BI-MONTHLY PUBLICATION OF THE ARTS Volume I, Issue 1 September/November 1986
Interview with Lenore Jones The Milwaukee Ballet Drama and Trauma in Milwaukee
Women's Caucus for Art conies to Wisconsin News Reviews Calendar
Letter Home Ear Muscle • •• and more Art Muscle
Editors:
Debra Brehmer Kathy Keller Frank C. Lewis
From the Publishers Managing Editor:
The body has come to be seen as the locus of both desire and action and it is the body's materiality which Michal Carley informs many contemporary theories of production. The name Art Muscle situates our endeavor in the material world. The world of art production, acquisition and the act of performance needs to be seen in relation to an earlier, historically romanticized artistic spirit or the physically inactive realm of pure concept and its often tenuous claim to objectivity and uncorrupted idea. Business Manager: We live in a world of matter and for us to allow ourselves to be placed solely into a nether world of the spirit, or the fictitious realm of pure aesthetic form is to assure our own disengagment from a world which should be Bob Friedman equally ours as much as anyone's.
The muscle is the physical agent of our action. At times dormant, at other times contracted. Coaxed into sculptural beauty or rather more often allowed to atrophy, it remains the aching, flexing, lifting and moving Art Director: agent of our corporal form. Our art too, must accept its physicality. Even our theory and critique is dependent on the material manifestation of text and word.
Todd Brei The title Art Muscle, in both name and intent, acknowledges physical limits. We intend to always accept the pain, desire, humor and seriousness of the undeniable body. Like our bodies, Art Muscle is an object among many, we can only hope that it is a body that can find a space to unfold, develop and function. Copy Editor: From the Editors
Gareth Stevens Art Muscle hopes to unify the arts in Milwaukee, to allow the visual and performing arts, dance, music, film and video to coexist in printed proximity. Art Muscle introduces disparate groups of artists to one another, but more than that, it introduces the people of Milwaukee and Wisconsin to its artists. The magazine provides a Contributing Editor: voice for those who rarely find the opportunity to speak, a voice for those who are writing and thinking and creating in our locale. (A drop of ink may make a million think!) We have resolved to reach a broader spectrum of readers than those who regularly engage in the activities and literature of the arts. To that end, our editorial policy gathers a multiplicity of aesthetic and critical points of view. Therese Gantz We approach this project with a united-we-might-stand-a-chance-of-survival attitude. Art Muscle hopes to catalyze and enhance a spirit of communication through its regular columns. The magazine's calendar surveys Production Assistants: what's taking place in the city. In Letter Home, artists who have migrated from Milwaukee write home from their distanced perspectives. AGOG (Arts, Grants, Organizations and Gossip) collects news, politics and practical information pertinent to our readers. In addition, Ear Muscle, Dear Art Therapist, Finds, Artist's Page Claire Strykowski (a free page for artists to design), poetry, reviews and previews are planned. Simon Dumenco We were motivated from the earliest stages by the conviction that Art Muscle magazine would fill a major need for our community. And as we have progressed we have been overwhelmed by the encouragement and moral support of the many other people who clearly share our beliefs. We are grateful for the individuals who have volunteered their time and skills. We thank the advertisers in this issue who were willing to buy ads from us on Art Muscle published bi-monthly by Mil faith alone that the magazine would materialize. waukee Art Media Publishers. P.O. Box We hope to break new ground, initiate action, and take over the world. 93219, Milwaukee Wisconsin 53203. Third class postage paid at Milwaukee, Wisconsin 53202 and additional mailing offices. Post master: Send address changes to Art Mus cle, P.O. Box 93219, Milwaukee, Wisconsin 53203, 414 962-1099.
Entire contents copyright © Milwaukee Art Media Publishers, All rights reserved; ex cept in reviews reproductions in whole or part without written permission is prohibit ed. Art Muscle is a trademark of Milwaukee ADVERTISE Art Media publishers for more information call 962-1099 a i I I i • • , i
This issue is dedicated to the memory of Harold Brehmer.
Art Muscle O N N
FEATURES
Fred Stonehouso, Skeptical Romantic 6 Julie Lindemann/Johnie Shimon
On Viewing the Paintings of 6 Fred Stonehouse Frank C. Lewis
Lenore Jones 8 Kathy Keller
Just Dancing Those Troubles Away 10 Debra Brehmer
Report: Women's Caucus for Art 12 Michal Carley
DEPARTMENTS
Letter from the Publishers
Letter from the Editors
AGOG
Letter Home
Previews Jonathan Borofsky at the Milwaukee Art Museum 13 Drama/Trauma 14
Ear Muscle
Post-Facto Carrie Skoczek at the Wright Street Gallery
We would like to thank our premire issue cover models:David Carroll, a classical pianist and Kelly M. Hqfemann, a competitive body builder at Gold's Gym. AGOG Letter Home
Who got what? Personnel news: Arrived in San Francisco, via New Orleans: In the year and two months we've been here, June 22nd, 1985. It's now August 21st, 1986. A I've had six jobs. A good way to keep anyone's few observations follow: psyche reeling, certainly to keep mine in a Sheila Roberts, a writer from South Africa, The Milwaukee Artist's Foundation distrib state of near constant vertigo. Currently I'm a recently joined the University of Wisconsin- utes about $50,000 of county funding for the We stayed with a friend who opened her long-term temporary paralegal clerk on a Milwaukee English faculty. She will soon arts each year. The organization selects new house to us. We were not to worry about multi-million dollar securities litigation. I publish her third novel. panels of individuals interested in the arts to leaving. I shoulda put quotes on that one. We have also been an espresso girl, a mail order review the grant proposals every year and Barbara Nocon, assistant to Director Russell were to take our time in getting adjusted and clerk, a juice bar attendant, and a retail sale allocate the funding. The following grants finding jobs. That was until she shouted one sperson. The current job is notable for a cou were awarded in August: Paul Calhoun, Bowman at the Milwaukee Art Museum, re cently was hired to oversee Quad Graphics night, to no one in particular (although we ple things: the people (office black sheep $1,056 for documentary photography of the were in the same room), "I've got to have my all), and the fact that our boss has taught us to south side./ Dennis Cary, $1,656 for construc corporate art collection. She will remain at the Art Museum until Oct 1. space back!!!!" We figured it was because she juggle, on company time. tion of five modular images of comic book was having girlfriend troubles. Next we characters to be exhibited at the airport- stayed in The Subrex Loft. It's actually a stor Debra Brehmer, Public Relations Coordina The city is medieval. There are beggars ev ./Cheryl Lynn Franklin, $1,656 for photogra age area above the record label for which I tor at the Milwaukee Art Museum, resigned to erywhere, the disfigured and blind with the phy documenting black women in Milwau now work. After a couple of weeks we bought pursue Art Muscle. The museum is taking appli tin cups that I had always thought of in terms kee/John Gleeson, $1,200 for film.David a futon and stuck it between the boxes of cations for the position. of cartoon images. Men standing with card Bolyard, $2,000 for See Magazine./Evelyn Ter covers, inserts, and posters (yes, the dirty D. board signs draped round their necks listing ry, $1,126.25 for producing a video/Terese Mystery Writers' Contest K.'s poster is there). It's so womb like. \et their circumstances: unemployed, hungry, Agnew, $1,915 for lifesize sculptures./John anyone with a baseball bat could break the Webster's Books, Inc. is sponsoring its first family. Some have pets and beg for food for Balsley, $706.25 for series of paintings./Den- windows, charge in and we'd be trapped. We mystery writers' contest. The book store is them as well. I cannot pass them without nis Darmek, $2,000 for video exploring dan- had six pots and pans whose sole purpose looking for previously unpublished mystery- thinking, "well, if you are so hungry, why ce./Kristine Gunther, $356.25 for framing was to catch water when it rained. Two /detective novels set in the Milwaukee area. don't you eat your dog?" I'm sick of it, sick of drawings.Moe Meyer,$l,656 for performance months later, a real house. That lasted five The winning manuscript will be published by passing the woman who stands on the corner art piece./Taffnie Bogart/Sandra Gruel, months because everyone else moved out Main Street Publishing Inc. Entry deadline is of Sansome and Bush every afternoon, hands $2,000 for Drama/Trauma exhibition./Great excepting the "Party, Party, Party" punker and December 1. Call Websters for more infor behind her back, pressed against the wall, Lakes Film and Video, $2,720 for program of us. No way. Now, civil roommate. Carpeting. mation, or write to Hintz & Fitzgerald, Inc., poor innocent face deficient, her voice thin, film and video work/Woodland Pattern, Lots of space and fireplace. A home. No em- 207 E. Buffalo St., #211, Milwaukee, 53202. high, plaintive. "Excuse me. Excuse me." No $2,456 for paintings and murals./Elma Gon pryean, though, 'cause it's close to the West one ever stops. I'm sick of the shit and piss in zales Radke, $1,333 for hispanic dance con- Grant writing workshop ern Addition. White folk don't go there. It's the streets. I'm sick of insanity and pain. I cert./Antler, $1,333 for poetry book/Thallis also at the end of the off ramp. My records are Milwaukee Artists Foundation will offer a don't want this despair. Hoyt Drake, $1,410 for Renaissance music- there, but they don't seem to belong to me grant-writing workshop at Lincoln Center for ./David Kenney, $1,293 for three concert- anymore. s./Paradox Studio Theatre, $1,410 for Play the Arts on Oct. 4. Call for time, 276-9276. wrights Workshop ./Theatre School, Ltd, Gossip We ask ourselves, would we do it again? Are $1,410 for Shake Hands with Shakespeare- I miss walking the streets and seeing people I we happy here? Answer to first, unequivoca- ,/Clavis Theatre, $2,000 for Miss Firecracker Michael Lord Gallery will be moving into know, their faces open, chrysanthemums, bly yes. Answer to second, not quite so clear, Contest./Ko-Thi Dance Company, $2,000 for new quarters (same building at 700 N. Mil when they recognize you. And you turn and and limited by space and integrity, we will concert and administrative position./Color- waukee St., but downstairs) sometime in the walk the street together, and somehow you not even try to answer it. Growth is here. lines, $1,410 for multi-media programs/Wis next few months. The gallery will then have wind up having coffee at the Oriental, and Change is here. The six months we allowed consin Painters and Sculptors, $2,000 for Art street access and a little more space. . . .The your mind is full with the talk and the laugh ourselves to "see if we wanted to stay in SF" ists' Forum series./Friend's Mime Theatre, Contemporary Arts Center project is still roll ter and the thoughts. are long over. We've started to accumulate $$2,000 for supporting young performers- ing along, and has plans to move into the new bulky possessions again, something we ./Milwaukee Chamber Music Society, $2,000 Third Ward building relatively soon. Moe promised we wouldn't do, for the sake of After four months we had gotten to the point for A Celebration of American Music./ Peo Meyer, local performance artisuwho former easy mobility. We want to get out of here, to of having to think of earning money again. No ple's Theatre, $2,000 for training adult per ly headed the Contemporary Arts Center pro approach SF from a distance again, to check experience. No connections. We knew it was forming artists./Milwaukee Chamber The ject, is now in California studying massage our perceptions. It seems we need that now. going to be hard. We didn't know how scary. atre, $2,000 for Fifth Shaw Festival./Bauer therapy and herbal medicine. He is sched We didn't know how much fear of rejection Contemporary Ballet, $1,410 for develop uled to hang upside down in the East En motivated our actions. The only thing I've Gary and Lynn ment and marketing./Theatre Tesseract, trance of the Milwaukee Art Museum during known is music. Having a personal project, $$1,410 for staging comedy. the Oct. 31 opening reception of the On Site: like a band, makes an inane, mindless job Installations exhibition, which will mark his more palatable. With no musical project, the return to the city... Former UWM art teacher necessity of finding a meaningful job intensi New Pal Alicia Czchecowski, who now resides in New Gary Strasburg is a musician from Milwau fies. I go to what I know. Setting up sound 'fork City, was spotted recently on Park Ave kee who played with Figgy Figgy and the equipment, Rough Trade, record stores and Amadots. Lyn Payerl is an artist and a con Milwaukee performing arts groups are get nue picketing for animal rigts in front of a fur distributors. ceptual art historian. ting together in a new organization called the store Will Andy Warhol come to Performing Arts League or PAL. Composed of town? The Art Museum is organizing a War- individuals and performing arts groups, PAL hol/Beuys/Polke show in 1987 and they may will be "an umbrella-type organization that be trying to lure Andy to Milwaukee for the 31 will exchange ideas and information and co show. . . Jack Eigel, local self-styled interior IF operate with each other." PAL wants to "col decorator and artist, recently returned from lectively represent the overall performing London where he was modeling Aphrodite arts in Milwaukee as well as more effectively tops and is now busy pursuing pubication of direct our own destinies." The group invites a children's book, Mother Finds the Body.. . . anyone interested to attend an open discus There's an Indian restaurant moving in to the sion on The Function of the Critic on Oct. 11 Jefferson Bulding. It should open in October at the Helfaer Theatre, Marquette University. or November. . .Update: Michelle Lucci and (Call for the time). Ted Kivitt are reportedly spending at least ' PAL representatives are Jim Henderson, 475- four hours a day studying Spanish. Note: this 1600; Annie Melchior, 964-3413; and John is an addendum to the feature article "Danc Schneider, 273-1816. ing Those Troubles Away."
