OCTOBER/NOVEMBER 1996 COMPLIMENTARY VOLUME 1 1, ISSUE 1 CASTS OF CONTENTS CHARACTER

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An Exhibition Featuring the Work of Former Artists-in-Residence in the FEHTU RES John Michael Kohler Arts Center's Arts/Industry Program at Kohler Co. Reflections on the Milwaukee Art Museum 12 September 29,1996 - January 5,1997 Photographs by Francis Ford 14

A Tale of Two Cities: Milwaukee vs. Milwaukee 16 TRE' ARENZ • LAWRENCE ARGENT • NANCY DWYER It Could Have Been a Parking Lot 17 PETER FLANARY • LESLIE FRY • MICHAEL GARR Beyond Bovines 18 MARTHA GLOWACKI • RONALD GONZALEZ INDIRA FREITAS JOHNSON • KEN LITTLE A Fine Line 19 EVA MELAS • CINDI MORRISON • JOEL OTTERSON Reflections on the Haggerty Museum of Art 20 CAROLYN OTTMERS • ALBERT PFARR • PAUL SEBBEN

Fixing The Leaks 21 BUSTER SIMPSON • JANET WILLIAMS • ANDY YODER Essay/Steven Foster/Studies 22 OPENING CELEBRATION DEPARTMENTS Friday, October 4,1996 • 5:30-8:30 p.m. Refreshments • Music by The Mosleys Plexus/Reflexus 4 Free Admission Grants/Opportunities 6

Post Facto 24 Concurrent Exhibitions Calendar/Out There 28 Anna Torma: Notes and Visions Madison/Chicago 33 Kate Moran: Nine Dolls Full of Color Who Understand Touch through October 27 Rudy Rotter: Mahogany to Mink November 3, 1996 - February 2, 1997 ON THE COVER Opening and Exhibition Preview Front: David Schweitzer, Director, 1986. Photograph by Francis Ford. with Rudy Rotter and Guest Curator Debra Brehmer Back: Les Petite Bon-Bon, 1971. Photograph by Francis Ford. November 1, 5:30-8 VO p.m. For more about Francis Ford's photography, see pages 14 & 15. This is a taste of what's to come on September 28th when Francis Ford: 25 Years of Photography opens at the Walker's Point Center for the Arts. His right hand is currently stained with Dektol from the process of printing the eighty photographs in his exhibit. His mind is unblemished, JOHN MICHAEL KOHLER ARTS CENTER though. He'll be up and running and celebrating his quarter-of-a-century as an artist in our Sesqui city. 608 New York Avenue, P.O. Box 489, Sheboygan, Wl 53082-0489 414.458.6144 • HOURS: M-F 10-5; TH 10-9; WEEKENDS 12-5 Francis Ford started his career as a photojournalist documenting the 1968 Democratic Convention in Chicago. He went on to become a Free Admission portrait photographer, having shows in New York, Minneapolis and Milwaukee. Currently he is a photography instructor at The Milwaukee These exhibitions have been made possible by generous grants from Kohler Co., Institute of Art and Design. the National Endowment for the Arts, and the Wisconsin Arts Board.

2 Art Muscle ANNIVERSARY JUDITH ANN MORIARTY editor/publisher : FRANCIS FORD ill* photo editor va.0 AT MEGAN POWELL October n-12, 1996 calendar & 'out there' editor Steimke Theater

THOMAS FORD art direction/design

NICHOLAS FRANK design

ANGEL FRENCH advertising director THE WILD ONES December 6-7, 1996 JULIE ANN LANG Steimke Theater sales representative

GRETCHEN NEUWALD uw-milwaukee intern

DEBRA BREHMER. THERESE GANTZ emeritus personnel still wild after all these vears Printing by Port Publications April 5, 1997 Pabst Theats: FRIENDS OF ART MUSCLE Burton & Kate Babcock Kevin & Meg Kinney FOR MORE INFORMATION CALL 271-0307 Catherine V. Bailey Lance Lichter Kit Basquin Ellen McCormick Martens Gary Black Tim Martinez Arthur E. Blair Roderick Michael Mett Karen Johnson Boyd Michael Miklas Dorothy Brehmer Charles & Libbie Peckarsky Bob Brue Morton & Joyce Phillips David & Diane Buck Vicki L. Phillips WE'VE GROWN Daniel J. Burbach Jim Raab Rita Chellman Jack & Barbara Recht Sam & Dori Chortek Sam & Toby Recht Arthur & Flora Cohen Margaret Rozga John Colt & Ruth Kjaer Wolfgang & Mary Schmidt Giles & Polly Daeger Richard & Julie Staniszewski Tony DePalma Eric D. Steele Perry Dinkin Max & Tybie Taglin Jordan Sensibar & Patti Rikki Thompson, Earthscapes Donahue Cardi Toellner Kathryn M. Finerty Nicholas Topping Frogtown Framing Carolyn & Leon Travanti Gwendolyn Diaz Hankin Anne Wamser Constance A. Hoogerland Vicki Wangerin Mike Judy

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an QUOTES

From those who labor— From Riverwest— stuff and very little original art. This is because Watt'sTea Room, The Leo Feldman beer costs so much. If beer sold for ten cents a Gallery's opening show proved to Recently, while installing (in a new manufac­ The Riverwest Art Center has di­ glass, people would buy more art. be a solid plus mark on the Milwau­ turing facility) a number of sculptures made verse young members who are now — Bob Watt, artist G poet kee art trip. by a friend of mine, I was approached by a occupying our new building on the — Sister Cashbox young laborer at the plant who asked me, "How corner of Fratney S Auer. On Octo­ much for one of those?" When I replied that I ber 5-6, ArtWalk 96, sponsored by Memorable 1987 Muscle If I was working on a car, make-up had no idea of the per unit cost, or the total RAA blasts off with a weekend of quotes and wardrobe would be the equiva­ cost for that matter, he asked, "Expensive?" I activities. It will be the biggest and In the other room there's a mattress on the lent of wrench and pliers... I want shrugged my shoulders, and he walked away best ever. floor, a few pieces of sagging, overstuffed fur­ the audience to wonder, "was that saying, "There goes my bonus." I wondered if — Christine Anderson niture, and several art posters taped to the a man?" he would have preferred working in a dreary ArtWalk co-ordinator walls. No stereo, no television. "I still can't fig­ — Ginger Spice, female environment and taking home a large pay­ ure it out," he says, "whether this is just a hobby, impersonator check? I guess this points out that art means From an actor or an obsession." nothing to many people. The artists in this community are —Kevin Stalheim, Present Music I don't think I wanted to be an art­ — Russ Isaacson hard working and dedicated, how­ ist when I was a kid. I did art work Graphic Designer ever, they need to give themselves The design of ioo E. Wisconsin, an academic because it was fun. I wanted to be and their city a little more credit. study in histrionics, will take you back ioo years an auto mechanic. From UWM art student — — Megan Powell to the Gilded Age of American Laissez-faire capi- — Fred Stonehouse Students don't have much opportunity to get their stuff into a place. It would make me take Commandment # 4 some of my drawings more seriously if I knew Thou shalt eschew poverty and gar­ there was a possibility of them being seen by rets wherever possible, and suffer someone other than myself. them only when absolutely neces­ -MatkPendl sary, for they are but unjustifiably romanticized symbols of a stereo­ From Brady Street type long ago discredited, and are It's more diversified every year, which pleases more likely to reduce rather than me, but I hope local artists are getting enough enhance an artist's inspiration or exposure. effort. — Michael Wavra — Wisconsin Women in the Arts Grava Gallery co-owner From Up North From Water Street and Damn! It's great fun being an Bay View ——-——— artist!! — EmmettJohns •.^••MV-A.-..- September 27 marks the champagne opening illfiStgiiiiiiislia Ellison Bay of the H2O Gallery on (you guessed it) Water A Bridled Nail-Tailed Wallaby. street. The old ArtCentric Gallery has regrouped with some members heading out to start The From a Racine talism, that romantic era of American imperial­ I remember reading last summer Industry Gallery of Art in Bay View; others poet ism, the 60 hours work week, child labor, im­ that there were 90,000 artists liv­ landed in the Third Ward to reopen Silver Pa­ I am not a marginal man. migration hysteria, temperance, and the plague ing in New York Gty. So if you think per Gallery as the new ArtCentric. I do not stand on the periphery of tuberculosis. about that in terms of how many — Confused Of desiring someone else's life. —Jerome Schultz bad artists are proportionate...it's I am the center of my own the same in Wisconsin. From a UWM dance existence. — Rene Paul Barilleaux, curator Q. Do you have a basic philosophy? student There is no bridge life has Madison Art Center refused to The smaller Milwaukee dance companies don't A. At least know what you don't want. Extend to me. have enough space because they can't afford it Memorable in I am where I want to be; Q. What do you think of life in Milwaukee? because they aren't attracting large crowds, be­ Alone, before my typewriter. 1996 cause they perform in small spaces... — Pedro D. Villarreal A. I think it's pretty much the same as in 1976: But this message, that art is good — Kimberly Dunkel a city with much potential stunted by the fright­ for society in some explicit mate­ From a long- ened, the greedy, and the small-minded among rial way, is as phony as the postur­ From a poet the powers that be. The art scene is livelier than ing of anti-art politicians. What is I just returned from Oregon which is supposed timer ever. never talked about is how we spend to have a heavy duty poetry scene. It isn't half The visual arts scene is getting bet­ —John Schneider, Theatre X what money we have for the arts... of what we have here. Milwaukee, however, ter, but it's still tough. Most people — Tom Bamberger seems to lack an appreciation for the female here buy beer and cigarettes rather ...Only a few minutes walking distance from point of view. than art. So in 30 years they maybe Elsa's on the Park (love the Land of Giant's pot­ What local art scene? Colleen Shoop spend ten or fifteen grand on that tery and flower arrangements by Mr. Dave), and — Carri Skoczek, artist

0c COMPflEDKVTUDffH ANN r rtOfcfAl^Y

4 Art Muscle REfLEXUS

THE FUNDING fi FOCUS - %RiDCED There has been much written since urban decay. The amount of bad news is weighty. MA ft-TARED the Reagan era about why art I find no easy hope in the glib culture of mate­ WALLAH funding should not be cut. Many rial ambition. And even though though I am a well-intentioned journalists and religious person, religion can at times seem too It's day three of deck-sitting at a whistle of a Cardinal woke me at dawn, I al­ artists have commented on this, far in the distance. Sheboygan county cabin, my re­ most packed up, for surely it was useless to and their sentiments seem valid spite from the urban art scene deny my essential art-self. and inspirational. In the midst of this pondering, I find myself 60 miles to the south. If you dis­ watching the Olympics. The athletes' bodies are count the silly brass fireplace I held on until mid-morning and drove 4 miles But I am often confused because, amazing, their feats unfathomable. I love hear­ tools embellished with loon east to the local Piggly Wiggly, where I bought heads inside my Chalet #4, there one yellow legal pad and a med. Flexigrip despite the high moral ground ing about their daily, monotonous training—how is little that suggests 'art.' I do PaperMate pen. I sped back to paradise de­ from which the well-intentioned one gymnastic routine or one dive is performed find myself sorely tempted how- termined not to look at any art along the way. pontificate, there is another high again and again, often over the course of years. I floored it past the moral ground: do I want a person I love the interviews and learning how each ath­ Prymouth Art Center to go hungry so that my art can be lete prepares physically and mentally—each in housing Gallery 110 North, slammed by funded? Do I want a mentally dis­ highly individual ways. 'Antionette,' the abled person to be denied treat­ 1,000-plus-lbs. fi­ ment? The list of questions is far But what I really love is the focus I see in their berglass cow sculp­ too extensive for this column. eyes. It is a familiar sight, for it reminds me of ture at the foot of the focus I see whenever a musician plays or an Mill Street, and suc­ cessfully avoided the So, I am left confused. I think that actor acts—whenever something is to be created, local Craft Barn on as an artist, I cannot be objective constructed, embodied now, in this moment. Shady Lane. Ignor­ about funding for the arts. Usually, There is no chance to correct, just hours and ing that venue was I keep my mouth shut. years of practice brought together in one act. easy, for above my lodging's fireplace mantle is a tacky As I pondered various subjects for And I love what they focus on, which is not a macrame owl that this column, the TWA jet fell into bomb or a political manuever. No, they focus on fills the need for the ocean. At the time of this writ­ executing a brilliant athletic stunt, a piece of country craft quite ing, it looks like a bomb was re­ music, a play. The very best of what it is to be a nicely. If that doesn't sponsible for the tragedy. The human blossoms before my eyes as I watch. I do it, a Bridled Nail- tailed Wallaby por­ thought of such a possibility is begin to find hope in the human species. celain, signed Lenox, sickening, frightening. My small Handcrafted in Tai­ daily frustrations pale in the pres­ So, for me, as bombs drop and society's prob­ wan, 1993 ence of such news, and it is diffi­ lems seem to spin out of control, I move toward Smithsonian, stares cult to strike a thoughtful balance understanding why the arts should be funded. into the rustic void. between the two realities. Even if you close one Not only is it our responsibility to provide each eye and squint hard, person with food, clothing, and shelter, it isa/so a Michelangelo it Then a bomb goes off at the Olym­ our responsibility to ensure that the finest of ain't. Blank Wall pics, and there is vague specula­ human endeavors (art, athletics, science, to tion that a domestic terrorist name a few) are encouraged and supported. This ever, to rag on in 350 words or It hasn't been easy recovering from art, and I is true in part because it promotes culture and less about the sea of purple confess to motoring to Sheboygan for a quick group or a security guard may be chicory, bachelor's lace, and fix at the illustrious Kohler Art Museum. A responsible. Too many bombs, too our general advancement, but I think that mainly goldenrod lapping at my rural minor slippage. many innocents, too close to it enhances everyone, for it shows us the good digs. "How very like an impres­ home, too close together in time. in ourselves, and hopefully, in others as well. sionist painting," I could write. Here in Chalet #4 it's high-noon with less than Or this: The green of the valley 24 hours to not think about art. The televi­ is precisely the green of sion, microwave and dishwasher are silent. And, of course, a walk down the bY KA*EN SEAUMON* Cezanne." Or this: "The clouds There is only the wind in the willows. Below street will point to less 'glamorous' remind me of oil pastels laid the rocky ridge where I perch writing on my tragedies: aimless children and ne­ Ms. Beaumont is a professional musician who heavy on Arches paper." yellow pad, twelve spring-fed ponds bubble glected alcoholics, pollution and writes regularly for Art Muscle Magazine on 370 acres of gorgeous land. The owner But no, I have made a firm pact dropped by a few minutes ago to suggest that with my head, that my time here I take a stroll near the ponds that "gurgle the will be devoid of artspeak. Hap­ most." "Positive ions," he smiled, "good stress- pily, inside my chalet, nothing relievers." He offered me the opportunity to hangs on the beige walls but move to the 'Bunk House,' a teensy box with empty picture hangers yearning a pallet for a bed and no plumbing. "Lots of for a bad John Wayne print. stressed out writers recover there," he said. There is a watercolor of a trillium Visions of Kienholz marched through my in the main lodge, and I felt com­ head. pelled to remark about it to the Nancy Mladenoff's graying New Age owner who con­ I have only a few more hours left to study the Space Commando, 1995, firmed my reservation. I at­ herons shuttling across the Monet-blue sky. and over tempted 'artspeak,' but the When the charcoal line of the Western hori­ 100 other works burned-out editor in me merely zon gobbles up the Maxfield Parrish sun, I'll by Wisconsin artists croaked, "Oh, a trillium." hit the sack and dream about the printer are on view at the crashing at Art Muscle. Madison Art Center's I slept fitfully last night, dream­ Wisconsin Triennial, ing I was editing 26 pages of Art I'm doing just fine, thank you. now through Muscle text just prior to paste­ November 17. up. Consequently, when the — Judith Ann Moriarty IGRAhl TT off bWtv SIT ill IfGraphic artist Janice Kotowia has la- sidered. The Harley Davidson Foundation, VISUAL ARTS statement, resume and SASE Artemisia Gal­ Ibored in the marketing department of POB 653, Milwaukee, WI 53201. lery, 700 N. Carpenter, Chicago, IL 60622. Southslde Players Ithe Department of City Development An opportunity to get involved! Perfect for your arts group? (for 14 years. As a matter of fact, while Thoughts of the unthinkable: "Funders are in the arts with group peri orm Opportunity for your perform­ Established G Energetic (she was a Visual Communications ma- much more Interested In seeing that arts dis­ ing at the United Church, 2906I; ing group or arts organization to Hot Walker's Point gallery seeking new mem­ ||or at UW-Milwaukee, she interned at ciplines are being provided to the community, W. Scott Street. Info Donna! rent a spacious room either bers. Dues, 10 slides and resume to Gallery §DCD. A few years ago Janice was re- rather than ensuring that everyone should McMaster 481-8032. short or long term. Located in 218,218 S. 2nd St., Milwaukee. 277-7800. Isponsible for designing the nelghbor- survlve...Even more radical, for traditional Walker's Point Center for the |hood posters highlighting, for instance, grant-givers, is the growing notion that some Arts in the historic Burnham Flrelands Qnewomen |Bay View, where lives. When the op- arts organizations can and should die." Building, it's just the spot for Seeking works, all media for solo or group Non-profit seeking submission Iportunity arose to design a Sesqui logo Tough Line on Grants for Arts: Shape Up theatre, alternative art events, shows. Deadline Nov 1. Prospectus Gallery from women on ongoing basis.! |;{it had to be fax-able), she presented a The New York Times, August 5,1996 1/2" VHS for preview, $20 per! or your next fund raiser. Info Director, Firelands Association for the Visual IVariety of plans to a committee and entry. SASE Cinewomen, 9903!; Director, 672-2787. Arts, 39 S. Main, Oberlin, OH 44074. 216/774- |ended up using elements from each % for art 7158. Santa Monica Blvd. '461, Beverly plan for her final design. Eventually she For a listing of Public Art Commissions Hills, CA 90212.310/855-8270. New on Broadway Ipitched a Sesqui poster of City Hall, throughout the country, send $3.75 (CAC mem­ Seeking artists, all media for ex­ HaUwalls iwhich she touts as her favorite build- bers) or $4.75 (non-members) to Chicago Art­ hibits at ArtCentric, Inc. gallery Seeking artists for next two seasons. Resume, DA N C EII ling. DCD liked her idea, and the results ists Coalition, 11E. Hubbard, 7th floor, Chicago, (the former Silver Paper gallery), slides, or videotape (no masters), proposal, lean now be purchased through DCD IL 60611. 217 N. Broadway, Milwaukee, WI SASE Hallwalls, 2495 Main St., Suite 425, Buf­ Auditions land Brew City Gear. Of course the 53202. Info 220-9660. falo, NY 14214.716/835-7362. City Ballet seeking singers, ac Iposter is emblazoned (in gold) with the Meet the Composer/Midwest tors, dancer for November 9! iSesqui logo. In her spare time, she free- Acquaint the public with contemporary mu­ Sculpture Zone Circle of Hope concert. Some pay. Minorities;! llances logo designs from her home. sic by bringing composers fi audiences to­ An index for outdoor sculpture Seeking positive, optimistic thoughts and ideas encouraged. 445-3006. gether. Presenters are encouraged to invite on the World Wide Web for large scale installation. Prefer handwrit­ ffThe Sesquicentennial Endorsement composers to participate in public events that (www.execpc.com/bilhenry). ten in permanent ink on lightweight or hand­ Diverse curriculum IjCommittee awarded grants to 10 non- supplement performance of their music. On­ Sculptors and/or sculpture gal­ made paper. Ongoing. Info Connie Herring, Dance Center classes, 3514 N Iprofit organizations, including The New going. Info Arts Midwest, 528 Hennepin Ave., leries can have a free hyperlink Circle of Hope, Box 341, Larchwood, IA51241. Oakland Ave., now registering! IBrady Street Association, Milwaukee •310, Minneapolis, MN 55403.612/341-0755. to their Web site on this award- students. Info Et toi, tu danses?! iPublic Theatre, Latino Arts, Inc, winning index. Info regarding Where's Pickering Wharf? 964-6700. IfDanGrcus/Wiscon-Sing, and Discovery Gay G Lesbian the jurying process e-mail Seeking slides or photos from new artists (World. For listings of foundations Grants to non-profit cultural organizations Bilhenry Walker at: working in all media. SASE Kroma Gallery, which help make Milwaukee great, M U S I C|J that serve the gay filesbia n community. On­ bilhenryaexcepc.com or 414/ Pickering Wharf, Salem, MA 01970. 508/741- icheckfoundatrons in Wisconsin: A Di- going. Info Chicago Resource Center, 104 S. 332-2509. 1289. llrecfory, in the Memorial Library, Michigan Ave, '1220, Chicago, IL 60603. 312/ Very Special Arts Wisconsin iMarquette University. Here are a few. 759-8700. Two $500 scholarships available;! flop RAA for persons with disabilities who Seeking entries, all media, in­ Seeking artists for Fall Fair. October 4 is the ifThe Milwaukee Foundation would like to take music lessons;! Feminists cluding video, installation, per­ deadline. This is a big one. Info Riverwest Art lApplications for art related funding or receive music therapy at the! Grants to individual feminists in the arts. Must formance and digital work for Center, Darlene, 374-4722. ireviewed quarterly. Annual report, Wisconsin Conservatory of Mu be citizens of US or Canada. Info Money For January '97 exhibition. Slides, ;§guidelines and application forms avail- sic, Northridge Branch. Apphca Women, Box 40-1043, Brooklyn, New York tapes, floppy, or zip Mac disks. Do It In Karachi pable at 1020 N. Broadway, Milwaukee 11240-1043. tion deadline, October 13. Info§ $5 per entry, 5 the limit. Dead­ Seeking submission of art for ongoing group §53202. Info 272-5805. 276-5760. line Oct 15. Checks and entries exhibits. Interested in challenging notions of Noteworthy SASE Slop Art c/o Supermarket, high fi low art. Info David Alesworth, Box 3504, |The Segel Family Foundation Monies available for composers of contem­ 33 University Square, '109, Madi­ A.N. Karachi 74800, Pakistan; WORD s| |;Requests considered on an ad hoc ba­ porary music. Info Arts Midwest, 528 son, Wl 53715. artists a>biruni.erum.com.pk. sis, but not limited to oral presentation, Hennepin Ave., *3io, Minneapolis, MN 55403. Words for the Wisconsin Center! liwritten presentation and form solici- 612/341-0755. Co-op Bay View Seeking Wisconsin poets and Itations. No deadlines or restrictions, For women. Now jurying slides Spunky new gallery on Rusk Avenue. Info The writers for pieces about Wiscon-l llnfo attn. Justin Segel, POB 913, Butler, for solo and group '97 fi '98 ex­ Industry Gallery of Art, Scott Tremel, 375-5100, sin which will be incorporated! Wl. hibitions. All media. 15-20 slides, 489-1339. into new Wisconsin Center.! $400 honorarium. Manusi npts IfThe Lubar Family Foundation Colorado postmarked by November i,l| iSupport for cultural and civic charities. Seeking submissions for solo shows. Twelve 1996. For specifics call Wood iInitialcontactbyletter.TheLubar Fam- shows per year, gallery provides the public­ land Pattern Book Center, 263-! f|ily Foundation, 777 E. Wisconsin Av­ MHFifjgry ity. Prospectus SASE Carei Gallery, 523 Main 5001. enue, Suite 3380, Milwaukee 53202.291- St., Grand Junction, CO 81501.970/241-9196. :;§90oo. Send It ..^ri*: Salmagundi Club Seeking submissions for possible! fflhe Pettit (Jane fi Lloyd) Foundation Seeking artists, aquamedia on paper for publication in newsletter repre-|! ilncludes capital support, annual cam- American Watercolor Society exhibition. senting Wisconsin Women In! !paigns, special projects and unre- Deadline Nov 15. SASE Richard Brzozowski, 13 the Arts. Info WWIA 8700 S. 15th! ||stricted. No deadlines for applications. Fox Rd., Plainville, CT 06062. St., Oak Creek, WI 53154. 764-f:; !§No set schedule for board meetings. 7630. ||rhe Pettit (Jane fi Lloyd) Foundation, iJSii llSfc Possibilities si..--.--- - .... * ^*p|i*!!l 'ftH|f~f;*i t §660 E Mason St., Milwaukee, WI 53202. 'fib'.' :'•' . t '•' 'ffjjfftlil «IIH|:.™|B'! 3-20 slides, resume, SASE Di Falco Gallery, 1855 One Act 271-5900. W. Armitage, Chicago, IL 60622. Seeking original scripts by Wis-! consin playwrights for festival.! iiPleper (Suzanne G Richard) Family Actors! pay attention Info One Act Festival, c/o Village! .^.jiiiln.jfi* iFoundation lisspAi * jams Auditions for "Little Egypt" at the Boulevard Playhouse of Wauwatosa, POB! IfApplication should include a statement .11 Theatre, 2252 S. Kinnickinnic, i-4pm on Sat, 13095, Wauwatosa, Wl 53213. Ipncluding the amount and purpose of Oct 26 fi Sun. October 27. More info? 672- fffunding needed. No submission dead- 6019. Cross*Roads Press flines or restrictions by geography, field, Write Norbert Blei for info on! |for institution. The Pieper Family Foun- Theater experience Chap books most excellent from! |§dation, 6203 N. Bay Ridge Ave., White- Sensational well-established theater seeking Crossroads Press, Box 33,if Ifish Bay, WI 53217. rn. '••SVN... volunteers for stage management, technical Ellison Bay, WI 54210. Notable: |f assistance, and other positions. Submit letter Thought You Were The Picture^ IThe Kohler Foundation and resume to The Boulevard Ensemble, POB with text fi sketches by Emmett;! §|Grants to (among others) Wisconsin 238, Milwaukee, WI 53201. Johns. |§non-profit institutions for art and edu­ cation projects. Request application Ifguidelines. The Kohler Foundation, 104 Anonymous, ABis-Chalmers Superior McCulhy All Steel Gyratory Crusher. Built for llprchard Road, Kohler, WI 53044. Chile Exploration Company, Antofagasta, Chile, March 30, 1933. iThe Harfey Davidson Foundation from "City Stories: 150 Years of Photography l|Majority of grants are for project or in Milwaukee" at the Milwaukee Art Museum, now through December 29. program support Art ficultur e are con-

