the mirror, having day, July 21 at 8 p.m. The BoDeans, South Side. . .Reg K. Gee look out. Have you seen the effect it's had on Bomer cut your hair, going to a drive- in movie, and if you're still feeling like a loser - go see the Brewers!
Letters to the Editors
That feminist bandwagon Due to critically low enrollments, A strange anguish Stings a bit when turned back on you, This letter is in response to a critique MIAD has not registered any Sculp Okay, okay! I finished your damned doesn't it? And why shouldn't it be on Susan Falkman's work by writer ture majors since the 1986-87 aca survey. Then I went right into my turned back, since you elect to write in Cynthia Crigler (May 15-July 15 Art demic year. In July of 1987, the institu kitchen for a little reward — some that tiresome style whereby the re Muscle). I feel that Ms. Crigler was too tion decided not to accept any new thing sweet. I checked the top of my viewer includes himself in the piece quick to jump onto the feminists' band majors into the program for one year avocado refrigerator, but this time my and offers bon mots in place of rea wagon. Before we can immerse our and requested a study to be conducted pitcher in the shape of Goofy Grape soned, well-supported arguments. selves in first-generation feminist aes by both the administration and the fine didn't catch my eye at first. No, the thetics we must first view the work in arts faculty. teasing smirk of Little Debbie — of For example, how is Robbie Robertson its simplest form. snack cake fame — seemed to some to win? If he recreates his old sound, The Board of Trustees, after reviewing how mock me, and freeze me to the you would have evoked the perfora First, there is the utilization of Platonic the recommendations contained in the linoleum. tive "classic hits" label; if he uses con dichotomy — rough-smooth, black- reports, decided to offer Sculpture as a temporary tools and sidemen, he isn't white, inner-outer, open-closed, male- provisional major for one year. The I remembered how I had tossed out my acting his age. I don't necessarily think female, etc. Second, there is the clear board further declared that in order to back issues of Art Muscle, in a recent his new record is magnificent, but, use of Hegelian Dialectics, the rough, do so, Sculpture must enroll a mini flurry of spring cleaning. After all, were I to explain why, I'd examine the hard, outer surfaces are its thesis — the mum of five majors for the 1988-89 grandchildren had never been in my music, not the artist's crow feet. smooth, polished, inner surfaces are its academic year who will sign a waiver plans. Still, with a twinge of guilt, I antithesis — and the way the thesis/an stating that they understand that the reached for a raisin cake. And I felt a Of course, the article is not about Rob tithesis relate to one another is the Sculpture program may be eliminated strange anguish as I opened the indi ertson. Seventeen lines into a forty- SYNTHESIS. This could also explain after 1988-89 if em£)llments do not vidually wrapped treat. seven line column, we arrive at the the only reference to religion which is intended victims: the local boys that stabilize to an acceptable level. The I swallowed the raisins, the sponge Taoism. Yin-yang — Tao. Board of Trustees will review the pro dared to sign with a major label, there cake, and the creamy filling without by becoming the recipients of all the gress to determine continuance of the my usual pleasure. For if I were ever to These are two very basic ways of usual machinery these corporations program after registration in 1989. follow Nancy Reagan's footsteps in the building up the ground work for a fe use to promote the sales of their re Foster Grandchild Program, there minists' critique, but they must be stat cords. "Sincere artists," such as Lou Mr. Bott further claimed that the " would be just my collection of Beatrix ed. Once the base is established we can Reed, The Cure, Ladysmith Black school continues to become more Potter to feed an orphan's craving for venture into the realm of feminist se Mambazo, 10,000 Maniacs, REM and graphic design and less fine arts orient contemporary culture as I had known miotics and how the work explicates others would never make videos or al ed." Once again, this is inaccurate. The as a young adult. feminist philosophy. institution enrolled 361 full-time low themselves to be written up favor ably in Time or Rolling Stone, would equivalent students in the 1987-88 Never would I hear a little voice plead Michael E. Wier they? academic year, 56 of whom declared ing like Shirley Temple in Heide. " Fos Associate Director graphic design as their major during ter Grandfather! I wanna hear about De Graaf Fine Art, Inc. Nor do Sincere Artists have detectable the spring semester when the article Vicki in Small Wonder. Read Walk Chicago, ILL appeared. MIAD is committed to of influences. The early Rolling Stones This Way just one more time. You didn't reflect Chuck Berry and Talking fering quality visual arts education in Promised." Forgive my rash use of the MIAD clarifies Heads invented African rhythms, I both the fine arts and design disci dumpster. sculpture department controversy suppose. plines. Our five year plan calls for a Spydor Recently a brief article appeared in Art realistic ratio balance between fine Scot Atkins Muscle (May 15-July 15 issue) con Finally, I have it on good authority that arts and design programs. Poet and Temp, worker cerning the sculpture program at the Sam BoDean walks to Hooligan's — Milwaukee Institute of Art and De much the same as he did the first night Robin Bott says that " if MIAD does Regarding that new sign. Unfortunately, statements attrib he played there and demonstrated to cut the department it represents a theater district building uted to Robin Bott, a MIAD student Milwaukee that his band wrote better breech of contract." We disagree. The Thank you Mr. Luttropp for the open and member of the student council, songs and generated more excitement MIAD catalog contains the following ing shot. (Art Muscle feature, March contained several factual errors. Since than is usually offered by local artists. statements: " MIAD reserves the right 15-May 15 issue). I may not know Pre- no one from Art Muscle contacted a Perhaps if our boy Bobby had the tal to change policies, procedures, re modo from Polinka, but the Theater MIAD official, I would like to clarify ent to do the same, he could "fall in the quirements, courses, instructors, and District Building shows no function to gold mine" too. the institution's position. tuition when we deem it necessary and me. What should we look at? The river, Martin Anderson without notice." Considering the cir the theater to the right or left, the great Milwaukee To begin, Robin Bott's views were his cumstances, MIAD has demonstrated theaters of the world? No, let's attempt own and do not represent the student a realistic commitment to those stu to diminish the individuality of the for council as a whole. Mr. Bott, a declared dents with an expressed interest in tress across the street. Yeah hey. DuPah replies: Printmaking major, has indicated that Sculpture as a major. Russ Isaacson Yeah, my nose is getting kinda sore, he wishes to change his major to Sculp Milwaukee and the ammonia they use in the glass ture. However, the article's lead sen In closing, I hope that this clarifies the Defends BoDeans cleaner - horrible. Really enjoyed the tence, as attributed to Bott, is incor Milwaukee Institute of Art and De Let's see, Bobby DuPah, oh, Art Mus "husband of" part but the next time rect. He states, " There is a debate sign's position as it relates to this issue. cle, Debra Brehmer's husband, yes, you want to tell someone to fuck off, heating up between Sculpture majors We encourage Art Muscle to contact "BoDeans, A Retrospective," (May just say so! All in all, a valiant effort - and the school's administration." A the institution's officials in the future 15-July 15 issue-Review section) oh, glad I could inspire some emotion. debate did not occur because there to ensure accuracy. Bobby, those years with your nose were no Sculpture majors enrolled at Terrence J. Coffman pressed against the candy shop win Thanks & fuck off, MIAD to debate. President-MIAD dow have not been kind. Bobby DuPah
"I got to live down hero, and when I sav something that thinj. ilauM*.!
1 R D y M
& SeirQjtm^afe
Featuring BBQ Lamb & Pork (< Milwaukee's Finest Outdoor Cafe" SHADES OF SUMMER We're grilling out Wednesdays & Thursdays MILWAUKEE Fresh air dining environments are readily available in Mil 11:30-1:30 waukee — weather permitting. We can while away the f & Lunch and entertainment lazy days and evenings of summer in a classical formal 5-11 Mon-Thurs garden setting at Miro's, or choose a semi-urban corner WEBSTEKS 5-12 Weekends Milwaukee Public Museum at the new edition of La Frontera on Oakland Avenue. The Reader's Bookstore (and Cafe) Downtown, 8th and Wells Cafe Hours: Mon-Sat 7am-Midnight, Sun 9:30am-8pm. 2499 North Bartlett Ave. 278-2702 A leisurely breakfast at the intimate Cafe in the Plaza Bookstore Hours: Mon-Sat 9:30am-Midnight, Sun 9:30am-5pm 964.9220 Hotel can be a wonderful way to start the day ... Or how 2559 N. Downer Ave. Milwaukee, Wl 53211 Phone 332-9560 about an afternoon of people-watching and book- browsing after lunch at Webster's on Downer? AL A great meal at the Glass Menagerie, seated among tropi Courtyard Cafe :•£<& CALDERONE cal flowers, or Italian cuisine, family served in an outdoor ivl% :*...i RR S0A*tA£f\ tent at AI Calderone may be the way to beat the heat of CLUB another day. CAEE AT THE PE4ZA ,;3* :v*v**&Si\ ?*? &>i ?v?: > Restaurant Hours: FINEST IN FOOD AND PIZZA CASS Lunch.M-F 11:30-2:30p.m. • Veal Marsala Dnner* Nightly 5-1 lp.m. Stop by Morry's on Prospect to see a tasty Milwaukee • Eggplant Parmagiano band, or cool off beside the incomparable Milwaukee • Homemade Pasta WS&x* River water falls at Melanec's Wheel House. md&k&ti 10-4 HOUSE WINE BEST PIZZA Our special treasure, the Milwaukee Public Museum, has VAN BUREN PATIO NOW OPEN an outdoor lunch to offer us (including entertainment), while we sample a great museum at a great place on a 1007 north Co// ftreet great lake. 272.4661 a m Breakfast/Lunch Keeping cool is a breeze ... - 7 day/ - 2498 North Bartlett c7WAt«i*ee.c»Bco
EUGENE VON Although a vaccuous and otherworldly passion." Yet it seems highly likely that Peter Stampfel played two hour-long BRUENCHENHEIN: brand of doom abounds, von Bruen Eugene von Bruenchenhein was just solo sets at the Metropolitan Gallery in chenhein's controlled skill is impres one of the poor millions who could not Riverwest, accompanying himself with Obsessive Visionary sive. Graceful patterns resemble the make a living as an artist. And simply a borrowed acoustic guitar and some Milwaukee Art Museum delicate intricacies of Florentine mar because his art was not sold or exhibit times a banjo — crooning and wailing, June 3-September 18 bled paper. He was also intensely in ed until recently, it does not mean that literally, singing the way the Violent volved with the surfaces, as he some art was his "secret vocation." Two ex Femmes always wished were possible times squeezed paint directly onto the amples seem to suggest otherwise. One for them, through an astounding vari canvas, spreading it with his fingers. of the gallery notes claims that, since ety of music. He was so pleased to be The tactile manipulation of paint pro he could not afford to buy paints, a playing that he would break into a grin duces an effect that is so direct, so im local merchant — who had learned of and chuckle after each song. mediate, one almost senses the irrevo von Bruenchenhein's need from a cable connection between von neighborhood police officer — donat No slouch as a songwriter himself, the Bruenchenhein and his creations. ed samples to him. This fact suggests Show consisted not only of Stephen that his art endeavors were not entire Foster and Who covers (and every In other media, von Bruenchenhein ly covert. Furthermore, in a 1938 pho thing in between), as Stampfel played displays a consuming passion for his tograph of him, with members of the plenty of songs written by himself and wife, Marie. In photographs she ap Milwaukee Cactus Club, he promi his new band, the Bottlecaps. His origi pears in exotic, often erotic, poses or nently titled himself "Eugene von nal music reflects his approach to other radiates an alluring, innocent beauty. Bruenchenhein, the artist," as if he music: the songs are something to have Sometimes she is seen wearing one of wanted this to be a universally ac fun with. Songs like "Random Vio her husband's handmade crowns, and knowledged fact. lence" ("You may be famous, you may von Bruenchenhein boldly experi be fair, you may be righteous; I really The curators engage in hyperbole to mented with montage and exposure to don't care. You may be lucky, but this amplify the image of the artist-maniac create some bizarre and striking im ain't your day — 'cause I'm gonna without providing much factual evi ages. blow you away ... ") and "Black dence. Von Bruenchenhein's eccentric Leather Swamp Nazi," sung with a ity becomes the main selling point. It Eugene Von Bruenchenhein, Untitled Chair, Homage is extended to his wife in the howl and a warble in his voice, are as is, to be sure, a factor, and one of the c.1970, Chicken & Turkey Bones ceramics as well. A heart-shaped dish, entertaining as their titles suggest they more charming aspects of his oeuvre. for example, resembles the adoring could be. Another, "Bigfoot Stole My Eugene von Bruenchenhein: Obses "Outsider art" has become paradox kind of gift a schoolboy makes for his Bride," was culled word for word from sive Visionary is as much about the ically "in," but the Milwaukee Art Mu mother. Its inscription reads: "EVB, an article in the Weekly World News. artist as about his art. His personality seum seizes too forcefully on the ele MVB, Valentine's Day, to Marie from (Stampfel's advice is, "if you ever is reflected not only in the subjects, but ment of alienation and accentuates the Gene, love and faith." Such works want to write a country song and you also in the unusual media he chose and idiosyncracies of his personality with nearly embarrass the viewer. They are don't know where to start, pick up a the personal languages he invented seductively vague notations. In truth, more indicative of a juvenile infatu with these unconventional materials. the works themselves convey more of ation than a mature love. Due to limited financial means, he re the person, Eugene von Bruenchen sorted to some rather pedestrian paint hein, than the glib innuendoes that While there is diversity in his media, ing tools: cardboard, burlap, combs, guide the viewer through the show. sticks and his own dextrous fingers. In there is minimal growth in his style or addition to paintings of a highly indi range of subjects. One mostly finds Perhaps it would have been useful to vidualized style, the visitor also en reworkings of ideas, redundant themes display more of von Bruenchenhein's counters equally unique plaster casts, and formulae. own writings alongside the art. A ceramics, photographs, handmade po wooden board, found in his basement, etry books, and, most engaging of all, Most captivating of all are the 25 min is scrawled with dismal, moralizing miniature sculptures constructed of iature chairs and four towers made aphorisms such as "hate rots the soul poultry bones. from chicken and turkey bones. The of mankind" and "people are unbear tiny constructions, meticulously glued able 100%." He apparently had an in There is a vast selection of fantastical together and painted, exude a fetishis- cisive way with words. So did one visi landscapes, imaginary sea creatures tic aura. One cannot help but wonder tor I overheard at the exhibit: "Look and celestial battles. These seem to be how von Bruenchenhein ever saw such at that. I'll be damned. I've never seen the extravagant conceptions of a possibility in the remnants of his din anything like that." child's fervent imagination. It could ners, and one cannot help but marvel also be the stuff of science fiction. Oce at his inventiveness. In effect, he has Corine Granof anic contrivances, spiky, inchoate sea made precious, delicate objects out of (Corine Granof is a Milwaukee free monsters and undulant, botanical ordinary refuse. lance writer. She will be starting a doc forms appear to have preoccupied Eu torate degree in art history this fall at gene von Bruenchenhein. Evocative ti Von Bruenchenhein's art was essen the University of Chicago). tles, such as Potopher Immortalis tially discovered after his death in (1955), enhance their enigma. 1983. Thousands of pieces, including poems and theoretical writings, were PETER STAMPFEL In Hans Imperialis (1957), a writhing stored in every available space in his June 12 Peter Stampfel Drawing by Jean Roberts viper with a demonic human face Milwaukee home. He was a self-taught Metropolitan Gallery emerges from a lush sea of colors. In artist who often worked with rather 2572 N. Bremen tabloid at the supermarket. Every sto tense color schemes are generated by prosaic materials. Corrugated card ry in them is a country song, and you daring juxtapositions of complemen board frequently serves as canvas. The music of Peter Stampfel may, as don't even have to change the names tary tones. Explosive flashes of white, Clay was scavenged from construction Jim Harrison once wrote of detective ... ") There is no mistaking the intent where paint was scraped away, seem sites, and thea baked in a coal-burning novels, tend "to attach itself to an ex when Stampfel plays; the fact that he to dance on the picture plane. The re stove in his living room. Paintbrushes citement with a rather low metaphysi enjoys the music is so obvious that it is sult is a total agitation of the surface. were constructed out of drinking cal lid," but then metaphysical intro impossible not to smile along with him straws and his wife's hair. These are spection is not the point. The point is, as he exposes the little ironies of our One group of paintings poignantly truly unorthodox methods that illus simply, to appreciate all that is funny, musical past and present. His exhuber- conveys the more pessimistic side of trate the resourcefulness of a dedi sad, quirky, beautiful, melodramatic ance and love of the material is almost von Bruenchenhein's outlook. Titles cated artist. — in a word, the existence — of every overwhelming — as Kent Mueller, an such as The Danger We Face (1954) thing in the history of American music owner of the Metropolitan said, "Once While a number of works suggest what and H-Bomb (1954) relate a personal and its influences. While this may Peter starts playing, it's hard to get him many people would consider to be per prophecy of imminent global disaster. sound like a major, if not impossible, to stop." And that, more or less neatly, sonality quirks, the Milwaukee Art In one of these fire and brimstone project, Stampfel's approach is unpres- sums up Stampfel's show — two hours Museum focuses too sharply on the pe works, World War II Soldiers' Memo sured; he plays whatever songs he of simply enjoying the variety of music culiar aspects of his personality in this rial (1954), a head with a crazed facial likes and whatever occurs to him at the two hundred years of American histo presentation, capitalizing on the sensa expression bursts out of an amorphous moment from his impressive musical ry has produced. tionalism of an "outsider" artist. For landscape, as an atomic explosion, vocabulary, running the gamut from example, upon entering the exhibit, Peter Stampfel is an ex-Milwaukeean with the white mass of hair forming the Irish folk ballads to pre-rock pop songs one immediately confronts paint currently living in NYC. He co-found mushroom cloud. Infernal red and a to his favorite Kinks' tune. The idea is brushes made of human hair. These ed the Holy Modal Rounders in the murky forest green describe the scene to have fun, to celebrate the music, all quickly get under the viewer's skin early '60s, a band, as he puts it, "that in a strikingly unpleasant clash of col music, for what it is. Though his re and color one's entire perception of cords are found in the folk bin, that's really doesn't have too big a spot in the or. The anthropomorphism of land the works. A placard also informs us only for lack of a better category, be history of Western music. Our claim to scape is a worthy example of kitsch, that von Bruenchenhein was em cause he certainly is not bound to the fame is that we were the first really but at the same time it is a visual nota ployed in a greenhouse, a florist's shop long-faced, stuffy seriousness of that heavily drug-influenced folk band. tion of an horrific nightmare. His ex and a bakery. It reads: "unbeknown to genre, but rather fits somewhere in the And we made some really awful al pert modulations in tone, color and all but a few friends and relatives, von netherworld between John Prine and bums." The Holy Modal Rounders texture convey a convincingly para Bruenchenhein was also an artist who Jonathan Richman. played for a time with the Fugs, and doxical volume in the puffy weight pursued his secret vocation with great lessness of the cloud of smoke.
