Editor-in-Chief Debra Brehmer

Associate Editor Calendar Editor Business Manager Mary Therese Gantz

Associate Editor-Music Bobby DuPah from t h e e d t o r

Associate Editor This issue marks Art Muscle's fourth anniversary, or, if your prefer, the start Nathan Guequierre of its fifth year. Did I really just type that? It doesn't seem possible that we've been doing this for four years. What a significant chunk of time. (If s the longest job I've ever held). And although we've certainly had our trials, it Photo Editor remains fun. To reminisce just a bit—Art Muscle was launched without any Francis Ford investment money. We'd sell enough ads to pay for each issue, scrimping along, constantly worrying that we might not make it from issue to issue. Four Design years later, we don't worry quite as much. (For the first time in my life, I have Chris Bleiler fingernails on one hand. If s a start). We've surfaced from enough near- disasters to know that the magazine has acquired some durability. It won't just go away in the wake of an unsuccessful issue. The magazine has become Editorial Assistant an integral part of the art community. I would hate to see Milwaukee without Judith Ann Moriarty a solid, alternative vehicle for arts criticism. Arts coverage by the popular press in all cities is usually scant and we feel Art Muscle truly fills a void and Sales speaks to a unique audience. Lisa Mahan This upcoming fifth year will be a telling one. We're ready for some changes. Volunteers We'd like to re-design the entire magazine. Our designer, Jim Catel, recently moved to Seattle after graduating from the Milwaukee School of Art and Peggy Mead & Jean Roberts G. Design and his assistant, Chris Bleiler, has taken over. This major project will be in Chris' hands. In addition to the look of the magazine, we plan to broaden Printing by Port Publications our editorial staff, bringing in some new blood that will in turn broaden the outlook of the magazine. We've finally found a dance writer after years of FRIENDS OF ART MUSCLE being unable to find a qualified writer in Milwaukee who wasn't too closely Perry & Bobbie Dinkin Ellen Checota associated with the dance community to be objective. Kathy Harding, an Barbara & Jack Recht Barbara Kohl-Spiro Jim Newhouse Thelma & Sheldon Friedman editor at Madison's Isthmus, will now be reviewing dance and writing related Peter Goldberg Mary & Mark Timpany features. We are still, however, always looking for new writers and even Theo Kitsch Dr. Clarence E. Kusik artists who think their work would make a good cover. We are very approach­ Gerald Pelrine Tina Peterman able. Just call if you have an idea. Currently, our staff is about the same as it Jay Brown Babcock Mechanical Christine Prevetti Katie Minahan was four years ago. We still have only two salaried positions—myself and my Richard & Marilyn Radke Richard Cler partner, Therese Gantz. The remainder of the magazine is done on a freelance Dennis Hajewsky Patti Davis basis by such committed talents as Francis Ford, our photo editor, and Na than Harvey & Lynn Goldstein Robert A. Holzhauer Robert Johnston Gary T. Black Guequierre, our copy editor. We hope to soon develop a salaried ad sales Polly & Giles Daeger Joel & Mary Pfeiffer position and are diligently searching for that special person. If you have an Judith Kuhn Nicholas Topping interest in selling, call us RIGHT away. Dorothy Brehmer C. Garrett Morriss Karen Johnson Boyd Geralyn Cannon Tim Holte/Debra Vest Roger Hyman Beyond our anniversary, another milestone was reached in this issue. For the Jack & Ellen Weller Dean Weller first time in our history, we've printed 52 pages. If s the fattest Art Muscle Arthur & Flora Cohen Remy ever. We've also printed 5,000 extra copies of the magazine to take to the New Sandra Butler David & Madeleine Lubar Art Forms show in Chicago, a Navy Pier extravaganza of galleries from Jimmy G. Scharnek William E. Harrold Sidney & Elaine Friedman Mike & Joyce Winter around the world. We will be representing Milwaukee's art community David & Peggy Wells Lois & Harold Solberg there. (I'm sure many of the people who will pick up the magazine will be Carolyn & Leon Travanti Mary Joe Donovan surprised Milwaukee HAS an art community.) As copy editor Nathan James B. Chase Jerome J. Luy Guequierre overheard a man mumbling in a Portland, Maine bookstore on a Cynthia Kahn Nate Holman Chris Baugniet Patrick Farrell recent trip, "I just hate that Midwestern provincialism." Anyway, in conjunc­ Riveredge Galleries Albert & Ann Deshur tion with the New Art Forms show, we've devoted a good portion of this issue Bob Brue Pam Jacobs Jewelry to crafts—an area we haven't covered in the past. It's a somewhat random Burt & Enid Dinkin Ginny & Gerry Robbins assortment of features and we decided not to participate in that hackneyed Ello & Guido Brink Taglin Enterprises/Access Milw James & Marie Seder Harry W. Schwartz Bookshops game of trying to delineate crafts versus fine art. We even called Lee Wards, Art Blair Randi & John Clark the huge crafty store at Point Loomis shopping center to see what's hot in Robert E. Klavetter Keith M. Coilis home crafts. The best-seller these days are "Mop dolls"—It's a little difficult Linda Richman Jewelry Mary Paul to visualize, but you buy a prepackaged string mop, add arms and paint the Richard Warzyriski Joan Krause Janet Treacy Morton & Joyce Phillips face. Dress-up teddy bears are also popular, though the biggest trend is Monica Cannon Haskell Delphine & John Cannon wearable art. The artisans we address in this issue, however, are potters, furniture makers and a weaver. To become a FRIEND OF ART MUSCLE, send a check for $50 which entitles you to That about sums it up. We wholeheartedly thank all of the writers, contribu­ receive Art Muscle for one year and gets your tors and advertisers who enable Art Muscle to exist. And, as always, remem­ name on the masthead! ber—We'd love to have you as a subscriber. (It's only $12). There's a little more room remaining on our masthead for some new Friends. So keep those Art Muscle is published bi-monthly by Art $50 checks coming! Muscle-Milwaukee, Inc., 909 W. National Ave., P.O. Box 93219, Milwaukee, WI Debra Brehmer 53203, (414) 672-8485. Third Class postage paid at Milwaukee, WI 53202 and additional mailing offices. Postmaster: Send address changes to Art Muscle, P.O. Box 93219, Milwaukee, WI 53203.

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Subscription rates in continental U.S.:$12 one year; elsewhere, $16 one year. Cover: Photograph by Francis Ford.

2 AITMUSCLE Co nTe nT S

My Museum j. Shimon & j. lindemann

The Furniture Makers dana veiden

The Chef maurice kilwein guevara

Making the River Dance ann tiiemyr

Storefront Potters imda van sistine

The Weaver j u d it h ann mo ri arty

EsSay gregory conniff

departments

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Calendar

Madison Calendar

Chicago Roundup

Walk This Way t

Congress postpones its name to American Inside Theatre in Crumble discharged from to acquire property at 158 N. Broadway NEA reauthorization debate conjunction with its move to Waukesha. Inner City Arts Council in the Third Ward (the Theatre X build­ U.S. House of Representatives Speaker With the start of this season, Inside The­ Milwaukee Inner City Arts Council Direc­ ing). Under the option agreement, the Thomas Foley (D-WA) postponed floor atre begins a relationship with Can-oil tor Denise Crumble has been discharged Skylight has until Dec. 1 to determine debate on legislation to reauthorize the College as their resident professional from her position by the Inner City Arts whether the site would meet its needs. National Endowment for the Arts due to theatre. They will be performing in the Council's Board of Directors. The Inner The Skylight has been looking for alter­ concern that a July vote would result in Otteson Theatre, a 240-seat house. The City Arts Council would not comment on native sites since 1984. The current build­ restrictions on federally funded art. "We season opens with August Snow, a new the incident and Crumble could not be ing lacks an appropriate-sized orchestra think more time is needed for Democrats play by southern novel ist Reynolds Price. reached. pit, backstage space and support facili­ to reach concensus on their amendments ties including production shops, offices and time for those lobbying in support of Next Act Theatre formed Artreach publishes book and rehearsal space. Theatre X would an unrestricted bill to get their messages Theatre Tesseract and Next Generation A book containing the creative writing remain in residence in its current 75-seat across," saidan aide to Foley. He also said Theater have merged under the new and artwork of people served by Artreach theatre. the bill was postponed because the three- name, Next Act Theatre. The season opens Milwaukee has been published. Milwau­ to-four hour time slot allotted for debate Oct. 12 with an adaptation of Madeleine kee Challenged Voices of Change was a Gallun receives award on July 27 was not enough time for the L'Engle's book A Wrinkle in Time. Per­ residency project in which five Milwau­ Richard Gallun, senior vice-president of "hours and perhaps days" of deliberation formances will be at Centennial Hall in kee visual artists and writers worked with FIserv, Inc., received the United Perform­ necessary to consider the 26 proposed the Milwaukee Public Library. Alzheimer's patients, residents of alcohol ing Arts Fund's 1990 Mrs. Walter H. St­ amendments. and drugrecovery programs, persons with iemke Award for exceptional service to Sentinel arts writer named AIDS and teenaged parents. Call 271- the arts. He has been a director of UPAF The reauthorization amendments range Milwaukee writer Janice Paine is the new 4704 for information about availability. since 1981. from a measure authored by Congress­ regular, free-lance art critic for the Mil­ man Philip Crane (R-IL) to abolish the waukee Sentinel, replacing Frank Lewis. Dancecircus opens new studios Paschke to lecture NEA completely to Congressman Dana Paine also serves as the Wisconsin editor Dancecircus, an interdisciplinary perform­ Chicago artist Ed Paschke will lecture at Rohrabacher's (R-CA) ban on federal of the Chicago-based New Art Examiner. ing company, has moved into new stu­ 6:15 p.m. Wednesday, Sept. 26 at the monies for artworks containing images She will be doing a weekly arts column in dios at 404 S. 7th St, second floor (the P & Milwaukee Art Museum in conjunction of fetuses or desecrated flags. Republican the Let's Go section of the Sentinel. V Adas tannery building). In its new space, with a print retrospective of his work Representatives E. Thomas Coleman of the company will offer a Milwaukee currently at Dean Jensen Gallery. Missouri and Steven Gunderson of Wis­ New String Academy Motion Workshop, a series of movement consin would like to restructure the Mimi Zweig, former director of the Young classes. For information on classes, call Cedarburg Cultural Center opens agency by shifting 60 percent of the NEA's Violinists and Cellists Program at the Wis­ 272-MOVE. The new Cedarburg Cultural Center will budget to state arts councils. consin Conservatory of Music, has estab­ hold its gala opening on Oct. 13. The lished The String Academy of Wisconsin, Rep names new president center took over the former Alston's Since consideration of the reauthoriza­ which will utilize facilities in the Music Lawrence J. Jost, a partner at Quarles & Department store building at W62 N546 tion bill has been delayed, attention has Department at the University of Wiscon­ Brady Law Firm, has been named Presi­ Washington Ave. The center includes a shifted to the NEA appropriations bill. sin-Milwaukee. The Academy will offer dent of the Milwaukee Repertory Theater's gallery and meeting and performance Members of congress are attempting to instruction on the violin, viola and cello Board of Directors. Seven new board space. attach language to this bill to restrict the for people between the ages of four and members were also named: Charlotte content of art funded by the agency. There eighteen. Altenburg, Sharon Cook, Laurence Eise- Milwaukee Gallery Night is speculation that if Congress does not man, Steven Kent, Randall McElrath, Due to increasing popularity, the quar­ pass an appropriations or reauthoriza­ New Artist Foundation members Venora McKinney and Sherrill Myers. terly Gallery Night will be expanded into tion bill by Sept. 30, the end of its fiscal The Milwaukee Artists Foundation has a weekend of arts-related activity in Oc­ year, the bills may be folded into an elected the following new members to its Art Museum new trustees tober. This "Art of Milwaukee Weekend" emergency catch-all spending measure, board: Barbara Candy, Mayor's Office; The Milwaukee Art Museum has elected will be Oct. 19 and 20. Galleries will be which could delay debate on the issue for Candace Eastern-Walz, Wisconsin Bell; three new members to its Board of Trus­ open Friday night until 9 p.m. and during several months to a year. — (Excerpted Karen Erwin, Arthur Andersen; William tees. They are Donald Baumgartner, the day Saturday. The Gallery Night Ex­ from the September1990 New Art Exam­ Kissinger, HGA Architects; Gary Petersen, Deborah Beck and Kenneth Ross. press bus leaves the Art Museum at 5:45 iner). Department of City Development; Ron p.m.Friday. San Felippo, Towne Realty; and Richard Skylight Theater may move Inside Theater changes name A. Schnell, Northwestern Mutual Life The Skylight Opera Theatre has an otion Milwaukee Inside Theatre has changed Insurance. grants

Milwaukee Arts Board Elvehjem Museum conceived and administered by Dance UPAF surpasses goal plans two projects The Elvehjem Museum of Art in Madison Theatre Workshop in New York as a Milwaukee's United Performing Arts Fund The Milwaukee Arts Board, an organiza­ received a $15,000 grant from the Na­ means of increasing the opportunities has surpassed its 1990 goal of $5.8 million tion formed by the Milwaukee Common tional Endowment for the Arts for new available to independent performing by more than $200,000. Council in January, has developed plans educational materials that will augment artists to have their work seen in a variety for two projects. The first will be a Neigh­ museum tours. The money will be used of contexts. Present Music will present Enterprise Center receives grant borhood Arts Program which will pro­ to develop an audio tape self-tour for one or two programs a year of contempo­ for artist studio spaces vide technical assistance and program visitors. rary artists in conjunction with the net­ The Milwaukee Enterprise Center has support to community organizations to work. received $27,285 from the Wisconsin Arts provide arts programs. Funding provided Present Music receives grant, Board to assist in the creation of an Arts includes $2,000 in general organizational joins Performance Network Intermedia Arts grants Incubator for visual artists. The Center is operating support and up to $ 5,000 in arts Present Music has been awarded a grant Intermedia Arts Minnesota recently located at 2821 N. 4th St. and currently programming funds.Matching funds are of $24,000 to commission two new works awarded $24,000 through the 1990 Di­ has more than 55 businesses in its facility. required. Call 223-5790 for information in the next year. This is the largest grant in verse Visions Regional Grants Program to An entire wing of its 5th floor will be about the program. Present Music's history. The grant was 13 artists. TwoMilwaukee artists received renovated for artist studio spaces. The awarded from the Meet the Composer/ grants: Cathy Cook in collaboration with seven studios will be custom built for The Milwaukee Arts Board will also offer Reader's Digest Commissioning Program Kirsten Stoltmann received $3,000 and artists with skylights and windows. Spaces High Impact Project Grants to help arts in partnership with the National Endow­ Terese Agnew received $3,000. will be leased below market rate. Appli­ organizations diversify in areas such as ment for the Arts and the Lila Wallace- cations for space are now available. Call outreach projects, collaborations which Reader's Digest Fund. The new works Visual Arts Fellowship Mary Lou Lamonda at 372-3936 for infor­ originate in different cultural traditions, will be performed during the 1991-92 Milwaukee artist J. Karl Bogartte received mation. internships and apprenticeships targeted concert season. a $5,000 cash award recognizing his ex­ at minority artists. Matching funds are re­ ceptional achievements as a printmaker quired. Only not-for-profit arts corpora­ Present Music has also been invited to from Arts Midwest/National Endowment tions in Milwaukee may apply. join Alverno College as a sponsor in Mil­ for the Arts Regional Visual Arts Fellow­ waukee of the National Performance ship Program. Network (NPN). NPN is a major project

4 Art Mu/cLe opportunities

Watercolor Wisconsin W. Warnimont, Milwaukee. Singers tal work encouraged. Deadline: Dec. 1. Watercolor Wisconsin '90 at the Wustum Focal Point Gallery compete for over $5,000 in awards. Send SASE for prospectus to Artlink, 1030 Museum in Racine is accepting entires. Focal Point Gallery in New York seeks Auditions are free and open to the public. Broadway, Ft. Wayne, IN 46802. All water-based media. Juried by Neal photographic submissions for a juried Call Sally Schwarz, 252-3568. Benezra, curator of 20th century art at the exhibition. A one-person exhibition will Artists working in wood Art Institute of Chicago. Hand deliver be awarded to a first prize recipient. Stage combat, mime workshops Metropolitan Gallery of Milwaukee seeks work to the Wustum, Oct. 18,19, 20 and Photographers should submit 20 slides. Friends Mime Theatre will offer an intro­ artists who work in wood for a juried 21. Common carrier delivers Oct. 1 to 19 Deadline is Nov. 30. Write to: Focal Point ductory workshop series in mime on Sept. exhibition. Woodcuts, carvings, art furni­ at the Wustum. Hand deliver to the Gallery, 321 City Island Avenue, City Is­ 19, 26, Oct. 3,10 from 6:30 to 8 p.m. and ture, sculpture, etc. Deadline: Nov. 15. Madison Art Center Oct. 11 and 12. Jury land, NY 10464 for information. a workshop in Stage Combat on Sept. 22, Exhibition will be in January. Send slides, date Oct. 22. Over $5,000 in awards. Write 29, Oct. 6,13 from 10 to 11:30 a.m. Each photographs or written proposals with for prospectus: Wustum Museum, 2519 New organization series is $45. Call 271-8484 for more infor­ return postage to Metropolitan Gallery, Northwestern Ave., Racine, WI 53404. A new organization, Art Survival in Soci­ mation. 900 S. 5th St., Milwaukee, WI 53204 or call ety, has been formed for individual artists 672-4007 for more information. Theater auditions to promote their work through group Angry art The Village Playhouse of Wauwatosa will activities. The group is looking for people Sister Serpents seek angry art by angry Writers' conference hold auditions Oct. 22 and 23 at 7 p.m. for to get involved on any level. Write or call women for a February exhibition at Ar­ Mary McBride, humor writer, will be the its One Act Play Festival. Drama and for information: Stevo Wolfson, (312) 338- temisia Gallery, Chicago. Deadline: Dec. featured speaker at the 1990 Fall Confer­ comedy parts, all ages welcome, 9508 W. 0123, PO 268254 Chicago, IL 60626. 1. Send SASE for prospectus: P.O. Box ence of the Wisconsin Regional Writers Watertown Plank Road School Audito­ 578145, Chicago, IL 60657. Association on Oct. 6 and 7 at the Holiday rium. Call 771-0169 for information. Mail Art Show Inn, Manitowoc, WI.All writers are wel­ A Day of the Dead mail art show will be Xerox art on sexism come to attend. Call 463-3652 for infor­ Theater volunteers Oct. 15-Nov. 15 at Book Beat Gallery, Xerox artists are invited to send work on mation. First Stage Milwaukee is seeking volun­ 26010 Greenfield, Oak Park, Michigan, sexism, racism or classism on standard teer ushers to work during weekend per­ 48237. All submissions will be shown. No size paper for inclusion in an exhibition "Community" theme art formances during the 1990-91 season. returns. and possible book. No jury, no returns. The Huntington Beach Art Center in Most volunteers will work 4 to 5 perform­ Send to Ashley Owens, 7358 N. Damen Huntington Beach, California is seeking ances during the season. Minimum age Handmade jewelry wanted #2N, Chicago, IL 60645, by October 10. artwork and proposals for Community for ushers is 16. Call Janet Hartzell at 273- Handmade jewelry and accessories Properties, the inaugural exhibition sched­ 7121, ext. 348 for information. wanted for consignment. Artisan Trade Exhibiting artists uled for the center's October, 1991 open­ Galleries, 137East Wells, Milwaukee, 271- Art in all media is sought for Saint Mary's ing. Art that explores ideas about com­ Festival of Trees 8200. College 1991-92 exhibition season. Sup­ munity, whether defined geographically, Holiday tree and wreath decorators are port and benefits are offered to exh ibiting economically, racially or culturally is wanted for a Nov. 30 to Dec. 9 festival Alverno gallery seeks proposals artists. Send resume, 10-20 slides of cur­ wanted. Send no more than 20 35 mm featuring 50 decorated trees, 30 wreaths Alverno College seeks proposals from rent work and a SASE. Write: William slides, a resume, support material and a and other attractions including an Artists' artists for exhibits and installations in the Tourtillotte, Director, Moreau Gallery, SASE to: Community Properties, Hunt­ Boutique. Decorators should submit idea/ college's Arts and Cultures Gallery. Pro­ Dept. of Art, Saint Mary's College, Notre ington Beach Art Center, 2000 Main St., theme and brief description. Artists and posals to curate exhibits and events will Dame, IN 46556.291/284-4655. Deadline Huntington Beach, CA 92648. April 1 craftspersons are also invited to partici­ also be considered. Exhibits focusing on Oct. 15. deadline. Call (714) 536-5258 for infor­ pate with 2 and 3 dimensional work sell­ women, Latino and Native American art mation. ing for $50 and under. Work will be are of particular interest. Work about parents selected by a jury. Submit photos of work Artists should submit 20 slides, resume, All works employing photography of or Glass work/jewelry by Oct. 15. Call ARTREACH at 271-4704. artist's statement, written description of about one's parents are wanted for a Lindsey Gallery in Oak Park, IL seeks proposal and a stamped, self-addressed spring, 1992 exhibition/catalogue entitled glass work for a juried/invitational show. Dance auditions envelope to: Lisa James, Alverno College, "Parents." Submit slides and other perti­ Deadline Nov. 2. Send slides and SASE to Wild Space Dance Company will hold 3401 S. 39th St., Milwaukee, WI 53215- nent material to: Museum of Contempo­ Lindsey Gallery, 1141 Lake St., Oak Park, auditions on Thursday, Oct. 11 at 6:30 rary Art at WSU, Wright State University, IL 60301. The gallery also wants jewelry p.m. at Lincoln Center for the Arts, 820 E. Opera auditions CAC 128, Dayton, OH 45435. for a juried show in December. Send Knapp. An interest in movement, proc­ The Metropolitan Opera National Coun­ slides and SASE to the gallery. ess-oriented work and performance are cil will hold eastern Wisconsin district Photo biennial required. For information call 271-0307 auditions at 10:30 a.m. Saturday, Oct. 20 "The Cutting Edge," national photo­ or 1-474-7398. at Alexander Hamilton High School, 6215 graphic biennial seeks slides. Experimen­

gossip

Art theft alert: Four years ago painter Greg Miller (also in the Fortress building) of Clavis fame, has joined the residential New York: Jeffrey Dooley, recording Judith Ann Moriarty had her Kite Series is considering purchasing a historic f ires- sales staff of Ogden & Company, Inc. . artist with Nonesuch Records, is recuper­ #4 painting stolen from the entry at tation on the riverfront. . A notable Ital­ .More about thievery, "lost" items that ating from a serious illness and will have Eccola in the Third Ward. In late August, ian architect is making a bid to take over never made it back to California from the a comeback performance in NYC in Oc­ an anonymous male left word on Eccola's the city-owned, old Gordon Park Coop Dillinger sex. have caught the interest of a tober. Former Skylight performer Mary recorder that he had found the painting and convert it to artists' spaces, but with private investigator . . .Painter Nancy Homan is doing well as a solo, choral and wanted a reward. He left an unus­ business so bad in the art world, who can Lamers has moved to Alverno's staff, singer and teaching at the YMCA in NYC. able eight digit phone number, saying he afford to inhabit ANY space?... Milwau­ and brush wielders LeeAnn Garrison Skylighter Tom Moldenhauer earned a would give them twelve minutes to phone kee faux finisher Joanne Davis has and Barb Rheinhardt have joined Master of Social Work degree and is doing back. A try at various combinations of the moved to Austin, Texas to do another MIAD's faculty.. .Look for TWIN PEAKS counseling. Former Rep and Florentine numbers came up with disconnects on all Dillinger type thing, and ceramicist-duo spin-offs in the near future. Useless things performer Jim Lewandowski is the Chief counts. Moriarty would like her work Evans & Evans are off to the great SW, like Dale Cooper-approved coffee, Usher at the Metropolitan Opera. UWM returned. There never was a reward, for Santa Fe.. .Newly renovated and marvel- Audrey Home sweaters and saddle shoes, dance grad Lisa Swldler was teaching in HONESTY IS ITS OWN REWARD. . .Sax ously mod studios are popping up in the Sheriff Truman hats and woodsmen jack­ Zurich and Amsterdam and is back in Arts and Crafts is moving into The For­ Pfister-Vogel complexes. Barb Povlich ets, and get this?—TP cherry pie from the NYC working at White Cloud Studio. tress Bldg. on 1st & Pleasant, in the and Jim Chism are just finishing theirs, Double R Diner. . .Ex hometowner Patty Soprano Julie Miller has been in Ger­ Brewer's Hill area. . .The Shepherd and Dancer Betty Salamun and com­ Heid, currently living in LA, makes the many auditioning for opera houses. . And, Express newspaper is moving down­ pany are moving in soon. . ."Carl The September issue of ART In AMERICA, in the reproductive world of rock music, town to Water Street. . .Painter Nancy Plywood Cowboy" a children's book whilst Laurencia fades from the local Semi-Twanger John Sieger and wife are Greenebaum is moving out of her 5th created by Actor Tony Woods, is in the overk ill tabloids,into the land of lost print expecting a babe... So there you have it. floor Fortress Space, and young designer making, while Neal Brenard, formerly .. Some notes on former Mil waukeeans in Once again, Miss Yvonne. letters