I 6 Art Muscle Jack Ink MODERNISM SHOW Glass & Paintings WINNETKA, ILLINOIS through October 26, 1996 Concurrent exhibition with EXPOSITION AND SALE OF 20th CENTURY DESIGN The Art of the Table FINE ART TOUR/LUNCHEON FRI., OCT. 25 GLASS CURT 9:30 A.M. - 4:00 P.M. • $50 "In Search of the Illusive Bijou— FRANKENSTEIN A Modern Jewelry Safari" by Rolf Achilles PAINTINGS "Fantastic Journeys" M DRAWINGS WINNETKA LECTURE/TEA Paintings & Etchings MON., OCT. 28 COMMUNITY 1:00 P.M. • $30 SCULPTURE "The Luxury of Freedom: An Historical GIVING FOR THE HOUSE Overview of American Costume and Fashion Jewelry" by Deanna Farneti CERAMICS CREATIVE SPIRIT 620 Lincoln Avenue FIBER PREVIEW PARTY AFFORDABLE HOLIDAY GIFTS Winnetka, Illinois FRI., NOV. 1 Phone 847/446-0537 FURNITURE WORKS OF 6:30 - 9:30 P.M. • $35 Fax 847/446-0609 (includes 2-day show admission) 200 ARTISTS E-Mail [email protected] ARTIST CREATED MIDWEST'S HOLIDAY ORNAMENTS November 2 - December 31

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Alexander and Radmila Radicevich's 1 LA PERU thought they could get through life Cafe I AT Tk Cli :AZA **»• IIGNEBKi WE NOW HAVE A ^rossr ffi BAD! Established 1971 OPEN DAILY Come se - . out? SERBIAN serving BREAKFAST and LUNCH GOURMET • Wake up with Patrice's GRAND OPENING OCT. 3rd-OCT. 6th! HOUSE Enjoy the finest Authentic Thai Famous Jumbo Bloody Mary!! Cuisine in a luxuriant and "A Delightful Experience" • On and off premises for lunch or dinner relaxing catering oLa Iberia Thai Atmosphere Selected wines, liquors, and homemade desserts Visit our Northwest location APSl —76th and Good Hope— Strolling string music /you) St FINE MEXICAN CUISINE • 7 DAYS A WEEK | Party rooms available /v THE KING AND I NOW BOOKING HOLIDAY PARTIES 734 S. 5th St., Milwaukee Gift certificates O* RESTAURANT 645-9888 Credit cards accepted 1007 N. Cass Comer of Sth & National across from the Milwaukee Ballet 522 W. Lincoln Ave Phone 276-4181 • Reservations Taken Inside the Plaza Hotel (414)672-0206 272-2494 • 272-2565 Fax 823 N. 2nd St., Downtown Milwaukee '•: £ 8 Art Muscle KATIE LINDA GINGRASS RICHMAN GALLERY JEWELRY

"^'ftiST~N:-;::.'::.::-:: COLORED THREADS November 27-December 22,1996 This award-winning Lerner and Loewe romantic musical featurespopular songs including "I've Grown Accustomed to Her Face", "On the Street Where You Live" and "I Could Have Danced All Night". A classic hit that makes the perfect holiday gift! Call the Broadway Theatre Center box office at 291-7800. SKYLIGHT E OPERA THEAH Intimate, Innovative and in English

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RECENT WORKS ANNALISA BROMLEY • PAINTINGS DIAN GABRIEL • WATERCOLOR COLLAGES RANDY JAMES • ORIGINAL PRINTS MICHAEL JUDY • PAINTINGS STEVEN MILLS MENAGERIE CLAUDETTE LEE • PAINTINGS FRANCISCO X. MORA • PAINTINGS African Masks & Sculptures DAVID LOTTON • Glass RUTH OLENICK • PAINTINGS Indonesian Masks & Objects WES HUNTING • Glass CHERIE RAFFEL • PAINTINGS Polish Christmas Ornaments KAREN NAYLOR • Glass Glass Scent Bottles ACQUAETTA WILLIAMS • Glass and Jeanne Cohen Collection Marbles Paperweights Tine and SHand-Crafted Jewelry The Qcillery, JZtd. located in the Cafe JQiickerbocker 1030 E. Juneau Ave. 414-272-1611

9 A Birthday Since 1878 a lot of things have changed. to Remember Then again, some things shouldn't! BABEROF .,,, SEVILLE QUALITY • SERVICE • INTEGRITY

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MI I Commemorative Sesquicentennial posters are now available at: • Brew City Beer Gear, in The Grand Avenue; • Milwaukee Traditions, in Southridge; • Department of City Development, COMPANY 809 North Broadway. Milwaukee's historic City Hall tower is presented in full color, with gold foil detail, measuring 12" x 24". $15.00 unsigned edition $75-00 special numbered edition signed by Mayor John O. Norquist and 5UNB IN 1THLIRN W/ ENSLI5H SUPERTIT1E5 ERS former Mayor Frank P. Zeidler. 414.273.7206 414.744.4471 www.reimers.net 300 E. L3ay St. kiplii\iq3K

Beauty in Form Convenience to Sleep Futons = Style A New Equation Innovative Spaces In the Courtyard ai Loelunann's Plaza 1713a: f. BlucmounJ R.wJ • BmoWicM, \tl 5301' (414) 785-9500 Ted Rozumalski, Knife Fight, 1950s. Milwaukee Art Museum, Gift of Kathleen Rozumalski.

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10 Art Muscle THEY SHRINK FROM NEITHER A QUALITY NOR A QUANTITY OF EMOTION. THEY BELIEVE IN BEAUTY AND USE IT TO THEIR ADVANTAGE. THEY EXPOUND ON THE INDIVIDUAL BEAUTY THAT EACH OF US PERCEIVES ON THOSE RARE MOMENTS WHEN THE WORLD SEEMS RIGHT, OR AT LEAST Features ACCEPTABLE. WHEN THE PIECES SNAP TOGETHER AND THE GRAND VISTA OF THE JIGSAW PUZZLE JIGGLES INTO VIEW. - NATHAN GUEQUIERRE FROM "ESSAY/STEVEN FOSTER/STUDIES."

THE STRONG COMMITMENT TO IDEAS THAT IS CHARACTER­ ISTIC OF THE HAGGERTY MUSEUM FOLLOWS NICELY FROM THE FACT THAT THE HAGGERTY IS PART OF THE MARQUETTE UNIVERSITY CAMPUS. AS A VITAL COMPONENT OF AN INSTITUTION WHICH STRIVES FOR ACADEMIC EXCEL­ LENCE, IT WOULD BE EXPECTED THAT THE MUSEUM'S EXHIBITIONS AND EDUCATIONAL PROGRAMS BE HELD TO THE SAME HIGH STANDARDS. -DR. CURTIS L CARTER WHAT'S LEFT OF THE TRADITIONAL IS DISAPPEARING AT FROM "REFLECTIONS ON THE HAGGERTY MUSEUM OF ART" AN ALARMING RATE, AND ONE WONDERS AS MILWAUKEE CELEBRATES ITS SESQUICENTENNIAL, WHAT THE NEXT 150 YEARS WILL BRING. - JOSEPH KOROM FROM "A TALE OF Two CITIES: MILWAUKEE VS. MILWAUKEE"

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-'I • WHAT DEFINES US AND SEPA­ HI RATES US FROM THOSE INSTITU­ mm[ '«*Jr m .1 TIONS DEVOTED TO NATURAL HISTORY, SCIENCE, AND THE SOCIAL SCIENCES, IS THAT SINGLE MIND, THAT SINGLE OBJECT "SEEN." IT IS A MOMENT OF INTIMACY THAT ENTICES US INTO LOSING OURSELVES IN WORKS OF ART.... -RUSSELL BOWMAN FROM "REFLECTIONS ON THE MILWAUKEE ART MUSEUM"

Wolgast-RitchSe Match 68,000 in attendance), Milwaukee Auditorium, March 12,1914. From Qty Stories: 150 Years of Photography in Milwaukee. September 27-December 29, at the Milwaukee Art Museum.

THE NEXT TIME YOU VISIT THIS STATELY MANOR, PAUSE BE­ FORE YOU ENTER THE ARCHED DOORWAY FRONTING DOWNER AVENUE. MOST LIKELY THERE WILL BE OTHER VISITORS GATH­ ERED IN THAT INTIMATE SPACE TO DISCUSS ART AND WHAT IT MEANS TO THE PEOPLE OF THIS COMMUNITY. JUST OVER 20 YEARS AGO IT LOOKED AS IF MILWAUKEE'S -JUDITH ANN MORI ARTY BELOVED PABST THEATER WOULD BE TORN DOWN TO MAKE FROM "FIXING THE LEAKS" WAY FOR A PARKING LOT. -GORDON SPENCER FROM "IT COULD HAVE BEEN A PARKING LOT"

11 reflections

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IN RESPONSE TO A REQUEST FOR A "PER­ possible in today's media-laden, technologically- or the Renaissance Italians, by looking at their art, SONAL" ASSESSMENT OF MY YEARS AT THE oriented world? rings true I believe—even in our own baffling times MILWAUKEE ART MUSEUM, I'LL BEGIN with sometimes baffling art. For what it's worth— I think so, perhaps because the work of art, which is this is our time, our moment, and we can not ignore WITH A LINE FROM EDITOR JUDITH often produced through the efforts of an individual the sense of that moment. MORIARTY'S LETTER SUGGESTING THE rather than an ensemble (as with music, dance and TONE OF THE PIECE SHE SOUGHT: "A theater), allows us the opportunity to enter into a In the early 20th century came the discovery of the LENGTHY FAX ARRIVED TODAY ANNOUNC­ specific creative moment. This sense of intimate theory of relativity—Kandinsky was there with his ING THE COMING EVENTS AT MAM...I contact, through the object, with one creative mind, abstractions to embody the shattering of the uni­ is the power that animates works of art. And the verse. World War II with its attendant agonies, gave CAN'T IMAGINE LIFE WITHOUT THE OPPOR­ response is also individualized, for it is # viewer and rise to Giacometti's sculptures. The age when image TUNITY TO RUN TO THE LAKE AND LOSE a response. overcame reality was the time of Andy Warhol's MYSELF, IF ONLY FOR A FEW HOURS, IN soup cans and his mesmerizing images of Marilyn. A BEAUTIFUL, STIMULATING WORKS OF ART." Of course we need the newest educational theories; sculpture by Kiki Smith, which was recently WELL, I CAN'T EITHER, AND THEREIN we need the latest technologies, but as we've so acquired by the museum, is a reminder of the frailty often discussed at the museum, our future rests in of the human body in the age of AIDS. It is sad, but MUST LIE THE REASON THAT MOTIVATES the real—the wondrous object created by the enter­ it is real and of our time. ADMINISTRATORS AND CURATORS: TO PRO­ prising or inspired mind of the human being. What VIDE THAT OPPORTUNITY FOR PEOPLE TO defines us and separates us from those institutions Certainly the works I have mentioned and the feel­ IMMERSE THEMSELVES IN WORKS OF ART. devoted to natural history, science, and the social ings they arouse, are a matter of individual response. sciences, is that single mind, that single object Suggesting possibilities of interpretation consistent •

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Russell Bowman greets visitors at the opening of Collectively Speaking: African Art From Area Collections. February 29,1996.