10 Art Muscle playwright Sam Shepard, whom technology, the industrial revolution in Act I, "The Blessed and the Damned," For instance, the celebrated perver Stampfel met in a pawn shop, played a funhouse mirror. And why not? In written by John Schneider of Theatre sions of Act I seem to show how what drums on several of their records. the face of a technocracy that talks sal X, was for me the most enjoyable of has been prohibited has become eroti Stampfel currently sings and plays vation but delivers alienation, a bit of the acts. Schneider's choice of lan cized. That theme is clearly developed with Peter Stampfel and the Bottle- mischief, says industrial music, is in or guage was a marvel of faithfully re throughout Act I. ("It's human nature caps. Their first album, self-titled, der. With its use of hybrid techno- created 18th century idiom plus the to desire what's sinful." ) But, later, made the top-ten list of several critics primitive instruments and its what- most inventive of obscenities (where when we hear the statement, "Sexual for 1987, although it only sold 2,000 have-we-here approach to did he get them all?). Examples: "As ity never existed before it was invent copies (2,001 now, because I finally conventional sound sources, Liof Mun my rising prick, a pretty speech!" or ed," we are in deep Foucault waters. found a copy at People's Books on Far- imula exemplifies the ruling leitmotif "Christ, I'm stiffer than a monarch's This is, I have since learned, a central well after scouring the city's record of industrial romanticism (for that's sword" or, more colloquially, "Off my theme of Foucault's, but it is a difficult stores). Their new album, Bridge and what it is), namely that of the forager ass, you sodomist." Lines were deliv theory to grasp, even with the help of Tunnel Girls, will be out at the end of in a post-nuclear wasteland, a scenario ered with rollicking exuberance. Per his text. formances by Flora Coker and the summer on Rounder Records. Holy that in addition to being potentially This does not seriously diminish the Schneider, in particular, were joyfully Modal Rounder and Bottlecaps re real is also a mythic transformation of impact of Theatre X's project however. bawdy as they explored the illicit sex cords are hard to find, but they are all a holocaust of another kind: the oblit In my eyes, it remains ambitious, rich uality of the Age of Reason. (Was it an still in print and can be ordered eration of the individual by an indus ly imagined and full of impressive intentional irony that this act, based on through record stores or by writing to trial society. craftsmanship. Rounder Records, 1 Camp Street, the perverse explorations of the Mar Cambridge, MA, 02140. quis de Sade resulted in an almost in Does industrial music herald a new Marie Kohler Nathan Guequierre nocent joyousness, far from the men synthesis, a human post-technology? If (Marie Kohler is a freelance writer (Nathan Guequierre is an Associate acing cynicism we usually associate not, it is at the very least a poke in the and actress) Editor of Art Muscle.) ribs to music in general, a reminder with the likes of him. Perhaps I'm miss that our cherished ways of making ing some Foucault irony here. In any sense out of musical sounds are only case, the effect was delightful). Previews LIOF MUNIMULA provisional, that survival even of an Act II, written by Julia Romanski and June 10 aesthetic sort requires adaptability. David Schweizer, the director, was a Metropolitan Gallery And beneath its chaotic surface the provocative exploration in video of 2572 N. Bremen music has a core of hope and serenity. characteristic late 19th century materi MADISON FESTIVAL Industrial music: a roguish din fit to For only the truly irrepressible spirit al. It was half penny-dreadful melodra drown the too sober voice of realism. can rescue order from desolation. And OF THE LAKES ma and half a psychoanalytic case his A meta-musical foray into a landscape we are all, to the extent that we possess September 1-5 tory of one of Freud's hysteric female of uncertainty where the question is a self, salvage experts in this, our Madison patients. This is rich and fascinating not just What does this mean? but wasteland. What is meaning anyway? Case in stuff - again not cohesively devel What do Odd Nerdrum, Edward Vil- oped, but this time I imagine deliber point: Liof Munimula, three Chica- But this is not to say that music of this lella and Tex Carmichael and the Mer ately so — and enlivened by marvelous goans who explore sound textures, sort can not at times resemble garbage. cenaries of Jazz have in common? Not oddities like Schneider's portrayal of fracture norms, disturb the air, and in To pull it off requires confidence, skill, only are they all rather interesting the bonneted infant, Rob Roy. Or the general make a lot of really great a sense of humor, courage, and even a names, but they will be among the startling final moment of the act: a ro noise. certain kind of tastefulness. Liof Muni nearly 1,000 performing and visual mantic embrace between patient and mula has all of these, together with a artists taking part in Madison's second analyst ("Do you mean, Doctor, that a The small performance space at the cavalierish flair for treading across annual Festival of the Lakes. For five dream is a wish your heart makes?" ) Metropolitan Gallery, where I caught lines, making of chaos ... art. days over Labor Day weekend, Sep Coker, Kishline, Schneider and Mary one of the group's performances, was Steve Wurcer tember 1-5, Madison will become one Ewald all gave outstanding perfor an apocalyptic disarray of battered (Steve Wurcer is a musician and grad of the cultural hubs of the universe, mances. Even dialects were excellent. horns, unidentifiable gizmos, boxes, uate student in journalism). with hundreds of artistic events taking wires and drums, dominated by a nine- Act III, written by company member place. foot tall Mr. Wizard-like contraption, a John Kishline takes on the 20th cen bunch of tubes that dripped water into The central highlight of the 1988 Festi A HISTORY OF tury and its manipulation of sex for the a basin. It was not too surprising that val of the Lakes will be two perfor purposes of profit and power. Rather out of this mess the performers pro SEXUALITY mances by the one-and-a-half year-old than the private theatrical salon of the duced sheer sonic chaos. What was Through May 29 Miami City Ballet, led by the world- 18th century, or the urban environ surprising was the clarity with which Theatre X renowned Edward Villella. The com ment of Victorian England, the arche the group revealed the stripped-down, 158 N. Broadway pany will perform the world premiere inescapable logic governing even this typal setting of the 20th century is the of Villella's Festival Pas de Deux, chaos. Liof Munimula improvises not Board Room. Here corporate employ which has been choreographed espe with melody, nor for that matter with ees converged, flipped through their cially for the Madison Festival. They any particulars of music, but with the papers ritualistically and, dressed only will also perform works by George concept of improvisation itself, in a in their underwear, vied for promo Ballanchine, Lynne Taylor-Corbett kind of self-reflexive wrestling match tions. It is an apt metaphor for our age. and the Miami City Ballet's resident with the Godelian problematic, which However their ceaseless and arid talk choreographer, Jimmy Gamonet de los today in one form or another seems to had a numbing effect, and I, for one, Heros (another good name). be finding its way into virtually every wished there had been more editing. form of expression. Because Theatre X's project was open Other major events being staged dur ly discussed as being inspired by the ing the celebration will include the The trio (Don Meckley, Daniel Scan- work of Foucault and because the American Players Theater perfor Ian, and Michael Zerang) uses a variety play's title, A History of Sexuality, is mance of the Tempest, a major exhibi of acoustic and electric sources to so close to the title of Foucault's book, tion organized by the Elvehjem Muse weave undulating tapestries of sound, Theatre X, A History of Sexuality The History of Sexulality, expecta um of Art entitled Frank Lloyd Wright and Madison: Eight Decades of Artis as captivating as they are unpredict Theatre X's production of A History of tions that a direct association would tic and Social Interaction, and the able. Scanlan's contorted guitar lines Sexuality was successful and unusual exist between the two were estab world premiere of Sketches from a waft in and out of focus with sounds in many ways. It was highly original. It lished. Although John Schneider in his Bamboo Terrace, a work for chamber from Meckley's short wave radio was bold. It contained stretches of bril introduction calls Theatre X's work a orchestra by nationally acclaimed jazz (quite a find as found sounds go). A liant writing and inspired acting. It "response" to Foucault, it does not composer Roscoe Mitchell. The Mel staccato duet between percussionist was, as is often the case with Theatre change the fact that certain expecta rose Motion Company will stage the Zerang and echoing water drops (ema X, inventively and stylishly designed. tions had already been aroused. "music and dance extravaganza" Clas nating from the Mr. Wizard device, as Still, the piece as a unit, was flawed. it happens an invention of Meckley's sical Rhythms, involving internation Some sections were too long, too talky. The challenge which must be met in called the hydro-kalimba) turns into a ally prominent musicians and dancers Many people felt, as I did, that a cohe adapting or interpreting another work demented zingaro when Scanlan inter from Madison and around the country. sive whole was not achieved in this is to make sure the adopted work can jects with a frenetic violin. At one project — perhaps because the acts stand alone, since no one can presume point Meckley's radio briefly and al didn't inter-relate sufficiently or be an audience's familiarity with the In addition, sculptor Edward Dollinger most inaudibly captures a rock station. cause a central theme didn't clearly original. An additional benefit to an has been commissioned to make a The ensemble reacts, or maybe it is by emerge. The relationship of the play to audience would be an elucidation of "participatory sculpture," the ele accident that they slide nearly, for a its title or to the work of French philos that original text. The Theatre X pro ments for which Dollinger will create moment just as brief, into a groove, opher Michel Foucault, which inspired downtown in Madison and which will but it has the effect of tipping the hat to ject does stand on its own despite the it, was not adequately clear. lack of clearly unifying themes. But in be assembled by festivalgoers. There rock and roll while at the same time will be performances by John Cale, clawing it into the perspective of the stead of elucidating Foucault (not easy Nevertheless, A History of Sexuality Second City, and the Broom Street day: all music, all sound, is grist for the to do, I admit), we get tangential illus was a feast for the senses and a chal Theatre, who will be premiering an mill. trations to some of his theories. I won lenge to the intellect, as three different der what advantage it is other than original play by Joel Gersmann based writers tackled aspects of sexuality on the life of Senator Joe McCarthy. The band's name is 'aluminum foil' name recognition to publicly link the through three consecutive centuries: spelled backwards. And so it is with two at all. the 18th, 19th and 20th. the music: a deliberate distortion of
freelancing couldn't save me now 11 Gr. **>
TAfAS ARE: HOT COLD spiCEy PRICEY CHEAP 01 FL^CT ROUND
& ONLV
FOUNAT D
RESTAURANT & TAPAS BAR Beyond Video Clone
By Julia Romanski to. It's really best to know as little about this movie before you see it as possible. Everyone rent it. Run it (Beyond Video-Clone is a regular col through your stereo. It has a fantastic umn about rentable videos worth see soundtrack. Unplug the phone. You ing. Columnist Julia Romanski is a Mil don't know what you're in for. waukee writer with a screenplay in development. She is an avid video- SIESTA, directed by Mary Lambert, hound, consuming a minimum of 15 with Ellen Barkin, Gabriel Byrne, Ju videos a week on her two VCRs). lian Sands, Jodie Foster, Martin Sheen, Grace Jones, and Isabella Rossellini, For your consideration this summer with music by Miles Davis, from Lori- are two movies which were delivered mar, 1986. stillborn before ever reaching distribu tion. One of these movies proved in comprehensible to the studio which Sting me with that cast, hey? But ouch. developed it, the other incomprehensi Boy, was this movie slammed. Pre ble to the critics who previewed it. Fig miere Magazine expressed its condo uring them together they played in lences to Ellen Barkin. Severe slamma- theatres for a total of four weeks. Nei tion. ther came to Milwaukee. One showed up in Chicago, where it hung on for Listen to this. There's a woman lying in four days. Both movies are, I think, a sun bleached field. She's wearing a astonishing. red dress. She's covered with bruises. There's blood on her stomach. Maybe EUREKA, directed by Nicolas Roeg, she's sleeping, maybe she's dead. Pull with Gene Hackman, Rutger Hauer, back. She's lying at the end of a run way. Wham! Out of the sky comes a Mickey Rourke, Theresa Russell, Joe Eureka Pesci, Jane Lapotaire and Helena Kal- jumbo 747, dropping in for landing, lianotas as Frieda. MGM/United Art blasting over her body. Another plane ists Classics, 1983. lands, the woman screams, gets up, runs. We've met her prior to this scene. We know a little bit about her. Mesmerizing. Eureka, even with its We know she's a stuntwoman, a sort of formidable cast, even though it was female Evel Knievel. She jumps out of directed by Nicolas Roeg, a man of planes. She's left Las Vegas for Spain. singular vision, never stood a chance. She's going to see a lover, who's writ After an initial one week run in a few ten to her about his recent marriage. large cities, the movie was pulled from He's the passion of her life. release. Vague attempts were made to tion. Justice can't be done to this se his heels is an irritating Jewish busi re-cut it, against the wishes of Roeg. quence by recreating it in words. It's nessman based in Florida, who wants For several years it sat on the shelf, Those jetplanes land over her, she probably the only time in my movie- to buy the island and build a gambling until in late 1986 it turned up on video. wakes, screams, and runs. She notices going life when my jaw fell open, casino on its shores. The man's a thug, Critical response to it was nearly the bruises, the blood, doesn't know watching the beginning of this movie. possibly connected with the mob. His where she is, or what the hell has hap unanimous; they hated it. At one point right hand man, a cocksure but overly there was a lengthy battle to change pened to her. A little while later, those earnest lawyer (played by Mickey bruises are starting to fade. Her picture the X-rating to R. Ultimately that bat Rourke) delivers the offer to McCann. tle was won, but by then the film was shows up in a newspaper. She remem Jack McCann, the richest man in the McCann won't sell. At this point the dead in the water, and even a G-rating bers she had a show to do in Las Vegas. world, has only one thing left to him momentum of the story explodes into wouldn't have created an audience for She doesn't know anything else. She's which he really loves, and that is his turbo-charged intensity. it. afraid maybe she killed someone. The daughter Tracy (Theresa Russell, Mrs. bruises keep fading . .. Nicolas Roeg). He loves her desperate Eureka is at times graphically violent, This is a story about a man, Jack ly, like the drowning man that he is. He which is what caused the X versus R McCann (Gene Hackman), who gets I saw this movie in New York City last loathes her husband, Claude (Rutger rating battle. The violence, I promise everything he ever wanted. Every winter, in a hellish, groaty Times Hauer). The drama between the two you, is actually shocking. It is neces thing. Fixed on that desire from his Square theater. Drunks were asleep in men alone would have created an ex sary to the movie, and not gratuitous youth, as the years passed he was the back row. Walking back to the ho cellent movie. In Eureka, it's just life. at all. This is violence prompted by shaped by it. Shaped so thoroughly in tel afterward around one in the morn McCann owns an island, and perhaps motives so sordid and extreme that the fact, that when he bagged it all, there ing, I passed coming from the other he owns the small population of na acts themselves are mere shadows of was nothing left for him to do. Nothing direction a man in full Scottish kilt and tives that live there as well. He has an the desires to commit them. In a way, could live up to that moment. Life was regalia, carrying bagpipes. I thought elegant drunkard of a wife, and a busi compared to those desires, the acts suddenly pale, insubstantial, flat. nothing of seeing the displaced high- ness lackey to run interference for him themselves are pathetic and juvenile. lander. After seeing Siesta, it was that in the other world, the one which is so kind of night. Actually, it's pretty difficult to write inconsequential to him now that it I don't want to say anything more about this movie: it is a monster. The can't even be boring. He has the mem about the story. I can feel myself trying (Siesta is not out as I write this, but is first 15 minutes establish some kind of ory of a woman, Frieda, who foresaw to 'get' you to watch it, and conse due in video sometime toward the end movie-making, story-telling perfec- his despair and spoke of it. Nipping at quently I'm saying more than I meant of July). **<
But even a snake will keep on squirming alter it's been cut in hall | J Linear B Barbara By Kelli Peduzzi But we feel the dignity of all novelists is at stake here, and regard this as an recent opportunity to educate this poor, igno paintings and rant soul. Kohl What Writers Hate works on paper to be Asked W. Cramp: Naturally it's based on my life experiences. What art isn't? I September 10 - October 8 mean, we all have our personal vision, Most writers won't admit it (they're so right? But it goes deeper than that. You grateful when someone actually pays know, universal truth. them any attention), but there are cer Joan Q: Oh? What's the plot about? tain questions they loathe, despise and dread. The reason for this is the writ Finally, someone who's really interest er's tendency to stay locked up in a ed in our book. But if it doesn't have a dim cubbyhole, typing until fingers plot, maybe it's a good idea to make cramp, and casual conversation with one up anyway, just to save her from the occasional rug shampoo salesman total embarrassment. takes on monumental deconstructivist significance. In short, we'd rather Scenario Second write than talk. And when we talk we want our pain taken very seriously. W. Cramp: I'm a journalist. Joan Q: What subject do you write On those rare occasions when we've about? been dragged out in public by a well- meaning friend (who's forgotten what Again, she's looking for an expert in we look like but thinks it would be something, not a student of life, but good for us to take a break from work), this one is easier. We can tell her what we panic at the idea of being in a group we're currently working on. However, of more than two non-writers. Left W. Cramp is never one to take the easy among ourselves, social intercourse path when the hard one will do just as usually devolves into a debate on sub well. jects like "the decline of the novel in America," "the narrative impulse," or W. Cramp: I don't really specialize. I "why all reviewers are unintelligent." write about everything. If I'd wanted But our friend has warned us that this to specialize I would have become a is a hip and trendy party, we must be doctor. I'm really interested in every on our best behavior, and that this is subject. our last chance. Joan Q: So what magazines do you write for? Okay, so we try to clean ourselves up and maybe apply bronzing cream to Obviously this means she's never read hide the paper-gray pallor, and prom anything by us, and if she did by some ise ourselves to watch and not talk. But lucky chance catch our piece on the then we come face to face with that latest fabric treatment methods in terrifying enigma: our audience — "Drycleaning Quarterly," she's forgot Joan Q. Reading Public. ten all about it.
THE DIALOGUE Scenario Third
Dramatis Personae: W. Cramp: I'm a poet, actually. Writer S. Cramp, an obscure but tal ented person of letters. Joan Q. Read If Joan Q. doesn't give us a blank stare, ing Public, an alien from Mars (to she may react in the following ways: a) Cramp). Prologue I've never read poetry, b) I read poetry Joan Q: And what do you do? once but didn't understand it, c) I don't W. Cramp: I'm a writer. (Winces.) like poetry, or d) if she's over a certain Joan Q: Oh! I've always wanted to be age will recite The Midnight Ride of a writer. What do you write about? Paul Revere, smile and say "now that's good poetry!" We know we've got to say something that a) she will understand, b) that we In any case we will be completely de can describe in 25 words or less to moralized by the sorry state of intel keep her from nodding in her cocktail, lectual stamina nowadays, but also a c) is proof that we are serious profes tiny bit relieved. We'd love to share sionals or plan to be published very our: theory of art with her. We'd love soon, and d) is relevant to the world to raise her consciousness. We'd love beyond the four office walls and green for her to be in touch with our creativ computer glare that is our one reality. ity, but we'd be too naked if we said all this to a perfect stranger. The book's Furthermore, we're convinced that where we've laid it all bare. Read the Joan Q. is angling for a way to catego book! OPENING RECEPTION rize us because we know for a fact that artists basically make civilians uncom We hunt for the nearest shell and re fortable. If she can pigeonhole us, then treat into it. Saturday 6-8p.m. she's got art all figured out. So we don't want to accommodate her with Epilogue September 10 anything too definitive and purposeful like "I'm writing a novel about the war Joan Q: Well, I've really enjoyed talk in El Salvador." We don't want to be ing to you. Isn't this party a drag? Hey, pigeonholed that easily. Indeed, we I've never read your (article, book, want to remain elusive, mysterious, a play, poem) but it sounds really inter high priestess in the Temple of the esting. Do you have an extra copy you Muses. Damn it all, we want respect! could give me? W. Cramp: Would you consider buying Scenario First an autographed copy for $5.95? Michael H. Lord Gallery
Cramp: I'm a novelist. Both characters exeunt, stage left. 420 E. Wisconsin Avenue Joan Q: Oh, how nice! Is your novel autobiographical? NEXT TIME IN LINEAR B: How (In the Pfister Hotel) Should Creative Writing Be Taught? The easiest thing would be simply to (Linear B is a regular column in Art (414)272.1007 say *yes, it is," and change the subject. Muscle dealing with literary matters.)
14 Art Muscle Pre-Season Sale! Qitoup Qkow Order Now And mmm SAVE $1.00 Satawtog, JMy 29 6-9 p.m. THEATER On Every Ticket FOR Offer good on tickets purchased ALL AGES before Septembe-16, 1988 WINNIE THE POOH CHILDREN OF A LESSER GOD Sept. 30 — Oct. 23, 1988 Feb. 24 — March 19, 1989 909 POE BEAUTY AND THE BEAST C|JU. JVfattowaC Nov. 4 — Dec. 2, 1988 April 7 — April 30, 1989 WINNIE THE POOH, POE, BEAUTY AND THE BEAST HOURS BY APPOINTMENT (414) 332-4038 Adults: $7.00 (Main Floor) Children under 13: $5.00 (Any Seat) Saturdays at 1:00 pm and 3:00 pm, Sundays at 2:00 pm in the Todd Wehr Theater Special Performances of POE Friday, Nov. 25 at 1:00 and 3:00 pm •COYOTES-ARfAAQl LLOb- PERR05 CHILDREN OF A LESSER GOD Adults prices only: $10.00 (Main Floor) Saturdays at 5:00 pm and 8:30 pm, Sundays at 2:00 pm in the Todd Wehr Theater
Please send me the following tickets: SHOW: NAME DATE: ADDRESS TIME: C^TY STATE ZIP NUMBER
@ $7 or $10 (Adult) = $_ DAY PHONE EVENING PHONE @ $5 (Children) = $_ CHECK ONE: • Check enclosed (payable to PAC Box Office) SUBTOTAL = $_ D Charge a VISA • MasterCard DISCOUNT ($1 Per Ticket) - $_ Card Number Expiration Date TOTAL = $_ Multiple orders will gladly be processed. Please use informa tion from this ad and attach additional requests to original ad Mail your ticket order to: P.AC Box Office. 929 N. Water St. to receive discount. For week day performance information, call Milwaukee, Wl 53202 Phone: 414/273-7206 Payment & a 273-7206. stamDed, self-addressed envelope must accompany all orders.
Theater Worth Leaving Home For! ^Jto\•ao^v3 •'aooA iv- iigvnVAV i
15 Walk This Way
By Jerome Schultz 8. Clarabelle Lansing, a flight atten dant, was the only fatality when the roof blew off of Aloha Airlines Flight I thought I had finally figured it out. 243. How long had she worked for the All the TV talk shows are the musicals airline? of the 80s. The interrogations, the con a. 12 years fessions, the laughter, the tears, all vi b. 8 months tal ingredients of standard opera and c. 37 years Broadway shows. Even the talk show cast — MC, experts, witnesses, vic 9. Who convinced Laurie Dann to call tims, audience — fit the characters of her parents after her shooting spree at song-filled shows. Why it is just like Hubbard Woods Elementary School? Rogers & Hammerstein or Gilbert & a. Geraldo Sullivan. The talk shows had the same b. Phillip Andrew format. A dilemma or anxiety was es c. Sean Penn tablished and then through a range of emotions, worked out. It all seemed logical. So, I decided to magnify the 10. Name the flight number of the Ku experience. Turned off the volume and wait Airways jet hijacked in April. played musical soundtracks on my a. AIRPORT II boom box. Geraldo and Man of La b. Orient Express Mancha, Jesse Raphael and My Fair c. Flight 422 Lady, Phil and The King & I. It was fun, but pure ecstasy was Oprah and 11. This spring 93 people were killed the Sound of Music. My life was com when the Ojhari ammunition plant ex plete. I knew I had found the truth. But ploded in Pakistan. Name the twin then the Drought and the Heat Wave cities the plant was located in. ple's Choice Award. Jerome, Walk a. Tel Aviv/Beirut came and broke my bubble. 3. She won the first beauty pageant in b. Belfast/Panama City This Way." the Soviet Union and was crowned c. Islamabad/Rawalpindi My apartment is old with a limited Moscow Beauty 88. number of electrical outlets and fuses So, here it is. The 1st Annual Media- a. Katarina Witt 12. Londell and Tammy Williams were that easily blow. The heat required the Fest Quiz. Answer the questions and b. Barbara Bush arrested in Missouri for conspiring to air conditioner and that meant no mail your entry care of MediaFest to c. Maria Kalinina assassinate presidential candidate Jes boom box, no more soundtracks. So I Art Muscle, p.o. box 93219, Milwau se Jackson. What is the state motto of was forced to listen to Oprah without kee 53203. The winner will be an 4. He painted Mirth & Girth, the con Missouri? the sound. And it was even better. You nounced in the next issue (Sept. 15) troversial portrait of the late Harold a. Smoking or Non-Smoking? see I hadn't realized that Oprah was and will win an autographed copy of Washington. b. Follow the Instructions talking to me. Matter of fact, everyone the Sound of Music. a. Jim Nutt c. Show Me on the show was talking to me. Right b. David Nelson to me. Telling me what a nice guy I am. c. Barbara Kruger That I am important. That I am beauti 13. Ronald Gene Simmons of Arkan sas killed 14 family members last Janu ful. That I am somebody really special. 5. Appleton native Lee Mirecki died ary. He was retired from which branch Sure I have my problems but who FIRST ANNUAL MEDIAFEST during what Navy training exercise? doesn't. We've all had childhoods. Life of the military? a. sharks and daisies is just one big talk show. And Oprah is a. GE b. Thunderdrome (home version) my friend. She'd never hurt me. Ha, b. Air Force 1. What pro-wrestler did Baby Jessica c. Double Jeopardy how could she? The remote control is beat in a charity match at Lancaster, c. Disneyland right in my hand. I have power. TX? 6. According to Horicon Police Chief 14. Giorgio Moroder wrote the theme Douglas Glamann, the Horicon Polter song Hand in Hand for the upcoming Oprah told me during commercials, a. Hulk Hogan geist issued what directive to the Dad Seoul Olympics. What Oscar-winning ''Jerome, I care about you. Don't write b. Kevin von Erich of the house? soundtrack did he compose? a column this issue. It's too hot to be c. the Old Testament tag team Jacob & a. "I want my MTV." a. Children of a Lesser God serious. Everyone is at the beach. You Daniel b. "Come here." b. Flashdance saw my show on Thursday, when I c. "I want a 10% cut of the movie c. Jane Fonda's WORKOUT III talked about that. It's party season in 2. What two past activities do Kitty rights." Milwaukee. Have fun. I know. Do a Dukakis and Betty Ford have in com 15. How did Mary Worth meet her trivia quiz on newsmakers. Give out mon? 7. In March three Belfast mourners newest tenant the housewife/art stu some kind of prize." I couldn't believe a. coupon clipping/beauty pageant were killed at an IRA funeral. Name dent, Jenny? Oprah was giving me this advice. I contestants the gunman and the cemetery. a. She is Professor Cameron's niece couldn't believe my ears, so I put my b. guest appearances on Cajun Coo- a. Lee Harvey Oswald/Graceland b. Charlie Brown's birthday party head right next to the monitor. Oprah king/Breck Girls b. Claudine Longet/Psalmsgate said, "Trust me Jerome. I won the Peo c. She was a squatter in Mary's NY c. modern dance/drug addictions c. Michael Stone/Milltown condo •***<
16 Art Muscle MINI ART •»« July 31- August 24
JOHN A. SAVI KS Contents Created By realist in still lifes August 28 - September 22
KUTII K.IAI:R tropieal nature motifs September 25-October 19
GIBSON IIYItlft oil paintings of land and s 2639 N. Downer Avenue Works By Bret Barrett, John Biersach, Gary Hodel, Jill Sanders-Trachte Milwaukee, Wl 53211 October 23 - November 17 Cynthia Semanek, and Kerry Wiedemann 332-9500 Aug. 5th-Sept. 3rd at Biersach's, 147 N. Broadway SUSAN EVANS Opening Aug. 5th at 11:00 AM-9:00 PM 10:30 -4:30 Daily Hours: M-F 11-2, 7-9 & by Appt. 289-9374 1:00 - 4:30 Sundays porcelain figurative sculpture Closed Mondays November 20 - December 23
SPONSORED IN PART WITH FUNDS FROM THE NATIONAL ENDOWMENT FOR THE ARTS.