Theaters need help nature. Perhaps, you could put down I salute Neal Brenard's adieu to the Clavis your smok ing six-shooter long enough to Theater (Art Muscle - May 15 issue). The hear the drums. article both impressed and saddened me Kyle Zubatsky to the point of taking pen in hand and WATER getting on my own Soap Box. Moriarty replies: I in no way deny the nobility of the Hopi culture. However, I have just returned to Milwaukee, after since when does theatricality negate no­ STREET living in Chicago for sixyears, with hopes bility. The fact that I didn't hear distant that the small experimental theater groups drums doesn't mean I'm deaf nor blind. were as alive as when I left. As a resident Re-read the last line in paragraph one of ANTIQUE member of Experience Theater Co., Inc. my review, "They are what they are — for three years, I learnedtheater in a small eyefuls of superbly controlled color and MARKET space above Century Hall. The times spent movement." Maybe it's you who should within our theatrical domain are priceless "bite the bullet." - fAM to me. The energy of the artistic commu­ nity was phenomenal then. I have trouble, Comments on termination as well, in believing that "Milwaukee is of Inner City Arts director not a theater-going town." The small As an artist in the Milwaukee community theater groups need HELP! Are you lis­ for over 20 years, I am grieved at the tening Milwaukee? decision to terminate Denise Crumble Aggie Mollinger from her position as Executive Director Milwaukee of the Milwaukee Inner City Arts Council (ICAC). This action, from my perspective, Responds to Doyle review is irresponsible and ill-timed—two weeks In response to Judith Moriarty's review of before a major Arts Council event, one John L. Doyle's recent exhibition, Ameri­ month after Ms. Crumble appeared be­ can Images, featured at the D. Erlien fore the Milwaukee Arts Board, of which Gallery and White Thunder Wolf Studio, I am a member, to release funds ear­ I was extremely disappointed in her lack marked for ICAC and a week before we of sensitivity to the content of Doyle's were to have our next MAB board meet­ work. The new series of drawings, prints ing in the Arts Council offices to familiar­ and paintings based on Doyle's meticu­ ize ourselves with the organization's ef­ lous research of Southwest Kachina danc­ forts. ers was nothing short of seductive, a visual adventure into the Hopi's concept My gradual acquaintance with Ms. that all things have two forms, the visual Crumble during her brief stay at ICAC object and the spirit counterpart. was a definite plus in my artistic career. During my frequent visits to the building, Moriarty totally dismissed or, perhaps, she provided insights into the political could not connect with the rich mysteries arena and its impact on the arts, some­ that unfold from each of Doyle's vibrant thing that I choose not to dwell on or deal works. Using his ability to build compo­ with. She has savvy, not just in cross sition with sumptuous color, detailed cultural relationships, but in city, state patterning, and intriguing symbolism, his and national policies. dancers are celebrations of the Hopi's experience as they impersonate their Ms. Crumble provided hope that finally Milwaukee's Kachina spirits by donning masks in dance ICAC might be able to move into the and ritual. forefront of the Wisconsin arts scene. Not best only was she innovative, but Ms. Crumble selection The powerful movement that Doyle earned our trust, unlike past ICAC execu­ of captures, as his life-size Kachinas appear tives. She was empathetic to the needs of to dance off their canvases, is a tribute to the artistic community and she knew her antiques his remarkable talent as a visual inter­ constituency. including preter. To refer to his work, as Moriarty did, as "technical dress-up" masking his It is a travesty that the board acted so a subjects in "high theatricality," was to hastily. Evaluations should have been large deny the nobility of the Hopi culture, for considered from the artistic community Doyle gave force to the Hopi vision by his and not just from the perspective of an selection dramatic designs based on authenticity, often uninvolved board. I rarely see any of not on theatrics. of the ICAC board members at art exhibi­ fine tions, performances or even ICAC events. Yes, Ms. Moriarty, as you stated, "No As a former board member I regret these furniture heavy messages here, no velvets, bloody actions. It is unfortunate that the rhythms and body parts, sharpened social swords or of financial support, visibility and credi­ corridors filled with Words as Image," bility that Denise Crumble has put in showcased JUST hundreds of years of rich Indian motion have been broken. smalls culture, images bridging the viewer to a Evelyn Patrica Terry common heritage, man's coexistence with Milwaukee

The Hansberry-Sands Theater Company

Celebrating Irs 1 Oth Season offers an exciting line up of

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ORIGINAL WATERCOLORS, OIL PAINTINGS, ACRYLICS, LIMITED EDITIONS, HAND-PULLED LITHOGRAPHS, ETCHINGS, POSTERS, POST/qcto

THE SCHENK instead the complex history of Africa's artist, machine as man. His wartime bill­ (and subsequently audiences' expecta­ oldest independent nation. In these works boards are puzzle parts, lotto slips and tions of same) have been reduced to the COLLECTION OF and the culture from which they come the tarot cards. Ribbons for valor hang pinned level of television situation comedies. "genius" of the individual artist plays no above piled bodies. Somewhere between ETHIOPIANA role. Geography, religion and politics are these lives lost and war's gains float ele­ But need summer stock always signal less Through October 7 the progenitors of stylistic change and the ments of chance — targets hit or missed, than adequate standards? Integrity is an UWM Art Museum at Vogel Hall protector of the often opposing forces of the viewed from afar romance of war imposing word, especially when discuss­ continuity. When, as is clearly seen in the gone awry up close and the whang- ing summer stock theater. All theater has exhibited works, art functions so directly whomp of bullets spent and bombs an obi i gat ion to be the very best that it can as communication, concise illustration is splayed. Bitticks' paintings have a pasted- under the circumstances in which it works valued far above obtuse stylistic games­ on quality, frontal and flat, like thoughts and with the resources at hand. Theater manship. one can't quite get around, above or does not have to contain a wealth of under. These works are brave and could material riches to succeed, but it does I certainly do not, on the other hand, wish be construed by some as machismo, but have to contain a wealth of creativity, to deny any aesthetic appeal of the work. the heart underneath beats with the ten­ talent, wit and perseverance to earn the One can certainly find, if they are so derness born of survival. Bitticks' obser­ right to call itself theater and charge inclined, certain "gems" that can be ap­ vations, recordings and sensitivity pay audiences to see it. preciated for their beauty. Three spears homage to the voiceless and remind us hanging on the gallery wall surely hold this was the worst of the games. In his The Belfry Theatre's (in Williams Bay, their own with any work by either Donald skilled hands, it becomes the awful truth. near Lake Geneva) stance on integrity^ Judd or Donald Lipski. Other aesthetes was clear throughout its production of could have a field day simply tracing the Jenny Krantz, a feminist who takes a former Milwaukee playwright Larry Shue's Greek and Coptic sources which show humanist approach and hooks us into her The Foreigner. In selecting this play, the themselves in the works. Yet this exhibi­ octet of small and mysterious egg tem­ Belfry wisely opted for a well-rounded tion is an admirably small success, not peras, has one eye focused on contempo­ script that contains fully-drawn charac­ because of its aesthetics but because of its rary society while the other thrusts thorny ters in a lifelike storyline which carries a well managed teaching. The art of this visual barbs at the folly of belief systems. trace of a moral. The gentle comedy tells ancient and all too often stereotyped Her images and symbols of time-saving of a shy Englishman set down in a back­ country is certainly as powerful as its conveniences (the fridge, the ironing woods Georgia inn and the complica­ history. board) change with the passage of time. tions which ensue as he deals with the Anonymous Ethiopian, Male power symbols rise and fall (or is it local inhabitants. St. George and the Dragon, 20th century Frank C. Lewis (Frank C. Lewis is a Milwaukee art histo­ fall and rise?). The clock ticks, the IUD An often under addressed aspect of United rian and painter.) spirals, the seed aborts or flowers and the Director Raeleen McMillion maintained a States' interventionism is a carefully lim­ bed bears the weight of columnar op­ clean and economical focus for the show ited yet all too pious philanthropic impe­ pression. Her floating assemblages, seem­ and generally instilled appropriate pac­ rialism. Agency sponsored, long dis­ ingly disconnected, are influenced by ing while encouraging the talented cast. tance charities allow us to save the chil­ FOUR OF A KIND Mexican retablos, medieval illuminated While Ms. McMillion culled good per­ dren and save the whales with the exact Through September 22 manuscripts and religious paintings of formances from all, Joan Schwenk- same gesture: a quick call to a toll free Frederick Layton Gallery the 13th and 14th centuries, but they are Schultz' portrait of the elderly Betty was a number with our Visa card in hand. We Milwaukee Institute of Art threaded together with Krantz' question­ delightful gem. Although Ms. Schwenk- can adopt a polar bear at the zoo with the and Design ing mind. The only installation in the Schultz' work was completely integrated same alacrity as adopting a Bolivian waif. exhibition serves as a lynch pin which into the script and never threatened to And like the innocent victims in wartime A commitment to fifteen plus years of invites us to question where we stand in overpower a moment or another per­ propaganda, those that we so generously hard work, plus keen eyes for excellence, world history. What chance do personal former, her nuances of character, voice save are presented as stereotyped char­ has produced 42 paintings and one in­ beliefs have on the roulette wheel of and movement provided both humor and acters, wide eyed, undernourished vic­ stallation. Currently exhibited at MIAD's history? Centuries should have taught us humanity. Tim Baker's set and lighting tims of famine and ignorance regarding 6th floor gallery, Four of a Kind, is one of that the machine can indeed overpower designs were appropriate and managed the rewards of free enterprise and two this year's strongest shows. It under­ morality, or worse yet, become morality. to combine and unite the barn-like party American democracy. And all too scores the painting faculty's ongoing stan­ Krantz takes the time to stop, look, and theater's spatial demands with the script's frequently the products of these cultures dard of clear thinking and masterful tech­ question. rustic set requirements. The Belfry's ef­ become for many Americans nothing nical ability. fudith Ann Moriarty forts truly affirmed the notion of theater's more than curios in gift shops, purchased intrinsic integrity. And for the audience it as icons and votive offerings to our own The ordinary stuff of ordinary people — was another opportunity to realize and magnanimous nature. lemons, fish, seashells and marbles — embrace theater's own precious worth to become meticulously rendered images in THE FOREIGNER themselves and society. These precari­ This constant de-contextualization of Lee Ann Garrison's big oils. Never cloy­ Larry Shue ous opportunities should not be misused "foreign" (most often non-western) cul­ ing, they are just right, crisp enough to be Belfry Theatre for mere fundraising. And that is the tures and the objects which they produce believable, with a controlled softness of stock of all theater everywhere allows us to maintain a sense of properly edge that lifts them out of the school of For many audiences, the phrase "summer Mark Bucher stock theater" may evoke less than fond regulated interest and at the same time a realism. Her work has never looked (Mark Bucher is director of Milwaukee's memories. In the search for entertain­ sense of cultural superiority. To present better. It is a glorious walk on a fine line Boulevard Ensemble.) the objects of other world cultures in a and she stands quietly above her canvas ment during these past dog days, adven­ museum setting, especially a museum of in a style so disciplined (but never tight- turous audiences discovered many forms and many levels of dramatic exploits. western art, is an undertaking fraught lipped) that her brush wipes out all cur­ CALENDAR CAPERS with peril and an enterprise that almost rent rot which has been labeled impor­ The search is not without risk. In the not always borders on cultural chauvinism, tant. Here is importance, not shouted so recent past, summer stock theater Through Nov. 4 gross simplification and aesthetic dan­ about, but rather quietly won through meant being held hostage by has-been/ Milwaukee Central library dyism. All of the these problems are ex­ years of hard work and a solid education never-was soap opera thespians acting acerbated when an institution is working that is firmly grounded in keen observa­ amok in pre-Stonehenge musicals. In the Print-maker Bob Danner will be the first under the constraints of limited space tion and an historical perspective. present, it can mean that daring diviners to admit he had some help in illustrating and limited finances. Despite these prob­ of drama will be ruthlessly exposed to the his first picture book. Literally scores of lems, however, the UWM Art Museum at Upbeat painter Pat Beilman works in a play-to-the-balcony/wink-to-the-house/ school children have contributed their Vogel Hall has managed to produce an style which is Garrison's antithesis, but he mid-Atlantic British dialect sex farces that own drawings to Danner's book, Calen­ exhibition that, although small in scope, too is concerned with the familiar, in this make one deliriously long for Beckett's dar Capers, which takes school-age read­ is rich in education for its public. case, his family. Vibrating oil and acrylic Act without Words. ers on a visual romp through the months canvases, noisy with painterly energy, of the year. The 12 serigraph illustrations The Schenk Collection ofEihiopiana is a rumble by disguised as toy dump trucks, To be sure, summer stock theater can be from the book which are currently on much needed 101 lecture in Ethiopian cement mixers, tractors and earth mov­ both of the above. This may be due to the display seek to forge a unified vision out art. Admirably, its premise is not the ers. Small human machines transform into divergent philosophies that drive sum­ of disparate fragments of child-produced exhibition and curatorial glorification of the earth movers and shakers of this artist's mer stock productions. While one aim art. The result is a surprising blend of tra­ the "Masterworks" of Ethiopian art, a world of play. Toys and kids are one to may be to provide employment for theat­ ditional childhood themes used in some western concept which is almost always Beilman, who, down on his knees, eye­ rical workers during the off season, a whimsical ways. forced onto non-western cultures. In­ ball to eyeball with his offspring, romps major function of summer stock is to stead, the exhibition seeks to elucidate a and tumbles about with splashy building make money. This is done by providing As a visiting artist in the Milwaukee Pub­ few brief lessons in Ethiopian history as blocks of color. Like a pre-schooler, he (usually) light entertainment during a lic Schools and in other Wisconsin school seen through the recurrent iconography teeters on the brink of disaster, but main­ period of the year when the general districts, Bob Danner has collected thou­ of its art and objects of daily use. Because tains just enough control to bring it all off populace is more mobile and has greater sands of children's drawings. Two years the accompanying essay was not written in a spirited, hopeful, rough and ready leisure time. Producers long to attract ago, he began to cull through the accu­ by an art historian, viewers are spared the fashion. tourists and natives who are seeking some mulation of art work, selecting pictures tiresome discussion of line and color, the enjoyable recreation, theatrical or other­ which, when placed together, would rep­ condescending, almost parental displays Another kind of game, the bloody awful wise. There is nothing wrong with mak­ resent symbols, objects and themes char­ of pleasure at the "culture's" use of pat­ truth of the war game, plays out the Viet­ ing an honest dollar. However, often acteristic of each month. tern and repetition. The author of the nam horror. Marching across seven en­ because summer productions lack fuller essay and one of the collectors of the caustic works by veteran Ron Bitticks is budgets, more expansive rehearsal sched­ After composing the images, Danner then works, Emmy Lou Schenk, addresses the painful reassembling of soldier as ules and experienced talent, their quality selected his own background motif for

6 Art Mu/cLe each theme: school bells for September, the family members and encourages essentialism is expanded in these new with itself, because it clearly is intended witches on broomsticks for October, etc. progressive physical engagement. This is works where women rise above biologi­ to function as a novel. Perhaps this is an Perhaps more interesting is the artist's use indicative of Kernan's interweaving of cal determinism and makeup spiritualism accurate picture of a troubled, middle- of varying background colors which form and content. Formal aspects of the via the mall escalator to cutting edge aged woman, but in this case, the stylistic provide subtle effects of theatrical back­ work are tightly structured and their paper doll vogueing. and formal artifices serve more to block lighting for each of the 12 collages. The myriad implications generate content in the novel's ability to function as a whole month of May, for instance, shimmers addition to that supplied by the narra­ Overall the show is terribly dishearten­ than as a snowplow cutting through the and glows with a sunlit background, while tives. ing. New NEA censorship guidelines are drift of Nina's life. red-hot July gives way to the blue-infused glaringly pandered to in Kohl's work, dusk of a late evening in August. Danner The narratives are related primarily as which flip-flop outsider ism to insiderism But it's not that simple. Kelly Cherry, not clearly composed these deft collages, but recollections or dreams and the tapes while cheerleading a benign mass-pro­ incidentally, is an accomplished poet as he wisely gives center stage to the child themselves are fragmentary. Because the duced materialism innocently free of an well as fiction writer, one of a handful of artists. And these kids know how to tapes run continuously, the viewer is existential critique and void of any cogni­ established contemporary American writ­ draw. Consider a buoyant, jello-filled interjected into them at random. One zance of the actual world. Nonetheless, ers who can make the difficult jump be­ house wearing a mile-wide grin or a makes repeated circuits of the gallery, Kohl's work is historically significant tween forms deftly. Her intuitively poetic human figure made of Valentine hearts. gradually piecing together the family's because it serves as a prototype for future values, in the end, are My Life and Dr. Who but a child could draw with such narratives and the artist's metanarratives. white-flight subject matter which may Joyce Brothers'sa.vmggra.ce, and the novel bonhommie, enthusiam and grace? possibly be mandated by the fundamen­ turns on the points where she lets these Kernan intermixes and subverts numer­ tal conservative agenda. values most shape her writing. There are Joan LoPresti, Danner's wife, wrote the ous languages and conventions: com­ Jerome Schultz surprising passages of almost transcen- text for Calendar Capers. She also origi­ mercial television, visual art, film, written dently sublime prose scattered through­ nated the idea for the project which led to and spoken text, poetry, music and the out the book: "It will be a day of resurrec­ its being published in book form this fall phenomenology of lived space. For tion — bones, bones everywhere, all of MY LIFE AND DR. JOYCE them flying together, fitting together with by Milwaukee's Gareth Stevens, Inc. example, Defenses juxtaposes archival a clank and grind, bright bones dancing Michael Varga scenes of rocket launches, Elvis' induc­ BROTHERS in the sunlight, actual and musical as (Michael Varga is a Milwaukee writer.) tion and Castro, the father's recollection Kelly Cherry of corporal punishment, a daughter say­ Algonquian Books, 1990 pipes, an orchestra of bones, all playing ing, "Stories are traps. People live for our song." This is the kind of writing at which Kelly Cherry excels, and it informs stories. People die for stories" and foot­ Unlike that other Cherry — Neneh — MARGOT STARR the book far beyond its imposed struc­ age of 1950s fashion models. This ex­ Madison writer Kelly Cherry doesn't ture. Ms. Cherry has a finely-tuned ear, as KERNAN ample underscores Kernan's complex use always flaunt all that she's got. In her well as a peculiar verve, and this, finally, Listening: A Video Novel in of multiple meaning and allusion. It also latest book, My Life and Dr. Joyce Broth­ is what My Life and Dr. Joyce Brothers is Three Parts lays out a central theme of the work: the ers: A Novel in Stories, Ms. Cherry plays all about. July 28 - Sept. 9 cultural construction of individual (espe­ a game, creating a hodge-podge struc­ Nathan Guequierre Madison Art Center cially gender) roles. ture by combining many structures. And like a new age ideology that borrows the Kernan has noted that video literally attractive beliefs from many different means "I see." This is apt, for she uses the systems, My Life and Dr. Joyce Brothers is THE ARTIST MARCHING medium as a revelatory tool. Exploring not entirely at ease with itself, the whole her work is a progressive process of not necessarily being greater than the HOME "seeing," both in the visual and intellec­ sum of its parts. August 21-September 12 tual sense. Viewers must assume respon­ Metropolitan Gallery sibility for constructing (and deconstruct­ The novel's protagonist, Nina, is a trans­ ing) meaning. This parallels the responsi- planted southerner living in Madison. At bility that Kernan suggests we all bear for middle age she has lost a lover and longs constructing our own lives and the world for a child. In coming to terms with her in which we live. situation, she must come to terms with Carol Emmons her own difficult past. Early reviews of Margot Starr Kernan, still from Breaking and Entering, 1988 (Carol Emmons is an installation artist My Life stressed the book's humor. But in who teaches art and art history at the the course of her journey, Nina confronts Video's arrival on the art scene was hailed University of Wisconsin-Green Bay.) alcoholism, incest, senile parents and a as revolutionary. Three decades later, its world dominated by men — none of it, VJ# potential as a democratic medium has really, a laughing matter. An intelligent been realized in America's FunniestHome BARBARA KOHL and (despite herself) adroit woman, she Videos and video art is routinely over­ seeks comfort in pop psychology, half- Women of Innocence looked by curators and collectors. In fact, trusting the wisdom of self-help books July 20 - August 31 video is often perceived as a cabalistic en­ and media gurus, but slowly shrugs them Stephen Fischer, Winged Rock, 1987 Michael Lord Gallery terprise operating on the fringes of the art off in favor of honest self-confrontation world. Yet some institutions are making and acceptance, along with a little luck. Home Shopping Network addicts are larger commitments to video. The Madi­ It is the urgent need to communicate a coyly pandered to in Barbara Kohl's latest son Art Center's recent video installation As she explores all the side roads, dead shared experience that directs and frames depiction of the adult version of the "sugar by Margot Starr Kernan (co-organized ends and eventual forward progress of the exhibition The Artist Marching Home 'n* spice 'n' everything nice" genre. Kohl, with the Washington Project for the Arts) Nina's life, Ms. Cherry never sits still — at the Metropolitan Gallery. For those of known for her abstract patterns which was a thorough, intelligent and compel­ she flits from trite to poetic, bourgeois us who were shielded from direct in­ have been graciously elevated to fine art ling use of the medium and a persuasive platitudes to intellectual conundrums, volvement in the Vietnam War, it is exhi­ through quasi-feminist quilt associations, argument for recalling video from the philistinism to philosophizing. Mirroring bitions such as this that help us make has in the past two years shifted her focus fringe. the fractured structure of Nina's experi­ sense of the past, allowing us to hear from women's craft to the craft of being a ences, hopes and the weight of her past, what, by necessity, is often a very muted woman with her designer sketches of Listening ranks among the most success­ this formal construct works well in the­ voice. suburban women. ful transformations of the Center's awk­ ory. In practice, however, it is out of ward Triangle Gallery. One enters through place and strangely awkward. While This small exhibition features the work of Fashion, hair-styling and accessories are white panel curtains to find a darkened Nina is tugged between opposite poles, six veterans, usually with a work exe­ celebrated in Kohl's naive gender por­ room filled with patterns of light and the reader is as well. Ms. Cherry's writing cuted soon after the artist's discharge traits featured in the disturbingly named shadow. The atmosphere is at once nos­ vacillates between styles and substance from the Armed Forces and another that exhibition Women of Innocence. Kohl's talgic and slightly ominous. Three tapes so much that some of the book's cohe- is more recent. These binary juxtaposi­ new work depicts white Stepford Wife are played continuously on three moni­ siveness erodes. From section to section tions encourage the viewer to make a women dressed up in runway fashion: tors, with audio heard through head­ (and sometimes page to page) the writing comparison of the artist's work dictated evening gowns, sun dresses and corpo­ phones at the monitors, which both re­ changes, which is often unsettling and by relation to and distance from their rate drag. The works, water-colorized solves the problem of audio overlap and inconsistent with a story that deals with active service. This context is further pencil drawings, attain a clip-art outsider creates an intimacy with the narrators. salvation via conforming (albeit know­ attenuated by the wall labels that func­ sensibility with appropriated folk art com­ ingly) to middle-class values. Self-doubt­ tion simultaneously as dog tag, discharge positional cliches. Two-dimensional ful stream of consciousness gives way to papers and art identification: Stephen T. The tapes include narratives from mem­ bodies are rendered with frontally viewed abruptly straight dialogue, the desire for Fischer, 1969-1970, Airborne, painted bers of a 1950s family. Stories emerge that torsos that are occasionally supported by a Cuisinart faces the genius of Bach and steel and concrete; Mark E. Forman, reflect cultural conditions and personal side-viewed legs and shoes. Naivete is beautifully written fantasies collide with 1966-1968, Navy Corpsman with the details: the mother's awakening through further magnified by the work's child­ "That's what we enjoy doing together: Marines, carved limestone; Dan East­ a sexual liaison and the father's incestu­ like blank backgrounds, off-center com­ shopping." man, 1968-1971, Navy Operations, Intel­ ous relationship with his daughters. The position and sitcom platitudes — "he ligence, Radarman, mixed metal sculp­ Defenses monitor (the father's narrative) loves me, he loves me not," "to market, to The book's disharmony may partly be tures; Ron Bitticks, 1968-1969, Infantry, is on a pedestal at eye level, Breaking market" — awkwardly printed next to explained by the fact that this is a "novel Ranger, encaustic on canvas; Harold J. and Entering(Lhe mother) is viewed from these Patricia Stevens hieroglyphs. chairs while Cold Stories (the daughters) in stories" — each of the twelve chapters Rotzoll, 1967-1968, 3rd Amphibian Trac­ is on the floor near a small mattress. The was initially written as a separate entity. tor BN, 1st Marine Division, etchings; In a 1988 catalog statement, Kohl atavis- presentation of the monitors both reflects But nonetheless, this construct can be Robert T. Maciolek, 1968-1969, Artillery, tically characterizes women as "lifegivers the physiological and power profiles of seen as a symptom of My Life'sdiscomfort silverprints. and dreammakers." Her detrimental continued