The mission of the Milwaukee Art Museum, as "seen." It is a moment of intimacy that entices us with the artist's intent or the temper of the times in recently reaffirmed by the museum's trustees, is into losing ourselves in works of art. which they produced works of art, is however, the to "enrich life by advancing the appreciation and responsibility of the museum. By combining the understanding of the visual arts through collec­ In the 19th century, an era of the rationalist, the object with a suggested context, the museum per­ tion, preservation, display, research, education, positivist, knowing more about art and culture was haps illuminates a moment in time, and expands one and interpretation." Though some American deemed to be "good for you," hence the rise of the individual's acceptance of another person or anoth­ museums have elected recently to embrace more museums and cultural organizations that still tend to er time. The 19th century vision of the "good" of "inclusive" and "market-oriented" mission dominate a grand spectrum of our community life. viewing art, is still of value, and may I add: when statements, MAM's, for now, remains the more That art is "good for you" still holds true, I think, have we needed that openness and empathy more "conservative" statement of the art museum as a but in what way, to what purpose? than we do now? preserver and communicator of visual culture. In any assessment of my or any other years at I hope we would all agree, that if we look at a work If we've determined that the interpretation of works MAM, the questions that must be asked are: "Is of art and glean some insight into the mind that of art can be a good thing for both the individual this worth doing?" and "How well is MAM produced it, the work also reflects, to a greater or and the greater society, is the museum doing this doing it?" lesser degree, the customs, attitudes, hopes and well? With five years as Chief Curator and eleven fears, of an artist working during a specific time. The years as Director, it would seem I have a track record The first question takes me back to the concept 19th century assumption that we could understand to defend. That acknowledged, I believe MAM has of losing ourselves in works of art. Is that still the ancient Egyptians, the Greeks, the Gothic age, accomplished a great deal. 12 Art Muscle milwaukee

Our collections have grown extraordinarily. We've Latin American Women Artists, 1915-1995 (1995), Felix Gonzalez-Torres and Guillermo Kuitca define acquired major Old Masters (something which was and Anna and Bernhard Blume: Photo-Works movements in the artists' careers, and will always be ignored in the preceding decade), new collections of (1996), all organized, by the way, by a group of very included in retrospectives of their work. 19th and 20th century decorative arts, and expand­ committed curators at the museum or distinguished ed (on a grand scale) the collections of prints and guest curators. All of the exhibits have been accom- But where are the blockbuster shows? Well, I'm not photographs, all of this while con­ sure we would want to do a Monet tinuing to acquire some of the best show every few years, even if we had of contemporary art. We've added the funding or could offer entire new collections (either by exchangeable loans from our collec­ purchase or gift): The Hall tion to obtain them. Still, it is my Collection of American Folk Art, hope that in the future we will orig­ the Flagg Collections of Medieval museum inate some shows which will bring and Renaissance objects and in bigger audiences than we've Haitian art, and the Landfall Press received before. We're planning Archive. We now have "master- now for the year 2000. We're antic­ works" reflective of the highest ipating some spectacular exhibitions artistic achievement of a period: a 1st century A.D. panied by outstanding scholarly catalogues which in a spectacular new building. Roman torso, the proto-Renaissance Nardo di certainly reflect our educational mission. Cione, a major 1930s work by Georgia O'Keeffe, Significantly, most of them have had tours national­ Even though our attendance figures are up to about and a recent work by Jasper Johns. We attempt to ly or internationally. 30th in the nation, I'd like to see them rise. Our cover all historical periods in the development of membership is good, but remember it is also our European and American art, and all media from Our earned revenue from fees for traveling exhibi­ support base for the future, since we are a largely pri­ painting and sculpture to prints, drawings, photog­ tions has placed us among the top ten museums vate institution. It's true that Milwaukee County has raphy, and the decorative arts. nationally, but at the same time we are also a major provided rock solid support since 1957, but proba­ venue for shows traveling here from Europe and bly is not in a position to increase that support. We Is this simply a "something for everyone" approach? within the United States. Some of those exhibits need to expand our commitment to education, par­ I believe it is an appropriate approach for the largest provided a direct connection to previously under- ticularly in the area of walk-in museum visitors, i.e. art museum in Wisconsin, the only museum served audiences: Black Art/Ancestral Legacy more text panels and possibly interactive computers. between Chicago and Minneapolis where visitors (1990), 1 Dream A World: Portraits of Black Women I am convinced that the proper role for media and can experience a wide range of the history of art. Who Changed America (1993), and Jacob Lawrence: interactive technology in the art museum of the After all, our audiences have varied interests, and we The Migration Series (1994). The museum recog­ future is the full sharing of art with our public. try to meet those interests. All museums have their nizes the need to embrace a broader history and a particular strengths, usually based on the proclivities wider community; we are working to fulfill that A future without new collections would seem to be of the collectors whose works built the institution. need. If attendance figures are a reliable source, we bleak, though the promised Esther Leah Ritz col­ Our strength is in the 19th and 20th century Layton are on our way. Since 1982, we've doubled our vis­ lection is of some solace. Others, however, hang in and Bradley Collections. We have a generous itors to 200,000 per year. Add to these figures, the balance. There are some intriguing collections German art collection, and thanks to the Layton Art those who attend the Lakefront Festival of the Arts, in Milwaukee, but more needs to be done to Collection and a number of individuals, our our statewide traveling exhibitions, and our educa­ encourage serious collecting. And what about local American decorative arts are also outstanding. Frank tional events throughout this community, and it artists? An institution can never seem to do Lloyd Wright and the Prairie School are part of would seem that almost as much is happening on enough, but we could do better. The loss of our Wisconsin, so they are well represented. The Abert the outside as on the inside, where, by the way, sales and rental functions, which I believe the gal­ Collection brought us the School of the Eight; the we've become a bit stretched for more audience ser­ leries are taking over more and more, is still viewed Hall Collection brought us folk art, and the great vice space and places to store our collection. as a blow by many. collectors in the late 60s and early 70s gave us superb contemporary art, which has continued to The occasion of our centennial in 1988 marked the All in all, this list of positives and negatives is much grow because of an active program of people who beginning of an expansion program. Today we are like the people and circumstances that shape an art celebrate that genre. working with the outstanding young Spanish archi­ institution—it constantly evolves. That is, if an insti­ tect, Santiago Calatrava, who in the next four years tution is lucky, it continues to evolve, and I think the When I arrived at the museum in 1980, I set will bring to fruition his vision of a dramatic world- museum and Milwaukee are lucky, for we continue about to ensure that the exhibitions would tour to class museum. It will symbolize our place in this to grow. We are blessed with enthusiastic volunteers other major institutions, but little did I realize city, our place in this state, and most certainly, our and a tremendously dedicated staff and Board of then that they would eventually reach Europe and place nationally. Trustees. There are people out there who care Japan. I've had the privilege of organizing exhibi­ deeply about the future of the museum. tions such as New Figuration in America (1982), But surely I must be aware of some weaknesses in Philip Pearlstein: A Retrospective (1983), the museum's ambitions. Are we, in attempting to While all of this may sound like the usual institu­ Warhol/Beuys/Polke (1987), Word as Image: broaden our collection range, spreading our limited tional line, or a personal apologia, I am firm in my American Art, 1960-1990 (1990), Common resources too thin to acquire "masterworks" in each belief that the heart of it all lies in that moment Ground/Uncommon Vision: The Michael and Julie area? Do I think recent additions of works by when individuals lose themselves in the work of art. Hall Collection of American Folk Art (1993) and Castiglione, Prendergast, Motherwell, Johns or In losing themselves, they grow and the larger com­ Jim Nutt (1994). Some of the other great exhibi­ Keifer are truly definitive masterpieces by these munity benefits from this growth. We need this to tions organized by the museum in recent years have artists? No, but they are high quality works fully carry us into the next century. included: From Expressionism to Resistance, Art in reflective of some of the most important artists of Germany 1909-1936; The Marvin and Janet their period, and they allow the collection to repre­ Fishman Collection (1990), Painters of a New sent a fuller historical story. Works by Martin, —Russell Bowman Century: The Eight (1991), Jackie Winsor (1991), Richter, Polke, Rothenberg, Schnabel, Puryear, Director, Milwaukee Art Museum 13 Debbie Davis, Performance Artist, 1991.

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Frank Zeidler, former Mayor of Milwaukee, 1996.

FORD fl TflLE OF TWO CITIES: MILWAUKEE VS. MILWHUKEE

Architecture is a kind of eloquence of power informs— borhoods created problems which tragically remain residents. Walls were demolished; others were built. now persuading, even flattering, now only command­ firmly entrenched. A concrete ramp for wheelchairs and a specially-fit­ ing. The highest feeling of power and sureness finds ted washroom were installed. Some maple floors expression in a grand style. The power which no longer It is ironic that this same hinterland helter-skelter were sanded and sealed; others were carpeted. New needs any proof, which spurns pleasing, which does not drew the focus away from inner city neighborhoods. lighting and interior paint brought about the answer lightly...which lives oblivious of all opposition to In doing so, it left much of the old architecture changes which will never make the pages of it... intact. It actually preserved some aspects of tradi­ Architectural Digest, but which certainly illustrate Twilight of the Idols tional Milwaukee. what can be accomplished, even by tightly budgeted The Portable Nietzsche non profits organization. The Czaskos Building, located at 1407 W. Lincoln If, for a moment, we forget the political boundaries Avenue on Milwaukee's south side, is a fine example With the exterior walls repaired, rain gutters and that divide us, Milwaukee's saga, especially for the of a well-preserved relic. Completed in 1906 (when downspouts replaced, and new (but historically sen­ last fifty years, emerges as a tale of not one, but of Milwaukee was 60 years young), it was built and sitive) signage in place, the old building dazzles. The two cities. owned by Jacob Czaskos, a Russian/Polish immi­ shingle siding, wood trim, and tin dome are rich with grant who located his dry goods and millinery busi­ green and burgundy paint and soft cream-colored Traditional urban patterns that defined Milwaukee ness on the first floor. As was common in those days, accents. A piece of the traditional stands because and its architecture were abandoned with the emer­ the second floor was the family living quarters. The somebody cared. It is an urban success story. gence of the auto-dependent suburb; consequently, attic was used for storage. there now exists an urban duality of sorts—the old What's left of the traditional is disappearing at an vs. the new. The result of all of this hinterland devel­ Executed in the Queen Anne style of architecture, alarming rate, and one wonders as Milwaukee cele­ opment at the expense of established urban neigh­ its basic shape is trapezoidal, while its elevations brates its Sesquicentennial, what the next 150 years sport a lively mix of a dome, a cylinder, a will bring. The quality of our architectural environ­ three-sided bay, and a gambrel dormer— ment seems to be of little consequence in a culture all brought to fruition in red-orange that is 'easily bored.' brick, limestone, wood, glass, copper and tin. Today it is a landmark, a talisman, a In the hinterlands, people flee their split-level family neighborhood artifact—a piece of the rooms, hop into the latest version of the station wagon, traditional. and head off to get a bite to eat before the opening kick-off hits the television. In a pizza restaurant with a Visit it. Study how the shape is defined red mansard roof supported by Ionic columns and by the skewed intersection of the streets capped by a golden weather-cock awash in the garish that border it. Instead of retreating from light of a neon sign depicting a large cheese, pepperoni the corner, as so much contemporary and mushroom pizza, they feed en masse. Perhaps they architecture is wont to do, the Czaskos consider themselves civilized by dining in a building Building wedges itself into the existing that could be tomorrow's landmark. environment and celebrates its peculiar corner site. There is much to admire There are few sidewalks in 'new' Milwaukee, for this here: human scale, handsome materials, is the era of mega and mini malls geared exclusively and a rational arrangement of win­ to the automobile. The buildings and homes are set dows which defines it as pedestri­ far apart in strangely alien neighborhoods where an-friendly. there is no place to mingle, no shops that hug the sidewalk and invite humans to sit and chat. In the The building's main entrance at the rush for the new, the old is shattered. point where Lincoln and Windlake Avenues meet, is announced by a cylin­ Not everything, of course, is worth saving. There drical tower topped with a tin dome and are old buildings with no discernable significance, finial—a great tour-de-force marking no masterful architecture. Nor is all of the old sur­ much more than the doorway. For here rounded by wastelands of car dealerships and boring is a tower of ceremonial ambitions that newness. Perhaps our descendants will look back on breaks the roof-line and seems to rotate this decade and conclude that it was both the best of on an axis, helping the entire building times and the worst of times. We will soon have new 'turn the corner.' This is a bravado state­ civic, sports, and museum facilities. Eager commu­ ment pivotal to the overall composition. nity organizations are working as never before to Sadly, its original purpose has been long rescue what's left. Still, there are too many people forgotten. living in abandoned houses; too many empty build­ ings and derelict street corners. In 1995, after a few years of being under-utilized, the Czaskos Building The grand old anchors in our neighborhoods became the home of two non-profit deserve more than the wrecking ball and a trip to groups: the South Community the county dump. So to both Milwaukees, the old Organization (SCO) and the Neighbor­ and the new, I say, "It may be later than you think." hood Housing Services of Milwaukee (NHS). Their joint commitment is —Joseph Korom responsible for the its rebirth. Architect Korom labors for the Neighborhood Housing Services of Milwaukee and is a resident in To best carry forward their programs the revitalized Sherman Park area. (which are defined by understanding and meeting the needs of homeowners in the WORTH NOTING: This city's first 150 years will be inner city), SCO and NHS took on the traced in City Stories: 150 Years of Photography in task of renovating the building. Each Milwaukee, (September 27-December 29), at the non-profit organization had specific Milwaukee Art Museum. For a look at what our needs, such as office and community young architects are up to, check out the architec­ meeting spaces. They also needed an area tural projects of Art & Architecture (until October to store the hundreds of tools belonging 5th) on the main level of the School of to the co-op that were loaned out to city Architecture & Urban Planning, UW-Milwaukee. Second floor, Czaskos Building (detail), Illustration by Joseph Korom 1 6 Art Muscle IT COOLD HHVE BEEN H PARKING LOT

JUST OVER 20 YEARS AGO IT LOOKED AS IF In October that means classical guitarist MILWAUKEE'S BELOVED PABST THEATER Christopher Parkening (a major attraction WOULD BE TORN DOWN TO MAKE WAY FOR by himself), who will perform with the A PARKING LOT. female Colorado String Quartet. When the winds blow in March of 1997, flutist It may be hard to conceive now that such Eugenia Zukerman returns. Now well- an idea was seriously considered, but the known as a television commentator, she physical condition of the theater had been performs with world-renowned actress deteriorating rapidly. At night the down­ Claire Bloom and pianist Brian Zeger as town area was devoid of the energetic life they explore poetry side by side with the it knows now. Not much was resounding history of-the flute in many cultures. inside the building. A theater, after all, is Several weeks later when we're on the designed to entertain audiences; memo­ verge of spring, this city's major musical rable architecture dies if it does not fulfill asset, the Fine Arts Quartet, takes the stage its function. with the equally enduring talents of Russia's Borodin Quartet to perform Happily, the 80 year old landmark was octets by Mendelssohn and Shostakovich. revitalized by people interested in classical music. They started the Artist Series at the It's a season of familiar talents heard in Pabst, vowing to restore the theater's role new dimensions—such as violinist Yefim in the city's culture. In doing so, they Bronfman performing with the Emerson brought new life to the grand old building. String Quartet. In the 1987-88 Series' sea­ It's been two decades since the inception son they presented separate programs for of the Artist Series. It is up and running. the Artist Series. Pianist Richard Goode So is the theater. will be back with soprano Dawn Upshaw. Goode was here for the 1993-94 Series "Community activists decided the theater season. On September 29th, The Artist was too precious a landmark to lose," says Series will unveil their stellar lineup for the Lynn Lucius, Executive Director of the prestigious 1997 Hal Leonard Jazz Series Series. "They formed a non-profit organi­ which is entering its fifth season. It's been zation, comprised of one hundred people a sell out in the past. to contribute $100 each, and began pre­ senting chamber music at the Pabst. They The concept of diversity is an idea that has involved theater administration and city been in place since the Series began. Now officials in order to develop a strong cul­ the Series' intention is to extend that diver­ tural downtown anchor, an anchor that sity. Jazz events, for example, have attract­ had been in place many years before ed people seldom seen before in the neglect took its toll. Their goal was to pre­ Pabst—audiences of the Joshua Redman sent distinguished musicians in a distin­ and Roy Hargrove generation. Audiences guished place." of the Marcus Roberts generation.

The series continues to redefine itself. Presenting its type of music has often been What once started as a source of a special a major challenge for the Artist Series, just kind of classical music now embraces jazz as it is for other similar organizations in the plus unusual trends in chamber music. The United States. But the Series regularly tries Phillip Glass Ensemble came to the Pabst. to reach out and find new, young audi­ So did Richard Stoltzman combined with ences through educational programs, with jazz bassist Eddie Gomez. Plus, on concerts in schools and master classes with October 9th, in a cross-over project, jazz artists in the Series. They also have offered virtuoso Marcus Roberts performs with low-priced family concerts. the Lincoln Center Jazz Orchestra and the Academy of the Ascension. They thank the Milwaukee Foundation, The Hal Leonard Corporation, Marquette Because of a scheduling conflict at the Electronics Foundation, and UPAF (which Pabst, the Marcus Roberts event will be is happily over its goal this year) for contin­ held at Uihlein Hall. It promises to feature uing the tradition of community support. a fascinating re-invention of a piece that is already a part of traditional concert music. As the Pabst Theater enters its second cen­ His standing-ovation New York City per­ tury, it is fair to say that it has a new out­ formance of Gershwin's "Rhapsody in look on life with the Artist Series firmly in Blue" was hailed by the New York Times as place as part of it. The Series is still an new and important. Roberts, now a major infant, almost as young as the eager people jazz name for more than ten years, will also who gaze with rapture as they listen intent­ put a new spin on more Gershwin music ly to music they may never have heard with his trio. before. The essence of history is surely born from this spirit of regeneration. In April Roberts performed in a Pops con­ cert with the Milwaukee Symphony. Lucius There are plenty of other parking lots near­ points out the attraction of hearing artists by. There is only one Pabst Theater. On in multiple contexts. "We encourage September 29th, The Artist Series will bringing back artists already familiar and announce their stellar line-up for the pres­ appreciated in Milwaukee, artists whose tigious 1997 Hal Leonard Jazz Series. reputations continue to grow, but we like to bring them back in new and interesting —Gordon Spencer combinations." Mr. Spencer is a local theater critic.