WITH
Ann Mosey Debra Loewen SUMMER Mark Anderson Harry Mann WORKSHOP Thomas Gaudynski
THURSDAY, AUGUST 4 THRU SUNDAY, AUGUST 7
Join Wild s ace Artis :.: ' .••.•:'-..-'::.:.•";:•• • : /M A0C M ^& S k P " •:;•-; / :: .::y ::- •• vLAbb ^^Jt-m^M tic DirecTor Debra Loewen for a unique dance/music/per formance workshop exploring new approaches to integrating dance, actions, OiO words, sound and music in a re treat setting in rural Southeastern Wis consin. Fees for Class/Action is $60.00 per person for the four-day workshop, or $18.00 per day/session. Meals and accommodation are available. For more information or to register, contact Debra Loewen oooooooooo 414-474-7398 or 414/229-4617 by July 20, 1988. CHIP Qc PY'S
H—* J 1 1 II Located in the heart of historic Walker's Point, Chip 8. Py's is perhaps the most unique dining experience Milwaukee offers. Changing art exhibitions and classic jazz will make your continental dining experience truly memorable. ROBERT PALUSKY RECENT WORKS/GLASS Live Jazz every Friday arid September 9 thru October 8 Saturday from 8 p.m. SUMMER FESTIVAL OF ART
Now offering July 22 thru August 31 Thai specials Thurs-Sun evenings D/ERLIEN
815 S. 5th Street 645-3435 CORPORATE AND RESIDENTIAL INSTALLATIONS 790 Norm Jockson Street, Milwaukee Wl 53202 (414) 224-1773 AT LAST JOHN JAMES AUDUBON WOULD BE SATISFIED Not a copy of a copy, this original graphic by award-winning Canadian artist M. Bernard Loates after Audubon's original painting is part of the introductory portfolio, Loates/Au- dubon "Birds of America." 130 years ago John James Audubon was not satisfied with HavelTs interpretations of his paintings, par ticularly the inconsistant hand-coloring. Using the Audubon paintings from the N.Y. Historical Society as his guide, Loates has accurately achieved the quality Audubon would want in an ORIGINAL GRAPH IC. The Introductory Portfolio of 5 Artworks Now Available at DeLind Fine Art 801 N. Jefferson St. • On Cathedral Square • Milwaukee, Wl 53202 • (414) 271-8525 "Great Egret"
17 /S //? ////// /// /A SUMMER EXHIBITIONS
1888/1988: A CENTENNIAL CELEBRATION through August 28 RUTH GROTENRATH: A MEMORIAL RETROSPECTIVE SUMMER through August 21 CHARTING A NEW FRONTIER: THE A.G.S. COLLECTION OF 19th CENTURY AMERICAN PHOTOGRAPHY J. through September 18 EUGENE VON BRUENCHENHEIN: llli OBSESSIVE VISIONARY mrnm through September 18 II LAKESIIE WINSLOW HOMER: PRINTS AND WATERCOLORS through September 25
SPECIAL EVENTS Eric Fischl, contemporary painter V "Recent Work"
1988: THE WORLD OF ART TODAY Lecture 4NM&§* FEATURING GALLERY ARTISTS Thursday, July 28 7:00 p.m. Lake Level Central North JULY 8 to SEPTEMBER 3 ,1988 2088 "Look To The Future" Party Reception for Artists In conjuction with Friday, July 8 5-8 pm 1988: THE WORLD OF ART TODAY Saturday, August 13 8:00 to 12:00 p.m. Sarah Aslakson KristineGunther MarkMille East Entrance — Admission charged Kermit Berg Marilyn Hart Gisela Magdalena Mover Jane Boiler Ray Hartl DagnyMyrah Craig Carey Pat Hidson Don Reitz Judy Carey Michael Ives Jacqueline Richards Annette Corcoran William Jauquet Jan Roberts Barbara Davis Emmett Johns Scott Robertson Meredith Dean Tom Kelly Maline Robinson Lu Guerzon Dickens Karen Ketarkus David Schaefer Paul Donhauser Donald Kurka Kate Smallish Joe Draegert Gerald Landt Randall Smith Bacia Edelman Cam Langley Doug Stock Beth Eisendrath Lynne Loshbaugh Evelyn Patricia Terry John Fennell Barbara Manger Leon Travanti George Frederiksen Roberta Marks Robert Van Bellinger Susan Wrona Gall Marjorie Mau William Weege Tom Grade Joanne Johnson Peggy Zalucha Sherman Groenke Jody dePew McLeane KATIE GINGRASS GALLERY 714 N. Milwaukee Street Milwaukee, Wl 53202 (414) 289-0855 Gallery Hours: Mon-Sat, 10-5 750 N. Lincoln Memorial Dr.. Milwaukee. Wl 53202 414.271.9508 EUGENE VON BRUENCHENHEIN "Freelance Artist-Poet and Sculptor-lnovator-Arrowmaker and Plantman-Bone artifacts constructor-Photographer and Architect-Philosopher" -EVB
Exhibition of Paintings and Bone Constructions September 9-October 11/1988
Opening Reception September 9 5-8 p.m.
Exclusive Representative of the Estate of Eugene Von Bruenchenhein Carl Hammer Gallery 200 West Superior Street Chicago, Illinois 60610 312.266.8512
Sea Fringe—Nov 23,1960—No 882, oil on masonite, 32% x 231/2 inches CARL HAMMER GALLERY
18 Art Muscle Photo by Stanley Ryan Jones
Contemporary dance performances can be, to say the least, enigmatic and confusing — unlike, for example, ballet, there is often no "story" to follow and no obvious linearity to the choreography. It is, then, appropriate that in concurrence with Past Post-Modern, a two-week workshop for dancers and dance educators held in June at Alverno College, some questions should be raised about contemporary dance and dance theory. Is there a way for audiences to understand some general, underlying precepts of contemporary dance? Or do any exist at all? Is it possible to read a modern dance perfor mance? Or is it simply naive to think about it in those terms?
Hopefully, the following interviews with several of the choreographers and theorists who took part in Past Post-Modern will provide some clues as to the workings of contemporary dance, answer some questions and help in the enjoyment of this some times difficult and potentially gratifying medium.
I mean it is even impossible to conceive ol the point ol a pencil without a pencil which leads up to it 19 is a self-described "freelance" dancer, choreographer and teacher. With a BFA and MA in dance, she choreo By JOHN C. BLUM graphs and dances with Wildspace, IPAAW, Milwaukee Chamber Dance Theatre and var ious independent productions. She has taught everything from ballet to ballroom dancing to dance notation at UW-Madison, UW-Milwau- kee, Whitewater and other locations.
Her special area,of interest is in Laban move ment analysis, a systematic study and applica tion of the constituent parts that make up this thing called "Movement": how a body moves through space and with what sort of effort. Based on the work of Rudolf Laban, this brand of movement analysis applies itself not only to the dance world, but to the world at large: the workplace, the sports arena, relationships. With this background, Cate has also taught movement principles to various and sundry people: golfers, musicians, actors, senior citi zens.
In autumn, she will be Coordinator of the De partment of Dance at Alverno College. With Kate Davy, Dean of the Fine Arts Division, she will be developing a curriculum leading, initial ly, to a minor in dance, and then, eventually, a major.
The interview took place on the floor of Cate's living room, with tape recorder, microphone, coffee and pastries serving as an ad hoc center piece. The interview was frequently punctuat ed (and my arm punctured) by Thysbe, a "cranky" Siamese cat.
John Blum: I'll begin with this question — knowing it's too open-ended and impossible to answer, but using it as a place to start from where you want: Why do you dance (and/or why do you dance the way you do)? Cate Deicher: There was an article with Tom Strini in Art Muscle where he talked about [the idea that] your "art," whatever it is that you do, is a form of research. We always think of it as self-expression: "I do this to express myself." He really hit on something that I think is true of me: That it's a form of my research into my life and understanding of myself and what goes on around me. I have never thought of myself as being a person who goes into the studio and "does their work" and leaves it behind when they go out.
In fact, the most satisfying choreographic ex periences for me come from when I'm doing the dishes: The movement, the ideas come to me in the midst of other things. I see something on the street, or an idea comes across my mind, and then I kind of knit it into a choreographic pro ject. Dance, for me, is not defined by any walls, or times of day, or classes or rehearsal. It's really spread out. And for that reason it feels so big to me that I go, "What am I doing" [drawn out, exaggerated].
[Thysbe enters, circles right, sidestepping her way to the sofa. She jumps onto the sofa, then Cate Deicher Photo by Francis Ford lays low between the cushions. Her eyes follow my gesturing hand: to the left, to the right, to the left. She attacks. Without front claws, she's learned to use her back claws and teeth well] The most satisfying choreographic experiences I do it out of a sense of curiosity. It just satisfies a very fundamental thing in me. Being physical. for me come when I'm doing the dishes." But it's not just the kind of physicality that's cut
20 Art Muscle off at the neck, either. The dancing I do is prob ably equal parts of what goes on up here [mo tions to head]; it's not just [gasps] "being phys ical," that kind of thing. I guess I'm just trying to say that dancing is a vehicle of balance for me.
Did you ever hear — I think Woody Allen said it — "If there is a mind-body split, which one do you think is better to have?" I always think of that when I talk like this.
You know, a lot of people say, "I like dance because it's so sexy." Dancing does give you that tactility. And even if you're not dancing with somebody else, you feel your environment and it's a very sensuous thing. It's more than just the movement feeling good, it's all of a sudden being-in-your-environment. I know that there's a certain kind of dance that just sort of happens because it's internal — that's one kind of pleasurable experience. But then to all of a sudden feel your environment the way a fish would feel water, or an earthworm feels its loose dirt. This is alive, this space; it's not a vacuum. There's life inherent in it.
JB: But aren't there different spaces, a hostile space for instance? Have you ever worked in a hostile space? CD: I don't think I have. I've set up challenges for myself, I have taken on a piece knowing that I was going to have to work with people I didn't feel comfortable with. But I wanted to do it. I wanted to see what would happen if I worked with people I couldn't share a dance vocabulary with. But hostile space? I don't know, John. I don't know if I could do that; that's going to far. just don't know. I think of my dancing coming work with each other could get together and more out of my body and my preferences in perform these dances. And he was scheduled to Maybe space doesn't even feel hostile to me, I movement. If you're going to be a ballet dancer, do one of these movement choirs at the Berlin mean aside from being in a lousy room, with no you have to adjust to what is there. Modern Olympics. They were rehearsing — so the story ventilation, no light, or something like that. My dancers develop styles that are a little bit more goes — and Hitler saw what was going on and space, what I work with — the thought has idiosyncratic, personal. he axed it, he 86'ed it right there, because he never occured to me, I just have to say that. saw it as too powerful. Hitler said something — JB: Just to be idiosyncratic here, what do you I think this is how the quote goes — "There's no In Laban training, I remember having to learn think of gravity? movement in Germany except my movement." movement scales that cause you to have to go CD: I like gravity. I think of anti-gravity. Grav Like, so long to you, Rudy. But thousands of into very uncomfortable spaces. And I have ity is not something that's necessarily pulling people were supposed to be participating in been given the assignment, "Okay, use those you down. I mean, you can go away from it and this, and if you can imagine a rush of thousands spaces that are hard to get to, that don't feel experience up-ness. There's the tailward inten of people with direction and spatial intent, good, and work with them somehow." But even tion, then there's the headward intention. It's that's got to be kind of scary to Hitler. those things always felt neat to me. I've never the two ends. experienced something negative about — If JB: I know you have some very immediate and I've experienced anything negative about Most of us — Well, we give in to gravity. We let pragmatic concerns with your new position at space, it's when all the positive elements go the head go back, because there's kind of a Alverno, but, for the moment, what would you together, like you're advancing, spreading heavy ball there. But what you can do is — If like the dance program to become if all works yourself, getting higher. It's like everything is you take the head and let it come slightly for out? How would you like to see it down the fine with itself; it's just too boring to be there ward and up, then all of a sudden you can de line? [laughs]. compress your spine. You have these anti-grav I'd like to see Alverno become a place for ity muscles: Right before you nod your head dance studies, a center. This is not anything I JB: As a (post-) modern dancer, what's your "yes," there's always that pre-movement, like have any kind of approval for, but the place relationship to ballet? the "yes" before the "yes." You feel it before where I studied in New York, the Laban Insti CD: Ballet's interesting to me, I'm fascinated you actually go into it. And that's kind of what I tute for Movement Studies, is the model for by it. Which is not to say that I want to do it — I feel. things I would like to bring here. Not only do mean in a performance sense. But there are they provide theoretical studies, but they offer qualities in ballet that are so appealing to me: JB: Much of what I've read about Laban move applications — you know, dancers come there, that sense of space and clarity of line. You can ment has to do with movement in the "every choreographers come there, anthropologists not be a good ballet dancer unless you — It's day world," rather than in a specific dance come there! People in nursing and education almost like controlling your body as a constella context. Yet, didn't Laban come from the world and therapy and mathematics come there. It's a tion. The arms always know where they are, of dance? very vital, rich, wonderful place to study be the legs know where they are, and their rela Laban came to England [from Germany] some cause you have all these cross-currents going. tionship to each other. It's so crystalline! It's so time after Hitler came to power. I think Laban spatial. That appeals to me immensely. was actually sort of exiled in his own country, And that's another thing about dance that ex not allowed to do his work. His going to En cites me: You have dialogues with people in [Thysbe starts to enter. I raise my hand. She gland signalled a new stage. The people who other areas, you inform each other on so many stops, sets her butt back down and looks looked after him in England had studied with levels. That's what's wonderful, for me; that's around.] him in Europe. But they were engaged in edu what I like to do with dance — make connec cation, engaged in very pragmatic pursuits. I tions. Not just within a field, but outside of it, CD: But in its choreographic possibilities, I see think that they teased out of him those prag too. And so the current summer program at it as a limited vocabulary. Well, you can take a matic applications. My sense of Laban is that he Alverno is like the first push in that effort. I lot of twists and turns with it: I've seen some was so global that it was like, "Okay, I'll look at want to get something going next summer ballet pieces by Twyla Tharp that I think are this." which will offer movement studies to people in wonderful. And, of course, Balanchine's hall a number of fields, as well as dance. And so that mark was that he took ballet and gave it new But he did have a very concentrated period of we can start talking to each other. life. artistic activity. He founded dance schools all over Germany, and was an artistic director at [Thysbe enters, circling left, sidestepping her When I choreograph, I certainly don't think of some opera. But he also did things like "move way through chairs, cabinets, shelves. She hops what I can do with this vocabulary. I leave the ment choirs," which were broad, choreograph over a few books. From my left rear, between ballet training and all that stuff someplace, I'm ic forms that were set up so that huge numbers my arm and torso, she sets herself in my lap. I not sure where. Or maybe it filters in, in a way I of people with very little training and very little can't move.] •«*
"I will now clasp voti in my shrimply embrace," he savs 21 Debra Loewen started her Wild Space Debra Brehmer: When you held auditions for Dance Company two hears ago, and your company, what kind of people were you the company has been critically ac looking for? By DEBRA BREHMER claimed (if that's possible in Milwaukee) ever Debra Loewen: I looked for people who re since. sponded to the ideas more so than technical aspects. I was more interested in seeing which This quirky group of dancers ranges in shapes, people got excited about the ideas of improvi sizes and personalities, with a short, slow-mo sation. I work so much more with ideas than a tioned blond woman here and a tall, leggy , style of technique. spike-haired brunette there. Loewen seems to emphasize rather than rule or control the seven DB: Your dancers are so different looking. It's dancers' differences. It's dance with personal a wild physical group. Their personalities are ity, and personality without cliche or "roles". also so different, and that's one of the things I find unique to your company. You seem to en What I like about Wild Space is that they oper courage them to be whatever they are. ate in an active arena of ideas. Their dances DL: It's a way to work, to accentuate that when aren't based on a singular concept, as in "Let's it's important and interesting. Sometimes the do a dance about this." Instead, Loewen, in a pieces don't always call for it and it ends up puckish sort of way, keeps throwing things out being more than I want. It's not just a look. It's at the audience — abstract vignettes that form how they sense themselves. It puts the dancers and explode — visual stills or images in a pho in an extremely responsible position, because tographic sense — actual humor (rare in dance they have to be there with their bodies and also when it's not corney). The audience gets a sense with their minds. Everybody's so different with of the choreographer's playful creativity in pro their body. The dancers range in ages from 24 cess. to 34 years old, and they all came out of differ ent dance programs. I never studied one specif Loewen's dance training was obtained at var ic technique either. ious universities across the country. She attend ed four different schools (depending on who DB: Where do you get your ideas from and how was teaching where) to earn her undergraduate do you structure a dance. Where does it all degree in dance. After graduating from the Uni start? versity of Illinois-Champaigne, she taught at DL: Ideas. They come from all different places. University of Delaware for four years and start I won't live long enough to do all the dances I'd ed a student-based dance company there called like to do. I want to do this piece based on New Space. After that, Loewen went to South Martha Graham, Georgia O'Keeffe and Su America for 14 months and then moved to New zanne Langer, three women who spent 70 years York for 14 months, where she worked with of their lives dealing with the philosophy of art. various dancers, including Bob Dunn, who was I don't know if I'll ever do it, but I keep going in Milwaukee recently giving a workshop. "I back to the idea. It's a really big project. I wrote did less choreography that year than ever and a grant proposal, and then I couldn't send it in. I decided it was not worth it." Loewen said. So, thought, I don't want to have to do this in one Loewen, who is originally from Stevens Point, year. I have lots of dance ideas. Other times I'll returned to Wisconsin to attend graduate have a really simple idea, a structure, some school in dance at UWM. thing abstract. Sometimes those structural things sort of pop up and come to me because I Loewen, 37, now is married to Dan Grego, di have a need to go back and practice certain rector of Shalom High School, an inner city crafts. For me I'm always balancing the literal, school for "at risk" kids. She has a six-year-old the abstract and the performing of it all. If I see daughter and lives in the country in Ixonia, something that's not quite right for whatever surrounded by a lot of wild space. reason, I interupt it. It's sort of like those Afri can textiles where they believe that everything shouldn't be perfect so they always build in a I talked to Loewen about choreography, trying flaw. It's the whole idea that you shouldn't have to tap into her creative process and get a better too much control. I love reading Scientific idea of where her compositions come from and American for dance ideas. A work I choreo how a dance is put together. graphed in 1982, Knot Theory, was based on the complexity of knot formations.. . "a knot is a two-dimensional curve situated in three-di- menstional space in such a way that it does not intersect itself." I read that one line and knew there was a piece of choreography there. I used the theories to design phrases, paths, relation ships and intricate group "knots." Sound and music are rich sources too, but I generally like to contrast their effect, such as a lovely pas de deux danced to a tape of barking dogs. Aspects of painting and sculpture also intrigue me — though I usually borrow the for mal aspects: collage, field, ground, texture, stroke. I'm now working on some short dance pictures where the temporal element is absent, and one encounters the whole picture at first viewing. I'm curious as to the effect of this and how to develop this into a dance series.
DB: That's a great thing to work against.. .that slickness or clean quality, the notion that ev erything shouldn't be too perfect. Do you con sciously throw it off or out of synch? DL: I'm always aware of the phrasing and whether it's too perfect. And if it is, what's wrong with it. Usually what's wrong is that people end up going outside of themselves so
22 Art Muscle that they lose contact with what I would call a sense of humanity. Humanity, for me, means a reference to one's self while performing. Often the dancer is showing and not being. After a while the performers no longer seem real — just a part of a pattern that someone has dictat ed they follow. So I put people up in balance and then I make them do something with their arms that makes it impossible for them to keep the balance. It appears that one thing is going to happen and then it falls off. I like that. It's not so much that I dislike beauty in dance, it's just that what I see as beauty is a very different aesthetic from traditional classical dance.