Those who expect the vicarious violence but it's easy to place the type: sullen, lots not real, but perhaps true. tems: In Collaboration With Bebe Miller. usually offered by the media's exploita­ of dark clothing, the girls in makeup, Steven Kapelke Exhibit opening Oct. 26, 6:30-7:45, tion of Vietnam will be disappointed. If many with neo-Veronica Lake hair-doos Alverno Art and Cultures Gallery. Miller any general rule can be discerned from all seeming to personify a new type of will work with art students and Dara the exhibition it is that most of the artists alienation (or affectation). HOT DATES AND Larson during the week to create a multi­ seemed to have responded, in the imme­ media exhibit exploring cultural heritage. diate aftermath of their experience, with The photographs contain tremendous LAST CHANCES The exhibit will be open preceding the a somewhat formalist approach to their detail. In one it is possible to see makeup October 27 performance by the Miller art. The pair of paintings by Ron Bitticks pancaked over a blemish on a young BEBE MILLER AND COMPANY Dance Company and will run through suggest a very long and arduous approach woman's face. Another reveals the al­ Alverno College November 9. to the introduction of subject matter and most tactile surface of a birthmark on a Pitman Theatre formal subjectivity. Dan Eastman's sculp­ young man's upper lip. But the pictures, October 26 & 27, 8:00 p.m. tures move from the use of organic forms though harsh in surface tone, aren't meant SHOOTOUT and textures to the employment of indus- to be mean-spirited or nasty. Instead, Photographers on Photographers trial materials and construction Rader seems to be after the almost ethe­ Oct. 19 - Nov. 28 techniques. Recharge (1990) addresses real quality these kids possess. He has Metropolitan Gallery the victimization of humanity not simply said that he greatly admires photogra­ through the mechanization of modern pher Richard Avedon's In the American It's an interesting proposition. What war but through the pervasive depend­ West series and it's possible to see echoes happens when portrait photographers are ence of our culture on industrially-pro­ of that artist's work here. Like Avedon, assigned to do portraits of one another? duced goods. Rader has isolated his subjects in the In this upcoming exhibition, Milwaukee frame and uses the isolation—the spare- photographers Jim Brozek, Francis Ford, Unfortunately we have often become ness of the image — as a way of making Stanley Ryan Jones and J. Shimon and J. voyeurs and are morbidly and wretch­ the viewer confront the subjects head- Lindemann take on each other as sub­ edly fixated on Hollywood productions on. As in Avedon's work, Rader's photo­ jects. The result — an amazing diversity such as The Boys in Company C, Deer- graphs stress (in a kind of ironic way of view points and an insight into how the Hunter, Platoon and Apocalypse Now by since the environment is suggested rather term "portrait" is much less limiting than which the participation in the spectacle than seen) the importance of environ­ one might assume. As J. Lindemann transmutes empathy into exploitation. ment in the lives of the people he's pho­ Bebe Miller in "Rain" explained, "In these pictures, we once Likewise, the controversy over the Viet­ tographing. Photo by Lois Greenfield again realize that the camera does lie. It's nam War Memorial in Washington, D.C. A first for Milwaukee! New wave New a tool and we each use it to tell our own became the subject of insensitive and If this show is any indication, Rader has a York choreographer Bebe Miller ignites side of the story." uninformed tabloids and endangered the terrific eye, one that truly sees things in the lead off program for Al verno's fourth ability of artists to impart dignity and fresh ways. And on at least one level he annual New Dance Performance Art se­ provoke reflection. When the directors appears to understand his medium, which ries. Hot perks include a series of work­ ARTS CRITICISM WORKSHOPS of institutions and galleries, such the many young photographers—and older shops for local dancers and Alverno dance Metropolitan, provide a forum for artists ones too — don't. He understands that and art students (it's free!) in the week The Haggerty Museum of Art and Art to speak to their experience as veterans he's creating a non-representational, non- prior to her performance. Muscle Magazine are sponsoring a criti­ of the Vietnam War, we should applaud literal truth with his camera. This under­ cism workshop with Russian author and them in their acknowledgement of our standing may or may not be conscious, Ms. Miller started dancing in 1955 and art critic Alexander Yakimovich on Fri­ shared social responsibility to listen to but it is one he's acting out, having cre­ was a standout dancer for six years with day, Oct. 19 from 7 to 8:30 p.m. at the the voices, however subdued, of those ated images that seem to merge portrai­ the acclaimed Nina Wiener and Dancers. Haggerty Museum of Art on the Mar­ who came marching home. ture and documentary photography. The She began choreographing in 1978, but it quette University campus. Yakimovich, MichalAnn Carley "reality" of the photos he has produced is wasn't until she formed her own com­ author of The Late Soviet Civilization, is (MichalAnn Carley is an artist employed no more "true" than an 18th century court pany in 1984 that her work caught fire. the leader of the Moscow Art Critics by the UWM Art Museum.) painting — it's been transformed by the Heaped with awards, fellowships and Group. The workshop is presented in presence of the artist, but at the same time funding, Miller is emblematic of the best conjunction with the exhibition Contem­ there's a conscious attempt e ither to show of new dance in New York. Performing porary Russian Art: Views from Without MATTHEW J. RADER the world in as real terms as possible or to with two men and four women, she will and Within at the Haggerty. The work­ simulate it present a 30 minute dreamlike series of shop is free and open to the public. Night Life acrobatic, comic connections among Through September 1 Rader said he wanted to create an atmos­ dancers, a solo work (written by Miller) Chicago's New Art Examiner and North­ Silver Paper Gallery phere like that of the night clubs. I don't and a quartet about power struggles in ern Illinois University will hold three panel know how he meant that precisely, but relationships. discussions on art criticism. The first will This series of photographs by a young I'd have to disagree. In fact, the images, be at 11 a.m. on Sunday, Sept. 23 at artist named Matthew Rader offers view­ being devoid of any environment except The workshops led by Miller include: Northern Illinois University Art Gallery in ers an opportunity to see the work of a a simulated one, appear contrived. Not From Spark to Realization: On The Crea- Chicago. Admission is $5 general/$3 stu­ potentially exciting talent. The show phony or false, but rather manufactured. tweProcess. Oct. 22,7-8:30p.m. Alverno's dents. The panel will include Judith Kir- consists of 15 greatly enlarged photo­ His use of the black background — a shner, contributing editor for Artforum, graphs of young men and women shot Wehr Hall. Joining Miller in a discussion James Yood, Chicago correspondent for against dark backgrounds, lit only by one sweep, I assume — harsh, high contrast of the sources of creativity will be Mil­ Artforum, Kathryn Hixson, Chicago cor­ 650 watt lamp. These pictures were taken lighting and camera placement close to waukee performance artist Mark Ander­ respondent for Arts; and Michael Bulka, in night clubs in Milwaukee, Los Angeles, the subject result in images reminiscent son, composer Jerome Kitzke and Alverno reviewer for the New Art Examiner. Call Chicago and New York; the young people of those in film noir or old Universal art faculty member Dara Larson. Open in the photographs are the clubs' habit­ Studio horror movies. The images are Rehearsal by Bebe Miller and Company. (312) 642-6010 for more information. >**»• ues. You may not recognize the people startlingly good, but they are only "hon­ Oct. 23, time to be determined. Alverno est" in the sense that all good art is honest: College Pitman Theatre. American To­

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The nude landscapes in pastel 4 1 2 6 5 2 7 7 7 secondary smoke LAURIE "SHE WILL KILL AGAIN" BEMBENEK SEEN IN IRAQ? OR, WHAT I DID ON SUMMER VACATION.

By Julia Romanski has that creepy white tee-shirt; is that the Mind you, this trip was the right thing to like to study a passing swimmer, did I law? Why aren't those mean "Get this do. My friend might be mental today if I realize the cause of my malady. At the end of July I drove down to North shit bucket off the highway pronto!" glow- hadn't been there when she came out of Carolina to be with a friend while she red stickers plastered to the glittering surgery. Rebuild a knee, lace in some It was the search for Lawrencia, underwent knee reconstruction surgery. windows? Or are speeding violations jerry-rigged ligaments, experience not a Milwaukee's media darling for fifteen My remarkable friend, a classic New handled just a tad differently down there? little pain, right' Do not a little screaming. newsprint minutes. Laurie "Okay Fred. Yorker by way of everywhere, needed a But it's a modern world: here's some I'll say I did it since the rap will be much companionable white slave bitch and I But you tell me. How comfortable are morphine. Here's an I.V Go on and hit lighter for me than you" Bembenek. needed to get the hell out of Dodge. The you going to be when mysterious forces that little button right there every eight Bambi "The mystique, the glamour? Grow timing was right. Usually the desire to get conspire to make you drive for miles minutes. Strong concept, except it works up, people" Bembenek. Suddenly it struck in my car and drive seizes me once or behind a silver tanker from Hell with the better when the needle hits a vein, in­ me that I'd been scanning every face, in twice a year, compelling me to buy a wordsTECHNICAL ANIMAL FAT—NOT stead of nudging its sticky little nose just hopes that I, too, might meet the "former pound of beef jerky, a couple of cartons INTENDED TO BE HUMAN FOOD under your skin for 24 hours be­ Playboy Bunny turned vicious killer." And of cigarettes, tune the libido-mobile and slashed in blood red upper case fore the nurse is moved to who can blame me for my obsession? hit the highway. Sometimes I'm heading letters across its round butt? notice and reroutes it. Aren't we all supposed to want to rub up for a mark on the map; more often my The mind will gnaw on that against Laurie, hoping that a little smear destination is simply to vacate, drive till one for a while. By the end But I relaxed. I did the of that judicial Stardust which radiates out I've caught up to myself again, then turn of thirty miles I was feel­ skin cancer thing, fell in from her "striking good looks" will en­ around and swing back. Invariably I head ing relieved that I don't love with the super- hance our apparently mundane lives? By west and the South has never beckoned use makeup. I was think­ technology of hum­ now Lawrencia is just a cartoon, offered me. (Though I did drive through Louisi­ ing of giving up shampoo mingbirds, slavered forth in chapters of swill by tabloid revi­ ana in '87, but the way the sun was setting as well. Then there was the over Melvyn Bragg's bril- sionist TV shows, retouched and mon- gave me the heebies and I raced it to the peculiar billboard in Kn iant biography of Richard taged to photo-spread death in local and Texas state line before the lights went out oxville, Tennessee, the one Burton, performed the re­ national papers, but the good thing about completely). that read "BLUSH! DRUGS FOR quired steppin-fetchit for my being a cartoon is that you will probably LESS," which short circuited each cyl­ friend. And yet a restlessness pass undetected through large crowds of inder in my brain one at a time. Immune people in major cities, even if your sto­ Now for some reason the interstate to the plagued me, darkly troublesome. Some­ to all my efforts to decipher its crypticism, ryline contains in part "the romance of South is littered with stalled vehicles. I thing wasn't right. True, I was a thousand it was one bit of cud that wouldn't go our time?" (I thought Richard Burton and mean they are as present as deciduous miles from the love of my life. Sure, my down. "What the hell was that billboard Elizabeth Taylor held that title). Yet the plant life. Everywhere these cars molder seven cats were probably obi iterating the trying to mean?" I chomped bovinely, real story of Laurie is the fact that she and bake, parked at faintly uneasy, ab­ contents of my apartment in a sequence while I blew off another hundred miles escaped skillfully from Taycheedah and normal angles, torn white tee-shirts flut­ of canny search and destroy maneuvers. riding snugly in the draft of a tall hurtling has been absent for all this time, as of the tering half-hearted from the driverside And yes, I probably did bounce every semi bearing the lovingly wrought leg­ date of this writing, though the media has mirrors. You have to wonder. Old drive- check I wrote the night before I left. But end "TRUCKING FOR JESUS" along its long since lost interest, because to prevail in movies leap to mind, chopped dimly- no. This was different. It was a flickering pale pink flanks. "SPEEDING LIKE A without the benefit of sustained celebrity lit scenes of deranged three-eyed Appa­ preoccupation, a focus behind my brain, CRAZY FOOL FORJESUS," it should have is boring. I didn't find Lawrencia, but if I lachians wielding strange farm tools, insinuating and coyly distracting. And read. At a hundred miles an hour I turned had, well, if she can pass for strikingly lumbering smiling and forlorn after ap­ not until I, floating on a truncated surf­ left onto the Bible Belt, blasting into the good looking, so can I. I would have parently unintelligent teenagers. I mean, board in the muddy water of Lake Jordan kingdom of Jesse Helms. given her my driver's license and the rest what happened to all the occupants of in Durham under a lacerating sun, of my cigarettes. •«*< those dead cars? And how come every car whipped my head around Linda Blair- 3*> 3^3^3^333 O "Rhythms Of Life r ) J A celebration of design, creativity, art and humantly. oj •A ZA . ' 7 You are invited to participate in the festivities on ft S Sunday, the 18th of November, 1990 at the ^ ^l/\/lioht Onorn TK*a/~ch-*=» fll^M lAff^resMt A reception and silent auction will begin at 2PM, followed by a fashion-entertainment production at 3 PM including some of Milwaukee's ) top-ranked performing arts groups. This event is organized and promoted by Malcolm of London I and approved by the Milwaukee Aids Project. i Net proceeds are donated to the Milwaukee Aids Project.

* Tickets ($30) available after October 15th, 1990

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(Ear Muscle is a regular music column To continue, the amazing thing is that this cream-puff that devours the supposed that his/her vote will be heard. We have written by a member of the local rock ranks as one of the better produc­ viewer. the power to force the producers of these band, Monkey Bar, who is an editor of tions I've been to in the last fifteen creations to increase quality. Mostly I'm Art Muscle.) years at least in terms of the song- Where have all the Sound of afraid that people really don't care. That writing. Despite their characteristi­ Musics, King & I's and South they eat what they are fed and swallow By Bobby DuPah cally Broadwayesque dynamics (no <- *W Pacifies gone? The answer politely. This is considered an excellent subtlety), double melody lines (these goes to the core of cultural entertainment value so we'd better go and see it and we better damn well enjoy it and By the end of the first act I was straining we wouldn't consider my eyes to see how many songs were left admitting to our till intermission. Just get up and leave, I friends that we'd thought. Who cares if it's disrupting? And changes the last fifty been hoodwinked into paying $40 a seat actually, it would serve as a mute critique. define the word hack-kneed) and years have brought and to watch a piece of shit. And there's al­ It was painful. One song after another. All operatic delivery, someof the songs a column(ist) such as this ways the chance that those aliens will pay silky and sweet or silky and mildly discor­ actually had an identity. The whis- couldn't do it justice so another visit. dant. No possibility of confusion or inter­ tleable quality that for me marks a jail me for trying. Perhaps pretation. It's time to chuckle now or it's good melody line was there at times. Rogers & Hammerstein time to giggle with embarrassment now. It's time to get off our jaded, pessimistic, Sadly the story line and remainder of and the like are just God forbid anything should be really ag­ cynical asses and make theater produce songs were so weak that there was anomalies, Beethovens of gravating or make us laugh out loud. The again. Alternative theater manages to pro­ nothing to hold your interest but the pop music never to be one good laugh I had came when I imag­ duce meaningful and memorable plays. sheer spectacle which was undenia­ equaled. The offspring ined myself running cartoonlike through Mainstream movie production has even bly there but which grew oppres­ of aliens. Or maybe the side wall, leaving the classic arms shown signs of life recently with movies sive as soon as it became obvious. .the standards akimbo cut-out and slowly fading scream like My LeftFootand My Life As a Dog. Al­ that it was just another require- have lowered as my ears found relief in the city night. i ternative music, though inconsistent, has ment being fulfilled. Yes we got as they produced diamonds 1 ike HuskerDu, XTC, our money's worth of tremo­ have in Elvis Costello, Wire, Capt. Beefheart and A few admissions seem in order. Although los, notes held for an eter­ so many ar­ Alex Chilton to name a few. Unlike the Les Miserables is not officially considered nity, choreography and / / eas. The care real world where choices are limited to an opera (it's a Broadway musical), it is splendor. It reminded me ' Z>v with which Bushes and Dukakises, the art world still one in my book. Admission number one of a nightmare called ' iK- cars, furniture, cloth presents occasional treasures. We owe then: I hate opera. I went to one once and House on the Rock. ^ V\_ ing and everything that it to ourselves to foster it by de­ fell asleep. I know one must acquire a took time and expertise were manding work worthy of taste for opera, caviar and scotch and For the uninitiated, the multi-billboard made is no more. At least in support. If you see a bad maybe I will, tomorrow. Second, I don't tauted House is the product of a neurotic those areas the exorbitant cost of production, admit it to know the story and since even an opera pack-rat who's credo must have been hand made goods explains things yourself and then try to fanatic will admit that lyrics can be diffi­ "give them their money's worth." After Today's composers are being paid equally dissuade your friends from cult to follow, it seems only fair to ac­ the twelfth gymnasium sized room full of outrageous fees to turn out mass junk attending it. We control our quaint oneself with the storyline before NT- carnival/merry-go-round pieces has been such as Les Mis. own fates as consumers of art. seeing an opera. Third, as you may have endured one begins to feel trapped in a surmised, I didn't make it past the first act. too-lifelike-merry-go-round that the en­ Maybe things changed um, dramatically The playgoer deserves but must demand tire place has turned into. It's a case of too after half-time with the first act serving as better. I hope. I hope he/she is aware of much of a good thing, too rich and sweet a screen meant to weed out the unde- the rip-off and more importantly, believes with nothing to compliment or contrast in serving/faithless-Hl never know. order to define itself. It's a coliseum sized

Friday - Sunday, Oct. 19-21/Thursday - Saturday, Oct. 25-27 BCB STUDIO THEATER, 727 N. Milwaukee • 276-3180

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Published by The Lakeside Group in cooperation with Charles Gowles Gallery, New York and Landfall Press, Chicago. © Dale Chihuly, 1990, courtesy of Charles Cowles Gallery. Printed by Rohner Printing, Chicago. Limited edition prints by Landfall Press Inc.

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NAVY PIER CHICAGO Haggerty Museum of Art Marquette University Contemporary Russian Art: CA\ or\\o\ £ei Views from ^Wl«o\ "^l^^H WITHOUT AND WITHIN Komar and Melamid and Maxim Kantor September 13 through November 11,1990

Lecture: "A Critical Perspective on Contemporary Art in Russia," by Russian 2 author Alexander Yakimovich, Thursday, October 18, 7:30 p.m., Straz Hall \\mat^ie &perts AP SsPQ (adjacent to Museum). Workshop: Art Criticism with Alexander Yakimovich, leader of the Moscow About (jur Authentic East Indian At Arts Critics Group, Friday, October 19, 7:00 - 9:00 p.m. at the Museum. Co- sponsored by the Haggerty Museum and Art Muscle Magazine. Eoenyone is naaing about OUR etbraic Forum: "Art, Culture, and Politics: Toward Democratization of Art in the Soviet funnishings, textiles and sculpturzes fnom 30 coantRies. Union." Speakers: Alexander Yakimovich, Moscow author of The Late Soviet Civilization; Vladimir Gokov, Soviet journalist; Yuri Karyakin, philosopher, Take OUR OOORO f OR it. member of Supreme Soviet and leading Dostoevsky scholar. Saturday, October 20, 10:00 a.m. to 12:00 noon at the Museum.

VdUyg Free Admission

The Museum is located at 13th and Clybourn. Parking is available in Lot J, entered from 11th Street, 1 block south of Wisconsin Avenue; Lot D at 14th Street and Wells; and Lot M, entered from 12th Street and St. Paul. 2201 N. FaRtoell Aoe. 224-0500 Hours: Monday - Saturday, 10:00 a.m. - 4:30 p.m.; Thursday, 10 a.m. 8 p.m.; Sunday, noon - 5 p.m.

Mary Tingley Body Structures

The Schenk Collection of Ethiopiana

Laurence Rathsack BLACK ART A Retrospective 1942 -1990 Through October 7th ANCESTRAL Local Visions: Kentucky Folk Art October 19th through December 16th Reception October 19th from 5:00 - 9:00 pm LEGACY as part of Galley Night UWM Art Museum THE AFRICAN IMPULSE IN , Expression 3 AFRICAN-AMERICAN ART An Exhibition of Graphic Design by April Greiman, Rick Valicenti, and Michael Vanderbyl Through October 7th

SEPTEMBER 14 - NOVEMBER 18 Studio 90 - Faculty Art Exhibtion October 21st through November 18th Reception October 21st from 2:00 - 4:00pm This exhibition is Fine Arts Gallery organized by the Dallas Museum of Art Photographs by and is sponsored by Lewis Hine Philip Morris Companies Inc. The Tennessee Valley Authority Project 1933 -1935 Through October 21st and Miller Brewing Company. From Marble into Bronze October 31st through December 2nd MIL1*1A.LTKEE Reception October.Ust from 5:00 - 7:00pm ART MUS Art History Gallery EUM For further information please telephone klh. 229.5070 University of Wisconsin - Milwaukee

\5 T7 Photos and text by J. Shimon & J. Lindemann

A display in the windows of an abandoned hardware store in downtown Manitowoc, Wisconsin (the Aluminum Cookware Capitol of the World) features figurative carvings, mainly nudes, by Rudy Rotter, a local sculptor. The sculptures replace the aluminum pots and pans, vacuum cleaners and floor covering samples displayed there decades before. A sign beckons the viewer to visit the nearby Manitowoc Museum of Sculpture at 701 Buffalo Street. Recent sculpture by Rudy Rotter. Carved casting form with copper gasket pieces.

Dr. R.P. Rotter, a 77 year old self-taught artist, practiced dentistry until he retired three years ago. Unlike most dentists who invest their leisure time and extra cash into things like yachts and golfing, he chose to invest his spare resources into creating art. Eventually, he opened a "museum" housing 6,000 of his own sculptures created over a span of 34 years.

"At the age of 43,1 started looking for a little something to do and thought I'd start working with a bit of clay and see what happens," is how Rotter explains his start as a sculptor. His early clay and plaster figures evolved into complex figurative carvings made from wood and stone he imported from the four-corners of the earth.

From the recesses of Rotter's imagination poured forth hundreds and hundreds of what he calls "family groupings." They depict varying numbers of nude figures intertwined in a kind of human love orgy. According to Rotter, these works illustrate the importance of human connectedness and the love between man, woman and children. There is something compelling about his work and the way it encompasses the most basic emotional territory affecting most every culture on the planet. In fact, it is this universality that gives the work a sort of neo-primitive aesthetic.

This imagery emerged during a difficult marriage which eventually ended in divorce after 21 years (he is presently happily married again). "I came from an extremely warm and supporting family with a mother and father who were strong, hard-working immigrants. I said, by golly, if this is so good at home, when I get married and have kids it's really going to be something! Then it was a big flop. These were projections of my dreams and hopes for what couldn't be."

As a result, he became both prolific and obsessive. Working daily in his basement studio, he produced enough sculpture to fill his combination dental office/home/studio building which he decided to open as his first "museum" in 1979. Around this time, he vigorously donated works to area libraries, colleges, churches and synagogues. But the ever-increasing volume of work was staggering, overflowing into storage spaces around the city.

"I got a buddy who is in business and he says, 'Hold an auction! Sell it!' Because all of his life he's been manufactur­ ing and selling. He couldn't visualize that something like this is more than making just to sell — that this is an inner need."

During the 1970s and 80s, when Manitowoc's industrial economy was faltering, Rotter's more traditional exotic wood

6 Art Mu/cLe and stone carvings made way for work he created from industrial waste. Aluminum drippings and wooden patterns from a local foundry, computer boards, motors, window screens and almost anything that caught his eye found its way into his as­ semblages and carvings.

"I came from a poor family during the depression so I know the value of a penny. That's why I get such a kick out of the stuff. The idea that I can pick up all of this stuff in a junkyard — it's really marvelous stuff. When I saw that," he says pointing to a Rudy Rotter in his studio, August 1990 three-foot high aluminum cylinder, "I said, He's worked hard to protect himself and "I've had little Brownies come in and giggle isn't that nice! When I saw those rods or his work from the art world and market­ and poke each other and after five minutes when I saw that wire," he continues point­ place. "You have to ward against, at least I that's over and they start enjoying it. I've ing around the room, "I saw all the beauti­ do, being so sensitive about whether had people come in and tell me I'm an fully-colored ends sticking out and I said, somebody's going to like it or not like it, agent of Satan. I've had little kids from the isn't that neat!" buy it or not buy it, that it then discolors YMCA come and then send me a little gift rather than colors your entire outlook and they made in their art class. Now the last Rotter began carving his humanistic family philosophy. So, I've tried to ward specifi­ group, the teachers came to me and said groupings into things like wooden pat­ cally against that. I made up my mind. they'd like to bring a group and I said fine terns and bowling balls and drawing faces, People say why don't you get out and sell? and they called about a week later and said figures and birds on logic boards and alu­ I just say I've just finished 45 years of that one of the mothers complained and minum slag. This has moved his work into business administering and I don't want to said she absolutely refuses to let her child the late twentieth-century by placing his be 'a business.'" come here. So that's all right too. I said I emotionally-charged expressionism into can understand that, if that's they way they the context of the man-made environment. When Dr. Rotter retired his dental practice feel, that's okay." in 1987, he had more spare time and thou­ His use of industrial waste has inspired sands of sculptures to store. Manitowoc's He doesn't concern himself with reaction­ him to produce even more works. "As I tourism development bureau encouraged ary responses to the nude-imagery preva­ work on these things, new things start to him to move his Manitowoc Museum of lent in his work. "I do what I want to do and form. I'm constantly keeping my mind Sculpture to a downtown location so he this is it. All figurative art has eroticism, but open. I don't say I'm going to do this and could become another much-needed tour­ a normal and beautiful eroticism and it's I'm going to get that from the junkyard. ist attraction. They figured he would be not dirty. This is my attitude, this is what Each piece will determine itself. I just go something to add to their sparse maps and I'm satisfied with and this is what I live along and follow this along and these new signage posted near other "tourist attrac­ with." things are happening." tions," like the newly constructed Mari­ time Museum and Riverwalk and the World His work is funky, earthy, weirdly provin­ Recently, he has attempted some purely War II submarine moored in the river. cial and powerfully alive. He explains, abstract constructions. "As time goes on, Rotter obliged, moved into a large, aban­ "This is one man's cry against the aliena­ after having worked with shapes and de­ doned manufacturer's warehouse and now tion that seems to exist today. This is a kind signs, your eye and head is trained." opens his studio/museum each day and of hope that all people will love each even gives group tours. other. This is the ideal... I feel that I'm a It should be noted that Rotter pursued preacher in a sense in trying to depict this exhibiting his work in galleries early on. In love. Love of man for woman. Love of 1959, he received the "Best of Show Award" mother for child. Love of man for human­ in the 18th Annual Northeastern Wiscon­ ity. So this is what I'm trying to say and sin Art Exhibition at the Neville Public Mu­ what I'm trying to do .. .1 realize we don't seum in Green Bay. A later show of this have a perfect situation with humanity. work in New York "soured" his opinion of We're mean and nasty and ornery. You showing through the gallery system. Con­ can tell by all the wars and killings going sequently, he decided not to pursue gal­ on all over the place. Nevertheless, we still lery exhibitions. "That's kind of an ego trip have to hope for the best, hope for the when you're younger," he explains. future, hope for the beautiful, hope for the family, hope that all of humanity will be "Since I had not been doing this as a way to able to get along. Otherwise, you might as earn a living and this was purely an emo­ well throw in the towel and bury yourself." tional and honorable thing, I got kind of sour. When I see some of the crap that's The Manitowoc Museum of Sculpture is generally out and how it's promoted.. .It's a case of open from 10 to noon and 2 to 4 p.m. daily. It's best promotion and B.S.-ing and lots of other to call (414) 682-6671 first for an appointment. stuff that goes with it. I said, T don't need Admission is free, donations are accepted. Almost all of the work is for sale and sketches are available this.'" Family Grouping, 1971, Honduras Mahogany. starting at $25. *—