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Milwaukee Art Museum PERFORMANCE ART FRI, OCT 17, 1986 / 9 PM MARK ANDERSON: "I AM JOE'S HEAD"
An incidental probe into the workings of an average mind
SAT, OCT 18, 1986/9 PM DAVID CALE: "REDTHR0ATS"
Taking his lifeikhis hands, shaking it till the bad parts drop out
SUN, 0Q 19, 1986/2-4 PM IN TIME AND SPACE, MUSIC AND MOTION: D\ax£.l ^VitE±Lau cMaizk J^ecoxatiue ana \}ine. crrxti. fxom the 1 gin ana 20tn CenturUi. THOMAS GAUDYNSKI, DEBRA L0EWEN AND STEVE Oatobex 1- Artists and Staff ' ^» I 1 %+•*? L eW *s* St°£ Bamberger Karen Kane Yte< iTp© *•»»*•** p •***tefc. _** ! Diane Balsley] Steve. P~ John Balsley I Paul Caster esli B L ^t evan ce Y Lor' til tfieha el ^O/l n Sobczak Dick Evans .,«'" MICHAEL H. LORD GALLERY In 700 North Milwaukee St. 414-272-1007 Milwaukee, WI 53202 • > • : i FRED STONEHOUSE, SKEPTICAL ROMANTIC Julie Lindemann and Johnie Shimon "I'd rather be a mechanic than do paintings be Stonehouse's inspiration does not stem from a show your work, you know you can paint and you cause they sell," says emerging Milwaukee paint conscious effort to move away from the preoccu can communicate and you're going to get feed er Fred Stonehouse. "You'd have more integrity pation with formalism found in modern art, rath back. It's great to know that someone is so intri being a mechanic and performing a service than er it draws on his background. " My roots are in gued by your vision that they want to take a paint doing paintings because they sell. That's a joke, the vernacular: cartoons, TV and books — that's ing home with them. That's the ultimate it's heinous." the main mode of communication. I take these compliment. You've succeeded!" he quips. accepted modes of communication and subvert "We're told that we can't be spiritual in art any them in order to make people see things a little "I didn't think I wanted to be an artist when I was more because we're all jaded, we're beyond that. differently," he explains. a kid. I did art work because it was fun," he We know that there is no god, no heaven, no admits. "I wanted to be an auto mechanic." spirits. This is all there is, we're on earth and Communicating and exchanging ideas with other Julie Lindemann and Johnie Shimon are fine that's the end of it, so we better all be skeptical. I artists is very important to him and he points out art photographers don't agree with that. I think being purely a skep that contemporary American painter Philip Gus- tic is depressing. Where does it get you in the ton once said: "If you can't exchange ideas, you're end?" he asks, "You still die and are buried and just a painting monkey." that's it. You can go through life being optimistic On Viewing Hie paintings ef Fred Stone and romantic and in the end you die and get house buried and it's all the same, but you had a hell of a Frank C. Lewis lot more fun while you were alive than the per son who was skeptical." The characters that occupy the paintings of Fred Stonehouse, are in constant search for a place to situate themselves. Their dispossession is read in Combining the romantic and the skeptical is es their falsely confident faces or their preening sential to his work. "The more you can integrate gestures of a toughness based in insecurity. into your work, the more complex a world view These horse-faced, or skull-headed, primordial you can incorporate, the better off you are. It's creatures, dressed in pleated trousers, jockey better not to have tunnel vision and say the world shorts or nurses' uniforms are displaced in both sucks. The world is nice too, it's still very beauti time and space. They are waiting for something ful," he muses adding, "even decay can be beauti to happen, an event which might not only explain ful." their existence, but also validate it. They wait for a moment which will place them in time, the way At 26 Stonehouse has exhibited at the Alternative certain incidents elevate the quotidian into histo Museum in New York, Bedrock Gallery and van ry and possibly even myth. Straaten Galleries in Chicago and the Michael Lord Gallery in Milwaukee. His work will be in cluded in the upcoming Romanticism and Cyni Stonehouse is searching, along with his charac cism in Contemporary Art exhibition at the Hag- ters, for the space in which actor and action co gerty Museum in Milwaukee (previewed in this alesce into an event which can both document issue). A guest solo exhibition will be presented and explain. These creatures appear in painting Fred Stonehouse after painting, like the theatrical stand-in asking if at Artemisia in Chicago in 1987. Exhibitions have Photograph© by Julie Lindemann and Johnie Shimon enabled him to communicate with a diverse au this is the moment, the time for the big break, a dience. "I run into people in restaurants, waiting chance to play the part that they know so well. on tables, who say 'I saw your work and I really "A lot of mediocre artists are slathering paint like it, and they have no art background," he adds around, or meticulously painting, and don't have Portentous phrases float freely in the loosely de emphatically an idea in their head," he laments. "They're just fined space. Statements such as: "The Abyss of cranking out paintings over and over and over Eternity," wait for the proper context in which to again." be read, or a character to give them voice. All "A lot of people underestimate the populace — seems in readiness, as the disconnected props of people are more willing to look than you'd "I can't think of a painter that I admire who some grand production litter the stage. think." This can be seen at Aldrich Chemical doesn't have some kind of real emotional, spiri Company where he works days as a security tual, psychological or intellectual content," he guard. "It's getting to the point where I have Repetitive, gestural fingers of paint become cacti confesses adding, "There are no great artists converts there, people who wouldn't look at any in a dry, flat, space. Scumbled areas of green and without that." thing but Carren Art Show paintings are now yellow create Rousseau-like leaves, an oasis in a looking at things differently," he observes. stained airless field. A painted frame, or perim The city of Milwaukee, with its conservative blue eter of unpainted canvas, creates a crude and collar ambiance, can be a good place for artists to obvious proscenium for the action. In the smaller "The fact that they see something is a major step. work. "Milwaukee's great because it allows an works on paper, this frame may also act as the If they see something over and over again, it's artist to be reflective — nobody's really pressur border of a clumsily illuminated manuscript. Of suddenly familiar and they're not threatened by ing you to do anything one way or the other ten within these boundaries are simply drawn it," he remarks. "My work may be a bit more visually," he says, noting that the main difficulty shapes, which are towers, buoys or, possibly, un familiar because there are figures, and there are with working in Milwaukee is the lack of opportu lit beacons: indeterminate markers, within a de words. That's important to me because that's a nity for artists to show their work and therefore limited, but sparsely furnished space. The objects very immediate form of communication." to communicate. "When you've got someplace to of legend occur over and over, trees, mountains MI KB: i and pools, yet with no clear relation to lend them meaning; and separated by an empty field of paint or canvas. The gestures of his "monkey men" are drawn in a tentative manner. Their rub bery legs refuse to stand solidly on the ground. The contour is awkward, not in imitation of re cent "bad painting"; instead, it is the graceless and expedient shorthand of a serious and oft-repeat ed gesture. ^tonehouse in his Southside Studio. Photograph© by Julie Lindemann and Johnie Shimon Like many of the artists of his generation, Stone house eschews the formalism of his training, to try to find images that can re-embrace a complex ity of meanings and emotions. Stonehouse's in terests led him to the arts of Mexico, not to bor row meaning, but to find an alternative visual vocabulary. Some of the Mexican attitudes re main, such as the crude directness of the objects, or the willingness to combine both tragedy and humor; but these are no mere appropriations of another cultural heritage. Stonehouse, instead, tries to structure a work from the found frag ments of his own experience. The early skull heads, a clear visual borrowing from the folk traditions of Mexico, eventually evolved into the equine or simian faced creatures of the more recent work. These faces now owe just as much to Looney ToonsandMerrie Melodies, as they owe to Mexican sources. The phrases, which serve as titles, are also bor rowed. Their sources range from Borges to Witt genstein. They are not aphoristic truths, but state ments with grand, romantic and occasionally eloquent resonances. Their discursive ponder- ousness is belied and disarmed by the child-like scrawl in which they are rendered, suggesting the innocence of a copyist who is unaware of the meaning of what is being copied. In one painting the words "Arbol La Vida," appear. They suggest a phrase of archetypal dimensions: Fred Stonehouse Voices acrylic on paper, 1985, 15" x IS'. "the tree of life," yet it's actual translation is: "the Photograph courtesy Michael Lord Gallery; Collection of Peter Goldberg life of the tree." With a slight shift, the mythic becomes the mundane. For Stonehouse, it is this der with a self conscious embarrassment. The low up his figures and the surrounding light aspect of contemporary experience that needs face is comic and horrific. The apish ugliness is while, at the same time, not be just a flat surface, addressing. There is an almost romantic desire both denied and compensated for by carefully denying space. This could well serve as an anal for the fractured and disconnected in our lives to parted and slicked back hair. Like Eliot's Pru- ogy to the artist's urgency towards his work. come together suddenly to reveal a grand design frock, the protagonist seems to be aware of his There is an attempt to create an image that does or meaning. own limitations. not disintegrate through irresolution, but one that also refuses to accept the closure of a strictly These works, however, do not have the self-indul The artist admits his feelings for the characters defined narrative. For Stonehouse, the moment gent sturm und drang of pretension. Through it that move through the novels of Marquez, whose in which event becomes myth is a moment of all Stonehouse is the laughing philosopher. His supernaturality remains unquestioned, almost paradox, dichotomy and contingency. Oedipus characters seem to know that they are, at times, treated as an individual quirk of banality. In a remains an individual until an audience gives his overweening and inflated. The puny arms flexed similar way, these creatures become familiar, life a narrative, which is an expression of their into a muscle, or the anxious folded hands of the sympathetic. No longer freaks, their otherness is own previously unspoken desires and fears. nurse, display their weakness. There is the sug effaced, as we identify with their all too human gestion that, if called upon to deliver their lines foibles, insecurities and posings. in the great cosmic drama, they may well stumble and forget. In His Enigmatic Face, the nude fig In conversation, Stonehouse confessed to a de Frank C.Lewis is an art historian, painter, critic and an ure shyly turns his back, looking over his shoul- sire to paint a black painting that would not swal editor of Art Muscle. _SL_ A LENORE JONES Kathv Keller You've been involved in Milwaukee theater since was directing myself and I would get into trouble going to look like exactly and they weren't open your childhood, right? with bad directors because I would not take their to the actual experience and to changing with direction and I thought, "Oh, maybe I'm difficult that. But my experience with bad directors was Yes. I'm from Milwaukee. My father has been to work with." But basically there was a director that creating the performances, a play, wasn't a teaching at Marquette since the year I was born in me trying to get out. At Marquette in grad process. It was a preconceived concept or else — 1953. He directed at the Teatro Maria. It was a school I was designing