17 ...But when he looked around to find those who had comforted his loneliness, behold, they were cows, standing together on a knoll; their proximity and smell had warmed his heart... —Thus Spoke Zarathustra The Portable Nietzsche

Wisconsin Painters fi Sculptors/ Wisconsin Artists in All Media (WP6S/WAAM) is the oldest and largest orga­ many members say they still manage to sell nization of artists in the state. With 300 art­ their work fairly steadily. ists in Milwaukee, Madison, Green Bay and Wisconsin Rapids chapters, dedicated to do­ In the past 96 years members have been ac­ ing what is necessary to promote art in Wis­ tive in the Milwaukee Art I nstitute, the Milwau­ consin, they get out the word that this state is kee Art Museum, the Layton School of the Arts, about more than trees, lakes, and cows. and the Milwaukee Institute of Art and Design. Their works are housed in the Wisconsin Col­ Originally named the 'Society of Milwaukee lection of the Milwaukee Art Museum and the Artists/ a title far more manageable than the offices of the Journal/Sentinel; their Biennial present one, the organization was formed in exhibit catalogues are filed in the Milwaukee Milwaukee in October of 1900 by painter and Public Library and their archives are at the Mil­ sculptor, Louis Mayer. The members exhib­ waukee Art Museum. In August at UW- ited in a small gallery which is now the Litera­ Milwaukee's Vogel Hall Gallery, they launched ture Room in the Milwaukee Public Library the first juried cyberspace art exhibit in the but also held shows in the old Exposition state. You can locate 46 of their works at http:/ Building and the Chicago Art Institute. In 1913, /www. win.net/~wi-art. they were re-named the "Wisconsin Painters and Sculptors.' Four years ago, they added In the year 2000, members will celebrate their "Wisconsin Artists in All Media' to acknowl­ Centennial with a major show, hopefully in a edge those artists working in other media major place. Meanwhile, to mark their role in Milwaukee's Sesquicentennial, they are work­ Today the organization is non-profit, gov­ ing with the Milwaukee Art Museum and the erned by a Constitution and By-Laws, and Milwaukee Institute of Art and Design on a staffed by volunteers who handle all market­ showcase event (Past, Present S Future, Octo­ ing, exhibit planning, and fundraising-^the ber 29-November 23) of WPfiS members' works latter from a variety of sources. Twice yearly from 1914 to WWII. Janet Treacy, former cura­ they host educational seminars and work­ tor of Regional Exhibits for MAM, has selected shops for all levels of artists, which 20-year the pieces from the archives at MAM, but some member and past-president artist Valerie will be on loan from private collections. Christell is particularly enthusiastic about. They are a solid resource for young gradu­ Joseph Friebert joined WPfiS in 1935. He is now ates who haven't a clue about how to take 88 years young but still active enough to ex­ slides, make gallery contacts, or gather infor­ hibit his work in a show opening November 15th mation about the business of making art," she at Galleria del Conte. In a phone interview, he says. Two years ago, ceramic artist Joan mourned both the loss of permanent exhibi­ Bontempo moved here from Detroit and tion sites for Wisconsin art and the demise of promptly joined the group as the quickest in­ the WPfiS annual show,He understands the troduction to others working in the arts. economics of exhibiting work^^ne crating, the shipping, the extensive costs of major exhibi­ No one earns a nickel for the hours spent or­ tions, and readily agrees that these costs are ganizing things, unless you include the news­ responsible for the loss of exhibition sites. Di­ letter editor who is paid a pittance for com­ rector of the uW-Whitewater Grossman Gallery, piling Art In Wisconsin, an update of oppor­ Michael Flanagan, is jurying two sections of the tunities, events, and news from members, MIAD event—a statewide membership show most of whom have other jobs. It's no secret and a college level student art exhibit. It won't that art sales are rarely hot in Wisconsin, but be a permanent exhibit, but will in a sense re­ vive what was lost when other venues closed to statewide art­ ists.

About those cows of which Zarathustra spoke. Art educator and past president of WPfiS, Charles Wickler, has been de­ picting them in his pastel draw­ ings for years. "I began doing them because I wanted an ev­ eryday Wisconsin image. Mine have a Warhol twist," he says. He isn't stuck on them, though. In a recent piece, Wickler moves on to investigate Catholic guilt. Look for his Adolescent Memo­ Top: ries on the organization's Face to Faces Website. Bottom: —Judith Arm Morierty West/Midwest (Ms. Moriarty thanks Peg Haubert for the hard facts. For by Charles Wickler WPfiS/WAAM membership info, call 1/414/225-9644.) 1 8 Art Muscle a fine line

I think that many people hear the words 'fine art' and begin to conjure up images of large masterpieces entombed in grandiose museums or expensive canvasses hung in swank shops. I believe, too, that often art is identified with the rarefied atmosphere of exclusive art houses or chic galleries and is thought of as expen­ sive, esoteric, and existing in an ethereal realm far removed from pedestrian life.

Of course, there are many involved in the arts who see the rela­ tionship between art and the quotidian differently, who believe that the line between art and life should be as fluid and perme­ able as possible. Deb Fierke counts as one of those believers. As owner of the Art Elements Gallery in Mequon, she makes fine art accessible to ordinary people with everyday lives.

My visit to her gallery on Port Washington Road underscores this point. She has located her business in suburban Mequon, which (strangely) has only one other art gallery. Tucked into a tiny mall, alongside a commercial print shop, a bakery, and a homebrewing store, the store serves many of her clients, most of whom live in the area. "On the way to taking the kids to school or going to the dentist, they see it and wonder about it," she says. Because of her mall location, Fierke suspects she attracts people who have never been in a gallery before. Sharing her first floor with a jeweler also brings in people who might otherwise feel a little uneasy about walking into an art gallery.

Fierke has arranged her space so that people do not feel intimi­ dated when they drop by. Outside to the west of her building, brightly-colored 'Beasties,' bobbing butterflies and dancing pigs suggest the playful. The interior of her gallery is bright, airy, and filled with three-dimensional objects that invite the viewer to participate, to investigate. Many of the pieces are about motion and changing perspective. Sunlight from the inviting gallery's spacious windows is refracted and reflected on her considerable inventory of glass sculptures.

In keeping with this visitor-friendly design, Fierke groups together modestly-priced pieces (on the first floor) such as unusual glass paperweights, finely crafted candlesticks, and free- blown crystal stemware. The second floor is for those seeking the more provocative and the more expensive works: large paintings on canvas, glass sculptures by well-known masters of the craft, Harvey Littleton, Dale Chihuly, and Jack Ink. Be they jewelry with teachers and students from all over the country. As low or high priced, Fierke insists all are artworks, not just crafty a student at Wayland Academy in Beaver Dam, Wisconsin, she knickknacks. It's been attended art seminars at the university in Madison. Professors and guest artists, such as Harvey Littleton, 'the father of the stu­ Deb Fierke's conviction that art should be accessible probably many years dio glass movement,' visited her high school. On one such trip, relates back to a childhood spent in the rural Delafield of the Littleton brought along his first 'traveling furnace.' She trea­ '50s. As the home of St. John's Military Academy, Delafield since she sures some crudely made glass marbles produced during that would not seem to be a hotbed for the arts. Nevertheless, she school visit by Littleton. says her early years were full of the aesthetic, all taking place in sat with her the prosaic realm of her home, her church, her playtime and her In the years following her Wayland experiences, she earned a school experiences. Her mother painted in watercolors, directed father and degree in Art Education from UW-Whitewater. She continued to plays, and filled the family home with original art and music of follow her love of art by working in a stained glass studio, and the opera. "I was probably the only eight year old who knew all enjoyed the taking Art Foundation classes at the Milwaukee Institute of Art the words to Madame Butterfly^ she says. and Design. She took on some display work and studied Interior cathedral Design at Mount Mary College while raising her two children. Fierke's father was Headmaster and Dean of Students at St. John's Military Academy. He introduced her to the magnificent windows, In 1989 after a divorce, she opened Art Elements Gallery on architecture and grounds at the school. She has vivid memories Mequon Road. Five years later, in need of more space for her of attending evening chapel with him, where she sat mesmerized and the line growing business, she moved to her present location where she by the stained glass windows in the campus cathedral. It spends her days immersed in the business of making art available impressed her so much that she wrote a report about the win­ between art to others. This translates to 12 hour days (six days per week) dows for her sixth grade class, explaining in detail how they were spent reviewing slides, traveling to meetings and art-related constructed of glass fragments from European churches and her life exhibitions, contacting artists, and planning, publicizing and bombed out in World War II. She's been fascinated by glass ever setting up the shows. Her daughter Zoey assists with sales and since. has become data entry.

It may be a secret that back in the staid '50s, Delafield support­ thin, almost It's been many years since she sat with her father and enjoyed ed a bohemian community of artists; some were employed at the the cathedral windows, and the line between art and her life has academy, while others came to enjoy the area's gorgeous invisible. become thin, almost invisible. She likes it that way. scenery. Many of Fierke's playmates had parents who were artists and she often found herself in their homes, watching the She likes it —Gretchen Neuwald creative process. At nearby Camp Nagawicka, she spent summer Ms. Neuwald graduated from UW-Milwaukee and is an intern hours dyeing batik, throwing clay, firing ceramics and soldering that way. with Art Muscle Magazine.

19 Reflections on the Haggerty Museum of Art

When Keith Haring came to Milwaukee in April of 1983 to create a 100-foot mural with bold florescent orange and black figures on the construction site of the future Haggerty Museum of Art, the tone of the Haggerty exhibitions was already indicated, for the bold, often provocative themes of Haring's work fore­ told a part of what could be expected from the Haggerty. But even this initial gesture, preceded in the fall of 1982 by artist James Kerns' Ground Covering consisting of paper and bricks distributed over the site, did not reveal the range and diversity of exhibitions that people have come to associate with the Haggerty. At times Old Master paintings have had to make way for or even co-exist with contemporary holograms and video art by Nam June Paik and Valie Export or the barking dog of Paul Garrin's Yuppie Ghetto With Watch Watchdog. The works of estab­ lished artists such as Rodin share the galleries with those of talented emerging artists.

Underlying the diversity is the strong belief that the arts offer an essential mode of exploring all aspects of life, human ideas and feelings that contribute to personal identity, social concerns, and the spiritual, as well as changes in the way that artists over the centuries have chosen to express these concerns. The strong commit­ Photograph by Jim Brozek ment to ideas that is characteristic of the Haggerty Museum follows nicely from the fact that the Haggerty is part of the Marquette sions help to expand the meaning of exhibitions, bringing together members of University campus. As a vital component of an institution which strives for acad­ the artistic and academic communities and the general public. emic excellence, it would be expected that the Museum's exhibitions and educa­ tional programs be held to the same high standards. From the beginning, the Museum has welcomed collaboration from people in all parts of the community, from its urban school neighbors to friends and volun­ The Museum's location on the campus offers the faculty and students of teers throughout the Milwaukee area and beyond. Artistic collaborations with Marquette unique opportunities to expand verbal and quantitative learning Theatre X, for instance, have brought their theater productions about Man Ray opportunities to include the visual arts. Numerous teachers from the English, and Marcel Duchamp, Vachel Lindsay, and others into the Museum. A collabo­ history, language, philosophy, and other departments regularly bring students ration with the Historic Keyboard Society brought together musical, visual, and to work with the collections and special exhibitions offered by the Museum. scholarly perspectives on Beethoven. On another level, the Haggerty regularly A joint colloquium with the physics department, the college of engineering, hosts visiting school tours and senior citizen and other special audience groups. and hologram artist Rudie Berkhout produced the largest crowd ever. Its workshops with artists and educators from the area, which have recently Marquette students, as well as students from the Milwaukee Institute of Art explored topics including how to integrate images celebrating African-American and Design, UWM, and other area schools, have an open invitation to use the culture into the high school curriculum as well as artistic techniques of Russian resources of the Haggerty (without charge), as a visual laboratory to expand Easter eggs, provide yet another dimension of outreach into the community. their learning opportunities and indulge their enjoyment of the arts. Concurrently, the Haggerty has become a favorite site for meeting and socializ­ ing with friends in the midst of art. The Museum has from the beginning served A university such as Marquette, by its very nature, As a vital com­ this function for the growing numbers of Haggerty Museum Friends, whose has a responsibility to provide to its own faculty ponent of an annual spring and fall benefits remain popular. The Haggerty Art Associates, and students, as well as the greater community, launched in J.993 with a wine tasting and concert with Peter Buffet, has expand­ access to the best minds of the age. During the institution ed the age group and tastes of the Haggerty Friends. Cream City Quartet pro­ past 12 years, the Haggerty has become a central vided a casual August evening of jazz while the amiable crowd waited for artist forum for outstanding speakers: mythologist which strives Thom Shaw to open The Malcom X Paradox exhibition. And returning Joseph Campbell, psychologist Rudolf Arnheim, Marquette student residence hall assistants took over the Museum on a late sum­ poet John Ashbery, philosopher and art critic for academic mer evening for a celebration featuring wild dancing. All of these activities fit Arthur Dano, author Christopher Tolkien, sculp­ comfortably into the atmosphere of the Haggerty Museum. tor Richard Lippold, photographers Barbara excellence, it Morgan and Gordon Parks, and Native American The success of the Haggerty has been made possible by the generous support artist-scholar Arthur Amiotte. These are but a few. of the Marquette University Women's Council, the Haggerty Museum would be Friends, and others who have given generously. The Womens' Council raised Although the Haggerty is located on a university the initial funds to build the Museum and recently gave over $200,000 to campus, it has always faced outward to the com­ expected that name a gallery in honor of John P. Raynor, S.J., president of Marquette when munity. Through an on-going series of symposia, the Museum was built. Others have given to support exhibitions, acquisitions, the Museum has provided for stimulating discus­ the Museum's and a variety of projects. Through these efforts, and the support of the sions bringing together scholars and artists from University itself, the Museum has been well launched. The future of the afar with community participants. The topics of exhibitions Haggerty, like that of all private not-for-profit arts institutions, depends on these symposia include such issues as the state of sustaining and expanding its financial support. African-American artists, Rodin's treatment of the and education­ human body, dolls in art and personal identity, al programs be This future might include a planned expansion of the Museum to double its size. images of death in contemporary art, and urban But that dream must await an angel who shares the vision of the Haggerty and violence. These symposia continued on September held to the is in a position to provide the necessary funding for building and endowing the 21, with a focus on urban influences in contempo­ expansion. At the very least, the community should expect the Haggerty to con­ rary art, in conjunction with the exhibition Smoggy tinue the rich variety of exhibitions and public programs for which is has become Abstraction: Recent Los Angeles Painting, and on same high known over the past decade. September 28 in a symposium on the urban land­ standards. scape held in conjunction with the exhibition —Dr. Curtis L. Carter Thorn Shaw: The Malcom XParadox.. Such discus- Director, the Haggerty Museum of Art 20 Art Muscle FIXING the LEAKS

...you have learned, how right giving is harder than right receiving, and that to give pre­ with Deans who agreed with Deans as to who would sents well is an art and the ultimate and most cunning master-art ofgraciousness... do what, and for a time things were relatively calm. —Thus Spoke Zarathustra 77ie Portable Nietzsche But there were a few leaks in the umbrella. Storm cloud-rumors were rumbling that Vogel Hall Gallery 35 years ago, the University of Wisconsin-Milwaukee plunked down a cool $1,550,000 for would close, that the permanent art collection would the campus of the Milwaukee-Downer Seminary. It included a trio of buildings, one of be sold. What would become of the Calder, the which was Vogel Hall, a 1936 beauty replete with elegant windows trimmed in buff lime­ Kirchener, the Dubuffet, the Vasarely? The icons, the stone and rich detailing that suggests great things are going on inside. It resembles an African masks? It was all about budgetary cuts. English country manor house and was a smart buy for the University. When the new Dean of Fine Arts, Catherine Davy ar­ Before it became an art museum in the early rived in 1994, she landed in the middle of it all, and 80's, however, it was used for the distinctly was pressed into looking for ways to solve the crisis. non-artistic: the School of Education, a day Happily, after extensive discussions with the Depart­ care center, an institute on drug use. It did ment of Art, she agreed that Vogel Hall should con­ not contain anything tinue as an art gallery. (/Classy as the su- Enter a 1995 Task Force (including Professor Karen Gunderman, Department of Art, and Professor Jeffrey Hayes, Department of Art History) to review the sta­ tus of the University Art Museum and provide Chan­ cellor John H. Schroeder with recommendations about its future. One of their immediate concerns was whether to sell the Museum's collection.

The Task Force had no intention of having a 'garage sale' of the 4,000 items in the larger collection. Legal and ethical complications prevented the sale of the upper end items, and in any event the bad feelings generated among the donors of anyof the items would, in the end, be unwise for the University. It's comfort­ ing to know in an era of extreme budgetary crunch, a Task Force can still point out the value of ethical con­ cerns over the bottom line. Only time will tell if those concerns will overcome the dollar dilemma. They also wisely recommended narrowing the focus of the Museum's exhibition program while continuing to use it for the teaching and research interests of those in the Departments of Art and Art History.

Item #4 of their thorough recommendations saved Vogel Hall. At least for now. Recent opening at Vogel Hall. Photograph by perb Eschweiler fi Eischweiler architecture The University Art Museum Phill Modjeski. Suggested; that came about as a result of the untimely death of Blanche and Henry Rosenberg Collection should be re­ in a 1974 automobile accident. tained in the space that was

The couple left their art collection to the University who ac- constructed for it at consid­ f cepted it under specific conditions, one of which was that it never erable expense just ten be sold. Furthermore, they hoped the collection would serve the years ago in Vogel Hall; it needs of the faculty and students in the pursuit of scholarly, educa­ tional, and artistic goals. Picasso, Chagall, Roualt, Miro, Utrillo, and should continue to be in­ Stella headed up the list of 154 items accumulated by the Rosenbergs. ventoried to the University These are not small potatoes. Art Museum; and its care And strangely, it was also intended that the gift of art works would lead to better commu­ and maintenance should nication and more cooperation between the Art Department and the Art History Depart­ continue to be the respon­ ment! Apparently Mrs. Rosenberg had noted some problems in this arena when she was an art student at the University. Whether their generous gift did in fact lead to improved sibility of the staff of the departmental relations is anybody's guess. University Art Museum.

