A BI-MONTHLY PUBLICATION OF THE ARTS Volume 2, Issue 1 September 15/November 15, 1987

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hSkari MaloUyl Congratulations Kiano pa to David Hazeltine and Patty Stevenson for re­ 219 North Milwaukee Street cording albums at the Pi­ Milwaukee, Wl 53202 Milwaukee Art Museum ano Gallery 276-3525 750 North Lincoln Memorial Drive Milwaukee, Wisconsin 53202 271-9508

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Editor-in-Chief Debra Brehmer From,the Editor

Associate Editor This issue marks Art Muscle's one-year anniver­ We have certainly made strides toward those Calendar Editor sary. With seven issues behind us, all indications goals. Art Muscle is a showcase of what Milwau­ Business Manager are good that Art Muscle will be around for a kee has to offer artistically. Its quality is a direct long time. summation of the scope and quality of the city's Therese Gantz culture. But to keep it vital, we need widespread One of the most exciting changes of the new participation by artists, writers and all of the year is Art Muscle's recent move to a new office city's cultural groups. To further enhance par­ Associate Editor-Music space at 909 W. National Avenue called the ticipation, we plan to develop an Art Muscle Bobby DuPah Burnham Building. We initially produced the advisory committee that will meet periodically magazine in a small attic room, then moved to a to help us evaluate the magazine and expose windowless cell on the first floor of our apart­ issues of importance in the arts community. This Photo Editor ment building where we did layout on a pool all reflects what we labelled in our debut issue table. The Burnham building represents a gar­ as a "united we might stand a chance of survival" Francis Ford gantuan improvement. It was constructed in attitude. 1875 by J.L. Burnham, the founder of Cream Associate Editor- City brick. It is Milwaukee's best surviving ex­ This brings me to a final, general plea. We need Reviews ample of an Italianate commercial building con­ more artists and photographers submitting taining a public meeting hall. The third floor work to the magazine. The cover of the maga­ Copy Editor (which Art Muscle occupies) contains a 50 by zine and the centerspread are available for full 50 foot meeting hall/ballroom with 16-foot high John Blum color reproduction of your art work. Call us. ceiling lit by a wall of tall arched windows. Send slides. Come over. Write a letter. We en­ courage the development of artists' projects for Ad Manager We've been thinking about other changes and the magazine — photo essays, research projects, goals we'd like to achieve in our second year of a thematic body of work, a series of images. Sam Woodburn publication and one of them is to expand our Share your ideas with us. circulation to Madison and into the rest of the state. With this issue, we increase our circula­ So, thanks to everyone who helped us get to the tion from 15,000 to 20,000 with the intention of new year — past and present staff, the artists, distributing heavily in Madison. It's time to cul­ writers and photographers and the individuals turally connect the two cities. We will add a who have supported us conceptually from the Madison and Chicago section to the calendar, start. Our advertisers are to be thanked whole­ and eventually include statewide listings. heartedly because they have enabled us to func­ tion as a for-profit business rather than a non­ Design Assistance profit arts organization. Michael Czekay, Marly Gisser, Linda But, there's still more work to be done on the Ponsback, Don Sefton and Hilary Ragir homefront as well. Art Muscle intends to tie in more strongly to the cultural community. In our Happy new year. (Don't forget about our 1st debut issue, we stated that our purpose was to Anniversary exhibition, Naked Self Portraits "unify the arts in Milwaukee, to allow the visual opening Oct. 23 and the anniversary celebration and performing arts, dance, music, film and vid­ Oct. 24.) eo to coexist in printed proximity," and to "cata­ Typesetting by Ries Graphics lyze and enhance a spirit of communication." Debra Brehmer Printing by Citizens Publishing

Artist's page Art Muscle is published bi-monthly (The Artist's Page is a regular feature in Art by Milwaukee Art Media Publishers, Muscle. An artist is given the two-page center- P.O. Box 93219, Milwaukee, Wl spread in each issue, to do with as they please. 53203. Third class postage paid at Anyone interested in proposing a project for the Milwaukee, Wl 53202 and additional Artist's Page should send slides of their work, a mailing offices. Postmaster: Send letter and return postage to Art Muscle, P.O. Box address changes to Art Muscle, P.O. 93219, Milwaukee, Wl 53203.) Box 93219, Milwaukee, Wl 53203. Patricia Fennell is the Graduate Chairman in the art department at the University of Wisconsin- Madison. She studied art in Baltimore and Penn­ Patricia Fennell Photo by Marylu Raashenbush. Entire contents copyright© sylvania and has since shown her work all over Milwaukee Art Media Publishers. All the country. years old and I wanted him to have an insid­ rights reserved, except in reviews. Fennell's Artist's Page is a reproduction of her ious, decadent look. The idea came to me when Reproductions in whole or part 1985 painting, School Boy. I was thinking about my brother and boys in without written permission is school doing little drawings of tanks and Fennell says about this work: School Boy is bombers in the margins of their composition prohibited. Art Muscle is a trademark about premature burn out. The boy is 11 or 12 books. of Milwaukee Art Media Publishers.

^164 Art Muscle mM Art Muscle CONTENTS

FEATURES Robert Weiss 14 Ellen Crane

Smoking - Pictorial 19 John Sobczak

Gary Stephan 28 Jon Erickson

Dean Jensen 32 Gary John Gresl

Opening the Imagination 34 Therese Gantz

State Fair 38 J. Shimon & J. Lindemann U2223Z2IIZIE AGOG 6

Letters 7

Post Facto - Reviews 10

Previews 11

Ear Muscle 13

Walk This Way 13

Futures 18

Letter Home 26

Linear B 27

Calendar 42 DO NOT Cover: Su Zacharski, Untitled, oil on canvas, 1987 (Su Zacharski is an art teacher at Milwaukee High School of the Arts.) D.R0 P ADVERTISE! For information call 672-8485 AGOG

prerecorded music by Gaudynski and for "Greatest Artistic Dare," in its Au­ rts Steve Nelson Raney; action, text and gust issue. So, do as you dare, and let's A slides. Gaudynski says Solidarity will see your naked self Oct. 4 and 5. Call Gossi p "explore the characters' relationship 672-8485 for additional information. with contemporary music and dance in our society and their motives for seek­ Mail art What's up Moe? Well, former Theatre X ing artistic and public success." The Woodland Pattern Book Center, 720 E. manager Moe Meyer reports he's leav­ R-E-S-P-E-C-T performance also includes a commen­ Locust St., is launching its Milwaukee ing the Organic Theater in Chicago for From Nov. 5 to Dec. 5, Milwaukee pe­ tary based on the writings of Polish po­ Mail Art Project with a call for artists a few months to return to the Zen cen­ destrians may notice a series of 10 out­ ets Stanislaw Baranczak and Kazimierez and writers to submit proposals. Mail ter in San Francisco. Then he'll be back door billboards around town that seem Brandys that exposes the situation of art objects must be two-dimensional in Milwaukee in April for a perfor­ a bit quizzical. Local painter Mary Van the artist under Totalitarianism. and fit into a 6 inch by 9 inch envelope. mance art performance at Leo Feld- Abel (co-founder of the former Verge From the submissions, a panel of artists man's . . . The UWM film department Gallery) is orchestrating this public art will select 8 mail art pieces and each is investigating taking over the UWM project she calls / Will Show Respect. It finalist's piece will be produced in edi­ Cinema which would mean they would will include 10 full-sized billboards that Grant s tions of 2,600 to be distributed by mail be showing alternative films and art say, "I will show respect for myself and in the Woodland Pattern newsletter to films, filling a huge gap in Milwaukee's others." She found the phrase (written 29 states and at specialized book fairs. cinema offerings . . . UWM's Center over and over again on a crumpled Arts Board moves November is the target date for the first for 20th Century Studies adopts a new piece of paper by a child) in front of her The Wisconsin Arts Board has relocat­ mail object to be distributed. The re­ study them each year. This year it's studio. Van Abel said she became inter­ ed its offices. The new address is 131 maining seven will be mailed through­ "television" and it's rumored that the ested in the idea of "public art" after West Wilson St., Suite 301, Madison, Wl out the year, to be completed by July, news show 60 Minutes will be coming working with Therese Agnew on her 53702. Upcoming grant deadlines in­ 1988. An honoraria of $50 and 500 her to cover the Center's concluding Superheros project. "I'm interested in clude: Dance, Nov. 17 (dance film/vi­ copies will be given to each artist. The conference this spring. Just think, Mor- exposing the community to art, rather deo) and Dec. 13 (choreography fel­ project is funded by a grant from the ley Shafer's autograph Who's than a select group," she said. The pro­ lowships); Design arts, Oct. 1; Milwaukee Artists Foundation. Call pregnant and who's not ... As of this ject's cost will total $8,500, part of Expansion arts, Oct. 19; Folk arts, Oct. 263-5001 for more details, or mail your publication, we can assume that Debra which has been funded by the Milwau­ 1; Music, Oct. 23 (music professionals' work to: Woodland Pattern, 720 E. Lo­ Clifton and John Kishline's Theatre X kee Artists Foundation and by a grant training); Visual arts, Nov. 2 (visual arts cust, Milwaukee. baby was born during the production from Tellurian Inc., a rehabilitation and forums) and Dec. 11 (art in public places). of A History of Sexuality in Seattle, detox center in Milwaukee. (She may Wash. Another recent delivery: Kaleb, approach DePaul as well). The bill­ Pollock-Krasner Artreach calls Milwaukee's premiere sound man, and board space was donated by Patrick Artreach Milwaukee has received fund­ his wife had a baby girl a few weeks ago. Company. Van Abel said she's currently The Pollock-Krasner Foundation pre­ sented $1,477,200 in 206 grants during ing from the Wisconsin Arts Board to Milwaukee painter Fred Stonehouse $1,000 away from her goal. After the mount three touring exhibitions with and wife Jenny will become parents in billboards are in place, there will be a its second year of operations. Current­ ly, the foundation seeks applications of workshops to begin in January. Each April. Rumor has it that artist Michelle exhibition of project documentation exhibit will tour a variety of agencies Grabner is expecting anytime now too and a reception, tentatively set for Nov. visual artists who are in need of finan­ cial assistance to pursue their careers. involved with the elderly, incarcerated, . . . Another art union: Engaged —Jer­ 20. Look for more details on posters in rehabilitation and recovery programs. ry Haslbeck (Milwaukee Art Museum October. Grants are awarded based on an appli­ cant's recognizable merit as an artist Visual artists interested in submitted design staff) and Linda Red Shoes and financial need, whether profession­ work should send slides and a proposed Graphics . . . Jim Matson sold the Pete Christensen workshop curriculum to Callie Cary, drawing that appeared on Art Muscle's tells off Milwaukee al, personal or both. Painters, sculptors, graphic and mixed media artists may Visual Arts Coordinator, at Artreach, July 15 issue. Dennis Felber, who had a Pete Christensen (local comedian, 152 W Wisconsin Ave., Suite 434, Mil­ photo published in that same issue was WMSE radio personality, host of Cable submit applications. Applications will not be accepted from commercial art­ waukee, 271-4704/ contacted by a Chicago gallery interest­ TV's Pete Christensen Show) plans to ed in seeing more of his work blow his lid publicly during an evening ists, photographers, performance art­ Tesseract auditions And introducing the new Milwaukee- of standup comedy called "Pete Chris­ ists and craft makers. Applicants need Theatre Tesseract will hold auditions Sentinel Art Critic: Former Art Muscle tensen Tells Off Milwaukee," at 7 p.m. not propose specific projects and they for a musical revue, A . . . My Name is collaborator Frank Lewis will be doing Nov. 8 at Garibaldi Hall, 2501 S. Superi­ are not required to produce a body of Alice, on Sept. 26 at 10 a.m. at Lincoln the job on a free-lance basis. or St., Bayview. Advance tickets are work during the grant period. For appli­ Center for the Arts, 820 E. Knapp St., ... Is Quad Graphics opening an art available at Club Garibaldi, Rushmore, cations and information write: Pollock- room 21. Roles are available for five gallery? Supposedly they are instituting Earwaves, Mainstream, Ludwig Van Ear Krasner Foundation, PO Box 4957, women who must move well and are a gallery at their Pewaukee headquar­ and Atomic Records for $2. New York, New York 10185. 20 to 50 years old. Tesseract is specifi­ ters A new Walker's Point art cally looking for two black women, be­ bowling league starts one Sunday a Who's on Pete's hit list? It's much too cause the show was originally written month at the Marble Arcade on 2nd St., long to print in its entirety, but some of for three whites and two blacks. Actors probably one of the city's smallest the dignitaries include Sigmund Sno- 0 pportunities should prepare a short monologue, one bowling alleys with a total of four lanes pek, Dave Luhrsen, Clavis Theatre, Ge­ musical selection and bring sheet mu­ rard, Art Muscle, The Shepherd, Kenny sic, an 8 x 10 photo and resume. Call Baldwin, Pat Sheedy, CC Conrad, Thor Malt shop art 273-PLAY for more information. The Christensen , Theatre X, Tony Selig, The new Bay View Malt Shop, 437 E. play will be staged Dec. 10 through Jan. Correction MATA, Drake Scott, Dennis Felber, The Lincoln Ave., will be showing art on a 9. Pam Kriger will stage and choreo­ In the July 15 issue of Art Muscle, the Wave Soccer Team, and many, many rotating basis. Anyone interested in dis­ graph the show. feature article Milwaukee's Off Broad­ more. So, what do we think of Pete? playing work should contact Louis way Theater incorrectly listed that the Well, he's a pretty nice guy. Stark at 744-4211. play Cloud 9 was performed by The­ atre Tesseract. It actually was per­ New dance company Cudahy jury formed by Clavis Theater. Cream City Dance Company recently On Wisconsin, the Cudahy Gallery of was founded by Nancy Hoffman Eise- Wisconsin Art's fall juried exhibition, man and Pamela Frautschi of Dance will be accepting work for the show Spectrum, 4042 N. Oakland Ave. Hoff­ Sept. 18 to 20. All work should be man, who worked with the Elliot Felt brought to the Cudahy Gallery at the Tired of mindless aerobics Company and the Milwaukee Ballet Milwaukee Art Museum. Jurors are & calisthenics? during Jean Paul Comelin's rein, will b Kent Anderson, acting director of the the artistic director. Frautschi, who UWM Art Museum, and Mark Mulhern, RENEW YOURSELF AT STRETCH ! taught in UWM's dance department be­ painter and instructor at MIAD. Call We offer an exhilerating & fore founding Dance Spectrum, will be 271-9508 for more information. healthy alternative to mun­ the managing director. Cream City dane & ordinary exercise Dance will debut Oct. 11 at MATC's Naked Self Portraits Cooley Auditorium. The 7 p.m. perfor­ Naked Self Portraits, Art Muscle's one- An approach that will mance will be accompanied by year anniversary exhibition, will be ac­ transform the body Rosewood Percussion Group. Call 962- cepting work for the show on Oct. 4 uplift the spirit 7171 for more information. and Oct. 5. Bring work to Carri Skoc- and stimulate the mind zek's studio at 1028 S. 5th St., Third Music/theater performance Floor, between 11 a.m. and 6 p.m. on Drop by anytime for con­ Milwaukee composer Thomas Gau- those days. Work submitted can be any sultation and information dynski has created an evening of mu- size and medium (remember, you have about ongoing classes at sic,theater and performance called to carry it up three flights of stairs), and STRETCH '• Solidarity, which will be presented at 8 should in some way relate to the theme p.m. Friday, Oct. 3 in Memorial Hall of of the show. The exhibition will be Oct. the War Memorial, 750 N. Lincoln Me­ 23 through Nov. 20 at Walkers Point 332-7160 morial Drive. Admission is $5. The pro­ Center for the Arts, 438 W. National duction will employ dance by Cate Ave. Milwaukee Magazine presented Deicher and Lynn Gilliam; live and the exhibition with a "Best Of award 2625 N. Downer Ave. (Coffee Trader Building)

6 Art Muscle Letters to the Editors an invitational survey of current directions in Wisconsin visual art

shadowings that one can spot this and Missed the boat September 25-November 15, 1987 Ms. Oberbeck appears to have missed say yuck. Shadowings in four directions the boat in her article on Milwaukee's cause one to realize - the so called artist Off-Broadway. Milwaukee Chamber is not. Unless of course it was sup­ Theatre is entertaining its 5th subscrip­ posedly planned, yet I doubt it. Perhaps tion season, having played to 7.5 thou­ he was attempting to create primitive sand very happy patrons this past year. art. Well, it's too obvious, thus it's a fake We are as off-Broadway as Circle Rep and Jim Matson is a phoney. I am a truer "^^^^^^^^^^^^^^^^^ and Manhattan Theatre Club in NY or primitive artist, with no art training. I ?a'.*ai*; m^-vZ -V.-"::,:. Steppenwolf and Wisdom Bridge in can out draw and out paint any so- Chicago. Are we too arriviste or too called man in the art field. But, I'm only established for Art Muscle? a supposed criminal who's artistic tal­ ents will be denied to all of society, We have been sending you press re­ that's sad. Sadder still, is the so called leases regularly and you have solicited educated artists will never acknowl­ ?£-.?sf» jcsgj& c. . • us for advertising. We aren't mentioned edge my creative abilities, for to admit even in the Wisconsin Arts Board them would lessen their own hard awards listing on p.6. Only an allusion work. Also, what you showed on pages to the "Chamber Theatre" (who are 20-21 was not funny, and although true- they?) as a renter of the Rep's Stemke ly artistic, it is I feel a bit graphic and Theater. gross for any minors to view. So you Jeanne Eberlein-Burmeister Portage might give some consideration to your Never mind no mention of Skylight potential growth as an art medium to Comic Opera or some rather unfortu­ society. Andre Ferrella Madison nate establishment-bashing remarks Steven D. Foster Milwaukee fay Brown Ney Tait Fraser Milwaukee about UPAF at a time when that organi­ 301 Troy Dr. zation is opening itself up to active sup­ Madison, Wl 53704 Gary J( port of such off-Broadway groups. pichae Real people Gary 0 My advice to Ms. Oberbeck: DO YOUR In the name of equal rights is there a HOMEWORK! recording available for the transcrip­ tion of David Carroll's composition, Susan Kwss Richan Yours sincerely The music of nymphomaniacs (July 15 Montgomery Davis Art Muscle) or are you telling society Artistic Director To#:V. Mc( that you compensated a man to pretend Rachel Morris Madisor. that he's a composer??????? Mark W. Mulhern MM Message from Vinyl Qjharles Thanks for the copy of your latest issue. Propaganda sheets cause discrimina­ France It was something of an event when it tion in the world of art. Yoko Ono pro­ Dennis Nechvatal Madison arrived at Vinyl(zn art publication in vides business jobs for the working ^Blula^ljkbs Madison Minneapolis). We all gathered around class and she also donates thousands Michael Newhall Milwaukee and oohed and ahed. The writing is upon thousands of dollars to charity, good, the layout sensational, congratu­ what's Brian Ritchie got to say for him­ lations! self??? Please reply. Jeffrey Ripple Madison Scott Robertson Ladysmith We are interested in any reviews of per­ Suzanne M. Robison Robert L Schultz Madison formances or exhibitions by Minnesota A real person J. Shimon & J. Lindemann Milwaukee artists in Milwaukee. One recent re­ Pulaski High School '79 view we ran was by Jerome Schultz of a performance by Chris Sullivan. We are Fan mail also looking for critical essays on a I simply adore your magazine! It ? -&J I; :: - •::::- ^/^ifilift^iJf"'" "^ wouldn't be otherwise possible to s1 wide spectrum of topics. If any of your 'it? ? ~ Ji^l|^i;;^ ^iliiii writers are interested, let us know. know about the theater district and its goings on if it wasn't for Art Muscle. I Sincerely, can't miss an issue, so I am subscribing I'sjplSBfcii^lfl^ig^ ..IP*! Madeline Douglass for it to be sent to me in New York. Theater Editor, Vinyl Arts Magazine Keep up the work and stay above water! 501 1st Ave. No. Robin feannie Kopfmueller Minneapolis MN 55401 Janica Yode Student, Hunter College, NY You call that art? I'm not an educated artist and I find Just delightful Madison Art Center myself feeling somewhat sickened by I just read Art Muscle for the second your staffs choice of so called art on time that I've been able to get my hands your cover, by no less an art instructor, on it — just easy and delightful to read Jim Matson. — nice layout. Hope it survives forever. Madison His perceptions are so deeply off on his Mary B. Smith Art Center

211 State Street Madison. Wisconsin 608-257-0158

es' Free admission OTTER 11-5 Tuesday-Thursday 11-9 Friday Fine Pottery For Fine Tastes 10-5 Saturday 1-5 Sunday 2711-13 N. Bremen Street A-SPACE and place for Phone: 374-POTS The WISCONSIN TRIENNIAL has received emerging and experimental support from the Dane County Cultural Affairs Commission, the Wisconsin Arts Board. Hours: artists Bottling Company of Madison, the Art League Tuesday-Friday contact Deannie Langer of the Madison Art Center and the 1987-88 Exhibition and Program Underwriters: Bolr 2 pm - 6 pm Family Foundation, Community Banks. Inc.. CUNA Mutual Insurance Group. First Wis­ consin National Bank of Madison. GTE MT0- Saturday Wisconsm. Marshall Erdman and Associates. 11 am - 4 pm Inc.. Oscar Mayer Foods Corporation. 544 State Street RAY0VAC Corporation. Webcrafters, inc., Wisconsin State Journal and Capital Times. "Best Storefront Potter of 1987" Madison, Wl 53703 — Milwaukee Magazine (608) 251-6561 Illustrated catalogue available by mail The Chicago Connection Letraset an exhibition exploring our connection to the Art world through Super Special! unicago s viorant art galleries witn a selection ot artworK trom: Only At K%2R Arts & Crafts

Limited time offer includes: Jan Cicero Gallery vanStraaten Gallery R.S. Johnson Fine Art • New! Letraset Graphic Douglas Dawson Gallery Perimeter Gallery and Materials Handbook Carl Hammer Gallery Esther Saks Gallery Zolla,Lieberman Gallery New! Letraset Wall Chart New! Letraset Design Knife Teflon Tip Burnisher Sept. 27- Nov. 8, 1987 Sensational Low Price $3.95! Charles A. Wustum Museum of Fine Arts (Regular Retail Value $11.65) 2519 Northwestern Ave. Racine, Wisconsin 414-636-9177 Viewing Hours 1:00-5:00 pm seven days a week and 272-1890 1:00-9:00 pm Monday and Thursday 1101 N. Old World 3rd St. admission free

':""•-' ';:'-•[ .... ,.,,,.,, ... DhtWb I WN BRUEGEL -EMENTE CORIN H CURRY DE ANDREA )INE DUBUFFET iECKHOUT EPST KENTHALER GAI {Wmmmmiwm Treasures HANSON HARIN( i HAYDEN HECKEL HENRI n DORFF INNESS JACOBSEN JENNYS JENSEN Isconsin Collects LICHTEN: » MOO, E MOTHERWELL MULLER LAND and Sculpture WTORM' September 11 - November 1 DNSORED BY ARTHUR ANDERSEN & CO.

Dying and Flying, 1984 from Personal Events series oil on canvas 72" x 42"

10 a.m. - 6 p.m. 217 N. Broadway Tuesday - Saturday Milwaukee, Wl 53202

8 Art Muscle Serving- • CLAVIS THEATRE PRESENTS Lunch daily 11:00-2:30 a new play by Jim Cartwright Dinner 5:00-11:00 • ft&iXglij WOOD ©lh<§lIIilD© Sunday Brunch 11:00-4:00 Sunday Chicken Fry October 14 - Friday Fish Fry November 8

Clavis Theatres New Location When you look for us this year, look to Milwaukee's east side. rLASShHr At 2071 N. Summit Ave., the new Clavis Theatre Is conveniently located just three blocks from Prospect Mall. 1111 11111 n 124 N. Water Street Milwaukee, 347.1962 Bring this Ad, good for $1 off on the purchase of a ticket.