these shows and making they took the script and the script was God and small theater., theater in the round. It was on the production booklets — and I had a big produc they just did it and it was like not bringing any Marquette campus — right now the priests live tion booklet for La Ronde that I had been wanting thing to it. there. It was a great theater. There was no Mil to do. I had the design for the production and the waukee Rep then. Basically, I grew up in that whole concept and everything. The first show I So in grad school you decided you wanted to environment. It was fun being around it and did at Marquette I really realized I was a director. direct, right? watching it. It was really exciting. They were al The first night the lights went on the play started ways doing plays right off of Broadway or if they and I could see the audience. Acting ... you can Yeah, I discovered I could do it but it was a while did a show they did it very uniquely. It was a feel when you've got them and it's a nice feeling before I decided to do it. I did three shows that I fantastic theater — a great atmosphere. and you can control the audience, but I had con costumed, designed the set and directed. And I trol of the whole thing and I could see the audi loved it. I inherited my ability to draw from my When was Teatro Maria started? ence sit up lean forward and then literally sit on dad. I also then got into adapting scripts. I picked the edge of their chairs for the whole show and it purposely — I picked a play called, L'm Really It started in 1953 and it went till 1973. In 1973 they was a real revelation to me I realized, "ohhhhh." Here, which is a John Granatelli play which is built a new theater, thrust style. The thing that was pretty lousy but I picked it on purpose so I could so different about the new theater they built was play around with it because I didn't want to play that it wasn't small and intimate. Things had The realization was that that was my true gift. around with something that was really brilliant. changed. By then the Milwaukee Rep had been Directing the play— I saw the effect I was having It's about Doris Day. She arrives in Paris and she around for ten years. Till that time, the Teatro on the whole audience. But seeing them be so falls in love with a Frenchman — it's a spoof on Maria was the main theater in Milwaukee. The enraptured for the whole thing was [what] made one of those Rock Hudson movies but it turns only other theater that was in Milwaukee was the me realize it was my direction, that I was doing black — it turns dark and he knifes her to death. Melody Top in the summers or they would bring the right thing. And really, I think because I'm not And she has this big Doris Day speech while she's in the stars to the Pellman Theater which was an intellectual, because I don't express myself dying. Anyway that was kind of fun because it was later the Metropole. So it was really the culture verbally all that well, that makes me a better di supposed to be a movie within a play and I loved theater of Milwaukee. But it all changed. rector because most directors that I had were that. I loved breaking the convention. She's sup very intellectual and would approach it from a posed to fart at one point. I found it offensive so very intellectual way — and that isn't what makes Teatro Maria means Theater of Mary. It was what I had her do is have a big tantrum and say, "I a good director. You have to tell a story in a kind named after the Blessed Virgin. The priest that refuse to fart. I'm Doris Day." And then I invented of visceral visual way and plus I knew enough started Teatro Maria, Father Walsh, was very reli a stand-in who came in who looked exactly like about human nature from being an actress and I gious and he named it Theater of Mary. Father her and she did the fart. knew I could express that. But that's the problem Walsh was the artistic director. My father was his with most of the directors. And I guess in a way second hand man. Then he left it and my father it's good that I don't have that kind of personality When did you get out of Marquette? took over. But I like the name of it . . . I want to because I wouldn't be as good a director. I just resurrect that kind of feeling, the magic of it don't approach it that way. I think I graduated in '81 and I think I wrote my because growing up in it — like when they did thesis in '82. Oliver which ran five years because it was so brilliant and [when] they did Peter Pan. Like I / think that too often the problem with academics thought that they were flying. I really did. They and their workplaces is that it squashes expressiv Is that when you started your company? were actually just doing ballet but to me they ity — the visceral. It gets too cold and . . . were flying — do you know what I mean? My The whole company started because I had this parents did a couple of shows together. I have ... removed from the rest of the world. If you're desire xo do La Ronde for a long time. I loved the real vivid memories of them being together on an artist — there's a difference between — film script and I thought it would make a great stage. there's two kinds of intelligence — there's a cre play. So I had no intention of starting a theater ative intelligence and that's what artists have and company. I just wanted to direct a show: And I Were you brought up Catholic? they can't necessarily explain why they're doing it hadn't directed since college. What I'd been do — and there's the academic intellignce of intel ing was comedy with my boyfriend. I'd been di \eah, real Catholic, were you? lectuals who like to guess about it and explain it recting him and writing a lot of skits and writing and categorize it. myself in and writing pantomime skits so in a No, just the opposite, Lutheran. [Laughter] Why sense I guess I was directing but I hadn't done did you start the theater? What do you want to do Like when I'm directing a play, I can't explain my any actual play direction. with it? concept till the show closes. Then I can intellec tually say, "This was the concept." Because when Who was that comedian? See, I wanted to be an actress. I didn't think I had I'm doing it, when I'm directing it's like being in the right personality to be a director. I thought a the middle of a painting. You can't say exactly His name is Scott Puffer. At the time we were all director had to be a certain way. But I was really what the outcome is going to be. You have to doing comedy together at the Met ropole. We good at telling a story. I should have known I was change the color here and there. Most of the used to perform with the Top Bananas. That was a good director because whenever I was acting I directors I worked with, they decided what it was really good to get out of theater because I started really hating everything about theater. Let me tell you a secret. I hate theater. I don't go to theater. So, the truth is I hate theater; I don't go to plays. On the other hand, the reason I hate it is because I actually love it so much and what it should be and what it can be. So you don't have a regular group of players? Well, not yet, but I'm starting to build. There are about 4 or 5 who have worked with me on one or two and some on all three of the shows and if they haven't been in all three they've worked in some other capacity. The problem with that is that they're all doing other things as well. I haven't ever sat down and said, "Who wants to be Lenore Jones of Teatro Maria II Photoorahh© hv Frnmris Fnrd in my theater company?" It kind of just happened that certain people wanted to work for it and put either their photography in it or their art work or their time for publicity or have acted in it. We are So do you think you'll stay in Milwaukee? than to go there as a waitress and try to get work kind of getting a group in that way. I don't have — try to get something . . . enough to offer them yet. I don't want to say, I don't know. "Who wants to be in the company?" I don't want I don't want to limit myself to Milwaukee neces to do it like that. I want to wait and to see who Why are you still here? sarily. I don't want to even limit [Teatro Maria] to a sticks. Also, I think the last thing in the world theater company. I think it would be fun to Milwaukee needed was another theater com I think there's something really happening in branch out and do other creative things. I have, pany. I don't even want to be considered a theater Milwaukee. I want to — I want to do plays in well, I don't want to give this away, but I have company. Milwaukee but I want to eventually take Teatro other ideas that I'd like to do that aren't necessar Maria on tour. I want to do Wise Blood in New ily theater, but I dont want to give that away ... [a You are a Milwaukee artist who has chosen to York. I think Milwaukee is a good place to do very mischievious grin]. work in Milwaukee rather than remove yourself stuff. I want to do what Theater X does. They do stuff in Milwaukee and they go elsewhere. We're to a more golden land. What has been your expe In additon to her work with Teatro Maria II, Ms. thinking of taking the next show to Chicago. Cre rience as an artist in this community? Jones teaches in the theater department of the ate things maybe here — take them somewhere Maharishi International University in Fairfield, — because it's still cheaper here. Milwaukee has an inferiority complex and they Iowa where she is this September and October. She plans to begin rehearsals for the next Teatro Ma- treat their own artists like shit. I know if I had What else do you like about Milwaukee done any of these shows anywhere else I'd be ria production upon her return to Milwaukee in November. At the time of our interview she has making money. I like it because it's . . . New York is stressful — it not yet discovered what that next production will can be really scary. I think there's a whole lot of be. Yet, I venture that whatever she chooses will be Why do you think that is? one's self that just gets sucked out by just the infused and transformed by the remarkable spirit stress and the tension of living in a big city like and blithe imagination of Lenore Jones and the It's a depressed town financially. I was just in that with the crime . . . It's also really exciting. I players of Teatro Maria II. Dallas and I came back to Milwaukee and I real like going there. I don't want to commit myself to ized there's nothing wrong with what we're do staying there all the time. Unless somebody pays ing. There's some really great artists here. I really me big bucks to direct a play, then I'll go there to like the artistic community here but there's not direct it. All the people from UW-M, all the really the audience. There's not the audience it because cool people — it's really weird — stayed in Mil most of Milwaukee is unemployed and most of waukee. Like Valery Tenor and Victor DeLorenzo. them are uneducated. I hated Dallas — people Most of them stayed in Milwaukee and did their were really snooty but the thing about it was you own thing and it was like the mediocre people really realize how depressed economically Mil who went to New York, are still in New York and waukee is unbelievably depressed. they're not doing anything. They're waitressing. I'd rather be in Milwaukee doing it than in New The unemployment rate is high and you don't York waitressing. LA. I kind of like, too, but it as think that would affect the arts. It does — it affects some real problems. I think it's better for the the theater going crowd. It affects the arts. artist as a person to be in an environment where There's a small group of intelligent people that they're not being consumed. All that stress is support second tier theater groups. Other artists really bad. It takes away from one's creative abili After a formal career of waiting tables in Milwaukee, New support other artists but Milwaukee doesn't have ty as well as one's ability to function as a person. I York City, and Beverly Hills, Kathy Keller again resides in a major supportive audience for the arts. think it's better to go to New York with a project Milwaukee. She is a writer and editor of Art Muscle. _p^___»_>—W— 1,1 III I ^_ ^^ax-JBBa a JUST DANCING THOSE TROUBLES AWAY Debra Brehmer Nothing is ever as simple as it seems. This article First from a dancer's point of view (she wished to Regardless of how severe the morale problems began as a simple profile of the