In 1983, Vogel Hall was selected as the most appropriate repository for the Rosenberg legacy and the other works of art being stored and cared for by the Departments of Art The next time you visit this stately manor, pause be­ and Art History. fore you enter the arched doorway fronting Downer Avenue. Most likely there will be other visitors gath­ Now comes the delicate part. Who would be administrator of the permanent collection? ered in that intimate space to discuss art and what it Who should schedule and oversee exhibits in the new Vogel Hall Gallery, as well as those means to the people of this community. When you formerly controlled by the Art and Art History Departments? Two departments with two open the heavy doors and step inside, shake hands agendas. Their works, their galleries. Mrs. Rosenberg may have had a point. with the new Museum director Peter Doroshenko. Welcome to Milwaukee, Peter. What was needed was an umbrella to shelter the trio. What was discussed and worked out in the early 8o's was just such a device: a single University Art Museum. Deans agreed -Judith Ann Moriarty

21 Essay/Steven Foster/Studies.

An old theory of artificial intelligence that unfolds, slowly, from the seeds he says the human brain is nothing more plants. Foster's photographs flutter with than a series of chemo-electronic a quiet sort of energy bred of the com­ switches—a gargantuan series, to be monplace made uncommon, of bits and sure—that are either firing or resting, pieces of life removed from context, either on or off. All the complexities of brought into intense—but not necessar­ personality, the prevalence of reason ily sharp—focus. or its lack, the vaguely graduated swingset of emotion, all this is simply a function of neurochemicals making the appropriately huge number of nearly Dog lying with back toward viewer in a field of white. simultaneous responses to incoming Footprint like an x-ray. data in a prescribed fashion. If A, then Tiny jet airplane, washing out in the sky. B. Just like the circuits in a computer. A damaged Venetian blind. It follows, the theory goes, that if we Two people walking away into the white haze. continue to build computers larger and A solitary, well-trimmed shrub with its oblique shadow. larger, faster and faster, we will one day Stucco wall flanked with chainlink. hit the magic number, achieving what­ A fishing rod bending, tapering into space. ever critical mass of flashing, flicker­ ing circuits in ones and zeros is neces­ sary to create a thinking machine. A machine that responds to the world in A list poem gains power through ac­ the same ways we do. cretion, and Foster's photos find their strength in numbers, as though by nam­ It's a naive theory, I suppose, and a ing enough things, the images will con­ little cold blooded. But it's not entirely geal into a much larger picture, will unattractive. There is an elegance in coalesce into an image of the world. Of this simplicity, this hope that volume the whole world. equals sentience, that magnitude equals life. Make it large enough, com­ His recent studies are tiny, square plicated enough. Make the tiny pieces black and white pictures. The square fit together with such smooth precision itself is a tense shape, humming with that they aren't separable from the uneasy stasis, pushing in all directions whole. And that's that. Problem solved. against whatever lies beyond its bor­ ders. Foster's photographs have no­ That is how the photographs of Mil­ where to go, and so they bend back­ waukee artist Steven Foster work. Ex­ ward, they fade into themselves. His hibitions of Foster's pictures (there was frame is filled with the thing photo­ one called "Studies" last spring at graphed, even if that thing is the burned Michael Lord Gallery) reach critical whiteness surrounding the subject. mass, and though the components are (Foster often forces his whites to real simple, there is nothing heartless about white, white like snow, like heaven. Are the resulting entity, about the flower we not atoms floating in space, whiz- zing past one another with a self-con­ resents not a foot, but the space a cer­ They shrink from neither a quality nor a tained energy, a vibrating vigor that tain type of foot occupies. Maybe your quantity of emotion. They believe in serves only ourselves?) foot could fill that space. That is what I beauty and use it to their advantage. mean. They expound on the individual beauty They're powerful, these little ob­ that each of us perceives on those rare jects, hand-sized and precious and sen­ Now, perhaps there is a contradiction moments when the world seems right, timental in their reduced state. Archi­ there, a breach in the airtight mem­ or at least acceptable. When the pieces tectural elements, human elements, brane that surrounds my argument like snap together and the grand vista of landscape elements. These are the an overextended balloon. Are these the jigsaw puzzle jiggles into view. The parts, the breakdown, the components photographs the tiny details we fail to first snowfall of any winter, when you of a bigger idea. Maybe of the bigger notice—the texture of a shadowed awaken to a white and silent world, idea. Each photograph is like a tiny stucco wall orthe awkward, self-defeat­ when even the buses on the avenue gasped breath. Put enough together ing, fragile curve of an extended arm? just quietly crunch snow beneath their and you are breathing naturally, with­ Or are they placeholders for the idea of tires and footfalls are lost in the land­ out thinking, without noticing. wall, of arm, of fragility, of a cool and scape at large. That sort of moment. shady place on a searing August day? Foster fulminates this effect And that is, of course, part of the unhurriedly, expanding the potential of point. How much of our time is spent But then again, what's the difference? any puny moment to a sort of—I hate to use the word because it is so flip­ not noticing? Deductive or inductive, obverse or re­ verse, the choice, with these pictures, pantly flipped about—universalization of personal vision. Foster does not make documentary is yours. The opposite sides of the coin photographs, pretending to show the means but one coin, whether we extract truth in any objective sense, in any spe­ the specific arm, raised and waving. And that's the other point. We have cific sense. He makes... impressions... all seen these things that Foster's pho­ in the manner of, say, Whistler's music And when I say Foster's photographs tos show, all felt the ways Foster's pho­ paintings. Nearly all of the human fig­ are sentimental, I don't mean sentimen­ tos feel. His pictures are not enigmatic, ures are facing away from the lens. They tal in a bad way, as intellectually weak, and there is no mystery to be solved. are not personalities, but merely as hackneyed expression like the verse The Gee-l-Wonder-What-That-ls game shapes hinting at some commonplace in a greeting card. That isn't sentimen­ quickly loses its appeal with this art, and unportentous event. The architec­ tality, but rather nostalgia. That's the because we already know what they tural objects are cropped tightly within longing for an artificial and are. It's not, in the end, about looking the photos' frames. They are not unremembered past, a contrived past closely. It's about letting the surf roll places, but the elements of place-ness. in which we cared about all the things over your body as you lie on the sand. we believe we should have cared about. It is enough, as Foster's pictures build, crest, tumble over themselves in With the subjects turned to raw The image of a rose on a grave and a whitecapped wonder, not to seek the shape, texture, tone, they become the Honey, I miss you. specific history of each work. It is mold or form or pattern for the larger enough, it is more than enough—it is a ideas they represent, for the larger Steven Foster's pictures are senti­ tot—to pull their liquid into your lungs, ideas that coagu­ mental in a Ba­ to be drowned in the weightless world late around them. roque way, like they describe. An old wooden 6l#IMl§8 a Bach cantata shoe last in an or Biber's antique store rep- Passagalia. by Nathan Guequierre.

Iliif

Photographs by Steven Foster, courtesy of Michael H. Lord Gallery. POST John W. Ford dreadlocks. Particularly suited to the View Without Boundaries despair of urban splats, bams, and August 24-September 24 booms, they are (in their black and Walker's Point Center for the Arts white woodcut format) very un-funny. Recognize the images? The drive-by John W. Ford's dark blue shirt was shootings, the drug dealers, the black soaked with sweat on the afternoon of males who, in the artist's opinion, are August 22 when I dropped in to watch part of "a generation killing itself off him install his show at Walker's Point with little help fromoutsid e elements." Center for the Arts. He wasn't sweat­ James Scarborough, curator of the ex­ ing for naught, as his pieces were huge hibit, has this to say: "If anything, Shaw and required intense effort to hang is harsh on his own race." The artist them 'just-so' on the Center's rather doesn't make nice with apologies, nor uneven plaster walls. The amiable Mr. does he lay the blame on Whitey, which Ford took time out to comment on his should be a relief to the (mostly) white 58 x 68 x 12", mixed-media assem­ folks who will visit the show. Some may blage. Harvest: God's Wee Acre. "This even walk away thinking, "this has work isn't for sale," he said, "It's about nothing to do with me personally." the home I share with Suzanne Woods, Maybe they'll vote for Perot. I wonder and it includes remnants we unearthed how this urban violence would play at while tilling our garden in Lomira, Wis­ America's Black Holocaust Museum? consin." Or with a contingent of visiting Malcom X-ers? The tiny items they unearthed—arms from dolls, a smiling wooden figure James Scarborough also curated the from a Fisher Price toy (gallery assis­ L.A. exhibit, a small show of large tant Sonia Kubica noted that she re­ paintings completely devoid of the membered having just such a toy), pinks and blues of sunnier climes. Why rusted keys, a portion of teeth {possi­ is Roy Dowell's Untitled #573 so dam­ bly human, though Ford thinks they nably familiar, so un-hip, so not-new? are canine), shards of blue and white Repetition, repetition, repetition. Bill­ pottery, a strange piece of tin delicately boards, billboards. Street-life, street- embossed with herons and slender life. This could be the Paris of Delauney marsh grasses, and a calendar dated and Leger at the turn of the century. November 16, Freitag—are encased in In the very nothingness of their vision, Plexiglas with other artifacts. Below the intrigue stands dead center, and it fi­ "God's Wee Acre," detail, from John Ford's View Without Boundaries, encasement, in the foreground of the nally sucked me in with its icy deter­ at the Walker's Point Center for the Arts. construction, is a child's high-top shoe mination. Artists are a relentless lot. from the 1860's. The slender pieces of When the smog rolls in, they'll be there wood rising from the top of the shoe to record it, wasteland or no. What a are skeletal and compellingly pros­ of a guy, or more specifically—The Smoggy Abstraction: strange and wonderfully lonely exhibit. thetic. They move upward to the mid­ Archduke of Walker's Point. We haven't Recent Los Angeles Painting, section of the piece, where a faceless seen much of him at Art Muscle lately. Thorn Shaw In a future issue of this magazine, black watch marks the spot. Eventu­ He's been buried in his darkroom print­ Haggerty Museum of Art hometown partners, Michelle Grabner ally they join (brilliantly) with the un­ ing or at his work table in his studio/ now-October 27 and Brad Killam, will take a closer look earthed artifacts, and the journey be­ residence, framing his work like mad. at the L.A. phenomenon. While you're gins again. We probably won't see him again until There are two exhibits at the Haggerty waiting, key in the Web for details on his grand opening which should be the Museum of Art which close on October this swell urban museum, http:// All of this could be impossibly sappy party of the year. This man has friends. 27.1 visited them recently with a friend www.mu.edu/haggerty. (as in Joseph Cornell's cutesy boxes who remarked a few minutes into the which throw me into a funk) in the On September 28, at Walker's Point art excursion that "there is little to be — J. A. M. hands of anyone other than artist Ford Center for the Arts, Francis (or Frank, joyful about here," whose work is a world removed from depending on who's describing him) then fled to the manipulative romanticism. Certainly will exhibit 80 black and white photo­ upper reaches of _. \ ^ ^ his prints and constructions are about graphs ranging in size from 16 x 20 to the Haggerty to the point where 'time meets function,' 38 x 46. Using a 35mm Nikon and a 8 commune with the and this is not a new concept. But Ford x 10 view camera, (and all formats in- lavish and less doesn't abuse this oft-used art ploy; he between), Ford has photographed art­ confrontational moves on to address the future by ask­ ists, celebrities, and fellow-travelers. prints of Martha 1 ing, "What is this thing called living? Look for the likes of Joel-Peter Witkin, Madigan. Where do we fit in?" There wasn't a Richard Avedon, Mark Anderson, Jon clunker in the exhibit, but then I Erickson, Flora Coker, Frank Ziedler, Of course the point I wouldn't have expected a heavy-hand and (possibly) Mayor Norquist. And of the pair of ex­ from a gentleman who thrilled me years some other regular folks. hibits is to explore ago with his show at the Metropolitan with six LA artists Gallery. He is a master of line. I was able to reach Francis just prior {Smoggy Abstrac­ to going to press. He was out of his tion: Recent Los The exhibit opened on August 24 with darkroom for a moment to renew his Angeles Painting) a gratifying turnout of well-wishers, acquaintance with Linda Kimpel, his and one mid- professional artists, educators and stu­ photographer friend, and advised us westerner [Thorn dents. May the wind be always at your that there would be several lectures Shaw: The Malcom back, John. and tours as the show continues X Paradox ) just through October. where it is they fit — Judith Ann Moriarty into contemporary "I'm exhausted, but really up for this," urban society. he said. "Man, this has been hard Preview work!" Then he hung up. See you at Thom Shaw's Francis Ford: the party Francis. prints are huge, 25 Years of Photography deadly depictions September 28-October 22 Everything rolls at 7pm on Saturday, of African-Ameri­ Walker's Point Center for the Arts September 28. There's plenty of park­ cans targeting ing. In case it's cool, bring a fur-lined themselves, blast­ What can you say about Francis Ford? parka and enjoy the urban garden be­ ing themselves, He's been everywhere, done everything, hind the Center. The marigolds are de-humanizing seen everyone there is to see. As a pho­ blooming. themselves. It's tographer of the famous and not so fa­ German Expres­ mous, at heart he's a Milwaukee kind — J. A. M. sionism with The Malcolm X Paradox: The Target," Thorn Snow, Haggerty Museum. 24 Art Muscle FACTO Buttons, Bellows & Buds and Igor Iskhakov, snapped up both own eyes." While implying an exami­ Art Altenberg's Concertina Bar the American Rhythmn and Interna­ nation of past work, the title's modern 1920 S. 37th tional Latin categories by stepping their meaning is also validated by the artist's Milwaukee perfectly timed way through sensa­ poking at the corpse of his recently tional footwork. Milwaukee's Dawn failed marriage. Occasionally in the performing arts, a Jacobson and Ray Botello, danced their dry spell occurs and the fruits of the­ hearts out for the Latin title, but won Oh, she's there, alright. Her photo­ atrical labor grow scarce. This is espe­ second place in that division. The.In­ graphic portrait stares at you with a cially true during Milwaukee's festival- ternational Standard division was a sullen smile as you walk in the door. laden summer, when the majority of real killer with six talented couples I'm a bit uncomfortable with this as­ theatre companies go 'dark' and uti­ having just 90 seconds to distinguish pect of the show, as I don't know what lize summer as time to repair company themselves. someone would think if they didn't spirits and plan for their new season. know about the estrangement. Directly This artistic respite unfortunately A Master of Ceremonies and a Miami in front of the portrait was a plumb bob leaves performance-hungry audiences DJ kept the program on schedule, while dangling just off center and just above in the dark as to where to refill one's two of the top ballroom dance couples a wedding ring lying on the soft gray theatrical cup. entertained the crowd. The World carpet, which may have at least been Cabaret Finalist couple executed fancy enough to point to the idea of the deli­ It was in just such a dark place that flips, towering lifts, and ended their cate balance of love relationships in this theatrical pilgrim recently found gymnastic feats with the male of the general. One thing I liked about that, himself...attempting to fill his cup of duo warbling, "When A Man Loves A at least, is that Malner considers even performing arts, but discovering in­ Woman." I noted, "He ain't no Percy such finalistic terms as marriage, art stead a different and tremendously re­ Sledge." A most masterful highlight of show, and especially divorce as pro­ warding performance art at Art the evening was the five-dance Latin cesses. Rather than emphasing the se­ Altenberg's Concertina Bar. show with paso doble performed to curity of the static, he keeps things at non-paso doble music. Searing! the level of problematics, poised on the For those who are unfamiliar with the brink of an ever-present present. Concertina Bar or the concertina (a Polish your quick step and rhumba, small accordion with bellows and but­ then circle October 9-October 11,1997 In some sense Autopsy was a forgivable tons, instead of keys .which produces on your calendar. They're coming back indulgence, best exemplified by the an invitingly harmonious wail), it would and I can hardly wait. freshest piece in the show. In a depar­ be well worth the time to attend an ture from earlier, more abstract meth­ evening's 'performance.' 'Performance' — Gretchen Neuwald ods, Malner has introduced pop mate­ is not an entirely inaccurate term, for (Not to be outdone, Ms. Neuwald bor­ rials such as rolls of paper towel (still each evening showcases a small three rowed a long blue gown from her in the brightly colored wrappers) and a piece band that fills the air with pol­ daughter for the glitzy evening) box of Band-Aids©. These are set to­ kas, waltzes, and other musical ditties gether in a low rectangular crate and that assist greatly in elevating one's paired with several splotches of con­ amusement quotient. crete, which at first were set on a low Jerome & Virginia Lenoir do their dance thing. Dale Malner, Autopsy wooden plank but were later put di­ Highlighted in the tavern's amusement August 1-30, 1996 rectly onto the carpet The piece's gentle arena is the well-scripted humor that Wisconsin Academy of Sciences, Arts irony and low-key pathos brought the abounds...especially in the form of Annual Great Lakes Dance Classic and Letters whole show into sharp focus. I felt a owner & proprietor Art Altenberg him­ August 23-25 Madison, Wisconsin pang of near-pity thinking metaphori­ self. This south side esquire displays a Grand Milwaukee Hotel cally about trying to clean up dried con­ keen knack for playing both crowd and You can never go home again, it has crete with paper towels, and patching concertina, to the delight of newcom­ Cascades of hot-pink, chartreuse, and been said. Of course, to find that out, up my woundedness with a band-aid. ers. (Ask him to play the "Woof-Woof canary-yellow chiffon. Swirling ostrich you have to go home again to feel the The thing was so inert, so lonely, and song!) When he isn't cavorting with the feathers, glittering rhinestones, shim­ sensations of alienation and lapsed so effective at addressing the different female gentry of one's entourage, this mering sequins beneath the blaze of intimacies. And how many if onlys layers of concern in the show that I raconteur of malts and hops can be diamond chandeliers. Tux tails flying, should we allow ourselves before we laughed out loud. found telling a saucy joke with white cummerbunds bouncing, neon step forward with the resolve not to Gleasonesque finesse while simulta­ vests whipping through the air. The take one last glimpse at the place we've It is as though the artist had glimpsed neously tapping toes and beer. All to lush strains of a Viennese waltz, the just left? himself, the show, and his ideas all in the general delight of his regular pa­ sweet crooning of Frank and Ella, a one autoptic moment, with a fresh un­ trons. throbbing mambo by Luis Miguel. With Autopsy, Dale Malner wants it derstanding of the complexities and Lithe, sweaty bodies gliding, dipping, both ways, and he succeeds in getting coherences inherent in his infinitely And the regular motley crowd them­ twirling, strutting, stomping. Attend­ it. The show's dense, smartly cross-ref­ mutable project. That's a lot to get a selves contribute a genial bonhomie ing the 8th Annual Great Lakes Dance erenced layers combine to form a com­ handle on, and Malner has exhibited that surrounds a fresh face with a wel­ Classic was akin to experiencing a Ve­ plex fabric of process and materials. rare form here in bringing it all together come that is as friendly as it is good gas show, the Olympic figure skating Malner refuses to accept anything as and making it work. I admire him both natured (and is highly reminiscent of trials, and a gala wedding reception. static and shows it here, subjecting his for his wisdom and for his foolishness. the cast of characters from William Concurrently. careful installation to refinements and Saroyan's "The Time of Your Life"). The changes during it's run. How many — Nicholas Frank Concertina's cavernous hall and tav­ This resplendent affair was organized times have you wanted to change some­ ern eventually overflows with good by Suzana Madson, co-owner of the thing once it's been put out into the spirits no matter how many (or how North Towne Ballroom in Glendale. In world? Malner follows the impulse few) patrons are in attendance, espe­ addition to amateur and professional through. He considers even his oldest cially as the evenings and the competitions in traditional Ballroom work as susceptible to reconsideration, Budweisers wear on. It is a Millertime and contemporary Latin Dance, the and is willing to experiment with new mise-en-scene that is a genuinely en­ event was packaged with seminars, forms in full public view. Curiously, tertaining experience and returns an solo exhibitions, a Welcome Ball, and this method almost works as a defense indefinite something to the audience performances by top U.S. dance pros mechanism, protecting the work from that is in attendance. A glow that sur­ from as far away as Texas, California, any final, and potentially negative, cri­ passes mere taproom effervescence. and New York. tique. Well, if not always a glow, at least a glimmer of old-fashioned gemuet: The main dance competitions, held on The absence of any didactic material lichkeit. the Saturday evening I attended, such as wall labels, titles and dates wowed several hundred dressed-to-the- bound the show together as a single And that is a rare and fine art of per­ nines dance enthusiasts. The sizzling entity. What was presumably an older formance that is always welcome in this Roberta Sun and Jonathan Roberts abstract painting gained a certain cur­ town, particularly in a dry spell. (from San Jose, California) outclassed rency in such an expectant atmo­ their compeition by waltzing, tango-ing, sphere, bouncing off of one brand new — Mark Bucher and foxtrotting their way to the title of piece, collapsing the distance of time (Bucher's Boulevard Theater opens Professional American Smooth. A di­ and the fallibility of ideas. 'Autopsy' is for "Gianni Schicchi," a comedy opera minutive, elegant couple from Colum­ used here in the original Greek sense in English. Oct. 18-Nov. 10.) bus, Ohio (by way of Moscow), Svetlana of the term, that is, "to see with one's from Autopsy, Wisconsin Academy Gallery. 25 jfl&ew Man a one /up4!tAta/id'.. I SINGLE TICKETS ON SALE NOW!