DB: So you disrupt the motion?
DL: My most formative experience was that I Debra Loewen Photo bv Francis Ford danced connected to a computer for six years. I had sensors over all my joints so that every time I moved I created sound. What became really I I clear to me was that all of these dance lines and love reading Scientific American for dance ideas." technique had nothing to do with changing the sound. So all of those formal applications were about being in a certain place, but not necessar was that he compared the army invading this DB: Where did you get that idea from? ily about making motion. What happened is I island to a corp of ballerinas longing for Balan- DL: It's that whole thing about using your face. really worked with feedback. If the music was chine to kiss their necks. We read this poem and There's 30 some muscles in your face and interesting, that was the most important thing. we took out all of the place words, all of the they're very small and what happens a lot is It completely changed my aesthetic. locations and all of the action words and we people set their face for a performance. This is reorganized them into different lists, so that my performance face. It's deadening and so is DB: So you were really reared as a solo per people would improvise with a very short list of the opposite which is just mugging. So I former? words: beach, neck, sky, invade, whatever thought, how do I make this real. How do I DL: And in music. I almost did more with mu comes to mind in response to these words. So really make them, while they're dancing, look sic. I know that I move in certain ways and have what would happen when we used beach is that at each other and see something. certain limitations and all of that defines my everyone would lower to the ground. It put DB: You seem to mix a lot of musical references style, but I still try to avoid patterns. I think if them in a certain place, where beach puts you. too. you're going to make a new piece you make a DL: I don't choreograph to music. As I'm work new instrument and design a new vocabulary. DB: So that's how it started, by cutting apart ing on a dance, I bring a tape recorder and 50 That's real exciting to do, especially with these the poem, rearranging words and the dancer's tapes. It gives me a sense of how the music dancers. They are all so different, they can all making associations with the words. changes what I'm seeing in the dance. do the exact same movement and it reads dif DL: I thought if I started with myself it will be ferently. too autobiographical. I don't want to do a per DB: You mean you try the same movements to formance piece. I want to make some sort of all different kinds of music? DB: This idea of a new vocabulary for each connection with the world, and that's not easy DL: Yeah. I've even thought of having the danc dance — where do you get that vocabulary to do. Because the military is so prevalent in ers dance to certain music and I would wear from. Do you get an idea and then set up a South America now, I knew I could never go headsets with different music. In Southern Ex framework of limitations that a "language" back and live there as I did ten years ago. So I posure, we were rehearsing to Haydn, very evolves from? tried to resolve this and capture a certain peri classical, but not very interesting, but then DL: Well it's always different. My choreogra od of my life in this piece. when we added that particular section to the phy is not based on a specific style of technique. whole piece, we did it to contemporary music. Questions and ideas about things that interest DB: What was the opening about, where the me are a starting point. The development of dancers were hanging off a bar and the curtain DB: So you were rehearsing the whole time these ideas and transformation into movement was only partially up so you could just see their with Haydn and then when you performed it, requires that the dancer be as flexible as possi arms or legs dangling? you switched? ble — this includes dance technique or strength, DL: I wanted an image. I was lost in this foreign DL: Right. Matter of fact, with Choriograffiti, it flexibility, alignment, movement efficiency, country. So there's that sense. The other thing was a new tape the night they performed it. etc., but it also means that we invent movement was that people were disappearing all the time. They had never heard it. They heard bits of it. and actions that speak or express the ideas of Corps Perdu. You could be driving down a The dancers are used to it now. It energizes one particular dance. These actions are made, country road and see these hills and they would them, they go, "ohh, what's that." Their ears practiced and put into place for the choreogra be polka dotted with white — they were human perk up. phy. They are not patterns seen or developed bones. from a dance class, combination. In this sense DB: It must be fun for you to watch how they we develop a language. If I get an idea and I DB: You try to stay away from being too liter respond. want to keep it open, or I want to see what al? DL: I like taking music and making collages, happens when I throw the idea out, I'll take it DL: Oh yeah. overlapping different elements. I like to fool into the studio and say, "this is what I'm think around with how you can lead people in one ing about. Let's try this. " We improvise. I'll DB: Well I had no idea what Southern Expo direction and then you change the music and say, this idea is about taking this phrase and sure was about. I was lost. I enjoyed it, but I the dance stays in the same direction. these three movements and only doing them felt I wasn't grabbing on to the concepts. Do you care if people miss your intentions? when you feel that it's absolutely essential. DB: What other choreographers do you ad DL: I think it's real important for the audience What is essential? What do you consider a pri mire? to just experience patterns. Although, I knew mary repsonse. And we'll just play with that. DL: Trisha Brown. I have an overwhelming that piece (Southern Exposure)needed editing. What is it? What does it mean? admiration for her work. Her work is so fresh to That piece made more sense to me than it did to me. She's always been able to let go and move the audience, to a certain degree. DB: I don't know, what does that mean? on. Her movement style changes. Now she's DL: If somebody's improvising and she can working out on Nautilas equipment and her only choose three things, what does she choose DB: But when the dance is based on an idea as choreography has impact and power. Five years to do. How big, how small, in what direction, strong as this one — South America — it would ago it was silky and fluid. Her choreography toward whom. How much does she vary it? be kind of nice to let the audience in on that, demands an attentive audience and there is an How often does she repeat? What is it that's wouldn't it? intelligence rooted in the structure of her pieces informing her? DL: I debated that. I thought of putting it in the that I love. Other choreographers? Anita Feld program notes. I was afraid the audience would man, Ann Carlson, Susan Rethorst. All of their DB: It sounds like you're working in a very be even more confused. I just think it needs to work seems to come from a passion for learning abstract, formal way. You're not dealing with be reworked and edited. about the world via choreography. That's admi ideas from the outside world as much as rable. straight dance/movement phrase ideas. DB: Do you ever get ideas from watching peo DL: Well it depends. Southern Exposure ple in restaurants or wherever .. . watching DB: And what about the future for Wild Space? (Loewen's most recent work, presented at Al posture and movement on the streets. DL: I fully intend to develop Wild Space na verno in April) is based on the time I spent in DL: In one part of the last dance, there was a tionally and to tour. Our work is important, South America. What we did is we started segment where one dancer had to make the we're exploring uncharted dance/choreo working with a poem that my husband wrote other two dancers move but she could only tell graphy. I want to put Milwaukee on the con about invading Grenada. What was interesting them what to do with her eyes. temporary dance map. *•-
All through the kitchen the machines were humming to each other, each singing its own little junctional song 23 4
m-
*jtm
so) x,v, \
Jill n « m t f J """•Us 1 1
I 1 1 & •I 1^"
i i fyfr^ •» 1 ill "* i I s ! 1 D. 1 Ol K M ** 1 ^J8; fio 1 SSiK IS i |P 1 .MM S ^ •S- -i
«t * •• o The Here pointed out, to which I hold fast, is similarly a this Here which, in fact, is not this Here, but a Before and Behind, an Above and Below, a Right and Left. Hegel, Phenomenology of Spirit
This interview took place midway through the two-week dance workshop that Robert Dunn and other dance edu By JON ERICKSON cators were conducting at Alverno College in June. Dunn, although not a choreographer per se, is most well known for the dance composi tion classes he taught at the New School for Social Research in New York in the early 1960s, where he worked alongside John Cage and Merce Cunningham. The influence of his teach ing materialized in the formation, by his stu dents, of the Judson Dance Theatre, the most radical and seminal dance force of the 1960s, which included such famous names as Steve Paxton, David Gordon, Yvonne Rainer, Deb orah Hay, Trisha Brown and Lucinda Childs. Robert Dunn is currently teaching in the Dance Department at the University of Maryland. Jon Erickson: Very recently I've been wonder ing about the reception of dance. Robert Dunn: Well, I have felt that the day of the old elite modern dance company, the old ivory tower, is gone. We need new forms of dance theater, and social humor, and to be into more intermedia situations. The sheer technical acrobatic skills of dance, thank God, are no longer foregrounded. I love them myself, in the ballet, but certainly we have more subtle ex pressive skills in a matrix that refers back and is often developed from the eloquence of our body language in just everyday experience, psychologically and in social communication. JE: Well, we had a conversation a few weeks ago about Wild Space (a Milwaukee dance company) creating new dance vocabularies with each new dance, but that might present a problem. A commonplace of the avant garde is that somehow the audience should "work" at what they see. I believe that people's viewing habits should be challenged, but I can only learn something when I can let myself go, and accept it for what it is. RD: In the 60s so much of the art was quite didactic, and I really got tired of the heavy didacticism, and I've just been reading Tristam Shandy [an 18th Century "novel"]. There's a discussion that a lot of Tristam Shandy is a satire on earlier moral didactic teachings. It was a demonstration that all this elaborate, tricky rhetoric was an indirect way to pin people down with moral values, a complex and inven tive rhetoric which really shows this reinven tion of means. Interestingly enough, the most advanced writers in terms of their technique were Swift, Pope, Sterne, and their moral val ues were the most conservative. The writers that were least inventive in their rhetorical ex position were most modern, on the side of cap italism, with individualism eroding social val ues. That's mind-blowing. It sounds like a description of something where the tremen dous invention is indirect. JE: Don't you think that's true of the 20th Cen tury? RD: I was in training as a musician when there were all those punitive expositions against the Soviet composers and at that time we almost thought that the only safety was in utterly sepa rating ourselves from politics. Even for the ex plosion in the early '60s dance styles, no one can imagine now that that was not a politicized time; it was an existentialist and phenomenolo- gical time. The main message was "Let's look at the detail of life as we live, it isn't like the establishment tells you." And we were not po liticized. Our closest connections in New York Robert Dunn Photo by Francis Ford were Bob Rauschenberg and Jasper Johns. Bob would visit our classes. And there was a very close relation between the dancers and Leo I I Castelli Gallery. just know that for dancers, this is a horrible period." JE: In other words, against a social and politi-
26 Art Muscle cal background, the formal element in art perspectives on this eternal object. This is quite Deborah Hay went to Austin. She had a teach changes. wonderful and like the model for a lot of things, ing situation and a devoted small audience, RD: As far as myself and many other were I think. So there could be some sort of collec from out of New York. And she is one of the few concerned, the formal element has a very clear tive unconscious and we're all pretty much in it's worked for. Meanwhile we have the manu function, beyond just the joy of inventing for dividual machines generating windows, partial facture of the machinery of all the people I inventing's sake. I was a student of John Cage glimpses, and animated sequences. [Laughs] taught going on the huge stage of the Brooklyn in the New School for Social Research. My first Boy, you hit me on a good day, Jon. Academy of Music and being packaged a cer degree was in musical composition theory, but I JE: You set up a certain field of possibilities tain way. The Judson Dance Theater did have a also had dance training when I was a kid, then when you teach people how to create a dance, small, local grassroots audience. The Metro again in my late thirties and then my forties. how to observe themselves. It seems to me that politan dance audience hated it, and they'd John Cage used to speak of chance procedure that has an "experimental" air to it. come, if at all, just to ostentatiously walk out. as almost sacred in itself. I could say, along with RD: To me it just seems so normal. So our audience was a Greenwich Village audi other people, that we still practice various pro JE: Can you say something more about the ence, a very local audience of practicing poets, cedures that cause ourselves to reperceive. connection of dance with the other arts, basi painters, sculptors, architects, film-makers, Merce [Cunningham] said to me, "You know, cally in relation to performance art? playwrights, and other people like that. But it after I make all these movements with the RD: The basic performance art situation is that did include people like Max Ernst and Marcel charts, then I go through the phrase hundreds studied in anthologies, where it's seen as an Duchamp. It just happened to [laughs]. of times until it goes," which I thought ex avocation of visual artists and where some po Tom Thoreson [member of Wild Space Dance ploded John Cage's philosophy as such, but it is etry, dance and instrumental music are simply Company]: I was wondering if it's the ebb and the factor of new forms often as instruments to there. I'm sorry I have to use all these words. flow of change that creates a surge of revolu reperceive. And there is a very simple dialectic It's ridiculous. In some African languages there tion and that it takes a while for its momentum in Western civilization where history gets just aren't words for drumming and dancing. to seep in, in odd angles and odd ways? shortened enough so that you can see things No one would ever think of dancing without RD: You know, it says in Ecclesiastes, "There's evolving, there is a dialectic which people can drumming or drumming without dancing. I nothing new under the sun," and my belief has use to express new social situations. When they think that's part of the answer. Our intermedia come to be that as far as basic materials and do that they inevitably find themselves doing a attempts are sometimes just clumsy attempts to basic design elements in any art, there isn't. certain amount of formal invention, and my restore an original, primal situation. However, what is inescapably new is each of us way has been to stick with that without talking weaving together different traditions. I find about the content too soon. I talk about it much JE: But without the metaphysical grounding of that to be very different on the West Coast and sooner now because to try to work at formal those situations. the East, etc., and each city has its own tenden invention is a way to push out unconscious con RD: Yes, and without the skills that are passed cies, and each school within a city. Within each tent that hasn't been precodified. Some of the down. We pass down artistic skills quite con individual's life you can see an early period, chance works cause you to perceive and dance sciously and verbally, but there's a massive middle, and — I don't know where we are with in new ways, because your body is pre-articu- passing down of artistic skills, level after level Twyla Tharp, but I think it's the rotten Twyla lated in such a complex way, the way that musi of sophistication, without verbalization. Like in Tharp now. I can see a different way of reading cal tones are. And also as meaning systems Japanese traditional theatre — you were born the traditions and periods of an artist's life, so within our cultural understanding of body lan in that family and you start when you're a child. that even with my college students I feel that guage, which is very sculptural. Pre-articulated JE: Do you think that might be possibly re- we're all weaving most of our traditions into it, so massively that very quickly poetic content emerging, since the avant garde — which is and I suggest that people should ask their teach will arise in dance. Whether one should pin it usually what disrupts such passings-on — ers: "Who did you study with?" It's like multi down further — you see we came from a time seems to be passing into a kind of obscurity? ple lines, the interest and novelty that can't be when people pinned the message down so RD: I don't really know what's happening now. escaped is the new reweaving. I really welcome heavily, pasted down on the movement, so that I just know that for dancers, this is a horrible that, and don't worry about the rest because you couldn't see the movement, and the move period. For dance professionals the last ten absolute originality is a very sophomoric idea. ment was pasted on the body so you couldn't years have been so discouraging in terms of Steve Paxton said in Contact Quarterly that see the body. The actual dancing in the body closing down, with budgets, of all the regular people thought that [contact improvisation] was three layers down, almost invisible. So I things. Arts organizations also seem to be re was all so noble savage. He said that on the said back then, let's go the opposite way: let's stricting the variety and quality of what's pro contrary, we were working in the traditions find ways of letting movement arise out of the duced and the university administrators don't specifically of the avant garde that went back body and then let the meaning arise out of the even seem to understand the very American through John Cage and Marcel Duchamp back movement, thinking we would get to fairly im philosophy of education by and through the through Dadaism and way back to the 19th portant unconscious content. arts. One of the monuments is John Dewey's Century. What we did at Judson was very con fantastic book Art as Experience. Along with JE: You talk about psychoanalysis, and I've sciously working out of some of those tradi German philosophic trends, this was a special, observed how you use one group of dancers to tions. Of course, a lot of contact improvisers do deep American development in educational fantasize or free-associate with what they see have a very noble savage ideology, so for philosophy and no one speaks of it anymore, danced by another group, to bring out uncon Steve, the papa of contact, to say this, was very not university administrators — I'm just star scious aspects. But I begin to wonder, whose helpful. tled. These are such hard years filled with dis unconscious is it? Or does it matter? appointments for our expectations — things are RD: I don't know. I've really been all through JE: I've been looking at the notion of "object" going back, and they're not going ahead. I sense Freud, and a lot of it more than once, and I've in various forms — "objectivism" in poetry, on the part of many dancers a sneaky apology read The Interpretation of Dreams I don't Dada objects, but also in theater, seeing the for dance itself as if it were in a relative period know how many times. But I also have a big body as an object and how that's translated in of decline. Now, my own associations with peo Jungian background. I would just like to be like Brecht or Artaud, and so dance seems to be a ple like Debra [Loewen], Cate [Deicher], the James Joyce, "Here Comes Everybody." 1 further precipitate of this idea . . . Laban influence, and Martha [Eddy] and Bala think you can get in that situation on an uncon RD: With performance, I have a little different [Sarasvati] is so stimulating it's incredible, scious level. feeling. In the first place, many of our old paint while at my own college I'm very isolated. In er and sculptor friends are talented million JE: When you feed that stuff back in, it's like the fields of sophisticated choreographic cre aires. And the rest of us performing art people Freudian over determination in dreams. It's ation including improvisational structure, in are wondering how we'll manage the next step. something that you're not going to get in every dance education, and in the scholarly writing Because the art object for those guys is real movement you see, you're not going to get all on dance, which I've also been doing, we are at estate, subject to speculation, ours is not. The the various meanings, but they'll all be there. the highest point we've ever been, in terms of more I think about it, after I got this image of RD: It demands maybe more than one person content and practice. The problem is not in the electronic object, non-perceptible in the ality. I'm very interested in computer graphics dance itself, it's the insertion of dance into the memory, I feel that all performance art is an because I'm working with Space Harmony, and American culture, the American economy, and analysis of an unseen object. And I feel that it's to communicate my research to myself as well the American educational process, which as just on such a different basis, since it's not a as to other I'm going to need 3D computer many of us know, is a hard life. physical object — it's a moving analysis of an graphics. Computer Graphics has a logic that is unseen object. Someone else who felt like this fascinating. You enter a complex mathematical, JE: That's a good point, because it seems to me was one of my greatest idols, Glenn Gould. He inconceivable object into the memory. Now the the only way people know about dance nowa felt that in a performance of a great piece of only way you can perceive it is like Leibniz the days is through large-scale spectacle of some music what he was doing was performing an philosopher, every individual is a perspective sort, from Einstein on the Beach to Pina analysis of a specific state of ecstasy. His perfor on the whole world, so all you can perceive is Bausch. It's the proscenium scene and people mance was an analysis, on some unknown, on windows, the behavior of partial objects de don't see the smaller-scale pieces. something imperceptible; it's known in such a rived from this object. Also, the object itself is RD: Our expectations in the 1960s were very way you can't analyze it as a physical existence. not animated and what you do to animate an specific. We expected the development of a And the computer basis of this imperceptible, object in a computer memory is to animate the plethora of small dance companies, relatively unchanging object — it's so close to choreogra perspective you're going to take. So there's this small, with very various aesthetic creeds, and phy. I think it's inspiring as a way of thought. I aesthetic eternal object like Plato's, sitting im their own small, devoted audience, that would love that Glenn Gould thing, because in the perceptibly. The only thing you animate are be decentralized throughout the nation. An ex end, with all the technology on the way, and single perspectives or you determine a chain of ample of something that did work was when lots of methodology, it's on the way to some thing quite mystical. <*« ***
Monroe went to the college and it made him crazy for a while like it has done to manv 27 "When you're grappling with the body in space, it forces a kind of 'messy' approach to art, the way life is messy the way performance art is messy-that's what attracts me/
In my "Performance Futures" column find even some prime time TV really interesting in the last issue of Art Muscle, I men — it doesn't matter as long as it's got its hands tioned Kate Davy, Dean of Fine Arts at in the present in a j;eal ingenious, inventive, By MARK ANDERSON Alverno College, and quoted from her work on knowing way. theater artist Richard Foreman. In addition to her extensive knowledge in theater, she has a After they offered me this job, I sneaked into great interest in dance, which is evident in her town, flew in and stayed at the Howard John actions at Alverno, namely, programming a son's on Layton for five days, just to see if I dance/performance series at Pitman Theater, could stand this city, and I was really impressed featuring local and national artists, and expand with the number of art galleries, the number of ing the dance studies program, at a time when performances — I just thought, "any town this other schools (UWM) are abandoning theirs. In size that can support that much activity must the course of this interview, we discussed a lot really have something going on." I thought the of things connected to a central question, "why Art Museum was very impressive for its size dance?" We started at the beginning — and what it is about.
Kate Davy: I was sixteen, living in Minneapolis, But when I got here and then started looking Sidney Shubert Walter and people who had for the aesthetic that attracts me (and in New come out of La Mama Experimental Theater York mostly I had found that aesthetic — after Company in New York started the Firehouse Foreman and Wilson, who had worn thin on me Theater in Minneapolis, and I went to see their — in dance and performance art), I kept asking production of Waiting for Godot. I was immedi about dance, and everybody talked about the ately attracted to that sensibility. They did Me ballet. That seems so peculiar — I never heard gan Terry's plays, Viet Rock, and Jack/Jack: A anybody conflate all of dance with the ballet! Trip, and a bunch of other new playwrights And then Patsy Tully (at the Milwaukee Art who were just coming out of that whole scene in Museum) told me I should see Deb Loewen, so I New York. Since then, I've been attracted to was keeping my eye open for her. The Reunion that aesthetic, and I stuck with it. concert that Cate Deicher put together with Deb and Lynn Gilliam was so much fun — and I In high school, I interviewed Sidney Walter felt, okay, there is something like this going on. about this weird stuff. In college in Dubuque, Following close on the heels of that was the Iowa in 1969,1 got a grant to go to New York to opening of Wild Space, and then I saw your interview Megan Terry, AI Carmines (Judson work after that. So I discovered these pockets Poets' Theater), Ralph Cook (Theater Genesis of this kind of aesthetic that really attract me. at St. Marks Church) and Ellen Stewart (La Mama). I was just a kid, 20 years old, running So, why dance? Well, on one hand, it isn't around with this tape recorder interviewing dance, it's that aesthetic operating in dance. On these extraordinary people. Then I directed a the other hand the answer is yes, dance is spe lot of that work, and I did a lot of workshops in cifically what I'm attracted to because, in my new theater. After college I wanted to work experience, dance is not a myopic form. Danc with Michael Kirby, because I'd read his Hap ers don't seem to be wedded to a literature. penings book, and his Art Of Time: Essays on Especially the post-modern tradition, which is the Avant-Garde book, when I was in Du what, of course, I like — they tend to be more buque. I had applied to NYU for the MFA in interested in, and looking at and grappling directing and found out he was teaching in the with, movement. PHD program, so I got a PHD. It never crossed my mind to do a MA/PHD, but that's where he Dancers don't have a territory to protect, the was — Richard Schechner was in that depart way music has a body of literature, theater has ment, too. I worked for The Drama Review for a body of literature — visual art, of course, has years, from assistant to managing to associate all of capitalism behind it. There's a more open, editor. So, I guess my attraction to that aesthet looking at everything as material approach. It's ic goes way back, and has hung with me all the like the Cage-ian idea. John Cage says, old art time. I'm interested in that aesthetic in theater, is good as material for new art — that's all it's which translates, really, into performance art, good for. Dancers introduce spoken text, taped unless you're looking at Foreman and Robert dialog, slide images — nothing is sacred — and Wilson. I'm also interested in that aesthetic in still feel very secure in calling it dance. In the video, film, and in dance. theater, if you drop text, it's mime.