Milwaukee Bal remain anonymous). may have been, however, the reasons for the let's Executive Director Mary Ladish. Why? Be changes at the ballet stemmed from other cause Mary Ladish is probably the best arts ad Under the direction of Ted Kivitt, the Milwaukee sources. ministrator in the city. She established the Ballet in the past six years had earned an impres Haggerty Museum of Art at Marquette University sive reputation nationally. Kivitt had high ideals. They were best explained by G. Hans Moede III, from what started as a "gleam in the eye", or a He envisioned and created a ballet company that President of the Milwaukee Ballet, in an inter breathy dream, into a fully operating, credible art presented full-scale classical ballets in the grand view by Tom Strini published in the Milwaukee museum housed in an impressive new building manner of the American Ballet Theatre, a la 1970. Journal. all its own. With that work done, she went on to Swan Lake, Nutcracker, Giselle took the stage at take over the administration of the Milwaukee Uihlein with elaborate costuming, scenery and Moede described the ballet as entering a new Ballet, and anyone who has paid that institution production. Audiences responded accordingly. growth stage. He explained that now that the even modest attention in the past few years Milwaukee likes big ballets. Michelle Lucci as the ballet had become a stable and popular cultural knows it has truly come of age. From a near prima ballerina was immensely popular. When organization in Milwaukee, it was time for it to bottoming out financially in 1980, the ballet is Michelle headlined it was an event to witness. branch out a bit. The grandiose productions that now financially solvent. It can rightly boast of the From the dancer's point of view however, all this Kivitt favored required a year-round company of highest subscription sales in its history, a budget prima ballerina stuff overshadowed the rest of 50 which, he said, "is a luxury." The ballet had of $3 million, a celebrated increase of 26 percent the company's chance at the spotlight, and Mi been in the business of re-creating great histori ticket sales for the Nutcracker'm 1985, a ranking chelle's "volatile" or "erratic" personality didn't cal moments in ballet. "Some organizations pro in the top 10 of ballet companies in the nation for help. There's always a great deal of competition duce art and some just present it," Moede said. both its size and quality, and the accolades go on among dancers and healthy competition keeps "We'd like to move more in the direction of and on. them performing at their best. But with Michelle producing it." in the limelight all the time, dancers became frustrated and in some cases unmotivated. "Mi But the simple story gets messy when you begin He continued, "the only way the big-ballet strate chelle danced; we were the props," was the way looking at the subplots enacted at Ballet head gy can work is to build more and more expensive this dancer described it. quarters on National Avenue during the past year. ballets every year ... or it's a dead end from the For example, the company lost nearly 40 percent audience and donor point of view. And if one of of its dancers in the past year and the contracts of Kivitt, on the other hand, was described as "total those $250,000 productions should flop, the Artistic Director Ted Kivitt and his prima balleri ly unapproachable and non-communicative. The company would flop with it, believe me." na wife Michelle Lucci were not renewed. Even ballet was being run like the military. The danc though the daily newspapers appear to have cov ers weren't inspired by the people they were ered these changes step by step in story after working for and vice versa." Kivitt was said to In other words, Moede believes that it would not story, people still seem to think there's some make harsh judgements about the dancers and have been financially wise to continue in the thing wrong over there, or that some part of the was critical to the point of detriment. "The danc direction the ballet had evolved. "There's a time story isn't being told. And to further complicate ers were so neurotically worried about what Ted and a place for everything," he said. "Organiza the issue, everyone is sick to death of talking thought of them that it created a lot of frustration tions have life cycles and I think what we're see about Michelle and Ted and "what happened at because only a few could ever please him," the ing is the Milwaukee Ballet trying to make this the ballet", especially the people at the ballet. dancer said. thing permanent. The strategies that worked to Even Mary Ladish loses her composure a bit get us to this point, we feel, are not appropriate for the next phase." when pressured to tell the story one more time Kivitt was still living in his glory days at American for the record. There's a new PR Director who's Ballet Theatre in New York, and expected dancers too nervous to even hand over previous news in Milwaukee to equal ABT standards. Many of the And that brings us into the present, and into Mary reports published about the ordeal, and who visi dancers were young up and coming types and he Ladish's corner office at the Milwaukee Ballet, as bly paled when asked for black and white glos expected more than they were ready to give. One she is patiently trying to convince this visitor that sies of the main characters Ted and Michelle. by one, dancers started leaving the company, this all is well at the Milwaukee Ballet. Ladish said the "Why? What for? What do you want to dredge that is not altogether unusual. There's always a high ballet will remain a classic company, but will up for. Let's concentrate on the future, not the turnover, because it's a high strung business. But diversify. It will take more chances and provide past." when too many dancers leave, it undermines the more opportunities for new choreographers. strength and stability of the company. The problem with solely concentrating on the "We can't be everything to everybody," Ladish future is that the future unfolds in direct relation The casualties included principal dancers Cather said. "We can't recreate what ABT does. Our bud ship to the past, and the Milwaukee Ballet Com ine Yoshimura and Gerard Charles as well as get doesn't compare. We have to be a little pany is now in a transitional period, a twilight principals Michel Fons and Stephen Rowe and smarter now ..." zone between past, present and future, having soloists Cynthia Schowalter and Michelle Cates. not quite buried the past nor gone public with a Kivitt refused to confront the morale problem, One goal will be to find alternative performance plan or a new direction. attributing the exodus to the general strain of the sites. While the main productions would contin profession. Finally, the Milwaukee Ballet Board ue to be staged at Uihlein Hall, if the ballet could So let's hold our breath, close our eyes and put took an unprecedented move and called a meet locate a smaller, less expensive space, it could up with the pain for a moment as we review the ing with the dancers. During this "very emotion present a greater variety of supplemental produc year and get caught up. Then we'll let Mary Ladish al" session, dancers freely voiced their concerns, tions, which would be less expensive to produce talk about the new "gleam in the eye" of the which may have had some influence on the and less expensive to attend. This space would be Milwaukee Ballet. board's decision not to renew Kivitt's contract. a testing ground for new works. "It's difficult to 10 create a new work for Uihlein Hall," Ladish said, Ladish said the company first has to decide what "We have to examine these possibilities and "because it's a huge financial commitment if it kind of company it wants to be, and there are decide what niche to strive for. This doesn't mean fails. It's not a place that's conducive to risk-tak several possibilities. we will take an extreme. There will be no rapid ing." As the Ballet begins to strengthen its school, changes." this alternative space will also allow the develop First there's the company that performs one ment of a second-string company, provide a place choreographer's work and becomes nationally All in all, it looks like we can expect a more for it to perform and allow the preparation of known for it, such as the Seattle ballet doing progressive company that will hopefully offer practical touring shows or "lights and tights" pro Balanchine. Then there's the "museum of ballet" more innovative and challenging works. Kivitt ductions. These touring shows would open new type company, such as the American Ballet The cultivated a Milwaukee ballet audience and statewide audiences. atre that devotes itself to a little of everything, taught them the classics. It's time to further that with an emphasis on historical classics. Then education. there are "second city" companies, where two The ballet also hopes to lengthen its season and ballet companies in different cities consolidate As for Ted and Michelle, rumor has it that they give dancers more work than their current 29 or merge. This is a new concept. The Joffrey recently visited a ballet company in Chile and week contracts. By offering longer contracts, the Ballet, for example, has 2 home bases — Los may be headed for South America. But, as Mary company will in turn attract better dancers who Angeles and New York. Cleveland and San Jose Ladish says, "tune in for more news at 6:00." will stay in Milwaukee longer. have merged; and Cincinatti and New Orleans share a company. This has all happened in the past two years and whether it works hasn't been The board is investigating possible new directors completely determined. But Ladish said some but no date or deadline has been set to hire one. thing of this nature is a possibility. Debra Brehmer is a critic, writer, and editor of Art Muscle. WOMEN'S CAUCUS FOR ART Michal Carley Information has become a precious commodity in our ambitious society. It provides access to the essential resources needed to facilitate a success ful career. Frantic attempts to locate it creates perpetual students, data-base grovelers and ob sessive readers of professional journals. For many occupations the acquisition and imple mentation of information, is supported by group strategies and dynamics. For artists, the problem is more complex. Traditionally, society-at-large has perceived artists as isolated individuals, thus subtlely denying them many conventional meth ods of resource accrual. While learning to be satisfied with the illusion of autonomy, many art professionals risk being di vorced from the potential to be found in the collective. With this myth of individuality, the pre sent system of politics and enterprise has authori tatively with-held from artists, the ability to con trol and determine their own group destiny. Ironically this makes the artist the most insignifi- gant link in the system of artistic production. Those that are further disenfranchized, including women, have even less of a chance to direct their careers as discrimination has historically denied them equal access, exposure and opportunity. It was with the belief that appropriate and ade quate information sharing could generate a strong coalition of professional women working in the visual arts, that the Women's Caucus for Art (WCA) was founded in 1972. This was not to be an ex-clusive group disseminating information parsimoniously, but an in-clusive one that would serve to enhance the position of all women art Leslie Fedorchuk, Vice President of the Wisconsin chapter of ists. In August of 1986 Wisconsin, upholding its the Women's Caucus for Art. progressive reputation, became the 19th state to create a WCA chapter. It is currently centered in Milwaukee. that disseminates as well as acquires information. tunities are all listed. A slide registry is kept by They are dedicated to, "a non-sexist approach to each chapter and made available to members for Charter member and newly elected Vice Presi the art curriculum and the history of art at all curating, borrowing and encouraging dialogue. dent, Leslie Fedorchuk stated in an interview, educational levels." Fedorchuk also expressed Members of the Wisconsin chapter are also orga "The Caucus is an umbrella for all professional concern that society does not hold writers in the nizing study and support groups. women working in the visual arts. We hope that arts accountable." A great deal of criticism is igno this non-homogenous group will include histori ble, sexist, uninformed and naive." The caucus The Wisconsin chapter will be a part of a "Nation ans, critics, artists, educators, and gallery and mu hopes to encourage a critical awareness of the al Visibility Event" scheduled for September 27, seum personnel. political realities of contemporary art produc 1986; to which participants have been invited to tion. Through invitation and participation in na share visual and oral testimony that acknowl In keeping with the national WCA statement of tional conferences and sponsored events, the edges the contributions of Wisconsin women purpose the local chapter is committed to " ... WCA "... provides a forum for critical writing who have played important roles in establishing promoting a viable system that provides realistic that will embrace feminist discourse . . . and the professionalism in the arts." For more informa survival in the arts including financial parity and synthesis of art theory and feminist theory." tion about the WCA or the event call, Leslie Fe equal access to grants, funding and employment dorchuk at 442-8425. ..." and "... representation and visibility for Hue Points, the Women's Caucus for Art's quar women's work in the art community." terly magazine and newsletter also provides a national network that addresses the needs of Changing the economic status of women artists is women art professionals as a group. Information only one goal of the WCA. Additionally, many art regarding insurance, current legislation, job and Michal Carley is a visual arts professional and the managing professionals feel the need to create ah apparatus publishing opportunities and exhibition oppor editor qf Art Muscle. 