PERFORMANCE^ART

Friday, November 6 7 p.m. Diane VanDerhei - Knocking Heads 9 p.m. Jon Erickson - Self-possession Saturday, November 7 7 p.m. Jon Erickson - Self-possession 9 p.m. Diane VanDerhei - Knocking Heads Saturday, November 14 8 p.m. Billy Curmano - Swimming Part I: Mutiny on the Mississippi

$7 Admission at the door (East Entrance) / per event. ($6, Milwaukee Art Museum members) Milwaukee Art Museum 750 N. Lincoln Memorial Dr., Milwaukee, Wl 53202 414.271.9508 Post-Facto

THE BEST OF there's interesting work at Feldman's, both predictable and unreliable. We DOCUMENTA even if it's not (intended to be) elegant­ love the way that a machine performs Documenta 8 LEO FELDMAN ly presented. Jerome Schultz's'The Sun tirelessly on command, yet despise its Kassel, West Germany Is Gonna Shine Again" {Chernobyl An­ mindless, inhuman qualities. And just Leo Feldman Galleries June 12 to September 20 773A N.Jefferson niversary) conflates the Chernobyl ac­ when we've come to depend on it, the (alley entrance) cident's dark cloud over Europe with machine develops the lovable, human This summer one of the most important July 17 to August 1 Tammy Faye Bakker's own dark cloud trait of breaking down, dammit. major art exhibitions, the Documenta, (Schulz's title is the same as Tammy's opened for the eighth time in Kassel, Anyway, the machines at the Kohler There is the lawyer, Roseman, in Thom­ departing song). Jimmy Von Milwau­ West Germany. The Documenta tradi­ were having a good laugh on us, as well as Pynchon's The Crying of Lot 49, who kee's "Here Comes the Sun" {Pro-Fam­ tion, now an institution in the contem­ as making more profound comments wants to become as great a trial lawyer ily) is a child's car seat with fragments porary art world, began in 1955. Taking on our uneasy cohabitation with them. as Perry Mason. This, of course, is im­ of broken plates bonded to it. The din- place every five years, it is a forum to The Allegory Engine Series, No. 5, is the possible. Instead, he sets out to destroy nerware shards have been painted after display the most recent developments frustrating invention of Dean Lang- Perry Mason. Roseman's means of un­ mounting (thank you, Mr. Schnabel); in art. In previous Documentas such worthy Sit on a wooden seat mounted dermining Mason are through a paper the image that comes to mind is that of notables as Picasso, Jackson Pollack, on two slanting rails and turn the crank he is writing, entitled "The Profession a child impaled on the shards, or one of Henry Moore, and Joseph Beuys exhib­ on a big wheel. Ten vigorous turns raise v. Perry Mason, A Not-so-hypothetical a series of dead baby jokes. For all of ited their most radical creations. the seat a whole inch. You get the idea. Indictment." He's been working on this Schnabel's gobbling about reacting to Among the featured artists of 1987 are for as long as the TV show has been on art emotionally, this piece may have Anselm Kiefer, Laurie Anderson, and the air. He'll always be working on this. Schnabel beat, hands down. Iris Adler's scenes seemed closest to Robert Longo. The traditionally fa­ earlier forms of mechanized entertain­ vored medium, painting, constitutes Feldman's gallery is culturally impor­ The Feldman gallery exists in a reac­ ment like the music box and the ani­ only a small percentage of the entire- tant, if we take the sense of "culture" in tionary, or resentful, relationship to mated tableau. Adler's Garden of exhibit. In contrast with previous its most neutral sense — a sense of be­ Milwaukee, to Wisconsin, to art, to fa­ Edenrt numbers 3 and 4 are studded years, Documenta 8 focuses on instal­ liefs, or social forms, or material traits shion, to the world. Its locale — in a with seashells like a Florida roadside lations, environments, video and per­ that define a particular group. The cul­ basement under the tony Jefferson St. souvenir. Adam and Eve are about the formance art. ture displayed here is as quintessential- shops — is well-suited for such a para­ size of Ken and Barbie, and just as naive. ly Milwaukee as, let's say, Dale Gutz- sitic relationship. The more fashionable In one version of Original-Sin-on-de- The variety of types of works within the man's, who can write musicals for clothing and jewelry sold up top, the mand, a snake made of woven metal show is one of its strongest advantages. captains of corporate Milwaukee or more plaster falls from Feldman's ceil­ flex torments Eve with a transparent One finds everything from the socially mystery musicals with death in a bowl­ ings; the more vehicular Jefferson St. red apple in its jaws. More apples deco­ critical Friedman Enterprises, Inc.to ing alley. At Feldman's, the ghost of becomes, the more pedestrian the art rate the fateful tree, some of them the ironic to the whimsical, and the John Halverson appears through one of becomes. It's a marriage made in hell transmuted to skulls. In the artist's oth­ quality consistently matches variation his fake Warhol silk-screens (Halverson heaven. er Eden, the happy couple crouch over and quantity. The most recurrent was a former Milwaukee art dealer who a grotto from which an apple is emerg­ theme in the exhibit is the parallel be­ sold famous facsimilies as the real thing The Best of Leo Feldman marks the one ing from an underground skull. An­ tween 20th century modernism and to punks and pin-stripes alike). Or year anniversary of this notorious gal­ other huge scaly snake frames the the prehistoric age. This relationship is there's a split-level "Ed Gein Doll lery, and consists of the greatest hits scene. When you push the button, the exemplified in numerous works by the House" by Andy Nelson, complete with from Feldman shows over the year: The apple jiggles, lights flicker, and a music- juxtaposition of ultra-modern technol­ gutted torsos, lampshades made with First Shou; The Doilies Show, 50 Years box plays. I would have welcomed a ogy and primitive, roughhewn materi­ skins, and body parts in the refrigerator. of Collecting, Art Imitates Art, On Wis­ few more twists on the stale symbolism als. In one such work, Rome ( 1987), by Or chameleonish Francis Ford's large- consin, Chernobyl Anniversary, Pro- in these pieces. the Italian Fabrizio Plessi, the sound of photo of Henry Maier, that can exist in Family Shoiv. and A Three-Way: Bitney rushing water lures one up the staircase both the Leo Feldman and Milwaukee Darnell, Kolf into a dimly lit, half-oval installation Magazine contexts. Much more exciting was the wicked / space, with walls painted in a primordi­ Saw the Channel 5 in Gold, an animat­ As the titles indicate, the Feldman al red. Crumbled marble slabs, that re­ ed painting that owes a lot to Times shows have been primarily theme The avowed goal of the Leo Feldman semble the debris of an ancient temple, Square billboards. This collaboration shows. And the shows have been pri­ gallery is to become the "hippest" art are arranged on the floor in a sweeping by Jim Jenkins and Rodney Alan marily ironic. For example, On Wiscon­ gallery in town. But it's the hip of bad arc. They surround a row of television Greenblat spoofs Robert Indiana's clas­ sin, according to the Feldman-call-for- taste, of bad art; it's the religiosity of sets projecting pictures and sounds of a sic in comic book colors, and illustrates art, had "as its theme people whose irreligiosity; it's the glorification of the rapidly flowing mountain stream. the sad result of wanting your MTV too media image and/or career expresses D-generation. Anti-fashion is pursued as rigorously as others pursue fashion. avidly. The number 5 radiates from a the essence of life in Wisconsin. Sub­ Perpendicular to the televisions is an wagging tv set inside a young boy's jects chosen are personalities whose Here, the losers are winners. (A cur­ antiquated conveyor belt, slowly rota- brain, surrounded by tiny frowning pathos signifies a low class, subterra­ iously minimal piece is Michael Som- tin water, suggesting the impossibility faces. In the background, a two-storey nean and/or gutter appreciation." And mer's "Abacus" where the fifth beati­ of taming nature. The contrast of these house spins against a background of lav­ it gets even more localized: Pro -Family tude — the meek shall inherit the earth three elements — marble, television ender clouds. The leering red devil and was mounted in response to Bogart and — is written on clothespins hanging sets, conveyor belt — and their various the turning satellite overhead contrib­ Greuel's Museum of Sexuality, Three- from a clothesline.) It's a wonderfully kinetic properties, elicit different ages: ute to the hip paranoia of the piece. You Way was mounted in response to the distorted Catholic sentiment for this antiquity, the present, and somewhere can turn various elements on and off Milwaukee Art Museum's Three Out old Catholic town. It's a wonderful sen­ in between; these three ages are inte­ using the switches on the big television Front: Sue Bartfield, Dennis Cory Fred timent for this little town that couldn't. grated into a surprisingly balanced rela­ screen that frames the piece, but that Stonehouse. tionship. The work also evokes various John C Blum doesn't mean that you're in control of levels of reality; the discrepancy be­ what's going on here. The gallery has also been noted for its tween the rock's solidity and the more opening night festivities, or "happen­ ethereal nature of the rearrangement of ings." Where a conventional gallery The Eccentric Machines show included particles on a television screen plays on might have fresh flowers arranged in a special visit from Misty and the Pin the permanence and impermanence of vases, dead flowers will hang from the Boys, Clair Colquitt's grotesque quartet objects. Feldman ceiling. Where a conventional ECCENTRIC of singing robots. Drop a quarter in the gallery may serve brie, Swedish crack­ MACHINES slot and enjoy America the Beautiful One of the most impressive pieces us­ ers, and white wine, Feldman's will or one of several compositions by the ing televisions is a pyramidal monolith proffer spam (in its own coagulated Through August 23 artist, which Misty rasps out in a tune­ made of twenty-seven televisions enti­ grease), pop-tarts, and industrial John Michael Kohler Art Center less style reminiscent of Rusty War­ tled Trainers of Steel (1987), by the strength powdered lemonade. Noli me Sheboygan ren's. Misty is stainless steel, eight-six, Belgian Marie Jo-Lafontaine. A film of tangere. and has swiveling, expressive eyes. The young, attractive, male body-builders Pin Boys are a little creepy: part manne­ Remember the old Firesign Theatre in motion is projected on the screens quin, part machine painted the colors Just as the food is not really food, and routine about the space station recruit­ and is brilliantly set to a majestic musi­ of prosthetics. Their heads are made of where ironic themes and happenings ers? "We're looking for families who cal score. While the repetition of mo­ the same thick, brittle stuff they use for take precedence over art, the art some­ want to live in tubes and push but­ tion itself conveys some of the work's the orphan-shaped collection boxes times is not art, but rather a set of visual tons!" Well, there were some good can­ basic themes, the asynchronous timing you see in London. When Misty and the props to support the theme or the hap­ didates one recent Sunday at the John is intelligently manipulated into a beau­ boys finish your request, you can hear pening. In this case, the (non-)art Michael Kohler Arts Center in Sheboy­ tifully rythmic choreography. Combin­ the compressed air being vented with a might loosely be considered "concep­ gan. The Eccentric Machines exhibi­ ing music, sculpture, architecture, and big sigh. tual," since the primary interest may tion had swarms of little kids breaking purely visual elements, this work for­ not lie in the (in )formal properties that away from their parents to push but­ mally realizes the 19th century idea of define art, but in the idea, or thought, tons like crazy. Close behind them, a Like many of the Kohler's exhibitions, the Gesamtkunstwek, the "total work or visual pun. In this case, the art may weary maintenance guy was trying to this one was humorous and accessible. of art." not be able to exist on its own, outside keep everything running, with partial And most things worked better than of the thematic- ambiance, as art. If it success. the gadgets in the Museum of Science Conceptually, Trainers of Steel ex­ even wants to be considered art. and Industry, or The Sorcerer's Appren­ plores the very foundations of our no­ tice. tions of art and beauty, its roots in the Some of the art at Feldman's exists as a It neatly summed up the great joke that Greco-Roman tradition, and calls into bad joke,, visually presented. Still, machines have played on us by being Muriel Hogan

10 Art Muscle Previews

Time bound, less universal themes are animals brought to be displayed for city MILWAUKEE matrix composed of crystalline and also present. For example, one installa­ folk. The aroma however didn't deter atomic forms, spatial equations, and the tion entitled China Night ( 1985 ), by an audience of a thousand from occu­ MUSIC ENSEMBLE formation of links among artistic ele­ the American Terry Allen, recaptures pying temporary seating on the dirt Kevin Stalheim, ments, each artist interpreted the "ma­ aspects of the Vietnam War, and specifi­ floor. The people who filled the perma­ Music Director trix" by means of their individual art cally the experiences of one soldier. nent bleacher seating almost to capac­ 1987-88 Season forms. The installation is in a pitch dark room ity were reminded of the odor by occa­ (the only source of light comes from sional summer breezes. With two new board members and five Dennis Coffey's installation is a plastic garish neon signs that are part of the major concerts planned, the Milwau­ cube 12 feet tall and 24 feet wide. Cof­ work itself) and is set apart from the Preliminary afternoon judging reduced kee Music Ensemble (MME) looks to fey painted the translucent walls with viewer by a barbed wire fence. A ram­ the competitions to eight women in pick up the pace from last year's season. shifting colors and color tones that shackle tavern, a plaster Virgin Mary, two weight categories and 22 men in transform real space into graphic illu­ beer cans and cigarette butts, com­ five weight categories. Champs from MME's first concert — Tuesday, Octo­ sion. Composer Jon Welstead's musical bined with such icons as an American each category competed for the titled ber 6, 7:30 pm in the PAC's Vogel Hall layering reflects the visual layering of flag, a bust of John F Kennedy, and a awards. Only one team had entered the — features music by Lukas Foss ("Mu­ color and dance movement, and is crucifix, all create a dismal atmo­ "Couples" competition. All contestants sic for Six"), Carlos Surinach ("Ritmo based on ring and matrix theories. sphere. A tape recorded monologue de­ did the same standard poses for 90 sec­ Jondo"), and David Edminster ("Green scribing the soldier's experiences com­ onds to the accompaniment of individ­ Automobile"). Edminster, a former Mil- Salamun's original dance piece consist­ pels the viewer to remain, to listen and ual chosen music. The posing routine waukeean now in St. Paul, wrote his ed of two half-hour segments. Although bear the anguish vicariously. — beginning with an emphasis on indi­ score to an Allen Ginsberg poem of the this is not unusually long for dance in vidual body parts (biceps, thighs, same name. Paul (always a Milwau- normal environments, the new Matrix Although the viewer hears the tragic- shoulders, etc.) — terminated in total keean) Cebar will read the poem to is being divided into three twenty-min­ incidents, one can neither physically body poses adapted from classical Edminster's music. Surinach's piece is ute segments. "I found that in the origi­ nor emotionally enter this world — the statuary. flamenco-flavored, and will fit in with nal, Dennis's installation created such a viewer feels at once a participant and the evening's guest group, the focusing of visual space that the audi­ The women began the show and de­ an outsider. The above works are dis­ Rosewood Percussion Group, which ence wasn't accustomed to this," says spite biographical introductions which played in the Fridericianum and the plays Latin-influenced jazz/rock fusion. Salamun. "For the dancers, working Orangerie, two museums that serve as stressed feminine pursuits (mother­ within the space, it left them with a hood and craft hobbies) valley girl the main sites for the exhibition. How­ Music for the second concert — Satur­ feeling of vertigo — they were coming moans of disgust could be heard by an ever, no less than twenty-eight outdoor day, November 7, UWM Fine Arts Recit­ off the stage a bit dizzy. And for the alcohol and urine saturated audience. sculptures decorate various city al Hall — has not yet been determined: choreography, I soon realized that Men were truly the crowd favorites squares and public buildings, and per­ Music this evening will consist of win­ some of the minor body movements, with cheering often drowning out the formances are held almost every night ning compositions in a nationwide con­ things I would take for granted, sudden­ PA system. Of all the men only one, Ken in conjunction with the exhibit. The test sponsored by the Wisconsin Alli­ ly became so much more intense, more Lemke, was a farmer. The others had intelligent and creative uses of new me­ ance of Composers (WAC). Judges are focused. Every little thing was read as occupations ranging from cookie sales­ dia, and the questions posed to chang­ MME's Stalheim, Yehudi Yannay (UWM Movement." man to funeral director. Besides the au­ ing concepts of art and its functions, Music Dept.), and Joe Koykar (UW Mu­ dience response and occupational pur­ make Kissel a worthwhile stop for Eu­ sic Dept.). First part of the dance is a condensation ropean travellers. In this rather unlikely suits, the men and women were of the original half-hour first part: Con­ distinguished by the music that accom­ and unassuming town, one can see all January 24th's concert brings the mu­ sisting of four dancers, it is based on panied their routines. The women's the latest developments and trends that sic of Milwaukee's Jerome Kitzke, and Peter Menke's poem Atomic Pantoum. music was more imaginative with Jack­ will govern the art scene at least until the bodies of Milwaukee's Cate A pantoum is a formal poetic structure son's Control and Tina Turner's What the next Documenta in 1992. While art Deicher and Lynn Gilliam. Deicher and made up of an indefinite number of You See Is What You Get being used. is usually a matter of taste, not every­ Gilliam will be dancing to Donald Erb's quatrains. The second and fourth lines The men favored the heavy metal aes­ one would find all these works engag­ "Souvenir," a piece for synthesizer and of the odd-numbered quatrains are re­ thetic of electric guitars glorifying toys ing. But, perhaps best of all, with monu­ electronic tape. (Rumor has it that peated in the first and third lines of the of the highway. mental, and at times brash, formats and flourescent ping pong balls may be even-numbered quatrains, giving a unconventional methods, the incorpor­ dropping from the skies, like manna sense of sequential repetition, or, in this Despite these auxiliary distinctions, ation of sound, light, and motion, Docu­ from heaven.) Other contemporary case, an atomic reaction. (The pantoum physical intentions of the men and menta 8 defies its visitors to remain and electronic music will fill out the is considered primarily a French form, women were the same. Behind the indifferent. bill. even though it has its roots in primitive stage contestants pumped and primped Malaysian ritual.) Welstead has "digi­ Corrine D. Granof with rubbed oils gently patted with hy- The fourth concert — March 18 — tized" the reading of the poem, and has (Corrine Granof has recently returned pervelour towels. The products they reinvents the old: Randall Vemer of the incorporated it into his score. The sec­ to Milwaukee after spending a year in displayed showed not only the result of Portland (Ore.) Symphony Orchestra ond part, consisting of five dancers, Germany studying art history as a local health clubs (identified in the will bring to town his viola d'more, a will be newly choreographed for this Fulbright scholar.) bios) but also the artificial coloring of popular stringed instrument of the performance. The third part is also tanning booths. The shaved bodies, 17th and 18th centuries. Vemer will be based on the original: Consisting of six freed of fat and water through dietetic MR. AND MRS. playing compositions from those time dancers, it works off of recombinations regimen, signified the ultimate decora­ periods, but will also play original mu­ of repetitious movements within solo, WISCONSIN tive expression of body manipulation. sic created for the instrument. Music duet, and trio contexts, providing a re- STATE FAIR The judging, considered the closest in for the fifth concert has yet to be deter­ interpretation of those movements August 16 10 years of the event, often disappoint­ mined. within the different contexts. State Fair Coliseum ed the crowd whose boos competed This high visual impact piece in a high with the PA system. And the winners In addition to these five major con­ visibility setting is funded partially by If by chance anyone has forgotten the were Sandra Herman as Ms. Wisconsin certs, MME will be repeating elements highly visible monies: Milwaukee biblical tale of creation, its narrative State Fair and Scott Martin as Mr Both of these concerts in various other situa­ County, Harry and Lynde Bradley Foun­ structure was re-enacted at the State are from the Milwaukee area. tions throughout the course of the year. dation, Johnson Controls Foundation, Fair's judging arena, the Coliseum. Ev­ Other engagements include the Mil­ and the Milwaukee Foundation. ery day the Coliseum is filled with judg­ Sponsored by Old Style beer, the eve­ waukee Art Museum, the PAC's "Brown ing competitions that feature the prime ning was an uncanny spectacle of Bach It" series, and First Wisconsin's examples of animal husbandry pro­ America's fetish for the control of body "First Night" New Year's Eve celebra­ duced in the state. Winning competi­ fluids. While the audience's olfactory tion. Stay tuned/stay in tune. tors exemplify the highest quality of senses were being tantalized by animal their breed in terms of biological func­ urine, their optical senses were enter­ MATRIX tion (cows are actually judged on their tained by the display of bodies fabricat­ Betty Salamun/DanceCircus femininity and bulls on their masculin­ ed through an artificial balance of body Dennis Coffey: Installation ity), and represent the best that state fluids with an emphasis on the manipu­ David HB Drake: Lighting farmers are able to produce in terms of lation and concentration of the flow of Jon Welstead: Music production and consumption efficien­ blood into muscles. The strain of the Mitchell International Airport cy of a meat product. Go to the Colise­ posing produced bodies dripping with October 22 to November 6 um and one can see awards given for sweat and spraying saliva out toward (eight performances) best cow, bull, horse, and homo-sapien. the audience from tightly clenched ex­ In Genesis the last created and deemed posed teeth. Billed as a family affair, the Matrix, originally performed in Spring good by the creator was man. On Sun­ competition reified the social adulation 1985 at Alverno College, is being re­ day evening, the final day of the Fair, of the docile body and the cultural fan­ worked, rebuilt, and revamped to fit after all the farm animals had been tasy of mastering the possibilities. the new architectural environs of the judged it was now man's turn in the Jerome Schultz Mitchell Field terminal. "Open Physique Championship" for (Jerome Schultz is a regular contribu­ Mr. and Ms. State Fair. tor and columnist for Art Muscle. His Conceived and coordinated by Betty After nine days of animal competitions, writing also appears periodically in Salamun, Matrix developed from a se­ the dirt floor of the Coliseum was High Performance, New Art Examiner, ries of explorations by these four art­ soaked with the urine of nervous farm Vinyl and other art publications.) ists. Working from the parameters of a

11 More reasons to rely on Webster's for fine print

• 2-4 pm Sunday, September 27 KATERINE V. FORREST, lesbian novelist, will be signing her new novel DREAMS AND SWORDS. A GROUP SHOW • 7:30-9:30 pm Wednesday, October 14 Publication Party for ANCIENT VOICES, Milwaukee writer (remember SQUID SOUP?) MICHAEL MOONEYS OCTOBER 2 TO 25, 1987 new collection of short stories. ARTISTS: • October 19-23 Internationally recognized British writer COLIN WILSON KERMIT BERG will speak, (exact date and time to be announced) Constructed Textiles • 7:30-9:30 Thursday, November 5 JACOB FISHMAN Nationally syndicated wit CALVIN TRILLIN will speak Neon and sign copies of his new book IF YOU CAN'T SAY SOMETHING NICE. SUSAN WRONA GALL Dimensional Canvases PAMELA MATIOSIAN Mixed Media R. THOMAS TEDROWE, JR. Furniture MICHAEL YOUNG Neon for further information contact OPENING RECEPTION-FRIDAY, OCTOBER 2, 1987, 5 TO 8PM Webster's Books 2559 N. Downer, 332-9560 KATIE GINGRASS GALLERY THE READER'S BOOKSTORE 714 N. Milwaukee Street (414) 289-0855 Gallery Hours: Monday-Saturday 10 to 5