17 16 Art Mu/cLe Don't miss the last opportunity to see

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19 THE F LfKNIT URE MAKERS

by Dana Velden Photos by Francis Ford

rt furniture has been described as some­ tion, a line of rustic willow and birch furniture. La bronze, and then mounting it on the wall. "We thing which challenges the divisions Lune pieces are made by hand but this is not a expect furniture to be stable," she says. "When its separating art from craft. Other people "chair a week" operation. Constantini figures he mounted on the wall, it puts the space in your face. claim the term is oxymoronic, that furni­ produces about 4,000 pieces a year. To do this he It becomes more confrontational. Definitely not ture by definition is automatically exempt employs 35 people in two states (Missouri as well decorative." from any arty aspirations. Others still hail as Wisconsin). A walk through the Milwaukee Ait as the sculpture of the '90s. whatever it is, and we "factory" —three, one-story cream brick buildings Sebastian began incorporating furniture into her all have our opinions, art furniture is becoming a in a Riverwest neighborhood—reveals employees sculpture about four years ago. While walking her hot ticket among savvy collectors who are report­ hard at work cartoning furniture for shipment. On dog in her Riverwest neighborhood, she would edly getting ten times the value for pieces bought the lower levels, the furniture is built, dried, and come upon discarded furniture. "I would feel the just a fewyears ago. On a more down to earth level, finished in three large rooms. All pieces are hand furniture signaling to me," she explains. "I knew I hand made furniture is also getting its due attention crafted and while given the individual characteris­ didn't need it for my home. Eventually I began to as today's consumers are responding to the unique tics of the materials (no two twigs are alike), there recognized it as raw sculpture material." Her ear­ and the unusual. is a decided uniformity to the approximately 900 lier pieces involved writing onto canvas, cutting it pieces available. With a choice of 15 different into strips and applying it to the surface of the The individuals mentioned below are by no means finishes and an array of customized fabrics for sculpture to create what she calls the most two the only people working with furniture in this area, cushions, La Lune is a blend of old world crafts­ dimensional way to describe a three dimensional but as a group they represent the many ways manship and that modern requisite: personal piece. Gradually the words were replaced by furniture can be interpreted. Within their varied choice. patterns of line and most recently, Sebastian has disciplines are contrasts and similarities dictated been working with maps. not so much by the furniture itself but by materials, New to La Lune is a line of steer hide cushions that creative approaches and lifestyles. embody the rustic but wealthy look made so popu­ Sebastian has an MFA from UW-Milwaukee and is lar by Ralph Lauren (who, by the way, contracts currently head of the sculpture department at MIAD. Constantini on occasion for his home furnishings Her work is available in Milwaukee through Dean line). The cushions are decorated with silver beads Jensen Gallery. Mario Constantini sparkles. His face is animated, and authentic buffalo nickles imported from, of all his movements quick and energetic. Yet at the places, India. same time there is a peacefulness about him, a contentment. He seems very pleased with the way La Lune, which also has a small line of Amish- Former Milwaukeeans Bill and Lynne Rae Perkins things have turned out. inspired furniture, is available only to the trade — live in a small house three quarters of the way up interior designers and architects who have access just one of many hills rolling around rural northern When he was ten years old and new to the US, to merchandise marts in the 16 cities in which La Michigan. A couple of hundred yards down the hill Argentina-born Constantini worked with his father Lune is represented. Lucky Milwaukeeans, how­ is their studio where Lynne Rae paints and draws at the family upholstery business. Acting as a trans­ ever, can purchase it retail through Eccola. and they both build a version of Adirondak furni­ lator, he would accompany his father from house ture currently being called twig furniture. to house, moving furniture and giving decorating advice to those who asked. While still a pre-med Both the studio and the house have recently been student at Marquette University, Constantini was wired for electricity — a step toward modernism prevented from returning to Argentina when war Not a furniture maker in the traditional sense, Jill that's quickly checked by a wood stove heating broke out there. Faced with staying in Milwaukee, Sebastian explores a brand new definition of furni­ system and outdoor plumbing. For Lynne Rae and he chose to make the best of things and, with no ture as she reshapes it in her sculpture. Approach­ Bill building furniture is survival — it's their way of formal design or business training, secured a bank ing it as "small architecture," Sebastian will take a supporting a rural lifestyle without having to work loan to open Mario Constantini Limited in 1978. To cast off piece of furniture, "the kind of dresser every a traditional farm. mother has," and reconstruct it, creating a sculp­ this day he's really not sure how he did it but is On a production schedule of approximately "one ture. It is very important to Sebastian that her confident that he benefitted from his lack of train­ chair a week" they own outright their house (which pieces "evoke a need for body contact. They ing. "It allowed me to explore areas that, had I had they built), their car and the van they use to trans­ should become, then, more intimate than architec­ been formally trained, I may never have gone into." port their furniture to art fairs. By next year, they ture." will have hopefully paid off their only debt — the Mario Constantini Limited was a combination inte­ mortgage on their 23 acre hill. rior design and retail operation. Constantini moved When working with furniture, Sebastian first con­ siders the innate sculptural form, second the mean­ into furniture design and manufacturing out of Called Sleeping Bear Twig Furniture after a near-by ing of the piece and how it reflects the social values need — often he would envision furniture for a National Lakeshore, an average day in the work­ of the time in which it was made and third, she client that did not exist and would have to contract shop is far from somnolent. Lynne Rae (nee Calvert), looks closely at how it was used. When she begins out to have it made. an MFA graduate from UW-Milwaukee, concen­ to reconstruct the furniture, she addresses this pre­ trates her efforts on building tables. Working with vious use and gives the furniture a "new skin." Today, the bulk of Mario Constantini Limited's birch bark that has been laminated onto boards, Often this involves slicing the furniture into sec­ business comes from the La Lune Willow Collec- she constructs mosaic patterns on the top and sides tions, applying strips of painted canvas, copper or with strips of thin willow. Each table, as with all 2o Art Mu/cLe III- nil

ill •1111 iSiiW'j'^iiiP III 'III

1111111111*1 hrislopher Poehlmann Sleeping Bear furniture, is unique.

Bill concentrates on the chairs, rocking chairs and love seats. A sturdy maple frame is first constructed. Then willow is woven in serpentine patterns to create the seat, back, and arms. As the piece seems to take on a shape of its own, Bill may add a few surprizes such as a built-in magazine rack. Also included in their selec­ tions are dinning room chairs, free-standing and wall- hanging shelf units, porch swings and magazine racks.

Ardent conservationalists, the Perkins have planted over 4000 trees in the past year. Most of their "harvest­ ing" consists of thinning out maple saplings on the edges of hardwood stands and cutting back the hearty willow they've planted on their land. As with many rural artisans, the Perkins spend their summers on the art fair circuit — about one every weekend during peak season. In the winter they work on orders and commissions and stock pile inventory for the next summer's fairs. Until this year, they have also had to sell Christmas trees — living for three weeks in a cramped trailer on a lot in the middle of St. Louis — to help survive the lean winter season.

At this time, Sleeping Bear Twig Furniture doesn't have a brochure but the Perkins would be happy to send pictures. Call 1-608-228-6633 or write 5410 Rice Road, Cedar, MI 49621. Or better yet, visit them at their last fair of the season here in Milwaukee: Milwaukee Fall Art Fair at Mecca September 22 and 23.

Gary Wolf feels that furniture making "satisfies the sculptor in me." A graduate of James Madison Univer­ sity in Virginia, Wolf had to give up sculpture when he found he was moving around a lot — sometimes 3 or 4 times a year. It became difficult, if not impossible, to work on his pieces which often required railroad ties, marble or steel. Gary Wolf Wolf began to design and build furniture when he realized that the furniture he wanted for his home wasn't available. Working mostly in wood, he also sioned for the sides. This process re­ because of a conflict of interest (Wolf works for Michael plays with faux finishes when the "real" material is quired much experimentation and the Lord Gallery) and partly because he views his furniture economically or physically impossible to work with. piece took over one year to produce. making as a labor of love. Although he has done some Even so, Wolf may disassemble it some­ commission work, Wolf considers his work art forms, Because Wolf approaches his furniture as sculpture, he day and work it into a new design, as he not products. often creates a problem-solving situation in terms of does with much of his furniture. both design and execution. One piece in particular, a For the past six months, Wolf has been busy renovating waist-high maple jewelry chest, required that Wolf first At this time, Wolfs furniture is not avail­ his home, another labor of love that has consumed all of design specialized clamps and jigs to help make the able through local galleries, although his spare time. Now that it is almost completed, Wolf is wood conform to the softly undulating form he envi­ some have been interested. This is in part looking forward to his next piece which he promises "will be a lot of fun." Wolf welcomes the challenge of commission pieces and can be reached at 276-4746.

At Elements of Art and Design, Greg Dix takes only commission work for his European influenced furni­ ture. With an emphasis on metal and glass, Dix "em­ braces the industrial, Post Modern and architectural elements" in his pieces. He also works in neon, col­ laborating with his colleague Fred Robinson. While the gallery is open to other furniture designers, Dix is most enthusiastic about Christopher Poehlmann, a prolific furniture artist he represents.

A graduate of Wittenberg College in Ohio with a BS in psychology, Poehlmann went on to study photogra­ phy in Salzburg, Austria. While in Europe, he traveled a lot and found that he was gravitating towards furni­ ture showrooms. "They became my galleries," he confesses. "I made lots of sketches of furniture but put them aside until I could find the time to learn how to build them. Eventually, I taught myself to work with copper — I like the warm feel of copper and its softness makes it easy to work with."

Poehlmann's copper tubing furniture and accessories often include found objects — pieces of marble and stone or in the case of one table, old plumbing fixtures. Many of his pieces are covered with a patina and some of his newer work is made from galvanized steel. Poehlmann has designed and built candlesticks and clocks, chairs, tables and screens, but some of his most popular pieces are his lamps. Single Family House is Mike Sieger and Linsey Sieger a copper house designed with child-like simplicity and mounted on a curving copper tube to create a floor 22 Art Mu/cLe lamp. The lamp is coated with patina and a fringe is whimsically attached to the top for detail. A table top version is also available.

Poehlmann is represented at galleries in Chicago, Minneapolis and Los Angeles and shows here in Mil­ waukee at Elements of Art and Design.

While at a rummage sale a few years back, Maribeth Devine spied a small, battered table with Queen Anne legs. "I thought, 'those legs look just like cow's legs.' And so I brought it home, painted it black and white to look like a cow and stuck a pink udder underneath it." She took it to Celebrate Wisconsin in the Grand Ave­ nue Mall and it was a hit. Soon she was making cow buckets and cow sleds, flamingos painted with black and white cow spots, cow picnic baskets and bird- houses, wooden eggs painted like cowhide.

Eventually, Devine returned to painting on furniture and began to show with Tory Folliard and take com­ mission work through eclectic i/Jim Bartlet Interiors. She has moved from cow and flamingo images to O'Keefe inspired poppies and Marilyn Monroe tables (after replacing the udders with something a bit more appropriate).

It would be impossible to discuss Devine's work with­ out mentioning her partner Jose Nieves. Using only a hand held jig, a skill saw and on rare occasions an electric sander, Nieves repairs, reconstructs, or rede­ signs all of the furniture, including starting many pieces from scratch. He also does all the sanding, the primer coats and the final poly finishes. Nieves, one of the 5500 people laid off from the AMC plant in Kenosha, believes his years on the assembly line gave him the patience for this kind of work. He is interested in the creative end as well and has started to try his hand at painting.

Devine, too, considers her work a labor of love. While it is important for her not to grow too big, she and Nieves are able to make their living from the furniture. With a triumphant sparkle in her eye, Devine declares, "I've traded my scrub brush for a paint brush and I'm not looking back."

Maribeth Devine's work is available through Tory Folliard Gallery, eclectic i and Houberbocken Gallery.

It was the Christmas of 1988 that finally brought to­ gether the talents of Linsey Sieger and her brother-in- law Mike Sieger. Mike had drawn Linsey's name in the family gift pool and was prepared to give her his standard gift— a piece of his handmade furniture. But then he discovered that Linsey had been sketching fur­ niture at home in her spare time. He managed to have samples of her drawings smuggled to him and for her gift presented her a duplication of one of her chairs.

The Siegers immediately realized that they were on to something and began to collaborate on new pieces. Linsey continued to develop the basic chair design while Mike built the furniture and prepared it for Linsey to come back and paint it. Their first show was at Artistry Gallery in May of 1989. Since then, their work has been in the windows of Watts and Ma Jolie and this summer they were in the Lakefront Festival of the Arts.

Working with bold colors and animated shapes, the Siegers incorporate humor into their furniture. At the Lakefront Festival, they had on display a brightly painted miniature chair with a hole cut out of the bottom and a plastic cup underneath — a potty chair— and in the plastic cup were individually wrapped toosie rolls. All furniture is solid poplar or maple and painted with an oil-based lacquer that accentuates the vivid colors and gives the furniture a shiny, durable finish.

For both the Siegers, furniture making is a sideline — Linsey is a graphic designer and Mike is in the band Semi-Twang—and eventually they would like to bow out of the manufacturing end and concentrate their efforts on design. They have also played with the idea of semi-mass producing a few of their more poplar pieces. Maribeth Devine and Jose Nieves 2.3 Three pieces by the Siegers are on display at Ma in ceramic, glass, wood, steel, bronze and needle­ Todd Fillingham Jolie through the month of September. For more point Artists include L.E. Cummings, Tom Eckert, 1726 N. 1st Street information call 332-0150. John Lewis, Craig Nutt, Linda Rosenus Walsh, Davis Milwaukee, WI 53212 Swanson, Arnold Zimmerman and Janusz Walen- 414-372-4649 tynowicz. It runs through October 20. Handmade furniture, custom commissions, origi­ nal contemporary designs Also at Tory Folliard are examples of pique assiette Galleries: Showroom at above address Where to go: ("stolen from plates") furniture andsculpture. Artists Russell Vogt and Leslie Hawk use broken tile and James Gentry A. Houberbocken, Inc. crockery and other found objects to create mosaic 608-251-2549 230 W. Wells Street Ste 202 patterns in cement tables, pots, figures and even a Fine woods, exotic inlays, contemporary design Milwaukee, WI 53203 bird bath. Galleries: A. Houberbocken 414-276-6002 Edgewood Orchard Gallery A. Houberbocken will feature some of the artists Lakefront Festival of the Arts Eccola mentioned in their Silks, Screens and Silver show 241 North Milwaukee Street (August 17 — September 27) and Anniversary F. J. Hlavacek Milwaukee, WI 53202 show (September 28 — October 27). 1257 N. 55th Street 414-273-3727 Milwaukee, WI 53208 414-475-5289 ecletic i/Jim Bartelt Interiors Index of Artists: Handcrafted cabinetry and furniture Audubon Court Galleries: By commission 333 W. Brown Deer Road Mike Brinkman/MB Arts and Crafts Milwaukee, WI 53217 414-645-3110 Stephen O'Donnell 414-352-4405 Furniture and cabinetry in the Arts and Crafts style Route 2 Viola, WI 54644 Galleries: By commission only Wood furniture, canoes, commissions Edgewood Orchard Gallery Galleries: A. Houberbocken, Inc. Peninsula Players Road Richard Bronk/Chrysalis Citywoods 708-432-9393 Fish Creek, WI 54212 N7202 Highview Road 414-868-3579 Plymouth, WI 53073 Moebius Ironworks 414-893-5581 421 S. 2nd Street Elements of Art and Design Art furniture, accessories, sculpture, vessels Milwaukee, WI 53204 300 W. Juneau Galleries: A. Houberbocken, Inc. 414-347-0545 Milwaukee, WI 53202 Edgewood Orchard Gallery Original ironwork furniture, tables, chairs and 414-278-0294 custom commissions Carl Newman Designs, Inc. Galleries: Eccola Tory Folliard Gallery 212 E. Mineral Street 233 N. Milwaukee Street Milwaukee, WI 53204 Bruce Siegel/Illumin8 Milwaukee, WI 53202 High quality, original designs, maple and oak fou- 414-964-7336 414-273-7311 tons and fouton related furniture Prairie and Arts and Crafts influenced custom light­ Retailers: Great Lakes Fouton ing, commissions "New Forms in Furniture" is currently showing at 272-3324 Galleries: A. Houberbocken, Inc. the Tory Folliard Gallery. The show features painted High Wind Foutons and More finishes, trompe l'oeil and contemporary designs 961-7255

SIGNATURE SALON IS PLEASED TO ANNOUNCE THE OPENING OF ITS NAIL DEPARTMENT FEATURING v v ZD n SPECIALIZING IN MANICURES, FRENCH MANICURES, PEDICURES NAIL TIPS AND DESIGN

SIGNATURE SALON Suite 200 324 East Wisconsin Avenue Milwaukee, WI 534202 (414) 273-7717 L li. Art Mu/cLe 15 (Maurice Kilwein Guevara, a Milwaukee fiction writer and poet who teaches at Marquette University and the University of Wisconsin-Milwaukee, explores the fine craft of food preparation as he visits chef Michael Wolf in the kitchen at Mike and Annas restaurant).

By Maurice Kilwein Guevara

Even the flowers that garnish your plate at Mike and Anna's Restaurant are edible: the brilliant orange nasturtiums beside a neutral breast of duck, the cluster of red snapdragons brightening a rack of lamb, a violet pansy with cured salmon, even the star-shaped, blue borage flowers on your creme caramel dessert.

Says Executive Chef Michael Wolf: "Everything on the plate you should be able to eat. It's like eating a picture

The 26-year-old chef of this Southside gourmet restaurant is well schooled in his craft, and before taking me into the kitchen, he reviews his work experience and education. We sit at the rear of the un-lighted dining room (it's half past noon and customers won't be arriving for another five hours). Every table is equipped with a large square of white paper and a yellow box of Crayola crayons. (Although this is a four-star restaurant, pretentiousness is not on the menu).

"My interest in the restaurant business began when I was 14," Wolf says. "Like a lot of people, I started out as a dishwasher." By 17 he was in charge of the broiler and food preparation at the four-star Le Restaurant in Thiensville, Wisconsin. This was followed by a formal program of study at Johnson and Wales, a school of culinary arts in Providence, Rhode Island. On the east coast, he worked at the posh Copley Plaza. Ex­ perience at almost half a dozen other restaurants and at Quad Graphics as a private corporate chef prepared Wolf well for his current position.

I remind him that I'm more interested in how he makes the food, howthe process leads to its final presentation in the dining room.

"I know," he says and smiles like a magician. "But it isn't like what happens in the kitchen comes all of a sudden out of nowhere. It takes years." if

Presto: we're in the kitchen and Wolf is beginning to work. The room is relatively small, immaculate, divided in half by a silver-topped work table and coolers. A screened back door looks out onto a garden. Behind Wolf is a large, work-charred stove; beside him is a wall lined with sinks.

Wolf moves about the kitchen in a natural, relaxed way, but he is always busy. He leaves the room periodically, retrieving food from the walk-in cooler (a box of mushrooms one time; an orange, a lemon and a lime on another trip), vanishing and reappearing. As I watch him start a batch of cream of wild mushroom soup with sundried tomatoes, begin

blanching sea scallops, silky snapper and Norwegian salmon for seafood napoleon and check on graavlax (salt-cured salmon in a bath of herbs, spices and dark beer) that was started the day before, I'm soon convinced that no human being can do so much—that Wolf must be a master of prestidigitation. Again he smiles, some­ thing of the boyish wizard sparkling in his eyes: "See, you learn to do a lot of things at once; that's a trick." And he is gone again. §IT' "Of course I'm concerned about how a dish looks when it's taken into the dining room," he admits, but he emphasizes that a product is only as good as its process. "You begin with freshness. I make everything from scratch here. With Chicago so near, I can get the best meats and poultry and seafood. And we have our own edible flower and herb garden in the back yard." He picks up a pair of scissors. "In fact, that's where I've got to go now." I follow him.

He shows me the two beds, the nearest dug up last year, the second started this past spring. Wolf kneels beside the basil, tears a leaf off for me to see and smell; he points out the other herbs: oregano, sage, thyme, rosemary, flat-leaf parsley, chives, marjoram, lavender, anise, mint. And the edible flowers: snapdragons, miniature roses, nasturtiums, borage.

I say that this all must be a labor of love, which triggers Wolfs practical side. "Yes," he says, hunkering, snipping a bunch of thyme, "but you need things to be fresh to have quality food, and that's good business sense. Our bartender Michael Majewski does the gardening. Sothatwith an initial investment of $29, now we have seeds forthree years. That'scheap."

I follow Wolf back inside. He wants to show me how to prepare a couple dishes for the dining room.

To garnish grilled swordfish, first Wolf washes a bright red and a yellow pepper and removes their tops and seeds. He then prepares what he calls a compound butter, a mixture of butter, flat-leaf parsley, sage, thyme, oregano and caviar. With this mixture, he stuffs the hollowed peppers.

On a simple, white plate, he places the order of swordfish, beside which he arranges thin rings of red and yellow pep­ pers filled with caviar butter. "See how eye-appealing this is," he says. I agree; the simple garnish adds vivid colors, smell, taste and a sense of symmetry to the dish.

Edible flowers are a wonderful garnish for a dish in the spring and summer, but what does Wolf do in January?

"I carve," he says. Out of radishes, zucchini, carrots, celery, he carves the likeness of flowers — more illusions. As ex­ amples, he slices a cross-section of honeydew melon, from which he cuts three, exquisitely-shaped leaves.

"Or," he says, and continues to demonstrate in silence. This time he removes with his paring knife segments of a lime, an orange, and a lemon. Alternating segments, he creates a bloom-like pinwheel of different colors.

In his kitchen, Michael Wolf combines the sleight-of-hand of a magician, the frugality of a businessman and the eye and dedication of an artist. His day begins at 11:30 in the morning and ends at 10 at night; he usually gets a day off every other week. So I repeat what I said in the garden, This must be a labor of love."

"Yes," he finally concedes. "Yes, you've got to love it." Photos by Dennis Cary '

BRADY STREET PHARMACY X;'-v SOPHISTI-KIDS

• ' •

FOR NO MAN THE SEASON'S HOTTEST TICKETS ARE ON SALE NOW AT THE MADISON CIVIC CENTER IM

Ballet Franf ais Phillip Glass Ensemble in de Nancy Koyaanisqatsi, Live Saturday, Ocf. 13, 8 p.m. & Wednesday, Nov. 7, 7:30 p.m. Sunday, Ocf. J 4, 3p.m. $15, $13, $1 1, $9 $25, $22, $20, $77 With a compelling score by Philip Directed by the brilliant Patrick Glass and stunning visual images, Dupond, Ballet Francois propells Koyaanisqatsi explores a world classical ballet into the avant- gone haywire amidst rampaging garde with unique humor and consumption and technological originality. Experience dance that development. A breathtaking film, will take your breath away! accompanied live by Philip Glass

Funded in part by the Madison Civic Center and his ensemble for an unforget­ Endowment Fund. table theatrical experience. Welcomed by 88.7 WERN, Wisconsin Public Radio Funded in part by the National Endowment for the Arts, Wisconsin Arts Board and Madison Civic Center Endowment Fund. Welcomed by WORT 89.9 FM Listener Nina Wiener Sponsored Radio and Dancers Open 7:00 a.m. - 8:00 p.m. Mon. thru Fri. Saturday, Oct. 20, 8 p.m. ISO and The Bebs 8:00 a.m. - 8:00 p.m. Sat and Sun. $16, $14, $12, $10 Sunday, Nov. 1 1, 7:30 p.m. Comer Astor & Brady 272-4384 Nina Wiener, noted for her sen­ $16, $14, $12, $10 suous, poetic, and extravagant COFFEE SHOP COFFEE SHOP CC Team up an acrobatic dance More than a pharmacy, a gathering place choreography, premieres an ensemble with a penchant for fly­ evening-length work celebrating ing around suspended from the earth and the ties nomadic bungee cords and doing strange peoples maintain with the things with Velco (ISO) with an a environment. capella group that's a cross be­ 1 Co-commissioned by the Madison Civic Center, tween the Mills Brothers and Ballet Aspen and University of Iowa. Funded in Devo (The Bobs), and you get the part by the National Endowment for the Arts, if- Hi - Arts Midwest, Wisconsin Arts Board and most astounding, inventive and Madison Civic Center Endowment Fund. Welcomed by WORT 89.9 FM Listener entertaining performance you Sponsored Radio may ever see. Don't miss it!

Funded in part by the National Endowment for the Arts, Wisconsin Arts Board and Madison Saraiina! Civic Center Endowment Fund. Sun., Oct. 21, 2:30p.m. & 7-.30p.rn. $26, $24, $21, $18 With music by African jazz musician Hugh Mas- ekela, Sarafina! is a compelling production filled with the passion, pain and promise of South Africa's Black town­ ships. You won't find Hubbard a more joyous, moving and pow­ erful theatrical ex­ perience any­ •••/% Tarf^Lodge where.

Funded in part by the 'Modestly pricedfood'... Wisconsin Arts 1 Board and creatively prepared urith a touch of class. Madison / Civic Center -- 'Mtiwauk&t Magazine Endowment \ Fund. Restaurant Mours

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Tickets available at the box office, 211 State St., Madison, or call (608) 266-9055. 3565 N. Morris Blvd Shorewood WI 53211 332-4207

26 Art Mu/cLe y,ott fcn,ow-t tneie * oht.n< tew-aae in, t/te ti&e*.

*jhe city, /,lu,\jhcb it ou,t t/itec time* a aau.

Photo by Francis Ford.