12 r Previews A large mechanized chattering man smacks Jonathan Borofsky his jaws endlessly over a formalized display of drawings, carefully framed and hung in proper salon style. The whirring drone of the motor, is like the white noise of criticism and commentary which permeates our contem porary spaces. If many viewers are exhausted by the vacuous That the drawings are more about concept self-indulgence apparent in much recent than physical object is clear from the numer painting, a show of contemporary drawings ous works which Borofsky has installed that may well exacerbate that weariness. Far too involve assistants drawing from large scale many drawings, of late, appear to be the de projections of original drawings. The tran bris of studio floors and cocktail napkin doo sparencies are literal shadows of the images, dles: inadequate, solipsistic scribbles more at that come and go in myriad styles and sizes, ULTRA home in the margins of a third grader's com with only the obsessive and pseudo-chrono position book. logical system of numbering to order them. It may be the highly intimate and personal An entire wall of drawings, in various states of nature of the medium, or a general underva finish and push-pinned to the gallery walls is luing of drawing, in an age of overblown a complex yet informal environment. They monumentality and angst writ large but are like the half-thought ideas that intrude nonetheless, it is an unusual artist whose into our completed projects, overlapping, drawings can be conceptually and visually confusing and and at times clarifying. challenging and meaningful. Borofsky uses our preoccupation with any Jonathan Borofsky confronts these issues di product of the artist's hand, to cram the gal rectly and with honesty. In his acknowledge lery with things. In a sense, he has the guts to ment, criticism and collusion with the pro put the works back on the floor, where they cess he unsettles our complacent acceptance came from and where they originally func of the situation. tioned. His drawings are rooted in the personal and diaristic. Their style, an amalgam of quotes, Frank C. Lewis scribbles, repetition of common images and simplicity, is as obsessive as his numbering system, which for Borofsky is a kind of con ceptual, documentation of his life, ideas and activities. The artist addresses the highly per sonal nature of drawing, while at the same time suggesting its corruption and the cor ruption of our experiences by advertising, art history, and a kind of collective dream con sciousness, courtesy of contemporary media. The elegant line of Matisse, watered down and parodied by endless repetition, or the frantic tight fisted surreality of children's drawings are mashed together into a flat, do cumented moment. Like his larger and possi bly more familiar work, the drawings indict both himself and his audience in a humorous and mocking send-up of modern day empti Jonathan Borofsky Blue Boy at 2,238,123,1974 blue ness and transparency. magic marker on paper 6QV2" x 57". Photograph courtesy Paula Cooper Gallery. The Haggerty Museum of Art o Marquette University CD presents lO Oi I GO o> C GO O 0) M O cd 'Romanticism and Cynicism in Contemporary Art' PQ 35 Post Modern Artists Exhibiting in the East Village, Soho And Mid-Manhattan October 16 - December 28,1986 also "A Golden Age of Painting" 0) C Dutch - Flemish - German Old Masters I and GO Q "Hope and Fear" Photographs by Hope Sandrow J-i To September 28 o and Professor Colin Eisler, New York University 13 Previews JAMES ROSENQUIST WISCONSIN Thru September 25 Drama/Trauma ERNESTO GUTIERREZ PAINTERS & SCULPTORS September 27-Oct. 30 WEST AFRICAN TRIBAL ART September 2 7-Oct. 30 ROBERT SCHUENKE Milwaukee has seen a number of alternative exhibition spaces in the recent past. While The Wisconsin Organization November I-Nov. 26 Perihelion and Verge have closed their of Professional Artists in All Media doors, Woodland Pattern remains open to MODERN AND CONTEMPORARY show challenging and non-commercial work. MASTER PRINTS The Wright Street Gallery, originally a store • November I-Dec. 4 front with irregular hours and a eclectic and Invites all serious artists to apply for membership. frequently changing venue, has become un der careful direction, an active gallery space. Send ten slides and a current resume to: It still however, is interested in local work not Judith A. Moriarty, Membership Chair DAVID BARNETT GALLERY seen in the more exclusive.downtown, com 6904 Sconfinato Drive; Hartford, Wis. 53027 1024 EAST STATE AT PROSPECT mercial galleries. The National Avenue Win MILWAUKEE, WISCONSIN 53202 dows and the Salon des Refuse from last fall, 271-5 also attest to both the artist's and the viewing • public's need and desire for places to display and see alternative forms of art. Wisconsin Painters & Sculptors is co-sponsor of the 1986-87 Artists' Forum Series at the Milwaukee Art Museum The reason for this situation is not always a simple lack of exhibition space. Many artists create works, that clearly do not meet the needs of the market. Brutal, raw, explicit and Yoyos to make highly personal pieces, no matter how pow your head spin 962-4633 erful or interesting, often will not be shown RUDY 4 by galleries whose overhead demands con stant sales and high turnover. Even public museums and galleries, which obstensibly have no strictures defined by Copies MEXICAN supply and demand, find it politically unwise to mount an exhibition which may challenge or even offend mainstream taste. In the rare instance of a shocking or difficult exhibit, one may be sure that the organizers have RESTAURANT done a great deal of research to assure the See our public, that the work on display is "historical ly significant." In this process of historicizing, Yoyo Department local artists often find themselves standing and show us how you outside of the hall on opening night. walk the dog* Critics too, contribute to this situation. •*/ - »• Whether the platform is aesthetic formalism ftork Tues-Sat 11 am-1:30am or naive expressionism, critical attention I2325C2L Sun-Mon llam-12am helps to determine the standards on which a Graphic/ 1 block North of National history is written. Work not shown and uncri- Avenue on South 5th ticized within the private sector, often will The Grand Ave. 271-2327 625 South 5th St. not have the kind of discussion and evalua 1815 E. Locust St. tion necessary to make it historically available to more publically curated spaces. MILWAUKEE ART MUSEUM Add to this an economic situation in which artists are increasingly marginalized by a so CUDAHY GALLERY OF WISCONSIN ART MhYTI'AVI'OK AltY ciety, that values commodified goods or ser vices over emotional or intellectual debate AND THE IMLLtiT and critique, and the myth of the personally expressive artist, becomes an idea which as WISCONSIN PAINTERS & SCULPTORS sures either obscurity, or personal artistic PRESENT dissatisfaction. The solution for many artists is a kind of controlled schizophrenia. Some FRI/SAT,OCT*17&18 choose to do one body of work for exhibition BUSH OF GHOSTS and display and another for their personally "Beautiful blend of music and powerful, expressive needs. ARTISTS' FORUM intense dance." — Milwaukee Journal In Milwaukee, these issues are being ad TAKEN FROM REAL LIFE dressed once again, in an alternative space. "A hothouse simulation of fugitive sen In an attempt to expose and investigate the suality." — Milwaukee Journal dichotomy between public work and private Through a Supporting Grant from the Milwaukee Artists Foundation "Brilliantly conceived, intensely dramatic expression, Taffnie Bogart and Sandra dance experience that makes full use of Greuel have opened their living space/studio The Artists' Forum, nine informational forums by area unique and provocative events on the current con theatrical magic." for invited, local artists to participate in Wisconsin Painters & Sculptors, and the Milwaukee Art cerns of contemporary artists. Each forum will provide — Milwaukee Sentinel Museum, will bring together professional and interested a lecture by an expert in the field, after which participants Drama/Trauma. The organizers call the ex individuals who share a commitment to the world of con will have the invaluable opportunity of speaking informally ...AND A PREMIER hibit, "a multi media event, . . . based on the temporary art. These forums will bring to the Milwaukee with the critics, dealers and artists. Choreographed by Chris Komar of the concept of artists producing work which has Merce Cunningham Co. evolved from personal, traumatic life exper SEPTEMBER 11 DECEMBER 27 MARCH 12 iences." MARKETING AND ART MUSIC / ART FILMMAKING Bruce Bendinger, President, Jerry Harrison, Musician With J.J. Murphy, Filmmaker Bendinger & Associates, Talking Heads Wisconsin's Own Avant-Garde lilllllisliiiiiiiiJiiiiiliaiii Running from September 19 through Octo Chicago, Illinois His Role In Contemporary Music, Filmmaker ber 26, 1986, Drama/Trauma will display Creativity In Advertising—New Nationally & Internationally Products And Fine Art / Marketing sculpture, painting, photography and installa and Presentations w*~- — "P APRILS tion art. The opening, on September 19, from JANUARY 29 ARTIST COLONIES 7 pm. to 11 pm. will also include music, WHY COLLECT? Evadene Judge, Projects OCTOBER 2 Ms. Cindy Bechtel and Coordinator, Ragdale Foundation dance and performance art pieces, through DANCE AS ART Mr. Richard Boston, Indiana Even You Can Qualify For An ' mm W- out the evening. On the following Friday, Claudia Melrose, Professional Collectors of Major Works by Artists' Colony. Find Out How. Choreographer/Dancer/Assistant Contemporary American Artists September 26 at 7:30 pm. a panel discussion Professor of Dance, University of Ms. Joan Robertson, Curator, is planned, to encourage dialogue on the Wisconsin-Madison/Director of Kemper Insurance Company history and concept behind this and similar Melrose Motion Company Collecting Privately and Publicly Af,T PRESS Lecture / Performance ._... Mary Alice Tierney, Community undertakings. Services and Public Affairs * FEBRUARY 12 Director, Channel 12 NOVEMBER 6 CURRENT TRENDS Dominique Paul Noth, Feature CREATIVE THINKING Patterson Sims, Curator, Whitney Editor, The Milwaukee Journal Florence Selder, R.N., PH.D., Museum of American Art How Do Television, Radio, and Frank C. Lewis Assistant Professor, School of Current New York Art Scene, Newspapers Choose What They t) Nursing, UWM Galleries And Museum, 1985-86 Cover In The Arts Art Therapy For Motivation - JSt it ALL EVENTS ARE AT THE MILWAUKEE ART MUSEUM AT 7:30 P.M. INFORMATION: 414-271-9508. Drama/Trauma f unique new 1023 N. Old World Third Street Wisconsin Painters & Sculptors For series tickets, please send self-addressed, stamped envelope Wl,h che mdne orcter ,0: and old Milwaukee, Wisconsin 53203 or Milwaukee Art Museum , * °' >' members...: $15 For Series ARTISTS'FORUM September 19 - October 26, 1986 ^ . _ : CUDAHY GALLERY OF WISCONSIN ART | clothes for Non-Members $20 For series ... MILWAUKEE ART MUSEUM Opening Reception Saturday September 19 7 -,„„u «j„i«,u» to At Tfc. rv.