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12 Art Muscle Walk This Way

Walk This Way is a new column of ory. Bates and his collection represent that defines man as a modern individ­ to "collect yourself." personal insight into the phenom­ the norm of modernism. ual: collecting. In moments of anxiety I could go on, but I am writing this at a ena of mass culture modernism. and confusion we pause to "collect our local coffee shop and my waitress The act of collecting has become a thoughts" to maintain the appearance While the Milwaukee Art Museum's wants to collect on my order. show Warhol, Beuys and Polke was a modern perversion. Michael Ryan, the of composure. Have an emotional out­ definite blockbuster, its current exhibi­ Hungersford killer, collected guns. FAA burst and someone will admonish vou Jerome Schultz tion Hidden Treasures: Wisconsin Col­ officials and Wayne Country area law lects Painting and Sculpture is a block enforcement personnel spent three builder. Consisting of 120 paintings and days collecting evidence from the Ear Muscle sculptures from 50 Wisconsin private crash of Northwest Flight 255, hoping collections, the exhibit, according to to establish an explanation. McDonalds I have very few memories of high I happened to see Room Full of Blues the MAM calendar, will feature works sells "Garfield" theme glasses in a se­ school that are still so charged that the on a trip out east and they really had the "that closely parallel the museum's per­ ries. In the tv ad an exuberant male feelings they elicit come back through place jumpin. I was screamin' for Main manent collection," formulating a the­ voice-over suggests "collect all four." my stomach and not my head. There Lady and other Brantley originals sis that there exists in the state a "sec­ The unemployed collect aluminum are still fewer people or events that I Main Lady and other Brantley originals ond museum." Just as the planets are cans. Private residences have become can look back at and credit with having but they hadn't been worked into the now aligned in a Harmonic Converge, showcases of collections: salt and pep­ "directed my path." One such group of set yet. "My songwriting was what in­ Hidden Treasures creates a conver­ per shakers, guns, antlers, recipes, and videos. Even children collect — base­ people that I can count amongst this fluenced RFB to take me on. With the T- gence of fine art collections in the state sacred crew is a now defunct blues with the museum's collecting mission, ball cards, dolls, rocks, coins and birds, most of the songwriting was stamps. band called Short Stuff. It's a deprived done by Kim Wilson (the lead singer)." serving as the epicenter for this uni­ Milwaukean who never surrendered verse. The exhibit, which specifically Sounds to me like Junior's got it made. his or her clothes into a soak in submis­ He wasn't sure of the exact date but he will expose museum patrons to the The premiere issue of Grandparents sion to their jams. For nearly 15 years scope of fine art collecting within the magazine (Spring 1987) had a cover knew the band would be playing in Chi­ they defined rhythm and blues, leaving cago and possibly right here in Brew state, on a broader context signifies a story on teaching history and social re­ only two albums in their wake [Short phenomenon that permeates our cul­ sponsibility to grandchildren through a Town sometime in October. 'Fraid Stuff and Talk is Cheap on Third Coast you're on your own for that one. ture and defines us as modern individ­ collection. A major advertiser in the Records). Fortunately, the band's semi­ uals, that is the habit of collecting. magazine was the Franklin Mint of nal members, Jim Liban and Junior Pennsylvania, the leading manufacturer Jim Liban is a bluesman. Junior may Brantley, have remained true to their love the blues as much, but he does not in the industry of collecting. The Mint roots and both are as happy as they've represents the money to be made by become possessed by it on stage the The concept of the home as a recepta­ ever been — playing the blues. way Jim does. I have never seen a per­ cle of a collection (a second museum) our epoch's obsession to signify con­ trol and order through a collection of former tap into his core the way Liban has often been a subject in popular cul­ Junior's story, for those who have spent does. When he's hunched over and ture to express the various manifesta­ possessions. The Mint produces every­ thing in serial form from authorized re­ the last two years in an isolation tank, is blowing his guts into that harp he's a tions of individual power. In the de­ a local-boy-makes-good classic. With fetus sucking on the musical umbilical funct ABC series The Colbys, Sable productions of antique cards to period theme groupings of dolls and stuffed his Cheshire cat smile a veritable blues cord of the universe. If you never shake Colby continued to live in her husband animals. Items produced by the Mint trademark, Junior's paid more than his one buttock to his music your insides Jason's home after their divorce. The emphasize the fine art qualities of "au­ dues to say nothing of his solid key­ got to be dancin' when this guy starts to "Colby Art Collection," which she cur- thenticity," "originality" (of design) board work and incredible guitar mim­ jaw that thing. There's just something ated and he funded, kept them together and come complete with a display unit icking ability (a friend once asked me about witnessing someone showing under the same roof. Divorce court set often labelled "museum like." why the guitarist's fingers were moving you their heart that locks you into them them free but their collection of Mod­ so slowly when the solo she was hear­ and releases your own heart at the ern masterworks aesthetically bonded ing was flying by so fast). Junior's big Currently, the Mint is marketing The same time. He performs the holy rite of them. The '70s tv sitcom The Addams break finally came when the Fabulous Woodmouse Family which features the blues every time he's up there. Family featured an eccentric family Thunderbirds (their top ten hit Tuff 25 mouse figurines complete with a ("Their house is a museum") who not Enuff was peaking at the time) asked house-shaped display case. The figur­ These days its Nashvillians that have only collected a hodgepodge of histori­ him to join. ines representing kitsch manifestations the privilege of being wound around cal period style art objects, but also of cultural stereotypes of a "family" is his finger. Jim decided to "get into amassed servants and relatives from the marketed as a learning tool for grand­ It may be a long way from the bar-top some new waters" and left Milwaukee Medieval "Grandpa" to the Surrealist children to expose them to "the tradi­ stage at Hooligan's to a full house at for Grand Ole Opry town about two "Hand." In the sitcom, the curating Ad­ tion of illustrious families everywhere." Madison Square Garden, but Junior years ago. He explored the studio musi­ dams are benignly presented as comi­ Two mice are attired as a wedding cou­ took it in stride. "They (the T-birds) are cian route and the touring musician cal, socially harmless collectors, re­ ple. "Aunt Polly" bakes bread. "Aunt really just a blues band. I had to learn 5 route as sideman in somebody else's moved from the pulse of everyday life, Winsome" teaches dance, and "Uncle parts for each song but there was noth­ band and found that "the thing that existing in the world they created and Alexander, his clothing in great disar­ ing I hadn't seen before." Still, to walk feels best and most natural is to per­ maintained. ray as befits a preoccupied (and emi­ on stage never having rehearsed and form the music I feel best about which nent) scientist," represents the stereo­ without even a sound check — shit I happens to be blues." Since forming a The opposite of this propitious repre­ mean you may be able to hit 9 out of 10 sentation of the private collector was type of the eccentric intellectual, band in Nashville about five months freethrows down at the playground, ago "things started happening." Things chillingly investigated by Hitchcock in which every family should have. "The but Madison Square Garden?! Even Ju­ like Bobby Field (produced Omar & his classic Psycho. Norman Bates may Woodmouse Family" even has its own nior wasn't cool enough to blow off a the Howlers album for Columbia Re­ have run a backroad motel to make researcher and historian, "Professor backstage appearance by Mr. Bob Dylan cords) agreeing to produce his record money, but for personal enjoyment he Plum, discoverer of the Woodmouse that same night. (Don't believe it? sometime this winter. maintained a private museum. Through Family album." The Woodmouse Fam­ ily contains the order and structure of Check out the the Billboard magazine his hobby of taxidermy, originally a mu­ from Dec. '86 which pictures our Boy Instead of pulling punches on the name seum science, he preserved wild birds the traditional family all neatly framed by the house display case. with the T-birds and Mr. Bob.) of the band, he's called this one the Jim in noble and majestic postures and his Liban Blues Quartet. He's decided that mother as an enthroned matriarch. Her That ultra-brite smile went over big in blues is where he shines so he's going room maintained, like a museum dis­ The Mint has become a successful en­ Tokyo and filled your bedroom on to "lay [his] cards on the table and if play, simulated a moment in time. terprise for our obsession to contain, Johnny Carson. I remember flicking by people like 'em fine, if not hell with Memory was being controlled. While it control and identify. Like everything MTV (I swear I don't watch it regularly) 'em." This time around, Jim intends to else in our culture, collecting has its is true that the character of Bates repre­ and it was a video from the Mardi Gras make it on his own terms — but with biblical precedent in the tale of Noah sents the evils of a mental disorder, — that's right your friend and mine . . . the help of some big time administra­ and the Ark, the first museum. Noah's Bates also represents the dispersal of and on and on. Nine months of the big tors. He has contracted with Bug Music Ark and "the Woodmouse Family" have the museum and its mission to collect, time, but he never forgot his friends out of L.A., a firm which originally was much in common; both are intended to preserve and control memory into the back home. When the band played Al­ involved with collecting the royalties maintain the order of the family. Noah's norm of everyday life. pine Valley the man invited 65 of his owed Del Shannon for Runaway (not a Ark was built to save the order of God's friends backstage. Where does this guy Bodeans cover) and which later estab­ plan from the disorder of his retribu­ Norman's collection, limited to mother get off with all the talent, charm and lished themselves as collectors of pub­ tion, the flood. Noah's curatorial philos­ and wild birds, expressed a reality that success? Sickening. lishing royalties as well as a networking although psychotic in focus, exoterical- ophy, ordained by the law, was limited system for songwriters and artists seek­ to a collection of procreative couples, ly signified modernism's identification As the recording sessions began for the ing songs. They like Jim's work and are seven sets of clean specimens and one of the Self, where power is displayed current album [Hot Number on CBS], sure they can sell it to other artists. set of unclean specimens, as defined by through the objectification of the other Junior was replaced in the studio by Hebrew law. The Ark was built to main­ within the context of a collection. Re­ Chuck Leabell (Stones, Allman Bros., No one who's ever seen a good blues tain the continuation of the family unit, sulting from the efficiency of mass pro­ band needs to be told why someone deemed good by the creator's plan. Dave Edmunds). Nothing was ever duction and distribution, the habit of spelled out concerning the future with would want to play the blues. There's collecting, once reserved for the the band so when he received yet an­ no ambiguity of purpose — conveying Church and the King, now is available The Ark and its collection survived the other offer from yet another well-estab­ emotions is the whole trip. The music to anyone who desires to participate. disorder so that order would continue. lished blues act, Room Full of Blues, on is strictly a vehicle — the band is the Bates, despite his psychological disor­ Hidden Treasures, which displays the Muse Records, he opted out of the T- motor — the audience the spark. Last der, participated in the social habit of order of the MAM's collection and its birds. The split was totally amicable one to release loses. establishing order through collecting dispersal into the 'second museums' of and considering the total pan the album in order to bring control to his mem­ the state, celebrates the basic function has received — it was perfect timing. Bobby DuPah

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By Ellen Crane same thing, so I don't think that it will be much Petipa, who did Swan Lake, The Nutcracker, I've been an artistic director for five years, and it Tanner, who is my associate, and the other ballet ple and they do with it basically what they Robert Weiss comes to Milwaukee this year as different. Sleeping Beauty, Coppelia* and Giselle (his ver­ is really a very difficult, time-consuming, ener­ masters, as something that is organic in a certain choose to. It's our job to create an environment the artistic director of the joint venture be­ sions of those ballets are the ones that survived), gy-draining, enervating job. He created sixty sense. Within classical ballet the positions Jof where they have the time to do it and the situa­ tween the Milwaukee Ballet and the Pennsylva­ EC: The repertoire for the upcoming season in­ and you realize that Balanchine came directly ballets while he was building a ballet company. I the body] are very important, but it's what is in tion, and the mental freedom in which they can nia Ballet. Mr. Weiss served as director of the cludes some classics, several Milwaukee pre­ out of that heritage, then who would be more have an enormous amount of respect for that, between the positions that's even more impor­ do it. All we can really do is to provide, hopeful­ Pennsylvania Ballet from 1982 to 1987. Prior to miers, and a lot of ballets by George Balan- likely, from a historic standpoint, than the peo­ and I think I learned a lot. First of all, of how tant. You have to get from one position to the ly, a stimulating and at the same time soothing, his appointment in Philadelphia, Mr. Weiss was a chine, the late director of the New York City ple who worked with that genius? If you look at much can be accomplished if you are single- other. Transitions are equally important ... the in a certain sense, environment in which to ac­ principal dancer with the New York City Ballet. Ballet. Pennsylvania Ballet had more of a Ba- art history, most of the time great painters study minded enough and want it to happen. Second phrasing, the musicality. Technique is some­ complish as much as people can accomplish. He is also active as a teacher, administrator and lanchine influence than the old Milwaukee with other great painters. So, I don't think that of all, he was enormously calm. I think I saw him thing that you just have to bop people on the I've been in the business professionally for twen­ choreographer. company Do you plan to continue that em­ we're going to turn this into a satellite or sec­ lose his temper, in the twenty years that I head about, ... that's wrong, that's wrong, ty-five years, longer than that from student days, The joint venture shares a single company of phasis with the present company? ond-rate New York City Ballet. I'm looking for us worked with him, maybe twenty or thirty times. that's wrong, and you have to do this, and this, and I've never seen anybody give somebody tal­ dancers, repertoire, and artistic and production to have our own unique face. Balanchine will be In the face of enormous problems when we and this . . . and you have to do it one hundred ent. Balanchine couldn't do it. On the other staffs. The combined company, tided the Penn­ RW: I think that Balanchine was the greatest a part of that, but he will not be the only part. were opening up a premier ballet and every­ thousand times until it becomes a physical thing hand, I've seen people with an enormous sylvania and Milwaukee Ballet, will offer year- choreographer of the twentieth century and to thing was going wrong, and everybody else was and not just a mental thing. It's very hard to amount of talent who emotionally or mentally round contracts to over forty dancers and is ignore that would be foolhardy. First of all, even EC How did working with Balanchine as a screaming at each other — the lighting designer, translate. A lot of people know mentally what to couldn't deal with their talent, and people with expected to have one of the largest production though he was Russian by birth, he was Ameri­ person, affect you as a director? the costume designer, the dancers, the stage do, but to get them to do it physically is a whole less talent who had more energy and drive and budgets in the country. can by creativity, and he created most of his manager — he managed to stay cool. Every once other story. As far as artistry goes, I don't believe focus and discipline and desire. You can't give major work in the '40s through the '80s. So it's RW: He was an incredible man on many levels. in a while he lost his temper, but when he lost it, that you can teach that God gives talent to peo­ somebody desire. Desire is probably an enor­ Ellen Crane: Milwaukee audiences will be wit­ our heritage, number one. Number two, there He not only left us with fifty or sixty great bal­ you knew that there was a very good reason. mous part of it. Wanting to achieve something is nessing the beginning of a new era for their was never a choreographer who was as prolific. lets, but he created the New York City Ballet in Otherwise, he was able to calm everybody else sometimes more important than having talent. If ballet company this year Can you give us any He made so many wonderful ballets ... fifty or an environment that, I wouldn't necessarily say down and make sure that the show got on the all of those things come together in the right idea of what changes can be expected? sixty. So to ignore that would be as I said, fool­ was hostile to ballet, although there was some way he wanted it to. way, then you've got a wonderful dancer to look hardy. On the other hand, I don't want anybody hostility certainly among ... conservative men at. Robert Weiss: That's a hard question to answer. I to have the impression, and for some reason especially, who were afraid that all ballet danc­ EC: I guess as dance is a pretty high stress job, it don't think there is going to be so much change, there is this great fear, not necessarily only in ers were homosexuals and if you go to the ballet helps to have that calming factor behind you EC You have choreographed ballets for Penn­ as just the whole level of the situation will be Milwaukee, but in the United States in general, you'll be gay after you go twice. And there is a sylvania Ballet, American Ballet Theater, and higher. The resources of two cities as opposed of this pervasive influence. While he was alive certain Puritan ethic in America which is just RW: Yes. for Maurice Bejarfs Ballet of the Twentieth to one will enable us, first of all, to have the this fear existed and even now that he's dead it anti-anything that is entertaining or that you Century in Brussels. Do you intend to do some dancers working more which means that they exists through me and through Helgi Tomasson have a good time at ... it must be bad for you in EC: In directing the company you frequently choreography for this company? will be dancing better, because it's hard to keep who's the director in San Francisco, and through some way. It's just the way the whole outlook of teach the (dancer's) daily technique class and up your highest standards when you're on a lay­ other City Ballet people ... there are many of the country started. So in that sense it was hos­ will be doing some coaching as well, I assume. RW: 111 probably do something this year. off for half the year. A lot better dancers in us all over the country. The interesting thing is, tile, but in most senses it was just indifferent. What do you feel is the best way to nurture general are attracted to something that works when you're dealing with a classical art form, There was no heritage here in this country, and your dancers as artists and technicians? EC: What sort of elements inspire you as a for 52 weeks as opposed to 36 weeks. There will there are certain guidelines or parameters that ballet is young compared to music or painting choreographer? be more, because we will be able to take the classical art follows, and there's a sense of histo­ anyway. Classical dance was just something that RW: Technique is a very subde thing and there repertoire that was choreographed in Philadel­ ry. We are radical within very small boundaries was totally foreign, and out of the realm of peo­ are many ways to approach it. The way we ap­ RW: It's different every time. Last year I did a phia and bring it to Milwaukee and repertoire ... on purpose, unlike modern dance. So, if you ple's lives. He (Balanchine) came to this country proach it ... is one of the differences I hope full-length ballet, and it was the story that in­ from Milwaukee and bring it to Philadelphia. take our history, and you take the greatest chor­ and in thirty years established a great ballet people will notice, although it doesn't happen spired me first, although the music was certainly Within a certain range, everbody wants the eographer of the nineteenth century which was company, which is no mean feat. I'll tell you ... overnight. I see technique, and so does Richard second. Sometimes it's just a piece of music

14 Art Muscle 15 from the very beginning that speaks to you. chance to experiment. At least we will be able to people who understand that this is really impor­ Sometimes it's a dancer. It's not really any one keep production costs at a minimum, though tant and who donate; whether it is a corpora­ element; it's all things together. the other costs will still be there. tion, or the city, or the state, or a private individ­ ual. I think it's really important whenever EC: When you went to Brussels to choreograph EC: I'm sure you're also anxious to bring in there's a chance to explain this to the public, for Bejarfs company, did you find things dif­ new choreographers for the main stage who that they have it explained to them. ferent there? have perhaps already established themselves. EC: Lastly can you say a little bit about your first series? RW: Things are different everywhere, and that's RW. Absolutely. We're bringing in Lynne Taylor- perfectly fine. What's wonderful about ballet, in orbett this year, and she has a very good track RW: The first series is just a lot of fun. Ballets like a way, is that it's different, but it's the same. As I Stars and Stripes and Who Cares are classical said, the parameters are narrow — on purpose. ballets of the highest caliber, but they're more You're dealing with a classical art form, so you EC I'm sure a lot of choreographers are going importantly just entertaining and relaxing. can't just do anything, and that's what I find, to be attracted to this company too because of Gershwin music is familiar to every generation, personally, more satisfying. Bejart has his own its quality, its dancers, and its good working as are Sousa marches. It's really like a good way of working and his dancers are trained dif­ situation. Broadway show, and Billy the Kid is a very ferently. Also, Europeans are different from straightforward story. It's an all-American enter­ Americans. Audiences are different too. The au­ RW: I don't think we'll have any problem attract­ taining evening, and I guess that brings me to dience in Philadelphia and the audience in Mil­ ing choreographers at all. As a matter of fact, the another one of my "pet peeves" or problems waukee are different, and that's another thing problem will still be that there's not enough with ballet. People think that there's some kind that I think will be stimulating about the joint time and enough money, so we're going to have of an esoteric knowledge that you have to have venture. to turn some down. to enjoy what goes on on the stage, and I just EC: Some of the European companies tend to EC: Before I ask you a little bit about your first don't believe that's true. I think that there could use more "mixed-media" with the ballet, em­ series, is there anything else you'd like to say? be twice as many people in the audience and ploying different media in the process of creat­ twice as many subscribers if people would just ing a ballet. Do you have any opinions on give it a chance once. Everyone has danced at that? one point in their lives — social dancing, at least. You move to music in space. Sometimes you're RW: I don't really think I have any opinions .. . not trying to say anything more than "Isn't this well, I have some opinions. Everybody has their wonderful, isn't this fun, isn't this charming, isn't own way of dealing with the problems of making this beautiful?" Sometimes you're trying to say art. If someone wants to have talking or televi­ more than that. But even from a technical stand­ sion screens on the stage, and they do it in a very point, the way you learn to appreciate it is just interesting and creative way, it's fine; but if they by going. You go once and you get something do it just because it's the "in" thing to do, and out of it, and you really have a good time and that happens a lot unfortunately, then it be­ then you go back and you get something else out comes a gimmick and a gimmick is not art. It's of it. Then, after you go ten times, you kind of wonderful to have rules because then you have a understand what's going on. We had a picnic point of view to start from. If you break the with some people from Milwaukee yesterday, rules, you have to have a damn good reason to and someone said to me "You know, I don't break them. If you do, then it becomes success­ really know anything about this, but I've been ful, and if you don't, it doesn't. going on and off for about ten years." And I said "Well, do you have a good time?" and he said EC: Can you tell us something about the pro­ "Yes." And I said "Well, what more do you need posed "Factory Project" for new choreo­ to know?" I would imagine that most people graphers which is to be developed here in Mil­ who took English in college don't really remem­ waukee (in a warehouse space on Virginia ber that much about how words are put into Street)? sentences, and about style, but if you read a novel and you enjoy yourself, that's all that's RW: We hope that since the dancers will be important. And if you go to the movies, I think working for 52 weeks, we'll have the time to it's even more complicated than dance. What bring in several choreographers during the year the director has to do with special effects and — how many is still undecided — to work on camera angles and how they cut it and put it things that they or I wouldn't necessarily want together doesn't matter. What matters is wheth­ to take a chance on producing on the main stage er you enjoy the movie or not. It's no different because thay are more experimental or in an RW: Just mainly that there are still people asking with dance, so why is everybody so scared? area in which they've never worked before or "Why did we do this?" I want people to under­ they're too expensive to produce the first time stand that this was artistically, not financially, EC: So your primary concern is entertaining around. If it would cost one hundred thousand generated; although the two are linked closer the public? dollars in scenery and costumes, we just don't than one would like them to be, in a way. Basi­ want to spend that much for a piece that just cally, this was my idea, and it was for the reason RW: Yes. Entertaining in the highest sense of the isn't going to work. The greatest choreographer that neither city could support a great ballet word. Some kinds of entertainment are sleazy. in the world, of whom we spoke earlier, had company. Both cities could have a good one, and That's the only difference. This isn't sleazy. failures. He did 400 ballets, and sixty survived. I think with art, it's better to have great. There (Ellen Crane, who formerly danced with the For somebody who's that prolific, that isn't a are only two types of momentum: forward and Milwaukee Ballet, is now a member of the very good track record. Painters paint over their backward, and we were both staying in one Southwest Ballet, Albuquerque, NM) canvases when they don't turn out, and it costs a place, both in Milwaukee and in Philadelphia, little bit. Composers and writers the same . . . for too long. This gives us an opportunity, even The Pennsylvania and Milwaukee Ballet and even playwrights; you tear up a piece of though we're sharing something. When the opens its I98"7-8S season on September 17 paper. You still have to get your play on the stage dancers were on unemployment insurance in with its "Made in America" series. The pro­ to know whether or not it really works. On the the past, they will now be in the other city. So gram will be as follows: other hand, you can get a pretty damn good idea people should realize, first of all, that it's not from the printed manuscript. It's only really going to cost any less. We're spending all the i :^i:?. mm. Strfees'/ dance that has the problem of expense. It's very money that we were spending in both cities just .Choreography: George Balanchine expensive not only to put it on the stage, but to to move forward. Both cities are going to have to Music-John Philip Sousa make it in the first place. You're employing forty realize that we need more support than ever or thirty or ten people's time, and the studio before. A lot of the money, right away, will go to Billy the Kid space, and the heat, and the lights, and the pia­ putting on dancers for 52 weeks, for housing Choreography: Eugene Loring nist with a piano that has to be tuned. All of that them in one city or the other, and for transporta­ Music: Aaron Copland v\-'.'-••••'• is a very expensive proposition, and then you tion back and forth. But also, to go on and pro­ might not make a work that the public is going duce new large-scale ballet is a very expensive Who Cares? to like. You might not even make a work that's proposition. When you sit in a seat at the PAC, Choreography: George Balanchine artistically good and that the public doesn't like fifty percent of what you see is covered by your right away. So I hope to use the Factory as a ticket price, and the other fifty percent is from

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17 are the crime — women who drive each other to emotional extremes, who put their sexuality upfront where everyone has to acknowledge it."