Debra Loewen and Wild Space Dance AF: Has living on a river and thinking about this river piece shaped your cho­ Company have joined Citizens for a reography? Better Environment to create a per­ DL: Not on a specific movement level. I think about water on the planet as a formance piece and educational op­ sensor. It's a responding mechanism. The ocean tides respond to the moon. I portunity to draw attention to the mean they're trying to make the flag this sacred symbol. The sacred symbol rivers — specifically the Milwaukee should be water — or air. Those are sacred and need to be protected. How do River. A performance will take place we elevate the things we hold as sacred into a socially visible position? Also, the Friday, Sept. 28 at 10 a.m. for Milwau­ human body is mostly made of fluids. We respond to natural rhythms whether kee Public Schools and the public or not we're aware of it. I'm exploring how that defines our movement and our performance will be at 7:30 p.m., relationship to water. Oct 6 on the river between State Street and Kilbourn Street bridges, in AF: Who will be performing in this piece? front of the Performing Arts Center. DL: There will be a core of movers and groups of extras. There will be a group on a barge that's 195 feet long and 35 feet wide out in the river and groups on l) V Ann I I I P Itl V F WemetinthehubattheMilwaukee either shore. We're working with sculptors who are designing large, possibly M J /111 11 I I I V 111 V ! Repertory Theater, overlooking the inflatable pieces that may float in the river or ride in canoes. I'd like the sculpture Milwaukee River. From there we to be made of recycled materials. movedacrosstowntositinthe kitchen and talk. I handed Deb Loewen, the AF: What do you hope to get out of this project? artistic director of Wild Space, a fortune cookie that I had just bought. She DL: I guess I'm more concerned about what the community gets out of it. The cracked it open and it read: "Nature forms us for ourselves, not for others, to be, county used to give out money for free performances in county parks. Most not to seem." groups just set up a stage and did their tap dance or whatever outdoors. Very few artists created site specific work. I like the challenge of site specific work. Ann Filemyr: What inspired you to create apiece on the river? I'd love to see the audience out on boats in lake Michigan and performers on Debra Loewen: I like discovering what happens to the body when you change the shore. the context of the environment. In a theatre you are working with the flat stage and the proscenium arch framework. The river, the Milwaukee River, offers I'm tired of the show and tell kind of tokenism that a WestFest type of event some interesting possibilities. It is already set up as an arena. The bridges cre­ engenders. Each group gets ten or fifteen minutes. How can you really express ate a series of arches in sequence. There is the linear movement of the river and your ideas or provide an appropriate context for work in that kind of arena? the fluidity. We'd also like to be a model of how an artistic group collaborates with an en­ I live on the Rock River out in the country. The river borders our property on vironmental group. How can the arts stimulate or inspire new ways of thinking three sides. The Wild Space Farm is really a peninsula. I'm always trying to or valuing the natural environment? balance what I do in my rural life and what I create with my city-based company. The river at home controls what I do all the time. In the winter I skate or can walk AF: Are you getting any support from the city? on it. In the spring it floods.Th e water creates my boundaries. DL: I think they will provide some in-kind services. They are very interested in the river because they are realizing its importance to the life of the city. For Here the city has set up the boundaries for where the water is to flow. I think example, they'll flush it out before the performance. about what is the river, what was it meant to be? How can we focus on the river creatively and make the water shape our awareness of it. AF: Flush? DL: You know there's open sewage in the river. The city flushes it out three I'm not going to preach or point fingers. This isn't a political piece. We're times a day. But they really cleaned it out before the River Splash, and they'll working with Citizens for a Better Environment (CBE) to educate and inform have to do that again for the Fall Harvest festival. I mean, look at it. There's people about the health of the river and how we can help clean it up. They are usually all kinds of stuff floating in it. It was clean for River Splash. compiling hand-outs. The performance will not be a conduit for that kind of information. I'm more interested in how can we participate in the life of the river AF: Do you face any health hazards working on the river? and not just pass by it. DL: Hopefully no one will fall in! (Laughter). ^

29 DOWN ARTH by Linda Van Sistine

The Riverwest neighborhood is home to tured white earthenware pots, hand-carved sent-mindedly kneading a small piece of the only two storefront potters in the city of in natural floral shapes, recall an earlier clay in her hand, then pleased with the Milwaukee. These storefront potters af­ time. Her light and airy palette, with its "accidental" results, added texture and ford the customer a unique opportunity to shades of pink, lavender and green, is color to form a bead or button. The beads visit a studio/gallery and meet with the reminiscent of an English garden. With a are used to make bracelets and necklaces. artist or craftsperson. It is a chance to view contemporary sensibility, Susan allows her Fiber artists purchase the buttons for use finished works and gain insight into the shapes to ignore the natural boundaries of on hand-knit sweaters. aspects of production as well. the vessel. Some works reveal petal and leaf forms, carved in rich relief, boldly Susan has been experimenting with other Susan Alexander's Artistry Studio/Gallery, emerging from underneath the pot. On sculptural possibilities to be used as em­ 833 E Center St., is a refurbished bakery other pieces, the flower-based patterns bellishment. Repeating floral shapes simi­ whose former kitchen now serves as her imitate their natural state and "grow" lar to those on her pots, she sculpts tiny studio. The front part has been transformed toward the top of the container, petals and leaves, then arranges and layers into exhibition space where Susan dis­ then delicately trail over the them to create pins that complement her plays her work and provides room for lip to the vessel's inte­ bracelets and necklaces. These pieces other artists to show theirs. Similarly, rior. To pick up a will be displayed at The Milwaukee Art Marnie Pottery, located just across Center pot and fol­ Museum in an upcoming exhibition St., at 2711-13 N. Bremen, houses Marnie low the exploring ornamentation. Elbaum's studio along with gallery space path where her work, and that of other potters, A fondness for old hats and is exhibited and sold. purses inspired another se­ ries of sculptural clay pieces. Both Susan and Marnie are strongly The results are delightfully

committed to hand­ paradoxical. The sensuous and made work, particular­ soft appearance of the work is betrayed ity in a society accustomed by the solidity and weight of the clay. to rows and rows of ma chine stamped products lin­ of the Before she rented her building two years ing the shelves of discount store design is to ago, Susan had spent the previous two after discount store. They feel that be treated to a years as a substitute art teacher in the Mil­ contact with objects that combine •surprise," an addi­ waukee Public School system, saving both functional and aesthetic proper­ tional carving on the bot­ money for the studio. When she first saw ties enriches the quality of daily life. The tom of the pot. the place, it was boarded up, used for first cup of coffee or tea in the morning is storage and in need of serious refurbish­ much more comforting in a hand-made Discussing her intuitive method of ing. With the remodeling effort complete, mug than in its generic equivalent. working, Susan remarks, "When I have a she has recently incorporated two new piece of clay in my hands, I don't necessar­ and very important additions to her studio. Susan Alexander feels strongly about the ily know what the finished product is going A crib tucked into the corner of the room individualized pieces she creates. She to be." When working intuitively an artist serves as part time "home" for 11 month old considers her pottery an art form and in­ often lets the medium itself suggest the son Kyle and lets mother and child keep an tentionally produces pieces that are one of form it will take. A series of beads and eye on each other. She also built a gas kiln a kind. Her work is marked by a sensitive buttons have emerged from this process. that will allow her to fire at higher tempera­ combination of past and present. The tex- One can imagine she might have been ab- tures than her electric kiln. Porcelain must 30 Art Mu/cLe be fired at higher temperatures than earth­ proportion and its balance. Proud to be a washer and the oven and are completely enware. "good basic potter," she considers herself food-safe. She enjoys talking with her cus­ a craftsperson and a designer rather than tomers about her aesthetic concerns re­ Teaching both supplements the income an artist. garding an object's form. As an example, from her studio/gallery, and renews her she will point out that a black glaze (her fa­ artistic energies. Throughout the school Marnie views her job as a privilege, a vorite) will articulate the form of the pot year she teaches weekly at the Craft Center source of spirituality and continued growth. while a colored glaze distracts from it. The of the UWM campus. During the summer She finds the process of making pots a tendency is to focus on the color and miss she is an instructor in UWM's College for joyful one. "As a result of the repetition of the inherent beauty of the form. Kids program. In addition, she is planning form you develop a rhythm that is quite to hold childrens' classes beginning this spiritual." She explains there is a high Although the potters' wheel is her central fall at her Artistry Studio/Gallery. She says degree of intimacy involved in the process joy, Marnie has diversified her involvement of her students, "Everything's a possibility of making pots. "There is a close with clay to include ceramic jewelry, "slab- with the kids, there are no limitations for relationship between the pot­ ware" trays, baking dishes, etc. Her col­ them, especially the younger ones." ter and the molecules." The laboration with goldsmith Elise Worman potter transforms simple has resulted in a line of porcelain jewelry Susan grew up in an artistically nur­ dry particles by add­ marketed as "Marlise Designs." turing environment. She inher­ ing water, com­ ited her love of working with pressing, shap­ She alludes to another collaborative effort children from her ing and firing that will be unique to the Milwaukee area. them. A

mother, Still in the early stages of Mary Single­ planning, she expects it to be ton, a former art completed by March 1991. teacher, and now a full time folk painter. A The growth of Marnie Pottery since it graduate of UWM, Susan opened in 1983 has been solid. Marnie holds a B.F.A. in ceramics new prides herself on the excellence of her me­ and Art Education. form ticulously crafted stoneware and porcelain arises pottery. Her reputation for quality has Artistry Studio/Gallery is open Tues­ from "a lot of helped her establish a solid customer base days-Fridays, 2-6, and Saturdays 12-6 molecular that remains loyal. She cites a flexible and shock." reliable staff for her consistent business In contrast to Susan, Marnie Elbaum is a success. She's learned to delegate many of production potter. Her individuality rests She is single minded in her her tasks in order to continue making pots. in the technique she has perfected. After approach to her work. Striving years of work, she has developed her own for excellence is the source of her mo­ style, her own way of making a bowl, a tivation. She is commited to a professional The Riverwest location has proven to be a mug or a plate. She sums up her philoso­ approach to her pottery, seeking always nurturing environment for artists and crafts­ phy toward her work. "It is important to "strong forms and meticulous craftsman­ men. Marnie credits Alderwoman Lorraine make pots that stand on their own aestheti­ ship." She expresses distaste for the com­ McNamara McGraw for her accessibility and cally as well as inspire use. Aesthetics and mon misconception that creative people support. She is particularily delighted that function must be in balance." can work only when the mood hits. She Ms. McGraw introduced Mayor John stresses that constant discipline is essential Norquist to her gallery. He is a supporter of As a student majoring in Art Education at in developing and sustaining a mature the arts in Milwaukee and a welcome cus­ UW-Madison in the late 1960s, Marnie body of work. tomer. signed up for Ceramics 101. "After five minutes in my first class watching (absorb­ Marnie considers educating the public an Marnie Pottery is open Tuesday-Friday, 2-6, ing is more like it) the instructor I knew I important aspect of her job as both a pot­ and Saturday, 11-4. **> wanted a life in functional clay," she re­ ter and a gallery operator. She spends a lot calls. of time with her customers, teaching them about the functional and aesthetic proper­ Photos by Francis Ford Her work is rooted in a traditional pottery ties of pottery. She explains that people of­ aesthetic and she is inspired by the Bauhaus ten mistake pottery as art objects to be dis­ principle that form follows function. Her played, rather than items to be used. They concern rests with the vessel's form, its are guaranteed for use in both the dish-

31 Bob Danner, April, serigraph

Inventing a Picture Book young artists + master printer = new book an exhibit of 12 original serigraphs for CALENDAR CAPERS a child's school year in celebration A new children's book published by Gareth Stevens, Inc. Illustrated by Bob Danner • Written by Joan LoPresti • Designed by Sabine Huschke Illustrations based on children's art from metro Milwaukee, Racine, and Sheboygan Schools created in Bob Danner's Artist-in-Residence Workshops EXHIBIT: September 10 to November 4, 1990 Balcony Gallery Milwaukee Public Central Library 814 West Wisconsin Avenue Milwaukee, Wisconsin 53233 (414)278-3000 OPENING AND BOOK LAUNCH: September 10, 1990 • 4 p.m. to 8 p.m. Children are welcome! The exhibit includes displays and text panels detailing the transformation of the children's art to the serigraphs used to illustrate Calendar Capers.

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If you can't quite reach it, you can certainly it done in his 5' x 8' bedroom, a bedroom picture framean d 2,000 for a vest. The hard­ hear it, screeching its way through this neigh­ stuffed to the ceiling with bags of materials, est brands to find are Camel, Chesterfield, borhood, just a few blocks south of Wrigley the works of prisoner friends and family and Lucky Strike. His favorite image is the Field. On a good window-open steamy day, memorabilia. One of nine children, father­ pyramid motif on Camel. He talks about you can even catch the roar of the Cubs' fans. less since age ten, he was raised by his mother designs and colors and says he wants "the and grandmother (Missionary Anna Foster) blue that crackles or the rich blood-reds." Upstairs, inside William Warmack's world, on Chicago's south side. He mourns the loss While friends and a few local bars supply him the space is small and the pace is slow and of Grandmother Anna. "She passed recently. with some materials, he needs more. "When steady. Since his prison release in March of I remember going often with my brother to I was in prison, I'd put bags in the halls and 1988, he has been perfecting his cigarette her home. She was always making things, I'd pick them up full at the end of the week. pack creations. It now takes him only 60 making do." Warmack plans a shrine in her By the way, generic packs were the most seconds to fold one pack into a quarter inch memory, but it won't be made of cigarette popular brand there." But prison officials square. The squares become the building packs. "She wouldn't approve." Instead he won't let him do that now. Information might blocks for his craft—weavings of g-strings, will weave it from cloth, the material used by slip out, written on the wrappers. Cigarette hats, shoes, picture frames, purses, bras, and the Mexican Indians who developed the folded companies have not responded to his re­ other decorative and functional items. From weaving style. A blue glass bead basket (made quests for packs, so he is using pornographic two inch shoes to his current mega project, a by his mother) and a milk carton church magazines as well as cartoons from the Sun­ pair of pants requiring four thousand ciga­ which lights up and includes a scriptural day funnies and comic books. The porno rette packages, Warmack shows a determina­ passage added by Grandmother Anna is being works best for G-strings and bras. Cartoons tion to make it in a city where for some, saved for the family treasure trove. "My turn into purses and bags. survival depends on how fast you can run. brother and I are the only siblings making art, and I guess we are the only ones interested in Warmack has no illusions about an ex-con's Warmack knows about tight spaces, both keeping the family stuff." He brings out a marginal life, but for now he is making it. "I physical and psychological. His incarcera­ handmade turquoise satin church-going dress just want to keep doing what I'm doing. My tion, as he prefers to call it, taught him that. and fluffs a crocheted poodle and a wildly brother helps me with introductions to cura­ It also taught him something else, a craft colored woven skirt. tors and collectors, but I sure don't want to similar to 1930s tramp art. Though he was in get locked into a 40-hour work week." He three Illinois prisons, he became interested in Warmack's biggest problem is keeping three likes his freedom and he likes people, though weaving while at Lincoln pen. "I learned it Clark Street boutiques stocked with his art. In he would exclude the mugger who gashed his from an old guy who was from Mexico," he addition, he supplies Manhattan's hip My­ brother's head the day before. Hero figures said. Other prisoners were doing it too, but he thology shop, Milwaukee's Metropolitan aren't important in hislife, though pictures of thinks he is the first to move the craft beyond Gallery and requests from friends and rela­ Jesse Jackson and Martin Luther King (many the usual into the realm of the exotic. No tives, who sometimes buy clothes right off in woven frames) fill the walls. It seems he doubt his brother, Mr. Imagination, a well- his back. "I make a living doing this, but not has struggled through life's tough lessons established "outsider" sculptor (they share as much as I'd like too. I think the Chicago and is his own hero. the tiny studio/apartment) has much to do Police Department might be interested in with it, as they work in tandem at booths vests Warmack-woven from bullet proof (Drop off your empty packs at Metropolitan during the summer art fair season in Chicago. cloth, but so far, that isn't in the cards." Gallery in Milwaukee's Walkers's Point. Warmack refers to him as "my main man, my They recently sent him over 15,000 packs. main brother." His skimpy supply of cigarette packs can't And while there, look at his weavings). **- keep up with his fast hands, and working Warmack's life is neither wildly profitable alone makes it difficult to meet the demand. (Judith Moriarty is a Milwaukee painter who nor filled with glamorous art openings. It is a Though he smokes Newports (one or two is an editorial assistant at Art Muscle.) systematic daily grind of production, most of wrappers a day), he needs 52 wrappers for a William Warmack. Photo by Francis Ford.

3/, Art Mu/cLe •"''••'•'•' The Prickly Pear Cactus Kachina, acrylic, 5' x 4 ', Doyle, 1990© John L. D oy le New Works: Lithographs, Paintings, Drawings

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36 Art Mu/cLe HUAC, the NEA, Jews and You An essay by Gregory Conniff

(Gregory Conniff, a Madison photographer, writes lots of swastikas. I doubt that the people making and simply get on with life under the new reality. the "Madison Roundup" column for Art Muscle. these attacks are leading members of our commu­ During the late 1940s the film industry was a focus This month he decided to forfeit his column for the nity, but somewhere they've gotten the idea that for the House Committee on Un-American Activi­ essay that follows). they are higher on a list than gay people, artists and ties (HUAC) anticommunist witch-hunt. Artists and Jews. Don't see anything about commies, though; writers lost their jobs as producers blacklisted them "If they censor the NEA, the Jews will be next." they're not on the list anymore. with a fervor Vaclav Havel could appreciate. Some went to jail. Havel could appreciate that as well. I'll bet that quote got your attention. It certainly got It was Diane Seder who said that the Jews were next Who knows what ideas were lost. But, hey, the mine when it came my way in one of those gallery after the NEA. She is a former member of the fifties gave us Dinah Shore, "I Led Three Lives," conversations where Jesse Helms has replaced big- Madison Art Center's Board of Directors, a collector Milton Berle in drag and Lucy, so who's complain­ city real estate as the topic of choice. As a gentile the of the work of living artists and an active participant ing? logic eluded me, but the person being quoted was in Madison's Jewish community. someone for whose intelligence I have respect, so When censorship links up with government spon­ I put it in the back of my mind to wait until the next Seder told me that her comment grew from her sorship of art the next step, unconscious or not, is time I saw her and could find out what she meant. belief as a Jew and an American that issues of the establishment of a "State Art" promoting nation­ freedom are "Jewish issues." "America," she said, alism over humanity. Hitler, Stalin and Musolini Next thing I know, the National Endowment for the "is a democracy. Democracy is not just about ma­ were patrons of an art of this type. Arts head John Frohnmayer, appearing before a jority rule; it is about protecting minorities of every commission investigating Erwin Knoll, editor of the Pro­ NEA grant policies, holds up gressive magazine and a sur­ a photograph of Holocaust vivor of the Holocaust, survivors at Buchenwald and knows where this leads. He declares the image to be one has spent his life in a pas­ of the kind that viewers should sionate battle for the Bill of not be forced to confront in a Rights, especially the First museum — at least if NEA Amendment In his down­ money is involved. Even now, town Madison office, in re­ when I really need the words, sponse to the first sentence I am without the language to of this essay, he spoke to me express fully what this mon­ of an atmosphere of "fear and strously stupid act revealed to intimidation" prevalent in me about Washington, maybe America. An atmosphere even America. Have we no characterizedby "preemptive memory? Has the Koonsian strikes against freedom." economics of the art market so debased our humanity that "There is a mentality of re­ we no longer see a connec­ pression," Knoll said, "that tion between societal moral­ constitutes a continuum that ity and culture? Morality? Cul­ ranges from the denial of due ture? Where have I heard that process and the application recently? of censorship through the taking of any means against law-breakers to deciding Next thing I know, two syna­ Buchenwald prisoners in 1945. Photo by Mugvet Bourke While. gogues in Madison are van­ what kind of music it's good dalized — broken windows, sprayed swastikas, kind. America has been the best place for Jews in for people to hear. It ends in being willing to act anti-semitic graffiti, the sort of thing that, according history; and that's because of freedom of speech, against our fellow human beings in ways that are to one member of the Jewish community, happens lack of censorship and the separation of church barbaric." every few years. But this time, in addition to "the and state. America is uneasy with difference, but usual," the attack included cutting the brake lines these civil liberties protect us all. It is a minority "If you have a fundamental respect for freedom and of the bus for the Jewish-community-sponsored issue. Jews are one minority among many." the dignity and intelligence of other people, then summer day camp, Camp Shalom. More than 30 you certainly won't exterminate them, but you also children could have been injured or killed. Nothing Frohnmayer's show-and-tell appalled her, but she won't try to decide what they may or may not read, happened, but only because the driver caught the wasn't surprised. She spoke about the "Undesir­ look at, or listen to. You have confidence in them. damage while making his daily safety check. able Art" show in Los Angeles, a show dealing with If you lack that confidence, then ultimately you can the "degenerate" (read "modern") art that Hitler be persuaded to exterminate them." Camp Shalom, while visibly connected to Madison's tried to stamp out. "This is an important thing. Not Jewish community, is a multi-ethnic and multi- for Jews, though. The Jews know already. It's the As I worked on final revisions for this essay, the religious program. Its theme this summer was world that needs to know. This is the opportunity morning paper brought me news that the NEA has "Celebrate Diversity." So if you feel that Jews are that Frohnmayer had. Photographs of guys doing established a panel to investigate "allegations of overly-sensitive as a group, it is possible to take things to each other with their fists — that's not obscenity" based on "a complaint from any reliable comfort in the argument that this act of sabotage obscene, it's just gross. Buchenwald is obscene. Six source." A spokesperson for the agency said the was not anti-semitic because the targets, children million, eight million people murdered, that's "reliable source" was meant to refer to members of age 5 to 11, could have been from any background. obscene. Frohnmayer could have spoken about congress, but that it might also include private It could have been your daughter. I will return to this. It has to do with humanity, not Jews. And individuals. Is this beginning to sound familiar to this point. dealing with our humanity is the purpose of art." anyone? This panel isn't a mandate from congress, it is an act of enthusiasm on the part of the NEA staff! In Madison I have seen frequent defacing of art in Seder is worried that legislation limiting the free­ public places. Some vandals hurl paint balloons. dom of the NEA will lead, gradually but inevitably, Other vandals express themselves by spraying their to censorship. People accommodate themselves to comments like dogs marking their territory. "Fuck limits. We resist at first and then, distracted by quo­ this public art." "Faggots out." And over and over, tidian demands, we lose touch with what we had (Continued on next page)

37 (Continued from previous page) percent of its respondents ready to give up the Bill Bruce Rosen, a leading Madison defense attorney, of Rights in order to solve the drug problem). I have in my library a pamphlet titled "Citations by has clients few of us would want for neighbors. Official Government Agencies of Organizations Sometimes, though, his clients are our neighbors The federal sentencing guidelines contain 37 pages and Publications Found to be Communist or Com­ and they step into a system of justice that has been of factors that might aggravate the seriousness of a munist Fronts." It was prepared by the House Un- altered markedly in favor of authoritarianism under crime (violence, use of a weapon, special talents, American Activities Committee in 1948. Among the the administrations of Nixon and Reagan — an etc.). There is only one factor considered in mitiga­ entries are the Almanac Singers, the American Art­ alteration that continues under George Bush. tion — cooperation with the prosecutor. And the ists congress, The American Committee for Anti- determination of whether or not you have been Nazi Literature, the Chelsea Jewish Children's School It is the mechanics of judicial process that sets the cooperative is solely at the discretion of that prose­ ("A place were Marxism is combined with instruc­ legal tone for the erosion of our freedoms. It is a dry cutor. The court has no power of review. And while tion in the native tongue."), the Freedom From Fear area without the strong visuals that would get it on the prosecutor is twisting your arm to plead instead Committee ("One of the Communist Party's latest the nightly news, but it is where old freedoms die of fighting in court, he or she is often trying to fronts. . .which was created to raise funds for the and new crimes find life. intimidate your counsel by threatening to seize the defense of the 19 unfriendly witnesses before the fee you paid — under a rule that prevents the (HUAC) investigation of Communist activity in We are the only country in the world with a rule passage of good title in the proceeds of crime. Hollywood, 10 of whom were indicted for con­ that protects us from agents of the state using When no one fights, all the lawyers get paid and tempt of congress."), theNationalCommitteeAgainst illegal means to find evidence to charge us with a everyone else goes to jail. Censorship of the Theatre Arts ("Communists re­ crime. It is called the exclusionary rule and permits gard the infiltration, manipulation, and control of defendants to prevent illegally seized evidence Freedom has nothing to do with systems set up to artistic and cultural media as one of the indispen­ from being presented to the jury. It is a way of efficiently dispose of problems. Freedom is messy. sable phases of their program of revolution."), the keeping the police in line. The Supreme Court has Sometimes justice in a free society is not as swift as Photo League, the Scottsboro Defense Committee, been carving out exceptions to this rule for the last we would like. Sometimes law isn't the answer to the Teen-Age Art Club, the Wisconsin Conference few decades, and Rosen believes that the Justices the problem. But when we make a law to solve a on Social Legislation and the Wives and Sweet­ are only waiting for the right case before they problem, the law doesn't go away when the prob­ hearts of Servicemen. There are 140 pages of cita­ eliminate it entirely. lem does. The law looks for its next application like tions, many of them theaters, bookstores, and or­ predator looks for its next meal. It is the hand ganizations of artists, musicians and writers. Fre­ The State now has the power to set up random holding the law's leash at any given moment that quently cited as well are organizations working for police roadblocks to stop and check everyone. This determines what goes on the menu. racial equality. is a gift from the war against drunk driving. Police roadblocks as part of everyday life in America! No issue is an island. The flag, 2 Live Crew, road­ We know better now, of course; and those were not When I grew up that was one of the things I was blocks, the NEA, police powers, Mapplethorpe, easy times. But these are not easy timesfo r Ameri­ told that a communist takeover would bring. race, gender, high-school reading lists, religion, cans, either. The economy has not been good to Another was day care. Have I missed something? reproduction, you name it. The people who are many of us, crime is a cancer, racism is back and it making a list of what's right and what's wrong, of has more targets, our children, many of them, will Congress has eliminated the presumption of inno­ who's in and who's out are chewing away at the not be able to live as well as we have, and on and cence at the detention hearing for federal crimes circle of protections that make us sometimes un­ on. People want to know why, and there will punishable by more than 10 years imprisonment. pleasant, but always American. Your freedom is always be leaders to explain that some "enemy" is There is no absolute right to bail, no presumption the only guarantee of mine. We have to watch each making it happen. In the fifties we hated commu­ of innocence, no right to freedom while you plead other's backs. It can happen here. Don't ask who nists, and artists, we thought, were communists. your case. You are presumed dangerous, if not the next "Jew" is unless you are prepared to know Now communism is history and we can hate Ameri­ guilty, from the time of arrest. This is a gift to us it's you. >*** can artists on their own merits. Next? from the war on drugs. (A recent poll showed 70

TURN UP THE HEAT! Winner of Milwaukee Magazine's "Best of in jewelry UWM GREAT ARTIST SERIES at the Pabst Theater Stone Age^Jewelers Located in the Artists' Community of Riverwest QUEEN IDA & her Bon Temps Zydeco Band September 22

YOUSSOU N'DOUR & the Super Etoile de Dakar October 4

BRANFORD MARSALIS JAZZ QUARTET October 26

PHILIP GLASS ENSEMBLE in "KOYAANISQATSI, LIVE!" November 8

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36 Art Mu/cLe '...'• • A Play By •"< REYNOLDS PRICE ^ ', ' £f SEPT. 27—OCT. 14 ^/0F' m^^m ^BL Presented B\ W — Bfv* AMERICAN r • ."• INSIDE ^J~m? wmm -""": v< iV THEATRE ,^ ^r 1^ OTTESON IT 1 "* THEATRE •'.--'• • (at Carroll College) • si For Information And '".••," i .-*"••. Reservations \- 968-4555 £ £T A WISCONSIN * %^ PREMIER A "w Ty^T Tf^nn sh°w Tfanes: J^L 1 ^H 1 1 ^^^^^ ruesdav—student and senior matinee t^k 1 ]• • i ^^^k Wednesday Through Fridav-8:00 p.m. /-« • IV jBT I Ii ^^ Saturday—5:(M> p.m. and 9:00 p.m. £ ^^ V ^^P ^^„y jk^^y M Sunday-2:00 p.m. 1 I SNOW ra

Set in romantic Venice, this lavish Gilbert & Sullivan

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: ; : THE COCKTAIL HOUR by A.R. Gurney "!"- "-'-'..-' '. '5|l!Sfil;l L ; Steimke Theater. Nov. 9-25,1990

WHO'S AFRAID OF VIRGINIA WOOLF? by Edward Albee Stiemke Theater. Feb. 8-24,1991 THE WOMAN • NINTH ANNUAL SHAW FESTIVAL • Marquette Helfaer Theater.

May17-June9,1991 SAINT JOAN by Bernard Shaw THE DOCTOR'S DILEMMA BY HAVEL AND FOR HAVEL $te«totoe4 a&pjy at>$ msaied: to &£$o*ttfc 19 times (limited performances) mmh& &6 life of&& &w&kM h&®to&+ Harriet call 276-8842 for information ISitM^^^SM^^ V: :ll81;lllll|llllllllllilllll

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music by AQUA VELVEETA P'Y SPACE REFLECTIONS ON A RIVER DANCE COMPANY vJoin Wild Space Dance Company and s as they pe "Reflections on a Rivt snot only bridges" dus ark but also "reflects" on thesummer flohg celebration surrounding the Milyy^ukee River. The dance piece will be performed on T* on the river at the location of Pere Marquette Park and the PAC. This; $ performance.