*.. 50 NORTH LINCOLN MEMORIAL DRIVE wZmnwak 1 everyone 7 pm. to 11 pm. Single Admission $3 At The Door MILWAUKEE. WISCONSIN 53202 mi Panel Discussion: Friday September 26 Jerry Harrison Lecture $5 At The Door Tickets are also available at the Cudahy Gallery in the Museum. 7:30 pm. •OB^j^"* :' jjH?~~: Hours: Tuesday through Saturday iMfc lpm. to 5 pm. 2213-2217 N.FARWELLjMP ^&m»- 414 347-1961 IMILW.WI. 277-0829 •EtfgMR Milwaukee Museum COVJ* OW EXPIRES *lo,s/% -r Ear Muscle Post-Facto other human sound. Good music should Cam Skoczek The sewn canvas, I Had A Dream, depicts the Where Words End tickle and release good and bad feelings, just quintessential party girl Circe and her latest Music Begins as laughter does. Give Your Body the Best masculine conquest. This sterotype of wom an as the mysterious vessel of pleasure and Only when it takes itself too seriously must death was the theme of Skoczek's three com music necessarily fail. Music was never in bines, Red Dress, Blue Shoes; Blue Dress, Lav tended to communicate detail; it was not in ender Shoes, and Red Dress, No Shoes. Each is tended at all and so it can in turn have no composed of urban curbside trash-velvet Writing seems to be the opposite of music. The summer of 1986 will be remembered for prom formals, metal bed frames, and posture Music is said to have evolved prior to speech intentions. It just happens and always has. its sadistic assault on Milwaukee's ego. Jaws' The great classical music was written in im breaking high heels. Skoczek sarcastically re as an extension of humankind's emotional theme song dominated every channel of the ordered these found archaic signifiers into growth and resultant need to externalize and provisation "sessions." Composers jammed metropolis' psyche. The Lutherans rejected their symphonies into existence but were kinky icons of cultural control. The bed finally differentiate between various the city, twice. Gimbels closed. Channel 12 frames painted in colors of precious Las Ve emotional states. Now as speech devolves forced by listeners who needed to recognize pulled its daily 5 p.m. broadcast of M.A.S.H. a work through multiple exposures to for gas metals, create squeaky puns on the grid into a collage of T.V. ad phrases, music may Milwaukee had a flood. And everysecond, of modernism. Like fences these metal sup very well regain its place as communicator— malize and thus stultify these carefree out everyminute, everyday Lake Michigan eroded pourings. ports define and inhibit the territory of the it certainly goes a long way to filling in the the eastern boundaries of our existence ris formals they secure. Each formal becomes a gaps that are now the foreground of ing higher, higher, and higher. The only relief canvas decorated with an expressionistic fe Jazz comes closest to capturing the spirit of conversation. from all this brutality and anguish was Carri male skeleton, whose arms invoke the para pure improvisation but has fallen into the Skoczek's Mixed Media show at Wright Street dox of submission and release. Skozcek's trap of using speed and/or zaniness to Imagine the scene as we tune in to a father Gallery, July 23-August 20. combines ironically displayed the stereo capture the consumer's ear. The fastest reprimanding his son: a trumpet-like blaring types that victimize our vision. Skoczek's trumpet is the best, the most whacked out sax of sound emanates from the father followed Skoczek is known to Milwaukee audiences work is well executed, both physically and the hottest. Jazz has lost its soul and that's sad by a whining clarinetish reply. In rushes the for her funky depictions of media sensation mentally. Her work tantalizes and delights in since jazz showed'em what soul was — not mother fluting her defense only to be pushed alism. Her work in last September's Six On the manufactured anxieties of our culture. no more. aside by the snare slaps of father who only The Figure show at the Union Gallery used Like a mirror it confrowoops [sic], "I forgot to lacks a cymbal crash to signal the finale (a bizarre death stories that seemed as if they add my fabric softener." falling lamp must serve). Creativity, blithe spirit, cannot take much were from the pages of supermarket tabloids. abuse. We must be thankful for the few Skoczek's work celebrated the media "be Harps play in heaven, bassoons down below, musicians who have held on to their self and lieve it or not!" preoccupation with the ulti so there is no escape, and no alternative. somehow survived the pressure towards mate expression of body-control death. Skoc Hand signals will not do in an atmosphere mediocracy and worse, mimicry that the zek's new work has a focus more fey. The growing transluscent more quickly than our recording industry applies. In future issues I human form has been reduced to its skeletal eyes lose their acuity from lack of use. As intend to examine some of the musicians I structure devoid of flesh except for the face, soon as everyone realizes that a walkman no feel comprise this group and attempt to nipples, and genitals. Basic black and the longer impresses nor increases the chances define their particular way of being creative. gaudy colors of suburban summer, from zin for conversation with that opposite sex, we I'd also like to try to reveal my feelings on nia orange to "lilac bush" compose the pal will have eliminated the only obstacle being a composer/musician and on ette. The works are a festival of technique; between us and our prehistoric ancestors. performing in Milwaukee and elsewhere luscious painterly strokes, sewing, stencil Music will again dominate and truly harmony which I have done in various "new music" ling, drawn lines and applique are incorpo and dischord will be more than metaphor for bands for the last 7 years. Music therapy, rated at times, all in one work. This festival of the state of the world. Pairs of soldiers will music and technology, New Age music and process is complemented by a fest of inter brutalize with flatted ninths designed to music and mysticism may also find their way pretations. Paradise Is Exactly Where You Are irritate and suspended fourths will into the Ear Muscle. Hope you'll be there too. Right Now, stylistically an Avery homage, de mesmerize business rivals into submission. picts a human being squashed by the procre- ative enlightenment vehicle - an auto. " Peek Bobby DuPah And what does this have to do with music as A Boo" stencilled across the bottom pokes art, music as culture, music itself? We must fun at the childish game of the surprise, the DuPah is a local muscisian who is probably gain a perspective on ourselves in order to terror of adult exposure and also the sani best known for a stint with Guy "Bodean" tized curtain of the cultural control of the analyze the effect any aspect of our Hoffman in a sixties garage band. Guy has experience may have on us. To do that we been quoted in Rolling Stone as giving Du social and private adult body where every must laugh. And isn't laughter just a form of Pah credit for his "feel" and quote; "Like he thing is soft, cuddly and so paternally reassur music? It sounds more like music than any (DuPah) just turned me on to what's cool." ing. ferome Schultz hair by Cheryl Sison Photo Carol Sternkopf IS, Calendar The addresses of oft-repeated Now-Oct 6 Oct 13-Oct 21 Oct 4 major venues are given at end Rochelle Sennett Multi-media show Alice in Wonderland of thb section. A solo show of abstract paintings by this Mil Wisconsin Art Educators Association Disney version; 1951; 75min; 10:30am, lpm; All telephone numbers are waukee artist; Michael Lord Gallery, 700 N Opening reception: 7 to 9pm Oct 29; Milwau MAM; 271-9508 Milwaukee; 272-1007 kee Institute of Art and Design, 342 N Water; Oct 4-5 Milwaukee area 414 unless 276-7889 otherwise indicated. Now-Oct 7 Bullfight Oct 17-Nov 13 Film study of the art of bullfighting; contains Arts organizations: Please Terry Coffman-. Recent Watercolors some of the earliest extant footage of the Watercolors by MIAD President Terry Coff Response 86: Challenging Concepts add ART MUSCLE to your mail subject; 1956; 76min; 2pm; MAM; 271-9508 ing lists! P.O.Box 93219, Mihv. man; opening reception: 2 to 5pm Su; Mil A juried exhibition of women artists work waukee Institute of Art and Design: Frederick from around the country, sponsored by Wis Oct 8 53203 Layton Gallery, 342 N Water; 276-7889 consin Women in the Arts; opening recep tion: 7:30-10pm, Oct 17, UW-M: Union Gal Till the Clouds Roll By Now-Oct 9 lery; 963-5070 Cinema for Seniors DANCE Judy Garland, Frank Sinatra, Van Johnson, Shaker Art Paintings by Sister Karlyn Cauley; Oct 26-Nov 19 June Allyson, Robert Walker, Dinah Shore; Sacred Heart School of Theology, 7335 S Sep 18-21 biography of Jerome Kern; 1946; 137min; Lovers Lane Road; 425-8300 John Savers 12:30pm; PAC: Vogel Hall; 273-7206 Coppelia A solo show of gouache and oil paintings; Music by Leo Delibes, choreography by Enri Now-Oct 13 Bradley Gallery, 2639 N Downer; 332-9500 Oct9 que Martinez Historic Native American art representative Milwaukee Ballet Company Oct 26-Nov 19 Chicken Ranch of nine tribes; including baskets, dolls, rugs, The magical story of a toymaker, Dr Coppe- Documentary film profiling the women of sand paintings, and ceramics; Mount Mary lius, and the mischief that occurs when he Group Show: Susan Baehmann, etchings and the most famous legal brothel; insightful lack College: Marian Studio 2900 N Menomonee creates a beautiful lifelike doll, Coppelia; Th monoprints; Helen Olney, paintings; Katey of sensationalism; 1983; 90min; 7pm; MAM; River Pkwy; 258-4810 7:30pm, F 8pm, Sa 2 & 8pm, Su 2 & 7:30pm; Ruth, paintings, and California artist Donna 271-9508 Evenings $5-$42, Matinees $4-$24; PAC: Uih Miller, pit-fired ceramics; opening reception: lein Hall; 273-7206 Now-Oct 19 2-5pm, Oct 26;Bradley Gallery, 2639 N Oct 15 Downer; 332-9500 Selections 2 The Old Maid Oct 17-18 From the Polaroid Traveling Collection, an Nov 1986 Cinema for Seniors Bauer Contemporary Ballet exhibit of photographs by 75 internationally Bette Davis, Miriam Hopkins, & George Repertory: Bush of Ghosts, music by David acclaimed artists representing a diverse Tom Bamberger Brent; tragic story of a young unwed mother; Byrne & Brian Eno; Taken from Real Life, range of photographic styles, from straight Solo exhibition of Milwaukee photographer 1939; 95min; 12:30pm; PAC: Vogel Hall; 273- music by Richard Cox; and a new work being forward representation to more experimen Tom Bamberger's "criminal justice" series. 