Dress Suits is about two women (two sisters?) — Deeluxe and Michigan Rumpus Betty — who live in a rental clothing shop, and use the various attires to try on various personae. Besides the shifting conflicts displayed between the two, Deeluxe manifests an inner conflict with a char­ Performance art acter named Little Peter, embodied on stage by her right hand. (A hand in the bird is worth two futures in the bush, as they say.) Hughes wrote this performance for Lois Weaver By John Blum and Peggy Shaw, members of the lesbian theater group Split Britches, and who have performed And here's another in a series of "Futures" arti­ with the Hot Peaches and Spiderwoman compa­ cles, where we take a look at the works-in-pro- nies. Another play of Hughes's, The Well ofHor- gress of various artists and art groups. We'll try niness , is to be published by Grove Press in to make this a mainstay of the magazine. Spring 1988. Dress Suits is being brought to

Jon Erickson Photo by Francis Ford town by "a quiet group of people trying to make The "Futures" monicker, of course, comes from it happen." Location has not yet been deter­ the real world — you know, a commodity mined, but the C Club (beneath the Hotel Wis­ bought for future acceptance, or sold for future consin) is the most likely spot. For further info, delivery — you know, like the stuff you hear on Erickson will also be playing the new Walker's call Midwest Music at 372-5500. the Farm Report in the mornings. Playing the Point Center for the Arts (WPCA) on November futures market is risky business, so let's do it. 27 and 28 with dancer Deb Loewen and artist Mark Anderson's location hasn't yet been det Jill Sebastian. The working title of their piece is ermined either, but we think it's somewhere Pat Tully of the Milwaukee Art Museum tells us Triangulation, and it's described as a Foucaul- between his hand and the reflection of his hand; "there's not a weekend in November without tian piece, dealing with surveillance and bodily somewhere between his eyes and her lies; some­ performance art, and that's the way it should inscription. Part of Sebastian's installation will where between here, and there. Actually, Ander­ be." Tully's partly responsible for keeping per­ include her "bed," a nightmarish and vertigi­ son may be racking up those frequent flyer dis­ formance art alive in Milwaukee, partly through nous creation that comes out at you from the counts — he's recently been out East, checking her Performance/Art series at the Art Museum. wall. Right now, the three of them are trying to out Diane Vanderhei's performance in Maine, fit the movement of the piece into the confines performing in Central Park (he was the one with The weekend of November 6 and 7 brings two of the WPCA. the trenchcoat and brown paper bag) alongside works to the Art Museum's east entrance: Jon Holly Hughes, and performing at Middlebury Erickson's Self-Possession and Diane Vander- And one more time for Erickson: He'll be talking College under the auspices of New York's PS 122 hei's Knocking Heads. Vanderhei's a dancer af­ with director David Schweizer on the similari­ performance consortium. filiated with Deb Loewen's Wild Space dance ties and differences between performance and group, and she's seen frequently in perfor­ acting. This will take place through the Milwau­ By October, Anderson will be in nearby Madi­ mances by Mark Anderson. Her piece will con­ kee Art Museum's Artist's Forum Series on son, performing for the Triennial at the Madison sist of three parts, each choreographed by a Thursday, October 8. Arts Center. Then by mid-November, he's East­ different individual: Anderson, Marcie Hoffman, ern-oriented again, taking part in the Hall Walls and John Luttrop (formerly of Pioneers of Mod­ On November 14, the Art Museum brings in (Buffalo, NY) "mixed wave" experience. With ern Typography). Vanderhei recently per­ Billy (Swimmin' the River) Curmano (ArtMus­ all his travelling, it's no wonder he's having trou­ formed Knocking Heads at the Maine Arts Festi­ cle, July 1987). Billy will be reliving the dis­ ble sleeping — Sleepless VI is already tumbling val. tance he's swum the Mississippi River to date. around his cranium. Sleepless is planned for Apparently, Curmano will be in some sort of mid-December, but Anderson says he doesn't Erickson returns to the performance arena after "water thing" to deliver his maniacal travelo­ want to talk about it yet. When pressed, though, a long-hiatus — he hasn't performed his own gue/monologue. he says i t'll have something to do with a Nut­ work since last September's La Peste (Art Mus­ cracker theme. Men are requested to break out cle, November 1986), or in collaboration on November 20, 21, and 22 brings us that New their high school jock straps — with cups at­ Post Cardial Problemaddicts last November. York doll Holly Hughes and her Dress Suits to tached. Self-Possession still exists somewhere in Erick­ Hire. Hughes's special brand of theater has been, son's head, but it will deal with the notion of er,... "branded" as "Dyke Noir" by C. Carr in the At our press time, pork bellies were going for property rights as applied to the individual, i.e., Village Voice (May 19, 1987). Hughes employs 62.65 cents per pound in February and 61.90 in do we own ourselves? Right now, Erickson is the images and language of the hardboiled genre March, soybeans for $5.07 per bushel in Septem­ mulling over current attitudes and laws related of literature, adapts it to lesbian theater, and ber and $5.04 in November. Cecil Cooper's to abortion and suicide (we can't do away with creates her own form (hardboiled (c)lit?). Carr baseball future fell off the board. It's risky busi­ ourselves), and with voting rights (no home ad­ also notes that in this hybrid form what's notice­ ness, but there's money in futures, or long-term dress, no vote). ably missing is the actual crime. "The characters contracts.

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. Letter Home

Stanley Ryan Jones was photo edi­ please). As a matter of fact, Boise is a tor of the Bugle American the last year pretty neat town ... If Madison and of its existence. He photographed the Fond du Lac had a child it would look club scene from 1976 to 1980. He was suspiciously like this place. A refresh­ also a contributor to the early Express ing relief from La La land, let me tell you and the latter New York Rocker. . . . Like Milwaukee it is thriving artisti­ cally in spite of an inferiority complex, Dear Muscle, with cheap studio space up the wazoo

First off, everyone who reads this owes me a postcard. When I was living in Of course, it's impossible to predict Milwaukee I was impressed and where I will be this summer but my pleased with the thriving art and music sights are set on Nevada, Las Vegas if I'm scene and from what I can tell it has lucky. Sleeping on the cold, cold fire gotten even better. I've been telling this line one night and sipping drinks by the to anyone who cared to listen for the pool with Sammy Davis the next . . . past six years. What can I say — I'm crazy about Milwaukee. I think it's the Since leaving Milwaukee my photogra­ cultural center of the universe. Maybe phy has been put on the back burner it's the brutal climate that keeps people although I still flirt with it. My main hungry and honest — or maybe it's the schtick these days is collage, two di­ vibes of Lake Michigan — or maybe it's mensional, photo real mostly — geared just Oriental Drugs. At any rate, there toward a twisted pre-adolescent men­ are more cool, creative people per ca­ tality. It's pretty low tech but adapts pita than any place I've lived before or well to video and color Xerox . . . since. Forgive me if I gush. I'm proud to Working with garbage means low over­ have spent my formative years there head and of course I don't have to deal and if it's OK I want to move back .... with road managers and security.

So in the spring of '81 I quit my job at Well , if things work out I plan on U- the docks and left the city in a flurry — Hauling all my crap back this fall and burnt out on the New Wave . . . Like I making another stab at turning pro in thought that thang had run its course that whacky work of art . . . . Silly Me . . . Along comes MTV and So keep your eyes peeled for a cool six years later Billy Idol is still spiked studio and I'll see you in October. I and studded — David Byrne is on the guess my 15 minutes are up. cover of Time — and Iggy Pop is finally accepted by the Catholic Church. Your Pal, Anyhow, I moved to New Mexico and Stanley Ryan Jones took a job fighting forest fires in a five c/oBLM-BIFC Smokejumpers gas station town called Quemado in the 3905 Vista Ave. southwestern part of the state near the Boise, Idaho Arizona border. (A few miles from Wal­ 83705 ter de Maria's lightning field, if you know where that is). I^P^P^jJII^^ Basically, we hung out in the woods chasing elk and lightning fires . Fight­ ing fire is hard dirty work, but it cer­ Full Service tainly has its moments and beats the Quality Printing hell out of the factory.

After the fire season ended I got a job as H Typesetting a cub photographer for the Silver City d Offset Printing Daily Press (also in NM). I got to shoot U Bindery some stuff that I normally wouldn't H Camera Work have pursued on my own . . . small circuses and rodeos, Cuban refugees, a H High Speed Copier Romanian ballet, the Demming Duck races, a Head East concert ... .It was Free Color Ink Days an OK gig but I decided to do another summer of fire in Quemado. 3592 N.Oakland Ave. Shorewood.WI 53211 The following year (83) I got hired as a (414) 963-0878 smokejumper, to be trained in Redding, California. The generic job description Weekdays 8:00-6:30 p.m. is "Parachuting into mountainous ter­ Saturdays 9:00-1:00 p.m. rain to suppress wild fire ..."

The hardest part of the job was living in California . . . .Every joke and stereo­ CHAIM GROSS type of the state proved to be true. Par­ For all your hair, allel Purgatory — but the job itself is September 30—October 22 "bitchin" and the "dudes" I work with skin & nail needs are "totally rad" . . . .Rabid individuals Find yourself at .. with screaming personalities . . . The full spectrum, from the Yuppie personi­ fied to the floridly schizophrenic . . . Salon East Because we only work half the year 414 961 7000 most everyone pursues other passions in the off-season. There are Climbers and Divers and Ski Bums and School Salon West Teachers and Big Game Hunters and Surfers and Lumberjacks and World 414 354 0920 Travelers. A Zen Monk here, a Navy seal there. The list goes on. The few, the proud, the cool, the crazy — American Smoke Jumpers. DAVID BARNETT GALLERY Although I was stationed in Northern 1024 East State St. at Prospect Avenue Cal, I've gotten to jump in many of the 271-5058 western states and Alaska . . . and now in my fifth season I'm based out of Boise M-F SAT Idaho of all places (No B-52 jokes 10-6 10-5 26 Art Muscle

i& Linear B

By Kelli Peduzzi

Modern Primitive Man Campfire Talk ist academic establishment, a view he- / really believe in a poetry that's com­ Birds don't need opinions arrived at reluctantly and after a good Mountaintops don't need to kneel mitted, not just beautiful language, or because they have pinions. deal of disillusionment. and ask forgiveness for coming from a space of lovely words What is the opinion of the pinon pine their sins. without any philosophical or spiritu­ on whether Christianity is Since returning from San Francisco in al underpinning to it. for or against homosexual­ Capitalism and Communism mean 1983, he has made several applications (Antler - fune 1987) ity? nothing to teach creative writing at UW-Mil- On the banks of the Milwaukee River, A flower doesn't need a savior to every tree that alche­ waukee, his alma mater. Each time he's under majestic trees, a poet clues me in to be able to bloom. mizes light. been rejected. "They told me I should to the life cycle of the dragon flies dart­ A waterfall doesn't need a guru No whale will ever know who Christ is. stop beating my head against a wall. I ing and hovering about us. The poet in order to gush. No chipmunk will ever follow Buddha was told I would never get a job there." speaks in a monotone, as if meditating, A caterpillar doesn't need a Bible No eagle gives a shit about Mohammed. For the prodigal son who had just had a recalling verses of Whitman and Shel­ to become a butterfly. No grizzly will ever consult a priest. book published by Ferlinghetti's City ley from memory. A lake doesn't need a Ph.D. No seagull will ever become a Mormon. Lights Press, rejection was a particular to become a cloud. No dolphin has to learn computers shock. Teaching seemed like the next I've brought him food — a vegetarian A rainbow doesn't need afresh coat of if it wants to get along logical step in his career. It's a shame picnic — because the poet's self- paint in the modern world. too, he admits, because he would like avowed poverty means he eats little, every year. No sparrow needs insurance. to pass his love of poetry on to the next and he's rail-thin. He's learned how to Worms don't need to study existentialism No gorilla needs a God. generation. do without a lot, he says. Antler to exist. "They don't want guys with long hair. They don't want a return of the '60s. At first glance, Antler, who's recognized My poems elevate smoking marijuana as Milwaukee's own poet laureate, "I am the person who wrote those po­ Antler says his irreverence for every­ to a spiritual plane, which they can't seems a throwback to 1968 — a time handle. They're homophobic. And, my when peace, love, flowers and marijua­ ems. I meant what I said and I still do. thing from Christianity to aluminum There are some really disturbing things can lids offends many. (He knew some­ poetry is confrontational. It's meant to na were all you needed to live a mean­ provoke. I might seem like a gentle per­ ingful life. True, the poet's waist-length in my poetry, but I meant them to be thing was amiss with religion, he says, there as a way to try to figure out what when his minister told him as a child son, but I'm really serious," he says, his hair, his lumpy backpack (full of poetry voice gaining a hard edge for the first books) and threadbare clothes speak reality is, what we are. And try to fath­ that his dog wouldn't go to heaven.) om the inhumanity of human beings "That dog had more soul than a lot of time in our conversation. "I'm really directly out of that time. But for Antler, against the work ethic. I might as well now 41, it was never just a social era. toward each other and towards the people." The poet is unapologetic; he earth. My poetry tries to confront and accepts the fact that his poetry shakes say it. I stand up for what I believe in — He lives and writes as a child of nature, I have to and so I do." eschewing, even condemning, what he heal those wounds of cruelty, not by people up. It's what he hopes for. sees as the dehumanizing worship of ignoring them, but by dealing with the The experience was to him "proof that factories, an enslaving work ethic, civil­ most hideous examples of humans — When Antler was 14 he began writing there is freedom of speech, but if you ization's obsession with money, world­ the incomprehensible sadistic aspects sonnets and blank verse. Later, he really express what you are — it's really ly goods and violence. of how they behave." He envisions a earned a degree in creative writing Utopian democracy, a place where ev­ from UW-Milwaukee and attended the important that creative writing stu­ dents know if they express their deep­ His most contented moments are spent erybody has plenty of time to achieve Writers Workshops in Iowa City. In self-awareness and acceptance of our 1985 he won the Whitman Prize from est feelings they may not be able to get alone in the wilderness, meditating on a job in a university." He sees the split the life/death cycle, the heaven that is place in nature. the Walt Whitman Association, and in 1986 the American Academy and Insti­ between academic and non-academic earth. His tone of voice can lull the poetry widening, with the artists most Discovering Walt Whitman's Leaves of tute of Arts and Letters awarded him listener. He seems to relish the texture willing to grow moving outside the ivy Grass just after high school changed the $1,500 Witter Bynner Prize as an of speech. But do not be lulled. For just walls. beyond the talk about nature's perfec­ Antler's's whole life. "He's speaking of "outstanding younger poet." tion and achieving self-realization are the common self we all have so when He has a deep affection for traditional Iconoclastic. Subversive. Dangerous? the micro-revolutions of his poems. He you read it you sense 'this is exactly poetic forms and for the poets who He is to those who fear his message. means to rattle us. how I feel; it's taking the words right wrote them — Shelley, Keats and Dick­ Ironically, he's not a threatening per­ out of my heart.' It's very magical." inson in particular. But he is also drawn Death, humanity's excesses, the des­ son. Nor is he some druggie burnout to the modern poets Allen Ginsberg looking for a way to stick it to the sys­ ecration of the earth, and "brainwash­ In part, Antler's poems are an echoing (who has praised Antler's work), Gary tem, or to avoid work. "I'm really a wor­ ing" by religion are major themes in his of Whitman's spiritual exploration of Snyder, Denise Levertov, Michael Mc- kaholic," he laughs. "I work hard on my poetry. The work ethic, however, is the self; at least he's often been compared Clure and Lawrence Ferlinghetti. writing every day." Two published col­ biggest concern. "There's work that's to his predecessor. Antler questions valuable and inspiring," he says. "And lections and hundreds of yet unpub­ "what makes a self?" He does this sever­ "I don't reject rhyme as obsolete just work that's harmful. Society calls a fac­ lished poems bear witness. al ways. In Pretending to Be Dead, he because I don't write it," he says. The tory a plant and marijuana a drug. To juxtaposes the childhood reminiscence stanza is his significant form. "The stan­ me, marijuana is a plant — it grows The poet is confident his voice will of playing war games on the lawn za is a perfect thought, and the long from the ground. A factory is the drug. reach people, inspire them with "hope­ against the brutality of men at war. Jux­ line, and the reverberating periodic The world is addicted to an image of a fulness and kindliness." He really be­ tapositions and grotesque absurdities sentence structures. Free verse is more human being as this person who spends lieves we can all achieve self-realization are familiar devices throughout his supple. It doesn't' mean it's easier or his life doing something he doesn't like "through art rather than tending a ma­ work. not as good because it's free and not so we can earn these green slips of pa­ chine all day." controlled." per. Just think of what we deem worthy For instance he says, "In my 'Zero Hour And so the poet packed up his back­ of paying ourselves for doing." Day' poem, that's hyperbole. I'm not Freedom from being controlled, you pack. I insisted he keep the food (he really advocating that no one do any might say, is Antler's trademark. He's took it without much convincing), and Antler's work is brutal, startling. The work. People think 'This guy's nuts!' It's refreshingly uninhibited. Yet this places shortly afterward he rambled off to the poems jolt you from complacency. This mean to be tongue in cheek." Humor in him outside the "acceptable" academic West Coast in his old truck to give read­ is a gentle-eyed monk of the earth? the poetry is sly, often scatological, and mainstream. In fact, he sees a conform­ ings and spread the good news. D/ERLIEN r I N K A R 1 I. 1 M I 1 1. D 790 North Jackson Street

(414) 224-1773 332-4482

THE WONDERFUL WORLD OF NORMAN LALIBERTE ALBLANKSCHIEN, Paintings, Scuiptute MICHAEL MEILAHN, BENJAMfN MOORE

27 By Jon Erickson

Gary Stephan, born in Brooklyn in 1942. Studied at Parsons, Pratt, and the San Francisco Art Insti­ tute. Abstract painter, yet never too far from evoking figurative forms. Although Stephan has not been as sensationally promoted as many young painters have, he has had a decided influ­ ence on that generation. For instance, when asked whose work he respected, Julian Schnabel mentioned Gary Stephan. Recently, the Milwau­ Gary kee Art Museum purchased a Stephan painting. He came to town on August 9 and 10 to jury the Wisconsin Painters and Sculptors show, on view through Oct. 4 in the Fine Arts Gallery at UWM. I had the chance to interview him at the Midway Motor Hotel. Stephan Stephan's work recapitulates certain modern art movements without displaying each as obvious quotation. His style is redolent of abstract sur­ realist painting, such as that of Max Ernst and Miro, at the same time operating like a softer, curvilinear form of cubism, as well as featuring speaks cylindrical forms that are reminiscent of de Chirico and Leger. For all this obvious and in­ tense workmanship and consciousness of the tradition of painting, Stephan all along has played with another more conceptual tradition, which frustrates the illusionism of the painting his with its literalness as object. A work from 1966 has a curtain rod attached to the top as a sort of handle. The Brazen Serpent of Moses (1982) prominently displays stretcher bars with screws in the middle of the painting. He has shaped canvases to disrupt the conventional rectangu­ mind lar form of the painting. Sometimes the unsized canvas shows through, along with prominent drips and drawing marks, foregrounding the product as process. There's an image that I usually recount in this GS: Yes, the former. It starts with that, and the Despite this attention paid to modernist tradi­ regard. I always had the feeling when I was sit­ work is predicated on what I call a discursive tions, Stephan pays close attention to the history ting around with like Serra and LeWitt, people relationship to the project of making a picture, of painting in general, drawing from such man­ like that, that they were in a sense playing a kind so that they're always self-mitigating. Anything nerist traditions as Tintoretto, Carpaccio and El of existential poker game, seeing who would that's evidenced in the picture is also collapsed Greco. As will be evident from his comments, delete yet more from their work and still be able in some sense. So that what the pictures want to Stephan is involved in a dialogue between the to make something that had value. It was a kind do is be neutral. It would be the kind of situa­ history of painting and the anti- or ahistorical of macho anteing-up, and it struck me as scary as tion where you would want to say to yourself, products of the avant-garde. hell. Essentially a kind of car-crash. It didn't God, I love driving my car, this is great. That's seem to me a productive way to go about things, the up-side. The down-side is I'm helping to use so despite the fact that it had a certain kind of up the last barrels of oil we've got. Everything no-blink cachet to it, it's not the way to go for has to be seen as asking "What is the price?" I'm Midway Motor Hotel, August 9, 1987 pictures. always struck when I'm at a party with my rich collectors — that's a tautology, collectors are Jon Erickson: I'll begin by asking about your always rich. But one of the things they're trying JE: Did you think you were trying to straddle work specifically and then move on to your to do is kind of wall off their world from the rest different aesthetics in this sense? I mean the opinions about art being produced today To of the world. What the money buys is protec­ painting is still a painting, but it's an object, me your work exemplifies the possibilities that tion, it buys literal protection — they live in and they (the minimalists) only seemed to be still exist in painting after most of our atten­ insulated communities with literal defenses, and able to see the object in a different space from tion has been directed elsewhere by other con­ it buys emotional and intellectual protection the usual 2-D space of the painting on the wall, ceptually-based art. Yet I detect in your work, against anything that could spoil what they've but rather in what Michael Fried calls "theatri­ despite its obvious concern with the craft of built for themselves. And I always think that the cal space,"for instance. painting a resistance to it as painting in a way to live a life correctly is to intentionally pristine sense, by drawing attention to its ob- spoil the practice; you have to introduce a de­ jecthood by various means. It has been said gree of humility into every ambition. It's self- GS: The thing we can't almost imagine now is that your early work was influenced by a mini­ correcting, it's just when you're getting yourself the amount of coercive thought-police quality malist aesthetic, yet the minimalists eschewed really cranked up, you say to yourself — I'm that the movement had. There was a real sense painting in their project, even while they ac­ trying to think of a perfect metaphor that would of correct and incorrect behavior. There was knowledge, say, Frank Stella's work in shaping really get his right . . . like a sexual metaphor almost like a Red Chinese quality to the whole the canvas. So what exactly is your relation to where you would find yourself kind of like get­ thing. What one had to do is not so much strad­ that aesthetic? ting off on the experience and rising to the occa­ dle, in my case, but it was that I was both awed sion metaphorically and literally, and then also by the kind of authoritarian quality of it all and I at the same time hearing part of you saying I see GS: The way it started is that I came to New York was also trying to kind of work on what I through my own desires; you find yourself criti­ with work very much grounded in a private text; thought to be a private agenda. there was a lot of subject matter at issue. And the quing your own desires. It's both a kind of terri­ purpose in coming to New York with the early ble way to do things and it also is the only way work, which was at a time when minimal art was JE: I can best describe what I see in your work I've ever been able to look at the world. I've holding sway, was to see if I could translate my now as a dialectic, or rather a complex of dia­ always been able to say, oh yeah you can look at issues into a natural language or a kind of norma­ lectical relationships that seem to feed into one it this way, but you can also look at it that way." tive language which I took minimal art to be. By another. So, you have the subject matter itself, So the work is a kind of meditation on that the early '70s, by '73 or'74, it became clear to often times mechanical cylindrical forms that unfortunate way in which I find myself knowing me that it wasn't a kind of neutral, international are subsumed into a more organic and sensual the world. And for example, earlier you used the language, but in fact it was a left-over from some kind of atmosphere. You have figure-ground word avant-garde in a certain way. The way it sort of anti-painting endgame. And I began to re­ tensions that present perceptual conundrums seems to me the avant-garde has codified itself introduce what I took to be more real, more — exemplifying illusionism, and yet illusion­ into a late twentieth century style means to me realistic, or more reasonable painting questions. ism is itself in a dialectic with the literalness of that it's lost its discursive freedom, it no longer So there's a flirtation with minimal art at a point, the painting as object. When you are working, can really operate effectively — it's now just a but I don't think I ever really shared its vision of are all these factors present in your mind, or do style. The thing I've been doing for all this sum­ things. they emerge in a particular order? mer is I've got out nothing but fifteenth and

28 Art Muscle who used it?" And thereby establish whether it's valuable or not. The object will be the object. So "«Wjp ¥:pii it'll cease to become a criteria. In fact, the radi­ cally of appropriation is that we know it is a re­ Ji use of the material. It's one of the reasons I think it doesn't appreciate the lessons of history — it forgets that in 50 years nobody will know that it was being aggressive with history. It'll be just another mute object. It'll be on its own defend­ ing itself or needing to defend itself in exactly the way all objects have to defend themselves. in For example, the Polkes that used the cartoons, in 50 years, nobody's going to know those were second-hand images; they're simply going to have the Polkes, and they're either going to like them or they're not; my guess would be that they're not going to like them. They're not historically resourceful objects. They're tempo­ rally provincial.

JE: This brings me to another question which has to do with how art objects are used, wheth­ er it's by the artist or the viewer, and if you're talking about appropriation or tradition, the artist is the viewer, only he's doing something actively with his viewing.

GS: Can I parenthetically add, somebody de­ scribed photography once (nothing personal, where's the photographer), as an attempt to raise shopping to an art form. Isn't that great?