OCTOBER 6th, 1990 at dusk (ap y 7:30 p.m.) •' RamOate: OCTOBER 7th For more information, call (414) 271-0307 • 'Sponsored in pari by The Milwaukee Foundation and the Kohler Foundation.

39 L A C A G E THE NEW SUNDAY SHOW LE BREAKFAST LE LUNCH LE DINNER With The Nationally Known & Acclaimed Artist THE LEGEND CONTINUES: BONNIE BITCH DINNER AT LE PEEP. As Your MC & Host

First was Le Breakfast. It became a legend. Then Le Lunch. Extending a proud tradition. NOW OPEN SUNDAYS Now Le Dinner. Because you asked for it. A tasty After The Show with new menu. Fresh Stir Frys. Chicken Parmesan, Marsala, Cajun and Cordon Bleu. Plentiful Pasta •BOY MUSIC' dishes too plus all your favorites from breakfast and lunch. Friendly service in a cheeful WEDNESDAYS atmosphere at a fair price. After 'Claim To Fame'

Le Peep. Doing for dinner what we did for with 'HIPHOUSE MUSIC breakfast. Served from 4:30 p.m. - everyday.

TWO LOCATIONS

250 E. Wisconsin Ave. • 273-PEEP 3900 W. Brown Deer Road • 355-8188 801-805 S. 2nd st. Milwaukee 383-8330

OTT TTIT • •_**_•• • • • LWAUKEE REPERTORY • • • • THE • • • • _•_• • • jflvKaH^MaS STIEMKE TV • SERIES OF 4 PLAYS 1990-91 SEiSO N

•" EDUCATING RITA by Willy Russell SEPTEMBER 29 - OCTOBER 14 The 198-seat black box Stiemke Theater •" WlNDOWSPEAK by Daniel A. Stein 108 East Wells Street OCTOBER20-NOVEMBER 4 Milwaukee, WI 53202 u IN-THE-WORKS m GUARANTEE YOUR MARCH 9-MARCH 24 SEASON SEATS CALL: •" MUD (414) 224-9490 by Maria Irene Fornes APRIL 20-MAY 5 .IVE BOLD INTIMATE LIVE BOLD INTIMATE LIVE BOLD INTIMA E LIVE BOLD INTIMATE LIVE BOLD INTIMATE LIVE Be w * i w r *

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40 Art Mu/cLe Whcrt do All of these hai/e in common...?

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AUDREE showroom/gallery: «"w- d°n9« ***• 242-8007 LEVY 3 ' (1 blk. cast of hwy. 57) WFME98.3EM J*l ^Milwaukee's Classical Choice . T CZ> -==1- SUBSCRIBE! Six bi-monthly issues for $12!

NAME: ADDRESS: **MUSCLE CITY:

Send $ 1 2 check to: Art Muscle P.O. 93219 Milwaukee, WI 53203 T-SHIR or call in your order and we'll bill you: 672-8485. $12, ENCLOSE CHECK white or black large or extra large ART MUSCLE (specify choices) magazine A\ Arts Organizations: Now-October 1 Please add Art Muscle to Scott Noel: Paintings and Drawings Lakeland College: Bradley Gallery, Sheboygan; your mailing lists 1/565-2111 Cedar Creek PO Box 93219 Now-October 7 Expressions 3 POTTERY Milwaukee, WI 53203 April Greiman, Rick Valcenti & Michael Van- Attn: T Gantz derby, graphic designers; UWM: Fine Arts Gallery; 229-5714 STONEWARE Deadline for Nov 15/Jan 15 Now-October 7 MBEP^ ifl^HI AND issue is October 22 Laurence Rathsack, Paintings Mary Tingley, MetaKvork; also PORCELAIN Quentin & Emmy Lou Schenk Collection of BY Ethiopiana; UWM: University Art Museum; art 229-4060 DAVID EITEL & PAT EITEL

exhibitions Now-October 7-^gSjA Katherine Ferwerda, paper forms N70 W6340 Bridge Road Robert Montoya, paintings & drawings wilsBBk Cedarburg, WI 53012 Continuing Lee Rieck, outdoor sculpture; Gallery 124 In Cedar Creek Settlement Multiple Choice: Wisconsin Art Kemper Center,65013rd Ave, Kenosha Contemporary Wisconsin artists; juried exhi­ I (414) 375-1226 bition; MAM: Cudahy Gallery; 271-9506 Now-October 9 Midwest Photography Invitation VI Continuing Ute Opening Oct 6 6-8:30pm; UW-Green Bay: OPEN 7 DAYS A WEEK ALL YEAR Governors Words Melt Lynch Mob Lawton Gallery, 2420 Nicolet Drive; 1 /465- Photography and sketch exhibit: Learn the 2271 personal side of citizenry cooperation which underpinned the struggle (or democracy in the Now-October 11 civil rights movement; America's Black Holo­ Final Draft caust Museum, 2479 N Martin Luther King Dr; Watercolor Wisconsin '90 Wisconsin Photography '91 Milwaukee area artists exhibit designs in vari­ 372-0690 ous media; UWM: Union Art Gallery, 2200 E open to all water-based painting tecinique s open to all Wisconsin photographers, over 18 Kenwood; 229-6310 Now-September 19 Artreach Exposure 1990 Now-October 13 Over $5,000 in Cash, New for '91 -- videos included! St John's Uihlein Peters Gallery,1840 N Pros­ Seek Opposites Merchandise and Purchase Awards Eight $100 Purchase Awards pect; 272-2618 Judi Golombowski, ceramic ware Todd Groskopf, photographs & silver gelatin Jurying: October 22, 1990 Jurying: December 10, 1990 Now-September 21 prints; Silver Paper Gallery, 800 E Burleigh; Annua! Juried Members Exhibition 264-5959 West Allis Art Alliance; West Allis City Hall, Juror: Neal Benezra, Juror: Denise Miller-Cole, Professor of Photography, 75th & Greenfield; 771 -2198 Now-October 15 Curator of 20th Century Art, Uncommon Links: Group Show Art Institute of Chicago Columbia College, Chicago Now-September 22 Barbara Bythell painting & drawing; Louise Screens, Silks & Silver Siskerub, handmade paper; Michelle Coakes, Exhibition Dates: 11/11-12/23/90 Exhibition Dates: 2/10 - 3/17/91 A. Houberbocken, 230 W Wells Suite 202; ceramics; Barbara James, painting & draw­ 276-6002 ing; John Trewitt, painting; Margaret Perry, For information, write or call: photography; Firestation Gallery, 5174 N Charles A. Wustum Museum of Fine Arts Now-Septembet 22 Hopkins; 462-5509 Four of a Kind 2519 Northwestern Ave., Racine, WI 53404 Lee Ann Garrison, Pat Beilman & Ron Bitticks; Now-October 20 (414)636-9177 members of MIAD's painting faculty; Milwau­ Donna Elliott: Watercolor Paintings kee Institute of Art & Design; 342 N Water; Pioneer Gallery, Sister Bay; 1 /352-9158 276-7889 Now-October 20 Wl isti im Now-September 23 George Cramer, computer assisted art & ab­ Karl Priebe: A Look at African Americans stract monoprints; /\ 60 paintings & other works by Mtkvaukee- Frances Myers, recent works; Peltz Gallery, born artist; Haggerty Museum, 13th & 1119 E Knapp; 223-4278 Clybourn; 288-7290

Now-October 20 Now-September 28 Marnie RIVERWEST New Forms The Harlem Renaissance Painted finishes, trompe I'oeil & contemporary R otter-y Photography induding work of James Van Der designs; Tory Folliard Gallery, 233 N Milwau­ Zee & photographs of works by Aaron Douglas 2711 N. Breman ^ GALLERIES kee; 273-7311 & Meta Warrick Fuller; The Black Historical 374 - POTS Society/Museum, 2620 W Center fues.-Fri. 2-6 Sat. 11-4 Now-October 21 Eleaance Lewis Hine Photographs Now-September 30 Life in Applachia during the Depression era; Stanly Boxer Paintings Artistry UWM: Art History Gallery; 229-5070 Function Posner Gallery, 207 N Milwaukee; 273-3097 Studio-Gal lory Now-October 21 833 E. Center Now-September 30 Nancy Fanning - 3372 Stvle Galcier Hills Art League: 3-D sculptural installations using paper & Tues.-Fri. 2-6 Sat. 12-6 Membership Exhibition decoupage; also Over 50 artists both amateur & professional Our Ladies of Art who reside in & around Washington County; Works based on famous images of women (ie, Silver Ra.per~ West Bend Gallery of Fine Art: Upper Gallery, Birth of Venus, Marilyn, Odalisque); John Gallery 300 S 6th, West Bend; 1 /334-9638 Michael Kohler Arts Center, 608 New York, 800 E. Burleigh Sheboygan; 1/458-6144 Now-September 30 264 - 5959 Color & Contrast Now-October 26 Tues.-Fri. 2-6 Sat. 1-5 Fortisse 15 Contemporary Mexican Artists Intense studies of color & contrast; The Blatz Opening Septl 61 -4pm;Walker'sPointCenter Gallery, 270 E Highland, 223-4774 for the Arts, 911 W National; 672-2787

Now-September 30 Now-October 28 Land of the Dinosours: Dinamation II Birds In Art Moving, growling, amimated dinosaurs; Mil­ 15th Anniversary of this exhibition which fea­ waukee Public Museum, 800 W Wells; 278- tures a broad band of the bird kingdom; Leigh 2751 Yawkey Woodson Art Museum, 700 N 20m, n •j&!La'Casiia& Wausau; 715/845-7010 Now-September 30 Contemporary Glass from the Sheldon & Joan Now-October 31 Barnett Collection Hexican'Cafe Glass, Photography and Sculpture Includes artists Harvey Littleton, Dale Chihuly & Founder's Square Gallery, Main Street, Fish Dominick Labino; works which demonstrate Creek; 1/868-2254 the evolution of the studio glass movement; "specializing in MAM: South Entrance Gallery; 271 -9508 Now-October 31 Group Show the cuisine of Now-September 30 New works by gallery artists Masdo Ido, Herb Jean Juhlin Johnson & Larry Volk; Larson Gallery, 790 N the southwest" Sculpture; PAC: Magin Gallery; 273-7121 Jackson; 277-9797

Now-October 1 Now-November 1 David Anderson Dick Osterling Sculpture; Woodlot Gallery, 5215 Evergreen Abstract oil paintings on canvas; Elements of Dr, Sheboygan: 1/458-4798 Art & Design, 300 W Juneau; 278-0299

Now-October 1 Now-November 4 Glass: Jay Koffler, Joe Nielander, George Group show featuring the works of regular Bucquet & Mark Boutte exhibiting artists; Artspace: Woodlake Com­ Photography: Ray Hartl, Daniel Anderson plex, Village of Kohler; 1 /458-6144 Sculpture: Thomas Queoff; Founder's Square 2014 N. Farwell • 277-1177 Gallery, Main Street, Fish Creek; 1 /868-2254 lX Art Mu/cLe Now-November 10 October 1-31 Theater In The Works The Harlem Renaissance The process on paper: ideas that become the Photography induding work of James Van Der set & costumes for a finished show; Piano See & photographs of works by Aaron Douglas Gallery, 219 N Milwaukee; 276-3525 & Meta Warrick Fuller; King Library, 319 W Locust; 278-3098 Now-November 11 Contemporary Russian Art: October 1-31 Views from Without & Within Liz Learmont ADVERTISING AS ART Komar & Melamid & Maxim Kantor Masks; PAC: Magin Gallery; 273-7121 Mixed media works & paintings; opening reception Sept 13 7-9pm (lecture 6pm); October 1-November 3 a contemporary response to a complicated age Haggerty Museum, 13th & Clybourn; 288- Warsaw Academy of Fine Arts Exhibition 7290 Over 200 pieces by 70 graduate students including graphic design, drawing, prints & Now-November 11 illustrating; reception Oct 14 2-5pm; Milwau­ Natural Commodities/Industrial Artifacts kee Institute of Art & Design: Frederick Layton A look at contradictory attitudes toward art & Gallery, 6th floor, 342 N Water; 276-7889 its functions; John Michael Kohler Art Center, 608 New York, Sheboygan; 1/458-6144 October 3-November 11 Pop Art Now-November 18 Selections from the Dayton Art Institute Collec­ Black Art- Ancestral Legacy: tion of major American artists of the 1960's- The African Impluse in African American Art 70's; West Bend Gallery of Fine Arts: Upper Works by 50 artists of African descent which Gallery, 300 S 6th; 1 /334-9638 illuminate many of the boundaries between fine, decorative & ritual art forms; MAM: October 7-28 Journal/Lubar Galleries; 271 -9508 Underbrush / 156 Jackson Street Suite 3 • Oshkosh, Wisconsin 54901 • 414-235-9090 12 Thea Kovac; watercolor and mixed media September 14-October 19 painting; opening Oct 71 -3pm; First Unitarian Eva Choung-Fux Church, Common Room Gallery, 1342 N Astor; Wood-cut paintings & photographs; Ripon 273-5257 College: Lane Library Art Gallery; 1/748- 8115 October 11-27 Third Benefit Art Auction Exhibition September 15-October 17 140 works from artists & galleries across the Michelle Grabner, Gallery I nation to be offered for sale, artists include RECYCLE OR. Dl E I Henry Klimowicz, Gallery II Stella, Motherwell, Warhol, Dine, Close & Opening Sept 15 8-11 pm; Metropolitan Gal­ more; Auction Preview Oct 11 5:30-8pm; lery, 900 S 5th; 672-4007 MAM: South Entrance Gallery; 271 -9508 1 e s eu>IHtJ September 16-October 14 October 16-November 11 S^^M » "I?B Steffens-meier Religious Art 18th Annual Art Faculty Exhibition Recent work by 89 year old Sister Helena Opening Oct 16 5-7:30pm; UW-Green Bay: Steffens-meier who has achieved national Lawton Gallery, 2420 Nicolet Drive; 1 /465- W STORE HOUR/." recognition for her simple religious art; open­ 2271 S-T:U-6 ing reception Sept 16 4-6pm; Alverno College: W-F S12-8 Art and Cultures Gallery, 3401 S 39th; 382- October 16-January 6 SAT. 10-6 6149 Treasures of the Tar Pits Fossil specimens including skeletons from the September 16-October 21 La Brea tar pits; Milwaukee Public Museum; Bliy- SELL - TRADE BUYING HOUR/: Nancy Lamers, watercolors 800 W Wells; 278-2702 T-FM-4 Kathleen Forecki Raash, oil paintings & draw­ 2217 N.FARWEU AVE. ings; Mount Mary College; 2900 N Meno­ October 19-November 14 monee River Parkway; 258-4810 Photographers on Photographers, Gallery I Stanely Ryan Jones, Jim Brozek, Francis Ford September 20-December 9 J. Shimon & J. Lindemann; also From Gainsborough to Pearlstein: Robert Paul Ulrich, Gallery II A Decade of Drawings Acquisitions Opening Oct 19 5-10pm; Metropolitan Gal­ Focuses on major drawing & works on paper; lery, 900 S 5th; 672-4007 included are Federico Zuccaro, Rosa Bonheur, Adolf von Menzel & more; MAM: Segel Gal­ October 19-November 15 4016 N. Oakland Ave. lery; 271 -9508 Halloween Extravaganza Temple of Osirification; weird & surreal; Arti­ DASHBY Shorewood, WI September 21-October 14 san Trade Galleries, 137 E Wells; 271 -8200 Bernard (Dakota) James (414) 964-1133 Recent paintings & installations; Artisan Trade October 19-November 17 DESIGNS Galleries, 137 E Wells; 271 -8200 John Balsley: New Sculpture The Figurative sculpture; opening Oct 19 6-9pm; September 23-October 21 Michael H. Lord Gallery, 420 E Wisconsin; Presents Sitting Ecuadorian Weavers 272-1007 A Fine Furniture Sleeping 60 tapestry weavings created by the Saiasa- Exclusive! cha Quechua, a group of 10,000 ethnic Indi­ October 19-November 19 Space ans from Equador; St John's Uihlein Peters Joyce Rody one woman show featuring water- Gallery, 1840 N Prospect; 272-2618 color portraiture; Opening Oct 19 6-9pm; Place Nance's Restaurant, 316 N Milwaukee; 792- The BROUWER September 23-October 28 1336 Bed Bright Visions: The Making of Myth The Original Juried exhibition which explores the art of the October 20-November 30 mythmaking potential based on female expe­ Inside Out Award-Winning riences; opening Sept 23 1 -4pm; Rahr-West Demetra Copoulos, Bill Gregory, Nathan Convertible Futon Sofa Art Museum, Park Street at N 8th, Manitowoc; Guequierre, Jean Roberts G, & Michael Zydzik; 1/683-4501 sponsored by MAM Cudahy Gallery at Fires- tatbn Gallery, 5174 N Hopkins; 271 -9508 September 23-November 4 Point of View: October 19-December 16 Fine Furniture, Fun Furniture, Home Accessories Contemporary Dutch Jewelry & Design Local Visions: Wearable & sculptural jewelry by 18 artists Folk Art from Northeastern Kentucky from the Netherlands; also Work of 17 artists; opening reception Oct 19 Sit a Spell and Have A Cup 5-9pm; UWM: University Art Museum; 229- Chairs & teapots from many cultures; also 5070 Recent Acquisitions in Ceramics Wustum Museum of Fine Arts; 2519 North­ October 21-November 18 western, Racine; 1/636-9177 Studio 90 UWM Studio Art Faculty Exhibition September 27-January 6 Recent works; opening reception Oct 21 2- From Talbot to Mapplethorpe: 4pm; UWM: Fine Arts Gallery; 229-4946 A Decade of Photography Acquisitions Works breaching a broad range of aesthetic & October 26-November 9 expressive concerns; Photo-Secession, Ameri­ American Totems: can Pidorialism, 1920-30's Modernism, So­ In Collaboration with Bebe Miller cial Landscape & more; MAM: Teweles Gal­ Multimedia exhibit exploring cultural heritage; lery; 271-9508 opening reception Oct 26 6:30-7:45; Alverno College: Art & Cultures Gallery; 382-6044 September 28-October 27 Anniversary Show October 26-November 16 A sampling of artists represented over the past Lost & Found 2 years; opening Sept 28 5-8pm; A. Houber­ Students, local & regional artists exhibit works bocken, 230 W Wells Suite 202; 276-6002 which incorporate found objects; opening Oct 26 7:30-10pm; UWM: Union Art Gallery; September 29-October 27 229-6310 Joyce Marquess Carey Solo exhibition of fiberworks; Bank One, 111 October 28-November 18 E Wisconsin; 256-1537 Patriotism Recreated Robert Zigman's private collection of World Warl &WorldWarll posters; St John's Uihlein Peters Gallery; 1840 n Prospect; 272-2618 A3 October 28-November November 16 September 23 Jeanette Pasin Sloan, watercolors & prints American Indian Dance Theatre Tandem Press Glenda Puhelc, recent works; reception Oct 28 Performers from 15 tribes; 8pm; $18 & $22; Comtemporary print sale & showing; 2-7pm; 3-5:30pm; Peltz Gallery, 1119 E Knapp; 223- Pabst Theater, 144 E Wells; 229-4308 Peltz Gallery; 1119 E Knapp; 223-4278 4278 October 4-7 Swan Lake November 16 & 17 September 25 Foothold Dance Performance October 31-December 2 Milwaukee Ballet WPCA Benefit City Exchange Series: Women From UWM & From Marble into Bronze: Th 7:30pm, F,Sa 8pm, Su 1:30 & 7:30pm; $6- Reception & lecture by curator of the exhibit 15 Friends; 8pm; $8/$6/under 12 free; UWM: Transformations in American Sculpture $45; PAC: Uihlein Hall; 273-7206 Contemporary Mexican Artists 6pm; dinner Union Art Gallery; 278-0717 Figurative work from the 19th through early 8pm; $25 & $45; Walkers Point Center for the 20th century; opening reception Oct 31 5- October 6 Arts, 911 W National; details 672-2787 7pm; UWM; 229-5070 Reflections on a River November 17 Wild Space Dance Company Ko Thi Dance Company September 26 November 2-December 12 Performed on a barge in the Milwaukee River $8-$l 6; Alverno College: Pitman Theater, 3401 Senior Day In Memory of Lily at Pere Marquette Park & the PAC; dusk S 39th; 382-6044 Special morning with lours & refreshments for Jean Stamsta Installation; WPCA; 911 W (7:30pm); free; raindate Oct 7; 271 -0307 senior citizens; 10-noon; MAM: Vogel/Hel­ National; 672-2787 faer Galleries; 271-9508 October 7 November 2-January 2 Animal Faire September 30 Metropolitan Views Dancecircus September 14 Mushroom Fair Unique cityscapes; induding work of Milwau­ Animals & their habitats; audience participa­ Ebony Fashion Show 7th Annual fair features activites & displays kee photographer Arnie Gore; Larson Art Gal­ tion; 3pm; $5 ($2 children); Jewish Commu­ 8pm; $20; PAC: Uihlein Hall; 273-7206 about mushrooms; arts, crafts, films, magic lery, 790 N Jackson; 277-9797 nity Center: Ritz Theatrer, Soref Building, 6255 show; Milwaukee Public Museum; 800 W N Santa Monica; 964-4444 September 14-16 Wells; 278-2751 November 4-December 1 CityWest/Artfest Joyce Winter, Many Faces of Winter October 21 2nd annual performing arts festival featuring October 5 Paintings, drawing & constructions; artist re­ Ballet Francois de Nancy music, dance, theater, storytelling & a variety First Friday ception Nov 4 2-4pm; Le Court Salons, 1424 Works by Nijinsky & Balanchine; 8pm; $12; of related workshops and exhibition booths; Evening of art, hors d'oeuvres & live music; W Mequon Rd; 241 -5252 UW-Parkside: Communication Arts Theatre, MacArthur Square; info 271-2828 5:30pm; $3 members $4 non members; MAM: Kenosha; 1/553-2278 Vogel/Helfaer Galleries; 271-9508 November 8-January 6 September 15 & 16 Portraits & Prospects: October 19-21 & 25-27 Riverwest Artwalk 90 October 5-7 British & Irish Drawings & Watercolors Night of the Electric Insects ,Rita & Studio & gallery tour; 11 am-6pm; $3/$2; 8th Annual Benefit Leigh Yawkey Woodson Art Museum; 700 N A World Premiere Riverwest Artists Association Milwaukee County Historical Society 20th, Wauwau; 715/845-7101 Bauer Contemporary Ballet 25 exhibitors; fine antiques; preview party Oct Th 7:30pm, F,Sa 8pm, Su 3pm; $10/$8; September 16 4 6-9pm; silent auction; free appraisals Su 2- November 9-January 6 727N Milwaukee; 276-3180 Heritage Festival of the Arts 4pm; Mackie Bldg: Grain Exchange Room, Treasures II Art exhibit & sale, music, craft workshops for 225 E Michigan; 273-8288 children & adults; 9am-5pm; Marian College, 2nd Annual exhibition features small works; October 26 & 27 45 S National, Fond du Lac; 1 /923-7656 John Michael Kohler Arts Center: Artspace, Bebe Miller & Company October 7 Woodlake Complex, Village of Kohler; 1/ Contemporary dance company from New York; Harvest Fest/Grand Opening Celebration September 21 & 22 458-6144 $10-$12; Alverno College: Pitman Theater, Cider squeezing, corn grinding, log sawing, 3401 S 39th; 382-6044 Boulevard Ensemble Benefit music & family fun; 11 am-4pm; free; Riv- A program of acting workshop scenes; 7:30pm; November 11-December 7 eredge Nature Center, 4428 Hawthorne Dr, Clay and Conservation November 8-11 contributions welcome; 2250 S Kinnickinnic; Newburg; 375-2715 Abe Cohn, ceramics L'Ardeur; Dane La Fontsee, choreographer 672-6019 Linda Sugarman Mollick, paintings World premier; Kathryn Posin, choreographer October 12-31 Jewish Community Center: Fishman Gallery; & a George Balanchine ballet (TBA) September 22-23 Mystery Mansion 6255 N Santa Monica; 964-4444 Milwaukee Ballet Craft Fair USA Historic Pabst Mansion is transformed into a Th 7:30pm, F,Sa 8pm, Su 1:30 & 7:30pm; $6- 400 craftsmen & artists; 10-5pm; Wisconsin haunted house; $5 $3; Pabst Mansion, 2000 November 14-December 9 $45; PAC: Uihlein Hall; 273-7206 State Fair Park: Indoor; 321-4566 W Wisconsin; call for times 931 -0808 South Australia's Young Street Print Workshop Upper Gallery; also November 15 September 22 & 23 October 19 Wisconsin Art History/West Bend Galleryfs The Koslov Youth Dance Ensemble of Moscow Milwaukee Fall Art Fair Gallery Night Collection; Lower Gallery; West Bend Gallery Dances representing the various republics of 160 contemporary & traditional artists and Area galleries and museums open for viewing of Fine Arts, 300 S 6th; 1 /334-9638 the Soviet Union; 8pm; $12; UW-Parkside: craftspeople; Sa 10-8pm, Su 11 -6pm; $3; 8t receptions; 5-9pm; lecture 5:45 MAM: Communication Arts Theatre, Kenosha; 1/ Mecca Arena; 271 -4000 Vogel/Helfaer Galleries; free; 271-9508 553-278

h MILWAUKEE MOTION WORKSHOP -

%* Studios of Betty Saiamun's DANCECIRCUS ^^/p 404 S. 7th Street, (Access from Virginia St.) A prestigious apartment residence located in the fashionable JHL Six Week & Ongoing Sessions in,.. HISTORIC THIRD WARD ^ ^^L • Modern Dance • Large 1 and 2 1 Near Lakefront, bedroom units with Downtown & East • ^ ^vJazz unique floor plans. Side yi ^ ^ Creative Movement • Euro-Style • Secure Building Gourmet Kitchen £r^^^ • Relaxation Classes • Washer/Dryer & • Classes For Children • Flexible leases Microwave • Bharatha Natyam 234 N. Broadway On Broadway and Buffalo Call 272-MOVE 4 blocks south of Wisconsin Ave. Open daily, Mon-Fri 12-6 Sat-Sun 12^t ClassesStartSoon For information. 272-2217 Professionally Managed by Ogden & Co.