Mark Anderson: And by "that aesthetic," you And the attitude is much more — to me, having mean ... ? to do with much broader ideas than this kind of KD: I'm not very interested in museum work, compartmentalized approach — you know; and by that I mean in presenting the past and dramatic literature, painting, sculpture, piano, trying to get it right. I'm real interested in per etc. formance, but not in museum performance. And classical dance, for me, falls into that cate Dance, of course, has a rich history and canon, gory — you're trying to do something that was but it's been harder to document, because it established a long time ago, and do it in a cer doesn't have the notation music and theater do. tain way, and meet certain standards. And all the attempts at dance notation, while I think they're wonderful as tools, make me real But the kind of work that's in the present, and ly nervous, because I think not having a nota that's grappling with the present and that has a tion system is in part what allowed dance to sense of humor about the present, is just real avoid being so retentive. interesting, and I will look at that in any form. I
28 Art Muscle I am interested in the whole rich history of And then, Pitman theater gets used by the peo dance, and just as we teach art history and the ple who are working in the field, and who need ater history, we're going to teach dance history. a place to perform, and who are actually mak But I don't want to be reproducing it, and I ing contributions to the artistic community. think that's a crucial difference. I think dance And that's the way those two worlds are linked. tends to be pushing at the frontiers, the way visual arts does, more than other performance. MA: We were speaking, earlier, about dance as a vehicle for a more inclusive, interarts study. A thing that I love about dance is that when How does that idea fit into your plans? you're focused primarily on the body — and I I'm seeing dance definitely as a support area (a don't think theater traditionally does that, it minor), and a way of getting all liberal arts focuses on the head, because it's all about lit students interested in art — through move erature — there's no way to be precious. Unless ment. Eventually, I would very much like to it's ballet. When you're grappling with the body have a major. And, of course if we have the in space, it forces a kind of "messy" approach students, we can do that. It's that pragmatic. I to art, the way life is messy, the way perfor love Cate Deicher's approach, because when mance art is messy — that's what attracts me. she called it "movement studies," I thought — And when it's all cleaned up and precious and exactly. And if I had my way, I would rename historicized, it doesn't have to do with moving this division "performance studies," because through life. it's performance that interests me.
MA: How are you combining your ideas with In a Performance Studies Division, I would in your work at Alverno? clude video, visual arts — we're not talking only about live performance, we're talking KD: I contracted with Next Generation The about moving forward, you know, and perfor ater, because if my students are going to work mance. Because visual art has always done that, Kate Davy Photo by Dennis Cary in the theater, they're going to work in the always been moving ahead, performing, so that professional, real theater. I refuse to reinvent would be the impulse behind naming it that lish and continue to write about what's impor the wheel in this institution. I refuse to mount way. And, ultimately, video and visual art "per tant to me, and what I think is important going full-scale student productions in a city that is form" for audiences. on out there. overflowing with theater. I want to do legiti In a way, Alverno is a laboratory: a place where mate, valid theater training and approaches to When you look at traditional art forms, they I have some resources, and I have an incredibly theater, but my way of going about it is very are not gender-blind. When you talk about Art forward-thinking institution — no one here has different. All the people out there who are with a capital "A", it is Andy Warhol who leaps ever said "No" to me. Everybody seems to be making a living in the theater and really pro to mind, not Barbara Kruger. So in a certain of a like mind in terms of forward thinking and ducing it, are the people that academe ought to sense, whether we like it or not, traditional art pro-woman, so it's a little place where you can be working with. is defined as male. When you change the name, start to imagine what the future might be, in when you change it to "movement studies," in very small ways. I just feel incredibly lucky, MA: And in the dance program? a peculiar sort of way you are moving away incredibly fortunate to be in a context where KD: We will be mounting student-focused from a gender-specific activity, as defined women can start to imagine the future. work. It will be studio work that will be focused historically. So, you can claim the history, but on the student. It won't be some mammoth you don't have to participate in it in the same Just as, geographically, Alverno is on the mar dance concert, it will be work that is very stu way. gins, women have always been on the margins, dent-centered, and not with any commitment and so I'm very comfortable on the margin. to the community, but just only to the students, Change is crucial — everything I do, I do from a Maybe that's why I've always been attracted to work the student wants to do. feminist perspective. I write; I continue to pub- marginal work and a marginal aesthetic. Ko-Thi DANCE CO. INC. AFRICAN DANCE CLASSES September 10-December 10 Saturdays
beginning AdulU 7 -2:30p.m. f$5 per class Children's Gass/5-8yrs./IOa.m.-l la.m./$3 per class Young Adult Dance/9 yrs & up/1I-noon/$3 per class Register during class
DRUMMING For Children & Adults/11 a.m.-Noon/$3
KO-THI PERFORMANCES July 24 - 1:30 p.m. Arts & Flowers Festival - Lincoln Park, Kenosha September 4 - 7:30 p.m. barrymore Theater - Madison
Ko-Thi will be holding Company auditions at 2 p.m. September 10 at the studio
2133 W. WISCONSIN AYE. 933-7007
I can't tell you any ol these things C.rope your own way through il vou want to know 29 ?> h \ * ui> When temperatures start soaring, stop in and enjoy our air conditioning and sip a cool cocktail. We offer summertime favorites like vodka & orange juice or vodka & cranberry juice. Or, quench A TRADITION OF EXCELLENCE your thirst with a tall cold glass of iced tea. Then-INDULGE! KfiER ARTS <& CRAFTS We always have 1101 N. Old World 3rd Street • Milwaukee, Wl Mon. thru Fri. 8=30-5:30, Sat. 9-5 a fresh home 272-1890 made torte waiting for you in our cooler. WHITE THUNDER OAKLAND WOLF STUDIO DRUMS FOR HIGHER PURPOSE CAFE THE AREA'S BEST SELECTION OF HAND CRAFTED DRUMS OF DEER,ELK,KANGAROO,GOAT&COW HIDE ON YELLOW CEDAR OR HARDWOOD HOOPS.WE FEATURE TAOS &COCHITI STYLE DOUBLE SIDED DRUMS.SQUARE SHAMAN DRUMS,BODHRANS, TARS & A RAFT OF VEGGIE DRUMS.
3549 N. Oakland FOR AN APPOINTMENT IN OUR STUDIO Shorewood 332-5440 CONTACT ROBERT A. MILLER AT P.O.BOX 11192 M-Th 7:30am-10pm Fri/Sat 7:30am-11pm MILWAUKEE,WI. 53211 Sun 9am-8pm (414)961-3221 Brunch 9-2:30pm
JAMES TAYLOR KENNY G BRYAN FERRY
Friday, Aug. 5 Saturday Aug. 13 Friday Aug. 26 8 p.m. Marcus Ampitheater Marcus Ampitheater Performing Arts Center Special Guest Stanley Jordan
Tickets available at all TICKETRON OUTLETS. SEARS. MAINSTREAM RECORDS or TELETRON 800-843-1558 and appropriate Box Office.
30 Art Muscle administration to facilitate arts development and to find ways to fund the arts.
Despite the fact Norquist is on record as op posed to using property tax dollars to fund the arts, ACE is hopeful that a new dedicated tax (eg. a hotel room tax) will raise revenues for the arts.
What concrete actions Mayor Norquist will take on behalf of the arts will be worked out over the next several years. In the meantime, the following interview — I believe the May or's first public statement on the arts — could become an important starting point.
Tom Bamberger: Do you know about Art Mus cle? John Norquist: It has to do with handwashing .. . No ... It has to do with art. I've seen it a couple of times.
TB: Have you ever read it? JN: I think I may have read an article or two, but it wouldn't be safe to say that I've really read it. I've seen it in places and picked it up. Does it cost money?
TB: No. We'll have to get you an honorary subscription. Before we get into the politics, I'm interested if you could take your mayor's hat off a second and speak just as an individual. JN: All right.
TB: Have you been moved by anything? Are you interested in anything? Is there anything in the art world that compels you?
Mayor John Norquist Photo by Laird Knight JN: I come from a family of people that enjoy the arts. My father and mother both sang with the Bel Canto Chorus. My father played the trumpet, he was in the University of Minnesota By Tom Bamberger Band. He's always been a great lover of music, particularly Mahler, Mozart, and so forth. I have one sister who studied opera in New York FUNDING It is a new era for the arts in Milwaukee, or so it City, who's a mezzo soprano. She still sings — seems. With the election of John Norquist, for she's about 35 years old. I have a sister who the first time in decades, art initiatives are be plays the cello in the Mexican National Sym lieved to fall on sensitive ears at the Mayoral phony. I have a sister who plays in the Madison office. Symphony, she plays viola. I have another sis ter who's also in New York who's a country Norquist enters office at a propitious moment western singer. There's a lot of music. My father for the arts in Milwaukee. The art community is paints, and my great-grandfather was actually FOR THE larger, more sophisticated and better organized an accomplished painter, Otto Norquist. A lot than ever before. What clout artists may have is of his paintings are in the Minnesota Art His being marshaled, in part, by a consortium of torical Museum. That one is a painting of a cow, arts administrators who make up a group called as you can tell. (Laughs) Project A.C.E. (Arts, Culture, and Entertain ment).. The arts community's early support of TB: Is that Otto's painting (points to a paint Norquist's underdog candidacy was due to his ings on his office wall)? sympathy and perhaps impressionistic support JN: Otto Norquist, yes. He was a famous race ARTS of the ACE platform. track painter. Before photographs were that common, he was into painting horses. Though the ACE platform, such as it is, is still evolving, it has called for the mayor to become TB: Okay, let's move to . . . a visible ambassador for the arts (in only a JN: What about me? What do I do personally? couple of months of Norquist's regime there Well, I played the French Horn, and I dabbled have been more mayoral sightings at various around a little bit in acting in college. I attend a art events than in his predecessor's entire, al lot of theater, symphony and ballet and so forth ? most 30 year, term); for the set up of an art task ... small theater and big theaters, Theatre X, force; for the mayor to create an office in his (Continued)
Patience was the obvious answer, but I had too little tir i'aste it on patience 31 (Continued from previous page) the Rep. I enjoy it and I like to go just to enjoy and just having a mayor that appreciates what conservative may not like to support the arts at the art . . . the experience . . . it's also good people are doing and communicates it to the the cutting edge of our trends but there are politics, of course, to go to events like that. people, I think, really can help. I hope it does. people that do. There is a market for art in By attending events and letting people know Milwaukee, a lot of which is people that live far TB: Well speaking of politics, the art communi that the city appreciates people's efforts. So away from Milwaukee, that come here to buy ty seems to have high expectations for your that helps. I don't think the city's in a position paintings. A lot of the art galleries are now administration. to provide a lot of cash. We do have the Sym marketing themselves in a way where more JN: Hmmm. phony program, the radio program, that the than half of their business is coming from out council and I just approved, but there are other side the Milwaukee area. However, marketing TB: And in fact, that community has been things that can be done. We're looking at help and financial resources of people that enjoy or growing, over the years and maybe this is an ing the arts develop by having the Department purchase art will always restrict the funding important time to . . . of City Development help arts groups with fun- level whether it's the government or the pri JN: Well, it's time that city government and the draising. It's in the city's interest for arts groups vate sector. In the Soviet Union, arts are paid rest of the power establishment in the commu to do well, and there's a lot of fundraising tech for by the government but everything's re nity recognize the importance of the arts. It's niques that can be used. Some arts groups have stricted by politics. Here, we have more of a become a very serious economic issue. It's a been more successful than others as you know. blend. very important ingredient to the city's econom For example the Milwaukee Art Museum, un ic revival. It's become big business now for der the leadership of Chris Goldsmith has really TB: Another kind of peculiar aspect of the art cities to look and sound and feel good and the managed to put their financial condition in community is despite the fact that individuals arts help make that happen. Milwaukee has a good shape, and it would be nice to have that create the works that are eventually per much richer concentration of arts than other formed by arts groups and are often subsidized cities, except for the very biggest cities, but by city or county governments, people — indi other than that, we have a very, very rich art vidual artists — are most often left out of the culture in Milwaukee considering the size city funding equation. we are. At least by American standards. JN: You never see governments, I think, com fortable funding this artist or that artist so TB: Okay, I want to unpack a couple of things much, I mean, there's some of that. They do it, you just mentioned. Specifically, how do you "Just having a but it's more difficult, they don't do as much of see the arts furthering economic development? it as they do of funding groups. I don't know JN: Well, first of all it attracts investment and mayor that appreciates how to really change that. There are some indi businesses. It's one of those key ingredients viduals, like actors are dependent on work in developers call "quality of life." New York City what people are doing groups, for the most part. I mean, there's some is where Wall Street is, but it's also where and communicates it, one-man shows, but basically they are depen Broadway is, Carnegie Hall, SoHo, and all the dent on groups. Some art forms aren't that way. things that make Manhattan what it is. So, New I think, really A painter may not want to function in a group York recognized a long time ago — fifteen years and very rarely does, or a photographer, or ago — that the arts were important to business can help." whatever. And sometimes you need organiza location — attracting creative people, advertis tions that can fund them. I think the govern ing people, certain kinds of industry. ment's more comfortable with an arm's length relationship with the individual and having TB: And retaining them, because a lot of cre some organization that actually provides fund ative people leave Milwaukee. ing. That doesn't mean individual artists can't JN: Yes. And it you look at tiie kind ot indus be funded, that only the Symphony can be tries that have grown in Milwaukee recently — funded or only this group or that group. But the city itself is not as well-equipped to fund arts advertising. We have much more advertising fundraising strength extend out through other business in Milwaukee than the market itself programs because of its dependence on the arts groups, including the very small ones. And property tax, its large concentration of the poor would justify. We have a lot of national adver I think the city can really help arts groups with tising business here in this city. It's incredible, and so forth, it's not in a real good position for fundraising techniques and so forth, and I can arts funding, compared to say, the state. And I but we have probably as much advertising busi personally help with that. ness as Philadelphia — a city four times bigger think the state will provide increasing amounts than Milwaukee. So, anyway, it's important to of funding to the arts, and I'll be happy to encourage them, in my role as mayor, certain sectors — the financial investment in TB: I know Project ACE has suggested a couple dustry — industries that are very mobile. They of things in particular. And they've thrown a TB: Specifically, Project ACE has advocated could go anywhere. They could be in Chicago figure around of a million dollars. You have setting up a task force to study the arts. They or Denver or Los Angeles or New York, they said that you don't want to take money out of have talked about an office of cultural affairs, don't have to be here. But they're attracted property tax but there have been ideas thrown and they've talked about you taking a leader here by the quality of life, and the art is an around about some sort of dedicated tax. Is ship role — / think you've more or less ad important ingredient in it. that something that you're seriously consider dressed that issue. It seems to me that that's ing? what you're saying is that you are going to be TB: Let's put that aside for a moment. When JN: Well, it's a possibility, but I don't think it's active. you talked at a fundraiser during the campaign likely to happen quickly, and because every JN: Well I don't know if we'd call it an office of at the Force on Water Street, you were talking dedicated tax that people dream up either has cultural affairs, or what, but at the very least I'd to a group who are basically artists, art mak somebody else that's already taken the money want to have some effort in the Department of ers, and you made a similar comment. What or it's a tax that becomes unpopular when it's City Development to promote the arts and to struck me, and frankly it was a little bit embar exposed to public discussion. rassing, is that the people in that room that do develop the arts and develop its funding base. And whether we call that an office of cultural art, do it because they think it's intrinsically TB: Obviously, someone ends up paying for it. affairs or not is another question. I do want the worthwhile. That was something that was JN: Yeah right, there's no free lunch. And city to help the arts develop in Milwaukee. omitted from a lot of your campaign talk and I searching for a revenue source like that should wonder if you have any strong feelings about not substitute for building up a good fundrais TB: And once again, what about a dedicated noneconomic rationales for supporting the ing base. I think there's a lot of potential for tax? You just said "not in the near future." Is it arts? good fundraising efforts. One thing I want to do indeed, as you seem to have implied, a wild JN: Yeah, well "art for arts sake" is the ultimate is encourage city employees to give to the arts. idea? reason, I mean, for people to get involved in it. If we can find a way to include arts groups more JN: I think it is a wild idea. I think it's an idea It can't just be a commercial, economic deci in the city's combined campaign so that they that will fall down after it's scrutinized. I mean, sion, and that's what I said earlier. I enjoy going have the option of providing money to the arts if it's that easy to raise the money, somebody to arts events. It's not a chore for me at all. It's I think that might be a good way to help, and would already have grabbed it. I don't see it as not like attending some political picnic or some other groups should be encouraged to do the the magic solution. I think it's better if the gov thing like that. It's something I enjoy doing. same thing. ernment can help empower the arts to help And in the long run, that has to be the way you raise their money, to give them public recogni look at it, but right now at this point in the city's TB: What about the tendency of art to some tion, public support, public sanctioning, public history, our art culture happens to also have a times offend and disturb? appreciation of the arts. I don't think we have very practical value to the community. JN: Well art has always been restricted by its to tax new things to accomplish that. If some funding sources, but then there have always body finds that magic popular tax, let me know. TB: Let's talk a little bit about what you can do, been people who have been willing to fund But don't let it out too quick, because some or what you are going to do. things that were on the cutting edge, avant body else might take the money, if it's that JN: Well I think there is a synergistic thing to it, garde, whatever. So, somebody that's more popular. «*r
32 Art Muscle Elm Brook Historical Society TAILGATE ANTIQUE SHOW &SALE VICTORS Sunday, August 7th 9:30-4:00pm
fc Dealer Chairman Coffee&Tea Jim Babeoek Antiques r LAKE COUNTRY ANTIQUES Splash Victor's Oeonomowoe, Wl 569-9948 over ice! Refresh yourself with the freshest beans in town. Wirth Park 2585 N. Pilgrim Rd., Brookfield
Victors on ice is way above average and will make your summer "woes be gone."
—Victor's fresh roasted French Roast —Brew it double strong —Pour it into a tall glass chock full of ice For Your —Add a big splash of real Wisconsin cream Body, Mind, Spirit
Herbs • Spices • Teas MILWAUKEE: MADISON: Massage Oils • Lotion 333 W. Brown Deer State at Gotham Soaps • Perfume Oils 351-2739 255-0117 Potpourri • Incense M-F 9:00-6 M-W 8:30-6 Cards • Candles Hair & Skin Care Sat.9-5 Th-F X:30-X Soaps • Lotions • Cremes Closed Sun. for summer Sat.9-6 Crystals • Healing Stones Closed Sun. for summer Bath Gels • Brushes • Bubbles 17I65B W. Blueniound Whitney Wav at Odana Rd 289-0870 Cards • Gift baskets 7X2-OOI7 274-6166 M-F 10:00-9 M-F 7-8 414/224-0717 Sat.9-5.Sun. 11-5 Sat.8-5:30. Sun. 10-5 'Trading Company 2339 N. MURRAY AVE. 12211. Brady St. Milwaukee. Wl 53202 MILWAUKEE, Wl 53211
$$^99 CREATIVE NOW ON SALE • JUST 11
KIP HANRAHAN: "DAYS AND NIGHTS OF BLUE LUCK ANARCHY INVERTED" is how Sting describes his new record label...
PANGAA Coming Soon ... THE CREATIVE ANARCHY SAMPLER featuring various artists from the PANGEA line PANGAEA (Pan-GEE-ah) 1. Literally CD and cassette only "all lands"-the name given to the giant JERRY GOZALES - Ya Yo Me Cure • 8/8 land mass out of which all the continents CONJURE - Cab Calloway Stands In For The Moon • 8/22 were formed 180 million years ago. 2. A KIP HANRAHAN - Desire Develops An Edge • 8/22 AN AMERICAN CLAVE SAMPLER • 8/22 new record company; a haven for music so fresh and diverse it doesn't have a name yet-"... music from all lands, for all kinds of people... music as timeless and enduring as the composers and performers it springs from ... music that ainstrea cuts through all labels save that of MUSIC MOVIES MORE extraordinary." MEGASTORE • 8201 W. Silver Spring • 464-8555 SOUTHEAST • 3333 S. 27th Street • 643-6636 SOUTHWEST • 4820 S. 76th Street • 282-7780 WAUKESHA • 150 W. Main Street • 547-1184 NORTHEAST • 5320 N. Pt. Washington • 332-919 RACINE • 422 Main Street • 632-8052
33 p y»p i
1988 is the anniversary of an automobile that most Americans have never driven or owned, and many have never even seen. Now, this isn't so amazing in itself, since there are many cars produced in other coun tries that never make it here. What makes this case so unusual is that this particular car has been in production, with very few changes, for the past 40 years. The car is the Citroen Deux Chevaux, a.k.a the 2CV, Deuche or Duck. By whatever name, the little Citroen is the peoples' car of France, and has gained its reputation for reliability, low cost, and fuel efficiency for very good reasons: the 2CV is simple and easy to repair, sells for under $6000 in Europe, and gets up to 50 miles per gallon. The Deux Chevaux was the brainchild of Pierre- Jules Boulanger, who, in 1935, instructed his staff of en gineers at the Citroen company to create a car that could carry two farmers in their working clothes together with 50 kilos (110 lbs) of potatoes, have a maximum speed of 60 kph (37.5 mph), and use only three litres of fuel per 100 kilometres (over 90 mpg). It was to be driveableover the worst rutted road or field in great comfort, and the price was to be kept low enough for almost anyone to be able to afford. The 2CV was being developed immedi ately before WWII, and it wasn't able to be put into production until after the war (when it was really needed, since most of the roads in France had been destroyed). An interesting note is that the original prototypes were ordered destroyed by Citroen when France was being occupied by the Nazis so "that they wouldn't fall into enemy hands [since the Nazis were working on their own peoples' car, the KDF (later to be known as the Volkswagen), at the same time]. When the war was over, planning and production was put into full swing, and in October of 1948 the Deux Chevaux was unveiled at the Paris Salon. With its 2-cylinder engine, fuel con sumption of 60 mpg, top speed of 50 mph, room for 4 adults, and easily removable doors and seats (sup ported by a remarkably comfortable rubber-band sus pension system) the 2CV was exactly what was needed for the times. By 1980, over 3 million had been sold. Although the Deux Chevaux has gone through technological and safety improvements throughout the years, it is still is being produced close to its originalform. Demand for the 2CV is not as great as it once was, and safety and manufacturing costs will eventually lead to its- demise (the main 2CV plant near Paris recently closed because the land was worth more money than the car was making). For now it is still being built in limited quantities in Portugal, and Citroen company officials say they will continue to produce it as long as there is the demand for the inexpensive, efficient little car.