JE: You've been quoted as saying "Paintings do something. Like cars, they do something. And the doing is perceptual and neural. Paintings operate. Something happens. That is why painting is a radical activity." This seems to indicate that what the painting does is direct its activity toward the viewer, but I get the feel­ 6V/r)' Stephan Photo by Francis Ford ing in looking at your work that it's really participatory, in the sense that Roland Barthes, sixteenth century painting books and I've been JE: Actually I do see other twentieth century in talking about literature distinguishes "writ- studying the shit out of them. And I was just over styles in your work, like the more abstract of erly texts" from"readerly texts." So you have a at the Milwaukee Art Museum and saw the War­ the surrealists. If you follow this line of think­ sort of a "writerly" painting. You agree with hol show, whatever, but I was much more im­ ing, you have two terms, basically, the postmo­ that? pressed by a sixteenth century mannerist pic­ dern term "appropriation" (kind of a violent ture by someone I had never heard of, than by term) — GS: Yeah, absolutely. To just go with that a little any of those, in that what I think I can do by more. That's really so right. I'll tell you what I knowing those pictures is re-normalize my work GS: "Appropriation?" How do you mean violent? think that's grounded in history, why that be­ by establishing a new discourse between the comes important — what I mean is why do you avant-garde and available history, as a new way JE: For instance, in a cultural sense, if one cul­ want to put somebody through that work? I was to balance the pictures. It's a very anti-modern­ ture appropriates elements from another cul­ reading about something on the plane. The writ­ ist stance, in that the project of the modernists ture, they're basically taking something away er was talking about how transportive music has for the whole century been like "I'm going and isolating it, thus giving a distorted view of was — he was listening to Beethoven's Pastoral to only talk about white, and deny the existence what that culture might be — with all sorts of Symphony, saying how incredibly transportive of the black," or conversely, "I'm going to only after-effects and repercussions. To that term I it was. And if he participated as a good listener, talk about the black and deny the existence of can oppose the term "tradition." It seems to me that the piece kind of converted him, he was the white." that you are advancing a certain kind of tradi­ changed as he was listening, in a way that he tion but there's a tension involved with the thought was analogous to meditation. Which I work's objecthood. You know what I mean? JE: That's interesting, because I saw a kind of thought was probably right. And that the piece modernist sensibility in your work. did a certain kind of work, if you work with it. GS: I think so. I'm not particularly bothered by Then I thought, why is it the modern project to appropriation, I think. Because I don't think you try to, in an almost annoying way, to wake the GS: These are my clothes, this is what the cen­ can ever preserve an object's intentionality. So viewer up from that trance? To make them do tury gave me, but I have actually — ah, voila. [He the fact that people abuse objects in that they more work, to make them more conscious of opens a catalogue to a reproduction of a 1985 don't respect their intentions, doesn't speak to participating in the making existent the experi­ painting]. That is a direct lift from a Tintoretto the point, I think. What great work does is that it ence? And I think the reason is that there was — palette, shapes and everything, from a work constructs itself such that it is resiliant in time. such extraordinary abuse, and there continues called Ariadne, Bacchus and Venus, copied So even though I would argue that Bach is not to be extraordinary abuse of the compelling from that painting in a book. If you think about being used today the way that Bach was used in forces of art by the totalitarian state, that art has it, that's a very retrograde palette. Whether it's the church in which it was originally played, seen its project as educative, and it's forced to succeeding yet or not may be a function of my Bach's work is internally resourceful enough both give the viewer that release and also teach own lack of ability or whatever, but the project that it protected itself against the appropriation them how to critique the release so that they is to see if I can normalize these objects' rela­ of history. And it's only weak work that needs to don't become victimized by its abuses. tionship to history, which strikes me as a more worry about being appropriated. Any work that radical practice than that binary view of the is sufficiently resourceful, visually or conceptu­ JE: That's another question, which has to do world of the avant-garde. For example, I was in ally, can survive the abuses of history. with the roles that artists see themselves in New York and found myself on a panel with today Of late we've seen a growing number of Peter Halley three weeks ago or so. We were in a JE: I was thinking not so much in terms of the artists who see themselves as cultural critics. show together called Post-Abstract Abstraction original work, but in terms of, if we can talk Many of what Douglas Crimp has called the and Peter is basically denying nature — typical about intentions, the intentions of people who "Pictures" school, people like Cindy Sherman, avant-garde gag — "there is no nature." Every­ appropriate it. Who do nothing with it except Richard Prince, Barbara Kruger, etc., people body in the audience is going "HUH?" Now, in a to frame it in a certain way, without any who use photography mainly in particular op­ year, we'll get another artist on a panel and he'll change. erating in relation to media and the general say, "I deny civilization" or something, so we'll reproductivity of culture. And yet when I look get acorns or we'll get refrigerators, you know. GS: But that'll be lost in time too. In other words, at your painting, it's operating in an entirely This is really embarrassing late twentieth cen­ once the object is put into the world, nobody's different mode. How do you see the role of the tury endgame crapola to me. I think what you going to be able to reaccess the object in 50 artist? Say, your role, as opposed to their role. need is a discursive object that can face the years and say "this image that I'm looking at, is music. this the first guy who used it or the third guy GS: Right. A lot of this movement strikes me as

29 the psychological middle-stage of development. way, because I think that one of the ways you I can remember when I was 14, being able to know you're on the right track is that you do a complain about what I knew what was wrong thing and it has a high level of connectedness. with the world. In fact, it's that middle-stage of You say like, "Oh, I saw a Hitchcock movie and emotional development where you find yourself that's like that turned over," and then you take — for example, I'd come out of a movie and say the Hitchcock movie and you slow it down and "Give me a break! I mean Satyricon? What a it becomes like a Bach fugue; you take that Bach piece of shit! This isn't so interesting!" I discov­ fugue and wear it to a party. You watch these ered a few years late that there is an incredible kinds of inversions and conversions so that to gap between what one can critique and what hear that it comes out like that isn't surprising to one can invent. Because, it was a funny thing, I'd me. The number thing I'm afraid isn't a particu­ see the students I was teaching effectively cri­ larly interesting answer. It's a secret method by tique the failings of other art productions, and which to date and number the pictures, so that then you'd see what they would make: they'd nobody knows whether I make a lot or a little have their friend in a sheet kind of yelling things work, because for commercial reasons that's a in his bedroom or something, holding a comic good idea. It gives me a way to catalogue the book, you know — something totally boring, work without revealing through the catalogue you know, a couple of car batteries next to him. numbers whether it represents a great deal of And you'd realize the gap between critique and work or not. production. What's problematic for me about that work is that it fails to appreciate the differ­ JE: Over the years we've seen particular move­ ence between complaining and doing some­ ments replace earlier ones, many in rapid suc­ thing about it. I'm not particularly interested in cession. Painting, especially figurative paint­ critique for its own sake. ing, emerged in the '70s to fill the gap left by conceptual art, even while figurative painting JE: It should be asked what the basis for their OaryStcjMO^^Uozon^^ii^^^Hlxxfi(>}i unci Snsa seemed to come from performance, which critique is, the foundation they are working Hatch. (Photo courtesy Milwaukee Art Museum). emerged from conceptual art. But sometimes it from. becomes difficult to see whether new art emerges from genuine need, or from the pure GS: The basis of their foundation, I would argue, critiquing this first?" You know somebody marketability of the new Over the years, you've is a very hot-house variety of turn-of-the-century should critique it while somebody else tries to worked out your own abstract style without, it left-wing politics. Some kind of analysis based on do something about it. Somebody else should be seems, much concern for these changes. And class warfare, or something, and the way in a farmer, and somebody else a doctor. My moth­ now a new abstraction is emerging among which capitalism manipulates people. I think it's er when I was a kid used to say to me "How can younger artists. Is there a present need that is comic-book 19th century politics. you be an artist when people are suffering?" being addressed by this? Why don't you be a doctor? We're all supposed JE: So then alternatively, what do you see — to be doctors first, then everybody's happy, GS: Well, I think the new abstraction is a kind of they're all well, no more sores, then we can start creature of the marketplace. Yet I don't think it's GS: Well the alternative is to actually attempt to all making art? It's not going to work like that — a natural whole, I don't think it fits together. I kind of facilitate an answer — to try to do some­ you've got to cut your losses here and there. It's think that for example, Philip Taaffe is going to thing about it, to kind of say what an answer always going to be a sloppy mix. It's always weed himself out over here as very historically might be. What I would argue the alternative to going to be a discursive relationship — that's attached, sensitized almost, moving pictures (in be is that you say to yourself, okay, okay, in the the breaks. the sense of emotion). Peter Halley's gonna step last quarter of the 20th century it is a pisser to out over there as attempting to carry on a kind make meaning, right? But the answer isn't to sit JE: But isn't there a self-critique involved in of reductive ad absurdam abstraction — not to back and go "Look at all this crap, you call that your work, but that also implicitly involves a judge the practice, because actually I think he's meaning?" Or kind of break it open, or peel it GS: Exactly. Look, what everybody should do going to do a pretty good job of it. And the open. Anybody can peel it open, I mean it's a when they live their life, is try to fully examine attempt to mix that together with Watt and Vais- joke. Since the book The Hidden Persuaders 20 and be willing to let the project collapse. And man and Jeff Koons, they're trying to make a fit years ago, everybody knows how to break the even see that as a kind of productive metaphor. piece there that isn't going to go; it's less organic game open. Any kid who went to college knows Nature doesn't work by growing and growing than Neo-Expressionism, and that was a flawed how to read for the ideology. That is not a par­ and growing; the way it works is it grows to a compound of German nationalism, and Italian ticularly compelling observation, that's why I'm point and periodically collapses, it becomes extremism, you know what I'm saying? It had no saying there's a difference between critique and dormant, it composts and it regrows. You don't reality to it. And then David Salle gets thrown in, production. What has to be done, and there I am have to view the world as positive reinforce­ who has much more to do with Sigmar Polke abusing the left-wing jargon that I'm complain­ ment, constantly defending your position that he has to do with the German Expression­ ing about — I don't think it's even very instruc­ against other positions. What I think you do is ists, so it's a totally unsavoury mix. This [new tive the way I've just framed the question — critique your position and maybe plow some of abstraction] is another unsavoury mix that the meaning is a difficult thing to make; what you it under, let some of it fail, maybe you let virtual­ New York Times needs, because the readers still have to do now is go out and admit that ly all of it fail, believing that this wasn't a lucky don't want to have a naked experience, they you're finding it very hard to make it, try and break that you had something to say, but that want to have the work as quickly as possible instruct through the object the trouble you're you can plow it under and it will come back up shed its freedom, and therefore shed its respon­ having, and then posit as best you can what and work out. And I think the nature metaphor, sibility. So that the viewer is able to name it, buy looks to you to be answers. You know, it's a fairly given the fact that we're bodies, is not far­ it, eat it and shit it out and get it over with. The kind of simple idea, but it doesn't always work fetched. purpose of art is to maximize human freedom out. and all they want to do is get it through their digestive track as soon as possible. It's almost JE: Part of this problem strikes me as being a JE: I want to ask you about your titles. Because like they're taking castor oil or something, it's a kind of negation of transcendence. At least in they seem to be emerging from the realm of torture. So here's this stuff that's popping the modernist mind there still was this hope for ideas, which sets them against the more sensu­ around, and it's very loose-ended stuff, in a transcendence by going within, and nowadays al aspects of the painting. It almost seems as if world in which most things are fairly easily people don't see this at all, because we're per­ they're indicating that perception itself is cul­ named, despite all the complaints to the con­ meated by ideology, there's no within to go to. turally and philosophically based. They seem trary, and what they really want to do is have it That also goes back to a typical kind of '60s to derive from every thing from alchemy to the killed, bled and sold by the pound. That's what contradiction, the contradiction between peo­ number series in your latest stuff, and the one they really want. So this is a group of young ple like John Cage, who are say, apolitical, say­ that fascinates me is Sator/Arepo/Tenet/Opera/ artists, some of which are very interesting, and ing that in order to change the world you have Rotas. some of which are brain-dead, and they're trying to change yourself. And then there are people to make a kind of artificial compound out of it. who say, you can spend all day doing that and GS: Do you know what that is? in the meantime everything will fall apart all around us, so that the other extreme is that you JE: It's a rebus. A pattern of words that reads the forget your interior and just take care of exter­ same from every direction. JE: Do you conceive of it as commentary on earlier abstract practices? nals. GS: Right. GS: Probably more so than it even wants to ad­ GS: You can't have a world though that looks at mit to. Again, it's not a theoretically consistent human needs in that kind of hierarchy. It's not JE: Freud used to talk about that in The Inter­ field. Peter Halley says, I couldn't believe it, but like what we should do is first all become farm­ pretation of Dreams as indicating how lan­ he says on a tape that I have, that all history was ers, then we'll all get fed okay, great, then we can guage appears in dreams with a certain kind of dead to us and that the bad news of history's all become doctors and we'll all get well. You physicality as a rebus. death was kept from us by the artificial process can't sit around and say "well shouldn't we be GS: I didn't know that, but I feel vindicated in a of historians. Which is sort of like keeping the

30 Art Muscle closet locked, I gathered. That position is not pieces, by that I mean huge canvases, etc., were capital of the art world, or can important art shared by Philip Taaffe, who I know lovingly rejected as too much like what had been done in be made in other places without depending on collects books of all the most eccentric passages New York and were now on their way out. One that scene? in the history of painting, and carefully looks guy had done this enormous Baselitz-type paint­ them over. These two guys are being seen as ing, which we couldn't accept. GS: I think New York still holds sway in terms of involved in an analogous practice, and I don't the concentration of new art being produced. see how that's possible. JE: How would you classify the kind of art There's more immediate interaction there than entered? anywhere else. I agree that art magazines influ­ JE: There's a type of historicizing that I might ence work made in the provinces. I remember agree with Peter Halley about, but I don't think GS: I'd say about 20 percent was work that was when I was working in San Francisco and we all historicizing practices are like that. What looking outside, to the big city. About 15 per­ were all working from magazine reproductions strikes me in some way about all those people cent was looking inside, producing stuff that of Stella, Judd, Poons, etc. But photographs in involved in using art as criticism and as com­ looked like fetish objects, very encrusted sur­ those magazines always look real clean. Then a mentary, basically trying to develop informa­ faces, stuff you'd expect an old black minister to traveling exhibit came to town with the work of tional systems out of their work, is that they are make. There was some neon and minimalist re­ all these guys, and suddenly we saw that the participating in a non-stop information gath­ hashes, people working out 20 year old stuff. But work was messy, much rougher in real life. And ering that we have in our culture anyway, and what is funny is that people in Wisconsin seem the Wisconsin art has that real clean magazine which seems to destroy material value. So I've to have this penchant for making works with look too. been thinking more and more that the whole panels — I've never seen more diptychs and notion of enigma in art should be something triptychs in my life. The woman who won in fact JE: So would any Wisconsin art fare well in that is posited over against that. entered a piece that was two panels. It seemed New York? to be something that wasn't looking too much to GS: The great metaphysical work. either the inside or outside. A large blown-up GS: I suppose it's possible, but I would say that a photo that was painted, its impulse might have person working in Wisconsin would have to be a JE: Sure, and when I look at your stuff I see an come from work like Eric Fischl's or David genius to make people in New York really turn enigmatic quality in it. Salle's, but not in a voyeuristic sense. It was sort their heads. of a combination of Gerhard Richter and stuff GS: When I was in college my sophomore year I produced by Metro Pictures artists. knew this guy, terrifically interesting guy who (Jon Erickson is a Milwaukee-based performance artist) was actually in the IRA, the Irish Republican Were any more conventional types of paint­ Army, in New York, part of this Irish community; ings accepted? he spoke Gaelic, he turned me on to Irish songs. There were a total of 379 pieces entered in And he said to me one day, he leaned over to me GS: There were some landscapes that were pret­ the Wisconsin Painters and Sculptors exhi­ and said in this quiet voice, "You Chirico, that's ty straightforward stuff. But the important thing bition from which 87 were selected. Award it, de Chirico." Woah, okay. So I looked at de is that pieces were selected because they were winners are as follows: real. One woman was doing these pastel forest Chirico and I thought, shit, this really is it, this is $500 awards: Irene Adamczyk, Milwaukee, and really incredibly far out. It's the perfect critique scenes; she wasn't looking to the city for her Matthew Schwede, Madison. — it is both complicit in history, critical of histo­ inspiration, and it's obvious she was up to her ry, makes an object and makes a picture. neck in what she was seeing out there. There was one of a man standing by a river in a hunting $300 award winners: Marina Lee Meyer, Leslie I spoke with Gary Stephan on the phone the cap looking over his shoulder at some moun­ Vansen, Gary John Gresl, all of Milwaukee, and week after the interview, to get his impres­ tains, as if listening to a storm coming. I'm not Patricia Fennell, Madison. sions of the art in the Wisconsin Painters interested in that kind of thing, but it did have a and Sculptors show. certain narrative quality to it. $100 award winners: Philip Krejcarek, Michal Carley, Mark Stewart, Richard Olson, Enrique GS: First of all, we were looking for works that JE: What with the proliferation of art maga­ Rueda, all of Milwaukee, and Steve Feren, Or­ deal with coloration and theory rather than col­ zines and the instant communication of styles egon, WL The $100 Artist and Display award oration and emotion. The most ambitious that implies, can New York still be seen as the winner was Diane Fine of Madison.

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31 Art Critic Dealer By Gary John Gresl

As we walked across the 1,800 square feet which was to become Milwaukee's newest con­ temporary art gallery, Dean Jensen gestured to­ ward walls and ceilings, pointing out the coming changes for this very raw space. An architect from Madison, James McFadden, who is a friend of Jensen's, is employed to transform this ware­ house space in the Northwest Coffee Mills building into a stylish and functional gallery. Jensen spoke of clerestory windows, removing Dean Jensen Photo by I'rancis I'orcl doors, refinishing floors, meeting building Sentinel. What's the background on that? marketing, I am absolutely callow, absolutely codes, track lighting, movable walls, office ar­ green, so this is going to be a case of OJT, on the rangement, storage plans, and the peculiar prob­ DJ: The school year of 85-86,1 won a Fellowship job training. I don't want to create a sort of art lem of dealing with the odor of roasting coffee. to the University of Michigan at Ann Arbor ... I emporium where people can come and pick concentrated largely on Medieval and Renais­ through paintings and sculpture in the same A great deal of work must be accomplished dur­ sance Italian art. Those are two great passions of manner they might go to a green market and ing September for Jensen to meet his deadline of mine, and I also did independent research on pick through zucchini and cabbages. I have Oct. 9 for the grand opening of the Dean Jensen outsider art and the Fellowship allowed me to some definite ideas about art. I'm not very much Gallery, and his first exhibit. hopscotch to different parts of the country to interested, either, in just decorating walls and visit with various outsider artists and, I hope, all probably am not going to pursue the corporate Gary Gresl: Dean, I met you only a few months of that will develop into a book rather soon. art too vigorously. Right now all of that is a ago, but I've been aware of your work as an art question mark, and I hate to make any state­ critic at the Milwaukee Sentinel for years. But I GG: I can imagine the risks you're going to face ments about what I am not going to do that will don't know anything about your background. with a new gallery. The decision could not have come back to haunt me. At some point in time, How long have you been with the he Sentinel? been made easily. But the timing seemed right I'm going to have to be concerned with what's for you to act? going on in my ledgers. But I hope I don't have Dean Jensen: I've been at the Sentinel about 20 to make a whole lot of compromises. And I'm years and handled a great variety of assignments DJ: Yeah! I am quite aware of the risk. It was not a prepared to dig in here for the long haul. . . . I've covered everything from nudist camps decision that was made lightly. I had a lot of long to bear hunts . . . with a concentration in the discussions with my wife, Rosemary, who has GG: Your gallery is going to be in the Historic arts ... In the last eight years I've done more on been very encouraging all along. But I did spend Third Ward, in the same building as Northwest visual arts. the year at the University of Michigan, and I Coffee Mills, on Broadway. What finally led returned to my job, and I felt, I guess, rather like you to settle on that location? GG: What was your background before your a square peg when I returned. The job did not work at the Sentinel? feel as comfortable for me any more. At the DJ: I guess I like the electricity that's in the air in University I had the opportunity to immerse this area and I look around at some of the devel­ DJ: Prior to the Sentinel I had worked at the myself fully into art studies, and travel around to opment ... the Kolmar . . . right across the Manitowoc Herald Times and also for the She­ meet artists, and it was all consuming. I decided street, the plan for converting attractive ware­ boygan Press . . . where I was a stringer for the I wanted to put everything on the line and de­ house buildings into apartments. There seems Sentinel . . . providing them stories and that's vote my full energies to art. to be a real vitality in this area. I was very close how I came to work for the Sentinel. to signing a lease elsewhere in the Third Ward GG: Is there a replacement for you at the Senti­ ... a larger space, but it was problematic for GG: Had you a degree in journalism? nel, or are there persons there who will contin­ other reasons ... It would have cost far more to ue with parts of your role? create a gallery space there. DJ: My degree was in English Literature from the UWM . . . and I also got a degree in journalism. I DJ: I think they are exploring the possibility of GG: Your first show will be of Peter Dean. went on to graduate school at the University of getting someone from the outside. I think Someone has suggested to me that this is a bit Chicago. I didn't finish my degree, and then got they're inclined to find someone with the uni­ of a risk for you, because his work may have a into the newspaper business . . . and with the versity to take over that job. limited appeal in our market? idea that I'd spend a few years learning the craft of writing and maybe by the time I was 25 or 26, GG. How might your experience as an art critic DJ: I expect so. I think Peter's work doesn't I'd have a best selling novel. It didn't work out affect your attitude about the actual market­ easily ingratiate itself on people. It's gutty . . . that way. ing of art? There's a kind of a deliberate left-handed draughtsmanship. The figurative works fre­ GG: You recently went on sabbatical from the DJ:In terms of the actual nuts and bolts of art quently deal with violent subjects. But I thought

32 Art Muscle it was important for me to let people know right ample the Warhol, Beuys and Polke show has DJ: Oh! Very definitely! I certainly don't think I off what I stand for. I hope that the gallery will had the greatest attendance in the 100-year his­ could keep the gallery going showing outsider consistently show work that is difficult for some tory of the museum. If you go over there for or folk art exclusively ... I think the whole people, and I hope, too, that the gallery keeps lectures or openings there are frequently hun­ subject of outsider art is still very much 'terra redefining itself almost from show to show. I dreds of people. Ten years ago, this was not true. incognita.' We're just beginning to come to don't want it to get into any set mode where it is terms with this kind of art and what it means. It's GG: Will you be establishing a group of "gal­ predictable. I don't have a lot of shows sched­ interesting to me that so many trained artists are uled for the year ahead. I have perhaps three or lery" artists, that is a stable of people from the region? looking to this work and ransacking it for ideas four of them. I don't want to plug in the calendar . . . probably within the first year I will have a for the next year or two because I have a feeling show of outsider art. that once I get the gallery launched there will be DJ: Yeah! I'll be developing a stable of Wisconsin artists. I've been looking at some. People have shows that suggest themselves and opportuni­ GG: What other areas of special interest do you been sending their slides of course. I don't in­ ties that come my way. have that will affect your'choices? tend to get into the pirating business. I'm not interested in artist-napping, taking people who GG: Are you going to shoot for a monthly DJ: As an art critic I had to look at art, a great have situations in the community. There are changeover? number of periods and a great number of styles, enough artists in the state and too few galleries. and as a result I think I have rather catholic DJ: I'll probably have a changing exhibition pret­ tastes. So, I think there will probably be a rather ty much on a monthly basis. "/ think the time might be eclectic mix of shows. I suppose if I have a predilection its for imagistic art and figurative GG: What is your characterization of the Mil­ auspicious for another gallery." art, that engages the mind, art that engages the waukee marketplace? Dean Jensen emotions. I'm less enthusiastic about art that's self-reflective, art that's about itself, that engages Again, it's an area where I'm totally green. I've GG: Right now you feel comfortable if artists in a lot of sort of intellectual riddles. I may very visited with most of the gallery people in Mil­ approach you with slides and background? well show that kind of art now and then. I think waukee. They've all been very generous with it valid art . . . but for me it's not the kind of art their advice and generous with their encourage­ that makes my heart race. DJ: Sure! Sure! ment. Most of them have indicated that in re­ cent years the climate in Milwaukee has im­ GG: Might you involve other forms of art in GG: Can you announce any shows other than proved a lot in terms of collector activity. I think your exhibitions? the Peter Dean show? the time might be auspicious for another gallery. DJ: I would say that as a general rule, my tem­ DJ: Yeah! I think so. My second show will be GG: Seeing what has been developing the last perature is not raised by performance art. I sometime in November, and I've had discus­ few years, with new galleries, with Walker's think, again, I hate to make a statement about sions with Mark Mulhern for my second show. Point Center for the Arts, with the corporate what I won't do because I may make an excep­ Sometime next spring, Jill Sebastian will be investment, are we anticipating a future mar­ tion to that rule six months from now. The gal­ showing in the gallery. Probably, within this first ket or is something substantial already here? lery will be principally a showcase for two and year, I may do some group shows of Wisconsin three dimensional work. artists. I will probably have a show, something DJ: I think there are some indicators that there is like Southern Visionaries that might include a growing market for art. If one looks at the GG: Will your interest in outsider and folk art people like Howard Finster, Mose Tolliver numbers at the Milwaukee Art Museum. For ex­ be manifested in your show schedule? people like that.