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UWM FINE ARTS THEATRE OCTOBER 3 - 26 Saturday, March 8-8:00 pro Wednesday thursday friday Saturday Sunday 3 Miss Julie 4 Miss Julie 5 Miss Julie Emerson String Quartet & OPENS 7:30 p.m. 8:00 p.m. 8:00 p.m.

10 The Three Sisters 11 The Three Sisters 12 The Three Sisters 13 Miss Julie OPENS 7:30 p.m. 8:00 p.m. 8:00 p.m. 2:30 p.m. Fine Arts Quartet & 16 Miss Julie 17 The Three Sisters 18 Miss Julie 19 Miss Julie 2:30 p.m. 20 The Three Sisters Borodin String Quartet 7:30 p.m. 7:30 p.m. 8:00 p.m. & The Three Sisters 2:30 p.m. 8:00 p.m. - F7£" 23 The Three Sisters 24 Miss Julie 25 The Three sisters 26 The Three Sisters 7:30 p.m. 7:30 p.m. 8:00 p.m. 2:30 p.m. Dawn Upshaw, soprano & & Miss Julie 8:00 p.m. Richard Goode, piano Tuesday, May 13-7:30 pm TICKETS: 229-4308 8 SUBSCRIPTIONS TO THE 1996-97 SEASON STILL AVAILABLE!! '' *d&a&mW! N* i*m to FOR TICKETS CALL THE PABST THEATER BOX OFFICE AT 414-286-3663

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26 Art Muscle DANIEL KANIESS paintings & books

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Arts Organizations: Grava Gallery Through October 23 Please add Art Muscle to 1209 E Brady; 277-8228 MS your mailing lists October 18-December 25 - STEEL/CRAYOLAS: Wednesdays, 6:30-8:30 p.m. Mark Winter & Doug Hoffman Public $ la/session 901 W National Avenue Milwaukee, Wl 53204 Haggerty Museum of Art Senior $5/session Attn: Megan Powell MarquetteUn'rversity, 13th &Clybourn; 288-7290 Student $3/session 414/672-8485 Now-October 27 - Smoggy Abstraction: Re­ M cent Los Angeles Painting; Thorn Shaw: The Oct. 2 Please submit calendar listings for December/ Malcolm X Paradox French & American Painters January in writing on or before November 4, Now-December 8 -Joan ofArc in 19th-&20lh- II Dr. Laura Hickman Jones 1996. Include starting and ending dates, Century Art If times, single ticket price, location & phone October 3-January 12 - Adolph Rosenblatt: Oct. 9 number. Unless otherwise stated, all phone Milwaukee in Sculpture Antique & Reproduction Furniture numbers are area code 414. For specific November 7-January 26 - Masterpieces from Ms. Jody Clowes information on events, please call listings in theRo'jtmanFoundation Collection;RecenlGifts advance. . ... "JMPEL Oct. 16 Hermetic Gallery The Asian Connection 820 E Locust; 264-1063 414.671-1232 Dr. Bennett Bronson Now-October 18 - Michelle Grabner: New Paintings; Project Room: Jennifer Novack 41aphy for Wedding Oct. 23 •••^••* November 2-December 6 Making Art Fun Daniel Kaniess, Paintings & Books ArtCentric Gallery Project Room: Paul Druecke Dr. Barbara Brown Lee 826 E Center; 263-5867 Now-October 26 - Group Show RESERVE 2 DAYS IN ADVANCE John Michael Kohler Arts Center Southeast Wisconsin's Leading Photographer October 28-December 7 608 NewYorkAvenue,Sheboygan; 458-6144 of Fine Arts & Crafts Call (414) 278-8295 The Home: Work About & For /fie Home Now-October 27 - Notes & Visions: The Em­ broideries of Anna Torma; Kate Moran: Nine JURY SLIDES in the Galleries Art Elements Gallery Dolls Full of Color Who Understand Touch The Highest Quality of All Types of Arts & Crafts INTO THE WOODS 10050 N Pt Washington; 241 -7040 Now-January 5 - CastsofCharacter. TheFadory& Now-October 26 Beyond through Oct. 27 LARGE FORMAT The Art of the Table; Jack Ink, Islands November 3-Feburary 2 - Rudy Roller Retrospective For Brochures/Catalogues, WISCONSIN HANDWEAVERS November 2-December 31 Advertising & Printing of Your Nov. 3 - Dec. 1 Holiday Gift Show; Curt Frankenstein, Painting Katie Gingrass Gallery Fine Arts & Crafts Sale: Oct. 31 - Nov. 3 241 N Broadway; 289-0855 GUARANTEED QUALITY Artistry Studio Gallery Now-October 31 - Colored Threads/Wear­ FAST TURNAROUND 833 E Center; 372-3372 able Art 1996 Call for an Appointment or Quote CHARLES ALLIS Now-Odober 5 - Gifts of Art November 7-December 31 - Malcolm Liepke, Lithographs; Louise Hopson, Ceramics ART MUSEUM Charles Allis Art Museum SANDERS 1801 N. Prospect Ave. • Milwaukee 1801 N Prospect; 278-8295 Latino Arts Gallery at the United Community Center PHOTOGRAPHIC SERVICES Now-October 27- Into the Woods...: Sculpture 1028 S 9th; 384-3100 414-672-6727 . Duo, Jack Pettey & William Koelpin Now-November 15 - Folk Artists, Bearers of Tradition

Charles A Wustum Museum of Fine Arts Leigh Yawkey Woodson Art Museum 2519 Northwestern, Racine; 636-9177 700 N 12th, Wausau; 715/845-7010 Now-November 3 - The Brillson Foundation: Now-October 27 - Birds in Art American Glass of the 1980s; Klaus Moje Now-May 1997 - Seven Outdoor Sculptures ** EVEIVTJ + +

\ ' WALKIINL. 1 II TOURS HISTORIC 0ct 161 D 31 MILWAUKEE OU T THERE Saturdays 1:00 PM—"Skywaukee" Polly At Her's at Art Muscle Explore the early history of Milwaukee as seen from the modern glass skywalk system. As September ends, look for Art Muscle's new pink and turquoise neon sign on National Sunday, October 271:00 PM Avenue. Behind it you'll find a new project installation by Madison artist Elk/ Griswold, a Gargoyles, Grotesques and Dragons plethora of pink items addressing women's concerns, all arranged in a 20' x 30' space in the Milwaukee's downtown buildings feature AM offices. The exhibition, Polly At Her's, opens September 28, which also marks the many "faces." From monsters to angels, these opening of the Francis Ford photography retrospective next door at the Walker's Point Center architectural ornaments will delight you. for the Arts, 911 W. National. Polly at Her's is sponsored by the Center and is on view at Art Call 277-7795 for more information. Muscle through October 28. Call 672-8485 for an appointment. irir WW -jfc"^- Grossman Gallery Milwaukee Art Museum UW-Whitewater, 800 W Main; 472-1207 750 N Lincoln Memorial; 224-3200 Now-October 6 - The Landscape & Beyond: An Now-November 3 - Ink on Paper: The Quad/ Interpretive Vision Graphics Collection PRIVATE MINI STUDIO Now-November 10 - Landfall Press: 25 Years Frederick Layton Honor Gallery of Printmaking a month Cardinal Slritch College, 6801 N Yates; 352-5400 Now-December 29 - City Stories: 150 Years of October 6-November 1 - Kalhy Kercheck Photography in Milwaukee November 3-27 - Kirslen Christianson, Hand­ Now-January 19 - Tulsa: Photographs by lany Clark made Paper Constructions; Doug Haynes, Land­ October 4-January 5 - Manet to Toulouse- Chafet at the %vzr scape Paintings Lautrec: Impressionist & Post-Impressionist 823 N. 2nd Works on Paper Artists, hobbyists, art crafters- Galleria Del Conte November 22-January 12 - The Architecture of use your quiet retreat whenever 1226 NAstor; 276-7545 Santiago Calatrava you wish. A place where you can November 15-January 4 - The Color Show work and snow your products. Milwaukee Institute of Art & Design 277-9898 - presents - Gallery East 273 E Erie; 276-7889 930 S 7th, Manitowoc; 684-8226 Now-October 19 - Faculty Exhibition Now-October 12 - Virtual Vitality II: Watercol- 2nd Annual ors by Roger Gifford Milwaukee Public Museum 800 W Wells; 278-2700 Fatt Concert Gallery HjO Now-December 1996 - Whistling Wings, 221 N Water; 283-9244 Whittled Ducks & Wetlands ,JL, arid e@vfitift$ ± Voqet Had October 1 -November 30 - Partners Now-March 1997 - f.'nlitz Brewery Art: The Advertising ihatMac^e Milwaukee Famous Saturday, November 9 Gallery of Wisconsin Art, Ltd Now-April 1997 - The Color of Money A A A 931'EOgden; 278-8088 7:30pm Ongoing - Gallery Artists Neo-Post-Now Gallery Tickets: $15 general admission 719 York, Manitowoc; 682-0337 Gallery 218 Now-November 11 - fiuff Watt/But What? Marcus Center Box Office 218 S 2nd; 277-7800 November 27-January 6 - 4lh Annual Alumi­ November 1-30 - "Are You Experienced?" num Christmas Tree Show 273-6206 New Works by Mike Bryiski ^z-BUS

28 Art Muscle OU T THERE

Survival/Revival Hosts Shopping Spree September 28

Colorful B J. Daniels will emcee, chatty Sister Cash Box will comment on alternative fashion, the Spangle Makers will make music (not spangles) and the Dead Alewives will improv during Street Beat, a September 28 benefit for the Milwaukee AIDS Project. For their third annual fashion extravaganza, MAP and the event organizers, Survival/Revival Resale, are SZf^XlCZS hoping to top last year's $3,000 bonanza with your help. Show up from 8 to 11 pm (the Spangle Makers start at 8:00) at the Survival/Revival Resale Shop, 246 E. Chicago in Milwaukee's historic Third Ward and learn how you can dress like dynamite—for less. Shop CURIOUS for discounts while models parade the latest, wildest garb on a runway donated by Midwest ANTiQurnES Scenic Theatrical Supply. A mixed bag of models (pros and amateurs alike) will display hair and makeup by Beauty salon and The Skin Institute and Day Spa, as well as clothes sure to A Gallery of Art and Artifacts turn heads from Elsa's to Arfs Concertina Bar. Call 291-2856 details. Where the unique and unusual are expected —Featuring— • Original Audubon Prints

• Original Paxton Botanical Prints Neville Public Museum Pabst Theater • Ancient Egyptian Jewelry and Artifacts E Y E C A R E 210 Museum PI, Green Bay; 448-4460 144E Wells; 384-3100 • 19th Century Congolese Weaponry Now-October 27 October 17 - Ballet Hispanico; 7:30pm Old Theater Mall • 169 East Wisconsin Ave. D€An&FL€TCH€R William Weidner, Recent Oils & Pastels Oconomowoc, WI 53066 • FAX (414) 567-4320 Wordd (MOSS- Cfattzarts- Wild Space Dance Company Piano Gallery Stiemke Theater, 108 E Wells; 271 -0307 (414) 567-8280 (Tlayfair ITIall - Milwaukee - ^1^-771-8999 219 N Milwaukee; 276-3525 Octoberll & 12- Wild At Heart, 8pm $15/$13 October 18-January 5 - Charles James Kaiser, I Drawings & Paintings X2 Daviclsoxx St John's Uihlein Peters Gallery EDEN 1840 N Prospect; 272-2618 ** fcvtw ++ ; ai»'. ;aij:ernati\f | orisl Now-October 6 - A Sesquicentennial Celebration Curator's Olioico Oallory October 13-November 17 - Embroiderer's Artwalk '96 Bank One Plaza - Milwaukee Riverwest neighborhood; 374-4722 619 North Water Street Guild of America tiday Mi- .; November 24-January 5 - Old Fashioned Fam­ October 5 & 6 ; 1 lam-6pm $3/$2 LOIS VAN LIEW LEONARD ily Christmas acrylic - pastel paintings Historic Milwaukee Incorporated CRYSTAL VISIONS 1.50 Years 01,1, Studio San Damiano 277-7795 August 6 - November 6 3195 S Superior; 481-7992 October 16-December 31 - Walking Tours: _.._ • a Now-November 3 - Milwaukee Today; ChiefZ SkyWaukee; Sa 1 pm weekdays 8am to 6pm or by appointment O Olorunloba; Young Masters 1996 October 27 - Gargoyles, Grotesques & Dragons MEET THE ARTIST RECEPTION :•• iiownlown i lpm Wednesday, September 25th, 11:30- 1:30 h •L- / 789 Noi4J4{en«it|Sli Studio 613 Gallery Night Artist Reception 3055 N Brookfield; 780-0613 Milwaukee Art Museum Friday, October 18th, 5:00 - 8:00 " . . mkee, Wis. 53202 Now-November 2 - Kenn Kwint, Works from 750 N Lincoln Memorial; 224-3200 Additional artwork on biew 414. 291...9314 the "Head Series" First Fridays Top of the Plaza - 22nd Floor Oct 4 - The Ghillies Tory Folliard Gallery Nov 1 - Casper, 5:30pm $7 Catherine Davidson 233 N Milwaukee; 273-7311 October 2 - Sen/or Day; 2pm free for seniors I Now-October 11 - Anne DeCoster, Paintings; Patrick October 10 - CAS Auction Preview Party P.O. ]!« 11756 Milw.,,1,.,. Wl 53211 ii4.2Jl.3Vl5 3,1 Ve,i Of/ie. Farrell, Paintings; Steven Kozar, Watercolors 5:30pm free October 19 - CAS Contemporary Art Auction University of Wisconsin Center-Waukesha 6:30pm $1 75/per person Fine Arts Center Gallery; 521 -5258 October 20 & November 3, 10, 17, 24 Now-October 10 - Bruce Breckenridge, Ma­ Family Sundays; 12:30pm free w/admission jolica Ceramics Humphrey 1MAX Dome Theater UWM Art Museum 710W Wells; 319-4629 3253 N Downer; 229-5070 October 5 Now-October 27 - Selections from ihe Perma­ Grand Opening: Destiny in Space nent Collection Survival/Revival Resale Shop UWM Fine Arts Gallery 246 E Chicago; 291-2856 2400 E Kenwood; 229-4946 September 28 - Street Beat Fashion Extravaganza October 18-November 10 - UWM Art Depart­ 8pm $8/$6 ment Biennial Faculty Exhibition