llllliliiili George Cramer Computer Assisted Art & Monoprints September 9th - October 20th * Sept.23rd - one day only- Peltz Gallery Jeanette Pasin Sloan welcomes Tandem Press! Contemporary Watercolors & Fine Prints print sale and showing. 2:00 p.m. - 7:00 p.m. 'Oct.14th -one day only- Peltz Gallery Reception: Sunday, Oct. 28th Consignment print sale. 2:00 p.m. - 3:00 p.m. - 5:30 p.m. and Frances Myers 7:00 p.m. Durer, Matisse, Rembrandt, Rouault, Gallery talk by Artist 3:30 and Glenda Puhek Whistler and many others. Recent Works Open for Gallery Night, Embroidered Prints L Peltz Gallery mg E. Knapp St. October 19th AA AYt MU/cLe October 19, 20, 26-31 October 20 Halloween Hauntings Bush Mama Flash light tours of darkened exhibit halls in Haile Gerima; 8pm; free; UWM: Union Cin­ search of eerie creatures; Milwaukee Public ema Museum; 800 W Wells; 278-2751 October 20 & 21 STORY! October 20 & 21 Haiti-Dreams of Democracy A Country Affair Documentary taped in the streets of Port-au- Show featuring antiques, folk art, home-food- Prince; 2pm; MAM: Multi Media Theater; 271 - preserving, home-cooking; $2.50; Ben Fran­ 9508 klin School, N81 WI 4701 Franklin Dr, Meno­ monee Falls November 3 8c 4 niPOTTERY Sun Ra: A Joyful Noise October 27 Back Inside Herself CUSTOM-DESIGNED INSTALLATIONS: TABLES. FLOORS, Third Benefit Art Auction 2pm; MAM: Multi-media Theater; 271-9508 FIREPLACES AND ARCHITECTURAL ACCENTS Live auction by Richard S. Wolf of Sotheby's TILES North America 8pm, silent auction begins 6:30pm; $150 per person with proceeds going — TABLEWARE WHEEL-THROWN STONEWARE to Art Acquisition Fund; MAM: South Entrance Gallery; tickets 8c info 271 -9508 ext 260 Ongoing Process Psychology Study Group October 27-28 Based on the work of Arnold Mindell; alternate Antiques Show & Sale Mon 8c Wed; 6:30-8:30pm; $20/session; 37th Annual; Sa 10:30-6pm, Su 10:30-4pm;$3 Mind's Eye Institute, 16445 Audrey Lane; 786- donation; Cedarburg High School, W68 N611 1120 Evergreen Blvd Ongoing HARRIET STORY, 105 COMMERCE STREET, MINERAL POINT, WI 53565 October 27-28 Beyond Drawing Craft Fair USA Basic drawing with metaphorical analysis; Tu 400 craftsmen & artists; 10-5pm; Wisconsin l-3pm, M or W 7-9pm; $15/session; info State Fair Park; 321 -4566 871-8176

November 3 September 14-16 Grecian Odyssey CityWest 23rd Annual Opera Ball, black tie benefit for Festival of the performing arts will feature the Florentine Opera Company; cocktails & workshops in music, dance & theater as well as silent auction 6:30pm; dinner 8pm; Pfister entertainment 8c special children's workshops; % Hotel: 424 E Wisconsin; info 786-1481; reser­ MacArthur Square; info 271 -2828 •

November 3,4 September 17 815 South 5th Street Tactile Gestures Monday Night Juggling the Heart of Historic Walker's Point Porcelain pottery by Dick Woppert; includes Open juggling session 7-9pm; Friends Mime demonstrations; Marnie Pottery, 2711-13 N Theater: workspace at Lincoln Center for the 645-3435 Bremen, 374-POTS - Arts; 820 E Knapp; 271 -8484

November 4 September 19 Black Art Acquisiton Dinner Computer Design Seminar Benefit to raise funds for the purchase of Craig Beedy & Erig Berna; 7:30pm; UWM: African-American art; 4pm; $100; MAM; info Fine Arts Gallery; 229-4946 271-9508 September 19,26 October 3, 10 November 9 Mime, Pantomine 8c Physical Characterization Benefit Concert with Screamin' Eagle Wednesday workshops;$45; 6:30-8pm; Concert to support normalization of relations Friends Mine Thearer: workspace at Lincoln with Viet Nam/Benefit for Vietnam Veterans Center for the Arts; 820 E Knapp; 271 -8484 Against the War; Screamin' Eagle will perform the 1 st 3 Jimi Hendrix albums; Bob Reitman is September 20 master of ceremonies; 9pm; $5; Shank Hall; Expression 3 info 963-0398 Harry Wirth 8c Steve Quinn, co-curators ot the exhibit; 7:30pm; UWM: Mitchell Hall, Rm November 18 195; 229-4946 Rhythms of Life A fashion-entertainment production (featuring September 20-October 26 local performing arts groups), silent auction & Art to Wear reception; proceeds benefit Milwaukee Aids Class: painting, stitchery, quilting 8c mixed Project; 3pm; $30; at Skylight Opera Theatre, media; Th 7-9pm; $54; Mount Mary College, 813 N Jefferson; tickets available after Oct 15 2900 N Menomonee River Pkwy; 258-4810, at Malcolm of London, 1924 E Kenihvorth; xt288 278-0990 September 22,29 October 6,13 Stage Combat f i I Saturday workshosps 10-11:30pm; $45; Friends Mime Theater: workspace at Lincoln Ongoing Center for the Arts; 820 E Knapp; 271 -8484 Video Support Group Movies as metaphors; selections by group September 24 agreement; free popcorn; 2nd & 4th Fridays; Martina Masaquina $15/session; info Sandra Zahn 871 -8176 Lecture and demonstration on weaving tech­ niques; St John's Uihlein Peters Gallery; 272- Weekly Screenings 2618 Films & videos; T 5:30-7:30pm, WI 1:30pm- 1:30pm & 5:30-7:30pm; free; UWM: Mitchell October 4 Hall, RmB-91; info 229-6015 Building Meaning into Dreams Think of yourself as a house...your dreams September 25, October 2,9,16 & 23 do..." 7-8:30pm; free; Northbrooke Center, ADVERTISE PAC Cinema Series 2600 N Mayfair Rd; RSVP 453-2273 Sept 25 - Topper Takes a Trip (1939) Oct 2 - Romeo & Juliet (1936) October 5 IN Oct 9 -Show Boat (1951) Antique Mirrors Oct 16 -TheBlue Bird (1940) Michael Corbett discusses antuiqe mirrors; Oct 23 - Dancing in the Movies (clips) 10:15 m; Marshall Fields, Grand Avenue; Tu 12:30pm; $1; PAC: Vogel Hall; 273-7206 273-8288

October 6 October 7-November 11 Jidyil Family Sundays The Wandering Jew shows up in Milwaukee 8c Art workshops 8c programs for children 8c wanders through Western History; By Dick families; l-4pm; free; MAM: 271-9508 Art Muscle Blau, with performance & music by Yehuda Next Issue: Nov. 15 - Jan. 15 Yannay; 8pm; UWM: Fine Arts Recital Halt- October? info 229-4308 Multiple Choice Ad Deadline: October 20 Gallery talk by Janet Treacy;l :30 pm; MAM: October 6 Cudahy Gallery of Wisconsin Art; 271 -9508 GangaZumba Haile Gerima; 8pm; free; UWM: Union Cin- October 11 CALL Pop Art Jeffrey Hays, Assistant Professor Art History October 6 & 7 UWM; 7-8pm; West Bend Gallery of Fine Arts, Brightness 300 S 6th; 334-9638 672-8485 Considered the best African film ever made; 2pm; MAM: Multi Media Theater; 271-9508 October 11 The Song that Named the Land: Congo-Influenced US Art Dr. Robert Farris Thompson; 7pm; MAM: ART CRITICISM UPJHRi Vogel/Helfaer Galleries; 271-9508 October 2-16 Poetry & Religious Themes WORKSHOP 7jH Bf/ i^3^9^^m K^lHkSsuujiX October 11-14, November 17 This course will treat religious themes in poetry, Bus Trips Sponsored by Wustum Museum 3 Tu; 4:30-6:30pm; $40; Marquette Univer­ Oct 11 -14 - Twin Cities Art & Theatre Bus Tour Art Muscle Magazine and the 7 sity, 1918 W Wisconsin; 288-7345 ---S^wBmf |9BH>/ *8K^~^ Nov 17 - Art Institute 8c Terra Museum in Haggerty Museum of Art at Chicago; info 1 /636-9177 October 13 Marquette University are offering Richard Lederer October 14 Reading from The Play of Words; includes a Criticism Workshop with Fragment I for Composition VII brunch; 10am; $10; Astor Hotel; info 332- Wassily Kandinsky Russian art critic Alexander 9560 Dean Sobel; Master of the Month Gallery Yakimovich. Talk;lpm; MAM: Bradley Gallery; 271 -9508 1 October 20 iM^alife ' ^^P^tepiY- Martin Rosenblum October 18 An evening of poetry & music with the Holy Friday, October 19 Gilbert Stuart FOOTHOLD DANCE PERFORMANCE Ranger & his Blues Rider Band; 8pm; UWM: Slide lecture by William Kloss, art historian on 7 to 8:30 p.m. Fine Arts Recital Hall; 229-4308 City Exchange Series: the work of the American portraitist; 6:15pm; Haggerty Museum MAM: Vogel/Helfaer Galleries; 271-9508 Women from UWM and Friends October 20 Marquette Campus November 16 & 17 Literary Bus Tour of Milwaukee October 18 With John Gurda; 9:30am-l 3:30pm; $8; info Free UWM Union Art Gallery, 8 p.m. A Critical Perspective on Contemporary Art in & reservations 332-9560 $8 general, $6 students, children under 12 free. Russia Alexander Yakimovich, Russian author & art 278-07 17 October 25 critic; 7:30pm; Haggerty Museum: Straz Art and Culture of the Harlem Renaissance Hall,13th & Clybourn; 224-1669 Dr. Doreatha Mbalia & Dr. Ahmed Mbalia discuss the book Harlem on My Mind by Allon October 19 Schoener; 6:30-8pm free; King Library, 310 expect something different! Art Criticism Workshop W Locust; 278-3098 Led by Alexander Yakimovich; 7-8:30pm; Haggerty Museum; 13th & Clybourn; 224- 1669

October 20 Ongoing Black Art • Ancestral Legacy Symposium Jazz Oasis Panel discussion featuring artists, educators & M, Jam Session with Neal Chandek, 9:30pm; historians explores issues raised in this exhibi­ Tu, Latin Jazz Night, 8pm; W, David Hazelt- tion; 9am-12; MAM; Vogel/Helfaer Galleries; ine, 9pm; F, Hattush Alexander, John Fos- Contemporary Women's Apparel 271-9508 hager, Bob Siegel & Mike Schlick, 9:30; Sa, Hattush Alexander, John Foshager, Jim Tor- Imago presents a total look in unique, affordable fashions and October 20 gan & Vic Soward, 9:30; free except F,Sa $2; accessories. You can expect personal service, a full range of sizes, Forum: Art, Culture & Politics: 2370 N Holton and an exciting and ever-changing inventory. If you count Toward Democratization of Art in the Soviet yourself among those of us who favor a look apart from the rest Union Ongoing then we have a lot in common. Alexander Yakimovich, Vladimir Gakov, Yuri La Chazz Visit us soon! Karyakin; 10am-12; Haggerty Museum, 13th Th 8pm; Cafe Melange, 720 N Old World 3rd; 8. Clybourn; 224-1669 291-9889

October 22 September 12-16 From Spark to Realization: The Gondoliers Contemcxxarv vuomens Apcx*ei ^fW LW On the Creative Process Gilbert & Sullivan Bebe Miller, Mark Anderson, Jerome Kitzke & Open daily 10-9, Sat. 10-5, Sun. 12-5 Skylight Opera Theatre Loehmann's Plaza, Market Square, Bluemound & Calhoun Rds. 782-9530 Dara Larson; panel discussion; 7-8:30pm; free; W 7:30pm, F,Sa 8pm, Su 2 & 7:30pm; $10- Alverno College: Wehr Hall; 382-6166 $35; Pabst Theater, 144 E Wells; 278-3663

October 23 September 14 TJiZ STUFF TJIAT VXEAMS Black Art - Ancestral Legacy PRESENT Music Gallery talk by James Mundy; 1:30pm; MAM: All new music concert featuring works by John Journal/Lubar Galleries; 271 -9508 Cage, George Crumb, Istvan Maria, John AXF MADE &£ Downey & Steve Reich, hosted by Rip Tenor can be found at October 23 with special appearance by Art Kumbalec; F Open Dance Rehearsal 8pm; $10; UWM Fine Arts Recital Hall; 271 - Bebe Miller Dance Company 0711 Free; time TBA; Alverno College: Pitman The­ atre; info 382-6166 September 14-16 October 25 Milwaukee Symphony Orchestra From Poussin to Matisse: Zdenek Macal, conductor The Russian Taste for French Painting Peter Donohoe, pianist; F 11 am, Sa 8pm; Su Robert Eskridge; 7pm; Golden Rondelle Thea­ 7:30pm; $12-$40; PAC: Uihlein Hall; 273- ter, Racine; info 1/631-2154 7206 with tlfe knowledge October 26 September 15 thatAllLife Robert Mapplethorpe: Freedom of Expression Buddy Montgomery & the 1 st Amendment Milwaukee Jazz Experience; 8pm; $12 ($10 Is Surreal Dennis Barrie advance); PAC: Vogel Hall; 273-7206 Director of the Contemporary Arts Center, Cincinnati, discusses his recent arrest in con­ September 21-23 137 East Wells Street nection with the Mapplethorpe exhibition; 8pm; Pops Goes the Beatles Milwaukee, AVI 53202 free; UWM: Bolton Hall Rm 150; 229-5070 Milwaukee Symphony Superpops Newton Wayland, conductor; F,Sa 8pm, Su C414) 271-8200 October 29-December 17 7:30pm; $12-$40; PAC: Uihlein Hall; 273- We Deal With TJhe Originals. Creative Writing Workshop 7206 8 Mondays, 6:15-9:15pm; $150; Marquette University; 288-7345 September 22 Alexander and Radmila Radicevich's Queen Ida & Her Bon Temps Zydeco Band October 31 8pm; $13 & $16; Pabst Theater, 144 E Wells; From Marble to Bronze 229-4308 Linda Brazeau; 4pm; UWM: Art History Gal­ lery; 229-4060 September 23 Fine Arts Quartet Cld November 6 Music of Mozart, Verdi & Beethoven; 3pm; From Talbot to Mapplethorpe UWM: Fine Arts Recital Hall; 229-4308 Gallery Talk with Terrence Marvel; 1:30pm; September 23 tfcm MAM: Teweles Gallery; 271 -9508 Boston Shawm & Sackbut Ensemble Established 1971 November 8 William Bastion, tenor UWM Institute of Chamber Music Early Music Now SERBIAN GOURMET HOUSE Ceremonial, court & popular music of the The Christopher String Quartet: Learning in "A Delightful Experience" for lunch or dinner Retirement; 1:30pm; UWM: Curtin Hall, Rm Renaissance; 8pm; pre-performance talk 175; info 229-4564 7:15pm; $12-$l 4; Milwaukee Public Library: Centennial Hall, 733 N 8th; 271 -3335 Selected Wines, Liquors, November 15 Print Basics September 25 and Homemade desserts. Sam Lewis owner & operator of Nautilus, Inc; Sylvan Winds Strolling String Music. 7-9pm; West Bend Gallery of Fine Arts, 300 S Music of Haydn, Ginastera, Dahl & Foerster; 6th; 334-9638 7:30pm; $8/$7; St Paul's Episcopal Church, 914 E Knapp; 276-5838

September 25 522 W. Lincoln Ave. 414/672-0206 Kitt Reuter Foss, mezzo-soprano UWM Vocal Arts Series; 8pm; $6/$3; UWM: Bureks, Kajmak. Ajvar, Filo Dough to go. Credit cards accepted. Fine Arts Recital Hall; 229-4308 46 Art Mu/cLe September 28-30 October 24 Milwaukee Symphony Orchestra UWM University Band Classical Conversations John Bleuel, conductor; 12:30pm; free; UWM: Neal Gittlemun, conductor Union Concourse WEBSTER'S BOOKS OUT and ABOUT Stephanie Chase, violinist; F,Sa 8pm; Su 7:30pm; $12-$40; PAC: Uihlein Hall; 273- October 24-November 18 Saturday, October 13th, 10:00 am at the Astor Hotel. 7206 Harriet, the Woman Called Moses Join us for brunch with Richard Lederer, America's wittiest verbalist, Thea Musgrave who will be entertaining us with examples from his new book THE September 29 Skylight Opera Theatre PLAY OF WORDS (Pocket Books, $16.95) Odetta 20th century opera about Harriet Tubman; W Brunch and talk $10.00/person. 8pm; $8-$ 16; Alverno College: Pitman Thea­ 7:30pm, F,Sa 8pm, Su 2 8c 7:30pm; $18 & ter, 3401 S 39th; 382-6044 $25; 813 N Jefferson; 271 -9580 Saturday, October 20th, 9:30am -12:30 Literary Bus Tour of Milwaukee with John Gurda, who October 4 October 25 knows more about Milwaukee than just about anybody. Board Youssou N'Dour & the Super Etoile de Dakar Christopher String Quartet the bus at Webster's and see the History and richness of the African vocalist & 13-piece big band; 8pm'; 8pm; $4/$2; UWM: Fine Arts Recital Hall; city through its neighborhoods and buildings, plus references to $16 & $13; Pabst Theater, 144 E Wells; 229- 229-4308 Milwaukee's literary figures. $8.00/person. 4308 October 26 October 4 & 5 Branford Marsalis For further information and reservations call 332-9560 Stradivari Trio 8pm; $178. $20; Pabst Theater, 144 E Wells; Th 11 am, F 8pm; PAC: Vogel Hall; 273-7206 229-4308

October 5 October 26 & 27 WEBSTEES UWM Wind Ensemble & Symphony Band Milwaukee Symphony Orchestra Thomas Dvorak, conductor, 12:30pm; free; Zdenek Macal, conductor; Milwaukee Sym­ UWM: Union Concourse phony Chorus F,Sa 8pm; $12-$40; PAC: Uihlein Hall; 273- 2559 N. Downer Avenue October 7 7206 UWM Wind Ensemble & Symphony Band Robert Goodberg, guest flutist; 7:30pm; $6/ October 27 $3; PAC: Vogel Hall; 229-4308 The Capitol Steps Topical musical satire; benefit for the St Mary's October 8 Hospital Women's Cancer program; 8pm; $8- WISCONSIN Potpourri $17.50; Pabst Theater, 144 E Wells; Instrumental & vocal selections; 10:30am; free; GALLERY MacDowell Club of Milwaukee; 813 E Kibourn October 28 £T*74Cf- The Shanghai Symphony Orchestra October 8-11 7:30pm; $12-$40; PAC: Uihlein Hall; 273- Oktoberfest 7206 FRAME SHOP Ethnic dances, sing-a-longs & a dance contest- Noon; $24 includes lunch; PAC: Bradley Pavil­ October 29 "A Look at East Africa " ion; 273-7206 Pillow Pops Concert A series of Photographs by Stars Productions; 7pm; free; PAC: Bradley October 9 Pavilion; 273-7206 Keyboard Conversations with Jeffrey Siegel CURT BORGWARDT 7:30pm; $10 & $14; PAC: Vogel Hall; 273- October 30 Champagne Reception 7206 Mercury Wind Quintet 12:30pm; free; UWM: Union Art Gallery Sunday, September 9,2-5 p.m. October 10 (Exhibit continues thru 10/6) St Paul Chamber Orchestra October 30 Peter Bay, conductor; $9-$ 14; Alverno Col­ Todd & Ann Wilson lege: Pitman Theater, 3401 S 39th; 382-6044 Miller Organ Concert Series; 8pm; $9.50- Hours: M-F 5-8, Sat 12-5, Sun l-5p.m. $14.50; PAC: Vogel Hall; 273-7206 October 10, 11 & 16 2339 N. Murray Ave. 347-1241 Milwaukee Symphony Orchestra November 2-4 Youth performances; 10:30am & 12:30pm; Puccini: The Cloak $4 & $6; PAC: Uihlein Hall; 273-7206 Offenbach: The Lantern Marrige Great Lakes Opera Company October 11 Both operas sung in English; F,Sa 8pm, Su UWM Symphony Orchestra 2pm; $12 & $14; PAC: Vogel Hall; 273-7206 EMPEROR OF CHINA Margery Deutsch, conductor, 12:30pm; free; Chinese Restaurant UWM: Union Concourse November 2-4 Stringalong Weekend October 13 Folk dance & music highlight this vacation UWM Symphony Orchestra weekend for adults; YMCA Camp Edwards; Margery Deutsch, conductor; Saint Saen's contact UWM Folk Center for cost & details; Marche Heroique, Tchaikovsky's Symphony 229-4177 • WE DELIVER No5 &Hindemith's DerSchwanendreher; 8pm; $7/$3.50; Pabst Theater, 144 E Wells; 229- November 3 • Serving from four schools i — 4308 UWM Symphony Band of Chinese cooking Thomas Dvorak, conductor; with 2 Wisconsin We use 100% Vegetable Oil October 15 high school honors bands & the Greater Mil­ •NO ANIMAL FAT Amadeus! waukee Youth Wind Ensemble; 7pm; $6/$3; Milwaukee Chamber Orchestra 229-4308 • Homemade Sauces - Stephen Colburn, conductor; Robert Thompson, never processed. bassoon; with the Wsconsin Conservatory November 3 Chamber Singers; 7:30pm; $15; PAC: Vogel Seventh Annual Chamber Music Marathon Hall; 273-7206 UWM Symphony Orchestra 11 am-11 pm; Coffee Trader, 2625 N Downer; October 18-21 proceeds benefit the Orchestra's Performance The Merry Widow Fund "There's a little Chinese in everything we make.' Franz Lehar Milwaukee Opera Company November 6 Th 7:30pm, F,Sa 8pm, Su 2:30pm; PAC: Slovak Chamber Orchestra Vogel Hall; 273-7206 Music of Handel, Vivaldi, Respighi & Dvorak; 1010 EAST BRADY ST. MILWAUKEE, WI 271-8889 8pm; $25; Pabst Theater, 144 E Wells; 278- October 19, 10 & 22 3663 Milwaukee Symphony Orchestra Zdenek Macal, conductor; Andre Watts, pian­ November 8 ist; F,Sa 8pm, M 7:30pm; $12-$40; PAC: Koyaanisqatsi, Live! Uihlein Hall; 273-7206 Philip Glass & Ensemble 8pm; $18 & $22; Pabst Theater, 144 E Wells; October 21 229-4308 RIVERWEST-FOR RENT Box Death Hollow Jerom Kitzke November 14 x PRESENT Music Christopher String Quartet -Available October 1st- Premiere of a work dedicated to the North 8pm; $5; Piano Gallery, 219 N Milwaukee; American Indian son the centennial of Wounded Knee; 7:30pm; $10; StPaul's Episcopal Church, November 15 2100 Sq. Ft. former bar space for creative ventures. 914 E Knapp; 271-0711 Mercury Wind Quintet 8pm; $4/$2; UWM: Fine Arts Recital Hall; October 23 229-4308 Ideal for: Coffee House, Folk Club, Budapest Chamber Orchestra Music of Boccfherini, CPE Bach, JS Bach & November 15 Art Gallery, Etc, Tchaikovsky; 8pm; $25; Pabst Theater, 144 E UWM Symphony Orchestra Wells; 278-3663 Margery Deutsch, conductor; 12:30pm; free; UWM: Union Concourse *CouId divide space; partnership considered* October 23 & November 6 Music in the Museum November 15-18 Music & art history program featuring pianist Ariadne auf Naxos $600 per month, includes heat. Jeffrey Hollander & a curator; 5:30pm; MAM: Richard Strauss Abert Gallery; 271 -9508 Florentine Opera 901 E. Wright 265-5683 Sung in English & German with English super- titles; discussion in Magin Lounge 1 hr before each show; Th 7:30pm, Sa 8pm, Su 2:30pm; • • • ••• AAAAAA'AAAAAA. i.l.'.l.i.'.AAAgac BSS $8-$14; PAC: Uihlein Hall; 273-7206 u October 12-28 Steel Magnolias Robert Hading Sunset Playhouse RIVERWEST September 29, 30 Th,F 8pm, Sa 6 & 9pm, Su 7pm; $7.50; Sunset Joyce Scott Playhouse, 800 Elm Grove Road, Elm Grove; for rent Genetic Interfering, Genetic Engineering; 7pm; 782-4430 WPCA, 911 W National; 672-2782 October 17-November 11 Wright Street Gallery October 13 The Beams Are Creaking Douglas Anderson Harold Olejarz, street artist October 1, 1990 Publicity Performance; WPCA, 911 W Na­ Acacia Theatre Company tional; 672-2782 Story of Dietrick Bonhoeffer, a pastor caught in * $275 a month 1939 Germany; Th-Sa 8pm, Su 3pm; $9 & $11; 3300 N Sherman Blvd; 223-4996 Cooperative gallery space or living and work space October 19-November 10 A Soldier's Play or creative endeavors. Now-September 23 Hansberry-Sands Theatre Company When you think Art, Good Night Ladies 8pm; $12 (group rate $10); Lincoln Center for think Metropolitan. Avery Hopwood the Arts, 820 E Knapp; 272-PLAY 922 East Wright A science professor, afraid of women because Metropolitan Gallery of his study of spiders, finds himself in drag; Tu- October 21-November 25 Milwaukee, WI 900 South 5th Street Su 8pm, matinees W,Sa & Su; $10-$28; PAC: The Early Girl Milwaukee, WI 53204 Todd Wehr Theater; 273-7206 Caroline Kava (414)672-4007 Milwaukee Repertory Theater Call 265-5683 Now-September 29 Tu,W 7:30pm Th,F 8pm, Sa 5 & 9pm; Su 2 & Tues.-Fri. 1-7, Sat. & Sun. 12-5 Dream Girls 7:30pm; $5-$20; Powerhouse Theater, 108 E Hansberry-Sands Theatre Company Wells; 224-9490 8pm; $12 (group rate $10); Lincoln Center for the Arts, 820 E Knapp; 272-PLAY October 24-November 4 Caucasian Chalk Circle Now-OcSober 14 Bertolt Brecht W an The Rivals Professional Theatre Training Program Richard Brinsley Sheridan The cost of war & rewards of goodness; 8pm; Milwaukee Repertory Theater (2:30pm; Nov 4); $8 & $10; UWM: Fine Arts •j.Cu i/it'h skyli Light English comedy indudes Mrs Malaprop; Theater; 229-4308 Tu,W 7:30pm Th,F 8pm, Sa 5 & 9pm; Su 2 & 7:30pm; $5-$20; Powerhouse Theater, 108 E October 26-November 18 m w Wells; 224-9490 The Misanthrope KM ;e Moliere September 14-October 21 Boulevard Ensemble •*;Co oie Hoagy F-Su 8pm; $8; Boulevard Theatre, 2250 S Kin- JiXc- The life & music of Hoagy Carmichael; Th,F nickinnic; 672-6019 8pm, Sa 9pm, W & Su 7:30pm; $6.50 & $8; • 24 Stackner Cabaret, 108 E Wells; 224-9490 October 28 • .Pa Pippi Longstocking ••••..Fui xs September 22 Children's Theatre of Minneapolis Mozart, Monsters & Matisse 7pm; $4 children $7 adults; Capitol Civic With Marshall Izen & Jim West Center, 919 S 8th, Manitowoc; 1/683-2184 Visit the Milwaukee Enterprise Center 2821 N. 4th Street Multimedia show indudes giant puppets; 3 & >es October 31-November 4 7pm; $4 children $7 adults; Capitol Civic : : Center, 919 S 8th, Manitowoc; 1/683-2184 Seven Monsters ;; ' ::. .. "•.." ,' . ' : • ' ' .;•]•'••)?•. yirP'U. : Friends Mime Theatre For information call: Brian O'Malley or Mary Lou Lamonda September 25-October 7 Info 271-8484 Blithe Spirit (414)372-3936. Noel Coward November 1-11 "' '- The Northern Stage Company I'm Not Rappaport Tu-Sa 8pm (2:30pm Oct 7); $8 & $10; UWM: JCC Theater Company Fine Arts Theater; 229-4308 $7/$5; Jewish Community Center: RitzTheare, Soref Building; 6255 N Santa Monica; info September 26-October 7 964-4444 mmcoim Arsenic & Old Lace Joseph Kesselring November 2,3,9 & 10 Marquette University Dial M for Murder W-Sa 8pm, Su 2:30pm; $7/%6; Evan P & UW-Parkside Dramatic Arts Department of LOflDOfl Marion Helfaer Theater, 525 N 13th; 224- 8pm (10am Nov 8); $12; UW-Parkside: 7504 Communication Arts Theatre, Kenosha; 1/ 553-278 EXTEND YOURSELF INTO THE FUTURE OF HAIR DESIGN September 27-October 14 August Snow November 7-18 just as Cher, Tracy Ulman and Boy George have Reynolds Price The Good Woman of Szechuan with Monofibre Extensions which are American Inside Theater (formerly Milwaukee Bertolt Brecht Non-damaging, Inside Theater) Marquette University Natural in appearance. Carroll College, Waukesha; info 1 /968-4555 A parable about the conflict between good & Easy to care for and evil in an imperfect world; W-Sa 8pm, Su September 29-October 14 2:30pm; %7/$6; Evan P 8. Marion Helfaer Fun to wear! Educating Rita Theater, 525 N 13th; 224-7504 Brought to you by Milwaukee's Milwaukee Repertory Theater TJ exclusive East Side salon.. A hard drinking professor tutors a streetwise November 9-25 Malcolm of London. woman; talkbacks Oct 3 $ 10; T,W 7:30pm, Cocktail Hour Sa 5 & 9pm, Su 2 & 7:30pm; $7-$l 2; Stiemke A R Gurney Theater, 108 E Wells; 224-9490 Milwaukee Chamber Theatre A playwright creates havoc by writing about 1924E.KenilworthR. September 30-October 28 his family; W-Sa 8pm, W 2pm, Su 2 & 7pm; Instinct Stiemke Theater, 108 E Wells; info 276-88432 Milwaukee, WI 53202 John Schneider Before (414)278-0990 Theatre X Musical romance in Milwaukee in 2039 AD; 3fc WJh 7:30pm, F,Sa 8pm, Su 2pm; 278-0555 WE HAVE October 4-7 IT ALL! Little Shop of Horrors COLOR COMMUNICATION HAS BENJAMIN"S INN The Milwaukee Players The very best in breakfast, Th-Sa 8pm, Su 2pm; $14-$l 3; Alverno Col­ lunch and dinner. 276-1577 lege: Pitman Theater, 3401 South 39th; 382- 7 days a week 8am - 11 pm A NEW DEFINITION. 6044 EAST TOWN MARKET Po lo mar (p5'lo'm'a'r), n. Trademark Color Reproduc tions (kuTdr), n. (re'pra duk'shdn) 1. a business specializing in full color reproduction, usually through electro-photographic pro­ October 7,13,21, November 3 & 4 The finest in groceries 271-2870 cesses, with specialized technical equipment of unsurpassed quality and of the highest techno­ The Velveteen Rabbit BENJAMIN'S INN Margery Williams HOSPITALITY SUITES logical nature. 2. a complete service for presentation needs of business and consumer relating First Stage Milwaukee Health Spa Suite - 3 rooms to design, photography, color output, consultation and production theroff. vv With original music by John Tanner; suitable $99.50 1 st night, $79.50 2nd night, for age 5-up; Sa 1 & 3pm, Su 1:30 & 3:30pm; 3rd night, $50.00. Double occupancy. /A\[?Y^{I 'ii'i^i'-M [i^ik^wft// \y^ $6-$8:50; PAC: Todd Wehr Theater; 273- 7206 French Suite - 2 rooms 1 st night $79.50, 2nd night $69.00 * cnn Polomar 3rd night $40.00. Double occupancy. October 12-21 TM ^^9m MM M Color Reproductions Inc. |% 276-1577 The Crucible COLOR LASER LASER COPIER COPIER gJLJLJ fcStS&S 54 1 North BroadwaBroadwayy 7 6 5*9229 Arthur Miller 801 - 809 N. Cass Village Playhouse of Wauwatosa (At E. Wells Street) Quality And F,Sa 8pm Su 2:30pm; $5/$4; Plank Road Milwaukee School, 9508 W Watertown Plank Rd; 425- 53202 2076 Creativity Without Comparison.