Be at our opening performance for a Star Spangled Salute to America. See OUR STARS COME OUT AT NIGHT STARS AND STRIPES, BILLY THE KID, and WHO CARES?, a program (And in the Afternoon) of all American choreographers and See the shining stars of the Pennsylvania SWAN LAKE, ROMEO AND JULIET, composers. March to the beat of John and Milwaukee Ballet in their premiere STARS & STRIPES, LA SYLPHIDE, Philip Sousa, sway to Aaron Copland 1987-88 season! Experience 5 Evenings or and much more. Call us to order your and sing along to George Gershwin as Matinees of dance magic. Our season runs reserved season tickets and save 10%. you enjoy all three ballets on the from September to May and features the Time and space are limited so don't delay. September 17-20 program. favorites: CALL 273-7206 FOR THIS CALL 643-7677 STAR SPANGLED OPENING FOR A SPECTACULAR SEPTEMBER 17-20 SEASON OF STAR GAZING PM^Mr Pmns\>Mnm and Milwaukee Ballet 33 OPENING the IMAGINATION

By Therese Gantz Ulil* iiiP

Imagination is more important than knowledge/9 Albert Einstein

Illustration by James Jack Edwards

Imagination " describes that part of the mind The method employed by many to get out of a culminates with the sounding of the note. which generates ideas, concepts and emotions "stuck" situation is to wait around for external Grooves or steps up the side of a mountain are in symbolic form — intangible yet real. The events to take control. This can be a rather visualized. A different note sung at each step, activity of the imagination precedes verbal drawn out, frustrating process. An option is reinforced by a movement of the hand from step thought. Ideas arise as images or sounds: the available, however. Habits can be cultivated to to step, helps integrate a spatial concept of mind has many more symbols available in many develop skill in accessing mental images. Chan­ pitch. The entire color spectrum, plus descrip­ more combinations than the mere letters of an neling images into awareness leads to creative tive words such as "light," "heavy," "dark," alphabet. Visual artists, composers, and dancers inspiration, and new choices. Getting around "bright," "thick," "opaque," or "covered" are — those who express themselves without the part of the mind that thinks verbally facili­ used to develop variation in tone. "Faces, bod­ words — have a special ability to communicate tates the development of this skill. Relaxing that ies, energy levels differ," she continues, "yet mental images. Yet, all individuals possess imagi­ part of the mind that holds judgments and rules everyone is trainable to some degree. I develop nation. It is as available as the ability to breathe, about how things are "supposed" to be frees the rapport with the student, then spontaneously and as operational in daily life as it is in the imagination to come up with alternatives for use imagery to help the person release old pat­ creation of an artistic masterpiece. action. This being an internal process, it's up to terns, to stay in the now, to let themselves be the individual, alone, to do the work. At the centered enough to visualize each note before Picture something hot. Now turn it into a movie same time, training is available. Although Cre­ singing it, allowing, rather than making the and add sound. Are you watching a roaring fire, a ativity 101 is not yet part of the curriculum at sound. Music starts behind you, catches up with boiling pot of oatmeal, or the latest video by MATC, a number of professionals working in the you, you join hands, and go on together." Madonna? Probably none of the above, because Milwaukee area have developed imaginative within the imagination even a concept as simple skills in a variety of areas and are available to BODY WISDOM as "hot" gives rise to a multitude of possibilities. share their skills with others. Juliana VandenBerg, Kripalu yoga instructor and The act of imagining — the formation of a men­ THE IMAGE OF SOUND massage therapist, uses a combination of mas­ tal image — begins the creative process. The sage, polarity balance (a technique similar to end result is the existence in form of something Among these professionals is voice teacher accupressure), yoga exercises, and imagery in original and innovative. Imaginative activity pre­ Adele Borouchoff, who guides her students in her work. The release of muscle tension, in­ vents life from being a constant rerun. It makes the creative expression of musical sound. "Sing­ creased flow of energy throughout the body, and life interesting, while supporting freedom and ing is a balance of tangible and intangible," she greater balance of body, mind, and spirit result growth. begins. "There are no keys to push, no manipula­ for receptive clients. Clients report a process of tion of hands or fingers required. The entire realignment and reintegration — a conscious Every once in a while, though, the creativity body is the instrument. The development of the enhancement of being — which continues long seems to get lost. Habitual patterns of thought freedom that allows one to sing is a process of after a given session. The experience begins and behavior become established in which growth that begins with breaking through the with guided imagery and relaxation. Absorbed some of the symbols, images and ideas are disre­ person's myth of how their voice sounds." in the sensations of the moment, the client af­ garded or even blocked. New choices (of things firms openness to receive exactly what is need­ to do, say, be, or make) seem inaccesible. Artist Because the desired result is not "touchable," ed. or not, this situation can be uncomfortable at activating the imagination through the use of best. It may be experienced as a temporary in­ imagery and suggestion is fundamental to her As an aching back is massaged, muscles relax ability to work or as a life situation. The individ­ methods. The student's eye and inhalation fol­ and the energy held within them begins to ual goes around in a circle of repetitious low the teacher's hand as it describes a circle, move. When imagery is accessed at this point, thoughts, feelings, and activities — vaguely sens­ beginning at the abdomen, moving upward past emotions related to the cause of the tension may ing that "there's more to life than this" — or the throat and mouth, then outward. "Full cir­ be revealed, often as pictures representing an­ actually experiencing pain on some level. cle" is the end point of a cycle of breath that ger, frustration or antagonism. A dialog with the image of the feeling may bring to light informa­ denkrais Method, employs movement to in­ choice empowers the individual, regardless of tion which aids in the release of tension as well crease creativity. This method has been used the choice made." as resolution of issues that may be the source of extensively by arts organizations, including the the pain. In another case, the image of an inner Chicago Art Institute, the International Centre Donna has found that Neuro-Linguistic Pro­ advisor may be created to be a helper in the of Theatre Research in Paris, and the Brooklyn gramming (NLP) is a useful tool in her practice: healing and releasing process. A client may Academy of Music. Tom has worked with the she has been a practitioner for 11 years. NLP is a spontaneously "travel" to another place and Professional Theatre Training Program at UWM. technique which combines the therapist's read­ time, experiencing themselves from another ing of body language (eye movements, posture, point of view, bringing back a memory which "Movement, sensation, thought, and emotion and breathing) with the client's creation of a metaphorically enriches daily life. At times, Juli­ are inseparable," he begins. "Imagine yourself mental image of the self at the desired goal. ana reports, she and a client have travelled to­ walking down the street. Now imagine that the For example, a client arrives feeling upset. The gether, wordlessly sharing the same vision. temperature drops 30 degrees. Immediately, therapist acknowledges the validity of the feel­ your peripheral vision and hearing decrease, ing, both verbally and by matching the client's . "All parts of the body are there to support and your movements change, your thoughts are pre­ body language in a subtle way. Once this non­ assist you at all times," she says. "It's amazing occupied." verbal rapport is established, the therapist alters how clearly people see themselves. They go her body language and voice, gently leading the right to the bottom line, to deep issues. Then it All individuals, as they grow from children to client out of the "upset" state to a degree at comes back to the person's willingness to look adults, develop patterns of movement and pos­ which they are able to imagine themselves in a at ways to change their pattern. Once the insight ture that result from sensations, thoughts, and desired alternative state. The image of the de­ is gained, grounding it is important — incorpo­ emotions repeatedly experienced in day to day sired state is created in detail — what the face rating it, embodying it — deciding what to do, life. "The Feldenkrais Method develops aware­ and body look like, how the voice sounds, what how to live." ness of habitual movements, or those habitually emotions are felt. Again, the client's body lan­ avoided, allowing new alternatives to be guage will indicate the emotional shift. "People HEAL THYSELF learned. The goal is to have as many choices easily create pictures in their heads," states Don­ available as possible." na. "If people can create the image of the behav­ "A poor doctor treats disease, a mediocre doc­ ior at their goal — how they look when they are tor prevents disease, and a good doctor heals Lessons (class or individual) take place with the 'calm' or 'competent' — it's an indicator that society," states Norm Schwartz, M.D., quoting student lying prone or supine, reducing all stim­ they have had that experience before and have it ancient Chinese wisdom. In his medical prac­ uli — including gravity — to a minimum. In this available as a resource. I then assist them to tice, he frequently incorporates imagery — "the relaxed position, sensitivity to finer details of access and develop the resources they have to intuitive, holistic language of the right brain" — movement and posture is enhanced. The stu­ get to their goals." to engage the natural creativity and spontaneity dent is directed or manipulated, slowly and easi­ of his clients in effecting positive changes in ly, through a variety of simple movements. Donna's husband, psychotherapist David their physical condition. "All systems of the Awareness of differentiating the role of each Thome, also a practitioner of NLP, adds "The body are connected, and positive thoughts and bone and muscle involved in the movement is way a person visualizes in terms of submodali- emotions have been shown to enhance the ef­ emphasized. This awareness results from the ties — distance, clarity, color, brightness — has fectiveness of the immune system. The use of movement activating the brain and nervous sys­ an effect on motivational power. The motiva­ imagery is an efficient way to access the emo­ tem. Activation of areas of the brain which con­ tional structure ofHtie mind creates the future tional content of the situation." trol movement stimulates adjacent brain areas. self." By playing with the submodalities, the So, along with increased range of motion, aware­ emotional content of a mental picture can be During the course of treatment, the client is first ness of self in relation to surroundings is altered or transformed. guided into a state of relaxation through the use changed and enhanced, as is the ability to differ­ of rhythmic breathing, clearing the mind of dis­ entiate the finer details of sensation, thought, "Through understanding and use of this tech­ tracting thoughts. In a relaxed state, one is bet­ and emotion. Suddenly, the imagination has nique," David continues, "it's possible for a per­ ter able to bypass verbal thought and belief sys­ many more alternatives to play with, on more son to change history, change beliefs. Imagining tems. The client is encouraged to freely imagine subtle levels than ever before. "If artists have and re-experiencing historical events, with the a picture of the symptom. Client and physician more than one comfortable way to hold a brush, person visualizing themselves using new re­ then work together to constructively transform their choice of expression within the medium sources, allows them to form different beliefs the image, altering the emotional content in a can be increased," he explains, "or an actor's about their identity and about the world. Or, the positive way. Biological systems are thus activat­ characterization can be altered through in­ person can visualize a transition, going from the ed to synthesize microcomponents (hormones, creased ability to get out of habitual movement present to the future to create pictures of the antibodies), restructuring the body at a micro­ patterns. Awareness of the self in relation to all self, in process, at successive steps leading to the scopic level. The picture of an arthritic joint, else ties it all together. One acts according to desired state." This method is helpful in weight originally visualized as jagged and sharp, may be one's self image." The Feldenkrais method uses loss, or any situation in which there is much smoothed, ultimately resulting in reduced pain the body as a creative tool to expand the self contrast between the present state and the goal. as well as reduced dependence on drugs or image and increase choices. The more vividly the person is able to picture crutches, as one patient has experienced. Or, the desired state — in terms of sight, sound, and the image of a symptom may be drawn in succes­ WHO DO YOU WANT TO BE emotion — the more powerful and effective is sive pictures, each one smaller and smaller, until the process. the symptom disappears, mentally and physical­ ly. Clients are treated for as long or whenever Psychotherapist Donna Thome also works in the realm of increasing choices. To assist individuals "Life is a series of creations rather than a series needed for support, as changes initiated by this of happenings," concludes Donna. "All people method often have a synchronous effect, pro­ in creating more options in their lives, to more fully be who they want to be, using their natural are the painters and sculptors of the kind of life ducing changes in other areas of life. "Health is they want to have." more than not being sick," he states. "Even be­ skills and talents, is her overall purpose. "All ing sick is still creativity. My purpose is to help individuals can create the way they want to be," people experience unity of mind, body, and spir­ she states. "Most people have all the resources NOW IT'S YOUR TURN it. The most important aspect of this process is they need to create what they choose within that it stimulates the clients' abilities to do it on their lives." These are only a few examples of support avail­ their own — to mobilize their innate capacity to able locally for applied use of the imagination. heal themselves." "Strong emotions attached to beliefs — often Given conscious intent to expand creativity, negative — block creative ability either in art or there is no "wrong" or "right" way to go about in action. Bypassing the blocks is a matter of it. The most essential resource already exists CREATIVITY IN MOTION adding new choices. No choices are ever re­ within the mind of each individual. moved. Rather than being at the mercy of un­ Thomas Hanley, Certified Practitioner of the Fel- conscious beliefs and feelings, awareness of (t (Diane (Kim & Associates" \ tBody Therapists specializing in: -Swedish Massage -Neuro Muscular / Trigger Point Therapy -Sports Massage -Reiki

The best Mexican food on Milwaukee's West End Located at: Wake up to a mexican breakfast or enjoy a Pf ister Hotel 347-4004 mexican dinner at the end of the day. Columbia Hospital 961-4358 711 North 35th Street /< 931-7050 W Gift Certificates Available J •* o ^C SANCTUM EGNUM MILWAUKEE MUSIC ENSEMBLE HOLY KINGDOM Milwaukee's original alternative bookstore features a selection of New Age/metaphysical items to enhance and enlighten the state of one's body, mind, and spirit. l €••'•";£> c Kevin Stalheim, Music Director Of special interest during October will be the introduction of spiritually oriented art created by students of MIAD. Sanctum Regnum invites you to visit their work and encourages WITH support of local artists. 615 N. MILWAUKEE ST. 272-1818 TU - SA 10-6 •¥ FUTONS AND ROSEWOOD PERCUSSION PAUL CEBAR GROUP NARRATOR

MUSIC OF GREAT LAKES JIB Lukas Foss * David Edminster * Carlos Surtnach PLUS DD FRAME Jazz-Rock/Fusion and Latin Music DiO FRAME FUTON TUESDAY * OCTOBER 6 * 7:30 pm \0m\S8 ft ro$m PAC-VOGEL HALL * TICKETS $7 genera1/$5 students and seniors children 12 and under FREE Available at the PAC Box Office 273-7206 or at the door GREAT LARES FUTOKS 309 NORTH WATER STREET MILWAUKEE, Wl 53202 272 — 3324 HOURS: M-f 10-7, SAT. 12-5 36 Art Muscle ?„.. K ST em £ MILWAUKEE'S CENTER FOR ALTERNATIVES Kodak Photographic Seminar & Wednesday, Sept. 23 f^\<&\<*tf° 6:30 - 10 p.m. v LTERNATIVE TITERATURE eN. ®- 0 ^ Your COMPLETE Photo Centers Call for details See Us To Have Your Prints, Movies & Slides A IS ***$*& Transferred To Videol • YOGA • NEW AGE • SELF HELP PERSONAL TRANSFORMATION- FUTURES • HOLISTIC HEALTH • SCIENCE FICTION Py mm "I always >•: bv KODAK J_ 1 J 14 NEWAGEMUSIC wanted a room ? • KITARO • VOLLENWEIDER • NARADA with a view" • WINDHAM HILL • PRIVATE MUSIC • • MEDITATION • RELAXATION TAPES

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37 Conrad King with Holste/ii STATE FAIR Photographs and text by J. Shimon & J. Lindemann

Bringing the culture of rural Wisconsin within through the swine barn and pet the bunnies, mand is for leaner, firmer meat and a tight ag the boundaries of the state's largest metropoli­ ignoring warnings that they will bite. economy dictates the need for breeding stock of tan area is a seemingly obsolete idea. Yet, the high reproductive efficiency. The criteria for Wisconsin State Fair has done this every year for judging the animals is based on this acknowl­ more than a century despite social, political, and The State Fair's functions range from show­ edgement of the present ideal and as a result the economic shifts that have deeply changed the casing the products of America's Dairyland to fat, stocky meat animals of 20 years ago have face of Milwaukee. providing a venue for teen idols like the rock been replaced by the lean, strong, super-animals group Night Ranger. Ultimately, the fair is a rural of today. Large animals, such as swine, cattle, and In spite of Milwaukee's growth in the past dec­ microcosm full of exotic contrasts; a vast specta­ sheep, are lovingly trained and groomed for ades, State Fair Park has avoided its consump­ cle which provides a place to exercise common their moment of glory in the show ring. Oils, tion by urban sprawl and conversion into a curiosities and voyeuristic instincts. conditioners, shampoos, clippers, hair spray, shopping mall or office complex. No longer shoe polish, blow dryers, wool cards, and an state subsidized, the State Fair has become com­ The stars of the fair are the domestic animals endless array of brushes and combs are used. pletely self-supporting and attracts nearly one selectively bred for outstanding production Cattle are led on halters, hogs pushed around million visitors annually. Cute, gimmicky mar­ characteristics. Through scientific breeding and with canes and boards and sheep directed by keting of smelly farm animals on buses and bill­ culling practices, the evolution of these species pulling on their heads and tail stubs. The animals boards intice city dwellers to browse aimlessly is greatly accelerated. Current consumer de­ spend four or five days at the fair while their

38 Art Muscle •••iSIP^SM |1|:||S^B|^^^^^^^^W iij^^^^^^^B fiMltflB ;V •Mii^i^^^^^S

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"Poobah" (Pete Terhune?) the Midget Snake Wrestler

caretakers lodge in dorms or campers on the fair cream puff in another exhibition hall. the loudest Led Zepplin hits have the longest grounds. lines. When Jimmy Page left the Yardbirds to Fair demographics change drastically moving pursue classical music it would have seemed The Junior Fair kids show a tremendous dedica­ from the agriculture side of the fair, where fam­ unlikely that he would go on to create the ulti­ tion to agriculture; however, poor economic ilies and senior citizens oggle the animals and mate midwestern carnival ride themes. conditions offer them little opportunity to be­ food, to the midway side, where teenagers con­ come full-time farmers. gregate. The kids who begin roaming the mid­ Midway visitors prepare to be horrified by side­ way at dusk vary from drug-abusing-hell-raising- show alley and its "freaks." Unexpectedly, they At the Wisconsin Veterinary Medicine Associ­ rock-and-roll-ruffians to consumerist-new- are tranquil and serene. ation's booth, onlookers are mesmerized by a wave-soft-drink-commercial-replicas. live canine castration demonstration complete The tattooed lady, 74 year old Lorette Fulker- with a play by play narration ("the left testicle is On the midway, a combination of some pocket son, passes her long work days by chatting with now being pulled from the scrotum") and dual change and super-human dexterity can win a visitors and crocheting afghans and lace collars video monitors. The audience is told that castra­ stuffed unicorn, a Budweiser pit bull terrier or which she gives as gifts to family members. She tion will improve the male's disposition and pre­ mirrors with decals picturing the Shroud of Tu­ was tattooed 56 years ago in Chicago during the vent unwanted pregnancies in the future. Mean­ rin on a bikini-clad woman with "U.S. CHOICE" Great Depression and has never been out of while, fairgoers stand in line 45 minutes to buy a stamped on her thigh. The carnival rides playing work because "there's alwavs another carnival."

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Mary Jo Holtz in the beef cattle barn Grounds crew truck Lorette Fulkerson the Tattooed Lady

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Peanut concession Kim Olson with Holstein Hog judging

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Canine castration demonstration Lisa Dorsey with Holstein Dorset ewe

40 Art Muscle Art Muscle m INVITES YOU TO JOIN ITS CELEBRATION SELF MINTS OCTOBER U A SHOWCASE OF AFTERNOON & EVEN PERFORMANCES BY MILWAUKEE FINE ARTS

BALLET FOLKLORE LATINO 2:30 (GYM) • BOB 8 FRANK 8:30 • CITY BALLET 6:30 (GYM) • ClAVIfiHW W/ACTI INTERPRETER 3:00 • CREAM CITY DANCE CO 5:30 (GYM) -f 10 CARROLL 2:30 • FIRST STAGE MILWAUKEE 4:00 • FRIENDS MIME 1:30 • HANSRERRY SANDS THEATRE 0:00 • IPAAW FEATURE TCBI CARTER OTHERS 3:30 (GYM) • KO TH14:30 (GYM) - MACCANO K ANDERSON 7:00 • PEOPLES THEATRE 5:30-RIP TE IF TOP BANANAS 0:30 THEATRE TESSERACT 5:00 • INffl 1:00-AND MORE NAKED SELF PORTRAITS FREE Oct. 23 - Nov. 20 Walkers Point Center for the Arts Opening reception LUTHER KN G »ER 6-10 p.m. 1531 WEST VLI E Friday, Oct. 23 Artists are invited D to submit work DOORS EN AT 2:30 Any media LAST PERFO 5:30 Any size Bring submissions to Carri Skoczek's studio 1028 S. 5th St. Third Floor DANCE PART I AT 9 Oct. 4 and 5 11 a.m.-6 p.m. Call 672-8485 II LE SIlif t E BEST UKEE HAS 0 FFER

SPECIAL THANKS TO ELLEN WARREN FOR ORGANIZING THE CELEBRATION!

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.'SlIiBfe. ART MUSCLE Anniversary Advertising Special MslSld ADDRESS Sell Yourself A space this size (17/s x ART MUSCLE will set 3 aside a full page in our 2 /s)may be purchased for next issue for ads from $25 - Limit two per artist. a a D a Copy must be camera individual artists & per­ ready & sized to specs. formers. P.O.BOX 93219 Payment due with ad copy. MILWAUKEE, Wl 53203 Send ad & check to P.O. Info 964-7386 Box 93219 Milwaukee allow three weeks for delivery 53203

41 Now-Sept 30 Now-Nov 8 Sept 19-Nov 7 Calendar Scott Scopinski Donald Sultan Noguchi Paintings; Charles Allis Art Museum, 1630 Painting & drawings ranging from still lifes Sculpture; opening reception, Sept 18 5- E Royall; 278-8295 to cityscapes. Museum of Contemporary 8:30pm; Posner Gallery, 207 N Milwaukee; Art, 237 E Ontario, Chicago; 312/280-2761 273-3097 Arts organizations: Now-October 4 Natural Wonders Now-Nov 15 Sept 19-Nov 8 Please add Art Muscle to your Leslie Bellavance Jack Earl Retrospective Dinamation Dinosaurs mailing lists. 4 installations containing paintings, photo­ Ceramic sculpture including figures & tab­ 10 moving & growling dinosaurs, animated P.O. Box 93219 graphs, handmade books, & drawings. leaux which convey the essential nature of by means of a computer-controlled pneu­ Milw., Wi 53203 Rockford Art Museum, 711 N Main, Rock- daily life. Also matic system. Milwaukee Public Museum, ford Ohio Boy: The Ceramic Sculpture of Jack 800 W Wells; 278-2713 Attn: Therese Earl Deadline for copy is the 20th of Now-October 7 Ceramic figures & tableaux which convey Sept 25-October 24 the month preceding publica­ Inner Voices the essential nature of daily life. John Mi­ TV Show tion Georgene Weiner chael Kohler Arts Center, 608 New York, Multi-media representation of television & Gouache & pastel works. UWM: Kenwood Sheboygan; 1/458-6144 the mediascape; guest curator Cynthia Inn; 229-6310 Morrill. Opening reception Sept 25 7-11 pm; ART EXHIBITIONS Now-Nov 30 Leo Feldman Galleries, Inc, 773A N Jeffer­ Now-October 11 Float son; alley entrance Music & Dance in Highland New Guinea Barbara Manger Now-Sept 23 Jordan Wright 3-level translucent plexiglass sculpture; Sept25-Nov 15 John Earnest, Paintings Photography, accompanied by traditional PAC: Helfaer Promenade; 273-7121 Wisconsin Triennial Ron Routt, Porcelain ritual music and ritual & daily objects. Mil­ Survey of current directions in Wisconsin Bradley Galleries, 2639 N Downer; 332- waukee Public Museum, 800 W Wells; 278- Now-May31, 1988 visual art; multi-media; Madison Art Center, 9500 2751 Permanent Collection 211 State, Madison; 608/257-0158 Selected works from the UWM Art Muse­ Now-Sept 25 Now-October 11 um's permanent collection ranging from the Sept 26-October 18 City Life/Urban Landscapes Treasures of Hungary: Gold & Silver from beginning of Western Art through 20th cen­ The Buffalo Group show: Jeff Cornish, John Fennell, the 9th to 18th Century tury in all media; UWM: Vogel Hall; 229- Thomas Feyrer Linda Huber, Marlene Lipinski, & Jody de- Documentation of over 1000 years of Hun- 5070 New works in clay. Opening reception Sept Pew McLeanne. Katie Gingrass Fine Art grian excellence in the working of precious 26 5-9pm; Tera Rouge Designer Galleria, Gallery, 714 N Milwaukee; 289-0855 metals. Patrick & Beatrice Haggerty Muse­ Sept 15-October 15 225 E St Paul; 291-0202 um of Art, 13th & Clybourn; 224-1669 John P Otis Now-Sept 25 Photographs of churches & scenery. Bay Sept 30-October 22 Seven At Lincoln Now-October 17 View Malt Shop, 437 E Lincoln; 744-4211 Chaim Gross Works by 7 visual artists from Lincoln Cen­ Patrick Farrell Sculptures & works on paper. David Barnett ter for the Arts: Susan Falkman, Bob Dan- Still lifes in oil & hand-colored lithographs. Sept 15-Nov1 Gallery, 1024 E State; 271-5058 ner, Barbara Manger, Jacqueline Richards, John Michael Kohler Arts Center, 608 New Along the Garden Path Evelyn Terry, Estherly Allen, & Pat Hidson; York, Sheboygan; 1/458-6144 Maija Wilkes Sept 30-October 25 UWM: Union Art Gallery; 229-6310 Watercolors & photographs; Boerner Bo­ Jill Bedford, Photographs Now-October 18 tanical Gardens, 5879 S 92nd St Stephen Cox, Works in Glass Now-Sept 27 Claudio Bravo: Painter & Draftsman Jean Crane, Watercolors We Can Walk in Peace 66 paintings, pastels & drawings from Sept 18-October 2 West Bend Gallery of Fine Arts, 300 S 6th, 50 peace posters designed by Soviet stu­ 1953-1987; the first major retrospective of Illustrator & Designers of Milwaukee West Bend; 1/334-9638 dents plus the top 5 winning posters cre­ this Chilean artist's work; his style com­ Opening reception Sept 18, 8-10pm; slide ated by Wisconsin students, including the bines realist techniques with surrealistic presentation before reception, 7-8pm; Mil­ Sept 30-October 31 poster designed by Sherry Lynn Biedrzycki subject matter; Elvejhem Museum of Art, waukee Institute of Art & Design, 342 N Michael Bitney whose dream of peace inspired the exhibi­ 800 University Ave, Madison; 608/263- Water St; 276-7889 Two Windows, 422 W National; drive & stop tion. Reception Sept 17, 5:30-6:30pm; the 2246 top 5 Russian & top 5 US winners will be in MAM - Milwaukee Art Museum attendance; MAM; 271-9508 Now-October 18 750 N Lincoln Memorial Dr Permanent Collection Now-Sept 27 Selected works from the UWM Art Muse­ Beyond Words um's permanent collection that relate to Exhibition detailing the creative process of current course offerings in the Art History children's book writing & illustrating, includ­ Dept; UWM: Art History Gallery; 229-5070 y^lAJLbtcU |f >J\Xl \lerv ing work of Lorna Balian, Lois Ehlert, Ke­ vin Henkes, Barbara Joosse, & Gretchen Now-October 25 Mayo: Upper Gallery Edward Weston: Color Photography Dorothy Fagen, Pastels, & Color photographs of the California coast & Mimi Litchauer, Watercolors: Lower Gal­ Death Valley; Whyte Gallery; also lery. West Bend Gallery of Fine Arts, 300 S Hollywood Glamour, 1924-1956: Selected 6th, West Bend; 334-9638 Portraits from the Wisconsin Center for Film & Theatre Research SPECIALIZING IN: Now-Sept 27 61 black & white portraits organized around ROCKS AND GEMS FOR METAPHYSICAL PURPOSES Options 30: Jenny Holzer 5 themes: Expressive Hands, Dressing Up 11 electronic signs, 3 granite benches, & 22 (Costumes), The Smoking Section, Stars QUARTZ CRYSTALS metal plaques examining & reflecting the at Rest, & The Direct Gaze; Elvehjem Mu­ SINGLE POINTS AND CLUSTERS CLEAR, SMOKEY, ROSE AMETHYST, OTRINE diversity & contradictions of modern soci­ seum of Art, 800 University, Madison; ety. Museum of Contemporary Art, 237 E 608/263-2246 QUARTZ CRYSTAL JEWELERY Ontario, Chicago; 312/280-2761 PENDANTS / EARRINGS AND RINGS Now-October 25 SEMINARS AND WORKSHOPS IN. Now-Sept 30 3-dimensional works in paper, including an HEALING, AURA SCANNING, BALANCING Woodworks 3 installation by Diane Katsiaficas, metallic ALSO CONSULTATIONS Marty Zimmerman, Jerry Drewicz, & Jim string jewelry by Gene & Hiriko Sato Pijan- OPEN BY APPOINTMENT ONLY Reynolds. Elements of Art & Design, 300 W owski, & bas-relief paper money collages WALTER A. SASSE 251- 3457 Juneau; 278-0294 by Barton Lidice Benes. Also Selections from the Kuehne Collection W. 150-IM. 6898 Country Lane Now-Sept 30 Exhibition of prehistoric Wisconsin Indian MENOMONEE FALLS, Wl St Nazianz earthenware vessels & implements drawn Photographs by J Shimon & J Lindemann from the Rudolph Kuehne Collection of the University of Wisconsin Center Manitowoc: museum. John Michael Kohler Arts Center, Fine Arts Gallery, 705 Viebahn, Manitowoc 608 New York, Sheboygan; 1/458-6144 TAKE A BREATH OF FRESH HAIR