Although the Citroen 2CU was sold in the U.S. during the fifties, it mas neuer uerg popular. Americans were more interested in spending their new-found wealth on the large-breasted Detroit monsters which were being produced at the time. Howeuer, gou can now bug rebuilt, pre-1968 2CUs for around $7500 from a distributer in Maryland. For further information, write Fournet's Antique Cars, Inc. 7603 Information for this article was taken from the following sources: The Citroen 2CV Baltimore & Annapolis Blud., Glen and Deritives" by James Taylor; "The Life and Times of the 2CV by Bob Burnie, M0 21061. Macqueen & Julian McNamara; "Citroen 2CV1948-1982", a Brooklands book; and in conversations with members of the Deux Chevaux USA car club. By Jim Ohlschmidt
grate music into every moment in life. It was a t's late, and most of the dinner crowd DAN choice of either involving and surrounding my has long since departed to digest their kids with music, making it a part of their lives, lmeals in the privacy of their suburban or sitting around resenting them for taking living rooms. Their absence leaves the seating practice time away." area around the man playing the grand piano seem unusually empty, almost creating the illu DANCE Music and the piano have always represented sion that he's performing on the set of some choices for Dance. At age eleven, he began dark play about broken hearts and three ciga riding horses and working as a gopher for the rettes in an ashtray at midnight. Piano man polo players at Milwaukee's Joy Farm indoor polo arena. By fourteen he was eating and But near the far end of the dining room is a sleeping polo, and was invited to play with the party of four who are lingering on the music. Joy Farm team on a tour of matches they They are, of course, familiar with the pianist played against Cornell University and the Uni (they're regulars) and although they call nu versity of Connecticut. merous requests to him they are really content to listen to whatever he wants to play at the "Polo is the greatest sport in the world. The close of his working day, tonight, the last of ten combination of the beauty of the sport, and the in a row. A potpourri of selections follow: Cho communication between the horse and the rid pin, Fats Waller, and several original pieces. er is incredible." The piano player is Dan Dance, and this is how But Dance's high school years were soon upon he makes a living for himself and his family. him, as were some other changes in his life. And even after he has wrung the last piece of Although Dance graduated from Shorewood music from his mental repertoire, the music High School in 1974, a career move by his doesn't stop within him. The quality of life father took the family to Evergreen, Colorado Dance thrives on involves many things — rais during Dance's sophomore and junior years. ing children, teaching, horses and polo — but at the absolute center of Dan Dance is music and "We owned a ranch where I wore a cowboy the desire to learn it, play it, teach it and create hat, smoked a pipe, grew real long hair, drove a it. Dodge Power Wagon Crew Cab and worked horses." Maybe it's this adamant love of music and its infinite variety that keeps Dance in what often By Dance's account, .his years in Colorado seems like a state of motion. An almost adoles might have turned him into an incurable cow cent energy radiates from the 33 year-old musi boy/hippie, but it was at the high school there cian, defying the woes of a middle-aged family that he met Bob Montgomery, a "real hip jazz man to catch up to him. Even though it's the cat" and local music teacher who started a jazz end of the last set on a quiet Friday night at the band program at the school that year. Mont Columns, the posh, South Side supper club gomery put together a combo with Dance on where Dance performs solo three nights a the piano. After that, he says, it was "goodbye week, his smile betrays the fact that he's doing Dan Dance Photo by Jim Ohlschmidt classical music tunnel-vision." what he loves to do, no matter who's there. Kaplan's Groucho show, and many Milwaukee When Dance's parents split up, he came back to and Minneapolis audiences know him from his That's one side of Dan Dance, lone piano man. Milwaukee with his mother to finish his last work with singer/songwriter Claudia Schmidt. He also teaches piano at the Wisconsin Conser year of high school at Shorewood. While Dance vatory of Music, and while he's qualified to had been making some musical decisions after Recent theater work in the UWM production of handle the most technically advanced students, his experience with jazz in Colorado, his big A Lie of the Mind and musical collaborations he specializes in teaching young musicians with gest decision came in 1974 when he sold his with Joddy Crosswhite and with Mike Judy's learning and physical disabilities, such as horses to buy an electric piano. experimental Spike and the Eargoggles have Down's Syndrome. occupied Dance's musical life, but the current "I had been accepted at the Conservatory, and I project foremost on his list is his debut solo "A lot of people will automatically discount a had gotten a scholarship, so I had to decide piano album which he plans to call Out Front. It persoji from being able to play based on a dis between the time-consuming sport of polo and will feature all original solo compositions. ability, but music is the universal language and the time-consuming art of playing the piano. I you can convey your thoughts and emotions had been playing piano since I was seven, long "I want to record it wherever I can find the best without ever saying a word." er than I had been riding. It's too bad there just piano and bring in a mobile digital recorder, isn't enough time for everything." maybe the Piano Gallery." Ultimately, he wants to teach blind students to play the piano. Dance does find time to stay connected to his Victor De Lorenzo has expressed an interest in favorite sport. On most summer Sunday after producing Dance's music, which unitentionally "I have a real desire to learn braille in order to noons you'll find him presiding as master of borders on the innocuous new age category. teach others to learn music with braille." ceremonies over the Olympia Polo Club games in Oconomowoc. Not only does Dance an "My original material falls into the new age bin, It takes six months with two hours of study nounce the play-by-play action, but he plays an but it was around before 'new age' was. I've seven days a week to learn the system, and time eclectic bag of records over the PA in between been playing piano four years longer than in a busy schedule of practicing, teaching and matches and to open and close the event. George Winston. I dont even like categories, playing is like gold. Still, Dance imagines the but I'm aware of the economic reality of selling extraordinary conceptual implications of play Former polo player, one-time Colorado horse- records." ing by touch. rancher, pianist-for-hire Dan Dance still feels at home in Milwaukee, maybe more now than "I want to have the sensation of feeling the Another reality — economic or otherwise — in ever before. He says he likes the musical envi notes with my fingertips. It would be like feel Dance's life is raising two children (Ryan, who's ronment, says it's been more positive in the last ing negative space, like seeing the spaces be five-and-a-half and two year-old Mikail) with few years, and he often testifies to the integrity tween pine needles. I'm used to visual music. 1 his wife Jody while maintaining a professional and talent of the other local musicians he's can interpret it mentally without even playing music career. worked with. it by reading it, but to get a sensual image and feel it rather than see it ... ' "I spend a lot of time with my kids during the But in the glow of the neon sign above the day while Jody's in school. I've been doing this booth in the window of Tony's Tavern on South Dance's musical credentials include past musi for five years now and loving it. Having kids 2nd Street, Dance's rancher accent still slips off cal directorships for the Great American Chil was a big change for me. I used to practice his tongue after a few Coopers, and the memo dren's Theater, the Friends Mime Theater and between six and ten hours a day, and a lot of ries of sportsmanship and horses are just a con the Dakota Theater. He also worked for a time that time has been taken away by family re versation away. I can write about them, but with Gabe Kaplan as a musical director for sponsibilities. But it's taught me how to inte only he hears the soundtrack, m
The people at these tables are not integrated with the architecture 35 the event of your week! M»uNAtf» te^ Gy ART? COUKJUU EVERY SUNDAY! HOLLY & COMPANY
'^LfURA.U-Y. *' •
V -
A REVUE! Starring: Vannessa, Liz, Debbie, Tim, David, Mike plus Special Guests mi 9:30 PM 801-805 South 2nd Street / Milwaukee / 383-8330 MliUWV((ttoWPf
HiU^SRgw^ .to- dance/ c£anc€^ dcmce
John Stropes, Classic American Finger-Style Guitar; Berkeley Fudge, Jazz Saxophone; Julie Hochman, G
-at mm- 1M|§|§§ \.r:. JERICHO'S
FREE HAPPY HOUR BUFFET • Mon.-Fri. • 5PM-8PM In the Midway Motor Lodge - Brookfield Just So. of 1-94 on Moorland Road • (414) 784-9770
After School, Our Teachers Like To Go Out And Play
It's easy to see where the make them even better as teachers Conservatory's faculty hang out -better at helping you achieve after school. Just check your lat your musical goals, whatever they est concert ticket. may be. Most of our faculty are active The Conservatory offers classes in performers and lecturers, and instruments, voice and music the many are members of symphonic ory for every age, skill level and and chamber groups, jazz com musical style. Individual and bos, popular blues and rock group classes are available at bands and vocal ensembles. many convenient locations. Their stage experience helps to To register now, call 276-5760.
The Conservatory of Music
1584 N. Prospect Avenue, Milwaukee, Wl 53211 (414) 276-5760
36 Art Muscle Drawings by Sally Kolf Text by Jerome Schultz I'M (IK YAIPRflflK l in IIJVTh?e 196 3iu cinema classit c Thenil Music Man is a uisimple storvy of the transformation of a traveling hustler into a respectable community leader during his escapades in the mythical heartland town, River City. The hustler, Harold Hill, convinced town leaders that a marching band would teach the boys discipline and that band obligations would get them out of the pool hall and its environmental inducement to alcohol, tobacco and sex. Hill guaranteed things would be pure and there would be no more trouble in River City. The town bought it. Smith was transformed. Everyone lived happily ever after, even the viewing audience.
Over the last few years, the summer parade has returned with double barrel force to Milwaukee. The Circus Parade, a re creation of 19th century colonialism as carnival, and the City of Festivals Parade, a celebration of ethnicity as commercial spectacle, are slowly developing into holiday institutions. Serving as days of family fun, they mark our summer calendar and dictate weekend planning. The parades also dictate or at least contain something else, our view of others and the way we see ourselves.
Unlike the Circus Parade, which time has proven can also happen in Chicago, the City of Festivals Parade is authentic to Milwaukee. While the Parade is germane to our city its theme (a celebration of melting pot Americana manifested in parade units coated with the teflon of kitsch) is expressive overall of the assimilating mission of the mass culture machine. The Parade is, to paraphrase Laurie Anderson, "great big signs that all say hallelujah, yo de le he hoo, every man for himself." It is Big Science, celebrating the banal with complacent images of cultural heritage and security. Forget teen pregnancy. Erase gangs. Delete the Drought. Void Terry Waite. Its festival time. Visualize that life is a beautiful, beautiful thing. You know you're goin' to go. The Parade begins and ends with units of state security, represented with images of pursuit (motorcycle and jeep units), art (marching bands), and entertainment (Keystone Cops). These units guide the marching bands, festival floats, balloons and local commercial char acters that serve as a sneak preview of the largest day care facility in the state — Henry Maier Festival Park. From the polyester costumes to the plastic float decorations, the Parade materialistically celebrates our fossil-fueled society. Oil derived plastic decorations simulate the glamour flash of culture reduced to moments of benign sparkle. No harnessed animals here, automotive engines drive these floats.
History and heritage are anesthetized as the parade and its viewers are victimized by our culture's desire for the reassuring thrill of spe cialness. Prom Queens, Olympians, Our Lady of Guadalupe, Wally the Walrus, and Mickey Mouse. It is all there. Why, 1 see you and I see me. Everyone sharing the fantasy.
One of the better units is the Summerfest Float, which features a monumental smile face. A pleasure emblem of global semiotics, the smile face glides down the route like a Trojan Horse for Big Brother triggering the stupid human tricks of cheers, goosebumps and an other beer. After the Parade another one begins as the army of Public Works employees and vehicles clean the street of the tons of non biodegradable litter deposited by viewers. The refuse containers of primal consumption (food & drink) are removed to provide the ulti mate streetwise guarantee for the purity of maintained cultures. All, right here in our River City.
"Hey, sure, i know what you mean, hey Nothing too much changes does it? 37 WELCOME TO THE THIRD WARD
When the Third Ward Block Party kicks in on August 5, be sure to look around the area and notice the Third Ward's continuous restoration and development. This is one of our city's most interesting neighborhoods. The commercial and retail businesses that have moved into the Third Ward reflect the creative-thinking entre preneurs behind them. So don't miss a thing!
G&-9; w ARNEY'S III// ill Ujl BOTHER I I MING SALON HAIR STYLIN N & WOMEN i LOCATED IN )fl/C THIRD WARD 207 E. B , 604 • 276-6555
Artistic License
The freedom to be creative...to choose any medium, to try new colors, new shapes, new textures. Palette Shop Inc. -- offering a complete palette of artists' supplies for every age, level and interest. M Come in and try something new! ^ Art is fun...and it's for everyone!
—PALETTE SHOPINC 342 North Water Street \ Milwaukee. Wl 53202-5715 (414)272-3780 or X800)242-7245 Third Ward branch store: 2563 N. Downer Ave
38 Art Muscle no bones about it. . . the horniest place in town
GOAT STEER BUFFALO ALLIGATOR EXOTIC ANTLERS $55 to $450 ill MMMmBM i-:WM itw - tfl! 111 :»K 4^ III 11111 "I 241 N. Broadway, Milwaukee, Wl 532D2 [414] 273-3727 ECCOLA
N THE HISTORIC THIRD WARD —L- -- "--: • .-•'"' "::- - '-• ' • •'•-'. .'-'"''."v-'':':. -..•_'•"•_••••._' ill' ' •.__ PHOENIX DESI6N. LTD DESIGNER FURNISHINGS
THE ORIGINAL—Not a Copy! TIZIO LAMP NOW $26900 Retail $299.°° CIRCUS TV CART NOW$179°° Retail $229.°° * CLOWNS MILANO LAMP (Bot Center) CLOSEOUT on Econo.Version 95 Econo. Style . NOW $49 Deluxe w/acrylic top NOW $9995 95 Deluxe w/glass top NOW $149 WILD
CARRARA LAMP (Bot. Rt.j Black or Grey Shade NOW $4995 ANIMALS
BY GENE COURTNEY AND ERIC COOK
Special Circus Parade Hours: July 17, 1988 2:30 5:00 pm
MACINTOSH FURNITURE 50% OFF THE MARTS CHICAGO • EVANSTON IL • MILWAUKEE Wl 237 North Broadway, Milwaukee, WHOLESALE PRICES Phone 271-6996. Hours: Monday 10-6:00 pm, Also Le Corbusier- Tuesday - Saturday 10-5:00 pm, and Mies Van Der Rone Sunday 11-4:00 pm. prill er Upi Gas up with these regular programs on MATA Channel 14: JREW CITY BEAT Featuring local bands and music videos. Last Tuesday of every Month and repeated -KIDS the first and second Tuesday of the following month at 8 p.m. Until December. Produced by Rodd Walker. WATCH THIS SPACE 2 hours of original arts programming.Every 1st & third Monday of the month ACCESS ALIVE 7:30 to 9:30 pm - live. A Potpourri of live programs and features. Every Thursday 7:00 pm. to 10:00 pm.
GREAT LAKES ART SERVICES BRADY STREET PHAKMACY More thaifa pharmacy ji gathering pla SERVING ARTISTS, DEALERS, COLLECTORS, AND CONSULTANTS WITH INSTALLATION, Open 7:00 a.m* - 8:00 p.m. Mon. thru CRATING, SHIPPING, TRANSPORT, 8:00 a.rr/. - 8:00 p.m. Sat. and DESIGN AND DISPLAYS
Corner Astor^ Brady 272-4384 PLEASE CALL (414)964-9750
GREAT LAKES ART SERVICES JAMES D RISTINE P.O.BOX 17842 COFFEE SHOP COFFEE SHOP CO MILW, Wl 53217
ARF MUSCLE Art Muscle Magazine's 2nd Anniversary Exhibition and Celebration
Artists are invited to submit dog-related work All media Drop off: Saturday, Sept. 17/Sunday, Sept. 18 10 a.m. to 5 p.m. Art Muscle 909 W. National Ave. Third floor 672-8485 for information Work will be juried $5 entry fee Exhibition opening: Friday, October 7 (Gallery Night)
40 Art Muscle Ear Muscle
Ati'k -I Album after album created a sensation or hide from, no image to be tarnished, Don't make me blemish these pages in Europe, two of them topping the just everlasting youth frozen handily with the lyrics to Grand Funk's "We're album chart, but no Roxy Music album by death. Besides, the seeds of seedi- an American Band," released in the ever broke the top twenty, to say noth ness were always there in Ferry. I can same year. ing of top ten, over here. What must remember first hearing him and think have been really painful for Ferry was ing, this guy sounds like a bad Sinatra So cry, cry, cry is what I'll do when I the success of bands whose style de parody; and against that music - not hear my hero on the new age hour. I rived clearly from Roxy Music such as really rock, not anything I or anyone guess we all get older, but some know Duran Duran, the Cars, Simple Minds else could name — there lay the rub. when to call it quits. Sometimes it's and Japan. Ferry was wise enough to According to a Rolling Stone interview better not to have seen the rose in full The Demise of keep changing his game plan as well as Ferry always felt he was an artist, not a bloom, geez I don't know. Bryan Ferry his roster, releasing five solo albums musician or a singer. But I'm getting or What do you do when you hear between 1973 and 1978. Finally in ahead of myself. The same interview For those still curious about Mr. Fer your hero on the new age hour? 1986 American radio found a place for lends this insight: "In black music, they ry's latest edition, Stardate is bringing him in the newly created easy listen always play things a little slower and him to the PAC on August 26th. See By Bobby DuPah ing/new age slot. His solo album Boys groove to it. That suits me, the older I you there. ***• & Girls and most recently Bete Noire get." With two kids (one Charles Fred are the ones I heard cuts from on - God erick Otis after Parker, his father and By now everybody, including my forbid — mainstream radio. How dare Redding respectively) and a wife mom, has heard or heard of Bryan Fer they play the holy Bryan into the air tucked safely into their English manor, ry. And by now everybody knows waves where any undeserving radio Ferry would be quite the jekyll/hyde that's the kiss of death. Witness: Elton owner or unappreciative elevator rider act if he were still the pub hanger/hard John, Joni Mitchell, the Clash, the could hear him. Somebody could be rocker of old. Talking Heads, the Police, the list goes listening to this in a federal office on, and I've never been able to figure it building, they might even have a 3 At the heart of Ferry's inability to out. Did they sell out, or was it just piece suit on, I thought. But then, and break the American market was a dis coincidence that they finally got their the words burn on my lips, that's dain for commerciality, the same pro hit just as they ran out of good songs. where the music belongs. clivity which made him so endearing to Or maybe the hit was just a fluke, a those open enough to give him a sec "throwaway" that because of its light 1) Try whistling along to the songs on ond listening. In Europe, where art for er, more casual air, was easier to di the last two albums. Better yet, try re art's sake is a given, Ferry's brand of gest. When it came time for the next membering a melody line and hum abstract, detached songwriting and album, the precedent had already been ming it once the record's over — impos performance combined with a strong set, but accidents are hard to make sible right? 2) Now go back and listen pop sensibility was eaten up like happen. to nearly any song from the sixteen scones. Try these on for size: preceding albums, repeat steps one Enough of my conjecturing. To the and two above - get the point? And case in point, Roxy Music formed in / bought you mail order, those unforgettable older melodies are 1971, led by Ferry, an art student (no my plain wrapper baby original lines. I've never been able to David Byrne, you weren't the first to Your skin is like vinyl, trace any of them to another song, nor go that route) and son of a coal miner the perfect companion has anyone I know. Verses and chor from Newcastle, England, [editors You float in my new pool, uses, hooks and bridges, rock and roll note: Newcastle Brown Ale is great deluxe and delightful of the pop variety. Music with balls and stuff, but they've stopped importing it Inflatable doll, my role brains. Granted, the lyrics are not al and in its place have stuck Newcastle is to serve you ways suitable for dissection in English Light Ale - junk - couldn't resist the Disposable darling, Lit 201, but they're not supposed to analogy.] The band's first album went can't throw you away now be. This is rock. Flashes and images. As Top Ten in England in 1972, and "Vir Immortal and life size, Bryan himself once penned: ginia Plain" went to #4 on the singles my breath is inside you "throwaway lines often ring true." In chart. But in the States - nothin doin. I'll dress you up daily his case more often than not. The band included Brian Eno, consid & keep you till death sighs ered by many to be the most innova Inflatable doll, lover tive, influential synthesizer player in At 42, maybe it's right to mellow. ungrateful rock, not to mention later achieve There is something sick about 45 year- I blew up your body, ments including production of three old Mick, still playing the rockin boy. but you blew my mind. Talking Heads albums, both Devo and I've often thought Jimi, Jim & Janis or Ultravox's debut albums and U-2's certainly their beneficiaries the lucky from For Your Pleasure GROSS HARDWARE & REPAIR smash hit Joshua Tree. ones. No geriatric package to develop "In Every Dream A Heartache" THE UNIQUE HARDWARE EXPERIENCE ELLEN J MILLER 3490 N. OAKLAND AVENUE (414)964-0110 MILWAUKEE. Wl 53211
FOR RENT:
OEMS AND DESIGNS Wright Street Gallery Space
An unparalleled collection of and gems. 922 E. Wright St. Available August 1 or September 1 optional attached 2 bd apartment 2595 265-5683
But boredom is boriljsj nonctlic 41 ALICIA CZECHOWSKI Spider Veins Recent Figurative Pastels ADVERTISE July 30-September 3 IN Disappear A simple, painless medical procedure for the permanent removal of broken capillaries (commonly called "spider Art Musde veins") that appear on the legs or face. Next issue: Sept.15-Nov. 15 Ad deadline: August 26 For more information and appointments call 222-3404 "Woman Dressing Before a Mirror" Capillary Vein Center j CALL OLIDORA DAVID Pc BARNETT MONONA GROVE CLINIC GALLERY 5001 MONONA DRIVE 1024 E. STATE AT PROSPECT 672-8485 MADISON Wl 53716 MILWAUKEE, Wl 271-5058
Valeric* Gallery of Art & Antiques
-feaiuring- Local Artists' Work of mixed media and antiques Located in Walkers Point 'Flic tip and Coming Hub for the Arts and Antiques in Milwaukee
1200 S. 1st Street Milwaukee, Wl 53204 Phone: 645-3177 Hours: Mon.-Sat. 11-5
DO YOU KNOW in:: ART OF THIS JEWELER? d c s i g ti • (You Really Should)
*& OF ALL THE JEWELERS IN MILWAUKEE . . . STONEAGE JEWELERS was chosen by Milwaukee
I.IONKI. MINDIN III Magazine as the Jeweler with the BEST FOR LESS. Jeweler, Professional (ioldsimth & Owner of StoneAge Jewelers
An Incredible Written Promt I will create for you custom desi DISPLAYING THE BEAUTY OF FORM AND FUNCTION IN TODAY S PRODUCTS, ENVIRONMENTS less than most mass produced jew< AND GRAPHICS.