46 ATt Mu/cLe c a e n a r

ART EXHIBITIONS opening reception Oct 26 6-8pm; 1719 lecture on Madison area projects; includes October 25 Monroe; 608/256-4040 lunch; noon-1 pm; $10; Bran ford Marsalis A-Space Gallery October 18 October 27 September 10-October 4 DANCE John Colt; a survey of 40 years' work; 5:30pm; Orpheus Chamber Orchestra Sally Gauger Jensen November 1 800 Langdon; info 608/262-2202 Pastel & colored pencil works; reception Sept Madison Civic Center James Yood; critical analysis of the Wisconsin 16 8-1 Opm; Steep & Brew Coffeehouse, 544 October 5 Triennial as well as examination of the role of PERFORMANCE ART State Street The Koslov Youth Dance Ensemble of Moscow Midwestern art in the national scene; 5:30pm; 8pm; $10-$16; November 4 & 5 September 27 Fanny Garver Gallery October 13 Wisconsin Docent Symposium Manual (a work in progress) Now-September 21 Ballet Francois de Nancy; 8pm; $17-$25; Docent Enhancement: Skills, Thrills, Chills & Mark Anderson A B Cox, oils, Art Werger, etchings & Anthony October 20 Frills; $24; 7pm; location TBA; info 608/257-0158 Grigas, acrylics; Nina Weiner Dance Company: Harmonic November 6 September 29-October 27 Landscapes; 8pm; $10-$ 16; 211 State; 608/ Steve Feren; luncheon/lecture; noon-1 pm; THEATER Steve Carpenter, pastels; 266-9055 November 8 October 27-November 17 Creative Holiday Desserts Madison Civic Center Lee Weiss, watercolors; 230 Stale; 608/256- Wisconsin Union Theater Tysh Wallesvera from True Confections; lunch- October 10 6755 November 2 eon/ledure; Noon-1 pm; $10; 211 State 608/ Side by Side by Sondheim; 7:30pm; $10-$16; The David Parsons Dance Company 257-0158 October 21 Grace Chosy Gallery 800 Langdon; 608/262-2202 Sarafina!; 7:30pm; $18-$26; October 19-November 10 MUSIC October 27 John Colt FILM Pippi Longstocking; 3pm; $5-$9; 218 N Henry; 608/255-1211 Madison Civic Center November 4 October 25 October 7 Damn Yankees; 7:30pm; $16-$26; 211 State Madison Art Center Bust Up by Cathy Cooke Modern Jazz Quartet; 7:30pm; $12-$l 8; 608/257-0158 September 22-November 9 The Art of Ellis by Paul Chilsen October 10 Wisconsin Triennial 7pm; Madison Art Center, 211 State; 608/ Brahms: The Passionate Classicist Madison Repertory Theatre Survey of current directions in Wisconsin art; 257-0158 Jeffrey Seigel Keyboard Conversation; 7:30pm; Now-September 23 opening reception Sept 22 6-8pm; 211 State; October 26 Taking Steps 608/257-0158 LECTURES George Shearing, Joe Williams & Joe Pass; Alan Ayckbourn 8pm;$14-$22; Victorian house-ful of characters; Natasha Nicholson/Works of Art Madison Art Center October 30 November 2-17 Now-September 30 October 2 P.D.Q. Bach; 7:30pm; $11 -$17; The Immigrant (A Hamilton County Album) Group show; Chuck Beclcwith, Guy Church, T Barry Carlsen; luncheon/lecture; noon-1 pm; November 7 Mark Harelik H Gordon, James Lamb, Simon Sparrow, Carter October 11 Philip Glass & The Philip Glass Ensemble A Russian immigrantsetrles in Galveston, Texas; Todd & Steve Werner; 100 S Baldwin; 608/ Chicago Tour Koyaanisqatsi; a performance of the film score; W-F 8pm, Sa 5 & 8:30pm, Su 7pm; $12.50 & 256-3220 Poussin to Matisse show at Art Institute & 7:30pm; $9-$15; 211 State 608/257-0158 $15; Isthmus Playhouse, 211 State; 608/266- Chicago International Antiques Show at Navy 9055 Valperine Gallery Pier; call for info Wisconsin Union Theater October 27-November 10 October 11 October 13 Familiar Scenes; Sarah Aslakson, watercolors; Randall Alexander, Madison developer; slide- Emerson String Quartet

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Gallery Ten Regional Juried Next issue HOME PORTRAITS : hlov . 15-Jan.l 5 Drawings done on site in pen and ink or Exhibition, January 18 - February Ad deadline 4 pastel by world-travelled artist, Kathleen 22. Artists who reside within 150 Gray Schallock. Or consider a Ocrv20 WE STOCK miles of Rockford may submit slides hand-printed edition of etchings or lithographs. How about an edition of RAW CANVAS & LINEN in any media, $8 per entry, due Call greeting cards of your home or perhaps December 15. Call or write for ; your pet for the holiday season. 1668 N. Warren Ave. M-W-F 10-6 (Off Brady & Farwell) T-Th 12-7 prospectus. SASE. (815) 964^1743. for more Have pen, will travel, 414.265.2777. Milwaukee. WI 53202 Sat 12-4 514 East State, Rockford, IL 61104. information 49 chlcago roundup

By Michelle Grabner Mustari expands the lives of fictitious exhibition is SchnabePs formal and com­ Forg: The Stations of the Cross, at characters, further perverting the hyper- positional delicacy which is not easily de­ Rennaisance at The University of Chi­ "It should be creative and fun for every­ reality of mass entertainment. tected in his paintings. His paintings are cago through August 31. The work is a one" said Ned Schwartz, organizer of The physical, spontaneous and dramatic; these series of cast bronze plaques on which Woolworth Show. Coinciding with the Julian Schnabel: Works on Paper 1975 works on paper trade brutal, raw spec­ relief gestures (created by the raking of Artiest and Theatre Festival held in the to 1988 is on exhibit at The Museum of tacle for accessibility to SchnabePs ex­ fingers through plaster) can be detected. ChicagoneighborhoodofBucktown.The Contemporary Art through September 30. pressive agenda. There is no doubt when Some gestures take the form of a cross Woolworth Show occupied the gym of This exhibition, by perhaps the most suc­ viewing this exhibition that SchnabePs while others become irregular vertical the Holstein Park fieldhouse from August cessful artist of the 80's, is as wonderfully artistic mission is to create meaning patterns over the surface. Fifty-five litho­ 17-Septemberl. Conceived as a parody of through history, memory and graphs hung in a linear series accompa­ theme-art shows as well as attempting to emotion. But what is significant nied the cast panels. Dark gestures of denounce the corporate and commercial about this collection of draw­ form and line with the occasional appear­ sponsorship prevalent in today's art arena, ings is SchnabePs sincere aware­ ance of a hand print or cross presented The Woolworth Show had a political and ness and employment of formal the viewer with an austere and omnis­ conceptual genesis. However, filling a devices, going beyond sheer cient view of Forg's endeavor of venera­ basketball court with over 75 works com­ pastiche. tion. prised mainly of materials purchased at Woolworth's, turned the show into a The plastic trinkets which On The Balcony of the Nation is an poetic frenzy of dime store icons. A few abounded in The Woolworth exhibition of five figurative artists raised works which straddled both critique, Show could also be discovered and educated in Belfast and living in consumer creativity and the history of in the work of Betye and Ali­ Northern Ireland. On display at The Western Art were a popcorn urinal, a tea son Saar, a mother and daugh­ Peace Museum through September 28, cup, saucer and spoon covered in wood ter whose work is also featured this exhibition, telling of Northern veneer contact paper (a la Oppenheim) at the Museum of Contempo­ Ireland's historical, environmental and and my personal favorite, a Pollock ab­ rary Art through September 30. political condition is articulate and opti­ straction painted with 500 bottles of nail Betye Saar, who is influenced mistic. Chris Wilson's painting illustrates polish which rested in a pile on the floor by various practices of mysti­ tomb-like interiors of public spaces in­ under the work. This five and dime cism and the work of Joseph habited only by organic matter. On The spectacle ended up negating any com­ Cornell, creates exquisite multi­ Open Earth, reveals the interior of a Ro­ mentary on the condition of today's art cultural shrines, obsessively as­ manesque church with a floor of cracked apparatus and engaged in gaudy, visual sembled with what is at hand: earth and sprouting potatoes. This inte­ fun. fossils, rosaries, glass shards, rior landscape is lit only by a small amount and bones. Daughter Alison, is of light beaming through four arched Julian Schnabel, Untitled, 1979 also inspired by non-western windows. Considerably more kitsch are The perpetuation of Utopian life by popu­ art forms, but her work is con­ the paintings of Dermot Seymor. "My lar entertainment was epitomized in a heroic and masterful as any exhibition of structed in such a way as to be overtly work is an attempt to float through the show of color photographs by Glonnlne his monumental paintings. Labeled as figurative and less fragmented. A high­ swamps of the past," he comments as he Mustari, on display at Artemisia Gallery drawings, these highly expressionistic light of this exhibition is an installation inflicts Northern Ireland's terrain with throughout the month of August. A local works always employ an element of col­ titled, House ofGris Gris, a collaboration surreal Zeppelins, cows, falcons, seals Chicago photographer and graduate of lage, utilizing materials and drawing me­ which presents the viewer with a large and military helicopters. As archetypal the School of the Art Institute, Mustari dia as diverse as canvas, velvet, cowhide, house-like structure, a suspended birch imagery and allegory litter each artist's inhabits her photographs with dolls, ball point, oil paint and watercolor. The log ladder and a pair of tin wings. work with different degrees of articulation, superheros, movie stars and art repro­ scale of these works is also varied, rang­ On The Balcony of the Nation pres­ ductions. Employing combinations of ing from monumental, as is the case with ents five salient messages on the human sources and manipulating them to ap­ The story of Christ's condemnation, cru­ his cowhide works, to his smallish map condition from Northern Ireland. *•»• pear as if occupying the same narrative, cifixion, death and entombment was in­ drawings. What is intriguing about this terpreted in an exhibition titled Gunther

ART EXHIBITIONS Ehlers Caudill Gallery Ud 1935 Gallery Now-October 5 Now-October 4 September 14-October 27 Personal/Political: sexuality self-defined ARC Gallery Jane Calvin; Installation & photographs; 750 Work in Pilsen: D Bird, S Farrell, R Keller October 12-November 10 New-September 29 N Orleans; 312/642-8611 Opening reception Sept 14 6:30-10pm; John Bankston, Nathan Budoff, Kelley Lane, Maggie Beal, Installation November 2-December 15 Eriling Sjovold & Gelsey Verna, paintings & October 2-27 Galleria Renata J Kazarian & J Miller, Paintings drawings; opening reception Oct 12 6-8pm; Barbara Thomas, Gvia Rosenberg, Miklos Now-October 20 Opening reception Nov 2 6:30-10pm; 1935 S 1040 W Huron; 312/443-7284 Simon, Kenneth Indermark, Michael Slattery/ The Road to Ruin: A Sorry State of Disrepair Hoisted; 312/829-0485 Bill Canada & Mark Palermi; opening recep­ Patrick Walshe; paintings & 3-dimensional Slate of Illinois Gallery tion Oct 5 5-8pm;1040 W Huron; 312/733- works; 507 N Wells; 312/644-1607 Perimeter Gallery September 17-November 9 2787 Now-October 6 Ruth Duckworth & Martyl Gallerie Thomas R Monahan Toshiko Takaezu Paintings, drawings & sculpture; 100 W Ran­ Art Institute of Chkago September 28-October 14 New ceramic work; 312/266-9473 dolph; 312/917-5322 Now-October 28 Magie Image: Five Latin Artists Living in Paris Lenore Tawney Retrospective; fiber; In conjunction with the International Hispanic Peter Miller Gallery EVENTS Now-November 25 Festival at the Museum of Science & Industry; Now-October 10 From Poussin to Matisse: celebration Sept 29 5:30-8:30pm; 1038 N La Whose Woods Are These October 27 The Russian Taste for French Painting; also Salle; 312/266-7530 Lauretta J Hogin, paintings; 401 W Superior; Haunts of Chicago Early American Modernist Painting 312/951-0252 Historical tour narrated by professional ghost- Now-December 31 Gilman/Gruen Galleries hunter Richard T Crowe; 1 -6pm; $34 (mem­ The Chicago Skyscraper Now-October 3 Portals, Ltd bers $29); info Chicago Historical Society September 15-December 2 Pat Hidson: New paintings Now-November 12 312/642-4600 Photography Between the World Wars 226 W Superior; 312/337-6262 Susan Tatlinger & Jennifer Taylor October 13-January 2 Paintings; 230 W Huron; 312/642-1066 LECTURES Ed Paschke: Paintings; also Klein Gallery Drawings by Ed Paschke Now-October 21 Randolph Street Gallery October 19 Michigan at Adams; 312/443-3626 Michael Kessler: New Paintings Looking At Labor Fall Exhibition Series Frank Stella The beautiful & grotesque in nature; also Now -October 6 In conversation with John Neff; 7pm(reception Beacon Street Gallery Evan Lewis: Sound Garden Lost & Found 6:30pm); $20; Hotel Inter-Continental, 525 N Now-September 30 Outdoor sculpture; 400 N Morgan; 312/243- October 12-November 9 Michigan; cal for reservation 312/280-2697 Art As ls...l st Annual Art Exhibition 0400 What Price Beauty October 5-27 756 N Milwaukee; 312/666-7737 PERFORMANCE ART Soul Survivors Museum of Contemporary Art Karen Finley, Hollis Sigler, Susanna Coffey, Now-September 30 Rkky Reiner Gallery Beacon Street Gaflery Pat Murphy, Nereda Garcia & Janet Cooling; Julian Schnabel; Works on Paper 1975-1988; September 28-November 3 September 29 opening reception Oct 5 5-8pm; 4520 N also Roof-Carriers & Wall Braces Performance Media Night Beacon; 312/561-3500 Secrets, Dialogues, Revelations: Guenther Selichar, Austrian artist presenting Films, videos & experimental music;call for info The Art of Betye & Alison Saar parts of a new intallation series; 1550 N October 5-27 Chkago Historical Society October 27-December 30 Milwaukee; 312/227-3090 Karen Finley: We Keep Our Victims Ready Now-October 29 The Primal Spirit: F, Sa 8pm; $12; 4520 N Beacon; 312/561 - Chicago as Vacation Destination 1890 & 1940 Ten Contemporary Japanese Sculptors The Peace Museum 3500 Now-November 4 237 E Ontario; 312/280-5161 Now-September 28 Leather Jackets & Jeans: On The Balcony of The Nation N.AM.E. Gallery Street Cool to Oak Street Chic Nancy Lurie Gallery (Five Artists from the North of Ireland) October 4,11,18 & 25 Continuing September 14-Odober 17 Paintings & sculpture; 430 W Erie; 312/440- Spellbound ' A House Divided: John Hull: Short Stories 1860 Cabaret series of poets, magicians & storytell­ America in the Age of Lincoln Paintings based on works by Ernest Heming­ ers; 8pm; $4/$3; 700 N Carpenter; 312/ October 24-Continuing way; opening Sept 14 5-7pm; 1632 N LaSalTe School of the Art Institute of Chkago 226-0671 A City Comes of Age: Chicago in the 1890s Betty Rhymer Gallery Clark Street at North Avenue; 312/642-4600 Neville Sargent Gallery September 14-October 17 Randolph Street Gallery Now-October 6 Paschke Pkks - Works selected by Ed Paschke; October 4-6 Douglas Kenyon Gallery Stephan Speicher; recent abstract paintings; opening reception Sept 14 5-7pm; Brendan de Vallance: September 21 -December opening reception Sept 7 5:30-8pm; 708 N October 26-November 28 My Eyes Were Filled With Volunteers John James Audubon Wells; 312/664-2787 Faculty Sabbatical Exhibition; opening recep­ November 9 & 10 Original water colors & oils; 1357 N Wells; tion Oct 26 5-7pm; Columbus at Jackson; Douglas Grew, Steve Jones & Marcia Wilkie 312/642-5300 Gallery II 8pm; $6; 756 N Milwaukee; 312/666-7737 5o AYt AAu/cLe VMLK THIS my THE SENTENCING By Jerome Schultz Electronic vision has allowed you to see more than everything. Yet you have seen nothing. The feeding will prove that. The (Part three of a three-part seial) feeding is the only thing we never record or televise. Despite the herd buddies, the (Tlondoy-Friday Hey, isn't it today? No Dick, it's tomor­ feeding has no mass reception. It's a row! Stop it, you're confusing me. You spectacle that haunts us individually. haven't listened at all! I channelled for You'll soon see that feeding is creeding. two hours, for nothing. My testimony was to prepare, to help you distinguish You have only seen what has been tele­ between the actual and the projected. vised or monitored. You've never seen But your confusion tells me it hasn't anything live beyond me. Your confu­ worked. Or, maybe it really has! sion from my channeling shows that the real can be disarming. It will be a startling I II I II 1 TTTTnl'JFKiSIl Now Dick, focus. It's not today. It's experfence, but a necessary one, if you tomorrow. That's your beginning. That's and your litter buddies are to continue. 124 &f. Water ^Street (414)347-1962 the first time you and your litter buddies Long ago, my generation succumbed to feed. It's important that you fully under­ the mysteries of the feeding which cre­ stand, so that your feeding is nutritional ated a hunger to breed and prosper. It and total gluttony. You must know the was our beginning, and now it will be truth. The effect is empowering when the yours. When the feeding regenerated cause is manipulated. Until now, all your our procreative desires and the litter of THEBOSTON sf experiences beyond me have been pro­ buddies was born, the feeding became jected recordings—CRT emissions. Noth­ useless. We had fulfilled our function by SHAWM & SACKBUT ENSEMBLE ing has ever been actually real. I think my producing fertile seed energized by fear, with William Bastian, tenor #: channeling was real, but it may have anxiety and panic. The feeding will do been a programmed hallucination. Be­ the same for you. Sunday, September 23 8 pm lieve me, it's real. I don't know. But the Free lecture/demonstration 7:15 pm feeding is real. It is the only totally real thing you will experience. His nipples are erect. Let him master.

Centennial Hall I wonder if reviving the feeding is right. Let's begin again. Open your mind, erase 733 N. Eighth St. We haven't had a feeding for thirteen all sentencing data and concentrate on years—since the littering. The council the siren. When you're pacified to docil­ Coming! chose to renew the feeding, not as an ity and open to input, then we begin every other day ritual, but as a public again. LASTRAVAGANZA spectacle for the passage of the litter into Saturday, November 10 manhood. This feeding is different. It is We were desperate. What else could we also a weeding. The buddies' reaction do? Everything was lost, even our will. will determine their position in the struc­ The sentencing was necessary if we were ture of our culture. Those most active and to continue. The post-wilding was an willing to join the chase will move into ending to all beginnings. The sentencing the higher ranks of authority. Those who was complete sacrifice to the hope of a are intimidated and frightened will be­ Reservations: 271-3335 new beginning. Panic was epidemic and come drones. The plan is too simple. survival was imperative. The sentencing Personally, I find it disgusting that the controlled the panic and the feeding di­ feeding, which once energized our sur­ rected it. vival instincts to breed has been turned into a theme park experiment. I am no The feeding wasn't that special or unique. romantic longing for the good old days of It was invigorating. It was vital. In actu­ (Murawi® swum slaughter and conquest. But somehow, I ality, it was a rerunning of the classic feel that our past is being trivialized, that rituals that have historically motivated reception is being dangerously manipu­ humankind. We took the best to make us lated. To think that Dick's whole life *,•

THE WRITING LIFE ^% ANNIE DILLARD

THE "We may fairly ask that a WRITI NC LIT! "For nonwriters, it is a book about writing be, glimpse into the trials and itself, a work of art, and satisfactions of a life spent that is what Dillard offers with words. For writers, . . . . Anyone hoping to see it is a warm, rambling the inside process of conversation with a literary artistry is unlikely stimulating and to find a more lucid, iV* extraordinarily talented sensitive or poetic view." ANNIE colleague." THE SAVIN —Philadelphia Inquirer DILLARD -Chicago Tribune GS ON ART SU PAPERBACK S8.95 PPLIES ON SALE NOW (ci AT ARTIST AND DISPLAY HURRY BIFORIT HARRY W. SCHWARTZ BOOKSHOPS r MOHT »*LI IHOS OOTOBCH 1JTH DOWNTOWN WHITEFISH BAY BROOKFIELD DOWNTOWN ARTISTANDDISPLAY 9015 WEST BURLEIGH MILWAUKEE 442-9100 Historic Iron Block East Silver Spring Loehmann's Plaza Grand Avenue MWF9TO6 TUES&THUR9T0 8PM SAT9T05 SUN12T04 274-6400 962-7997 786-8017 274-6410 5i ©I©OMrVlff l 11 /K L L E R Y T THE HOLOGRAPHIC ART BAN HAS BEEN LIFTED!

The Milwaukee Art Police have granted Hologram Haven permission to open its doors to the public October 1990. T __t Visit Hologram Haven and enjoy the magical world of 3-D...you won't believe your eyes!

GRAND OPENING-October 15,1990

GALLERY

GRAND: AVEN U EMALL Next To Marshall Fields

"Holograms Are Hot"