7206 choreographed by Chris Komar of the Merce tal processes. Included are landscapes, social Call for specific dates; Michael Lord Gallery, Cunningham Co.; 8pm; $8/$6; PAC: Vogel documentary, multi-media and collage by 700 N Milwaukee; 272-1007 Oct 18-19 Hall; 276-3180 artists from Canada, Czechoslovakia, France, Germany, Holland, Iran, Italy, Japan, Spain Nov 1-Nov 26 Blood and Sand and elsewhere; Rockford Art Museum, 711 N Rudolph Valentino in famous toreador role; Oct 18 Robert Schuenke Main, Rockford, 111; (815) 965-3131 silent; 1922; 96min; 2pm; MAM; 271-9508 Saturday Pockets Landscapes in oil by this Milwaukee artist; Oct 18 David Barnett Gallery, 1024 E State; 271-5058 Terri Carter, dancer; Pat Hidson, visual artist; Now-Nov 10 Tsiamelo — A Place of Goodness and Voyage & Dave Kenney, musician Jean Crane, Ruth Kjaer and Tom McCann Nov f-Dee 2 of Dreams IPAAW Group show of new paintings by three lead 7:30pm; free; Milwaukee Public Museum: A mixture of art forms in a dance concert; On Site: Installations ing Wisconsin watercolor artists; Posner Gal Lecture Hall, 800 W Wells; 278-2713 8pm; $4; Hubbard Lodge, 3565 N Morris Blvd; Approximately 14 installations by Wisconsin lery, 207 N Milwaukee; 273-3097 332-8467 artists at various locales throughout the city: Oct 22 Children's Hospital, Charter Wire Corpora Sep 18-Oct 9 Oct 23-26 tion, Reuss Federal Building, Capital Court, Top Hat Art Muscle and other sites. Some inventive large-scale Cinema for Seniors Wordprints: A Concert of Dances from Poetry environments created in all media from Ginger Rogers and Fred Astaire in the most Betty Salamun and the Dancecircus Mixed media exhibition in conjunction with found objects to industrial refuse. Opening popular of their films together; 1935; 105min Contemporary dances by Betty Salamun the premiere of Art Muscle magazine; opening reception: Sa 7-1 lpm; UW-M: Union Gallery; reception: 5:30-8pm Oct 31; Milwaukee Art 12:30pm; PAC: Vogel Hall; 273-7206 based on poems commissioned from poets 963-5070 Museum: Cudahy Gallery of Wisconsin Art; nationally, featuring American Sign Language 271-9508 Oct 29 Interpreters who will integrate signing into Sep 19-Sep 7, 1987 the performance; Th-senior citizens matinee Musical Stars of the 30's & 40's Nov 2-Nov 26 1:30pm, F-Su, 8pm; $5/$2.50; Alverno Col Glass: The Timeless Art Cinema for Seniors lege: Pitman Auditorium, 3401 S 39th; 383- Ancient to contemporary glass from the col Dan Carrel A potpourri of some of the best; stars include 3855 lection of the Milwaukee Public Museum; Paintings and installations; opening recep Jeanette MacDonald, Allan Jones, Alice Faye, Milwaukee Public Museum: Erwin C. Uihlein tion: 2-5pm Nov 2; Milwaukee Institute of Art Bing Crosby, Illona Massey, Nelson Eddy, Judy Garland, Deanna Durbin, Sonja Henne, EVENTS Decorative Arts Gallery, 800 W Wells; 278- and Design, 342 N Water; 276-7889 2713 and others; lOOrnin; 12:30pm; PAC: Vogel Nov 5-Oec 2 Hall; 273-9508 Sep 16 Sep 19-Nov 16 Contemporary Glass 1986 Novl A Slice of Mexico La Tauromaquia: Goya, Picasso and the Paperweights; Katie Gingrass Fine Art Gal El Centro de la Communidad Unida Bullfight lery, 714 N Milwaukee; 289-0855 Toby Tyler A fund-raising event featuring donated food Goya's and Picasso's aquatints of the bullfight Classic escapist circus tale for kids; I960; from area Mexican restaurants, musical en and supplemental ceramics by Picasso; Mil Nov 5-Dec 10 96min; 2pm; MAM; 271-9508 tertainment, dancing, and complimentary waukee Art Museum: Journal/Lubar Galler John Mominee cocktails; 5:30-8:30pm; Donation-$15; 1028 S ies; 271-9508 Nov 1-2 9th; 384-3100 Solo show of monoprints; Katie Gingrass Picasso, A Painter's Diary Sep 20-Oct 19 Fine Art Gallery; 714 N Milwaukee; 289-0855 Sep 19 Rare film sequences, unpublished photos, Robert Watt Nov 14-Jan 10 and interviews with kin & close friends; 1980; DrWho Poet and former pest exterminator's paint 90min; 2pm; MAM; 271-9508 Antonio Peticov 6 pm; Adults $16 Children $10; Mecca Audito ings of Native Americans and sculpture Opening reception: 5:30-7:30pm Nov 14; rium, 500 W Kilbourn; 271-7230; Tickets also adorned with his collection of rummage; Nov 6 available from Ticketron Posner Gallery, 207 N Milwaukee; 273-3097 Wright St Gallery, 922 E Wright; 265-7213 Sherman's March Oct 25 Originally intending to document William Sep 27-Oct 30 FILM Tecumseh Sherman's march to the sea in Picasso Party Furniture as Art 1864, Ross McElwee instead investigates his The Milwaukee Art Museum will celebrate Works by 14 national artists exploring furni Note: All Milwaukee Art Mu perception of himself as a man who has trou the anniversary of Picasso's 105th birthday at ture as an art form. Curated by Peg Jones; ble connecting with women; 1986; 155min; a birthday bash, with a Picasso tribute by seum (MAM) films are free 7pm; MAM; 271-9508 Katie Gingrass Fine Art Gallery, 714 N Mil Pioneers of Modern Typography, post-punk waukee; 289-0855 with museum admission rock by Cherry Cake, an eight-foot high birth Nov 7-9 day card, and lots of cake; 8pm to midnight; Sep 27-Oct 30 Sep19-Nov16 Admission at the door; Milwaukee Art Muse Great Lakes Film & Video Festival um; 271-9508 Ernesto Gutierrez The Bullfighter and the Lady Juried screening of work by independent vi- A Peruvian artist who paints in a primitive Stars Robert Stack; 1951; 87min; shown upon deographers and filmmakers. A feature- length film by Babette Mangolte will be EXHIBITIONS style. Also West African Tribal art from the request in Video Room; MAM; 271-9508 permanent collection; David Barnett Gallery, shown Nov 9 only; 6 & 9pm; PAC: Vogel Hall; 1024 E State; 271-5058 Sep 20 call for more information; 963-7714 Now-Sep 21 Illusions, Killing Time, Grey Area, and Sarah Sep 28-Oct 22 Mark Mulhern Four short films by four independent film LECTURES Paintings, monotypes and drawings; Madison Beverly Harrington/Karen Olsen makers; 7:30pm; free; Milwaukee Public Mu Art Center, 211 E State, Madison New works by these former UW-M students; seum, 800 W. Wells; 278-2713 Oct 2 watercolors by Harrington and ceramics by Dance as Art Now-Sep 24 Sep 20-21 Olsen; Bradley Gallery, 2639 N Downer; 332- The Cudahy Gallery and Wisconsin Painters 9500 Jonathan Wilde/Audrey Hander Romantic vs Classic Art: Francisco Goya and Sculptors Artists' Forum Nature paintings and hand-blown glass; Brad 1974; 26min 2pm MAM; 271-9508 Lecture/presentation featuring Claudia Mel Oct 1-Nov 30 ; ; ley Gallery, 2639 N Downer; 332-9500 rose of Madison's Melrose Motion Company; Farm Families Sep 20 7:30pm; $3; Milwaukee Art Museum; 271- Now-Sep 28 Photo-chronicle of changes in contemporary 9508 He Makes Me Feel Like Dancing rural farms of the Midwest, by photographers A Golden Age of Painting 1983 Oscar winner; splendid documentary Tom Arndt, Archie Lieberman and Rhonda Oct 11 Pre-1700 Dutch, Flemish and German paint about kids learning the joy of dance; 51min; McKinney; Madison Art Center, 211 E State, ing in a small but significant exhibition; Op 10:30am, lpm; MAM; 271-9508 The Function of the Critic portunity to see masterworks by Anthony Van Madison Marquette University Performance Arts Dyck, Jacob Van Ruisdael, Jan Steen, Gerard Sep 24 League Oct 1-Nov 30 David and others; Marquette University: Pat l-4pm; Marquette University: Evan P. and Mar Marie Antoinette rick and Beatrice Haggerty Museum of Art, Karel Viteslav Masek ion Helfaer Theatre; See A.G.O.G. column, Cinema for Seniors 13th and Clybourn; 224-1669 Paintings, drawings, carvings and photo page XX Norma Shearer, Tyrone Power, and John Bar- graphs by this late 19th/early 20th century rymore in elaborate biography of the famed Now-Sep 28 artist. Exhibition celebrates the 25th anniver Nov 6 queen; 1938; I49min; 12:30pm; senior citi sary of the West Bend Gallery of Fine Arts; Hope and Fear: Hope Sandrow Silver Prints zens admitted free; no tickets; PAC: Vogel Creative Thinking West Bend Gallery of Fine Arts Recently shown at Gracie Mansion Gallery, Hall; 273-7206 Florence Selder New York City; Marquette University: Patrick Cudahy Gallery and Wisconsin Painters and and Beatrice Haggerty Museum of Art, 13th Sculptors Artists' Forum 7:30pm; $3; Milwau and Clybourn; 224-1669 kee Art Museum; 271-9508 16 MUSIC Sep 28 Oct 12 Oct 25 Tahlia Series; Chamber music on Sunday Jean Redpath Chamber Music Marathon Now-Sep 28 afternoon An evening of Scottish song, stories, and hu UW-M Symphony Orchestra The Cradle Will Rock Katherine Brooks, violin & Elizabeth Tuma, mor; 7:30pm; Alverno College, 3401 S 39th; llam-llpm; Free; The Coffee Trader; 2625 N Marc Blitzstein cello; 3pm; $7/$5; Mount Mary College: 647-3940 Downer; 332-9690 The controlling Mr Mister's attempt to squash Stiemke Hall, 2900 N Menomonee River the burgeoning unions fails when Larry Fore Pkwy; 258-4810 Oct 15 Oct 26 man mobilizes the workers; Wed 7:30pm, Su Sep 28 Music at the Mount Series Jillian Hansen, soprano 2 & 7:30pm, F, Sa 8pm; $13/$11; Skylight Mu Casual concerts featuring faculty, guests, & Civic Music Association, Artist Series sic Theatre, 813 N Jefferson St; 271-8815 Teacher/Student Guitar Duo Recital students; 12:30pm; Free; Mount Mary Col 2:30pm; Free; Villa Terrace, 2220 N Terrace Ray Mueller & Dylan Esner lege: Multi-purpose Room, 2900 N Meno Ave; 264-8796 Sep 16-20 3pm; Free; Wisconsin Conservatory of Music, monee River Pkwy; 258-4810 1584 N Prospect; 276-5760 Oct 26-27 The Magic Flute Oct 15 Mozart Sep30-Oct4 Works by Hayden, Kreisler, and Debussy Milwaukee Opera Company, sponsored by Marimba Duo UW-M Fine Arts Quartet Milwaukee County The Emperor's New Clothes John Seydewitz and Martin Shadd Oct 26 3pm, Oct 27 8pm; $9/$7 students & A pantomime-like fairy tale of royal romance Hans Christian Andersen, book and lyrics by This duo performs classical music - Mozart to seniors; UW-M: Fine Arts Recital Hall; 963- and comic mischief. Tu-special dress rehears Lynn Ahrens Barber - as well as popular music on marim 4308 al open to Milwaukee high school students, Theatreworks/USA ba, vibraphone, and small percussion instru W 2pm, F & Sa 8pm; Free; call for reserva A witty tale of vanity, honesty, and innocence, ments; 12 noon; Free; Coffee and tea pro Nov 4 tions; PAC: Vogel Hall; 962-7050 whose characters discover the deception of vided; Milwaukee Public Library: Centennial outward appearances and the value of being An Evening of Vocal Chamber Music Hall, 733 N 8th; Bring your lunch; approx. 45- UW-M voice and music faculty with guest art Sep 18 true to oneself; 10am & 12:30pm; $3; group minute concert reservations accepted — study guides will be ist Debra Hogan, soprano; 8pm; $5/$3; UW-M: Jessica Suchy sent to teachers along with their tickets; PAC: Fine Arts Recital Hall; 963-4308 Scholarship fund-raiser; 8pm; $4/$2; UW-M: Vogel Hall; 273-7206 Fine Arts Recital Hall; 963-4308 Oct 16 Oct 6 A Gala of Viennese Operetta MIKE MILWAUKEE Sep 19-22 Music of Handel, Mozart, Wagner, & Stravin 8pm; call for ticket information; UW-M: Fine PRESENTS A Renaissance Revel sky Arts Recital Hall; 963-4308 Les Jongleurs and Friends Carmen Or, pianist Imagine yourself in the court of a Prussian Milwaukee Chamber Orchestra, Stephen Col- Oct 20 ran muvATTi® Count in 1580 . . . the event will feature a burn, music director & conductor Piano Portraits: Works of Frederick Chopin concert followed by a dance — audience par 7:30pm; $9-$ll; PAC: Vogel Hall; 273-7206 Jeffrey Hollander, pianist ticipation is encouraged. An historical dance 7:30pm; $5/$3; UW-M: Fine Arts Recital Hall; expert will be present to offer instruction; $5; Oct 7-30 963-4308 F-7:30pm, All Saints Cathedral, 818 E Juneau SEPTEMBER 17 - Brown Bach It Sa-8pm,St. Stephen the Martyr Lutheran Oct 20 Church, 6101 S 51st, Greendale An informal classical series sponsored by DECEMBER 17, Su-2:30pm, Haggerty Art Museum, Marquette Milwaukee County Miller Organ Concert Series University Campus, 13th & Clybourn Tu & Th 11:45-1:15pm; Free, no tickets re Todd & Anne Wilson 1986 M-8pm, Old Town Serbian Gourmet House, quired; PAC: Magin Lounge; 273-7206 The Wilsons will play works by Mozart, Mer- 522 W Lincoln Ave; refreshments available kel, & others, including a transcription of VARIOUS Oct 8-Nov 1 Wagner's Ride of the Valkyries. 