Walker's Point Center for the Arts ^|f vfiJttti!^ i t&n&(& ^^ 911 W National; 672-2787 FILM ** Now-October 22 •* Francis Ford: 25 Years of Photography Now-October 25 - EllyGriswold: PollyAtHer's Charles Allis Art Museum (on display at Art Muscle, 901 W National) 1801 N Prospect; 278-8295 CUSTOM FRAMING GORE. October 26-November 30 - Dia de losMuerhs/ October 11 - Tfie Ghost & Mrs Muir Day of ihe Dead October 25 - Tfie Ghost Goes West PHONE HOURS 7:30pm $3 414-272-0277 MWF 10-6 mm TTH 12-7 West Bend Art Museum 1601 N. Van Buren St. SAT 12-4 writing & editing 300 S 6th, West Bend; 334-9638 UWM Union Theatre I Now-October 27 - Enhancing /fie Living Space 2200 E Kenwood; 229-6971 NATHAN GUEQUIERRE November 2-December 8 - Face-to-Face: Con­ October 16-November 6 temporary & Traditional Masks African & African Diasporic Culture: Biogra­ Classic contemporary museum quality POB 71168 MKE Wl S3211 November 2-January 12 - Early Wisconsin Art phies of Leading Artists & Activists custom made exhibition frames at wholesale 414»332»6921 from (fie Permanent Collection Oct 16 - James Baldwin prices. Available in Maple, Cherry, Walnut, Ash - Unfinished or 16 custom finishes. [email protected] Oct 23 - African American Women Oct 26 - WEB DuBois Floater frame options for canvases on FOR ART AND BUSINESS * NON-PROFIT DISCOUNTS stretcher bars in standard and non standard Oct 30 - Franz Fanon sizes. Complete custom packages available Nov 6 - Black Male Identity including: custom cut mats, plexi, backing 7pm JMArCE ^J^ ^L- boards. Call for free color catalog. *• UtLfVWtfftD* 1-800-626-3139. Afverno Presents METROPOLITAN Alverno College, Pitman Theatre, 3401 S 39th; i»£r£*-4Tt>lt*£ 382-6044 Picture Framing [" ARTIST WANTED October 5 & 6 - Milwaukee Dance Theater FOR BUSY MURAL AND FAUX Sa 8pm Su 2pm $12 Charles Allis Art Museum FINISH COMPANY. Willing to train the 1801 N Prospect; 278-8295 right person but must be hard working, Carroll College The Allis Art Adventure: •^ 'M^lfr&ftb 1 JjHlLJ ^^ responsible and have initiative. Must 100 N East, Waukesha; 646-7497 Oct 2 - Dr Laura Hickman Jones, 19th-Century have drawing, painting and color skills, October 26 - Storm's Child; 7:30pm French & American Paintings & Bronzes Oct 9 - Jody Clowes, Antique & Reproduction degree in fine art preferred. New grads Furniture in the Allis Collection welcome. Interior house painting City Ballet Theatre Marcus Center for the Performing Arts: Vogel Oct 16 - Dr Bennett Bronson, Chinese, Japa­ BARNEY'S BROTHER experience a plus. Send resumes to Hall; 273-7206 nese & Korean Artifacts Timothy Haglund Studio, PO 92861, HAIR/NAILS November 9 - 2nd Annual Fall Concert Oct 23 - Barbara Brown Lee, Making Art Fun Milwaukee, WI 53202. Phone calls 7:30pm $15/$10 6:30pm $10/$8 276-6555 accepted at 672-7007. October 13 J Milwaukee Ballet Jade Pettey, Wood Carving Demonstration Located in Historic Third Ward Marcus Center for the Performing Arts: Uihlein 2pm 207 E. Buffalo St., Suite 604 Hall; 273-7206 October 27 Tuesday - Saturday A Midsummer Night's Dream William Koelpin, Bronze Casting Slide/Talk September 26-29 2pm •distinction 26th 7:30 / 27-28th 8:00 / 29th 1:30 - 7:00 18461996 Billy Ihe Kid October 31 -November 3 YOU DESERVE IT 31 st 7:30 / Nov 1 -2nd 8:00 / 3rd 1:30 7:00 29 Haggerty Museum of Art Cafe Melange WE ARE Marquette University; 288-7290 720 Old World Third; 291 -9889 October 3 & 4 - Linda Seidel, Changing Images Mondays - Poet's Monday StR© in Art of Joan of Arc Open mike & featured performers 8:45pm THE Th 6pm F 4pm fashion extravaganza October 10 - Adolph Rosenblatt, Gallery Talk Lava Java SPOT FOR 6pm 722 E Burleigh; 265-JAVA November 7 - Curtis L Carter, Opening Lecture Saturdays - Next Saturdays SURVIVAL'RtVIVAl MILWAUKEE'S for Masterpieces from the Rojtman Foundation Open mike6pm featured performers 7pm free iNvmesrouro MMJWAUKE^PREMEIRE Collection; 6 pm BEST Woodland Pattern Book Center FASHION EXTRAVAGANZA * BENEfHT Milwaukee Art Museum 720 E Locust; 263-5001 FOR THE MILWAUKEE AIDS PROJECT 750 N Lincoln Memorial; 224-3200 Oct 6 - Mais Guslafsson w/Michael Zerang Duo HALLOWEEN Gallery Talks Nov 17 - Jaap Blonk, Sound Poetry SATURDAY, SEPTEMBER 28 ;ALEI COSTUMES! Oct 1 - The Quad/Graphics Collection 7pm $5/$3 IM1PM • 24&E. CHICAGO ST. m Od 15 - Contemporary Worlcs from CAS Art Auction Oct 29- 150 Years of Photography in Milwaukee Y-Not II TICKETS $8/$$ STUDENTS 25% off with this ad! Nov 12 - Manet to Toulouse-Lautrec 706 E Lyon; 347-9972 expires 11/1/96 Nov 26 - The Architecture of Santiago Calatrava 2nd & 4th Wednesdays - Poetry Slam Emcee BJ. DANIELS All talks 1:30 pm free w/admission 8:30pm $2 October 17 - James Auer, Lecture on Olgivanna Wright Fashion Commentary SISTER CASH BOX SUWIVAL>REVIVAL 6:15pm free w/admission Comedy by the DEAD ALEWIVES 246 t Chicago St * 291-2056 November 4 Music by THE SPANGLEMAKERS T-Fri 10-6* Sat 10-5 *Sun 12-5 Remembering Milwaukee: Lyle Oberwise Pho­ Hair & Makeup by BEAUTY SALON « closed Mondays tographs Program THE SKIN INSTITUTE & DAY SPA All proceeds benefit the Milwaukee AIDS Project 6:15pm, $7/$5 November 7 AK/erno College Gary Tinterow, Lecture on Corot Exhibition at 3401 S 39th; 382-6200 Metropolitan Museum of Art October 2 - Path of a Pioneer, The History of 6:15pm free w/admission Wisconsin Electric Power Company; 7pm October 12 - An Ethnic Bakery Tour: Get Your Buns on the Bus; 10am October 29 - Happy Birthday Milwaukee Dinner t»ECTi>feEJ 6:30pm • • November! 0- EdnaFerber'sMilwaukee; 12:30pm

Audubon Court Books Betty Brinn Children's Museum Local Printmakers 383 W Brown Deer Rd; 351 -9140 929 E Wisconsin, 2nd B; 291 -0888 Show You Whv! Espresso Poetry: October 3 & November 7 November 15-16 7pm followed by open mike free SesquiFest: 150 Years of Children at Play Join us Gallery Night Friday, October18th in our newly New Cocktail Lounge

Live Music

The Milwaukee Poetry Slam

every 2nd and 4th Wednesday Afc of the month at 8:30pm EAST Have Your Next Party 1 r t 'bi -frames

7 North Broadw At The Y-Not II 706 E. Lyon Street • 347-9972

TWO NEW EXHIBITS FROM A NEW GALLERY IN TOWN! "UJELCflmE T8 OUR flEUJ SPflCE" White Group Show Buffalo Sepl.lu - flcU6 Store & Gallery Dan Baucco JulianeMue: -' Kate Condon Christine Otejr Indian jewelry, T-shirts, bone chokers v Moertl Croh Maria Sprec'- Xochitl Kountz Margaret Stauc nge lliipllll::illllllllillll!ill •Custom Hair Wraps- Opening - Gallery Nite, Fri. Oct 18, 6-9 pm 11 in iiii - f>.» ORIGINAL GIFTS from the Oct. 28 - Dec. 7 Opening ORIGINAL PEOPLE Nov.1, 6-9 pm Decorative Furniture and Art Mon.Tu, Th: 10 - 6 Wed: 10-8 Fn, Sat: 10 -5 Sun: 12 -4 Hours: Mon.-Fri.; 11-5:30 pm 7629 West Becher St. (2 blocks north olirK;dri'Ave|::ss:;:s::^ 217 N. Broodway • Milwaukee 220-9660 • Fax: 271-2649 546-4428

They produce the best c in Fine Arts '[, 0LUAM Coverage... ll CT^NDEEWS We bring it to you!

Larry dark. Untitled'from the Tulsa Series, ca. 1967. Milwaukee Art Museum, Gift of Edward B Perlberg. On view now-January Objects D'Art Congratulates 19,1997 Home Accessories Art Muscle Audubon Court Books Marquette University Gifts Galore 383 W Brown Deer Rd; 351 -9140 Alumni Memorial Union, 1442 W Wisconsin; on their 11th Oct 2 - Spoken Poetry: UWM Students 7pm 288-5300 Collectibles anniversary. And Oct 4 - Dr Sylvia Rimm, Smart Parenting 7pm October 24-26- Milwaukee Sesquicentennial Novelties Ckt 6-Jonathan Gash. Tifiefossessibnsofa fool 2pm Historical Conference Happy 150th Birthday Oct 7 - Hall Bennett, Write from the Heart 7pm Beauty Abounds Milwaukee! Oct 9 - Elizabeth Trindal, Mary Surratt: An Milwaukee Central Library American Tragedy 7pm 814 W Wsconsin; 286-3000 LIFE'S SHORT* SHOP BIG! Oct 10 - Susan Wooldridge, Poemcrazy6:30prn October 19-December 1 - Ifs US Exhibit 1499 N.Farwell Ave. 53202 Oct 17 - Gayen, The Reading Chair 8pm Oct 20 - Philip Chard, The Healing Earth 2pm Milwaukee Institute of Art & Design 224-1504 Oct 26 - Susan Carol Hauser, Full Moon. 273 E Erie; 276-7889 Reflections on Turning 50 2pm; KentNerburn, HOURS: Tues.-Sat. 12:00-«:00pm October 29-November 23 - Founded in Mil­ A Haunting Reverence 7pm Mention You Saw This Ad U waukee/Wisconsin Painters & Sculptors/Past, Present & Future

30 Art Muscle OU T THERE LITTLE SHOP OF DECORS New IMAX Theater Launches October 5 YOU NEVER KNOW WHAT YOU'LL FIND! GALLERY Settle back in your sears, Milwaukee. The space shuttle's about to blast off, and you're going FUN, ECLECTIC, UNIQUE, ARTSY. along for the ride....if you purchase tickets to view Destiny in Space at the long-awaited TRADITIONAL, HOME ACCESSORIES, Humphrey IMAX Dome Theater, which opens its doors on October 5. This IMAX will be the UNUSUAL GIFTS. first of its kind in Wisconsin, and one of a limited number in the United Slates. IMAX technology premiered in Japan in 1970, and the first permanent IMAX theater opened in 7B5 N.JEFFERSON ST. Toronto, Canada, in 1971. So, ifs taken 25 years to reach Milwaukee, but the experiece is FALL 277-0988 assuredly well worth the wait. IMAX, which stands for Maximum Image, not only uses the HOURS: MONrSAT. ^ largest frame film in history (more than ten times the size of a reel from Independence Day), SALE 10AM-6PM A but is projected onto a six-story, 74 foot diameter screen comprised of 381 panels containing COME AND CLEAN US OUT! 51.6 million holes to allow sound and air to pass through. WHEW! Destiny in Space, narrated by Leonard Nimoy and filmed over the course of nine shuttle flights and five years, Our lower level gallerv, features scenes shot in and outside the shuttles, including the departure of the Galileo probe A "VISUAL ATTACK" for Jupiter and servicing of the Hubble Telescope. The theater's regular schedule begins October 6, with screenings almost every hour, Sunday through Saturday. Call 319-4629 for Large Selection of Functional tickets and details. Artworks including Painted Furniture, Glass and Gifts By Local Artists. • Lynn Tarnoff PRESENTS • Peggy Brown Milwaukee: Through the Lens of Lyle Earth Essentials • Amy Palec Oberwise 1229 E Brady; 225-9933 • Jen Innes October 1 -14; Grand Avenue Mall, 275 W Oct 12 - Burton Guibord Mike's Vintage Furniture Selection Wisconsin, 224-0655 Oct 19 - Rojo uums Photos by Zip October 18-31; General Mitchell Interna­ Nov 9 - Saji Thomas a show of recent works by: tional Airport, 5300 S Howell, 747-5300 Nov 23 -Wl Rev 7pm 6:30pm unless otherwise noted HUTH Pabst Theater An Exploration in Eurythmy, KOROM 144 E Wells; 935-7927 Festival City Symphony November 8 - 98h Annual Police Band Concert 286-3663 Theater and Dance KRIMMER 7:30pm October 23 - Festival City Sing-Along MANGAN 7pm free Milwaukee County War Memorial, UWM Golda Meir Library 750 N Lincoln Memorial JTORM'J PARKER 2331 E Hartford, 4th ft; 229-3965 November 17 - Pictures at an Exhibition PETERSON October 27- Jewish Community History: Local 3pm $10/$6 Pitman Theatre, Alverno College, Details, Global Ideas; noon 3401 S 39th CHILD Walker's Point Center for the Arts Florentine Opera SEPT. 27TH • Ml 21TH 911 W National; 672-2787 Marcus Center for the Performing Arts: Uihlein SATURDAY, October 26-November 19 Hall; 273-7206 champagne opening 7irie Melting Pot: 150 Years & Still Cooking November 8-10 - The Barber of Seville OCTOBER 26 F Sa 8pm Su 2:30pm reception Wisconsin Conservatory of Musk Celebrity Chorus 730 P.M. Northridge Shopping Center, 7700 W Brown Lawrence University CARROLL OCT. 18TH Deer; 276-5760 Appleton; 832-6585 7pm-10pm October 12- Music Written About Milwaukee November 1 - Christopher Parkening, Classical Guitar COLLEGE lpm 8pm November 15 - Joe Lovano & Gunther Schuller 7:30pm November 16 - Janis Siegel of the Manhattan (414) 283-9244 Sponsored by Transfer & Fred Hersch, Piano 221 N. WATER STREET 7:30pm yiv>§ic Prairie Hill Waldorf School MILWAUKEE • Wl 53202 • • •• Please call 646-PHWS for info. Milwaukee Art Museum Artist Series at the Pabst 750 N Lincoln Memorial; 224-3200 Pabst Theater, 144 E Wells, unless otherwise Music in the Museum noted; 286-8777 Oct 8 - Songs of Cole Porter SOUTH October 9 - Marcus Roberts, Portraits in Blue Oct 22 - And the Band Played On 8pm $16.50-$41.50, Uihlein Hall, Marcus Nov 5 - /'// See You in My Dreams Center for the Performing Arts, 929 N Water Nov 19 - Composers of 19th-Century Spain ;""GRANiD OPENING SALE | October 29 - Christopher Parkening & The 5:30pm $15/$ 12 Colorado Siring Quartet 7:30pm $15-$35 Milwaukee Chamber Orchestra BE1E H3QL November 19 - Steven Doane, Cello & Barry Pabst Theater, 144 E Wells; 347-1564 Snyder, Piano October 22 -JSBach ComplehBrandenburg Concerti 7:30pm $15-$35 7:30pm ••S3 QaaHa HHEH MEHTIONIHC THIS AD Audubon Court Books Milwaukee Symphony Orchestra 383 W Brown Deer Rd; 351 -9140 Marcus Center for the Performing Arts: Uihlein NEW OWNERSHIP Fridays & Saturdays - Live Music Hall, unless otherwise noted; 273-7206 • PERSONALIZED SERVICE October 4-6 7:30 pm '"ft • FREE IN-HOME CONSULTATION::* Mondays & Thursdays - Alia Levin, Classical Piano Pops: Lou Rawls: At the Club I • QUALITY CUSTOM FRAMING» 6pm F Sa 8pm Su 7:30pm $15-$50 • COMPETITIVE PRICES Sundays, Tuesdays & Wednesdays - Zoya Makhlina October 10-12 ; 6pm Classics: Wagner, Bartok, Schumann ...ggfeome see us in historic old bayview::: . Th F 7:30pm Sa 8pm $14-$47 SOUTH SHORE Cardinal Stritch College October 1 8-20 SchroederAuditorium,6801 Yates; 352-5400 Classics: Harbinson, Chopin, Sihelius GALLERY & FRAMING Exhibit Space Available November 24 - Lerich Recorder Quartet F Su 7:30pm Sa 8pm $14-$47 2627 S. KINNICKINNIC AVENUES; for rent in the trendy art 7pm $5/$3 October 25-27 481-1820 Pops: "Of Thee I Sing" Concert Performance HOURS: OPEN TOE-SAT 10-5 :30.r •••• area of downtown Carroll College Shattuck Auditorium F Sa 8pm Su 7:30pm $15-$50 Appleton, WI, open to 100 N East, Waukesha; 524-7182 November 15-17 SHORE all art mediums. October 12 - Metropolitan Opera National Classics: Weber, Beethoven, R Strauss Council Disfrict Auditions F 11:15am Sa 8pm Su 7:30pm $14-$47 LOCATED IN A VINTAGE 1920s 10:30am free November 21-23 BUILDING FEATURING: Classics: Mozart, Tchaikovsky, Brahms A A T • ELEGANT SPACIOUS INTERIORS Th F 7:30pm Sa 8pm $14-$47 • NOSTALGIC ELEVATOR Centennial Hall • CARPETING THROUGHOUT 733 N 8th; 286-8777 November 29-Decemberl 0 • AIR-CONDITIONING October 4 - Barry Harris Residency Project Classics: Ives, Falla, Saini-Saens • AMPLE FREE PARKING • PACKAGING, CRATING SERVICE Videodocumentary Premiere F Su 7:30pm Sa 8pm $14-$47 6 J) • DELIVERY SERVICE OR 7:30pm $5/$3 SHIPMENTS WORLDWIDE November 13 - David HB Drake: Gather By Milwaukee Youth Symphony Orchestra • OPEN SEVEN DAYS A WEEK • EXCELLENT LOADING AND the Waters; 7:30pm $5 Mayfair Mall; 272-8540 G UNLOADING FACILITIES November 3 - Playathon Concert • RECORDED SURVEILLANCE The Coffeehouse Noon-5pm 4 CAMERAS • ONE BLOCK FROM PAPER VALLEY 631 N 19th; 744-3655 HOTEL & Oct 4 - Songs that Made Milwaukee Famous Old Town Serbian Gourmet House 9 CONVENTION CENTER $2.50 +2 food items 522 W Lincoln; 672-0206 Oct 5 - Wl Rev, Pig Ankle Dave Fridays-Sundays - Strolling Siring Minstrels Open Sundays 10-Noon Oct 11 - Acoustic Open Stage $2 7pm-close a © For Inspection Oct 12 - Larry Penn, Tom & Barb Webber Oct 18 - Poetry Night People's Books AN OCCULT SHOPPE 513 W. COLLEGE AVE. Oct 19 - Pamela Means 3512 N Oakland; 962-0575 SLBOTANICA Gf; Oct 25 - Acoustic Warriors, Saji Thomas October ]Q-MusicFrom Almost Yesterday: Matt APPLETON, WI Oct 26 - Patty Stevenson, Rick Wells Turner & Hal Rammel 615 N MILWAUKEE 54912-0443 Oct 27 - Acoustic Open Stage $2 8pm MILWAUKEE Wl 53202 8:30pm, $3.50 unless otherwise noted + 414-276-5552 4 % Prairie Performing Arts Center TUES-SAT: 10AM-7PM CALL: Early Music Now 4050 Lighthouse, Racine; 631 -3845 SUN: 12PM-5PM; CLOSED MONDAY St Matthias Church, 9300 W Beloit; 225-3113 November 16 - Harmonious Wail JI 1(800) 236-2979 October 26 - The Tallis Scholars; 7:30pm $25 8pm$12/$10 TTI h FOR A FREE BROCHURE 31 FAUX BASIC MAT HAND OUT THERE FINISH CUTTING BOUND Lyric Theatre of Belfast Skips Philly, Heads for Milwaukee GREAT IDEAS FOB LEARN HOW TO CUT YOUR BOOKS HOME DECORATING • OWN PICTURE MATS WITH CREATE A STRIP BINDING • In a strange quirk of fate, the Lyric Theatre of Belfast just happens to be making the same LEARN VEINING & DAVID LOGAN RAG RIBBON BINDING WITH journey which the central character in its production of Philadelphia, Here I Come! is TEXTURE TECHNIQUES FRI OCT 18 9 TO 11:30 DECKLE EDGE PAPER • A preparing to undertake. Brian Friel's play unfolds the story of a young Irish man, Gar IN THIS HANDS ON or MINATURE BOOK & MORE • O'Donnell, who longs to escape from home town tedium in Donegal by planning to emigrate WORKSHOP" SAT OCT 19 9 TO 11:30 INCLUDES MATERIALS FRI OCT 4 SUN OCT 6 ID the United Slates. The Lyric, Northern Ireland's only repertory theatre and a long-time or 9:30 TO 1:00 12 TO 3:30 nurturer of that country's gifted playwrights, is touring Friel's masterpiece Stateside this fall, SUN OCT 20 1 TO 3:30 59.00 49.00 making a slop October 18 and 19 at Alverno College's Pitman Theatre, 39th and Morgan. 44.95 This production, directed by David Grant and sponsored in Milwaukee by Alverno Presents, is MATTING FIMO the Lyric's first of Philadelphia since its 1976 mounting, when Liam Neeson played the ALL THAT leading role. The pubGc leading role, that is. Throughout the play, as Gar struggles to break GLITTERS PROCESS CLAY through the silent wall which divides him from his father, his private thoughts are embodied HANDS ON METALLICS LEARN HOW TO CUT YOUR LEARN THE BASIC in Gar Private, his unsettled conscience played by a second actor. For a chance to listen in, WORKSHOP USING OWN PICTURE MATS WITH TECHNIQUES IN THIS call Alverno Presents, 382-6044. COMPOSITION LEAF • DAVID LOGAN 2 SESSION CLASS METTALIC WAX FINISHES FRI OCT 18 9 TO 11:30 SUN OCT 27 & PAINTS • BRONZING or & SUN NOV 3 POWDERS AND MORE • SAT OCT 19 9 TO 11:30 12:30 TO 3:30 SAT OCT 5 CALL 44.95 40.00 ABOUT 9:30 TO 12:30 OTHER 59.00 CLASSES Present Music Milwaukee Repertory Theater St Paul's Church, 914 E Knapp; 271 -0711 108 E Wells; 224-9490Stiemke Theater: ARTISTANDDISPLAY 9015 WEST BURLEIGH 442-9100 November 24 October 27-November 17 SIXTY YEARS MWF 9.6 . TUES & THUR 9-8 PM • SAT 9-5 • SUNDAY 12-4 Simple Gifts: Copeland, Johnston, Cage New England i yob • lyyo ^•••——••••—J 7:30pm $15/$10 Stackner Cabaret: Now-November 24 UWM Fine Arts Recital Hall Hula Hoop Sha-Boop 2400 E Kenwood; 229-4308 All performances T Th 7:30pm W 1:30 & October 13 - Fine Arts Quartet; 3pm 7:30pm F 8pm Sa 4:30 & 8:30pm Su 2 & 7:30pm Are you a October 16 - George Ffynn, Lecture/Recital; 6pm October 20 - Musk from Almost Yesterday; 3pm Next Act Theatre Stiemke Theater, 108 E Wells; 278-7780 Waukesha Symphony Orchestra Now-October 6 - Sylvia Shattuck Auditorium, Carroll College, 100 N Th 7:30pm F 8pm Sa 4:30 & 8pm Su 2 & 6pm East, Waukesha; 547-1858 October 15 - Grand Canyon Suite Racine Theatre Guild 7:30pm 2519 Northwestern, Racine; 633-4218 {£>) Junkie (9) October 25-November 17 Inspecting Carol FSa 8pm Su l:30&7pm