Now-Sept 30 Now-October 30 JRR Tolkien: Drawings, Watercolors, & Japan 1 Manuscripts from the Hobbit John Story 20 Tolkien drawings from Oxford as well as 90 paintings/collages; extended visual several of the author's original manuscripts meditation in advance of the "Japan" the­ & sketches from the Marquette University atre piece scheduled for November perfor­ Library. Patrick & Beatrice Haggerty Muse­ mance in Chicago. Woodland Pattern Book um of Art, 13th & Clybourn; 224-1669 Center, 720 E Locust; 263-5001

Now-Sept 30 Now-Nov 1 The Wonderful World of Norman LaLiberte Contemporary American Stage Design Unique banners, paintings, & sculpture, Approx 80 works by leading designer, in­ also cluding Zack Brown, Desmond Heely, Ann Al Blankschein, Michael Meilahn, Benjamin Hould-Ward, Santo Loquasto & Carrie Moore, & Walter White Robbins along with sometimes controver­ Glass & Light art. D/Erlein Fine Art Ltd., sial theater designs of Roger Brown, Jim 790 N Jackson; 224-1773 Dine, David Hockney, & David Salle. MAM: South Entrance Gallery; also Now-Sept 30 Hidden Treasures: Wisconsin Collects $4.00 OFF Credell Bowman, Jr Painting & Sculpture Over 120 paintings & ANY MEN'S OR WOMEN'S HAIRSTYLE Color and black & white photographs; exhi­ sculptures in 3 categories: Old Master & (Men Reg. $10, Women Reg. $11) 19th century art, classic 20th century art, & Hairstyle includes shampoo, cut & blow dry bit/sale; PAC: Magin Gallery; 273-7121 Valid only with coupon. Not valid with other coupons or offers. contemporary art since 1945. MAM: Jour- nal/Lubar Galleries; 271-9508 1761N. Warren Ave. • 273-1761

42 Art Muscle October 1-31 October 16-Nov 13 October 31 October 2-4 Curt Kass John Colt Gizmo Show Bauer Contemporary Ballet Multi-media sculptures, including a new toy Paintings & works on paper, 1986-87; joint The theme is motion; Halloween Party Performance will include Woman in the designed to teach pre-school & elementary exhibition between Michael Lord & Bradley opening Oct 31 7-11pm; Wright St Gallery, Stone; F,Sa 8pm, Su 3pm; $TBA; Alverno students to visualize & learn about animals; Galleries; opening reception Oct 16, 6- 922 E Wright; 265-7213 College: Pitman Theatre, 3401 S 39th; 382- exhibit/sale; PAC: Magin Gallery; 271 -7121 9pm; Michael Lord Gallery, 700 N Milwau­ 6044 kee; opening reception Oct 23, 6-9pm; October 31-Nov 30 October 1-31 Bradley Galleries 2639 N Downer; info 272- Roberta Williams & JoAnne Davis October 9,10 Visions & Voices Against Apartheid 1007 Two Windows, 422 W National; drive & stop Calm, Collected & Composed Evelyn Patricia Terry, Patrick Turner, Esth- IPAAW erly Allen, Gail Shaw-Clemons, Essie October 16-Nov 20 October 31-January 10 Cate Deicher, Choreographer Hymes, Jeanine Semon, Bill Mosby, & oth­ MIAD Alumni Show From Hardanger to Harleys: A Survey of With Teri Carter, Joan Gonwa, Alexa Holly­ ers. Opening reception Oct 4 3-5pm; Cen­ Opening reception Oct 16, 6-9pm; Milwau­ Wisconsin Folk Art wood & Karen Lindholm-Rynkiewicz; 8pm; tral Library Balcony Gallery, 9th & Wiscon­ kee Institute of Art & Design, 342 N Water; Traditional art forms actively being prac­ $7/$4; Alverno College: Pitman Theatre, sin; info 271-4704 276-7889 ticed by members of ethnic, regional, occu­ 3401 S39th; 671-5482 pational & religious communities in Wis­ October 1-31 October 16-Jan 31 consin today. Milwaukee Public Museum, October 11 Voices in Exile Rookwood Pottery and the Arts & Crafts 800 W Wells; 278-2713 Cream City Dance Company International touring exhibit of 7 Black Movement, 1880-1915 Rosewood Percussion Group South African artists presently living in ex­ 40 examples of Rookwood pottery. MAM: Nov 1-30 Jazz Dance Theatre Inc. ile. Reception & poetry reading Oct 8 7- Photography Gallery; 271-9508 Wisconsin Handweavers Annual Show 7pm; MATC Cooley Auditorium, 6th & 10pm; UWM: Union Art Gallery; 229-3106 Decorative functional items; opening re­ State; tickets & info 962-7171 October 18-Nov 22 ception Nov 1 1 -5pm; Charles Allis Art Mu­ October 1-Nov 15 Women's Autobiographical Artists' Books seum, 1630 E Royall; 278-8295 October 16 & 17 Harvey Littleton Work of 93 women artists who use the art­ Pascual Olivera & Angela Del Moral Contemporary glass sculpture; opening re­ ists' book as their primary artistic medium; Nov 1 -January 24 Spanish dance performance — classical, ception Oct 1, 5-8pm; D/Erlein Fine Art, UWM: Fine Arts Galleries; 229-5070 Batter Up: Celebration of the Birthday Cake folk & flamenco; F 7:30pm, Sa 3pm; John 790 N Jackson; 224-1773 Exhibition of edible & inedible birthday Michael Kohler Arts Center, 608 New York, October 23-Nov 20 cakes by local & national artists to cele­ Sheboygan; 1/458-6144 October 1-January 10 Naked Self Portraits brate the 20th anniversary of the Center; Curator's Choice Art Muscle 1 st Anniversary Show opening reception Nov 1 noon-5pm in­ October 16-18 The most significant works acquired by the Mixed media; opening reception Oct 23 6- cludes a concert of jazz, pop & rock music Isabelle Kralj MAM Dept of Prints, Drawings & Photo­ 9pm; Walkers Point Center for the Arts, 438 by the Tony Kolp Quartet; John Michael F,Sa 8pm, Su 3pm; $7/$5; Alverno College: graphs during the last decade. MAM: W National; info 672-8485 Kohler Arts Center, 608 New York, Sheboy­ Pitman Theatre, 3401 S 39th; 382-6144 Teweles Gallery; 271 -9508 gan; 1/458-6144 October 23-Dec 3 October 17 October 2-25 Italian Renaissance Art: Selections from Nov 3-Dec 20 Visions & Voices Against Apartheid Young Chicago the Piero Corsini Gallery Napoleon in Egypt Ko Thi Dance Company, City Ballet, AKVA Group show. Katie Gingrass Fine Art Gal­ 2 dozen paintings from the period 1300- Selections from the American Geographi­ Ensemble, Sechaba & other performers in lery, 714 N Milwaukee, 289-0855 1600 plus sculpture & examples of the cal Society Collection to coincide with the a celebration of African & Afro-American decorative arts; opening reception Oct 22 opening of Stage III of the UWM Library; art & culture. 7:30pm; free; MATC Cooley October 2-Nov 15 7-8:30pm; Patrick & Beatrice Haggerty Mu­ UWM: Art History Gallery; 229-5070 Auditorium, 6th & State; info 225-1811 Harvey Littleton seum of Art, 13th & Clybourn; 224-1669 D/Erlein Fine Art Ltd, 790 N Jackson; 224- Nov 6-28 October 22-Nov 6 1773 October 24-Nov 18 Peggy Zalucha Matrix Warren Brandt Recent watercolors. Katie Gingrass Fine Betty Salamun & Dancecircus October 3-Spring I988 Recent oils & pastels. David Barnett Gal­ Art Galiery, 714 N Milwaukee; 289-0855 8 performances; 7:30pm, except Su 2pm; On Wisconsin! lery, 1024 E State; 271-5058 free; Mitchell International Airport; 383- Mixed media survey of the latest work done Nov 6-January 3 3355 by a number of Wisconsin artists. MAM: October 24-January 17 Contemporary Printmaking in India: The Cudahy Gallery of Wisconsin Art; 271- Community Industries of the Shakers East-West Nexus October 29-Nov 1 9508 250 artifacts including furniture, tools, bas­ The peculiarities of Indian printmaking & its Milwaukee Ballet & Pennsylvania Ballet kets, textiles, architectural drawings & sew­ relationship to Indian philosophy; Elvejhem Raymonda Variations October 4-25 ing implements; lecture Nov 5 by noted Museum of Art, 800 University, Madison; Choreography, George Balanchine; Music, Katheryn Ward Shaker scholar June Sprigg; Milwaukee 608/263-2246 Alexander Glazunov Paintings; opening reception Oct 4 2-4pm; Public Museum, 800 W Wells; 278-2713 Great Galloping Gottschalk Charles Allis Art Museum, 1630 E Royall; Nov 7-January 3 Choreography, Lynne Taylor-Corbett; Mu­ 278-8295 October 24-Nov 15 Andean Aesthetics: Textiles of Peru & Bo­ sic, Louis Moreau The Orient livia World Premier October 5*31 Charlotte Fung Miller 50 textiles & costumes; 20 photographs & Choreography, Lynne Taylor-Corbett Focus on Fall Chinese brush painting; Tera Rouge De­ drawings; focus is on stylistic variations & Th, F 8pm, Sa 2 & 8pm, Su 2 & 7pm; $5- Group show; opening reception TBA; Ele­ signer Galleria, 225 E St Paul; 291-0202 design principles; Elvejhem Museum of Art, $40; PAC: Uihlein Hall; 273-7206 ments of Art & Design, 300 W Juneau; 278- 800 University, Madison; 608/263-2246 0294 October 26-Nov 19 Colorlines Haitian Art Exhibition: The Next Nov 13-Dec 18 October 8-Nov 29 Generation Comprehension: Words & Pictures Ansel Adams Featuring 2 Wisconsin artists, Evelyne Invitational exhibition focusing on the spe­ EVENTS 25 works dating from the 1920's to the Sainte'-Poma & Babette Wainwright, plus cific aspect of incorporating text with pic­ 1960's; opening reception Oct 8 6-8pm; works of young Haitian artists from the col­ tures; opening reception Nov 13; UWM: Patrick & Beatrice Haggerty Museum of lection of the Caribe Art Center in Chicago; Union Art Gallery; 229-6310 Sept 17 Art, 13th & Clybourn; 224-1669 Federal Plaza Mezzanine, 314 W Wiscon­ The Book of Night sin; info 227-3246 Nov 13-January 24 Rick Oilman October 11-Nov 11 Currents 12: Simulations New American Poetry/performance, book release, music; My Hands They Are Cold October 28-Nov 29 Conceptualism 7:30pm; $4; Piano Gallery, 219 N Milwau­ Jayne Michlig Five Centuries of Master Prints Including works by Jeff Koons, Annette Le- kee 2-dimensional zinc etchings dealing with Over 60 prints from old masters to 20th mieux, Sherri Levine, Allan McCollum, & the artist's personal expression & experi­ century; Durer Daumier, Cassatt, Chagall, Haim Steinbach. Opening reception Nov Sept 18 ence with society; Opening reception Oct Goya, Maillol, Picasso, Moore, Rembrandt, 12 5:30-8pm; MAM: South Entrance Gal­ Living Art 11 4-7pm; UWM: Kenwood Inn; 229-6310 Rouault, Lasansky & Vasarely are includ­ lery; 271-9508 Benefit for Ko Thi Dance Company ed; West Bend Gallery of Fine Arts, 300 S 5-8:30pm; Posner Gallery, 207 N Milwau­ 6th, West Bend; 1/334-9638 Nov 13-Dec 18 kee; info 273-3097 Comprehension: Words & Pictures Opening reception Nov 13, 7:30-10pm; Sept 18 & 19 UWM: Union Art Gallery; 229-6310 Society of Fine Arts Book Sale 10am-4pm; Alverno College: Wehr Hall, Nov 15-Dec 16 3401 S 39th; 671-5482 Beyond Mirror Reflections Sept 19 & 20 Multi-media group exhibition of 2-dimen­ Dinosaur Days sional work dealing with self-portraits by Breakfast with Smedley undergrad & grad Fine Arts students; open­ The museum's dinosaur mascot will pre­ ing reception Nov 15 4-7pm; UWM: Ken­ side at the breakfast; seatings at 9:45, 10, GALLERY wood Inn; 229-6310 10:45 & 11:30am; $4.25/$2.95; the event includes games, tours, storytelling, & a film festival; 9am-3pm; Milwaukee Public Mu­ DANCE seum, 800 W Wells; reservations, 278- EXPERIENCE 2734 Sept 17-20 INDIVIDUALITY Milwaukee Ballet & Pennsylvania Ballet Sept 26 in Stars & Stripes Force Choreography, George Balanchine; Music, Collaboration: Painter & Musician PERSONAL ADORNMENT John Philip Sousa Painter Dennis Nechvatal & Musician Brian NON-TRADITIONAL HANDCRAFTED JEWELRY Billy the Kid Ritchie will create a new art form live on Choreography, Eugene Loring; Music, Aar­ stage; $8; tickets available by mail; Walkers Mark your calendar now! on Copland Point Center for the Arts, 438 W National, One-year anniversary celebration, Friday, Nov.20 Who Cares? Milw 53204; info 672-ARTS Choreography, George Balanchine; Music, AUDUBON COURT 333 W. BROWN DEER ROAD George Gershwin Th,F 8pm, Sa 2 & 8pm, 414-351-0333 MILWAUKEE Su 2 & 7pm; $5-$40; PAC: Uihlein Hall; PAC - Performing Arts Center 273-7206 929 N Water St

43 Sept 27 October 24 October 7 Sept 19 Mushroom Fair An Archaeological Adventure The Prisoner of Zenda The Role & Purpose of Artists in the Mushroom identification, home-growing Pottery-making demonstration & discovery Ronald Coleman, Madeleine Carroll; 1937: Schools tips, poison center display, gourmet cook­ units filled with touchable collections & ex­ 10Omin; Cinema for Seniors; 12:30pm; free Symposium; 10am-2:30pm; UWM: Union ing demonstration, scavenger hunt & mag­ periments; designed for visually impaired for seniors; PAC: Vogel Hall Fireside Lounge; 229-6310 ic shows; 10am-4pm; Milwaukee Public but public welcome; 1-4pm; Milwaukee Museum, 800 W Wells; 278-2702 Public Museum, 800 W Wells; 278-2713 October 10 & 11 Sept 21 Einstein on the Beach: The Image of Survivor Speech October 1 October 25 Changing Opera MacCanon Brown A Celebration of Architectural History Week Robert Grenier 1986: 58min; 2pm; MAM; 271-9508 Lecure about the creative process; Writers, Sponsored by the Southeast Chapter of the Reading by this San Francisco language Inc monthly meeting; 7:30pm; Cudahy Ma­ Wisconsin society of Architects; reception poet. 2pm; $4; Woodland Pattern Book October 14 rine Bank, 4702 S Packard; info 764-0819 5:30pm; discussion at 6:15pm on The Fu­ Center, 720 E Locust; 263-5001 You've Heard That Song Before ture of Milwaukee's Downtown Revitaliza- Bing Crosby, Alice Faye, Jeannette Mac- Sept 22 tion Projects; MAM; 271-9508 October 30 Donald, Nelson Eddy, Deanna Durbin, Hidden Treasures: Wisconsin Collects Frankie Dell Boo & Studio Gallactica Judy Garland, Mickey Rooney, Greer Gar- Painting & Sculpture October 2 Halloween Costume Party son & more; film clips of the same song, Gallery Talk Fish Fry & Lecture 9pm; $5; 805 S 5th sun by 2 different people in different films; Russell Bowman With geologist Mac West; Milwaukee Pub­ compiled & narrated by Dale E Kuntz; Cine­ 1:30pm; MAM: Journal/Lubar Galleries; lic Museum, 800 W Wells; info 278-2702 October 30 ma for Seniors; 12:30pm; free for seniors; 271-9508 Masquerade Ball PAC: Vogel Hall October 4 Milwaukee Inner City Arts Council, Inc Sept 24 Free day for Milwaukee County residents; 20th anniversary fundraiser/celebration; October 17 Rufino Tamayo: Totem & Tradition, or Milwaukee Public Museum, 800 W Wells 8pm - ?; War Memorial Center; info 265- Quilombo Haitian Art: It Might as Well be Spring 5050 Home & The World Film Series Docent Aperitif October 8 7:30pm; free; Milwaukee Public Museum, Dottie Hughes; 5:30-6:30pm; MAM: South Voices in Exile October 31 800 W Wells Entrance Gallery; 271-9508 Poetry reading & reception; includes poets Rudolfo Anaya Charles McClain, Ann Filemyr, Francine Fiction reading by well-known southwest­ October 17 Sept 24 Triplett, Reggie Finlayson, Oscar Mireles, ern writer. 8pm; $4; Woodland Pattern Charlotte's Web The "New" Old Historic Third Ward Faye Jackson & others; 7-10pm; reading at Book Center, 720 E Locust; 263-5001 1972:90min; 10:30am & 1pm; MAM; 271- Business of Art Luncheon Lecture 8pm; free; UWM: Union Art Gallery; 229 9508 Isabelle Polacheck & John Gardner; reser­ 6310 October 31 & Nov 1 vations 271 -9508, xt 228 Wisconsin Handweavers Sale October 24 & 25 October 10 Focus on affordable small usable items; Earth, Fire & Water Sept 26 Passport to Treasures 11am-5pm; Charles Allis Art Museum, Based on the exhibition A Century of Ce­ Magnificent Milwaukee Architectural Trea­ Friends of the Museum fundraising ball, 1630 E Royall; 278-8295 ramics in the US: 1878-1978; studio visits & sures 1850-1920 centered around a travel theme & calling for talks with 7 ceramists; 1980:28min; 2pm; H Russell Zimmermann black tie or Orient Express vintage apparel; Nov 14-15 MAM; 271-9508 Slide program & lecture by the author of the Milwaukee Public Museum, 800 W Wells; Craft Collection above book, followed by a book autograph­ info & reservations 278-2734 Wisconsin Designer Crafts Council, Inc October 31 ing session. 1pm; $3 plus museum admis­ High-quality crafts marketing/sales event; The Wizard of Oz sion; Milwaukee Public Museum, 800 W October 10 & 17 Sa 10am-6pm, Su 11am-5pm; MAM: Me­ 1939:102min; 10:30am & 1pm; MAM; 271- Wells, 278-2702 Geology Field Trips to Kettle Morraine morial Hall 9508 8am-4pm; $45 plus lunch; sponsored by Sept 26 Milw Public Museum; info 278-2713 Nov 7 & 8 Saturday Morning Plant Doctor The Meaders Family: North Georgia Pot­ Dr John Strehmel, horticulture instructor at October 10, Nov 7 & Dec 8 FILM ters Gateway Technical Institute will advise on Chicago Excursions 1978:30min; 2pm; MAM; 271-9508 late fall gardening; 10ani-noon; donation Visit the Art Institute, shop Water Tower appreciated; Boerner Botanical Gardens, Place or take in a matinee; 8am-7pm; $22 Weekly Screenings Nov 12 5879 S 92nd single trip/$60 all 3 (nonmembers), lunch & Experimental films & videotapes; T 5:30- My Mother Married Wilbur Stump admissions not included; 271-9508, xt 245 7:30pm, W 11:30-1:30pm & 5:30-7:30pm; My Father Sold Studebakers Sept29-Nov 10 UWM: Mitchell Hall, B-91; info 229-6015 2 videos on family life by Skip Sweeney; Seminar & Practicum October 11 & every Sunday 7pm; MAM; 271-9508 Neuro Linguistic Programming Family Sundays Sept 16 Donna Thome, ACSW Children & parents are invited to live perfor­ Independent Doggie Films Nov 14 7 Tu evenings 7-9:30pm; War Memorial mances & artistic presentations, tours & Doggie Diner; The Return of Doggie Diner; Sweet Honey in the Rock: Gotta Make This Center; info 964-7386 workshops providing opportunities for fam­ Flat Flip Flies Straight; Flying Fur; God is Journey ilies to create & experience art; 2-5pm; free Dog Spelled Backwards; I, a Dog; Knoc- Home & The World Film Series October 1 w/museum admission; MAM; 271-9508 turne; The Mongroloid; Runaway; Trildogy; 7:30pm; free; Milwaukee Public Museum, Collectors on Collecting & the videotapes of William Wegman, star­ 800 W Wells Gallery Talk October 12 ring Man Ray the dog. 7:30pm; $3; Madi­ Marvin Fishman, modern art collector A Celebration of Theater son Art Center, 211 State, Madison; Nov 14 5:30pm; MAM: Journal/Lubar Galleries; A preview of Milwaukee's upcoming theater 608/257-0158 Baby: The Secret of the Lost Legend 271-9508 season featuring performances by 7 local 1985:95min; 10:30am & 1pm; MAM; 271- theater companies; 5:30-8pm; MAM: Vo- Sept 16 9508 October 3 gel/Helfaer Galleries; 271-9508 Love is News The Reality of Apartheid Tyrone Power, Loretta Young, Don Note: All Milwaukee Symposium will present panelists from Mil­ October 16 Ameche; sophisticated comedy; 1937: Art Museum (MAM) waukee & Chicago to discuss apartheid & Gallery Night 78min; & films are free with Art its psycho, social, ecomonic, cultural & po­ Begin at the Milwaukee Art Museum with a Bitter Sweet litical ramifications on Black South Afri­ short lecture, then drive or walk to partici­ Jeanette MacDonald, Nelson Eddy; love Museum admission. cans; 9am-4pm; UWM: Union Fireside pating galleries; 5:30-9pm story; 1940: 92min; Cinema for Seniors; Lounge; info Taki S Raton: 271-4704 12:30pm; free for seniors; PAC: Vogel Hall October 17 & 18 October 6 A Country Affair Sept 17 Hidden Treasures: Wisconsin Collects Community League, Inc of Menomonee Cinderella Painting & Sculpture Falis Erica Backman. 1986:27min; 7pm; MAM; LECTURES Gallery Talk Antiques, country arts & crafts, quilt raffle & 271-9508 James Mundy display; Sa 10am-5pm, Su 10am-4pm; $2 1:30pm; MAM: Journal/Lubar Galleries; Mondays-Saturdays donation; Ben Franklin School, N81 Sept 19 271-9508 Sugar Cane Alley Free Public Tours W14701 Franklin Dr, Menomonee Falls October 7, 8 & Successive Wed & Thur Home & The World Film Series Free docent-guided tours of selected ex­ Art a la Carte October 23 & 24 7:30pm; free; Milwaukee Public Museum, hibits; 1pm; Milwaukee Public Museum, Fall program of weekly lectures; W Art Wear/Wisconsin 800 W Wells 800 W Wells; 278-2713 11:30am, Th 12:30pm; MAM; 271-9508 A juried selection of 45 artists will feature Sept 17 finely crafted clothing, jewelry & fashion ac- Sept 19 Table Settings & Centerpieces cesories for sale; runway fashion show, F Cinderfella October 8 Doris Schwartz 6pm, Sa 1 pm; F10am-9pm, Sa 10am-8pm; 1960: 88min; 10:30am & 1pm; MAM; 271- Collectors on Collecting Lecture/demonstration on flower arrang­ $3; Grain Exchange Room, Michigan & 9508 Gallery Talk ing; 9:30-11:30am; $3, advance registra­ Broadway; 744-4096 Hope Melamed, print collector Sept 26 & 27 tion required; Boerner Botanical Gardens, 5:30pm; MAM: Journal/Lubar Galleries; 5879 S92nd; info 425-1130 October 24 Man & Mask: Oscar Schlemmer & the Bau- 271-9508 Self Portraits haus Stage Art Muscle Anniversary Celebration Margarete Hastine; 27min; 2pm; MAM; Sept 17 October 8 Event includes short performances & ex­ 271-9508 English Silver Tableware & Its Hallmarks Object of Performance hibits by a variety of local arts groups, in­ Edward Munves, Jr Jon Erickson & David Schweizer cluding Clavis Theatre, Ko Thi, City Ballet, Sept 30 Reception 5:30pm, lecture 6:15pm; MAM: Artists Forum Series; 7pm; $3.50; MAM; Friends Mime Theatre & many others, Tap Roots East Entrance; 271-9508 271-9508 2:30pm-8pm; followed by a Dance Party Susan Hayward, Van Jeflin, Boris Karloff; Sept 19 9pm-1am; Martin Luther King Center, 15th Civil War spectacle; 1948:109min; Cinema SLIDES OF YOUR WORK: Photogi apher & Vliet; info 964-7386 or 672-8485 for Senior 12:30pm; free for seniors; PAC: Symposium: Toward A Milwaukee Renais­ specializing in professiona quality 35mm and Vogel Hall sance in Dance 4 x 5 color transparencies frorr flat wc rk, 3- Critics, producers, educators, & dancers in dimensional, or on-site installation. True, October 3 panel discussions. 8am-4pm; $7.50; Al­ accurate color with even, glare -free ill jmina- Quasi at the Quakadero, 1975:11min verno College, 3401 S 39th; 382-6044 tion The 5000 Fingers of Dr T, 1953:88min 10:30am & 1pm; MAM; 271-9508 (4 I 4) 6 7 I - 6 I 79