8pm; Sep 20 Bernstein Revued $12,501 $10,501 $7.50; PAC; 273-7206 PERFORMANCE Stephen Wadsworth Wisconsing An unprecedented review of Bernstein's Oct 21 SITES David HB Drake in concert with Skip Jones best; W 7:30pm, Su 2 & 7:30pm, F,Sa 8pm; Songs, slides, & singalongs; 8pm; Schlitz Au Vienna Choir Boys $13/$11; Skylight Music Theatre, 813 N Jeffer dubon Center, 111 E Brown Deer; 352-2880 8pm; $15/112.50/9.50; PAC; 273-7206; Tickets son; 271-8815 also available through Ticketron Sep 21-22 Oct 12 Oct 23 Works by Mozart, Schubert, and Rachmani Faculty Duo Recital Electro-Acoustical Music Center noff Marie Sander, flute & Ann Lobotzke, harp; John Welstead, director UW-M Fine Arts Quartet 3pm; $3/$2; Wisconsin Conservatory of Mu Computer & electro-acoustical music; 8pm; Su 3pm, M 8pm; $9/$7 students & seniors; MM sic, 1584 N Prospect; 276-5760 Free; UW-M: Fine Arts Recital Hall; 963-4308 UW-M: Fine Arts Recital Hall; 963-4308 P.O. BOX 07147 Milwaukee, Wl 53207 FMT: MULTI-DISCIPLINARY TOURING THEATRE 1986/87 ORIGINAL WORK: C0L0R0P0LIS, TRANSFORMATIONS, N I O N ALLERY THE SNOW QUEEN, THE CREAM CITY SEMI-CIRCUS, AVANT-VAUDEVILLE, THE POLOWSKY PROJECT, PLUS RESIDENCIES & SPECIAL PROJECTS. FALL SEMESTER 1986 EXHIBITION SCHEDULE AUDITIONING/INTERVIEWING PERFORMING & VISUAL ARTISTS September 18 - October 9,1986 "Art Muscle" IN THE FALL/WINTER/SPRING: CALL 271-8484. Opening reception Saturday September 20, 7:00 -11:00pm October 17 - November 13,1986 OR WRITE: Wisconsin Women in the Arts "Response '86 - Challenging Concepts" Opening reception Friday October 17, 7:30 - 10:00pm November 20 - December 12,1986 "Figurative Intensity" Opening reception Friday November 21, 7:30 - 10:00pm M-TR 8:00am - 6:30pm FRI 8:00am - 4:00pm SAT 10:00am - 2:00pm ARTWORKS SALES GALLERY SUN closed Original Affordable Artwork for more information call 963.6310 TENTH ANNIVERSARY 1976-1986 GREAT LAKES FILM & VIDEO FILM SCREENINGS Great Lakes Film Film Currents/ Community Media Project Presents & Video Festival Current Films Fall Film Series: NOV 7, 8, 9 • SEPT 25: Home& CAROLEE SCHNEEMANN The World GREAT LAKES Vogel Hall SHARON COUZIN • LOSING GROUND PERFORMING ARTS CENTER • OCT 16: By Kathy Collins 929 North Water STEWART SHERMAN SEPT 20 INFO 963-7714 ERICH SEIBERT • FUTURE SCREENINGS: Advance tickets available • NOV 20: OCT 18 PHIL SOLOMAN NOV 22 DAN EISENBERG DEC 20 • DEC 18: STAN BRAKHAGE MILWAUKEE PUBLIC MUSEUM FILM & VIDEO JEAN ROUCH 800 West Wells MILWAUKEE ART MUSEUM INFO 963-7714 750 N Lincoln Memorial Dr FREE INFO 271-9508, 963-7714 FREE with regular museum admission, $2.50 adult, $1.25 student 17 Nov 6 Oct 18 stern tutelage in the 1950s. Tough old sister is Set in 19th century Hawaii, Father Damien Sr. Mary and is loathe to admit error on her describes his ministry (to the lepers of Molo- Music of Zwilich, Persichetti, Copland, & The Redthroats part in their miserable memories. This play kai) which his contemporaries found shock Kirschner David Cale has aroused much controversy in some US ing; Oct 9-25; Th, Sa, Su 8pm, $8; Su 2pm, Marlee Sabo, soprano & Martin Woltman, en- Festival organizer Patsy Tully came across the cities. Very good material. Based on Tesser- $6.50; Eastbrook Center Theater, 2844 N Oak former Englishman & current New Yorker in glish horn act's performance last time around, this land; 962-2380 Milwaukee Chamber Orchestra, Stephen Col- a Village Voice article heralding Cale as "one should prove to be a highlight of the fall of the best kept secrets on the downtown burn, music director & conductor season in Milwaukee. An Actor's Nightmare Oct 24, 30 7:30pm; $9-111; PAC: Vogel Hall; 273-7206 performance scene." 27 years old, kicked out follows a confused man who walks into a of high school at 16, never had money, long theater, and to his horror, is thrown into a The Importance of Being Earnest Nov 6 struggled to become a singer, now has role in play; W-Sa, 8pm; $7; Lincoln Center for the Oscar Wilde new Woody Allen film . . . what else do you Oct 24, 30, Nov 1, 7, 15 8pm; Nov 2, 16 Cleo Laine, John Dankworth, & the Dank- Arts, 820 E Knapp; Season tickets available; need to know? Sa-9pm; call for price; Milwau 273-PLAY 2:30pm; $9/$7; UW-M: Fine Arts Theater; 963- worth Quartet kee Art Museum; 271-9508 4308 8pm; $16/$13.50 /$11; PAC; 273-7206; Tickets Now-Nov 23 also available through Ticketron Oct 19 Oct 25, 31 The Black Cross Nov 9 In Time and Space, Music and Motion Meausure for Measure Thomas Gaudynski, Debra Loewen, Steven Mikhail Bulgakov William Shakespeare; Tahlia Series; Chamber Music on Sunday Nelson-Raney Tartuffe Oct 25, 31, Nov 6, 8, 14 8pm; Oct 26, Nov 9 Moliere afternoon The third performance in the series features 2:30pm; $9/$7; UW-M: Fine Arts Theater; 963- Donald St. Pierre & Ellen Swan Dixon, piano locals Gaudynski — an experimental musi Black Cross dramatizes Moliere's confronta 4308 duo cian, Loewen — an accomplished and cre tion with patronage and censorship as a se 3pm; $7/$5; Mount Mary College: Stiemke ative dancer, and Nelson-Raney — a percus cret religious group concerned about his Oct 25-30 Hall, 2900 N Menomonee River Pkwy; 258- sionist. Likely to be excellent; Su 2pm & 5pm; portrayal of the Church in his play Tartuffe 4810 call for price; Milwaukee Art Museum; 271- influences King Louis XTV to ban the play. Hamlet and The Merchant of Venice 9508 Tartuffe is tale of a 17th centruy con artist William Shakespeare Nov 12 who maneuvers his way into the heart and The Wedding, Swan Song, & Anniversary household of a wealthy Frenchman con Anton Chekhov Music at the Mount Series cerned about his salvation. Presented in "ro- American Players Theater Casual concerts featuring faculty, guests, & RADIO/TV tating-rep" — an alternating presentation of A wonderful opportunity to see this fine students; 12:30pm; Free; Mount Mary Col both plays during the 12-week run; Sep 12- lege: Multi-purpose room, 2900 N Meno M-F troupe right here in Milwaukee. Don't miss Nov 23 (Black Cross), Oct 3-Nov 30 (Tar monee River Pkwy; 258-4810 these! Schedule to be determined; Pabst The Kids America tuffe)- W & Su 2pm, Tu-Th 8pm, $5-$l4; F atre, 144 E Wells; call for info; 271-3773 Broadcast live from New York, this Peabody 8pm, Sa 5pm & 9:15pm, $6-$15; Su 7:30pm Nov 12 award-winning show provides 90 minutes of $6-115; PAC: Todd Wehr Theater; 273-7206 Nov 1986 Hawthorne Quartet Recital interaction for kids of all ages. Featuring His Tuesdays at 7 8pm; $3/$2; Wisconsin Conservatory of Mu tory/Mystery Guests, Martha's Mishaps, com Now- Sep 28 sic, 1584 N Prospect Ave; 276-5760 puter games, songs, pet care, spelling, and Paradox Studio Theatre more. A toll-free number promotes listener The Miss Firecracker Contest A playwright's workshop featuring first read Nov 13-16 participation; 5:30-7:30pm Beth Henley ings of new scripts emphasizing the work of Clavis Theatre local writers. Workshops will be held once a Tosca Su afternoons Lighthearted comedy of a young woman's month beginning in November. For further Giacomo Puccini quest for beauty contest fame by Pulitzer information concerning exact dates call 272- Florentine Opera of Milwaukee Paul Cebar's Good Foot prize-winning author of Crimes of the Heart; PLAY Sung in Italian with English titles. Set in Musician Paul Cebar plays selections from his Enclave Theater, 900 S. 5th; 272-3043 extensive record collection; 3pm Rome during the time of Napoleon, this is a Nov 5-16 drama of the intense conflict between the Oct 1-12 diva Floria Tosca, her lover, Cavaradossi, and Sunday evenings The Real Thing the unscrupulous Scarpia; Nov 13 7:30pm, A Comedy of Errors Tom Stoppard Music from the Hearts of Space Nov 15 8pm, Nov 16-2: 30pm $38-$12; PA- William Shakespeare Milwaukee Chamber Theatre ; 59 minutes of uninterrupted New Age music. GUihlein Hall; 273-7206 Marquette University Theater Stoppard reveals the unashamed romantic Taped in San Francisco; 10pm Oct 1-12; W-Sa 8pm, Su 7:30pm; $6; Mar beneath the facades of today's sophisticates; Nov 16 quette University: Evan P. & Marion Helfaer W-Sa 8pm, Su 2 & 7pm; $10.50-$12; Skylight All on WYMS Radio, 88.9 FM Theater, 525 N 13th; 224-7505 Theater, 813 N Jefferson; 271-8815 Barbara Davies & Martha Dodds, vocal duo Civic Music Association, Artist Series Oct 3-Nov 2 Nov 5-9 2:30pm; Free; Villa Terrace, 2220 N Terrace READINGS Ave; 264-8796 My Werewolf Do I Hear A Waltz? Novl John Schneider Richard Rodgers & Stephen Sondheim Nov 16 Michael Ondatjii Theatre X The Milwaukee Players The Canadian author of Coming Through Set in a small, snowbound Montana town in A romantic musical set in Venice; Th-Sa 8pm, Viennese Guitar Duo 1940, this new play is a classic love story, Su 2 & 7pm; $8-$10, $1 discount for students Ray Mueller & Richard Siegfried Slaughter and Collected Works of Billy the Kid will be reading poetry and fiction; 8pm; $4; retelling the werewolf legend with horror, and seniors on Th & Su; Pabst Theatre, 144 E $3/$2; Wisconsin Conservatory of Music, 1584 romance, politics, music and humor; W,Su Wells; 271-3773 N Prospect Ave; 276-5760 reservations recommended; Woodland Pat tern, 720 E Locust; 263-5001 8pm $8; F,Sa 8pm $10; Th 8pm $4; 158 N Broadway (Third Ward); 278-0555 Nov 12-23 PERFORMANCE ART THEATER Another Part of the Forest Oct 3-18 Lillian Hellman Oct 17-19 The Good Doctor Marquette Unversity Theater Now-Oct n W-Sa 8pm, Su 7:30pm; $6; Marquette Univer Performance Art Festival: Neil Simon Sister Mary Ignatius Explains It All For You UW-M Professional Theatre Training Program sity: Evan P. & Marion Helfaer Theater, 525 N Oct 17 and An Actor's Nightmare Th-Sa 8pm, Su 2:30pm; $5; unreserved seat 13th; 224-7505 I am foe's Head Paul Durang ing; UW-M: Studio Theater; 963-4308 Mark Anderson Theater Tesseract ADDRESSES A new work Anderson describes as" an inci Former students of Catholic school teacher, Oct 6-7 dental probe into the workings of an average Sr. Mary, now all adult age, visit their old Mark Twain Tonight MAM-Milwaukee Art Museum mind;" F-9pm; call for price; Milwaukee Art teacher and boldly ask (interrogate) her HalHolbrook about incidents from their days under her 750 N Lincoln Memorial Dr Museum; 271-9508 8pm; $19.50/$16/$13.50; PAC; 273-7206; Tick ets also available from Ticketron PAC-Performing Arts Center 929 N Water St Oct 9-25 UW-M-Unhrershy off Wiscon Damien Aldyth Morris sin-Milwaukee THEATRE X IS HERE Acacia Theatre Kenwood Bhrd at Downer Ave in October Judith A. Moriarty prays daily a new production of MY WEREWOLF For the Souls 0f Art Critics a metaphysical horror movie for the stage 158 North Broadway October 3 through November 2 8 PM - Wednesday - Sunday Tickets - S8 Wednesday & Sunday $10 Friday & Saturday $4 Thursday For information call - 278-0555 Penguin Books Photograph by Francis Ford X Aarry W. Schwartz now brings you the widest possible selection of Penguin Books. Penguin Books has an interna tional reputation as premiere publisher of classic and 20th century literature. All 2600 titles are represented in our five locations. This continues our commitment to the finest in selection and service. CHWARTZ - 4 BOOKSELLERS Since 1927 Downtown: The Grand Avenue & Iron Block Building Brookfield: Loehmann's Plaza Whitefish Bay: The Book Nook East Side: Harry's Penguin in The Coffee Trader VERY ORIGINAL IMIHLEISEN ART 152 W. WISCONSIN AVE. MILWAUKEE, WISCONSIN 53203 PHONE 271-8820 PARADOX STUDIO THEATRE presents UPCOMING: SEPTEMBER 20- OCTOBER 23 BOB "HOBO" WATT AND AMY LEDER. OPENING RECEPTION SEPTEMBER 20, 7-11 P.M., $3. OCTOBER 25- NOVEMBER 29 PAT HIDSON AND ESTHERLY ALLEN. OPENING RECEPTION OCTOBER 25, 7-11 P.M. WRIGHT STREET GALLERY 922 E WRIGHT ST., MILW, Wl 53212 (414) 265-7213 HOURS: TUESDAY THROUGH FRIDAY 5:30 P.M.- 9 P.M., SATURDAY AND SUNDAY NOON - 5 P.M. A PLAYWRIGHTS WORKSHOP ART ALL OVER TOWN Readings of New Scripts ON SITE: INSTALLATIONS November 1 - December 1 opening its third annual season at Watch these buildings for art installations by some of THE FORCE ON WATER STREET Wisconsin's leading artists: 1123 North Water Street City Hall, Columbia Hospital, Performing Arts Center, Milwaukee County Zoo, Reuss Federal Plaza, Windmar Building, Capital Court, Alverno College, Therese Philipp, Producer Charter Wire Corporation, Milwaukee Art Museum, David Rommel, Artistic Director Villa Terrace and others. Organized by the Cudahy Gallery of Wisconsin Art 7 PM TUESDAY NOVEMBER 11 Milwaukee Art Museum 271-9508 RESERVATIONS/INFO 272-PLAY Funded in part by the Milwaukee Artists Foundation. WORDPRINTS A CONCERT OF DANCES FROM POETRY October 24-25 at 8:00 pm October 26 at 3:00 pm Alverno College Pitman Auditorium 39th Street at Morgan Avenue $5.00 General $2.50 Students-Seniors Call 383—3355 for reservations Milwaukee County Senior Citizen Matinee - October 23 at 1:30 pm - Admission by Free Will Donation with I.D. BETTY SALAMUN AND THE WORDPRINTS ANCECIRCUS MILWAUKEE CELEBRITIES POSTCARDS Dick Bacon Available at: BoDeans The Puzzle Box Grand Avenue Mall Robyn Pluer Brewster's on Bob Lanier Downer Avenue Gretchen Colnik Old Masters Gallery North and Paul Cebar Oakland Avenues Ron Cuzner UWM Bookstore Alan Eisenberg Elson's Gift Shop Hyatt Regency Hotel Photos: Francis Ford © Lapsarian Publications . productto" Clas5'cs ""t/n^cHS 3*3&M* ° •oom ,„„;« p.»""«ion TO Wisconsin Women in fhe Arts /n cooperation with presents o o o o o o o o o o o o o o o Response '86 o Challenging Concepts A national, multi-media exhibition concerning acce zoncepts and how women can change them. Opening Reception: October 17, 1986 7:30 P.M.-10.00 P.M. Exhibition Dates: October 17-November 13, 1986 Union Art Gallery 2200 E. Kenwood Blvd. Milwaukee, Wisconsin 53211 The people at Gareth Stevens, Inc., publishers of high quality illustrated children's information and story books, congratulate the ART MUSCLE staff on the launch of their vital new Milwaukee community art magazine. All success for the future. We invite all readers to our N GOOD HOPE ROAD WAREHOUSE BOOK SALE 7221 7221 West Green Tree Rd., Milwaukee g W.GREEN TREE OCT. 25 & 26 9 a.m. to 6 p.m. BOSTON STORE Children's books, craft books, encyclopedias \ VI WAREHOUSE BRING THIS AD FOR FREE BOOK CHOICE! Same weekend as Boston Store Warehouse Sale