UNIVERSITY OF WISCONSIN MILWAUKEE FINE ARTS GALLERIES StoneAge^Jewelers OCTOBER 16 TO NOVEMBER 22. 1988 "Everything you want in a jeweler ... for less." 800 East Locust Street (Just 7 blocks west of Oakland Avenue) Call 372-(4367) GEMS Tues-Fri, 11 A.M.-7 P.M. Sat., Noon-6 P.M.
A HOUBERBOCKM, INC is coming
September '88 • 230 W. Wells • Suite 202 • Milwaukee, Wl 53203
42 Art Muscle Now-Sept 18 July 31-October 23 Calendar Charting a New Frontier: Michael Sarich: Parking Meters & Other The American Geographical Society Col Religious Icons lection of 19th Century American Photogra also Arts Organizations: phy Sensuous Image: The Xerographic Work of Please add Art Muscle to Photographs of the American West; MAM: Garie Crawford your mailing lists. Teweles Gallery; John Michael Kohler Arts Center. 608 New also York Ave, Sheboygan; 1 458-6144 P.O. Box 93219 Eugene Von Bruenchenhein: Obsessive Visionary Milwaukee, Wl 53203 August 1-12 MAM: South Entrance Gallery; 271-9508 Attn: Therese Mixed media works; a preview of 20 of the artists who will exhibit at Cardinal Stritch Now-Sept 25 College's Mile of Art on August 28; PAC: Winslow Homer: Prints & Watercolors Magin Gallery; 273-7121 Deadline for next issue: MAM: Segel Gallery; 271-9508 August 26, 1988 August 1-31 Now-November 1 For events Sept 15-Nov 15. Cool Art Practice Makes Perfect Group show; multi media; Tory Folliard Gal A special exhibit of embroidery samplers; lery, 6862 N Santa Monica; 351-2405 Milwaukee Public Museum, 800 W Wells; ART EXHIBITIONS 278-2702 August 3-28 Limited Edition Now-July 24 July 15-August 11 Art Work done in limited editions or num Imaginary Gardens Sonji Yarbrough bered series by Kathleen Eggert (fused An historical perspective on the use of flow Recent oil paintings; opening reception glass), John Gruenwald (graphics), Russell ers & floral imagery in decorative works & July 15 6-8pm; Aristoi, 2521 E Belleview; Kagan (raku), & Gerald Stangl (paintings); practical objects; also 962-8330 West Bend Gallery of Fine Arts, 300 S 6th Out of Order: The Photographs of Bill isPi Ave, West Bend; 1/334-9638 O'Donnell July 15-August 19 B/W, staged photos by Chicago artist; John Four Clay Forerunners August 4-Sept 7 Michael Kohler Arts Center, 608 New York, Now-August 18 Karl Borgeson, Charles Olson, Bill Kremer A Slice of Milwaukee Sheboygan; 1/458-6144 Pitturia E Diesgno in Italia: Painting & 6 Richard Burkett Work of local artists on view in windows Drawing in Italy In conjunction with the opening on July 15 along Broadway and adjacent streets; Now-July 27 Paintings & drawings by UWM art students there will be a collaborative performance of opening reception Aug 4 5:30-7pm, corner Robert Gray & Mathew Powell who spent a semester studying in Italy; Women by Robin Pettersen, Jo Lynaugh & of Broadway & Buffalo; info 278-0555 Paintings, assemblage, poetry & prints; UWM: Union Art Gallery; 229-6310 Delinda Christie and You Drive Me to Dis Metropolitan Gallery, 2572 N Bremen; 372- traction by Robin Pettersen at 8pm (free); August 5-Sept 3 2100 Now-Aug 21 Walker's Point Center for the Arts, 438 W Contents Created By Ruth Grotenrath: A Memorial Retrospec National; 672-2787 Work by Bret Barrett, John Biersach, Gary Now-July 31 tive Hodel, Jill Sander-Trachte, Cynthia Se- Glaciers & Palms: Paintings from Another 50 of the artist's major works in all media, July 17-August 19 manek & Kerry Wiedemann; opening re Climate plus sketchbooks & ceramics; MAM: Cu Draped Yardage ception Aug 5 11am-9pm; Biersach's, 147 Kathe Betz & Dale Shikowski dahy Gallery of Wisconsin Art; 271-9508 Dyed & printed fabrics by UWM art stu N Broadway; 289-9374 Watercolors, pencil & ink drawings and dents; opening reception July 17 4:30-7pm; photo collages; PAC: Magin Gallery; 273- Now-Aug 28 UWM: Kenwood Inn; 229-6310 August 7-Sept 11 7121 1888/1988: A Centennial Celebration Raymond Gloeckler 1888: Frederick Layton & His World July 18-August 31 Woodcuts & Wood Engravings Now-July 31 1988: The World of Art Today Frank Stella John Michael Kohler Arts Center, 608 New Permanent Collection MAM: Vogel/Helfaer & Journal/Lubar Gal New multi-media works on paper; Michael York Ave, Sheboygan; 1/458-6144 Selected works in all media, historical leries; 271-9508 H Lord Gallery, 420 E Wisconsin; 272-1007 through 20th century; UWM: Vogel Hall, August 7-Sept 21 3253 N Downer; 229-6166 Now-August 31 July 22-Sept 3 Aggregate Christopher Poehlmann Summer Festival of Art Group show (Aggregate is a group of 9 Now-July 31 Photographs & metal work; Bay View Malt Glass, painting, sculptures & banners; Chicago abstract painters & sculptors) Lynn Gilchrist Anderson, Pastel Shop, 437 E Lincoln; 744-4421 D/Erlein Fine Art Ltd., 790 N Jackson; 224- also William Bedford, Photography 1773 Thomas Bremer: Photographs John Earnest, Oil Painting Now-September unusual, color views of midwestern subur Jan Serr, Oil Painting Wisconsin Statements July 28-Sept 11 ban neighborhoods; Opening reception West Bend Gallery of Fine Arts, 300 S 6th, Mixed media; MAM: Cudahy Gallery of Fred Berman: Assemblages & Photo Aug 7 2-4pm; Charles A Wustum Museum West Bend; 1/334-9638 Wisconsin Art; 271-9508 graphs of Fine Arts, 2519 Northwestern (Hwy 38), 50 works; assemblages from the 1960s & Racine; 1/636-9177 Now-July 31 Now-Sept 3 photographs from the 1980s; opening re Summer/Lakeside Eliot Porter ception July 28 6-8pm; Patrick & Beatrice August 12-Sept 8 Gallery artists (40 + ) 50 Years in Color and Black & White Haggery Museum of Art, 13th & Clybourn; Marion Rife Katie Gingrass Gallery, 714 N Milwaukee; Dean Jensen Gallery, 217 N Broadway; 224-1669 Black & white photography; opening recep 289-0855 278-7100 tion Aug 12 6-8pm; Aristoi, 2521 E Belle- July 29-August 19 view; 962-8330 Now-Sept 4 Now-July 31 Group Show Focus: 19th Century French Prints From Off the Wall 7 artists represented by Florine Roth; Art August 18-Sept 30 Group sculpture & ceramics show; Tory the Permanent Collection Muscle Loft, 909 W National; 332-4038 or MAM: European Galleries; 271-9508 Jody Kaiser, Paintings Folliard Gallery, 6862 N Santa Monica; 672-8485 Jerry Scott, Assemblage Sculpture 351 -2405 Now-Sept 4 Opening reception Aug 18 5-8pm; Piano July 29-Sept 15 Gallery, 219 N Milwaukee; 964-3605 Now-July 31 Recent Acquisitions Leo Feldman's Greatest Hits Joan Gaspar Hart Milwaukee Art Museum Opening July 29 8-11 pm; summer hours by Ross/Pain Gallery; 271-9508 August 20-October 26 Photography; John Michael Kohler Arts appointment; 773A N Jefferson (alley en Mammoth Mania Center, 608 New York Ave, Sheboygan; trance); 289-0308 Now-Sept 5 6 life-size moving, growling models of post- 1/458-6144 dinosaur wildlife; Milwaukee Public Muse Cedarburg Collects: Ethiopian Art From the July 31-August 24 Schenk Collection um, 800 W Wells; 278-2713 Now-August 1 Miniart '88 Watercolors Religious paintings & renderings of heroic Dorothy Bradley Galleries, 2639 N Downer JBH Gallery, 1336 N Astor; 271-2270 scenes; Ave; 332-9500 The Malone Family Farm: A Century in Ce Now-August 6 darburg Roberta Sherrer Gerds Tools, photographs & written documents; r~ Simple Pleasures: Summer Recreation in tfHnrr ~ Playing in the Dark •1 MSI- kr.:=Mfc Oil paintings & sculpture; Harmann's Wa Old Cedarburg termark Gallery, 1257 W Mason, Green Represented through a wide range of im •-flLr"^^ Bay; 1/497-1497 ages & artifacts Cedarburg Cultural Center, MILE W63 N643 Washington Ave, Cedarburg; 1 1 Now-August 10 375-3676 WP&S Damn Everything But The Circus Circus World Museum Exhibition Now-Sept 11 Wisconsin Painters & Sculptors or Silent War: Submarines in World War II Milwaukee Institute of Art & Design, 342 N Juried Membership Show 88 Water; 276-7889 Photographs, posters & other memorabilia; (presented in conjunction with the national convention of US Veterans of World War II Now-August 14 Aug. 21 - Sept. 16 Aug 31-Sept 4 at the Hyatt); Milwaukee Together Again Public Library, 814 W Wisconsin; 278-3572 ART Sam Christy, Lois Lovald Mogensen, June Opening Reception •"•' SPONSOCCD BY -as Mitchell Pomatto & Bernice Merritt Serpe; Sunday, August 21, 3-6 pm Trie rRicsDs or SAN DAMIANO Gallery 124, 124 66th St, Kenosha; 1/652- Now-Sept 18 ntv — "^ : 1795 Ukranian Folk Art 10-5 Milwaukee Public Museum, 800 W Wells; Frederick Layton Gallery MIAD Now-August 14 278-7202 AUGUST 28 Hothouse Hours: Monday - Saturday 10-4 CAEDINAL | Exploration of floral imagery by contempo Now-Sept 18 srorTcrt i JriBHii i COUiGC rary American artists includes indoor & out Gardening Through History door installations; John Michael Kohler Arts Free admission on weekdays; Mitchell Park mm* -m§ 9 Jfe ADMISSION 1.50 Center, 608 New York, Sheboygan; 1/458- Horticultural Conservatory, 524 S Layton; 6144 649-9800 Wf-^^i^^ww J?\ ^SKm
On one street wns a store that had a Dobermnn miming loose on the root, an amazint: event that I could never liyurc 43 August 21-Sept 16 July 18 & 19 August 6 & 7 LECTURES Wisconsin Painters & Sculptors Tejumola Olgoboni, Master Storyteller Lanterns for Peace Juried membership show 1988; mixed me Tales of African & American origin; 6-7pm; Film presentation of Hellfire: A Journey dia; Milwaukee Institute of Art & Design, free; July 18 at Palmer Playground, 1900 N from Hiroshima, produced by Milwaukeean 342 N Water; 276-7889 1 st St, July 19 at Holt Playground, 1716 W John Junkerman at 4pm Aug 6 & 7 at July 19 Holt Ave MAM's Multi-media Theater; the Sat film Ruth Grotenrath: A Memorial Retrospec August 21-Sept 16 showing will be followed by a ceremony at tive The Art of Architecture/Architectural Art July 20 the PAC Peck Pavilion from 5-8:30pm, the Gallery Talk by Dean Sobel; 1:30pm; MAM: Paintings & drawings by UWM students of Maggie Melvin, Professional Storyteller Aug 7 showing will be followed by a panel Cudahy Gallery of Wisconsin Art; 271- Fine Arts and Architecture; opening recep Folk tales with children's participation; 6- discussion; also, at 3pm Aug 7 a special 9508 tion Aug 21 4:30-7pm; UWM: Kenwood Inn; 7pm; free; Merrill Park, 461 N 35th St viewing of art on paper on the theme of 229-6310 artists' social responsibility at MAM's Print July 23 July 21 Room; 271-9508 In Search of the First Egyptians August 26-Sept 23 Walk Like an Egyptian Dr Michael A Hoffman, University of South Robert Wick Opening party for First Egyptians exhibit; August 7 Carolina Ancient Egyptian civilizations & Sculpture; the artist will collaborate with middle eastern food, belly dancing and All Milwaukee County residents will be ad the research at Hierakonpolis, Egypt; Sigmund Snopek for a performance/instal camel rides; 6-9pm; $15 (reservations re mitted free; Milwaukee Public Museum, 2:30pm; Milwaukee Public Museum: Lec lation at 8pm Aug 26 (free); Walker's Point quired); Milwaukee Public Museum, 800 W 800 W Wells ture Hall, 800 W Wells; 278-2702 Center for the Arts, 438 W National; 672- Wells; 272-2702 2787 August 7 July 28 July 22 Bradley Sculpture Garden Party 1988: The World of Art Today August 28-Sept 22 Poetry Reading Noon-7pm; info & tickets Jen Jensen, 272- Eric Fischl John A Sayers Mary C Puis & Diane Stempke 0346 7pm; MAM: Lake Level Central; 271-9508 A realist in still lifes; Dorothy Bradley Gal 8:30pm; $2.50 donation; Coffee House, leries, 2639 N Downer; 332-9500 631 N 19th; 962-2135 August 7 July 30 Tailgate Antique Show Mysteries of the Great Pyramid August 31-Sept 25 July 23 Folk art, quilts, country antiques, found ob Film & discussion with anthropologist League of Milwaukee Artists (Upper Gal Clay Stomp jects, dealers from several states; 9:30am- Carter Lupton; 2pm; Milwaukee Public Mu lery) Joel Pfeiffer 4pm; $1.25 donation; 2585 N Pilgrim Rd seum, 800 W Wells; 278-2702 WBGFA Associates Exhibition (Lower Gal 1000 pounds of dry clay will be mixed with lery) feet & hands; bring a towel & change of August 9 August 2 West Bend Gallery of Fine Arts, 300 S 6th clothes; ceramic artists will also be present Open Board Meeting 1988: The World of Art Today Ave, West Bend; 1/334-9638 to demonstrate different ways of working Public welcome; 7pm; Coffee House, 631 Gallery Talk by Dean Sobel; 1:30pm; MAM: with the clay, & a large sculpture will be N 19th; 962-2135 Journal/Lubar Galleries; 271-9508 Sept 1-October 30 made by participants, who will be given Pots & Rags some clay to take home to work on; 11 am & August 12 August 4 Conventional & unconventional pottery and 2pm; free (reservations required); Walkers Meteor Shower Celebration 1888/1988: A Centennial Celebration unique wearables in many media; A Hou Point Center for the Arts; info 796-2962 or Potluck at 7pm; astronomy presentation at Docent Aperitif; 5:30pm; MAM; 271-9508 berbocken, Inc, 230 W Wells, Suite 202; 672-2787 8:30pm; meteor showers in the night sky 481-6265 around 11 pm; $3 ($10 for overnight camp August 6 July 23 ing, includes breakfast); Wellspring, Inc, Memphis: Metropolis on the Nile Sept 4-October Mid-Summer Social 4382Hickory RdWest Bend; 1/675-6755 Dr Rita Freed of the Memphis State Univer UWM Biennial Faculty Exhibition 7-10pm; back patio behind High Wind sity will discuss recent excavations; 2pm; Opening reception Sept 4 1-4pm; UWM: Books, 3041 N Oakland; 332-8288 August 13 Milwaukee Public Museum, 800 W Wells; Fine Arts Galleries; 229-5070 2088 Party: A Look to the Future 278-2702 July 23 Dress in a futuristic manner; bring artifacts Sept 9-October 6 Bus Trip to Spring Green for a time capsule; participate in videos of August 7-12 Tom Warn Tour of Frank Lloyd Wright sites; lunch; visions of 2088; music by Wild Kingdom; 8- English Romantic Organ Music Festival Oil paintings on masonite; opening recep matinee of Midsummer Nights Dream at 12pm; admission at the door; MAM: East Lecture series presented in conjuction with tion Sept 9 6-8pm; Aristoi, 2521 E Belle- American Players Theatre & buffet supper Entrance & Vogel/Helfaer Galleries; 271- performances; $150 (full series); contact view; 962-8330 on the grounds; 9:30am-9:30pm; $66 ($58 9508 Sherry Peters, 545-2570 members); info Karen Kane, 332-3346 Sept 9-October August 26 August 13 Robert Palusky July 24, August 12 & 27 Poetry Reading The Egyptian Recent works in glass; opening reception Open Stage Eddie Silentwalker Himes Theatrical film followed by a discussion of Sept 9 5-8pm; D/Erlein Fine Art Ltd, 790 N Poets & musicians welcome; 7:30pm; $1; Also other poets who have been associat the historical basis of the film led by anthro- Jackson; 224-1773 Coffee House, 631 N 19th; 962-2135 ed with Ambrosia; 8:30pm; $2.50 donation; poligist Carter Lupton; Milwaukee Public Coffee House, 631 N 19th; 962-2135 Museum, 800 W Wells; 278-2702 Sept 19-October 8 July 29 Barbara Kohl Gallery Night August 27 August 16 Recent works; Michael H Lord Gallery, 420 An opportunity to spend a night gallery- Last Summer Social 1988: The World of Art Today E Wisconsin; 272-1007 hopping; lecture at Milwaukee Art Museum 7-10pm; back patio behind High Wind Gallery Talk by Dawn von Wiegand; at 5:45pm; participating area galleries will Books, 3041 N Oakland; 332-8288 1:30pm; MAM: Journal/Lubar Galleries; be open 6-9pm; free 271-9508 DANCE August 27 July 30 Open Stage August 20 3rd International Bubble Blowing Extrava Poets & musicians welcome; 8:30pm; $1; Shattered Dolls & the Angry Dead ganza July 18 & 25 Coffee House, 631 N 19th; 962-2135 Dr Robert Ritner of the University of Chica Family activities; demonstrations & partici Music in Motion - DJ Dance Concert go will discuss curses & love charms of pation; the bubble wall; bubble domes & Participation dance concert; 7-9pm; free; August 28 ancient Egypt; 2:30; Milwaukee Public Mu bubble magic tricks; 2-4pm; downtown July 18 at Cooper Playfield, 2236 W Abbott, Mile of Art Fair seum, 800 W Wells; 278-2702 Whemhoff Square Park, Burlington; info July 25 at Cleveland Playground, 1020 W 10am-5pm; $1.50; Cardinal Stritch Col 1/763-3946 Cleveland lege, 6801 N Yates Rd August 23 Bus Trip to Art Institute of Chicago July 30 & 31 July 21 August 28 Showing Dutch & Flemish Paintings from Culturally Speaking Dancin' in the Park Coffee House Picnic the Hermitage; price includes transporta Celebration of Community Arts Festival Bauer Contemporary Ballet Public welcome; bring-your-own; 1pm; tion, museum admission & lunch at an eth Inner City Arts Council Performance demonstration & children's free; Picnic Area #1, Lake Park; info 962- nic restaurant; 8:30am-5:30pm; info Karen Juried exhibitors in all media; performing movement workshop; 6pm; free; Lake Park 2135 Kane, 332-3346 arts groups; a children's mural painting Pavilion; 276-3180 event and a teen art competition; Noon- Sept 11 7pm; free; PAC: Peck Pavilion Wild Space Dance Company Present Music Series July 31 Collaborative dance/music spectacle in the Sunday in the Country MILWAUKEE'S CENTER FOR ALTERNATIVES Gordon Park Pool; 5pm; free; Humboldt & Games, volleyball, swimming, art instruc Locust tion, tai-chi, biking, hiking, fishing; pot luck at 5:30pm; $5/person, $12.50/family; Sept 18 Wellspring, Inc, 4382 Hickory Rd, West Dance Exchange/Dancers of the Third Age Bend; 1/675-6755 Intergenerational dance company from Washington, DC; 3pm; $8/$5; Alverno Col August 5 lege: Pitman Theatre, 3401 S 39th; 382- Slice of Milwaukee 6151 or ARTREACH 271-4704 Third Ward 3rd Annual Block Party 11am-11pm; free; N Broadway between Buffalo & Menomonee Sts
EVENTS August 5 3rd Annual Moving Performance Parade Lead by Friends Mime Theatre & Theatre X ATERNAT,VE JtTERATURE QIFTS Thursday evenings Part of the Third Ward's Best Block Party; Cajun Dinner Cruise come as art or in any costume; meet at 158 Transportation to the Fox River, a 2-hour N Broadway at 11am for noon parade & cruise including an authentic Cajuri dinner 6pm for 6:30 parade K1EWAGE MUSIC HUTONS & music; Bus pickup at 4:45; $17.50; de posit required; Jolly Vnuks, 2215 W Nation al; 384-9050 MON-WED10-7 THUR-FRI10-9 SAT 10-7 SUN 12 -5
3 0 4 1 N . OAKLAND AVE. 414/332-8288