If so, do we have the place for you. Over 500 papers from all around the THt^tttfs Renaissance Thealerworks world are on display & at your fingertips. From hand marbled to floral • • •• Broadway Theatre Center, 158 N Broadway; inclusions to bright colors. We've got the paper for you. 291-7800 Alverno Presents October 11 -27 - Talking With Pitman Theatre, 3401 S 39th; 382-6044 M Th 7:30pm F Sa 8pm Su 2pm Stop in and see our paper store. October 18 & 19 Located in rear of third building The Vicki Schober Co. Inc. LyricThealreofBelfast: "Philadelphia Here I Come" Skylight Opera Theatre 8pm $28/$20 north of North Avenue. For more 2363 North Mayfair Road Broadway Theatre Center, 158 N Broadway; 291-7800 information call: 476-8000. Milwaukee,Wisconsin 53226 Boulevard Ensemble Now-October 13 - Tfie Elixir of Love 2252 S Kinnickinnic; 672-6019 W 7:30pm F Sa 8pm Su 2pm Oct 6 7:30pm October 18-November 10 $19-$40 Gianni Schicchi November 27-December 22 - My Fair Lady Th 7:30pm F Sa 8pm Su 2 or 7:30pm $9-$l 1 W 7:30pm F Sa 8pm Su 2 & 7:30pm

Milwaukee Public Theatre Cafe Melange Sunset Playhouse and the Avalon 720 Old World 3rd; 291 -9889 800 Elm Grove Road; 782-4430 Arts Coalition 2nd & 4th Sundays November 15-December 1 - Romantic Comedy present Hotel Milwaukee (Taping) Th F 8pm Sa 6 & 9pm Su 2 & 7pm 5 &7pm Theatre X Cardinal Stritch College Theatre Broadway Theatre Center, 158 N Broadway; 6801 Yates; 352-5400 x294 278-0555 November 7-17 - Macbeth Now-October 6 - Singing in a Strange Land CHysceRfous Th-Sa8pmSu2pm$10 WTh 7:30pm F 8pm Sa 8pm Su 3pm $18/$l 6

New RpcKRbyme" Dale Gutzman Presents UWM Professional Theatre Training Program Marcus Center for the Performing Arts: Vogel UWM Fine Arts Theatre, 2400 E Kenwood Fall by Kathleen O'Regan Hall; 273-7206 Blvd; 229-4308 7:50 pm, October 10,1996 October 11 -20 - Kiss Me Kate October 3-26 - Miss Julie Arrivals! FSa 8pm Oct 20 2pm $16 Oct 2, 16, 24 7:30pm Oct 4, 5, 18, 26 8pm $7.00 adults/$2.50 kids Cedar Creek Settlement? Oct 13, 19 2:30pm$14/$12 Avalon Theatre (299-0752) Dead Ale wives October 1 0-26 - Tfie Three Sisters Cedarburg, WI j£ 2980 S. Kinnickinnic Comedysportz, 126 N Jefferson; 272-8888 Oct 10, 17, 23 7:30pm Oct 11, 12, 19, 25 377-5054 ^ Alternative, uncensored improv comedy w/ 8pm Oct 20, 26 2:30pm $14/$l 2 live music W 8pm Th 1 Opm Antique Center Walkers Point /NUMQUkEE Dont' forget our 1134 S. 1st St. • Milwaukee PUBLIC Celebrity Auction First Stage Milwaukee Marcus Center for the Performing Arts: Todd 383-3036 TJ4C./ITBP Annual Benefit ,11C" • ^ 7 pm, Nov. 20 Wehr Theatre; 273-7206 "Quality Collectible Clothing" Now-October 13 347-1685 rv & t*4&W Peter Pan • • •• November 10-23 Caddie Woodlawn Alternating Currents in 20th Century Music All performances Sa Su 1 & 3:30pm Sundays DJ Hal Rammel 6:00pm WMSE 91.7 FM Marquette University Theatre MASTERS 13th & Clybourn; 288-7504 Guitar Nuts October 9-20 - Tfie Lark Mondays November 13-24 - Lend Me A Tenor 9pm Milwaukee Cablel 4 & Viacom 11B 353- at the ART Th F 8pm Sa 4:30 & 8:30pm Su 2:30pm; $10/$9 5052 of fine offset Milwaukee Chamber Theatre Hotel Milwaukee Broadway Theatre Center, 158 N Broadway; Thursdays & Saturdays 276-8842 Th 7pm Sa 4pm WHAD 90.7 FM October 19-Novem ber 3 - Tfie Trip To Bountiful PRINTING Call for times & prices Joy Farm Beads, Mondays Milwaukee Public Theatre M 10 pm Warner Channel 14 Jewelry, art prints/NEWSPAPERS Avalon Theatre, 2473 S Kinnickinnic; 299-0752 MAGAZINES / brochures October 9 Milwaukee Symphony Folk Art, The Mysterious Rock Rhyme catalogs/NEWSLETTERS Thursdays Classes $7/$2.50 8pm Classic WFMR 98.3 FM 714 N. Broadway Milwaukee Repertory Theater (Just North Of Wisconsin) Notes from 52nd Street 108 E Wells; 224-9490 F Sa 8pm-2am Su llpm-2am Smooth WFMI 11-6 Tue- Fri, 11-4 Sat, Port Publications, Inc. Powerhouse Theater: 106.9FM 800-889-4365 Now-October 13 call 377-1250 for a quotation Arcadia October 25-November 24 Benito Cereno

32 Art Muscle WMAbout: wr RUBBER STAMPING fictioi With rubber stamping, you can transform the ordi­ nary into the extraordinary. The Complete Guide to Friday & Saturday, Rubber Stamping ($19.95) includes projects on deco­ October 11 & 12 rative terracotta tiles, Japanese paper gift boxes, Afri­ 9:00 a.m.-5:00 p.m. can wildlife gift wrap and much more. PALETTE SHOP INC Use the projects in this book as a spring board to 1325 E. Capitol Dr. r ***^ *** formulate new ideas and develop your own •FREE Demonstrations • FREE Seminars style. We have all the supplies you V. Aldo Castillo Gallery R A Gallery £_^ • Door Prizes 233 W Huron; 312/337-2536 1000 N Milwaukee; 312/862-8640 need to get started and go wild \ Mention this ad Now-October 11 Now-October 25 md receive 2M Lois Polansky: Selected Works in Hand­ with rubber stamps. ~^y- $ 3 Mediterranean Artists: Salvador Calvo, off the book. Hector Mavridis, Paco Sainz made Paper, Constructed Paintings & Artist's Books ARC Gallery 1325 East Capitol Dr. 342 North Water St. 1040 W Huron; 312/733-2787 Sacred Heart Schools Antiques Show Shorewood, Wl 53211 Milwaukee, Wl 53202 October 1 -26 - Janet Pines Bender, Paintings; 6250 N Sheridan; 312/262-4446 414-963-1346 414-272-3780 October 25-27 t Ann Schaefer, Paintings Open Sundays Noon-4 p.m. In Wl: 1-800-242-7245 F Sa 10am-8pm Su 1 lam-5pm $8 PALETTE SHOP INC Aron Packer Gallery IILE SHOPPING IN OUR STORE! y 1579 N Milwaukee; 312/862-5040 School of the Art Institute of Chicago o Now-October 5 - Nancy Bromberg: The Court 1040 W Huron; 312/226-1449 of the 7 Sisters; Aaron Kramer: Avian Culture Now-November 1 - Tfie Presence of Touch October 11 -November 9 - Alma Furnace November 15-January 4 - David Zimmerman; SOFA CHICAGO 1996 Ann Worthing Festival Hall, Navy Pier; 800/561 -7632 Want to sell your art to the WORLD? November 1 -3 We can help you do it! Artemisia Gallery F Sa 1 lam-8pm Su noon-6pm $7-$ 16 700 N Carpenter; 312/226-7323 October 1 -26 - WAVE, Women from Denton/ Wood Street Gallery Ft Worth Area 1239 N Wood; 312/227-3306 PC Consulting & Services Now-October 12 - The Shapes of Surface; Art Institute of Chicago Spirals, Twisters, Whirlpools: Corinne Peterson, provides World Wide Web sites and Michigan at Adams; 312/443-3626 Clay Sculpture classified ads on the world's largest Now-January 5 - Degas: Beyond Impressionism Now-January 12 - Gloria in Excelsis Deo: internet shopping mall and service! Heralding a Vestment Collection October 19-January 5 - Building for Air Travel: Architecture & Design lor Commerical Aviation - Effective Carl Hammer Gallery - Affordable 200 W Superior; 31 2/266-851 2 Now-October 5 - Fred Stonehouse, New - World wide customer base Paintings: "Joy Farm"

Chicago Photographic Print Fair PC Consulting & Services 211 E Chicago; 312/943-7701 October 18-20 (414)785-0508 Voice/Data/Fax F 5-9pm Sa 11 am-7pm Su noon-6pm ! 3-$15

Contemporary Art Workshop 542 W Grant; 312/472-4004 October 4-November 5 - Valkyrie Valtair, SAX IS YOUR DESTINATION FOR Paintings; Su-en Wong, Paintings ********* FAUX FINISH DECORATION! ^ Ehlers Caudill Gallery Ltd Elvehjem Museum of Art 750 N Orleans; 312/642-8611 UW-Madison, 800 University; 608/263-8188 WE STOCK ALL THE BOOKS, Now-October 12 - Nathan Lerner: Photo­ Now-October 27 - Mao's Graphic Voice: TOOLS AND SUPPLIES YOU graphs of Japan Pictorial Posters from the Cultural Revolution NEED TO CREATE FAUX October 18-November 16 - Leon Levinstein: An Eye on Flanders: The Graphic Art of Jules FINISHES ON WALLS AND Vintage Photographs; Laura Letinsky De Bruycker FURNITURE, INCLUDING THE CUSTOM November 9-January 19 - Hare's Fur, Tor- NEW CUSTOM FINISHING FINISHING Gruen Galleries toiseshell, & Partridge Feathers: Chinese COLORS 226 W Superior; 312/337-6262 Brown- & Black-Glazed Ceramics, 400-1400 COLORS FROM GOLDEN. October 4-November 6 - Roland Polska: New Paintings The Jewelry of Tone Vigeland THESE WATERBASED ACRYLIC November 8-December 1996 - Multiples GLAZES ARE FORMULATED Grace Chosy Gallery FOR A SLOWER DRYING In'luit 218 N Henry; 608/255-1211 1926 N Halsted; 312/929-7122 Now-October 19 - Wendell Ameson, Paintings TIME AND EASY CLEAN UP. Now-January 4 iPfflo Time on Their Hands: The Tramp Art Tradition Madison Art Center ON OVERSTOCKED ITEMS Now thru November 22nd 211 State; 608/257-0158 Klein Art Works Now-November 17 - Wisconsin Triennial 400 N Morgan; 312/243-0400 November 22-24 - Holiday Art Fair Arts & Crafts Retail Store October 1 2-November 10 - Jun Kaneko: New 100A E. Pleasant St. (Walnut & 1ST), Milwaukee.WI Works in Clay Wisconsin Academy Gallery Hours: M-F 8:30-6, SAT 9-5 414-264-1580 1922 University; 608/263-1692 The Modernism Show October 1 -31 - Richard Knight, Paintings CALL FOR INFO ABOUT OUR FAUX FINISH & FURNITURE PAINTING CLASSES Winnetka Community House, 620 Lincoln, November 1 -30 - Keith Dalby, Greg Johnson, Winnetka; 847/446-0537 Peter Williams, Installation RIVERWEST ARTISTS ASSOCIATSON November 2 & 3 Sa 10am-7pm Su 1 lam-5pm $10/$8 MDIIC ** ** Museum of Contemporary Art 220 E Chicago; 312/280-2660 Wisconsin Union Theater Now-October 5 - Gary Simmons 800 Langdon; 608/262-2201 Now-October 20 - Negotiating Rapture: The October 11 - The David Parsons Dance Com­ Power of Art to Transform Lives; Josef Paul pany with The Billy Taylor Jazz Trio Kleihues: Projecting the MCA 8pm$25/$15 Now-October 27 - Jennifer Pastor October 12 - Richard Goode, Piano Now-November 10 - Steve McQueen; So You 8pm $25/$ 15 Wanna Be A Rock & Roll Star: Artists Interpret November 1 & 2 - Emerson Siring Quartet Popular Music 8pm $25/$l 5 Now-May 1997 - In the Shadow of Storms: Art of the Postwar Era from ihe MCA Collection November 2-January 1 2 - Meret Oppenheim: ** rat-4:tt\%* * Beyond the Teacup BOTH DAYS IUM-EPH November 16-March 23 - Art in Chicago, Wisconsin Union Theater 1945-1995; Time Arts Chicago 800 Langdon; 608/262-2201 Saturday Evening Events include: October 1 Poetry Readings, Film Screening &. Printworks Gregory Peck 311 WSuperior, suite 105; 312/664-9407 8pm $30/$l 5 Live Music Throughout Riverwest Now-Odober 5 - Robert Schultz: New Drawings October 22 Tickets and T-shirts Available Now! October 11 -November 9 - Hugh Merrill: Having Our Say Water Street Antique Market Recent Works on Paper 8pm$24/$14 CaU Christine at 372-5692 2nd Floor 31» SB. Water St. November 15-January 4 - Self-Portraits 1996 Art Muscle will see you there!

33 25 YEARS OF PH0T0GRAPHIN8 THEFAMOUS & H0T-S0-FAMOUS CALL 414 JJ] m FOR SPECIAL FALL PRICES

Milwaukee Symphony Orchestra Milwaukee Symphony Chamber Singers Lee Ericksony Director/Conductor "Renaissance

December 12-15 & Revelations" Cathedral of St. John the Evangelist Patrick Shaw Anthony Sell

8:pm Friday, October 18th 1996

Mink Studio is located at 2406 N. Murray

WALKER'S POINT CENTER FOR THE ARTS "ART CENTER FOR THE GLOBAL NEIGHBORHOOD" 911 W. NATIONAL AVENUE MILWAUKEE WI USA 53204 414-672-2787 FRANCIS FORD 25 YEARS OF PHOTOGRAPHY OPENS SEPTEMBER 28 7 -10 PM CONTINUES THROUGH OCTOBER 22 ALSO: ELLY GRISWOLD "POLLY AT HER'S" Installation at ART MUSCLE 901W. NATIONAL AVE. Opening On October 26 4th Annual Dia de los Muertos/Day of the Dead & Walker's Point History Project: NY ORCHESTRA "The Melting Pot, 150 Years & Still Cooking" Andreas Delfs, Music Director Designate Hours: Tuesday - Friday 10 - 6, Saturday 1-4 Stanislaw Skrowaczewski, Artistic Advisor Doc Severinsen, Principal Pops Conductor Funded in part by Wisconsin Arts Board, Milwaukee Arts Board, CAMPAC, Meyer R. & Norma L. Ragir Foundation, WPCA Members & Friends. Special thanks to Art Muscle Magazine, Todd & the Crew at Sanctuary

34 Art Muscle 0 In honor of the City of Milwaukee's Sesquicentennial Celebration the

Almost completely unknown as a photo­ o • - tl 0 grapher during his life­ •o time, Lyle Oberwise was Q o one of Milwaukee's most o (/> c 3 o %M 3 G faithful documentarians for nearly 60 years. CD TJ a 5 Untrained as an artist, rO 0 Oberwise's perspective O a remained personal and 0 3 direct often celebrating z 3 the most commonplace o -* m aspects of urban life/His Q •••• photographs represent a 3 rare window into the Q commonly uncommon 1ro a•n c life of our city's past. GO C 0*r C 0 Wisconsin's oldest existing 0 artist organization proudly presents this exhibition part of Milwaukee's Sesquicentennial o Celebration. The three-part o3 exhibit will consist of current _ WP&S/WAAM members juried college student 5" entries, and a curated TJ component of past Q members. MHil 3 0 ^ S^S^O = J2 =:CD 0"0 *> Q JTCi CD ' -D c 8 c =• <> 5" 7\ -*• 7T V) om CD mO T^O*" CD H. CD r— _ 73 o " CD — Q 5 CD c "D co n ee t DtiO l tut e n G O September 3 - 30 Wilson Park Senior Center p % ol - • • October 1-14 Grand Avenue Mall -J —* ^r October 15-31 Mitchell International Airport l[>®< o? November 1 - 30 Miller Brewing Co. Tour Center < December 1 - 30 Milwaukee Central Library 9P CD a 3 CD D" 22. CD (Q D «» p- Milwaukee Institute ofAr t & Design 273 East Erie Street MiUvaukee . Wl 53202

1846-1996 All Oberwise photographs are a part of the collection of John Angelos and Marilyn Johnson

35 ' **** *"

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