44 Art Muscle October 8 Nov 12 Sept 23 October 8 Curators Coice Currents 12: Simulations, New American The Accoladian Harp Duo UWM Symphony Orchestra Lucien Goldschmidt, noted print authority; Conceptualism I Michael Danoff, Director, 12 noon; free; bring your lunch; Milwaukee Margery Deutsch, Conductor 7pm; MAM: East Entrance; 271-9508 Museum of Contemporary Art, Chicago; in Public Library: Centennial Hall, 733 N 8th 12:30pm; free; UWM: Union Concourse conjuction with opening reception of show; October 15 reception 5:30-8pm, lecture 6:15pm; MAM: Sept 25 October 8 Collectors on Collecting South Entrance Gallery; 271-9508 Ardenne Bunde, Soprano UWM Bands Concert Gallery Talk John Komasa, Pianist University Wind Ensemble & Symphony Dr Alfred Bader, collector of 17th century Classical concert; 7:30pm; free w/reserva- Band Dutch painting; 5:30pm; MAM: Journal/Lu­ tion; Charles Allis Art Museum,- 1630 E Thomas Dvorak, Conductor bar Galleries; 271-9508 Royall; 278-8295 8pm; $6/$3; UWM: Union Wisconsin MUSIC Room; 229-4308 October 15 Sept 25 & 26 Conservation of Works on Paper Fridays Milwaukee Symphony Orchestra October 8 Keiko Keyes Tea Time Milwaukee Symphony Chorus Odetta 7pm; MAM: East Entrance; 271-9508 Free live music. Webster's Books, 2559 N Lukas Foss, Conductor Great Alverno Folk Series Downer; 332-4610 Wagner: Das Liebesverbot Overture, Ven- 7:30pm; Alverno College: Pitman Theatre, October 19 usberg Music, & Music from Parsifal 3401 S 39th St; 382-6044 Prehistoric Wisconsin: Selections from the Sept 16 Bach: Magnificat Kuehne Collection Penderecki String Quartet 8pm; $10-$30; PAC: Uihlein Hall; 273-7206 October 9,10,11 Dr David Overstreet, Great Lakes Archae­ Sponsored by UWM Institute of Chamber Doc Severinsen ological Research Center, & Robert Music. 7:30pm; $4; Piano Gallery, 219 N Sept 27 Milwaukee Symphony Orchestra Hruska, Asst Director & Curator, Oshkosh Milwaukee; 276-3525 Brennan Cornwall JoAnn Falletta, Conductor Public Museum; 7pm; free; John Michael Renaissance, Baroque & early classical pi­ F,Sa 8pm; Su 7:30pm; $10-$30; PAC: Uih­ Kohler Arts Center, 608 New York, Sheboy­ Sept 17 ano. 3pm; free; Piano Gallery, 219 N Mil­ lein Hall; 273-7206 gan; 1/458-6144 Rick Oilman waukee; 276-3525 Classical guitar & original poetry. 7:30pm; October 10 October 22 $4 (suggested); Piano Gallery, 219 N Mil­ Sept 27 UWM Symphony Orchestra Decorating With Wisconsin Artists waukee; 276-3525 Eldon Balko Margery Deutsch, Conductor Docent Aperitif A Program of 20th Century Music Jack Snavely, Clarinet Janet Treacy & Susan McDonald; 5:30- Sept 19 3pm; $5/$3; St John Cathedral, 802 N 8pm; $6/$3; Pabst Theater, 144 E Wells; 6:30pm; MAM; 271-9508 Tembo Jackson; 774-5316 271-3773 Creative jazz & new music; 9:30pm-2am; October 22 The Golden Mushroom, 1572 W Greenfield Sept 27-28 October 11 Collectors on Collecting Fine Arts Quartet Viennese Guitar Duo Gallery Talk Sept 20 Mozart: Quartet, KV 464 Faculty Concert Series Richard Flagg, collector of 16th & 17th cen­ Derek Bailey Shostakovitch: Quartet #11 3pm; $5/$4; Wisconsin Conservatory of tury decorative art & Haitian art; 5:30pm; British improvisational guitarist; 8pm; $4; Beethoven: Quartet, Op 132 Music, 1584 N Prospect; 276-5760 MAM: Journal/Lubar Galleries; 271-9508 Woodland Pattern Book Center, 820 E Lo­ Su 3pm, M 8pm; $9.50/$7.50; UWM: Fine cust; 263-5001 Arts Recital Hall; 229-4308 October 12 October 22 Piano Portraits with Jeffrey Hollander Italian Renaissance Art: Selections from Sept 20 October 1 My Time Shall Come the Piero Corsini Gallery Kathleen Sonnentag, Soprano Institute of Chamber Music Music of Gustav Mahler; 7:30pm; $6/$3; Craig Felton, Dept of Art History, Smith Col­ Civic Music Association The Aramis Quartet UWM: Fine Arts Recital Hall; 229-4308 lege, Massachusetts; exhibit-opening re­ Artist & Ensemble Series 8pm; $4/$2; UWM: Fine Arts Recital Hall; ception follows lecture; 6pm; Patrick & Be­ 2:30pm; free; Villa Terrace, 2220 N Ter­ 229-4308 October 14 atrice Haggerty Museum of Art, 13th & race; 382-6139 Montclaire String Quartet Clybourn; 224-1669 October 2,3,4 Sponsored by UWM Institute of Chamber Sept 21 Great Lakes Opera Music. 7:30pm; $4; Piano Gallery, 219 N October 22 Paganini Trio Recital Rimsky Korsakov: Mozart & Salieri Milwaukee; 276-3525 Collecting: The Ultimate Privilege 7:30pm; $7.50/$5; Wisconsin Conserva­ Bizet: Doctor Miracle Mira & David Rubell, New York contempo­ tory of Music, 1584 N Prospect; 276-5760 F 8pm (free for Milw residents), Sa 2&8pm; October 15 rary art collectors; 7pm; MAM: East En­ Su 2pm; $7/$5.50; PAC: Vogel Hall; 273- UWM Wind Ensemble & Symphony Band trance; 271-9508 7206 12:30pm; free; UWM: Union Concourse

Nov 12 October 3,4,5 October 16 Public Sculpture Milwaukee Symphony Orchestra Vocal Arts Series Therese Agnew & Bob Curtis Zdenek Macal, Conductor An evening of vocal chamber music; 8pm; Artists Forum Series; 7pm; $3.50; MAM; Christopher Adkins, Cellist $6/$3; UWM: Fine Arts Recital Hall; 229- 271-9508 Strauss, R: Don Quixote 4308 Beethoven: Symphony No 6 (Pastoral) Nov 12 Sa 8pm, Su,M 7:30pm; $10-$30; PAC: Uih­ October 16,17,19 Get to Know Ko Thi lein Hall; 273-7206 Milwaukee Symphony Orchestra Lecture/demonstration; 7:30pm; $6/$4; Al­ Zdenek Macal, Conductor verno College: Wehr Stage, 3401 S 39th October 4 Cho-Liang Lin, Violinist ,>* ,„,rrt««iVCologne 2:30pm; free; Villa Terrace, 2220 N Ter­ Early Music Now race; 382-6139 8pm; $10/$8; Milwaukee Public Library: Centennial Hall, 733 N 8th; 264-8796 October 20 Institute of Chamber Music October 6 12:30pm; free; UWM: Union Art Gallery Janet Millard, Flute James Howsmon, Piano October 21 Music of Bach, Bartok, DeFalla & Dutilieux. The Dowland Singers 7:30pm; $4; Piano Gallery, 219 N Milwau­ 12 noon; free; bring your lunch; Milwaukee kee; 276-3525 Public Library: Centennial Hall, 733 N 8th

GEORGE October 6 October 22 Milwaukee Music Ensemble Institute of Chamber Music R0NSH0LDT Music of Lukas Foss, David Edminster, 8pm; $4/$2; UWM: Fine Arts Recital Hall; Carlos Surinach. Guest narrator: Paul Ce- 229-4308 bar; guest group: Rosewood Percussion October 23 Group; 7:30pm; $7/$5; PAC: Vogel Hall; Patricia Jones 273-7206 (414) 354-0945 Piano Recital 8643 N. Servite Dr. 115 8pm; free; Wisconsin Conservatory of Mu- . Milwaukee Wl 53223 sic, 1584 N Prospect; 276-5760 45 October 23,24,25 Nov 10 Sept 18-20 Nov 7,22 Milwaukee Symphony Orchestra Woodwind Arts Quartet Shoot Me While I'm Happy Joseph & the Amazing Technicolor Dream- Zdenek Macal, Conductor 8pm; $6/$3; UWM: Fine Arts Recital Hall; Steve Carter coat Lorin Hollander, Pianist 229-4308 Bitter-sweet tribute to Black vaudeville; Music by Andrew Lloyd Weber All Gershwin Anniversary: Cuban Over­ F,Sa 8pm, Su 3pm; $5/$2.50; Milwaukee JCC Theater Company ture, Concerto in F, Rhapsody in Blue, An Nov 11 Public Library: Centennial Hall, 733 N 8th; $7/$5; Jewish Community Center, 1400 N American in Paris F,Sa 8pm, Su 7:30pm; Aramis String Quartet tickets available through Ticketron or 276- Prospect; 276-0716 $10-$30; PAC: Uihlein Hall; 273-7206 Sponsored by UWM Institute of Chamber 7585 Music. 7:30pm; $4; Piano Gallery, 219 N October 24 Milwaukee; 276-3525 October 2-18 4th Annual UWM Symphony Orchestra's Clarence Chamber Music Marathon Benefit for the Nov 12 Booth Tarkington PERFORMANCE Orchestra Performance Fund. 11am- Institute of Chamber Music Milwaukee Chamber Theatre ART 11pm; Coffee Trader, 2625 N Downer 8pm; $4/$2; UWM: Fine Arts Recital Hall; A saxophone-playing soldier becomes an 229-4308 unwitting cupid in the affairs of a family of October 25 raucous teenagers & frustrated parents. W- October 23 Lee Dougherty, Soprano Nov 12 Sa 8pm, Su 2pm (10/11 & 18), & 7pm (10/4 Solidarity: A/Political Fiction Faculty Concert Series The Fortepiano in Mozart's Time & 11); $10.50-$12; Skylight Theatre, 813 N A music/theatre performance by Thomas 3pm; $5/$4; Wisconsin Conservatory of John Gibbons, Fortepianist Jefferson; 271-8815 Gaudynski, with music by Steve Nelson- Music, 1584 N Prospect; 276-5760 Historical Keyboard Society Raney and dance by Cate Deicher & Lynn Lecture/recital; 8pm; $10; Piano Gallery, October 5-31 Gilliam. An exploration of the artists' rela­ October 25 219 N Milwaukee; 344-3663 The Sleeping Beauty tionship to their arts in contemporary Amer­ University Band & Jazz Ensemble First Stage Milwaukee ica, Juxtaposed with readings from the Po­ Pops Concert; 8pm; $6/$3; UWM: Union Nov 12 Original production based on the Grimm lish poetry of Stanislow Baranczak & Wisconsin Room; 229-4308 John Gibbons Brothers fairy tale. Weekdays 10am & Kazimierz Brandys who deal with their rela­ Performance/lecture. 8pm; $10/$8; Piano 12:30pm, $3; Sa 10am & 1pm, $4-$5; PAC: tionship to totalitarianism. 8pm; $5; War October 26 Gallery, 219 N Milwaukee; tickets 344-3663 Todd Wehr Theater; 273-7206 Memorial Center: Memorial Hall; 691-6813 Polish Chamber Orchestra Artist Series Nov 12,13,14 October 8-24 8pm; $6-$16; Pabst Theater, 144 E Wells; Milwaukee Symphony Orchestra Philemon Nov 6 & 7 271-3773 Milwaukee Symphony Chorus Jones & Schmidt Knocking Heads Zdenek Macal, Conductor Acacia Theatre Company Diane Vanderhei October 30 Dvorak: Stabat Mater The Romans capture a wayward actor & F 7pm, Sa 9pm; $7/$6 members, series Tembo Th 11 am, F,Sa 8pm; $10-$30; PAC: Uihlein convince him to betray an imprisoned discount available; MAM; 271-9508 (see Creative jazz & new music; 8:30pm; $2.50; Hall; 273-7206 Christian leader whom they want to kill. next listing) The Coffeehouse, 19th & Wisconsin Th,Sa 8pm, Su 2pm; $7-$9; Eastbrook Nov 13 Centre Theatre, 2844 N Oakland; 962- Nov 6 & 7 October 30 Orchestra of the 18th Century 2380 Self-Possession Jose Greco & The Ballet Folklorico Mexi- Artist Series Jon Erickson cano 8pm; $6-$16; Pabst Theater, 144 E Wells; October 14-Nov 8 F 9pm, Sa 7pm; $7/$6 members, series 8pm; $6-$9; Alverno College: Pitman The­ 271-3773 Road discount available; MAM; 271-9508 (see atre, 3401 S 39th; 671-5482 Jim Cartwright above listing) Nov 13 A Guided tour of a derelict street in Lanca­ Nov1 Anthony & Joseph Paratore shire County, England, where comic Nov 14 Robert Ein Winston, Piano Piano duo; 8pm; $6-$9; Alverno College: scenes belie a population driven mad with Swimmin' the River Original compositions. 7pm; $5; Piano Gal­ Pitman Theatre, 3401 S 39th; 671-5482 despair. W,Th,F 8pm, Sa 5 & 9pm, Su 10/18 Billy Curmano lery, 219 N Milwaukee; 276-3525 & 11/1 7pm, 10/25 & 11/8 2pm; $6.50-$11; 7pm; $7/$6 members; series discount Nov 13 New Location 2071 N Summit; 272-3043 available; MAM; 271-9508 Nov1 5th Annual Slovenian Music Concert Fred Frith & Hans Reichal 8pm; $6.50/$5; St Joseph Convent Chapel, October 19-23 Guitar concert; cutting edge improvisa- 27th & Greenfield Little Women tional & new music; 8pm; $4; Woodland First Stage Milwaukee Pattern Book Center, 820 E Locust; 263- Nov 14 Adaptation of the Louisa May Alcott story. 5001 21st Annual High School Honors Band Weekdays only 9:45am & 12:30pm; PAC: Thomas Dvorak, Conductor Vogel Hall; 273-7206 Nov1 7pm; $6/$3; Pabst Theater, 144 E Wells; Sept 10 & Alternate Thursdays Charles Q Sullivan 271-3773 October 23-Nov 1 Milwaukee Poets Alive Music of Maurice Durufle Dracula 8:30pm; MATA; Cable Channels 14 & 46 3pm; $5/$3; St Joseph's Convent, 1501 S Nov 14 & 15 Next Generation Theater Layton; 774-5316 Oratorio Chorus Concert Milwaukee Public Library: Centennial Hall, Sept 19 A varied program of English choral music. 733 N 8th; ticket info 271-8815 The Kitchen Presents: Two Moon July Nov 2 Sa 7:30pm, Su 5pm; John Michael Kohler Arts & entertainment special featuring Phil­ Claudia Schmidt & Sally Rogers Arts Center, 608 New York, Sheboygan; October 25-Nov 29 ip Glass, Laurie Anderson, David Byrne & Great Alverno Folk Series 1/458-6144 The Matchmaker others; 9pm; Channel 36 7:30pm; Alverno College: Pitman Theatre, Thornton Wilder 3402 S 39th st; 382-6044 Nov 15 Milwaukee Repertory Theatre Mrs Dolly Sept 22 Kristen Fenske Haxton Levi in the farce on which Hello Dolly was What's-A-Foot in Milwaukee Nov 2 Civic Music Association based; New Location 108 E Wells; ticket Dance feature/presentation with IPAAW, The New York Cornet & Sackbut Ensemble Artist & Ensemble Series info 224-9490 Wild Space & Dancecircus; 8pm; MATA; Early Music Now 2:30pm; free; Villa Terrace, 2220 N Ter­ Cable Channels 14 & 46 8pm; $10/$8; Milwaukee Public Library: race; 382-6139 October 28-Nov 15 Centennial Hall, 733 N 8th; 264-8796 Working Sept 30 Nov 15 & 16 From the book by Studs Terkel Lily Tomlin Nov 5 Fine Arts Quartet Skylight Music Theatre Chronicle of the development of The Jazz Ensemble Guest Artists: The Sibelius String Quartet Musical observation of the work day, in the Search for Signs of Intelligent Life in the 12:30pm; free; UWM: Union Concourse (Finland) Su 3pm, M 8pm; $9.50/$7.50; actual words of American workers from all Universe; 8pm; Channel 10 UWM: Fine Arts Recital Hall; 229-4308 walks of life. W,Th 7:30pm, F,Sa 8pm; Su 2 Nov 6,7,8 & 7:30pm; $13-$15; 813 N Jefferson; 271- American Salute 8815 UWM - University of Wisconsin, Milwaukee Symphony Orchestra Milwaukee Kenwood Blvd at Walter Noona, Guest Conductor October 30-Nov 22 Downer Ave A tribute to great American music; F,Sa The Rivals 8pm; Su 7:30pm; PAC: Uihlein Hall; 273- Richard B Sheridan 7206 UWM Professional Theatre Training Pro­ THEATRE gram creative goldsmithing fine jewelry Comic confusion as elders attempt to mate Nov 7 repairs Milwaukee Music Ensemble Now-Sept 19 their children — & eachother. Featuring Mrs Winning scores from the Wisconsin Alli­ Who Killed Judy? Malaprop. Oct 30,31, Nov 11,14,18,20 ance Composers (WAC) competition. Dale Gutzman & Jack Wilson 8pm; Nov 25 2:30 & 7:30pm; Nov 22 UWM: Fine Arts Recital Hall; 229-4308 A musical comedy murder mystery; the au­ 2:30pm; $7.50-$9.50; UWM: Fine Arts The­ dience is invited to help solve the crime — atre; 229-4308 Nov 7 there are 7 possible endings. W-Sa; $6 & American Music Week Concert $12; PAC: Vogel Hall; 273-7206 Nov 5-8 Concert & symposium presented by Music Broadway's Best from Almost Yesterday & Wisconsin Alli­ Now-Sept 27 Dale Gutzman ance of Composers; 2pm; free; UWM: Fine The Marriage of Figaro Milwaukee Players Arts Recital Hall; 229-4308 Wolfgang Amadeus Mozart Th-Sa 8pm, Su 2 & 7pm; $15-$22; Pabst Skylight Music Theatre Theater, 144 E Wells; 475-8186 Nov 8 W, Th 7:30pm, F,Sa 8pm, Su 2 & 7:30pm; Charles Q Sullivan $13-$15; 813 N Jefferson; 271-8815 Nov 6-21 Music of Maurice Durufle The Playboy of the Western World 3pm; St Peter Claver, 1444 S 11th, Sheboy­ Sept 17-October 17 John M Synge gan; 774-5316 Noises Off UWM Professional Theatre Training Pro­ Michael Frayne gram Nov 9 Theatre Tesseract Irish comedy of a bumbling ne'er-do-well Piano Portraits with Jeffrey Hollander Wild comedy of a flea-bag British theatre who turns his misdeeds into romance & fame; Nov 6,7,12,13,17,19,21 8pm; Nov 8 Dedication: The Love Story of Clara & Rob­ company on a not-so-grand tour. Th,F 8pm, barbara brinck ert Schumann 7:30pm; $6/$3; UWM: Fine Sa 5 & 9:15pm; $8-$10; Lincoln Center for 2:30 & 7:30pm; $7.50-$9.50; UWM: Fine owner Arts Recital Hall; 229-4308 the Arts, 820 E Knapp; 273-PLAY Arts Theatre; 229-4308 46 Art Muscle tBHBMIIl

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W* jr I J* 1 // 7 / Walker's Point Center for the Arts GRAND OPENING WEEKEND CELEBRATION SEPTEMBER 26th & 27th

JOIN US FOR TWO RECEPTIONS ON SATURDAY EVENING AT 10:00 PM IMMEDIATELYFOLLOWING THE FORCE PERFORMANCES AND ON SUNDAY AT NOON BOTH RECEPTIONS ARE COMPLIMENTARY

CALENDAR SEPTEMBER/OCTOBER 7 FORCE PERFORMANCE SATURDAY SEPTEMBER 26 DENNIS NECHVATAL PAINTINGS SEPTEMBER 26- 7 OCTOBER 18 IRENE ADAMCZYK HAND PAINTED PHOTOGRAPHY SEPTEMBER 26- OCTOBER 18 / ART MUSCLE EXHIBIT 1st ANNIVERSARY EXHIBITION NAKED SELF PORTRAITS OCTOBER 23- NOVEMBER 23

COFFEEHOUSE PERFORMANCE, MUSIC, ART STARTING IN NOVEMBER

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m m 438 W. NATIONALAVENUE TICKETS: $8 Non-members/$4 Members (CORNER OF 5TH & NATIONAL) SATURDAY, SEPTEMBER 26th 7:00 AND 9:00 P.M. 672-ARTS