44 Art Muscle August 25-October 13 July 21 July 30 August 9 The Power of Myth Barbara & the Karousels Polka Band Music Under the Stars American-Soviet Youth Orchestra 8-wk group viewing/discussion of Joseph 7pm; free; S 78th St Playfield, 3771 S 78th Curtain Call A group of 110 young musicians chosen Campbell video series; Th 6:30-8:30pm; Operetta & Broadway music: 8:15pm: free: from among the best of the Moscow Con $20 per session; Mind's Eye Institute, July 22 Washington Park Temple of Music; info servatory and various conservatories in the 16445 Audrey Lane, Brookfield; info 786- Milwaukee Symphony Orchestra 278-4389 US; 7pm; $8 & $10; Elmbrook Church. 777 1120 8pm; free; Mitchell Park Domes, 524 S Lay- S Barker Rd: tickets on sale at Harry W ton Blvd; 649-9830 July 31 Schwartz Bookstores; info 962-3040 Sept 16 Beethoven's Ninth Symphony Dance Symposium July 22 Milwaukee Symphony Orchestra August 10 The Role of Dance in the Community SummerNights '88: Toast of the Town Zdenek Macal, Conductor Chamber Music Concert Liz Lerman, founder of Dancers of the Third Oceans, Ron Devillers/Jack Carr Big Band Milwaukee Symphony Chorus & Bel Canto Jeffry Peterson & members of the Wood Age will lecture & perform; 1-5pm; $5; Jew & David Hazeltine Septet Chorus wind Arts Quintet and the Lake Quartet ish Community Center; sponsored by ART- 8pm; $6-$19; PAC: Uihlein Hall; 273-7206 7pm; $11 & $15 (includes admission to 8pm; $5; UWM: Fine Arts Recital Hall; info REACH; info 271-4704 GermanFest); fireworks display follows 271-1468 July 23 concert; Summerfest Grounds; 291-6000 Sept 16 & 17 Music Under the Stars or Ticketron 273-6400 August 11 Dance Workshop with Liz Lerman Night of Musical Treasures Piano Recital For dancers interested in working with older 8:15pm; free; Washington Park Temple of August 1-5 Mark & Karin Edwards adults; $15; Alverno College, 3401 S 39th; Music; info 278-4389 Rainbow Summer 4pm; $5; St Joseph Hall, 1501 S Layton; sponsored by ARTREACH; info Ann File- August 1: Patsy Tighe/Scott Sherwood Duo info 271-1468 myr, 271-4704 July 23 & 24 August 2: Kojo (also at 7:30pm) Pops! Fiedler Style August 3: Bob Kann (Storytelling-Juggling- August 11 Milwaukee Symphony Orchestra Acrobatics) A Festival of English Choral Music John Covelli, Guest Conductor & Pianist August 4: Arrow Lakes Dance Theatre Sir David Willcocks, John Scott & members MUSIC 8pm; $6-$19; PAC: Uihlein Hall; 273-7206 (from Canada) of the Milwaukee Symphony Chorus August 5: The 2 Ton Baker Band 8pm; $5; St Robert Church, Farweli & Cap July 24 Noon-1:15pm; free; PAC: Peck Pavilion itol; info 271-1468 Now-August 7 Fine Arts Quartet Green Lake Festival of Music Menahem Pressler, Piano August 4 August 11 July 16: Mirecourt Trio and Childrens Ballet Roger Ruggeri, Bass John Hill, Classical Guitarist Blarney Theatre 7:30pm; $12/$10; Pabst Theater, 144 E 7pm; free; Boerner Botanical Gardens, Irish & American folk tunes; 7pm; free; 8:15pm; Grand Opera House, Oshkosh Wells; 271-3773 5879 S 92nd Boerner Botanical Gardens, 5879 S 92nd July 18: The Mirecourt Trio with John Har mon July 24 August 5 August 12 8:15pm; Lawrence University: Harper Hall, Amadeus Harmonie County Concert Music from the Romantic Period Appleton Sylvan Winds & members of Milw Sympho Milwaukee Symphony Orchestra Master Singers of Milwaukee July 24: Orpheus Vocal Consort ny Orchestra wind section; 1pm; free; Mil JoAnn Falletta, Conductor Solo & ensemble music of Beethoven, Bi 4pm; First United Methodist Church, Apple- waukee County Zoo; info 276-5838 8pm; $5-$10, rear loge & balcony free; zet, Brahms, Chausson, Faure, Rossini & ton PAC: Uihlein Hall; 372-7206 Schumann; 8pm; free; Villa Terrace, 2220 July 28: University of Szczecin Choir July 24 N Terrace; info774-5316 8:15pm; UW-Oshkosh: Music Hall July 31: Romany Singers August 6 Festival Chamber Choir Broadway Melodies Music Under the Stars August 12 4pm; Ripon College: Demmer Recital Hall, 3pm; free; Cardinal Stritch College, 6801 N Around the World in 90 Minutes Organ Recital Ripon Yates Rd; 352-5400 8:15pm; free; Washington Park Temple of Todd Wilson August 4: John Scott, Organist Music; info 278-4389 8pm; $5; St Anthony Church, 9th & Mitchell; 6:30pm; Ripon College: Demmer Recital July 25 info 271-1468 Hall, Ripon Music in Motion August 6 & 7 August 6: Green Lake Festival Choir & Or 7pm; free; Cleveland Playfield, 1020 W Shall We Dance August 13 chestra Cleveland Milwaukee Symphony Orchestra Music Under the Stars Sir David Willcocks Boris Brott, Guest Conductor A Rodgers & Hammerstein Night 8:15pm; UW-Oshkosh: Music Hall July 25-29 Veronica Tennant, Dancer 8:15pm; free; Washington Park Temple of August 7: Green Lake Festival Choir & Or Rainbow Summer 8pm; $6-$19; PAC: Uihlein Hall; 273-7206 Music; info 278-4389 chestra July 25: Red Clay Ramblers Sir David Willcocks July 26: The Washington Squares (also at August 7 August 15-19 7pm; St Monica Church 7:30pm) Sir David Willcocks Rainbow Summer For tickets or info: 414/748-9398 July 27: Chuck Solberg & the Mighty Green Lake Festival Chorus & Orchestra August 15: Ray Neumann's Senior Big Strokes of Joy 7pm; $5; St Monica Church, Santa Monica Band July 18-22 July 28: Milwaukee Dance Theatre & Silver Spring; info 271-1468 August 16: Rosewood Percussion Group Rainbow Summer July 29: Mary Duffy & Company (Jazz) (also at 7:30pm) July 18: The Psaltery (Folk Duo) Noon-1:15pm; free; PAC Peck Pavilion August 8 August 17: Paradise Cafe (New-grass from July 19: Oceans (also at 7:30pm) Voice Recital France) July 20: Friends Mime Theatre July 26 Judith Erickson, Vern Sutton & Phillip Brun- August 18: Anne Pellowski (Storyteller) July 21: Fullogic, vocal & performance Louie Byk Polka Band elle August 19: The Texas Lone Star Ceili Band group 7pm; free; Burnham Playfield, 1755 S 32nd 3:30pm; $5; St Paul Episcopal Church, 914 Noon-1:15pm; free; PAC: Peck Pavilion July 22: Jazzworks Dance Company E Knapp; info 271-1468 Noon-1:15pm; free; PAC: Peck Pavilion July 26 August 18 The Burgundian Consort Louie Bashell Polka Band August 8-12 July 19 Renaissance music; 7pm; free; Boerner 7pm; free; Enderis Playfield, 2938 N 72nd Rainbow Summer Louie Bashell Polka Band Botanical Gardens, 5879 S 92nd August 8: Warrior River Boys 7pm; free; Cooper Playfield, 2236 W Abbott July 27 August 9: The ShuffleAires (also at Roy Schneider Showcase Polka Band 7:30pm) July 19 MAM - Milwaukee Art 7pm; free; Ohio Playfield, 974 W Holt August 10: Those Good Intentions 84th Division Military Band August 11: Dave Porter & Renee Museum 7pm; free; Enderis Playfield, 2938 N 72nd July 28 August 12: Those Spanic Boys 750 N Lincoln Memorial Dr Sanborn Festival Singers Noon-1:15pm; free; PAC: Peck Pavilion July 20 Thomas Sanborn, Conductor County Concert UWM - University of Wis 7pm; free; Boerner Botanical Gardens, August 9 Milwaukee Symphony Orchestra 5879 S 92nd Organ Recital consin, Milwaukee JoAnn Falletta, Conductor John Tuttle Jonathan Shames, Pianist Kenwood Blvd at Downer July 28 4pm; call 271-1468 for location 8pm; $5-$10, rear loge & balcony free; Black Frost Rhythm'n Blues Band PAC: Uihlein Hall; 273-7206 7pm; free; Lapham Park, 1758 N 9th August 9 An Evening of English Parlour Music July 20 July 29 Judith Erickson, Vern Sutton & Phillip Brun- ri Louie Bashell Polka Band Monica Verona, Piano 7pm; free; Ohio Playfield, 974 W Holt elle 7:30pm; free; Charles Allis Art Museum, 8pm; $5; Pabst Theater, 144 E Wells; info 1630 E Royall; 278-8295 271-1468 July 21 \iJ\TU V Sotavento July 29 & 30 Latin-American music; 7pm; free; Boerner An Evening with Cab Calloway ADVERTISE! L&K£~ AUTHoO. Botanical Gardens, 5879 S 92nd Milwaukee Symphony Orchestra call (414)672-8485 JoAnn Falletta, Conductor or THe BOOK — L»skKiN<*af: Next issue: Sept.15-Nov. 15 8pm; $6-$19; PAC: Uihlein Hall; 273-7206 Ad deadline: August 26 HO\M THC Pet>PL-£ IN. YoaH L\F£ Ate fctfAD ^ t <*>** S> fo
tfte scariest pianist ART CENTER U at lunch FRAMING GALLERY ^SVwfcteV MACLAIN£ Durttt< V±£& SEMINAR"Tou!. CafeMelange Torch S°nqs & Skow 77>i/^e u FROM MONET daily with m Tnfin H AAA "TV? 4 CM SATURDAY TO O'KEEFFE TO JULY 30 •availoBCefor events David * ^c\\m\^r PATRICK NAGEL SUefcCwcaD ^MAN^ CUAS & guesx eccentric^ each w^ek B.iy Shurr M.ill •900 N. Port W.v*.hin This object had been a cruel embarrassment to his ex-roommate but I didn't about it 45 August 22-26 Now-August 20 Rainbow Summer My Fair Lady August 22: Miss Tiny West & Her Country Lerner & Loewe Swingers Sunset Playhouse August 23: Big Twist & the Mellow Fellows Th-Sa 8pm, Su 7pm; $7; 800 Elm Grove (also at 7:30pm) Rd; 782-4430 August 24: Betty Salamun & the Dancecir cus Now-Sept 15 August 25: Deuce Antony & Cleopatra August 26: Frankie Sabath & the Milwau Carl Tambill Repertory Theatre kee Sound Comic production with audience participa Noon-1:15pm; free; PAC: Peck Pavilion tion; W & Th, 12 & 1pm; free; outdoors, southeast corner Milwaukee Public Muse August 25 um, 800 W Wells; 278-2702 Lake String Quartet 6:30pm; free; Boerner Botanical Gardens, Now-Sept 30 5879 S 92nd American Player's Theatre 4. plays in rotation: August 28 Midsummer Night's Dream Master Singers of Milwaukee Twelfth Night Works by Brahms, Schubert, Schumann & The Tempest, & Mendelssohn; 3pm; free; Villa Terrace, The Seagull 2220 N Terrace; info 774-5316 Matinees & evening performances; $11- $19.50 (hill seats $9); PO Box 819, Spring Sept 4 Green; 608/588-2361 Rosewood Percussion Group 6pm; free; Boerner Botanical Gardens, 5879 S 92nd St July 19-October 16 Peninsula Players Sept 11 July 19-31 Wild Space Dance Company Return Engagements Present Music Series August 7-14 Collaborative dance/music spectacle in the A Streetcar Named Desire Gordon Park Pool; 5pm; free; Humboldt & August 16-Sept 4 Locust Ten Nights in a Barroom Sept 8-October 16 Sept 11 & 12 Driving Miss Daisy Paganini Trio Tu-Sa 8:30pm, Su 7:30pm; $12.90-$16.90; S 2:30pm, M 7:30pm; $7.50/$5; Wisconsin Fish Creek, Wl; 1/868-3287 Cqnservatory of Music, 1584 N Prospect; PERFORMANCE 276-5760 THEATER ART August 4-7 & 9-13 Correction Little Shop of Horrors June 20 listing for Celebrate Harmony con Now-July 23 8pm except 3pm Aug 19; free; John Mi cert held at Villa Terrace which read "Mil August 26 Cotton* Patch Gospel chael Kohler Arts Center, 608 New York waukee Symphony Orchestra" should Robert Wick & Sigmund Snopek Acacia Theatre Company Ave, Sheboygan; 1/458-6144 have read "members of the Milwaukee Musical performance/installation; sculpture New Testament musical with music by Har Symphony Orchestra" to clarify that the en on view with taped music through Sept 23; ry Chapin; W,Th,Sa 8pm, Su 2pm; $7-$9; tire orchestra was not appearing at the con 8pm; free; Walkers Point Center for the Eastbrook Center Theater, 2844 N Oak cert. Arts, 438 W National; 672-2787 land; 962-2380 creative goldsmithing CAFE EURO PA, which brought you the time-honored fine jewelry repairs tradition of European cafes, presents EUROPA MARKET. EUROPA MARKET is home to freshly baked breads, gourmet MORNING GLORY coffees, specialty foods, houseware items, and much more. THE BREAKFAST IN BED SERVICE EUROPA MARKET will take you Elegantly Served in Your Home one step closer to 3514842 Europe's wonders DISTINCTLY UNIQUE • TRULY A SPECIAL OCCASION without actually //•• t leaving Madison. Cafe Europa SLIDES OF YOUR WORK: Photographer w / specializing in professiona quality 35mm and 102 King Street 4 x 5 color transparencies Irom Hat work, 3 dimensional, or on-site installation. True, 255-0770 accurate color with even, glare-free ill jmina- tion barbara brinck Europa Market (4 1 4) 6 7 1 - 6 1 7 9 owner 117 E. Main Street 257-3232 Si ERR A • /AADRE- 4oo W- 5"iLv£R. SP&'\N(3 DR.- tfr •,V^ •w^T'yrwr*'^"W^ww* •SOUTHWEST- ID£AS t *^ tf.t4.t l5% DISCOUNT W\TW CooPOW AR AND DANCE CLU MADISON'S READY TO PUBLISH? CLASSIC Ready in Spirit . . . DANCE But not in Fact! BAR Word Processing & Editing - by - LASER STATS 278-8889 418 E. Wilson Street Call for appointment Madison, Wl 53703 Free Estimates on your Poetry/Fiction/Opus. etc. 608/251-0080 46 Art Muscle CHICAGO ART EXHIBITIONS Art Institute of Chicago Prairie Avenue Gallery Now-August 21 August 7-Sept 11 Chicago Coilects: Selections from the "While the Whole World Watched: 1968" Solow Collection Exhibition on the 20th anniversary of the Drawings by Le Corbusier 1968 Democratic Convention & the pro Now-November 20 tests surrounding it; opening reception fea The Modern Movement: turing performance art, poetry & music Aug Selections from the Permanent Collection 7 1-5pm; Now-July 31 August 13 Masterpieces of Japanese Woodblock Dancing in the Streets Prints Fundraiser; 7pm-?; suggested donation Edo Porcelains from the Art Institute Col $10; lection 1900 S Prairie; 312/842-4523 Now-September 5 Josef Sudek Photographs Randolph Street Gallery Now-September 18 August 26-Sept 30 Dutch & Flemish Paintings from the Hermit Days of Rage age Video, photography, kinetic sculpture & art July 16-September 5 in proposal form for a memorial to the Chicago Architecture 1872-1922: Birth of a events of the 1968 Democratic Convention Metropolis in Chicago; opening reception Aug 26 5- Sept 17-Nov 13 8pm; 756 N Milwaukee; 312/666-7737 Garry Winogrand Photography Sept 17-Dec 11 The Art of Paul Gaugin DANCE Gaugin & His Circle in Brittany: the Prints of the Pont-Aven School MoMing Dance & Arts Center Michigan at Adams; 312/443-3626 July 22-24 More for $1.98 Klein Gallery Showcase of up & coming contemporary Sept 9-October 8 dance artists; F,Sa 8:30pm, Su 7:30pm; Mineko Grimmer: Constructions & Environ $1.98; ments 1034 W Barry; 312/472-7662 Opening reception Sept 9 5-7:30pm; 356 W Huron; 312/787-0400 EVENTS August 12 Anthony van Dyck (1599-1641) Family Portrait Galleria Renata Chicago 68/88: Visions of Dissent Sept 9-October 22 Chicago Filmworkers Figuratively Speaking: A Celebration of the August 26-28 Photo exhibit, reception & film screening; Human Form & Spirit 68 + 20 5pm; 1229 W Belmont; 312/281-8788 Group exhibition, mixed media; opening re A series of panel discussions reflecting on ception Sept 9 includes benefit for Chica the events of 1968, featuring many of the PERFORMANCE ART go's Aids Alternative Health Project; 507 N leaders & events that took place at that Wells; 312/782-7110 August 23 time, (ie Abbie Hoffman); Columbia Col July 22 & 23 Poetry Reading lege: Getz Theater, 72 E 11th; events also Brave & Cruel Museum of Contemporary Art Wisconsin poets Paul Moskowitz, Nick Ci- include Off Michigan Avenue Memorial Hudson, Steve Lafreniere & Kay Rosen Now-August 28 pollone & Mary Shen Barnidge; 7:30pm; March & Open House, 5-8pm Aug 27; and An experiment in binary comprehension; Nancy Spero: Works Since 1950 Lower Links, 954 W Newport; 312/248- a tentatively scheduled benefit, also on Aug Randolph Street Gallery, 756 N Milwaukee; Jeff Koons 5238 27; for info call 312/842-4523 312/666-7737 237 E Ontario; 312/280-5161 MADISON DANCE THEATER ART EXHIBITIONS Sept 2 Ark Repertory Theatre July 15-August 14 Elvejhem Museum of Art Classical Rhythms June 16-August 4 A ... My Name is Alice Now-July 31 Melrose Motion Company Tropical Drinks Madison Repertory Theatre In Praise of Troubled Dreams: Prints & Music & dance extravaganza with interna Original musical revue; Th 9pm at The Fess W,Th,F 8:30pm, Su 7:30pm; $11.50- Paintings of Albin Brunovsky tional artists; 8pm; $10; Madison Civic Hotel Garden, 123 E Doty; F 10pm at the $13.50; Madison Civic Center: Isthmus Sept 2-Nov 6 Center: Oscar Mayer Theater; 608/266- Capitol Brewery Gardens, 7734 Terrace in Playhouse, 211 State; 6087266-9055 Frank Lloyd Wright in Madison: Eight Dec 9055 Middleton (through July 29); ades of Artistic & Social Interaction Now-Sept 3 The House Beautiful: Frank Lloyd Wright EVENTS Ark After Dark (Improv) for Everyone F,Sa 10pm, also at 8pm 8/26,27 & 9/2,3; 800 University Ave; 608/263-2246 August 25-28 $4.50; Xexoxial Endarchy 220 N Bassett; 608/255-5845 Madison Art Center 3rd Annual Intergallactic Festival of the Now-July 24 Swamps Big Witness (Living in Wishes) August 25: Experimental Underground Me Terry Allan, Multi-media Installation dia Exhibition St Nazianz 10am-5pm; display tables $15 to exhibi J Shimon & J Lindemann, Photography tors, free to the public; Symposium 7- Now-August 21 11 pm; Crossroads in Madison Civic Center, Milwaukee Art Museum 211 E State 20th century works on loan Fri-Sun: Collective Improvisation August 20-Nov 6 A 3 day demonstration of improvised ac The Chicago School in the Permanent Col tion, installation, noise media, collabora lection tions, art damage, pretending, intuition & Sept4-Nov 13 untested abstractions; 10am-6pm; State Don Baum, Scuptural found-art house Street on the Mall; info 608/258-1305 forms 211 State; 608/257-0158 Sept 1-5 Madison Festival of the Lakes Madison Municipal Building A variety of indoor & outdoor visual, theatri Now-October 1 cal, musical & dance events (including Thomas W Cabezas, representational Taste of Madison this year); for a complete works of ritual objects; schedule of events write or call: 2059 Public Art Space, 215 Martin Luther King Jr Atwood, Madison 53704; 608/241-2555 Boulevard Signature Gallery Now-August 6 MUSIC Martin Hurtig, Shaped Paintings 184 W Main, Stoughton; 608/873-2000 July 24 Wisconsin Composers Series Wisconsin Artisan Gallery Yehuda Yannay, John Welstead & Daniel July 16-August 14 Nelson Glass Show: Recent works by gallery art Computer-generated music; 1:30pm; free; ists Madison Art Center, 211 E State; 608/257- Sept 1 -30 0158 Clothing & accessories by Wisconsin art ists Melrose Motion Company 6858 Paoli Road, Belleville; 608/845-6600 don't ;ee how you can be married to someone named Alphonse." IVrrv savs 47 w ill •• Hi ...Hi lillll 1 IS* n violinist •I PAC 11 l«iliiiili« Yfillp a l*5*ii^^*^l|fti^5li:ii^^?§P a series . erformers, world and Ifjl I* . V'" ....ble's seventh season, is filled with ,ed artists and ensembles will make their :^p^i i this is Milwaukee Music Ensemble's first subscription MM gs of 32% over single ticket prices. ' * prices start at $7. series prices are from $18 to $30. Save by •er 1 asterCard accepted. Call 964-1617 for "77k made an impact that was strong and ••K mediate." JJournal roup can play." lllll I ively evening for audiences hu andtantalizl 'jyp. W^^^^l^^^^^^^^^^^^^^